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RICHARD ROGERS

Introduction
The British architect Richard Rogers was
declared modernist, who represented high tech
architecture with his concern for advanced
technology.
He believes that architecture is response to the
environment and circumstance which give birth
to it, and that includes the planning system, the
attitude of groups.
He is leader of the architectural movement
known as High Tech.
He was best known for his joint design of the
Centre Pompidou in Paris with Renzo Piano and
for the Lloyd's of London Building in London.
Architects Biography
Richard George Rogers was born in Florence, Italy, on July 23,
1933, to British parents.
He served in the British Army (1951-1953) prior to attending the
Architectural Association School (1953-1959) in London.
He received the Diploma of Architecture in 1959 and in 1960
married the architect Su Brumwell. The following year he studied at
the Yale University School of Architecture in New Haven,
Connecticut on a Fulbright scholarship, and received the Master of
Architecture degree in 1962.
By this time he encountered the work of Louis Kahn and Frank Lloyd
Wright in the USA and worked with Foster on a mega structure
project. Returning from America, Rogers formed a partnership with
Norman and Wendy Foster and Su Rogers (1963-1968) in London
called Team 4.In 1967 he represents British architects at the Paris
Biennial. After two years Riba Award for Work of Outstanding Quality
for Creek Vean House.
In 1970 he started working with Renzo Piano. In 1977 separated
from Piano, Rogers moved his studio back to London. In 1978 won
the competition for the London Lloyd’s Building. In 1994 he was Vice
President of the Art Council of England.
Some of His projects;
1968/69 - Rogers' House, Wimbledon
1968/71 - Zip-Up House
1971/77 - Centre Georges Pompidou, Paris, with Renzo Piano
1976/83 - Patscentre Research Laboratory, Melbourn, UK, with
Piano
1978-/86 - Lloyd's of London, with R.R. Partnership
1979/81 - Fleetguard, Quimper, France, R.R. Partnership
1979/83 - Renovation of Coin Street, London, R.R. Partnership
1982 - Inmos Microchip Factory, Newport, UK, R.R. Partnership
1982/85 - PA Technology Laboratory, Princeton, New Jersey
1982 - Expansion of the National Gallery, London
1982 - Recovery of the banks of the River Arno, Florence, R.R.
Partnership with Claudio Cantella
1984/86 - Royal Docks Strategic Plan, London Dockslands
1984/87 - Thames Reach Housing, London
1985/88 - Billingsgate Securities Market, City of London
1987/88 - Pump House, London
1987/89 - Blackwall Yard, London (stage one)
1987 - Project for Paternoster Square
1987 - Autocity, Massy, France
1987/92 - Reuters Data Centre, London
1987/93 - Kabuki-Cho Tower, Tokyo
1989/92 - Marseilles International Airport
1989/95 - European Human Rights Court, Strasburg,
France
1989/2016 - Terminal 5, Heathrow Airport, United
Kingdom
1990 - Tokyo Forum, Tokyo
Long Life, Loose Fit, Low
Energy Architecture of Rogers
Was Rogers radical architectural for more than
thirty years
It says a building that is easy to modify has a
longer useful life and uses its resources more
efficiently.
It is about designing building for flexible which
enlarges the sustainable life of society.
It is designing greater flexibility into our modern
buildings inevitably moves architecture away
from fixed and perfect forms
It renders architecture of Rogers by fluidity,
flexibility and fragmentation.
Towards the sustainable city
In the early 1980s the Rogers practice has become interestingly
involved in the large scale urban and regional master plans.
The city is a global phenomenon dependent for its survival on a
complex web of spatial, social, ecological, and economic factors
Is a visions that reject the fashionable and localized historicist
reinterpretation of the traditional city.
Is known by the continuity and integration of the urban fabric.
is characterized by the compact, polycentric, sustainable city.
The compact city, allows uses to overlap, keeping the city alive
twenty four hours a day.
“The more concentrated an urban, system, the more efficient its
public transport and services less energy is consumed on expensive
commuting.
Movement is by food, cycle, or localized public transport networks
for Rogers "sustainability means healthier , livelier more open-
minded cities and above all, it means life for future generation "
The role of sustainable design
A growing concern for us is all the way in which we interact with our environment.
Sustainable design is a process that delivers the best (social, environmental and
economic) performance or result for the least (social, environmental and economic)
cost.
Sustainable design accommodates and integrates current and future human needs
without compromising the environment.
It must include the redesign of products, processes, services or systems so as to
tackle imbalances or trade-offs between the demands of society, the environment and
the economy.
In terms of buildings sustainable design implies resource efficiency - minimum
energy, flexibility and long life.
There will be increasing challenges to designing a sustainable built environment.
Architectural progress is not about re-styling.
The main issue is how technology is used in conjunction with good design, who
controls it, and to what end.
High-Tech Architecture
Born as a revamped representative of Modernist functionality.
High Tech architecture was developed by a group of British architects in the 1970s
who expressed an interest in Richard Buckminster Fuller’s Dymaxion principles,
which signified “dynamism plus efficiency.”
The High Tech design style is based on uncomplicated plans that strictly combine the
use of factory-produced materials and a tendency to expose a building’s structural
systems.
It (high tech design) involves using the materials, such as space frames, metal
cladding and composite fabrics and materials.
High tech buildings often have extensive glazing to show to the outside world .
Generally their overall appearance is light, typically with a combination of dramatic
curves and straight lines.
The study of the architecture of "High tech" emphasizes creation, appreciation, and
use of technology in building systems of
Skyscraper
Exoskeleton
Articulated form
High tech details
Prefabrication
High Tech architecture gives little consideration to the symbolic form of the building,
relying instead on technological sophistication to ground its aesthetic.
Influence
The founders of high tech were inspired by
Richard Buckminster Fuller’s Dymaxion
principles, which signified “dynamism plus
efficiency.”
Criticism on high tech style
High Tech architecture has come under
considerable criticism for its inclination towards
technological aesthetic
Complete disregard for the cultural history of a
place, the possibility of applying advanced
architectural engineering to urban problems
remains one bound to further exploration.
Summing-up the idea of high tech,
The principle of High Tech architecture
relies on nothing more than a combination
of machined parts that are maximally
flexible and, ideally, interchangeable. This
is not to say that the buildings are full-
scale versions; rather, they are an attempt
to fully integrate the functions of a building
from the mechanical ducts to the structural
systems in a composite whole.
Some of Rogers projects,
Millennium Dome London
Facts about the world's biggest dome!
The Greenwich Dome is twice the size of the one in Atlanta Georgia.
It is the largest fabric structure in the world containing one million
square feet of fabric.
The Dome will contain the biggest amount of visitor attractions under
one roof in the world!
There are 44 miles of steel forming the 'cobweb' that supports the roof.
Each 'Zone' within the dome is about one acre in size.
The Dome is supported by 43 miles of high-strength cable, which
holds up 10,000 square metres of fabric.
The translucent roof is 50 meters high at the centre and strong enough
to support the weight

Battersa Flour Mills Housing,
London
The design responds to its special location with a
slopping building that exploits views over the river
(Thames)
The building forms 30-degree gradient, stepping down
from seventeen stories at its highest point.
The alignment of the building forms a triangular south
facing open space with gardens and playing fields
defined by a covered pedestrian route running parallel to
the main building.
At ground level the building contributes a sense of order
to the surrounding landscape.
The design maximizes the potential of the river (one of
Rogers’ regular urban interest)
GLASGOW Bridge
The design facilities for increased river usage.
The continuous curve and gradual ramp of the crescent bridge
allows common access for all users and
the alignment of the elliptical deck on the axis of the upstream
section of the river creates varied and unusual views whilst allowing
headroom below the bridge for river traffic.
The bridge uses the principle of a cable stayed compression arch
and a suspended deck to create a dynamic and
The bridge provides a clearance of 6m in the middle of the river at
high tide.
Structurally, the bridge uses the principle of a cable-stayed
compression arch with suspended deck – the result is a dynamic
and memorable icon for the city.
Office and residential building
for Daimler Benz Berlin (1993-98)
It is a mixed-used buildings that respond to the urban
constraints.
The building which are eight-story are organized around
a full-height inner courtyard that introducing daylight into
offices.
The atrium plays the key role in the strategy of the
building, drawing out stale air.
A strongly articulated roof defines the horizontal cornice
level while a funnel-shaped window
The buildings are designed to provide hundred percent
natural ventilation, with transparent glass insulated
cladding on all sides providing views and good day
lighting within.
Zoofester building, Berlin, 1991-95

Built on a triangular, freestanding site.


The ground level is conceived as a public plane
that establishes continuity with the surroundings,
encouraging through movement of pedestrians
from all directions.
The building’s is arranged symmetrically around
its short north-south axis.
Horizontally, the building is divided into an upper
and lower section by a double-height setback.
The upper and lower sections are further
differentiated but a variation in grains and glazed
cladding
Lloyd’s of London, (1978_86)
Was called the new monochromatic and monumental version of
High tech
Given the complexity of the brief and the obscurity of the site, the
design has maintained the clarity and directness of a diagram,
Comforted the establishment of contemporary architecture
A literal interpretation of Louis Kahn’s “served” and “servant” spaces.
It is a landmark with its floodlit blue cranes and shinning steel
surfaces
Rises from six to twelve stories and is surrounded by lower buildings
of historical interest.
All vertical communication, service ducts, and toilet pods pushed
outside the main building
The placement of all services on the outside of the building is a clear
statement of functional and planning logic
The sense of scale and grain of the architectural
details (dimensions, texture, and manufacture of
the structure and steel cladding) integrates the
building with its incongruous surrounding.
The rooms are fully flexible, highly serviced;
open plan occupies the spatial and
programmatic heart of the building.
Centre Georges Pompidou, Paris 1971-77
The center Pompidou is one of the most public and controversial icons of
contemporary architecture of the late 20th century.
The Pompidou is a large, simple soft building.
Its construction system is high tech steel and glass.
Its structure is exposed to the outside world and the installations of the building are
also exposed.
The intention by the architects was to place service elements, such as water,
electricity, outside of the building and consequently turn the building “inside out”.
The building structure is very special and odd.
The glass skill runs clear and uncompromised behind the columns.
There are no expansion joints, and the whole building has been designed as a single
structure entity.
Critics on Pompidou
The critics have described the design of Pompidou museum as an “oil refinery in the
centre of the city”.
Allan Collquhoun criticized the building and its program for the “attempt to combine
modernity and traditional institutionalism populism and gigantism,” noting that the
“uncompromising audacity of the solution was achieved at the expense of making the
building into a vast self sufficient block inserted rather crudely into the city fabric.” 1
“The building as a care of under provision of flexibility.”
The Designers Words

"Technology cannot be an end in itself but must aim at solving long term
social and ecological problems.“ "It is my belief that exciting things
happen when a variety of overlapping activities designed for all people—
the old and the young, the blue and white collar, the local inhabitant and
the visitor, different activities for different occasions—meet in a flexible
environment, opening up the possibility of interaction outside the
confines of institutional limits. When this takes place, deprived areas
welcome dynamic places for those who live, work and visit; places where
all can participate, rather than less or more beautiful ghettos.“ “When
technology is used to secure the fundamentally food, health care,
education, and freedom __ the modern age attains its full potential”
European Court of Human Rights,
Strasbourg, France, 1989-95
It is a building in a park located along the
river
The building has, in effect, a head, a neck,
and a tail.
The head is fully exposed, with large
drums containing the main courts and the
public hall.
The neck contains meeting chambers with
an extruded cylindrical volume.

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