PHILIP CORTELYOU

JOHNSON
(1906-2005)

ALL ARCHITECTS WANT TO

LIVE BEYOND THEIR DEATHS
THE PHILOSOPHER ARCHITECT
CHARACTERISTICS PHILOSOPHY
BORN: PHILIP CORTELYOU JOHNSON 1. EMPHASIS ON ACCORDING TO PHILIP JOHNSON
JULY 8, 1906 ARCHITECTURAL CRUTCHES BY WHICH ARCHITECTS
CLEVELAND, OHIO, U.S. VOLUME OVER MASS EVADE THEIR REAL RESPONSIBILITIES ARE-
DIED: JANUARY 25, 2005 (AGED 98) (PLANES OVER 1.HISTORY - I.E. JUSTIFYING ELEMENTS
NEW CANAAN, CONNECTICUT, U.S. SOLIDITY). WHICH ARE EARLIER USED.
2. REJECTION OF 2.UTILITY - I.E. IF UTILITY OF A BUILDING
NATIONALITY: AMERICAN
SYMMETRY. OVERCOMES ARTISTIC INVENTIONS ,THEN
ALMA MATER: HARVARD GRADUATE SCHOOL OF DESIGN 3. REJECTION OF APPLIED IT IS MERELY AN ASSEMBLAGE OF USEFUL
AWARDS: PRITZKER PRIZE (1979) DECORATION. PARTS.
AIA GOLD MEDAL (1978)
AS AN ARCHITECT, JOHNSON PLAYED A PIVOTAL ROLE IN THREE
ALL ARCHITECTURE IS SHELTER, ALL GREAT ARCHITECTURE IS THE DESIGN INTERNATIONAL MOVEMENTS: MODERNISM, POSTMODERNISM, AND
OF SPACE THAT CONTAINS, CUDDLES, EXALTS, OR STIMULATES THE DECONSTRUCTIVISM.
IF THERE IS ANY SINGLE CHARACTERISTIC THAT DEFINES THE
PERSONS IN THAT SPACE.
ARCHITECTURAL VOCABULARY OF JOHNSONS WORK, IT IS THE VOID.
I AFTER GRADUATING FROM HIGH SCHOOL HE ATTENDED HARVARD COLLEGE, WHERE HE VACANT SPACES APPEAR WITH REGULARITY AT THE HEARTS OF HIS TIME MAGAZINE FEATURED
STUDIED CLASSICS. BUILDINGS, REGARDLESS OF PROGRAMME: PRIVATE RESIDENCE, PHILIP JOHNSON IN A COVER
N AT THE AGE OF 26 HE BECAME THE DIRECTOR OF THE MUSEUM OF MODERN ART OFFICE TOWER, PUBLIC INSTITUTION STORY ON AMERICAN
T ARCHITECTURE DEPARTMENT. JOHNSON WAS GAY, AND HE LIVED WITH HIS LIFE PARTNER OF 45 ARCHITECTURE IN 1979.
JOHNSON INTERRUPTED HIS EDUCATION WITH SEVERAL EXTENDED TRIPS TO EUROPE. YEARS, DAVID WHITNEY ,WHO DIED LATER THAT YEAR AT AGE 66.
R THESE TRIPS BECAME THE PIVOTAL MOMENT OF HIS EDUCATION, WHICH AROUSE GREAT JOHNSON DIED IN HIS SLEEP WHILE AT THE GLASS HOUSE RETREAT.
O INTEREST IN HIM TOWARDS ARCHITECTURE.
BEFORE RETURNING TO HARVARD IN 1940 TO EARN AN ARCHITECTURE DEGREE, JOHNSON ARCHITECTURAL STYLE
D SPENT SIX YEARS AS A POLITICAL RADICAL WORKING FOR THE RIGHT-WING THOUGH HE BEGAN IN THE STARK STYLE OF MIES VAN DER ROHES
PUBLICATION SOCIAL JUSTICE AND CO-FOUNDING THE YOUNG NATIONALISTS MOVEMENT. WORK, BY THE 1960S HE HAD TURNED TO A MORE INDIVIDUAL STYLE
U BEFORE DESIGNING HIS FIRST BUILDING AT THE AGE OF 36, JOHNSON HAD BEEN CLIENT, THAT INCORPORATED HISTORICAL ELEMENTS.
C CRITIC, AUTHOR, HISTORIAN, MUSEUM DIRECTOR, BUT NOT AN ARCHITECT. HIS GREATEST INFLUENCE AS AN ARCHITECT WAS HIS USE OF GLASS.
HIS FIRST PRACTICAL ARCHITECTURAL WORK IN 1949 WAS A RESIDENCE FOR HIMSELF IN JOHNSON WAS AMONG THE FIRST TO EXPERIMENT WITH ALL-GLASS
T NEW CANAAN, CONNECTICUT FOR HIS MASTER DEGREE THESIS, THE NOW FAMOUS GLASS FACADES, AND BY THE 1980S SUCH BUILDINGS HAD BECOME
HOUSE. INTERVIEW ON FEBRUARY 28,
I COMMONPLACE THE WORLD OVER.
HE MADE A NUMBER OF OTHER HOUSES IN A SIMILAR VANE AND THROUGHOUT THE HE EVENTUALLY REJECTED MUCH OF THE METALLIC APPEARANCE OF 1992, NEW YORK
O 1950S DESIGNED MANY WELL-KNOWN WORKS INCLUDING THE SEAGRAM BUILDING IN EARLIER INTERNATIONAL STYLE BUILDINGS, AND BEGAN DESIGNING
NEW YORK CITY, DONE IN COLLABORATION WITH MIES VAN DER ROHE. WHAT MADE YOU WANT TO
N SPECTACULAR, CRYSTALLINE STRUCTURES UNIFORMLY SHEATHED IN
FROM 1967 TO 1989 JOHNSON COLLABORATED WITH JOHN BURGEE, HIS MOST GLASS. BE AN ARCHITECT?
PRODUCTIVE PERIOD CERTAINLY BY THE MEASURE OF SCALE -- HE BECAME KNOWN AT THIS HE BELIEVES IN "ARCHITECTURE IS BASICALLY THE DESIGN OF PHILIP JOHNSON: I DON'T
TIME AS BUILDER OF ICONIC OFFICE TOWERS. INTERIORS, THE ART OF ORGANIZING INTERIOR SPACE." KNOW. BECAUSE I COULDN'T
SINCE 1989, JOHNSON, SEMI-RETIRED, DEVOTED HIS TIME MAINLY TO PROJECTS OF HIS WITH THE LATER WORK OF THE 1970S AND 1980S, JOHNSON BEGAN TO DO ANYTHING ELSE PROBABLY.
OWN, BUT STILL WAS A CONSULTANT TO JOHN BURGEE ARCHITECTS. MANIPULATE BOTH TEXTURE AND COLOR ON THE EXTERIOR OF HIS I WASN'T VERY GOOD AT
PHILIP JOHNSONS STYLE WAS EVER-CHANGING STYLISTIC ADHERENCES, WHICH PASSED LARGER BUILDINGS. ANYTHING.
FROM MODERNITY TO DECONSTRUCTION THROUGH ABSTRACT CLASSICISM AND
HISTORICIST POSTMODERNITY.
IN 1932, WITH AN EXHIBITION IN THE NEW YORK MOMA, HE INTRODUCED IN THE UNITED EARLY UNSUCCESSES SHOULDNT BOTHER ANYBODY
STATES WHAT HE AND HENRY-RUSSELL HITCHCOCK NAMED INTERNATIONAL STYLE.
BECAUSE IT HAPPENS TO ABSOLUTELY EVERYBODY
TEACHERS SIGNATURE :
MANAS ARORA

1 THEORY OF
ARCHITECTURE
HIMANI GOYAL
3RD YEAR - B
VASTU KALA ACADEMY
 THE ASH STREET HOUSE SEAGRAM BUILDING KUNSTHALLE BIELEFELD 101 CALIFORNIA STREET
CAMBRIDGE, MASSACHUSETTS NEW YORK BIELEFELD, GERMANY SAN FRANCISCO, CALIFORNIA

1942 1946 1956 1963 1968 1975 1979 1986

THE GLASS HOUSE SHELDON MUSEUM OF ART FORT WORTH WATER GARDENS NATIONAL CENTRE FOR THE
NEW CANAAN, CONNECTICUT LINCOLN, NEBRASKA FORT WORTH, TEXAS PERFORMING ARTS (INDIA)

INTERFAITH PEACE CHAPE PHILIP-JOHNSON-HAUS CANADIAN BROADCASTING CENTRE GATE OF EUROPE

DALLAS, TEXAS BERLIN, GERMANY TORONTO, CANADA MADRID, SPAIN

2010 2000 1997 1993 1992 1991 1989 1987

FIRST UNION PLAZA ONE DETROIT CENTER MUSEUM OF TELEVISION AND RADIO COMERICA BANK TOWER
BOCA RATON, FLORIDA DETROIT, MICHIGAN NEW YORK CITY, NEW YORK DALLAS, TEXAS
TEACHERS SIGNATURE :
MANAS ARORA

2 THEORY OF
ARCHITECTURE
HIMANI GOYAL
3RD YEAR - B
VASTU KALA ACADEMY
 GROUND FLOOR PLAN
THE BUILDING IS AN ESSAY IN MINIMAL STRUCTURE,
GEOMETRY, PROPORTION, AND THE EFFECTS OF
FLOOR TO CEILING WINDOWS
TRANSPARENCY AND REFLECTION.
INSPIRED BY MIES VAN DER ROHES FARNSWORTH BATHROOM
HOUSE, THE GLASS HOUSE BY PHILIP JOHNSON, WITH ITS FIRE PLACE
PERFECT PROPORTIONS AND ITS SIMPLICITY, IS
CONSIDERED ONE OF THE FIRST MOST BRILLIANT WORKS BRICK ENCLOSURE
OF MODERN ARCHITECTURE.
THE HOUSE WAS THE FIRST OF FOURTEEN STRUCTURES
BRICK FLOOR
THAT THE ARCHITECT BUILT ON THE PROPERTY OVER A
SPAN OF FIFTY YEARS.
LOCATION: NEW CANAAN, CONNECTICUT THE ONE PRIVATE SPACE IN THE TRANSVERSE SECTION
STRUCTURE - THE BATHROOM -
BUILT: 1949 BRINGS A QUAINT QUALITY TO
ARCHITECTURAL STYLE: MODERN MOVEMENT THE SCHEME AS IT STANDS JUST
BIG ENOUGH FOR ONE PERSON.
GOVERNING BODY: NATIONAL TRUST FOR
HISTORIC PRESERVATION
SIZE: 47.5 ACRES NORTH ELEVATION
THE STRUCTURE MAKES THE USER FEEL AS IF THEY SIT
MATERIALS: GLASS, STEEL, CONCRETE, OUTSIDE AND HAVE NO WALLS SURROUNDING THEM.
BRICK, EARTH, STUCCO DURING THE DAY, THE SCENERY OF THE FOREST COMES
INSIDE, BUT AT NIGHT, THE ARTI CIAL LIGHT EXTRUDES
INTO THE FOREST.
GLASS WALL INTERIORS LONGITUDINAL SECTION
THE CLEAR GLASS PANELS CREATE A SERIES OF LIVELY REFLECTIONS, INCLUDING
STEEL FRAME
THOSE OF THE SURROUNDING TREES, AND PEOPLE WALKING INSIDE OR OUTSIDE
STRUCTURE
OF THE HOUSE, LAYERING THEM ON TOP OF ONE ANOTHER CREATING
CHAIRS DESIGNED EVERCHANGING IMAGES WITH EACH STEP TAKEN AROUND IT.
BY MIES VAN DER THE FLOOR-TO-CEILING HEIGHT IS TEN AND A HALF FEET AND THE BRICK
ROHE CYLINDER STRUCTURE PROTRUDES FROM THE TOP. WEST ELEVATION
THE ONLY OTHER DIVISIONS IN THE HOUSE BESIDES THE BATHROOM ARE
WOODEN BLOCK DISCREETLY DONE WITH LOW CABINETS AND BOOKSHELVES, MAKING THE HOUSE
FLOORING A SINGLE OPEN ROOM.
THIS PROVIDES VENTILATION FROM ALL FOUR SIDES FLOWING THROUGH THE
ADDITIONAL BUILDINGS : HOUSE AS WELL AS AMPLE LIGHTING.

THE GHOST HOUSE THE BRICK HOUSE PAINTING GALLERY DA MONSTA THE POND PAVILION SCULPTURE GALLERY
TEACHERS SIGNATURE :
MANAS ARORA

3 THEORY OF
ARCHITECTURE
HIMANI GOYAL
3RD YEAR - B
VASTU KALA ACADEMY

LOCATION: 310 GENESEE STREET
UTICA, NY 13502
BUILT: 1960
ARCHITECTURAL STYLE: INTERNATIONAL STYLE
EXTERIOR: CLAD IN BRONZE AND
"BLACK CANADIAN GRANITE.
SIZE: LESS THAN ONE ACRE
MATERIALS: GLASS, STONE, CONCRETE
GOVERNING BODY: PRIVATE
I ALSO KNOWN AS THE MUSEUM OF ART, THE
STRUCTURE REPRESENTS A STYLISTIC TURNING
N POINT IN HIS CAREER, MARKING THE END OF
HIS LOYALTY INTERNATIONAL STYLE AND
T
THE BEGINNING OF HIS EXPERIMENTATION
R WITH NEO CLASSICISM.
THE MUSEUM EXEMPLIFIES A TIME WHEN
O JOHNSON WAS FASCINATED BY LUDWIG MIES
D VAN DER ROHE. JOHNSON HAD PREVIOUSLY
CURATED AN EXHIBIT OF MIES WORK AT THE
U MUSEUM OF MODERN ART AND FOUND
HIMSELF WORKING TOGETHER WITH MIES ON
C JOHNSON INTENDED THIS COURTYARD TO BE A GARDEN COURT WITH LARGE
THE SEAGRAM BUILDING AT THE SAME TIME
T HE DESIGNED OF THE MUSEUM OF ART. YET
SHORTLY AFTERWARDS, JOHNSON EXPRESSED
I JOHNSON ALSO INTENDED THAT THE COURTYARD OFFER RESPITE TO THE
HIS DESIRE TO BREAK FREE FROM HIS
O DEDICATION TO MIESIAN VALUES.
THE NEW MUSEUM PROGRAM INCLUDED ART
N GALLERIES AND SPACES FOR FILM SCREENINGS,
MUSICAL PERFORMANCES, ART CLASSES, AND
LECTURES.
INTERNATIONAL
NEO-CLASSICISM
STYLE
4 THEORY OF
THE MWPAI MUSEUM WAS A PARTICULARLY MEANINGFUL PROJECT ONE OF MY BEST PLANS IN FACT, ONE OF
FOR JOHNSON, PROMPTING HIM TO PRODUCE A 1960 MANIFESTO MY BEST BUILDINGS. CLEAR PLAN AND
ON MUSEUM DESIGN. HIS MANIFESTO EMPHASIZED
CHARACTERISTICS THAT WOULD LATER BECOME KEY ELEMENTS OF GOOD MATERIALS
HIS ARCHITECTURAL STYLE: AESTHETIC EXPERIENCE AND LUXURIOUS
USE OF LIGHT AND SPACE.
FLOOR PLANS (L-R: LOWER, MAIN, UPPER)
DESIGN :
THE MUSEUM OF ART STANDS AS A THREE-STORY SYMMETRICAL
STRUCTURE, EMBEDDED INTO A SITE THAT SLOPES DOWN
TOWARDS ITS REAR. THE INTERIOR FINISHESTRAVERTINE
FLOORS AND DARK TEAK WALLSSHOW JOHNSONS PREFERENCE
FOR EXTRAVAGANT, RICH MATERIALS.
IMPORTANCE OF COURTYARD :
MUSEUM HAD A WINDOWLESS PERFECT-SQUARE DESIGN WITH GALLERY
THE EXTERIOR IS VISUALLY STRIKING. A MONOLITHIC CUBIC MASS
ROOMS SITUATED AROUND A CENTRAL ENCLOSED, TWO-STORY COURTYARD.
WRAPPED IN DARK GREY CANADIAN GRANITE FLOATS ABOVE A
CONTINUOUS CURTAIN WALL.
TREES, THEIR ORGANIC FORMS, SOFTENING THE HARD GEOMETRY OF THE
THE UNIQUE STRUCTURAL CONCEPTTWO EXTRUDED BRONZE-CLAD
ARCHITECTURAL BACKGROUND.
FERROCONCRETE PILLARS ATTACHED TO EACH FAADEIS
PARTICULARLY PROMINENT. THE ROOF IS SUPPORTED BY INTERSECTING
MUSEUM VISITOR, WHO WAS OTHERWISE ENGAGED WITH THE CIRCUIT OF
GIRDERS ABOVE, WHICH REST ON THE PILLARS BELOW.
GALLERY ROOMS AROUND THIS SPACE BUT WHO WAS OBLIGED
DEEP BOX PERIODICALLY TO RETURN TO THE COURTYARD IN ORDER TO PROCEED
SKYLIGHT DOUBLE STOREY
COURTYARD FURTHER.
JOHNSON FOCUSED HIS INITIAL DESIGN ON RESOLVING ISSUES OF:
CIRCULATION
PERFORATE
271 SEAT
D PILLAR ON LIGHTING
AUDITORIUM
FACADE ADAPTABILITY
TEACHERS SIGNATURE :
MANAS ARORA
ARCHITECTURE
HIMANI GOYAL
3RD YEAR - B
VASTU KALA ACADEMY
 PLAN:
JOHNSON AND BURGEE DEVELOPED THE
ANGULAR, STAR-SHAPED PLAN TO ENLIVEN
THE MONOLITHIC, MONOCHROMATIC
VOLUME.
THE DESIGN IS A MODIFICATION OF THE
TYPICAL LATIN CROSS PLAN, WITH A
SHORTENED NAVE AND WIDENED TRANSEPT,
TO BRING EACH SEAT CLOSER TO THE
CHANCEL.
FACADE:
THE FACADE IS COMPOSED OF
MORE THAN 10,000 GLASS
ARCHITECT: JOHNSON/BURGEE PANELS AFFIXED TO A FRAME INTERIOR:
GARDEN GROVE, LOS OF STEEL TRUSSES. THE ENTRANCESSIMPLE, RECTANGULAR BREAKS IN THE GLASS SKIN
LOCATION: THE PANES ARE SINGLE- ARE DERIVED FROM FUNCTION RATHER THAN CONTEXT. VISITORS PASS
ANGELES, CALIFORNIA
GLAZED AND HELD IN PLACE BENEATH THE OPAQUE, CONCRETE BALCONIES TO ENTER THE
DATE: 1978 TO 1980
BY STRUCTURAL SILICONE, TRANSLUCENT CENTRAL SPACE.
BUILDING TYPE: CHURCH REDUCING THE VISUAL THE ENTIRE INTERIOR IS VISIBLE BENEATH THE SOARING, 130-FOOT-HIGH
BUILDING USE: RELIGIOUS PROMINENCE OF THE JOINTS. CEILING. THE LATTICE OF WHITE STEEL FORMS A CONTINUOUS
THE SINGLE, GIGANTIC SPACE MEMBRANE OF WALLS AND CEILING, ENCLOSED BY THE TRANSPARENT
CONSTRUCTION SYST GLAZED SPACE FRAME MEASURES 400 FT BY 200FT GLASS BEYOND. AT FIRST GLANCE, THE TRIANGULAR BALCONIES APPEAR
EM: WALLS AND ROOF TO REST WITHIN THE STEEL FRAME, BUT ARE SUPPORTED BY MASSIVE
CLIMATE: MILD DESERT COLUMNS AT EACH VERTEX.
STYLE: INTERNATIONAL STYLE THE AREA OF THE SANCTUARY IS BUILT ROSSO ALICANTE MARBLE,
MINED IN SPAIN, CUT AND POLISHED IN ITALY. THE ALTAR TABLE AND
THE LARGEST GLASS BUILDING PULPIT ARE OF GRANITE, AND THE HIGH CROSS, 5.85M, POLYCHROME
I IN THE WORLD WOOD WITH GOLD LEAF 18 KL.
N THE CRYSTAL CATHEDRAL WAS DESIGNED AS A
T RELIGIOUS THEATER OF SORTS, ACTING AS
BOTH TELEVISION STUDIO AND STAGE TO A
R CONGREGATION OF 3,000. IT WAS
COMMISSIONED BY RENOWNED
O TELEVANGELIST ROBERT SCHULLER AND
D COMPLETED IN 1980 NEAR LOS ANGELES, THE BUILDINGS ENVIRONMENTAL MEDIATION IS ARGUABLY ITS GREATEST
CALIFORNIA. PHILIP JOHNSON AND JOHN
U BURGEE DEVISED THE GLASS ENCLOSURE IN ARCHITECTURAL FEAT.
THE MIRRORED GLASS TRANSMITS ONLY 8% LIGHT AND 10% TOTAL SOLAR
C RESPONSE TO SCHULLERS REQUEST THAT THE ENERGY INTO THE SPACE. THIS ALLOWS FOR AN ENTIRELY PASSIVE
CHURCH BE OPEN TO THE "SKY AND THE
VENTILATION SYSTEM, ASIDE FROM THE MECHANICAL CONTROLS USED TO
T SURROUNDING WORLD. OPERATE THE WINDOWS. WHILE CLOSED, THE OPERABLE WINDOWS ARE
I THE BREATHTAKINGLY BEAUTIFUL CRYSTAL
CATHEDRAL STRUCTURE COMBINES BOTH THE
INDISTINGUISHABLE FROM FIXED PANES, PRESERVING THE CONTINUITY OF THE STEEL TOWER WAS ALSO PHILIP JOHNSON DESIGNED A
THE GLASS FACADE. OPENED, THEY PROJECT LIKE GLASS GILLS FROM THE DESIGNED BY JOHNSON AND CARILLON WITH 52 BELLS NAMED
O INTIMACY AND FORM OF MUCH OTHERWISE SMOOTH SURFACE. COMPLETED IN 1990. IT ISERVES AS ARVELLA SCHULLER, IN HONOR OF
CONTEMPORARY ARCHITECTURE WITH THE
N GRANDEUR AND MAGNIFICENCE OF MEDIEVAL "That is all glass!" A VERTICAL COUNTERPART TO THE THE PASTOR'S WIFE.
CATHEDRALS. "An independent building without setting" CATHEDRAL.
TEACHERS SIGNATURE :
MANAS ARORA

5 THEORY OF
ARCHITECTURE
HIMANI GOYAL
3RD YEAR - B
VASTU KALA ACADEMY
 STRUCTURE:
THE AT&T HEADQUARTERS (PPEARS TO BE A SLEEK SKYSCRAPER
IN THE INTERNATIONAL STYLE.
OTHER MODERNIST BUILDINGS OF THE ERA HAD A DECENT
SIZE ENTRANCE ARCH,AND A FLAT TOP. THE AT&T BUILDING ON
THE OTHER HAND HAD AN 80-FOOT ENTRANCE.
SINCE IT WAS WAY TO LOFTY FOR THE BUILDING TO SUPPORT,
IT WAS SUSTAINED IN PLACE BY A BRIDGE CONNECTING THE
TWO HALVES OF THE BUILDING.
INSIDE THE ENTRANCE STANDS A 65-FOOT TALL LOBBY THAT
HAS BEAUTIFUL BLACK AND WHITE MARBLES.
THE STRUCTURE OF THE BUILDING IS ACTUALLY INHERENTLY THIN STRIPS OF MASONRY THAT MAKE UP THE ENTRANCE INCLUDES A MASSIVE
MODERN, BUILT USING A CONVENTIONAL STEEL FRAMING THE CENTER RESEMBLES THE FLUTING OF ROUND ARCH, SIMILAR TO A
SYSTEM INSET BEHIND THE FACADE. COLUMNS ROMANESQUE PORTAL.

NOW KNOWN AS: SONY BUILDING FACADE:

LOCATION: 550 MADISON AVENUE, NEW YORK, NY THE SUPPRESSED AND DEFINED AREAS AROUND THE
ARCHITECT: PHILIP JOHNSON WITH PARTNER WINDOW OPENINGS GIVE THE BUILDING A DEEPER DETAIL.
JOHN BURGEE THE MID- SECTION FLOORS, CONTAINING SMALL WINDOWS,
YEAR BUILT: 1984 HAVE RECEIVED DISAPPROVAL FROM CRITICS AS NOT BEING
HEIGHT: 197 METERS / 647 FEET DETAILED ENOUGH. THESE FLOORS STARTED FROM 7TH AND
STORIES: 37 ESCALATED UNTIL THE 25TH FLOOR.
BUILDING USES - MIXED USE THE FACADE HAS STONE CLADDING RATHER THAN A GLASS AND
- OFFICE STEEL SKIN. THE BUILDING IS CLAD IN GRAY/PINK GRANITE.
- PARKING GARAGE WITH ONLY 30 PERCENT OF THE SURFACE GLAZED.
- RESIDENTIAL IT HAS NINE STRIPS OF VERTICAL FENESTRATION THE TOP SLOPES DOWN LIKE A PEDIMENT, COLUMNS DROP DOWN FROM
- RETAIL INCLUDING A SPACE IN THE MIDDLE MASSING INTO ENTRANCE PORTICO
STRUCTURAL TYPES - HIGH-RISE THE COVERED GALLERIA AT THE KNOWN AS AN ORBICULUM (SIMILAR TO
- ATRIUM REAR OF THE TOWER THE LOOK OF 18TH CENTURY DRESSERS)
ARCHITECTURAL STYLE - POSTMODERN
MATERIALS -MASONRY
- GLASS CONTROVERSY
- STEEL IT BECAME IMMEDIATELY
- GRANITE CONTROVERSIAL FOR ITS
ORNAMENTAL TOP (SOMETIMES
INSTEAD OF A BUILDING BEING MADE OF SLEEK MOCKED AS "CHIPPENDALE", BUT
GLASS AND METAL, THIS BUILDING IS ENJOYED FOR ITS SPECTACULAR
PREDOMINANTLY MASONRY (ONLY 30% OF ARCHED ENTRANCEWAY,
THE OUTSIDE IS GLASS) AND REVIVES A MEASURING ABOUT SEVEN
CLASSICAL ARCHITECTURAL VOCABULARY. STORIES IN HEIGHT.
JOHNSON & HIS ASSOCIATES DIVIDED THE THE INTERIOR LOBBY THE INTERIORS OF BUILDING
WITH THESE ORNAMENTAL
BUILDING INTO THREE PARTS, REMINISCENT OF SONY
ADDITIONS, THE BUILDING DOUBLE CODING
THE THREE ELEVATIONS OF A GREEK TEMPLE BUILDING
CHALLENGED ARCHITECTURAL THE BUILDING IS A TALL SKYSCRAPER WHICH BRINGS WITH IT CONNOTATIONS OF
1. BASE, MODERNISM'S DEMAND FOR VERY MODERN TECHNOLOGY.
2. COLUMN SONY SONY TECHNO. STARK FUNCTIONALISM AND WHILE THE TOP SECTION CONVEYS ELEMENTS OF CLASSICAL ANTIQUITY. THIS DOUBLE
3. PEDIMENT HEADQUARTER LAB PURELY EFFICIENT DESIGN. CODING IS A PREVALENT TRAIT OF POSTMODERNISM.

TEACHERS SIGNATURE :
MANAS ARORA

6 THEORY OF
ARCHITECTURE
HIMANI GOYAL
3RD YEAR - B
VASTU KALA ACADEMY

ARCHITECT: JOHNSON/BURGEE
INTERCAMBIADOR PZA. DE
LOCATION: CASTILLA, 28046 MADRID,
SPAIN
DATE: 1996
BUILDING TYPE: OFFICE
MATERIAL GLASS STEEL CONCRETE
STYLE: POST MODERNISM
I THE TWIN OFFICE TOWERS KNOWN AS
PUERTA DE EUROPA I AND II LOCATED IN
N MADRID, SPAIN DEFY THE TYPICAL
T CONVENTIONS OF SKYSCRAPER
CONSTRUCTION. THESE STRUCTURAL
R EXPRESSIONISTIC TOWERS STRADDLE ONE
OF MADRIDS MOST IMPORTANT
O BOULEVARDS THE PASEO DE LA
D CASTELLANA.
HOWEVER, IN ORDER FOR CONSTRUCTION TO
U BE FEASIBLE, A SIGNIFICANT SETBACK FROM
C THE STREET WAS REQUIRED IN ORDER TO
CLEAR A SUBWAY INTERCHANGE.
T WHAT ONE ARCHITECT MAY SEE AS AN
OBSTACLE, JOHNSON AND BURGEE SAW AS
I
AN OPPORTUNITY TO EXPLORE AN
O UNCONVENTIONAL AVENUE OF
ARCHITECTURE IN ORDER TO REALIZE A
N PROPER SOLUTION. THUS, WITH THE
REMAINING PLOT OF LAND THEY DESIGNED
THE WORLDS FIRST INCLINED SKYSCRAPERS,
WITH STRUCTURAL ENGINEERING CARRIED
OUT BY LESLIE E. ROBERTSON ASSOCIATES.
7 THEORY OF
DESIGN: "We must end the right angle if we do not want to die of boredom. The
PHILIP JOHNSON AND JOHN BURGEE skyscraper is over; we can forget it."
DECIDED TO BREAK THE MOLD OF THE
VERTICAL LINEARITY, RESULTING IN A
DIFFERENT BUILDING THAN ANY OTHER.
THESE TWO ICONIC SKYSCRAPERS STILL
BRAVELY DEFYING THE LAWS OF GRAVITY,
AND CERTAINLY HAVE SERVED AS
INSPIRATION FOR THE MANY TOWERS
INCLINED IN THE NEXT DECADE.
WITH A HEIGHT OF 114 METERS AND A SLOPE
OF 15 DEGREES, THESE TOWERS 30 METERS
EXTENDING FROM ITS BASE ON THE PASEO DE
IN ADDITION, THE HORIZONTAL AND VERTICAL STRUCTURAL STEEL ELEMENTS SERVE TO STRENGTHEN AND
LA CASTELLANA.
PROVIDE THE NECESSARY LATERAL STABILITY. USUALLY THESE ELEMENTS ARE HIDDEN IN THIS
A CONCRETE COUNTERWEIGHT OF 60X10X10
CONSTRUCTION.
METERS IS LOCATED ON THE OPPOSITE SIDE
HOWEVER, THE DESIGN TEAM DECIDED TO HIGHLIGHT THESE ELEMENTS OF A CLEAN BUT VERY
OF THE SLOPE UNDERGROUND AND
INFORMATIVE WAY, RESULTING IN A STRUCTURE THAT CAN BE READ AND DECODED FROM THE PERSPECTIVE
CONNECTED TO THE TOP OF THE CABLE,
OF PEDESTRIANS.
WHICH PROVIDES THE NECESSARY TO
THE MAIN STRUCTURE IS COVERED WITH STAINLESS STEEL COMPONENTS OF THE HORIZONTAL AND
COUNTERACT THE FORCES TRYING TO TOPPLE
VERTICAL STRUCTURE PLATED COPPER. THE FILLING BETWEEN THE STRUCTURAL ELEMENTS COMPRISING A
THE TOWERS RESISTANCE.
REFLECTIVE DARK CURTAIN WALL. TO DIFFERENTIATE THE TWO TOWERS, THE WEST HAS A HELIPORT ON THE
THE POST-MODERN DESIGN IS CLASSIC PHILIP
ROOF IN BLUE, WHILE THE EASTERN SIDE IS EQUIPPED WITH A HELIPAD RED.
JOHNSON.
SYMMETRY IS MAIN CHALLENGE:
GOVERNING PRINCIPLE. THE TWO BIGGEST POTENTIAL PROBLEMS WERE THAT OF LATERAL LOAD DUE TO
VERTICALITY DOMINATES. EARTHQUAKES AND WIND, AND GRAVITY LOAD.
CENTRAL AXIS RUNS IN PLAN. BECAUSE THE BUILDING IS AT A 15 DEGREE ANGLE, IT TAKES ON A LARGER WIND FORCE.
THE WIND LOAD IS MORE THAN TWICE THE WIND LOAD ON A UPRIGHT BUILDING
THE INCLINATION OF THE TOWERS NOT ONLY ERASES THE EXCHANGE SUBWAY BELOW, BUT ALSO ENSURES THE VISIBILITY OF THE TOWERS ALONG THE PASEO
DE LA CASTELLANA.
SINCE THESE VOLUMES MARK THE NORTHERN EDGE OF THE BUSINESS DISTRICT OF MADRID , THEY ARE OFTEN REFERRED TO AS THE METAPHYSICAL DOOR
ENTRANCE TO EUROPE.
WHILE ITS COMPOSITION AND SQUARE BOULEVARD HELPS DEFINE THE VOID, CONCENTRATIONS, AND THE ENTRANCE TO A CENTRAL AXIS BOTH TRANSPORT
AND MOVEMENT OF PEDESTRIANS, AND THE GATEWAY THE REST OF MADRID.INTERESTINGLY, IT ALSO RESEMBLES THE OLD MEDIEVAL GATES OF MADRID SUCH
AS PUERTA DEL SOL.
TEACHERS SIGNATURE :
MANAS ARORA
ARCHITECTURE
HIMANI GOYAL
3RD YEAR - B
VASTU KALA ACADEMY

DESIGN:
STATUS: OPEN
TYPE: OFFICE
LOCATION: 400 WEST MARKET
DOWNTOWN LOUISVILLE
CONSTRUCTION JULY 1991
STARTED:
OPENING: APRIL 1993
ROOF: 549 FEET (167 M)
FLOOR COUNT: 35
I LOUISVILLES TALLEST BUILDING IS ALSO
ONE OF ITS MOST ENIGMATIC.
N ITS KNOWN AS THE AEGON CENTER
T (FORMERLY PROVIDIAN CENTER AND
ORIGINALLY CAPITAL HOLDING CENTER),
R AFTER THE INSURANCE COMPANY THE
AEGON GROUP, AND HAS BEEN ONE OF
O
THE MOST PROMINENT BUILDINGS IN
D LOUISVILLE SINCE ITS CONSTRUCTION
WAS COMPLETED IN 1993.
U THE AEGON CENTER WAS ONE OF THE
C LAST DESIGNED BY THE DUO.
IT WAS DESIGNED WITH CLASSIC
T PROPORTIONS, WITH A CLASSICAL BASE,
SHAFT AND CAP THAT HONORED
I GEOMETRICS THROUGHOUT, AS WELL AS THE VERTICALLY EMPHASIZED
EARLIER AMERICAN SKYSCRAPERS. THE
O SKYSCRAPER WAS DEVELOPED BY
HOUSTON-BASED HINES INTERESTS LP.
N TOWER THAT IT STANDS WATCH OVER.
8 THEORY OF
Aegon Tower demonstrates the firms sophistication in tall-building design: the base, shaft, and cap are
clearly delineated and honor the American skyscraper as it developed in the early twentieth century. At the
same time, the designs relative anonymity is a shortcoming: one could as easily imagine this tower in
Houston as in Louisville.
THE BUILDING CONTAINS 35 STORIES AND AT 538 FEET, IS THE TALLEST BUILDING
IN BOTH LOUISVILLE AND KENTUCKY AS A WHOLE. IN ADDITION TO AEGON
INSURANCE, WHICH OCCUPIES A THIRD OF THE BUILDING, THE SKYSCRAPER
HOUSES LAW FIRMS, FINANCIAL INSTITUTIONS, AND ACCOUNTING FIRMS,
ALONG WITH RETAIL SPACE INCLUDING A BANK, SHOP, COPY CENTER AND DELI.
THE CONSTRUCTION OF THE TOWER, WHICH BEGAN IN JULY 1991, ESCHEWED
FROM THE TRADITIONAL USE OF STEEL AND THE TOWER WAS BUILT WITH
REINFORCED CONCRETE.
THE EXTERIOR WAS GIVEN A GRANITE FACADE, AND CLAD IN GRAY ITALIAN
GRANITE WITH POLISHED BLACK GRANITE AND STAINLESS STEEL TRIM
ACCENTUATING THE BASE.
THE TOP WAS FITTED WITH AN 80-FOOT HIGH ROMANESQUE DOME WHICH AN 80-FOOT HIGH ROMANESQUE DOME. THERE IS A WAY TO GET THE
REFLECTED UPON ITS ORIGINAL TENANT, CAPITAL HOLDING, THAT WAS THE METAL-FRAME OPEN AIR DOME IS ABSOLUTE TOP OF THE
ILLUMINATED FROM THE INTERIOR AT NIGHT. OTHER EXTERIOR LIGHTS ON THE DRAMATICALLY LIT AT NIGHT TO CREATE A BUILDING BY WAY OF A
UPPER FLOORS WERE INSTALLED, ILLUMINATED IN WHITE LIGHT THAT CHANGES GLOWING BEACON VISIBLE ACROSS THE SECURED LADDER-TOWER
TO RED AND GREEN FROM THANKSGIVING TO NEW YEARS DAY. CITY, AND IN DECEMBER IS FESTIVELY LEADING FROM THE CENTER
THE INTERIOR WAS FITTED WITH 633,650 SQUARE-FOOT OF LEASABLE SPACE ILLUMINATED WITH GREEN LIGHTS WHILE OF THE DOME'S INTERIOR,
AND 18,787 SQUARE-FEET OF RETAIL. IN ADDITION, A FIVE-LEVEL, 789-SPACE THE TOWER BELOW IS LIT WITH RED. GOING UP TO THE PINNACLE.
PARKING GARAGE WAS BUILT.
TWO STREET LEVEL LOBBIES, CONTAINING CHERRY AND WALNUT WOODWORK
WITH LAVISH MARBLES AND GRANITE GREET VISITORS AND OCCUPANTS.
ON THE SOUTH SIDE, A ONE-ACRE PUBLIC PLAZA CONNECTS THE TOWER TO
THE STREETSCAPE BELOW, WITH WATER FOUNTAINS AND UNIQUE ART-
GLASS LIGHT FIXTURES. ALSO IN THE PLAZA, A STATUE OF 1987 KENTUCKY
POST-MODERN BULDING, YOU CAN SEE THE USE OF SET-BACKS AND DERBY WINNER ALYSHEBA, THE WINNER OF THE 1987 KENTUCKY DERBY
AND A 1993 U.S. RACING HALL OF FAME INDUCTEE, PAINTED BY RACHEL
WINDOWS - ALL OF WHICH ARE FEATURES OF THE ART DECO ERA SINCLAIR STANDS IN FRONT OF THE ART DECO-INSPIRED ENTRANCE. THE
ARCHITECTURE. IT'S FRONT ENTRY AREA IS PARTICULARLY ATTRACTIVE. HORSES DECORATION REFLECTS THE POST-MODERN ART DECO STYLE OF THE
TEACHERS SIGNATURE :
MANAS ARORA
ARCHITECTURE
HIMANI GOYAL
3RD YEAR - B
VASTU KALA ACADEMY
 SHEET NO.1 & 2
http://www.pritzkerprize.com/biography-philip-johnson
http://www.pjararchitects.com/#!institutional/c1j2j
https://en.wikipedia.org/wiki/Philip_Johnson
SHEET NO.3
https://en.wikipedia.org/wiki/Glass_House
http://www.archdaily.com/60259/ad-classics-the-glass-house-
philip-johnson
http://www.architecturaldigest.com/architecture/2012-
09/architect-philip-johnson-glass-house-modernism-article
http://www.greatbuildings.com/buildings/Johnson_House.html
SHEET NO.4
http://www.doaks.org/museum/online-pubs/philip-
johnson/the-munson-williams-proctor-museum-of-art
http://www.archdaily.com/492133/ad-classics-munson-
williams-proctor-arts-institute-philip-johnson
SHEET NO.5
http://www.archdaily.com/445618/ad-classics-the-crystal-
cathedral-philip-johnson
http://en.wikiarquitectura.com/index.php/Crystal_Cathedral
http://www.architravel.com/architravel/building/crystal-
cathedral/
http://buildipedia.com/aec-pros/featured-architecture/philip-
johnsons-crystal-cathedral
I hate vacations. If you can
build buildings, why sit on the
beach?
SHEET NO.6
http://skyscraperpage.com/cities/?buildingID=2642
http://www.archdaily.com/611169/ad-classics-at-and-t-
building-philip-johnson-and-john-burgee
http://www.galinsky.com/buildings/att/
https://www.bluffton.edu/~sullivanm/johnsonburgee/att.h
tml
http://www.nyc-architecture.com/MID/MID037.htm
SHEET NO.7
http://www.plataformaarquitectura.cl/cl/02-
120056/clasicos-de-arquitectura-puerta-de-europa-philip-
johnson-john-burgee
http://architectism.com/twin-towers-in-madrid-spain-
puerta-de-europa/
http://www.archdaily.com/157275/ad-classics-puerta-de-
europa-philip-johnson-john-burgee
http://www.architecturerevived.com/puerta-de-europa-
towers-madrid/
https://sites.google.com/site/ae390puertadeeuropa/struct
ural-information
SHEET NO.8
https://en.wikipedia.org/wiki/400_West_Market
http://urbanup.net/cities/kentucky/louisville-
kentucky/downtown/aegon-tower/
http://theredlist.com/wiki-2-19-879-604-226663-view-
johnson-philip-profile-johnson-philip-aegon-
center.html#photo
http://www.examiner.com/article/the-aegon-center-a-
louisville-landmark

TEACHERS SIGNATURE :
MANAS ARORA

10 THEORY OF
ARCHITECTURE
HIMANI GOYAL
3RD YEAR - B
VASTU KALA ACADEMY