Slick Tech Architecture Or High Tech

Architecture

Submitted By:
Nikhil Mittal 0906024
Ankita kashyap 0906008

High-tech architecture, also known as Late Modernism or Structural

Expressionism, is an architectural style that emerged in the 1970s,
incorporating elements of high-tech industry and technology into building
design. High-tech architecture appeared as a revamped modernism, an
extension of those previous ideas aided by even more advances in
technological achievements. This category serves as a bridge between
modernism and post-modernism, however there remain gray areas as to
where one category ends and the other begins. In the 1980s, high-tech
architecture became more difficult to distinguish from post-modern
architecture. Many of its themes and ideas were absorbed into the language
of the post-modern architectural schools.
Like Brutalism, Structural Expressionist buildings reveal their structure on
the outside as well as the inside, but with visual emphasis placed on the
internal steel and/or concrete skeletal structure as opposed to exterior
concrete walls.
High-tech buildings are often called machine-like. Steel, aluminum, and
glass combine with brightly colored braces, girders, and beams. Many of
the building parts are prefabricated in a factory and assembled later. The
support beams, duct work, and other functional elements are placed on the
exterior of the building, where they become the focus of attention. The
interior spaces are open and adaptable for many uses.

CHARACTERSTICS OF HIGH TECH ARCHITECTURE

1.
2.
3.

STYLE LOOKS FUNCTIONAL

EXPENSIVE STRUCTURE AND SERVICES
SUPPORT FUNCTIONAL VIRTUES AND PRESENT AS
NECESSITY
4. TRANSCENDENTAL MATERIALISM
5. INSIDE OUT
6. TRANSPARENCY,LAYERING AND MOVEMENT
7. BRIGHT ,FLAT COLOURING
8. A LIGHT WEIGHT FILIGREE OF TENSILE MEMBERS
9. EXPREES STRUCTURE AS ORNAMENTAL ORDER
10. MASSIVE STRUCTURAL EXPRESSIONIST
11. CLEAR LAYOUT AND NATURAL LIGHTINING
12. CELEBRATION OF PROCESS

1.INSIDE OUT
The Services & Structure Of A Building Are Almost Always Exposed
On The Exterior As A Form Of Ornament Or Sculpture.

2.CELEBRATION OF PROCESS
With the emphasis on constructon logic, the how, why,& whatof the building its
joists,rivets ,flanges & ducts,there is an intellectual clarity which is pleasing for the
very soul.
The celebration of process often extends to things that are seen to work the
mechanical plant and travelling crane are as omnipresent as the pediment & as the
key stone are in classical archicture.
3.TRANSPERANCY,LAYERING, & MOVEMENT
These three asthetic qualities almost without exception,extensive use of
transulant & transperent glass, a layering of ducts, stairs and structure and the
accentutaion of moving escalators and elevators characterise the high-tech
buiding.

4.BRIGHT FLAT COLOURING

Bright colours are in much the same way used as the eng. Different kinds of
Structures and services are distinguished and allowed them to be easily
understood and effectively used.
5. A LIGHT WEIGHT FILIGREE OF TENSILE MEMBERS
Light weight material used for the ornamentation of the building like the glass
cover with steel frame.
6.OPMISTIC CONFIDENCE IN A SCIENTIFIC CULTURE:-

Underlying high tech building is the futurist promise of an unknown world

waiting to be discovered. This results more in a method of working and
attitude towards material,colours, and inventions than a compositional
principle. However, this often leads to open, in terminate space and
picturesque fragmentation or ,at worst a chaotic massing and confusion of
cues.

ARCHITECTS

Sir Norman Foster

Born:
June 1, 1935 in
Manchester, England

I.M. Pei
Born: April 26, 1917

Nicholas Grimshaw

Sir Richard Rogers

Born: July 23, 1933 in
Florence, Italy

INTRODUCTION
Pritzker Prize-winning British architect Norman
Foster is famous for "High Tech" design that
explores technological shapes and ideas. In addition
to winning the world's most prestigious awards for
architecture, he has been knighted by Queen
Elizabeth II.

BORN
June 1, 1935 in Manchester, England

EARLY LIFE OF FOSTER

Born in a working class family, Norman Foster did not seem likely to become a
famous architect. Although he was a good student in high school and showed an
early interest in architecture, he did not enroll in college until he was 21 years
old. Foster won numerous scholarships during his years at Manchester
University, including one to attend Yale University in the United States.

EDUCATION
1)Manchester University School of Architecture
2)Yale University

HIS PARTNERSHIP
At the beginning of his career, Foster worked as a member of
the successful "Team 4" firm with his wife, Wendy Foster, and
the husband and wife team of Richard Rogers and Sue Rogers.
His own firm, Foster Associates, was founded in London in
1967.

FOSTER AND ARCHITECTURE

Foster Associates became known for "High Tech" design that
explored technological shapes and ideas. In his work, Sir
Norman Foster often uses off-site manufactured parts and
the repetition of modular elements. The firm frequently
designs special components for these high-tech modernist
buildings.

FAMOUS WORK OF FOSTER

1970-74: WILLIS FABER AND DUMAS BUILDING, IPSWICH, UK
1977: SAINSBURY CENTRE, NORWICH, UK
1979-86: HONGKONG AND SHANGHAI BANK, HONG KONG
1987-1991: CENTURY TOWER BUNKYO-KU, TOKYO, JAPAN
1987-1997: AMERICAN AIR MUSEUM, DUXFORD, UK
1988-1995: METRO ENTRANCE, BILBAO, SPAIN
1989-1992: CRANFIELD UNIVERSITY LIBRARY, BEDFORDSHIRE, UK
1990-1995: FACULTY OF LAW, UNIVERSITY OF CAMBRIDGE, UK
1991-1993: LYCE ALBERT CAMUS, FRJUS, FRANCE
1991-97: COMMERZBANK , FRANKFURT, GERMANY
1992-99: NEW GERMAN PARLIAMENT, BERLIN, GERMANY
1995-2001: DAEWOO RESEARCH AND DEVELOPMENT, SEOUL,
SOUTH KOREA
2008: TERMINAL T3, BEIJING, CHINA

AWARDS AND HONERS

Sir norman foster has won numerous awards and honers, including
1999: Pritzker architecture prize
1997: Appointed by the queen to the order of merit
1990: Riba trustees medal for the willis faber dumas building
1990: Knighthood from the queen of england
1983: Riba royal gold medal

LONDON CITY HALL,LONDON

ARCHITECT - Norman foster
Location - Southwark , london , england
Completed - 2002
Style - High-tech modren
Size: Lower ground level, Ground level, plus 9 stories
above. 185,000 SQ FT
City hall is the headquarters of the GREATER LONDON
AUTHORITY (GLA). It is located in southwark, on the
south bank of the river thames near tower bridge. It was
designed by norman foster and opened in july 2002.
The GLA is located in an area needing the
redevelopment, and with such a location, the
government was able to claim their part in the
regeneration process. The design of this building is also
one that provided a symbolic break from the past.
Contrary to some believe, the London Authority doesnt
actually own the GLA. The assembly chamber houses
the 25 elected members of the London Assembly as well
as the offices of the mayor and the staff of the Greater
London Authority.

FEATURES AND FLOOR PLANS:The building has an unusual, bulbous shape, intended
to reduce its surface area and thus improve energy
efficiency. It has been compared variously to Darth
Vader's helmet, a misshapen egg, a woodlouse and
a motorcycle helmet.
At the top of the ten-story
buildingis an exhibition and
meeting space called "London's
Living Room", with an open
viewing deck which is
occasionally open to the public.
The walkway provides views of
the interior of the building, and
is intended to symbolise
transparency.
UNDERGROUND

FIRST FLOOR

SIXTH LEVEL

1. Parking 2. Storage rooms 3. Physical plant 4. Outdoor

amphitheater 5. Cafe 6. Information desk 7. Kitchen 8.
Exhibition area 9. Committee room 10. Meeting room 11.
Media center 12. Reception 13. Assembly chamber 14. Public
viewing gallary 15. Library 16. Reading room 17. IT room 18.
Ofiice 19. Open - plan area 20. Terrace 21. London's Room
NINETH LEVEL

THE INTERIOR HELICAL

STAIRCASE

A 500-metre (1,640 ft) helical walkway,

reminiscent of that in New
York's Solomon R. Guggenheim Museum,
ascends the full height of the building.
At the top of the ten-story building is an
exhibition and meeting space called
"London's Living Room", with an open
viewing deck which is occasionally open to
the public. The walkway provides views of
the interior of the building, and is intended
to symbolise transparency.
ORIENTATION: To further improved the
shape and performance of this building the
sphere shape was skewed to more of an egg
shape that leans South blocking the direct
sunlight with its own shape.

ORIENTATION

SHADING

SHADING: The egg shape is in itself a

strategy for passive design. The South side of
the building leans back so the floor-plates
step out over the windows below each other
providing shade for the naturally ventilated
offices.

AERIAL VIEW

SECTION

NORTH ELEVATION

EAST ELEVATION

WEST ELEVATION

30 ST.MARY AXE
Type:- Office
Location:-St. Mary Axe,City of London
Construction:- 2001
Completed:- 2003
Roof:- 180 m
Floor Count:- 40
Floor Area:- 47950 sq.m
Architect:- Foster and Partners
Structural Engineer:- Arup
30 St Mary Axe (formerly the Swiss Re Building, informally
referred to as the Gherkin) is a skyscraper in London's
financial district, the City of london,stands on the former
site of the Baltic Exchange building, which was severely
damaged on 10 April 1992 by the explosion of a bomb
placed by the Provisional IRA.
After the plans to build the Millenium Tower were dropped,
the current building was designed by Norman Foster and
Arup engineers, and was erected by Skanska in 20012003.
The tower's topmost panoramic dome, known as the
"lens", recalls the iconic glass dome which covered part
of the ground floor of the Baltic Exchange.

SITE PLAN

FEATURES
Constructed on a diagrid structure
Made of 5,500 glass panels
Only piece of curved glass is the lens
Radial floor design with each floor is
rotated 5
Set of six atriums two to six stories high

30 ST. MARY AXE

Tapers outward from the base and then

narrows.
Smaller footprint allows for a public plaza.
Aerodynamic shape creates less
downdraft.
Building shape allows for natural light.

VENTILATION AND LIGHT

Differing air pressures and double skin
faade allow for natural ventilation
Solar blinds to reclaim or reject heat
Windows and blinds are computer
controlled
Light level and motion sensor lights

ENERGY USE: Temperature can be controlled in several

separate zones on each floor
Windows open when external temperature is
between 20C and 26C and wind speed is less
than 10 mph
Building can potentially turn off mechanical
temperature system 40% of the year
Main energy source is gas
Building was supposed to consume 50% less
energy

CENTURY TOWER, JAPAN

Architect: Norman Foster
Year: 1987 To 1991
Location: Bunkyo-ku-tokyo, Japan
Building Type: Commercial And Office Building.
For the first time in Hong Kong & Shanghai Bank,
century tower is not a corporate headquarters, but a
prestige office block with a wide range of services,
including a fitness center and a museum. The
program is very specific and gave great freedom with
respect to the image that the work would be needed
to meet the agenda of the functional requirements
and the strict rule that exists to build in central
Tokyo.
The building is located in Bunkyo-ku, in the heart of Tokyo, it occupies a
site subject to complex zoning regulations due to be at the heart of the city.
Mainly the building has two well-marked contrast, the urban and the
Riverine, on the north side the building looks against a highly
homogeneous compared completely urban only interrupted by the Hongo
Station Water Park.

STRUCTURE AND MATERIALS

The building is founded on rollers that are
designed to withstand an earthquake correctly to
the steel structure is independent of using this
style of structural expressionism because at all
times the structure is visible.

The main entrance

is located on the
south side of the
building on Avenue
405, on the other
side of this contrast
look at the other
The exterior is solved with a curtain wall, while
building, a
the predominant material inside the glass walls
waterway with a lot
and some ceilings, steel structure, the black
of value in the city,
granite is used in places where it occurs the water the Kanda River

and wood is present in some doors and divisions.

SPACES
The response to the project was the design of the tower in two blocks,
nineteen to twenty stories high, connected by a narrow atrium.
The outer shape of the blocks is defined by the eccentrically braced
frames, in response to the needs of earthquake engineering in a city where
earthquakes and typhoons are very real threats.
Inside the floors are double height spaces with mezzanines suspended
between them, allowing office space free of columns and enjoy natural
light and views.

INTRODUCTION:Richard George Rogers, Baron Rogers of Riverside (born

23 July 1933) is a British architect noted for his
modernist and functionalist designs. Rogers was born
in Florence in 1933 and attended the
Architectural Association School of Architecture in
London, before graduating with a masters degree from
the Yale School of Architecture in 1962. While studying at
Yale, Rogers met student Norman Foster and planning
student Su Brufellow architecture mwell.

EARLY LIFE AND CARRER OF ROGER:Rogers was born in Florence in 1933 and attended the Architectural
Association of Architecture in London, before graduating with a masters
degree from theYale School of Architecture in 1962.While studying at
Yale, Rogers met fellow architecture student Norman Foster and planning
student Su Brumwell. On returning to England he, Foster and Brumwell
set up architectural practice as Team 4 with Wendy Cheeseman (Brumwell
later married Rogers, Cheeseman married Foster).Rogers and Foster
earned a reputation for what was later termed by the media high tech
architecture

HIS FAMOUS WORKS:Lloyd's building, London, UK (197884)

Fleetguard Manufacturing Plant, Quimper, France (19791981)
Inmos microprocessor factory, Newport, Wales (19801982)[
PA Technology Centre, Princeton, New Jersey, USA (19821985)
Old Billingsgate Market, London, UK (19851988)
Centre Commercial St. Herbain, Nantes, France (19861987)
The Deckhouse, Thames Reach, London, UK (19861989)
Paternoster Square, London, UK (1987)
45 Royal Avenue, London, UK (1987)
Reuters Data Centre, London, UK (19871992)
Kabuki-cho Tower, Tokyo, Japan (19871993)
Antwerp Law Courts, Belgium (20002006)
88 Wood Street, London, UK (19901999)
Tower Bridge House, London, UK (19902005)
Daimler complex, Potsdamer Platz, Berlin (19931999)
Palais de Justice de Bordeaux, Bordeaux, France (19931999)
Montevetro, London, UK (19942000)
Lloyd's Register building, London, UK (19951999)
Minami-Yamashiro Primary School, near Kyoto, Japan (19952003)
Millennium Dome, London, UK (19961999)
Broadwick House, London, UK (19962000)

HONOURS AND AWARDS:Rogers was awarded the RIBA Royal Gold Medal in 1985 and made a Chevalier,
LOrdre National de la Lgion d'honneur in 1986. He received a Golden Lion for
Lifetime Achievement at the 10th Mostra di Architettura di Venezia. In 2006, the
Richard Rogers Partnership was awarded the Stirling Prize for Terminal 4
of Barajas Airport,and again in 2009 for Maggie's Centre in London.In 2007
Rogers was made Laureate of the Pritzker Architecture Prize - architecture's
highest honour. He was awarded the Minerva Medal by the Chartered Society of
Designers in the same year.
Rogers has been awarded honorary degrees from several universities, including
Alfonso X El Sabio University in Madrid, Oxford Brookes University,
the University of Kent, the Czech Technical University in Prague and the Open
University. In 1994, He was awarded an Honorary Degree (Doctor of Science) by
the University of Bath.

FAMILY LIFE:Rogers is married to Ruth Rogers, chef and co-owner of The River
Cafe restaurant in west London. They have two sons together, Roo and Bo. He
also has three sons, Ben, Zad and Ab, from his first marriage to Su Brumwell.
He has ten grandchildren.

LLOYD'S BUILDING
Architect: Richard Rogers

Location: 1 lime street, city of London.

Date: 1978 to 1986
Building Type: Office Building.
Antenna Spire: 93.1 m (312 ft)
Roof: 88m (289 ft)
Floor count: 14

CREATORS WORD
"Buildings are not idiosyncratic private institutions: they give public
performances both to the user and the passerby. Thus the
architect's responsibility must go beyond the client's program and
into the broader public realm. Though the client's program offers
the architect a point of departure, it must be questioned, as the
architectural solution lies in the complex and often contradictory
interpretation of the needs of the individual, the institution, the
place and history. The recognition of history as a principle
constituent of the program and an ultimate model of legitimacy is a
radical addition to the theories of the Modern Movement."

The lloyd's building (also sometimes known

as the inside-out building
The building was innovative in having its
services such as staircases, lifts, electrical
power conduits and water pipes on the
outside, leaving an uncluttered space inside.
SITE PLAN

FLOOR PLAN

The building consists of three main towers

and three service towers around a central,
rectangular space. Its focal point is the large
underwriting room on the ground floor,
which houses the famous lutine bell.

On the ground floor of the atrium sits the

Lutine Bell, salvaged from the French frigate
La Lutine which surrendered to the British in
1793. The bell is rung once for good news
and twice for bad, and the expansive atrium
carries the sound to everyone in the building.

The underwriting room is overlooked by galleries, forming a

60 metres (197 ft) high atrium lit naturally through a
huge barrel-vaulted glass roof.

The services of the building are exposed.

The external wall is claded with sparkel glass and
deep mullions the holes cut the mullions not only
reduce the weight; they also increase the amount
of light reaching the faade.
The first four galleries open onto the atrium space, and
are connected by escalators through the middle of the
structure. The higher floors are glassed-in, and can only
be reached via the outside lifts.

THE EXPOSED SERVICES OF

THE BUILDING
INNER VIEW

At the heart of the building is a huge atrium,

14 floors and 76 meters (249 feet) tall.
The total possible underwriting area is
19,000 square metres.
The building's height rises from seven
storeys on the south elevation through a
series of terraces to its full height on the
north side.
SECTION THROUGH THE
BUILDING

33,510 cubic metres of concrete were

used in the building's construction, as
were 12,000 square metres of glass,
30,000 square metres of stainless steel
cladding, 5,000 square metres of
anodised aluminium frame and 2,000
square metres of painted steel.
ELEVATION

MILLENIUM DOME,LONDON
ARCHITECT - RICHARD ROGERS
LOCATION - Drawdock Road /
Millennium Way Greenwich
Peninsula
London
BULIDING TYPE - Exhibition space
STRUCTURAL SYSTEM - Steel &
tensioned fabric
COMPLETED - 1999
STYLE - HIGH-TECH MODREN

The Millennium Dome, is referred

to simply as The Dome, is the
large dome-shaped building,
originally used to house
the Millennium Experience, a major
exhibition celebrating the beginning
of the third millennium. Located on
the Greenwich Peninsula in South
East London , England.

MILLENIUM DOME

FEATURES
The dome is the largest of its
type in the world. Externally, it
appears as a large
white marquee with twelve
100 m-high yellow support
towers, one for each month of
the year, or each hour of the
clock face, representing the
role played by Greenwich
FLOOR PLAN
Mean Time.
In plan view it is circular, 365 m in diameter one metre
for each day of the year with scalloped edges. It has
become one of the United Kingdom's most recognisable
landmarks.
The entire roof structure weighs less than the air contained
within the building. Although referred to as a dome it is
not strictly one as it is not self-supporting, but is a mastsupported, dome-shaped cable network. For this reason, it
has been disparagingly referred to as the Millennium Tent.

INTERIOR FEATURES

SECTION OF THE BUILDING

The Dome is suspended from a series

of twelve 100m steel masts, held in
place by more than 70km of highstrength steel cable which in turn
support the Teflon-coated glass fibre
roof.
The interior space was subdivided into
14 zones (with the lead designers of the
zones):
More than 6 million people visited the
attraction during 2000. The Dome has
now become the home of the O2 arena,
one of the UK's most popular music
venues.

The canopy is made of PTFEcoated glass fibre fabric, a

durable and weather-resistant
plastic, and is 52 m high in the
middle - one metre for each
week of the year. Its
symmetry is interrupted by a
hole through which a
ventilation shaft from
the Blackwall Tunnel rises.

SECTION OF THE BUILDING

88 WOOD STREET,LONDON
Location:-London, England
Date:-1993 to 2001 timeline
Building Type:-commercial office towers
Construction System:-concrete frame with
steel bracing, glass curtain wall
Climate:-temperate
Context:-urban
Style:- High-Tech Modern

CREATORS WORD
"Buildings are not idiosyncratic private institutions: they give
public performances both to the user and the passerby. Thus the
architect's responsibility must go beyond the client's program
and into the broader public realm. Though the client's program
offers the architect a point of departure, it must be questioned,
as the architectural solution lies in the complex and often
contradictory interpretation of the needs of the individual, the
institution, the place and history."

FEATURES:88 Wood Street is an iconic high rise landmark

office building designed by the world renowned
Richard Rogers Partnership.
One of four buildings designed by the architects
in the City of London, it cuts a striking image on
the London skyline.
Four pipe fan coil air conditioning
Enhanced raised floors (190mm)
Floor to ceiling height (2.75m)
Metal tiled suspended ceilings
Eight 16-person high-speed, scenic
passenger lifts (4 of these serve level 15)
One 2,000 kg goods lifts

FLOOR PLAN

The available tower floor has panoramic views across Central London with the
stunning backdrop of the City.
The floor space offers occupiers a unique position in the heart of London's
Financial District.
Looking South, the dome of St Paul's Cathedral dominates the view as the
River Thames meanders towards the West.

The building comprises three parallel blocks uninterrupted by

plant which is sited in the basement.
At 4 metres (13 feet) by 3 metres (9.8 feet) and weighing in at
800 kg (1,760 lbs) each, the floor-to-ceiling height triple-glazed,
laminated glazing units are some of the world's largest and
contain internal blinds adjusted by photoelectric cells which
automatically adjust to suit the climate.

INTRODUCTION:Sir Nicholas Grimshaw, (born 9 October 1939) is a

prominent English architect particularly noted for
several modernist buildings, including London's Water
Loo International Project and the Eden
Project in Cornwall. In late 2004, He was elected
President of the Royal Academy
Born in Hove, East Sussex, Grimshaw inherited an
interest in engineering .He is also reputed to have
displayed an early interest in construction; his
boyhood interests included Meccano building tree
houses and boats.

EARLY LIFE AND EDUCATION OF ROGER:He was educated at Wellington College. From 1959 to 1962, he
studied at the Edinburgh College of Architecture before winning a
scholarship to attend the Architectural Association in London,
where he won further scholarships to travel to Sweden in 1963 and
the United States in 1964. He graduated from the AA in 1965 with
an honours diploma, and having entered into a partnership with
Terry Farrell, he joined the Royal Institute of Architects two years
later in 1967.

HIS FAMOUS WORKS:125 Park Road, London (1970)

BMW (UK) headquarters, Bracknell (1980)
Oxford Ice Rink, Oxford (1984)
Financial Times Printworks, Blackwall, London (1988)
Rank Xerox Research Centre, Welwyn Garden City (1988)
Sainsbury's Supermarket, Camden Town, London (1988)
Stockbridge Leisure Centre, Liverpool (1988)
British Pavilion Expo '92, Seville, Spain (1992)
International Terminal at Londons Waterloo Station (1993)
British Airways Combined Centre Of Operations ('The Compass
Centre'), Heathrow Airport (1993)
Western Morning News Headquarters and Printworks, Plymouth (1993)
RAC Regional Headquarters, Bristol (1994)
Pier 4A, Heathrow Airport, (1994)
Berlin Stock Exchange, Berlin, Germany (1997)
Lord's Cricket Ground Grandstand, London (1998)
Terminal 3, Heathrow Airport (1998)
North Woolwich pumping station, London Docklands (1998)
Bilbao Bus Station, Bilbao, Spain (1999)
Eden Project, Cornwall, (2001)

LORDS CRICKET GROUND

ARCHITECT - Nicholas grimshaw
LOCATION - St john's wood, london
ESTABLISHED - 1814
STYLE - High-tech modren
Lord's Cricket Ground (generally
known as Lord's) is a cricket
venue in St John's Wood, London.
Lord's is widely referred to as the
"home of cricket" and is home to the
world's oldest sporting museum.
Lord's today is not on its original site,
being the third of three grounds that
Lord established between 1787 and
1814. His first ground, now referred to
as Lord's Old Ground, His second
ground, Lord's Middle Ground, was
used from 1811 to 1813 The present
Lord's ground is about 250 yards
(230 m) north-west of the site of the
Middle Ground.

The ground can currently hold

up to 32,000 spectators. The two
ends of the pitch are the Pavilion
End (south-west), where the
main members' Pavilion is
located, and the Nursery End
(north-east), dominated by the
Media Centre.
The Pavilion also contains
the dressing rooms where players
change, each of which has a small
balcony for players to watch the
play. In each of the two main
dressing rooms are honours boards
which commemorate all the
centuries scored in Test matches on
the Lords ground and all instances
of a bowler's taking five wickets in a
Test innings and ten wickets in a
Test match.

TOP VIEW

The Pavilion also contains the dressing rooms where players change, each
of which has a small balcony for players to watch the play. In each of the
two main dressing rooms are honours boards which commemorate all the
centuries scored in Test matches on the Lords ground and all instances of
a bowler's taking five wickets in a Test innings and ten wickets in a Test
match.

The Media Centre was

commissioned in time for
the 1999 Cricket World
Cup and was the first all
aluminium, semi-monocoque
building in the world. It was
built and fitted-out in two
boatyards and uses boatbuilding technology. The
centre stands 15 metres
(49 ft) above the ground and
its sole support comes from
the structure around its two
lift shafts it is
approximately the same
height as the Pavilion directly
opposite it on the other side
of the ground. The lower tier
of the centre provides
accommodation for over 100
journalists and the top tier
has radio and television
commentary boxes.

Another highly visible feature of the

ground is Old Father Time,
a weather vane in the shape
of Father Time, currently adorning a
stand on the south-east side of the
field
The Lord's Taverners, a charitable
group comprising cricketers and
cricket-lovers, take their name from
the old Tavern pub at Lord's, where
the organisation's founders used to
congregate. The pub no longer exists,
and the Tavern Stand now stands on
its former site.
One of the features of the ground is the
pair of ornamental gates, named in
honour of W G Grace. In 1923, the W G
Grace Memorial Gates were erected at
the St John's Wood Road entrance to the
ground.
ENTRANCE GATE

NATIONAL SPACE CENTRE

The National Space Centre is one of
the United Kingdom's leading visitor
attraction that is devoted to space science
and astronomy. It is located in the city of
Leciester, England, next to the River
Soar on the A6
The building was designed by Nicholas
Grimshaw, and it opened to the public on 30
June 2001. The tower is 42 metres tall.

CREATORS WORD
"The Space Centre is a building entirely driven by
science, emerging as an idea from the space
scientists at Leicester University. It is one of the
new generation of interactive science centres,
concerned not only with rockets and satellites and
space travel, but more widely with our whole
place in the cosmos".

CONSTRUCTION PROGRESS:The site in the Abbey Meadows area, a 14.5 acre brownfield on Exploration
Drive, previously housed the Abbey Tanks, a sewage treatment works, and
was donated to the Space Centre project by Severn Trent Water. A council
tip was also formerly operational on part of the Space Centre site. This was
relocated before construction works commenced, and the Space Centre
leases that section of land from Leicester City Council. In the summer of
1999 the existing road leading to the site, Corporation Road, was widened,
and a completely new road, Exploration Drive, built and opened.
That first phase of works involved a total of about 250 people working on
the site. Around 20,000 cubic meters of "muck" was removed from the
tanks, with 15,000 cubic meters going back in as part of the stabilizing
process. The rest was retained for use later in the project - mainly for
landscaping purposes. In total, around 5,500 cubic meters of concrete has
been poured into the site.

SALIENT FEATURES:The main body of the Space Centre Building, a

perforated stainless steel box, is built partially
below ground level within the walls of the old
storm water tanks. Below the domed roof is a
planetarium and a space research center. The
entrance to the Space Centre is reached from a
courtyard, where the Challenger Learning Centre
building is located.
The 140 foot high Rocket Tower, the main
feature, dominates the local skyline. The semitransparent tower, clad with high-tech ETFE
"pillows" manufactured by specialist suppliers
Skyspan International, was designed to house
the attraction's largest artifacts, including two
huge rockets.
Several "decks", connected by a series of
staircases, are placed at various heights in the
tower. To allow easier access during
replenishment of large exhibits the side of the
tower can be partly detached.

INTERIOR SPACES:An interior shot of the National Space Centre that

is situated in Leicester, England. This particular
part of the space centre houses two rockets, both of
which have been used and were shipped to
England to be exhibited here in the 42 metre high
tower especially built to accommodate them.
The rocket on the right is America's PGM-17 Thor
Able rocket, and the one on the left is Britain's
Blue Streak.

EXHIBITION SPACE

EXHIBITION SPACE:There is a exhibition space

also in National Space
Centre for Displaying
Various Equipments Made
at this centre

EXHIBITION SPACE

WATERLOO INTERNATIONAL TERMINAL,LONDON

Designed by theNicholas Grimshaw and Partners
1993
Best known for its 400-meter-long curved glass
roof, Grimshaw's International Terminal at
Waterloo Station provides airport-quality
accommodation for the London end of the
Eurostar trains services through the Channel
Tunnel to Paris and Brussels.
The length of the trains and the curve of the five
new tracks dedicated to the Eurostar service at the
side of the existing station determined the
geometry of the new building, including the
distinctive roof.

SALIENT FEATURES:-

The elements of the building

include a reinforced concrete
box to accommodate an
underground car park and
provide a foundation over the
Underground train lines, and a
two-story viaduct supporting the
Eurostar platforms, which are
reached by escalator from a
subterranean 'departure lounge'.
The roof accounted for 10
percent of the overall budget.
Waterloo international terminal is
situated at london uk designed by
AR.Nicholas grimshaw and
partnerswith yrm hunt associates.
The psan of the terminal is 48.5
M(158 ft.) The structure of the roof
is in glass and steel frames which are
supported inverted
FLOOR PLAN

CURVED GLASS ROOF

SECTION THROUGH THE BUILDING

In contrast to more recent

complex curved glass roofs, such
as Grimshaw's own Eden
Project or Norman Foster's British
Museum courtyard, the Waterloo
roof was designed to use standardsize glass sheets, which overlap
and use a concertina joint to
accommodate the dual curve of
the roof-arch and the track.

EXTERIOR VIEW FROM THE ROAD ACCESS

SIDE OF THE BUILDING.

INTRODUCTION:Born:-

April 26, 1917 (age 94)

Canton (Guangzhou), China
Nationality:- American
Alma mater :- Massachusetts Institute of
Technology
Ieoh Ming Pei (born April 26, 1917), commonly known as I. M.
Pei, is an Chinese architect, often called a master of modern
architect Born in Canton,China and raised in Hong Kong
and Shanghai, Pei drew inspiration at an early age from the
gardens at Suzhou. In 1935 he moved to the United States and
enrolled in the University of Pennsylvania's architecture school,
but quickly transferred to the M.I.T. He was unhappy with the
focus at both schools on Beaux Arts School, and spent his free
time researching the emerging architects, especially Le Corbusier.

I.M .PIE

EARLY LIFE AND CARRER OF PIE:As Pei neared the end of his secondary education, he decided to study at an overseas
university. He was accepted to a number of schools, but decided to enroll at the .Pei's
choice had two roots. While studying in Shanghai, he had closely examined the
catalogs for various institutions of higher learning around the world. The architectural
program at the University of Pennsylvania stood out to him.

AWARDS:Royal Gold Medal

AIA Gold Medal
Presidential Medal of Freedom
Pritzker Award

STYLE:Pei's style is described as thoroughly modernist, with

significant cubist themes.He is known for combining
traditional architectural elements with progressive
designs based on simple geometric patterns. As one
critic writes: "Pei has been aptly described as
combining a classical sense of form with a
contemporary mastery of method.

FAMOUS BUILDING:John K Kennedy Library

National Gallery of Art
Louvre Pyramid, Paris
Bank of China Tower, Hong Kong
Museum of Islamic art,Doha

LOUVRE PYRAMID
Architect: I.M.Pei
Location: Paris
Date: Completed In 1989
Building Type: Museum
Construction System: Steel Frame, Glass
Curtain Walls.
The louvre pyramid is a large glass and metal pyramid, surrounded by three
smaller pyramids.
The large pyramid serves as the main entrance to the Louvre museum has
become the landmark in the city Paris.
The structure, which was constructed entirely with glass segments, reaches a
height of 20.6 metres (about 70 feet); its square base has sides of 35 metres
(115 ft). It consists of 603 rhombus-shaped and 70 triangular glass
segments.

The main pyramid is actually the largest of several glass

pyramids that were constructed near the museum,
including the downward-pointing la pyramide
inverse that functions as a skylight in an underground
mall in front of the museum.
For design historian Mark Pimlott, "I.M. Peis plan distributes
people effectively from the central concourse to myriad
destinations within its vast subterranean network...
international airports."
FLOOR PLAN

ELEVATION

MATERIALS

SECTION

The architectonic framework evokes, at

gigantic scale, an ancient atrium of a
Pompeiian villa; the treatment of the
opening above, with its tracery of
engineered castings and cables, evokes the
atria of corporate office buildings; the
busy movement of people from all
directions suggests the concourses of rail
termini.
The Entry Lobby Of The Louvre
Museum Beneath The Pyramid.
The main pyramid is actually the largest
of several glass pyramids that were
constructed near the museum, including
the downward-pointing that functions as
a skylight in an underground mall in
front of the museum. During the design
phase, there was a proposal that the
design include a spire on the pyramid to
simplify window washing. This proposal
was eliminated because of objections
from I. M. Pei

View Of The Louvre Museum From

The Underground Lobby Of The
Pyramid.

JOHNSON MUSEUM OF ART

Established :-1973
Location :-Central & University Avenues,
Ithaca, New York
Visitor figures :-80,000
Director :-Franklin W. Robinson
Architect:- I.M. Pei
The Herbert F. Johnson Museum of Art ("The
Johnson Museum") is an art museum located on
the northwest corner of the Arts Quad on the
main campus of Cornell University in Ithaca, New
York. It is most well known for its
distinctive concrete facade, its collection which
includes two windows from Frank Llyod's Wright
and Darwin D Martin House, and more than
32,000 other works. The Museum hosts over
80,000 visitors every year and presents over 20
special exhibitions annually.
President Deane Waldo established the original University Art Museum in 1953.
The A.D. White House was renovated to house Cornell's art collections. The
current museum, constructed in 1973, is named after its primary
benefactor, Herbert Johnson

FEATURES:The Johnson Museum of Art was designed by

architect I.M. Pei. It can be characterized by its
fifth floor, which cantilevers over the open aired
sculpture garden. It was designed so that it would
not block the view of Cayuga Lake, and offers a
panoramic view of the same from its north and
west sides. It also houses a room for meetings on
the sixth floor, which was used for many years by
Cornell's Board of Trustees
GROUND FLOOR PLAN The unique location of the
museum presented several
architectural challenges;
building space was limited,
and it could not overwhelm
the view of Cayuga Lake or
the nearby Arts Quad.
Moreover, it would sit atop
the knoll where tradition
said Ezra Cornell chose the
site for his university, at the
north end of the Stone Row
of McGraw, Morrill, and
SECOND FLOOR PLAN
White Halls.
SIXTH FLOOR PLAN

The design sought to visually terminate the north end of Library Slope. The
resulting design was a narrow tower and a bridge, which critics have likened to a
giant sewing machine.
One element of the original design, which was never constructed, was an
underground Asian art gallery which would have included windows breaching
the Southern face of Fall Creek Gorge.
The building was awarded the American Institute of Architects Honor Award in
1975. The building's design also appeared on the cover of Scientific Americanas
an early example of computer graphics.

ELEVATION

JOHN HANCOCK TOWER

.

Type :-office
Location :-200 clarendon street, boston,
massachusetts, united states
Construction started :-1968
Completed :-1976
Height roof :-790 ft (240.8 m)
Floor count :-60
Owner :-boston properties
Architect :-i.M. Pei & partners
Developer :-john hancock mutual life insurance
company
The John Hancock Tower, officially named Hancock Place and colloquially known
as The Hancock, is a 60-story, 790-foot (241 m) skyscraper in Boston. The tower was
designed by Henry N. Cobb of the firm I. M. Pei & Partners (now known as Pei Cobb
Freed & Partners) and was completed in 1976. In 1977, the American Institute of
Architects presented the firm with a National Honor Award for the building and in
2011 conferred on it the AIA Twenty-five Year Award. It has been the tallest building
in Boston for more than 30 years, and is the tallest building in New England.

DESIGN FEATURES:Tall, skinny glass structures were a goal of

modernist architecture since Mies Van Der
Rohe proposed a glass skyscraper for Berlin.Such
buildings as Gordon Bunshaft's Lever House and
Mies's Seagram Building in New York City,
and Frank Lloyd Wright's Johnson Wax
Headquarters attempted this goal, but many of
these designs retained structural artifacts that
prevented a consistent, monolithic look.
In 1972, Cobb's design of the Hancock Tower took
the glass monolith skyscraper concept to new
heights. The tower is an achievement in
minimalist, modernist skyscraper design.

SITE PLAN

Minimalism was the design principle behind the tower. The

largest panes of glass possible were used. There are
no spandrel panels, and the mullions are minimal. Cobb added
a geometric modernist twist by using a parallelogram shape for
the tower floor plan. From the most common views, this design
makes the corners of the tower appear very sharp. The highly
reflective window glass is tinted slightly blue, which results in
the tower having only a slight contrast with the sky on a clear
day. As a final modernist touch, the short sides of the
parallelogram are marked with a deep vertical notch, breaking
up the tower's mass and emphasizing its verticality. In late
evening, the vertical notch to the northwest catches the last
light of the sky, while the larger portions of glass reflect the
darkening.

PROBLEM WITH THE BUILDING :FOUNDATION:Hancock Tower was plagued with problems before construction started. During
the excavation of the tower's foundation, temporary steel retaining walls were
erected to create a void on which to build. The walls warped, giving way to the
clay and mud fill of the Back Bay which they were supposed to hold back. The
inward bend of the retaining walls damaged utility lines, the sidewalk pavement,
and nearby buildingsincluding the historic Trinity Church across the street.
Hancock ultimately paid for all the repairs.

FALLING GLASS PANES:Inventing a way to use the blue mirror glass in a steel tower came at a high
price. The building's most dangerous and conspicuous flaw was faulty glass
windows. Entire 4' x 11', 500-lb (1.2 x 3.4 m, 227 kg) windowpanes detached
from the building and crashed to the sidewalk hundreds of feet below. Police
had to close off surrounding streets whenever winds reached 45 mph (72 km/h).

NAUSEATING SWAY :The building's upper-floor occupants suffered from motion sickness when
the building swayed in the wind. To stabilize the movement, contractors
installed a device called a tuned mass damper on the 58th floor.[6] As
described by Robert Campbell, architecture critic for the Boston Globe:
Two 300-ton weights sit at opposite ends of the 58th floor of the Hancock.
Each weight is a box of steel, filled with lead, 17 feet (5.2 m) square by 3
feet (0.9 m) high. Each weight rests on a steel plate. The plate is covered
with lubricant so the weight is free to slide. But the weight is attached to
the steel frame of the building by means of springs and shock absorbers.
When the Hancock sways, the weight tends to remain still, allowing the
floor to slide underneath it.

CLOSURE OF THE OBSERVATION DECK:An observation deck with spectacular views of Boston was a popular attraction.
However, it was closed after the September 11, 2001, terrorist attacks.Because of
the closure of the John Hancock Tower's observation deck, the highest observation
deck open to the public in Boston is in the Prudential Tower.
The building's owners cite security as the reason for the continued closure. They
have rented the deck for private functions and have expressed intent to replace it
with more office space. Boston city officials contend that security concerns are
moot, since most similar attractions have long since reopened

CONCLUSIONS:High-tech architecture was, in some ways, a response to growing

disillusionment with modern architecture.
High-tech architecture created a new aesthetic in contrast with standard
modern architecture.
The term "high-tech" explained as one being used in architectural circles
to describe an increasing number of residences and public buildings with a
"nuts-and-bolts, exposed-pipes, technological look". This highlights one of
the aims of high-tech architecture, to boast the technical elements of the
building by externalizing them. Thus, the technical aspects create the
building's aesthetic.
Structures have accentuated technical elements. They included the
prominent display of the building's technical and functional components,
and an orderly arrangement and use of pre-fabricated elements.
Glass walls and steel frames were also immensely popular.
The high-tech buildings make persistent use of glass curtain walls and
steel structure moreover this style usually consist of a clear glass faade. It is
greatly indebted to modern architecture.

THANK YOU