INDEX1. Walter Gropius1.1. Introduction1.2. Early Life1.3. More about Walter Gropius1.4. Philosophy1.5. Selected Works1.6. Bauhaus Period1.7. Best Project

2. F.L.Wright2.1. Introduction2.2. Early Life2.3. More about F.L.Wright2.4. Philosophy2.5. Selected Works2.6. Best Project

3. Santiago Calatrava3.1. Introduction3.2. Early Life3.3. More about Santiago Calatrava3.4. Philosophy3.5. Selected Works3.6. Best Project

4. Ludwig Mies Van Der Rohe4.1. Introduction4.2. Early Life4.3. More about Ludwig Mies Ven Der Rohe4.4. Philosophy4.5. Selected Works4.6. Best Project

5. Norman Foster5.1. Introduction5.2. Early Life5.3. More about Norman Foster5.4. Philosophy5.5. Selected Works

6. Zaha Hadid6.1. Introduction6.2. Early Life and Education6.3. Interior Architecture and Product Design6.4. Achievements6.5. Completed Projects

7. Alvar Alto7.1. Introduction7.2. Early Life7.3. Early career : Classicism7.4. Early career : Functionalism7.5. Mid career : Experimentation7.6. Best Project

8. B . V. Doshi8.1. Introduction8.2. Early Life8.3. Selected Works

9. Charles Correa9.1. Introduction9.2. Early Life9.3. Awards9.4. More about Charles Correa

10. A.P.Kanvinde10.1. Introduction10.2. Early Life10.3. Style- Brutalism and Regionalism10.4. Lifetime Achievements

11. Le Corbusier11.1. Introduction11.2. Early Life11.3. More about Le Corbusier11.4. Philosophy11.5. Selected Works.

12. Kishu Kurokawa12.1. Introduction12.2. Early Life12.3. More about Kishu Kurokawa12.4. Philosophy

13. Nari Gandhi13.1. Introduction13.2. Early Life

14. Antonio Gaudi14.1. Introduction14.2. Style14.3. Quest for a New Architectural Language14.4. Geometrical Forms14.5. Surpassing the Gothic14.6. Design and Craftsmanship14.7. Urban Spaces and Landscaping14.8. Interiors14.9. Early works14.10. Early Post Graduation Projects

15. Frank Gehry15.1. Introduction15.2. Architectural Style15.3. Career15.4. Furniture and Clothing Design15.5. Awards and Honours

16. Robert Venturi16.1. Introduction16.2. Architecture16.3. Awards

17. Goeffrey Bawa17.1. Introduction17.2. Early Work in Tropical Mordernism17.3. Awards17.4. Practice

1.INTRODUCTIONWalter Adolph Georg Gropius (May 18, 1883 July 5, 1969) was a German architect and founder of the Bauhaus School, who, along with Ludwig Mies van der Rohe, Le Corbusier and Frank Lloyd Wright, is widely regarded as one of the pioneering masters of modern architecture.2.EARLY LIFEBorn in Berlin, Walter Gropius was the third child of Walter Adolph Gropius and Manon Auguste Pauline Scharnweber.Gropius married Alma Mahler (18791964), widow of Gustav Mahler. Walter and Alma's daughter, named Manon after Walter's mother, was born in 1916. When Manon died of polio at age 18, composer Alban Berg wrote his Violin Concerto in memory of her (it is inscribed "to the memory of an angel"). Gropius and Alma divorced in 1920. (Alma had by that time established a relationship with Franz Werfel, whom she later married).3.MORE ABOUT WALTER GROPIUSAlthough Gropius is best known for the Bauhaus style, his architectural reputation was first established when, working with Adolph Meyer, he designed the Fagus Works (1910-1911) and the office building for the Werkbund exhibition in Cologne (1914).Walter Gropius opposed the Nazi regime and left Germany secretly in 1934. After several years in England, Gropius began teaching architecture at Harvard University. As a Harvard professor, Gropius introduced Bauhaus concepts and design principles - teamwork standardization, and prefabrication - to a generation of American architects.Between 1938 to 1941, Gropius worked on several houses with Marcel Breuer. They formed the Architects Collaborative in 1945. Among their commissions were the Harvard Graduate Center (1946), the U.S. Embassy in Athens and the University of Baghdad. One of Gropius's later designs, in collaboration with Pietro Belluschi, was the Pam Am Building (now the Metropolitan Life Building) in New York City.4.PHILOSOPHYWalter Gropius believed that all design should be functional as well as aesthetically pleasing. His Bauhaus school pioneered a functional, severely simple architectural style, featuring the elimination of surface decoration and extensive use of glass.5.SELECTED WORKS 1910-1911:Fagus Works, Alfred an der Leine, Germany 1925:The Bauhaus Building, Dessau, Germany 1937:Gropius House, Lincoln, MA 1950:Harvard Graduate Center, Cambridge, MA 1963:Pan Am Building, in collaboration with Pietro Belluschi. Now MetLife, the building became part of New York'sGrand Central Terminal City.

6.BAUHAUS PERIOD (19191932)

Bauhaus (built 19251926) in Dessau, Germany

Walter Gropius's Monument to the March Dead (1921) dedicated to the memory of nine workers who died in Weimar resisting the Kapp Putsch.

7.BEST PROJECT Gropius HouseThe Gropius House was the family residence of noted architect Walter Gropius at 68 Baker Bridge Road, Lincoln, Massachusetts. It is now owned by Historic New England and is open to the public Wednesday through Sunday (June 1 October 15, and weekends (October 16 May 31). An admission fee is charged.

Gropius HouseThis house was his first architectural commission in the United States. He designed it in 1937, when he came to teach at Harvard University's Graduate School of Design, and it was built in 1938. He chose the area because of its proximity to Concord Academy which his daughter, Ati, was going to attend. It remained Gropius' home from 1938 until his death in 1969. (Gropius had a benefactor. Mrs. James J. Storrow offered him the site and the capital and was so pleased with the result that she allocated house sites to four other professors as well, two of which Gropius helped design.)The house caused a sensation when built. In keeping with Bauhaus philosophy, every aspect of the house and its surrounding landscape was planned for maximum efficiency and simplicity. Gropius carefully sited the house to complement its New England habitat on a rise within an orchard of 90 apple trees. His screened porch was placed in such a way that it helps to divide the land around the house into multiple zones, comparable to rooms inside a house.

F.L . WRIGHT

1.INTRODUCTIONFrank Lloyd Wright (born Frank Lincoln Wright, June 8, 1867 April 9, 1959) was an American architect, interior designer, writer and educator, who designed more than 1000 structures and completed 532 works. Wright believed in designing structures which were in harmony with humanity and its environment, a philosophy he called organic architecture. This philosophy was best exemplified by his design for Fallingwater (1935), which has been called "the best all-time work of American architecture". Wright was a leader of the Prairie School movement of architecture and developed the concept of the Usonian home, his unique vision for urban planning in the United States.2.EARLY LIFEFrank Lloyd Wright was born Frank Lincoln Wright in the farming town of Richland Center, Wisconsin, United States, in 1867. His father, William Carey Wright (18251904), was a locally admired orator, music teacher, occasional lawyer, and itinerant minister. William Wright had met and married Anna Lloyd Jones (1838/39 1923), a county school teacher, the previous year when he was employed as the superintendent of schools for Richland County.

3.MORE ABOUT F.L.WRIGHTFrank Lloyd Wright never attended architecture school. As a child, he worked on his uncle's farm in Wisconsin, and he later described himself as an American primitive - an innocent but clever country boy whose education on the farm made him more perceptive and more down-to-earth.Frank Lloyd Wright pioneered a long, low style known as the Prairie house. He experimented with obtuse angles and circles, creating unusually shaped structures such as the spiral Guggenheim Museum (1943-49). He developed a series of low-cost homes that he called Usonian. And most importantly, Frank Lloyd Wright changed the way we think of interior space. SeeFrank Lloyd Wright Interiors The Architecture of Spacefor examples.Frank Lloyd Wright was married three times and had seven children. His work was controversial and his private life was often the subject of gossip. Although his work was praised in Europe as early as 1910, it was not until 1949 that he received an award from American Institute of Architects.4.PHILOSOPHYFor Wright, design and form acquired a symbolic meaning. Architecture can embody "picturesque" qualities that harmonize with the environment.Architectural beauty is seen as a reflection of the harmony that manifests from the integration of design, plan, form and materials. This is Wright's "organic" approach to design.Architectural beauty is a natural outcome of the clear design plan of simple and harmonious relationships. All elements of a structure should be designed with economy according to the natural principles of geometrical relationships and the unadulterated use of appropriate materials.Wright used different basic geometrical forms, usually squares and rectangles to produce the distinctive forms, particularly in regards to the Prairie house designs. Wright's "organic" approach to design of the exteriors were also carried to that of the interiors. In this way, Wright is considered to be very much part of the modernist agenda in the early twentieth century architecture. His approach favoured a moving away of traditional construction practices, in favour of new and innovative freedoms in design.Wright's design solution was to view all details of a structure as the product of a single independent mind - including all major and minor ornamental and symbolic elements.An important aspect for design is the value that ornament should be based upon the abstraction of nature.Wright developed his own distinctive ornamental vocabulary. With it he strove to unify the interior and exterior of a design through its decorative detailing. By employing this method, Wright sought to unify structural and aesthetic elements into a single composite form. Architectural beauty being the product of combining simple forms and expressing harmonious relationships.5.SELECTED WORKS FLW Buildings: Complete Directory Robie House, Chicago, Illinois Unity Temple, Oak Park, Illinois Taliesin, Wisconsin Taliesin West, Arizona Florida Southern College Fallingwater, Pennsylvania Guggenheim Museum, New York City Beth Sholom Synagogue, Elkins Park, Pennsylvania Interior Decor

The Walter Gale House (1893) is Queen Anne in style yet features window bands and a cantilevered porch roof which hint at Wright's developing aesthetics

William H. Winslow House (1893) in River Forest, Illinois

Wright's studio (1898) viewed from Chicago Avenue

6.BEST PROJECT Falling waterFallingwater or Kaufmann Residence is a house designed by architect Frank Lloyd Wright in 1935 in rural southwestern Pennsylvania, 43 miles (69km) southeast of Pittsburgh. The home was built partly over a waterfall on Bear Run in the Mill Run section of Stewart Township, Fayette County, Pennsylvania, in the Laurel Highlands of the Allegheny Mountains.Hailed by Time shortly after its completion as Wright's "most beautiful job" it is listed among Smithsonian's Life List of 28 places "to visit before you die." It was designated a National Historic Landmark in 1966. In 1991, members of the American Institute of Architects named the house the "best all-time work of American architecture" and in 2007, it was ranked twenty-ninth on the list of America's Favorite Architecture according to the AIA. Design and constructionOnce Wright had decided the location of the house, he had the obvious problem of building it there. The location of the north bank of Bear Run was not large enough to provide a foundation for a typically built Wright house. Beyond this issue, there were also the clients' needs that had to be met. The Kaufmanns planned to entertain large groups of people, so the house would need to be larger than the plot allowed. Also, Mr. and Mrs. Kaufmann requested separate bedrooms as well as a bedroom for their adult son and an additional guest room. Wright's solution to the problem of space came when he decided on a cantilevered structure. The structural design for Falling water was undertaken by Wright in association with staff engineers Mendel Glickman and William Wesley Peters, who had been responsible for the columns featured in Wrights revolutionary design for the Johnson Wax Headquarters.Preliminary plans were issued to Kaufmann for approval on October 15, 1935, after which Wright made a further visit to the site and provided a cost estimate for the job. In December 1935 an old rock quarry was reopened to the west of the site to provide the stones needed for the houses walls. Wright only made periodic visits during construction, instead assigning his apprentice Robert Mosher as his permanent on-site representative. The final working drawings were issued by Wright in March 1936 with work beginning on the bridge and main house in April 1936. The construction was plagued by conflicts between Wright, Kaufmann, and the construction contractor. Uncomfortable with what he saw as Wright's insufficient experience using reinforced concrete, Kaufmann had the architect's daring cantilever design reviewed by a firm of consulting engineers. Upon receiving their report, Wright took offense and immediately requested Kaufmann to return his drawings and indicated he was withdrawing from the project. Kaufmann relented to Wright's gambit and the engineers report was subsequently buried within a stone wall of the house.

The interior of Falling water depicting a Driveway leading to the entrancesitting area

SANTIAGO CALATRAVA

1.INTRODUCTIONSantiago Calatrava Valls, born 28 July 1951) is a Spanish architect, sculptor and structural engineer whose principal office is in Zrich, Switzerland. He has offices in Zrich, Paris and in New York City, where he now resides.

Born28 July 1951 (age62)Benimmet, Valencia, Spain

NationalitySpanish

EducationPolytechnic University of ValenciaSwiss Federal Institute of Technology

2.EARLY LIFECalatrava was born in Benimmet, an old municipality now integrated as an urban part of Valencia, Spain, where he took an undergraduate architecture degree at the Polytechnic University of Valencia. There he completed independent projects with fellow students, publishing two books on the vernacular architecture of Valencia and Ibiza. In 1975 he enrolled in the Swiss Federal Institute of Technology in Zrich, Switzerland for graduate work in civil engineering. In 1981, after completing his doctoral thesis, "On the Foldability of Space Frames", he started his architecture and engineering practice.3.MORE ABOUT SANTIAGO CALATRAVAArchitect, engineer, and sculptor, Santiago Calatrava received an AIA commemorative gold medallion in 2012 as one of the 15Architects of Healingfor his transportation hub design, a new train and subway station at the World Trade Center site in New York City. Calling Calatrava's work "open and organic," theNew York Timessaid that the new terminal will evoke the kind of uplifting spirituality that is needed on Ground Zero. However, reconstruction plans in New York have undergone so many revisions, much of Calatrava's original vision has been lost.4.PHILOSOPHYSantiago Calatrava symbolises a perfect blend of architecture and engineering capabilities at their best. Being a sculptor and a Painted only added to it and he though unknowingly advocated the philosophy of what a true Designer should be, encompassing all form of arts. He carried out extensive studies of anatomy of human, birds and animals and truly so his designs reflected his philosophy. Calatravas dynamic designs integrate technology and aesthetics producing structural forms that challenge traditional practice in both architecture and engineering.5.SELECTED WORKS 1989-1992:Alamillo Bridge, Seville, Spain 1991:Montjuic Communications Tower, at the 1992 Olympic site in Barcelona, Spain 1996:City of Arts and Sciences, Valincia, Spain 1998:Gare do Oriente Station, Lisbon, Portugal 2001:Milwaukee Art Museum, Quadracci Pavilion, Milwaukee, Wisconsin 2003:Ysios Wine EstateLaguardia, Spain 2003:Tenerife Concert Hallin Santa Cruz, Tenerife, Canary Islands 2005:The Turning Torso, Malm, Sweden 2009: Train Station, Lige, Belgium 2012:Trinity River Corridor Bridges, Dallas, Texas

Atrium of Brookfield Place, Toronto, L'Umbracle at Valencia, Spain (1996) Canada (1992)

Ciutat de les Artsiles Cincies, Valencia, Milwaukee Art Museum in MilwaukeeSpain

6.BEST PROJECT Milwaukee Art MuseumEstablished1882

Location700 N. Art Museum DriveMilwaukee, WisconsinUnited States

TypeArt museum

Visitors350,000+

The Milwaukee Art Museum (MAM) is an art museum with a collection of over 30,000 works of art serving over 350,000 visitors a year. The campus of three buildings is located on Lake Michigan in Milwaukee, Wisconsin. The Museum's stated mission is to "collect and preserve art, presenting it to the community as a vital source of inspiration and education". The 341,000-square-foot (31,700m2) Museum includes the War Memorial Center (1957) designed by Finnish-American architect Eero Saarinen, the Kahler Building (1975) by David Kahler, and the Quadracci Pavilion (2001) created by Spanish architect Santiago Calatrava. The Reiman Bridge, also designed by Calatrava, connects to the pavilion and provides pedestrian access to and from downtown Milwaukee.

LUDWIG MIES VAN DER ROHE

1.INTRODUCTIONLudwig Mies van der Rohe(bornMaria Ludwig Michael Mies; March 27, 1886 August 19, 1969) was a German-US-Americanarchitect.He is commonly referred to, and was addressed, asMies, his surname. He served as the last director of Berlin'sBauhaus, and then headed the department of architecture,Illinois Institute of Technologyin Chicago, where he developed theSecond Chicago School. Along withLe Corbusier,Alvar Aalto, andFrank Lloyd Wright, he is widely regarded as one of the pioneering masters ofmodern architecture.2.EARLY LIFEMies was born in Aachen, Germany. He worked in his father's stone-carving shop and at several local design firms before he moved to Berlin, where he joined the office of interior designerBruno Paul. He began his architectural career as an apprentice at the studio ofPeter Behrensfrom 1908 to 1912, where he was exposed to the current design theories and to progressive German culture, working alongsideWalter GropiusandLe Corbusier, who were later also involved in the development of theBauhaus. Mies served as construction manager of theEmbassy of the German EmpireinSaint Petersburgunder Behrens. His talent was quickly recognized and he soon began independent commissions, despite his lack of a formal college-level education. A physically imposing, deliberative, and reticent man, Ludwig Mies renamed himself as part of his rapid transformation from a tradesman's son to an architect working with Berlin's cultural elite, adding "van der" and his mother's surname "Rohe",using the Dutch "van der", rather than the German form "von" which was legally restricted to those of genuine aristocratic lineage. He began his independent professional career designing upper-class homes, joining the movement seeking a return to the purity of early nineteenth-century Germanic domestic styles. He admired the broad proportions, regularity of rhythmic elements, attention to the relationship of the man-made to nature, and compositions using simple cubic forms of the early nineteenth centuryPrussian Neo-ClassicalarchitectKarl Friedrich Schinkel. He rejected the eclectic and cluttered classical styles so common at the turn of the twentieth century as irrelevant to the modern times.3.MORE ABOUT LUDWIG MIES VAN DER ROHEThe United States has a love-hate relationship with Mies van der Rohe. Some say that he stripped architecture of all humanity, creating cold, sterile and unlivable environments. Others praise his work, saying he created architecture in its most pure form.Ludwig Mies van der Rohe began his career in his family stone-carving business in Germany. He never received any formal architectural training, but when he was a teenager he worked as a draftsman for several architects. Moving to Berlin, he found work in the offices of architect and furniture designer Bruno Paul and industrial architect Peter Behrens.Early in his life, Mies van der Rohe began experimenting with steel frames and glass walls. He was director of the Bauhaus School of Design from 1930 until it disbanded in 1933. He moved to the United States in 1937 and for twenty years (1938-1958) he was Director of Architecture at the Illinois Institute of Technology.

4.PHILOSOPHYMies van der Rohe was plagued by arthritis for the majority of his later life. Although involved to the best of his ability Ludwig would never see the completion of the National Gallery. He died in Chicago, August, 17, 1969.He died leaving a legacy of revolutionary architecture. Other then the buildings themselves he is remembered by his approach to architecture, categorized by such sayings as: God is in the details. Architecture is the will of an epoch translated into space.Thoughts in action.5.SELECTED WORKS 1928-29:Barcelona Pavilion 1950:Farnsworth House, Plano, Illinois 1951: Lake Shore Drive Apartments, Chicago 1956: Crown Hall, Chicago 1958:Seagram Building, New York (with Philip Johnson) 1959-74:Federal Center, ChicagoFurniture Designs by Mies van der Rohe: 1927-30:Arm Chair 1929:The Barcelona Chair 1931:Side Chair (MR 10)(With Lilly Reich)

Villa Tugendhat built in 1930 inBrno Barcelona Pavilion, 1929.

6.BEST PROJECT

Seagram BuildingIn 1958, Mies van der Rohe designed what is often regarded as the pinnacle of the modernist high-rise architecture, theSeagram BuildinginNew York City. Mies was chosen by the daughter of the client,Phyllis Bronfman Lambert, who has become a noted architectural figure and patron in her own right. The Seagram Building has become an icon of the growing power of the corporation, that defining institution of the twentieth century. In a bold and innovative move, the architect chose to set the tower back from theproperty lineto create a forecourt plaza and fountain onPark Avenue.Although now acclaimed and widely influential as an urban design feature, Mies had to convince Bronfman's bankers that a taller tower with significant "unused" open space at ground level would enhance the presence and prestige of the building. Mies' design included a bronze curtain wall with external H-shapedmullionsthat were exaggerated in depth beyond what was structurally necessary. Detractors criticized it as having committed Adolf Loos's "crime of ornamentation". Philip Johnson had a role in interior materials selections, and he designed the sumptuousFour Seasons Restaurant, which has endured un-remodeled to today. The Seagram Building is said to be an early example of the innovative "fast-track" construction process, where design documentation and construction are done concurrently.

NORMAN FOSTER

1.INTRODUCTIONPritzker 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. Foster was raised inManchesterin a working-class family and was intrigued by design and engineering from a young age. His years observingMancunian architecturesubsequently influenced his works, and was inspired to pursue a career in architecture after a treasurer clerk noticed his sketches and interest in Manchester's buildings while he worked atManchester Town Hall.Born:June 1, 1935 in Manchester, England.2.EARLY LIFEBorn 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.In 1963 Foster co-founded the successful "Team 4" architectural firm with his wife, Wendy Foster, and the husband and wife team ofRichard Rogersand Sue Rogers. His own firm, Foster Associates (Foster + Partners), was founded in London in 1967.3.MORE ABOUT NORMAN FOSTERFoster 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.4.PHILOSOPHYNorman Foster understands that the places where we live and work have a great influence on people. He also thinks that urban places are decisive factors in our standard of living. Foster thinks that architecture is about the needs of people, the material needs, the things that you can measure. Architecture should give us warm when it is cold outside and give us cool when it is hot outside. In his opinion, architecture should protect us from the elements from the outside.The architect thinks that in spite of a protection function, architecture it is also about the spiritual dimension, about the things that move us and make us feel happy and comfortable. He convinces that you can call it any word you like, you can call it beautiful, esthetic, welcoming or friendly but it is something that will make us feeling good. Architecture is about a social agenda.His designs show completely this way of thinking. His designs stand out for taking a full advantage of technology. Technology is used in the search for greater energy efficiency, excellent integration with the environment, creating a user-friendly atmosphere and easy-to-use facilities.He thinks that it becomes more evident that a political initiative is needed to produce a holistic approach to design. He convinces that the main question is, whether we will get the message early enough or late for us. Currently we see a lot of deadlines slipping by and not being met. He thinks that sustainability is not a matter of fashion but it is truly a matter of survival. The architect convinces that more and more people inhabit cities, the majority of the planet. So, if we create new cities, which we have to, they need to be sustainable, clean, inviting, not polluting and harvesting energy. They have to transform, improve public spaces, ensure a richer mix of activities, that would be safer, more secure, and of course sustainable. He thinks that is a dream but a practical one.5.SELECTED WORKS 1970-74:Willis Faber and Dumas Building, Ipswich, United Kingdom 1977:Sainsbury Centre, Norwich, United Kingdom 1979-86:Hongkong and Shanghai Bank, Hong Kong 1987-1991:Century Tower Bunkyo-ku, Tokyo, Japan 1987-1997:American Air Museum, Duxford, United Kingdom 1988-1995:Metro Entrance, Bilbao, Spain 1989-1992:Cranfield University Library, Bedfordshire, United Kingdom 1990-1995:Faculty of Law, University of Cambridge, United Kingdom 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 1998-2003:Albion Riverside, London, United Kingdom 2001-2006:Hearst Tower, New York City 2008:Terminal T3, Beijing, China

TheHearst Towerin New 30 St Mary Axe. York City.

ZAHA HADID

1.INTRODUCTIONZaha Hadid Born

Zaha Mohammad Hadid 31 October 1950 (age63) Baghdad , Iraq

Nationality British

Alma Mater Architectural Association School of Architecture American university of Beirut

BuildingsMAXXI ,Bridge Pavilion , Maggies Centre, Contemporary Arts Center

BMW Central Building, Leipzig, Germany

Vitra fire station, Weil am Rhein, Germany

Maggies Centre , Kirkcaldy

2.EARLY LIFE AND EDUCATIONZaha Hadid was born on 31 October 1950 in Baghdad , Iraq. She grew up in one of Baghdad's first Bauhaus-inspired buildings during an era in which modernism connoted glamor and progressive thinking" in the Middle East.She received a degree in mathematics from the American University of Beirut before moving to study at the Architectural Association School of Architecture in London, where she met Rem Koolhaas,Elia Zenghelis, and Bemard Tschumi. She worked for her former professors, Koolhaas and Zenghelis, at theOffice for Metropolitan Architecture, in Rotterdam, the Netherlands; she became a partner in 1977. Through her association with Koolhaas, she met Peter Rice the engineer who gave her support and encouragement early on at a time when her work seemed difficult. In 1980, she established her own London-based practice. During the 1980s, she also taught at the Architectural Association.3.INTERIOR ARCHITECTURE AND PRODUCT DESIGNShe has also undertaken some high-profile interior work, including the Mind Zone at the Millenium Dome in London as well as creating fluid furniture installations within the Georgian surroundings of Home House private members club in Marylebone, and the Z.CAR hydrogen-powered, three-wheeled automobile. In 2009 she worked with the clothing brand Lacoste, to create a new, high fashion, and advanced boot. In the same year, she also collaborated with the brassware manufacturer Triflow Conceptsto produce two new designs in her signature parametric architectural style.

The Serpentine Sackler gallery.

Hadid-designed Sheikh Zayed bridge in Abu Dhabi. Photograph: Alamy

The aquatics centre at the Olympic Park, London. Photograph: Clive Rose 4.ACHIEVEMENTSZaha Hadid'sarchitectural design firm -Zaha Hadid Architects - is over 350 people strong, headquartered in a Victorian former school building in Clerkenwell, London.In 2008, she ranked 69th on the Forbes list of "The World's 100 Most Powerful Women". On 2 January 2009, she was the guest editor of the BBC's flagship morning radio news programme,Today.In 2010 she was named by Time magazine as influential thinker in the 2010 TIME 100 issue. In September 2010, The British magazineNew Statesmanlisted Zaha Hadid at number 42 in their annual survey of "The World's 50 Most Influential Figures 2010".

She won the 2010 Stirling Prize for one of her most celebrated work, the Maxxi in Rome.Hadidis the designer of the Dongdaemun Design Plaza & Park in Seoul, South Korea, which is expected to be the centerpiece of the festivities for the city's designation as World Design Capital 2010. In 2009, she worked with the clothing brand Lacoste, to create a new, high fashion, and advanced boot. In the same year, she also collaborated with the brassware manufacturer Triflow Concepts to produce two new designs in her signature parametricarchitectural style. Her unique contributions to brassware design and other fields continue to push the boundaries of innovation.

5.COMPLETED PROJECTS Vitra Fire Station (1994), Weil am Rhein, Germany Bergisel Ski Jump (2002), Innsbruck, Austria Rosenthal Center for Contemporary Art (2003), Cincinnati, Ohio, USA Hotel Puerta America (2003-2005), Madrid, Spain BMW Central Building (2005), Leipzig, Germany Ordrupgaard annexe (2005), Copenhagen, Denmark Phaeno Science Center (2005), Wolfsburg, Germany Maggie's Centres at the Victoria Hospital (2006), Kirkcaldy, Scotland Hungerburgbahn new stations (2007), Innsbruck, Austria Chanel Mobile Art Pavilion (Worldwide) Tokyo, Hong Kong, New York, London, Paris, Moscow, (200608) Bridge Pavilion (2008), Zaragoza, Spain Pierresvives (200212), Montpellier, France, project architect: Stephane Hof MAXXI - National Museum of the 21st Century Arts (19982010), Rome, Italy. Stirling Prize 2010 winner. Guangzhou Opera House (2010), Guangzhou, People's Republic of China. Galaxy SOHO in Beijing, China. London Aquatics Centre (2011), 2012 Summer Olympics, London, UK. Riverside Museum (200711) development of Glasgow Transport Museum, Scotland CMA CGM Tower (200411), Marseilles, France Evelyn Grace Academy (200610) in Brixton, London, UK. Stirling Prize 2011 winner. Roca London Gallery (200911) in Chelsea Harbour, London, UK. Heydar Aliyev Cultural Centre (200712) in Baku, Azerbaijan. Eli and Edythe Broad Art Museum (201012), East Lansing, Michigan, USA

ALVAR ALTO

1.INTRODUCTIONHugo Alvar Henrik Aalto(3 February 1898 11 May 1976) was a finnish architectand designer. His work include architecture, furniture, textiles and glassware. Aalto's early career runs in parallel with the rapid economic growth and industrialization of Finland during the first half of the twentieth century and many of his clients were industrialists; among these were the Ahlstrm-Gullichsen family.The span of his career, from the 1920s to the 1970s, is reflected in the styles of his work, ranging fromNordic Classicismof the early work, to a rational International StyleModernism during the 1930s to a more organic modernist style from the 1940s onwards. What is typical for his entire career, however, is a concern for design as a Gesamtkunstwerk, atotal work of art; whereby he together with his first wifeAino Aalto would design not just the building, but give special treatments to the interior surfaces and design furniture, lamps, and furnishings and glassware. The Alvar Aalto Museum, designed by Aalto himself, is located in what is regarded as his home cityJyvskyl.2.EARLY LIFEHugo Alvar Henrik Aalto was born inKuortane,Finland. His father, Johan Henrik Aalto, was a Finnish-speaking land-surveyor and his mother, Selly (Selma) Matilda (ne Hackstedt) was a Swedish-speaking postmistress. When Aalto was 5 years old, the family moved toAlajrvi, and from there toJyvskyl in Central Finland. Aalto studied at the Jyvskyl Lyceum school, completing his basic education in 1916. In 1916 he then enrolled to study architecture at theHelsinki University of Technology. His studies were interrupted by theFinnish War of Liberation, which he fought in. Afterwards, he continued his education, graduating in 1921.3.EARLY CAREER: CLASSICISMAlthough he is sometimes regarded as among the first and most influential architects of Nordicmodernism, a closer examination of the historical facts reveals that Aalto (while a pioneer in Finland) closely followed and had personal contacts with other pioneers in Sweden, in particularGunnar AsplundandSven Markelius. What they and many others of that generation in the Nordic countries had in common was that they started off from a classical education and were first designing in the so-calledNordic Classicismstyle a style that had been a reaction to the previous dominant style ofNational Romanticism before moving, in the late 1920s, towards Modernism. On returning to Jyvskyl in 1923 to establish his own architect's office, Aalto busied himself with a number of single-family homes, all designed in the classical style, such as the manor-like house for his mother's cousin Terho Manner in Tysa in 1923, a summer villa for the Jyvskyl chief constable in 1923 and the Alatalo farmhouse in Tarvaala in 1924. During this period he also completed his first public buildings, the Jyvskyl Workers' Club in 1925, the Jyvskyl Defence Corps building in 1926 and the Seinajoki Defence Corp building in 1924-29. Aalto also entered several architectural competitions for prestigious state public buildings, both in Finland and abroad, including the two competitions for the Finnish Parliamentary building in 1923 and 1924, the extension to theUniversity of Helsinkiin 1931, and the building to house theLeague of NationsinGeneva, Switzerland, in 1926-27. Furthermore, this was the period when Aalto was most prolific in his writings, with articles for professional journals and newspapers. Among his most well-known essays from this period are "Urban culture" 1924), "Temple baths on Jyvskyl ridge" (1925), "Abb Coignard's sermon" (1925), and "From doorstep to living room" (1926).

4.EARLY CAREER: FUNCTIONALISMThe shift in Aalto's design approach from classicism to modernism is epitomized by theViipuri Library(192735), which went through a transformation from an originally classical competition entry proposal to the completed high-modernist building. Yet his humanistic approach is in full evidence in the library: the interior displays natural materials, warm colours, and undulating lines. Due to problems over financing and a change of site, the Viipuri Library project lasted eight years, and during that same time he also designed the Turun Sanomat Building (192930) and Paimio Sanatorium (192932). Thus, the Turun Sanomat Building first heralded Aalto's move towards modernism, and this was then carried forward both in the Paimio Sanatorium and in the on-going design for the library. Although the Turun Sanomat Building and Paimio Sanatorium are comparatively pure modernist works, they too carried the seeds of his questioning of such an orthodox modernist approach and a move to a more daring, synthetic attitude. It has been said that his work on two of these three buildings (not the Viipuri Library) showed similarities toWalter Gropius' style, in particular his work on theBauhaus school of designinDessau.His work on the Viipuri building started to show his individuality in a departure from the European norms.

5.MID CAREER: EXPERIMENTATIONAalto's early experiments with wood and his move away from a purist modernism would be tested in built form with the commission to design Villa Mairea (1939) inNoormarkku, the luxury home of the young industrialist couple Harry and Maire Gullichsen. It was Maire Gullichsen who acted as the main client, and she worked closely not only with Alvar but also Aino Aalto on the design, inspiring them to be more daring in their work. The original design was to include a private art gallery, but this was never built. The building forms a U-shape around a central inner "garden" the central feature of which is a kidney-shaped swimming pool. Adjacent to the pool is a sauna executed in a rustic style, alluding to both Finnish and Japanese precedents. The design of the house is a synthesis of numerous stylistic influences, from traditional Finnish vernacular to purist modernism, as well as influences from English and Japanese architecture. While the house is clearly intended for a wealthy family, Aalto nevertheless argued that it was also an experiment that would prove useful in the design of mass housing.

6.BEST PROJECTThe Alvar Aalto Museum

The Alvar Aalto Museum is sited on a slope leading down towards Lake Jyvsjrvi. Alvar Aalto's design for the museum building was completed in 1973. The building, together with that of the Museum of Central Finland (Alvar Aalto 1961) form a centre of culture in the immediate vicinity of the University of Jyvskyl (Alvar Aalto 1951-1971).Both the museum buildings are representative of Aalto's 'white period', but they differ in their external appearance and scale from other public buildings of the same period. The decade that separates the design of the buildings can be seen particularly in the elevations; the rectangular shaped faade of the Museum of Central Finland rising up out of the slope is a reflection of the geometric practicality of Functionalism, while the Alvar Aalto Museum is more closed in, but at the same time more free in its form. In the early 1990s, the Museum of Central Finland was extended into Ruusupuisto, the adjoining park, according to the designs of Elissa Aalto.Above a high, white-painted concrete plinth, the elevations of the Alvar Aalto Museum are clad in light-coloured ceramic tiles named 'Halla', the Finnish word for 'Frost', and made by the famous Finnish porcelain manufacturers, Arabia. The vertical bands of baton-shaped, glazed tiles divide up the rampart-like elevations to form a relief that gives a strong effect of depth when the surface is washed with light. The rampart-like quality is emphasised by the vertical battens on the roof windows of the exhibition galleries, which cause the roof lights to merge into the faade when looked at from a certain angle.The entrance faade has no windows apart from a few tiny openings close to the doors. The surface of the massive doors is copper and there is a hint of marble on the left-hand side of the doorway. The roofscape is dominated by the east-facing roof lights.The lower floor houses the foyer and cloakrooms, caf, Alvar Aalto Museum Shop, offices, library and space for storage and for the photographer. There is a small flat at the back of the building containing offices, plus a studio formerly used by the local society of artists, which now acts as the museum workshop 'URBS'. From the caf there is a view towards a series of open-air pools, with water trickling from one to another along the route of what was once a natural stream. Light draws one from the dimly-lit foyer to the stairway leading up to large exhibition gallery on the upper floor.The upper-floor exhibition gallery is about 700 m2 in area. The wave-like surface of the high rear wall clad in pine battens is a reminder of the wall of Aalto's pavilion at the New York World's Fair in 1939. Daylight filters into the gallery through the roof lights. Despite its lightness, the space is contained and intimate. The large exhibition hall houses the museum's permanent exhibition - Alvar Aalto, Architect. n the Gallery there are changing exhibitions on architecture and design. The Alvar Aalto Museum has a total area of 1750 m2 and a volume of about 7550 m3.

B.V.DOSHI

1.INTRODUCTIONB.V.Doshi born 26 August 1927 is an Indian architect, considered an important figure of South Asian architecture and noted for his contributions to the evolution of architectural discourse in India. He is known for his contributions to the architecture of Indian Institute of Management Bangalore2.EARLY LIFEAfter having worked for four years between 1951-54 with Le Corbusier in Paris, B. V. Doshi returned to Ahmedabad to supervise Le Corbusier's projects. His studio, Vastu-Shilpa (environmental design), was established in 1955. Doshi worked closely with Louis Kahn and Anant Raje, when Kahn designed the campus of the Indian Institute of Management, Ahmedabad. In 1958 he was a fellow at the Graham Foundation for Advanced Studies in the Fine Arts. He then started the School of Architecture (S.A) in 1962.Doshi is a Fellow of the Royal Institute of British Architects, and has been on the selection committee for the Pritzker Prize, the Indira Gandhi National Centre for Arts, and the Aga Khan Award for Architecture. He is also a Fellow of the Indian Institute of Architects.Apart from his international fame as an architect, Dr. Doshi is equally known as an educator and institution builder. He has been the first founder Director of the School of Architecture, Ahmedabad (196272), first founder Director of the School of Planning (197279), first founder Dean of the Centre for Environmental Planning and Technology (197281), founder member of the Visual Arts Centre, Ahmedabad and first founder Director of the Kanoria Centre for Arts, Ahmedabad. Dr. Doshi has been instrumental in establishing the nationally and internationally known research institute Vastu-Shilpa Foundation for Studies and Research in Environmental Design. The institute has done pioneering work in low cost housing and city planning.As an academician, Dr. Doshi has been visiting the USA and Europe since 1958 and has held important chairs in American Universities.3.SELECTED WORKS 1979-80 Sangath, BV Doshi's office, Ahmedabad 1972 Centre for Environment and Planning Technology (CEPT), Ahmedabad 1962-74 Indian Institute of Management Bangalore 1989 National Institute of Fashion Technology, Delhi 1990 Amdavad ni Gufa, Ahmedabad Aranya Low Cost Housing, Indore IFFCO township, Kalol Sawai Gandharva, Pune Premabhai Hall, Ahmedabad Tagore Hall, Ahmedabad

CARLES CORREA

1.INTRODUCTIONCharles Correa(born September 1, 1930) is a notedIndianarchitect,urban plannerand activist. An influential architect credited for the creation of modern architecture in post-Independence India. He is noted for his sensitivity to the needs of the urban poor and for his use of traditional methods and materials.He has been awarded thePadma Shriin 1972, and second highest civilian honour, thePadma Vibhushanin 2006, given byGovernment of India. He was also awarded the 1984Royal Gold Medalfor architecture, by theRoyal Institute of British Architects.2.EARLY LIFECharles Mark Correa was born on September 1, 1930, inSecunderabad, India.Correa began his higher studies atSt. Xavier's College, Mumbaiat the University of Bombay (now Mumbai), and he went on to study at theUniversity of Michiganat Ann Arbor (194953) and theMassachusetts Institute of Technology(MIT) in Cambridge, Massachusetts (195355). In 1958 he established his own Bombay-based professional practice.

3.AWARDS RIBARoyal Gold Medal- 1984. Padma Vibhushan(2006) andPadma Shri(1972). Praemium Imperiale(1994) 7thAga Khan Award for ArchitectureforMadhya Pradesh Legislative Assembly(1998) Austrian Decoration for Science and Art(2005) His acclaimed design forMcGovern Institute for Brain ResearchatMITwas dedicated recently.4.MORE ABOUT CHARLES CORREACharles Correa is a major figure in contemporary architecture around the world. With his extraordinary and inspiring designs, he has played a pivotal role in the creation of an architecture for post-Independence India. All of his work - from the carefully detailed memorialMahatma GandhiMemorial Museum at theSabarmati AshraminAhmedabadto Kanchanjunga Apartment tower in Mumbai, the Jawahar Kala Kendra in Jaipur, the planning ofNavi Mumbai, MIT'S Brain and Cognitive Sciences Centre in Boston, and most recently, the Champalimad Centre for the Unknown in Lisbon, places special emphasis on prevailing resources, energy and climate as major determinants in the ordering of space.His first important project was "Mahatma Gandhi Sangrahalaya" (Mahatma GandhiMemorial) atSabarmati Ashramin Ahmedabad (1958-1963),then in 1967 he designed theMadhya Pradesh Legislative Assemblyin Bhopal. He also designed the distinctive buildings ofNational Crafts Museum,New Delhi(19751990),Bharat Bhavan, Bhopal (1982),Jawahar Kala Kendra(Jawahar Arts Centre), in Jaipur, Rajasthan (1986-1992), British Council, Delhi, (198792) theMcGovern Institute for Brain Researchat MIT, Boston (2000-2005), and theChampalimaud Centre for The Unknownin Lisbon, Portugal (2007-2010). From 1970-75, he was Chief Architect forNew Bombay(Navi Mumbai), an urban growth center of 2 million people, across the harbor from the existing city ofMumbai.

A.P.KANVINDE

1.INTRODUCTIONKanvinde was born in 1916 in a small village on the Konkan coast.Raised in a joint family in the village.Kanvinde had the calling of a painter and did enroll in an art school but the family decided that architecture would be a better profession for him.He entered the Architecture Department at Sir J.J. School of Art in 1935 then headed by Claude Batley, who was also the premier architect of the country. He passed out in 1941.1943, he joined the newly formed Council for Scientific and Industrial Research as architect.Achyut Kanvinde attended Harvard Graduate school of Design in 1945. In 47 appointed as the Chief Architect of CSIR.Formed Kanvinde and Rai in 1955.2.EARLY LIFEHe was born in Achare, in the Konkan region of Maharashtra, in 1916 in a large family. His mother died when he was two and his father was an arts teacher in Mumbai. Kanvinde entered the Sir J.J. School of Art (University of Mumbai) in 1935, to study architecture under Claude Batley. He later studied design at Harvard in 1945 and was influenced by the works of Walter Gropius.

LE CORBUSIER

1.INTRODUCTIONCharles-douardJeanneret-Gris, better known as Le Corbusier ( October 6, 1887 August 27, 1965), was an architect, designer, painter, urban planner, writer, and one of the pioneers of what is now called modern architecture. He was born in Switzerland and became a French citizen in 1930. His career spanned five decades, with his buildings constructed throughout Europe, India, and America.2.EARLY LIFEHe was born as Charles-douard Jeanneret-Gris in La Chaux-de-Fonds, a small city in Neuchtel canton in north-western Switzerland, in the Jura mountains, just 5 kilometres (3.1mi) across the border from France. He attended a kindergarten that used Frbelian methods.Young Jeanneret was attracted to the visual arts and studied at the La-Chaux-de-Fonds Art School under Charles L'Eplattenier, who had studied in Budapest and Paris. His architecture teacher in the Art School was the architect Ren Chapallaz, who had a large influence on Le Corbusier's earliest house designs.In his early years he would frequently escape the somewhat provincial atmosphere of his hometown by traveling around Europe. In 1906 he made his first trip outside of Switzerland, going to Italy. In around 1907 he travelled to Paris, where he found work in the office of AugustePerret, the French pioneer of reinforced concrete. It was both his trip to Italy and his employment at Perret's office that began to form his own ideas about architecture. In 1908, he studied architecture in Vienna with Josef Hoffmann. Between October 1910 and March 1911, he worked near Berlin for the renowned architect Peter Behrens, where he may have met Ludwig Mies van der Rohe and Walter Gropius. He became fluent in German. More than anything during this period, it was his visit to the Charterhouse of the Valley of Ema that influenced his architectural philosophy profoundly for the rest of his life. He believed that all people should have the opportunity to live as beautifully and peacefully as the monks he witnessed in the sanctuaries at the charterhouse.Later in 1911, he journeyed to the Balkans and visited Bulgaria, Greece, and Turkey, filling nearly 80 sketchbooks with renderings of what he sawincluding many sketches of the Parthenon, whose forms he would later praise in his work Versune architecture (1923) ("Towards an Architecture", but usually translated into English as "Towards a New Architecture").3.MORE ABOUT LE CORBUSIERDuring his long life, Le Corbusier designed buildings in Europe, India, and Russia. Le Corbusier also designed one building in the United States and one in South America.The earlier buildings by Le Corbusier were smooth, white concrete and glass structures elevated above the ground. He called these works "pure prisms." In the late 1940s, Le Corbusier turned to a style known as "New Brutalism," which used rough, heavy forms of stone, concrete, stucco, and glass.The same modernist ideas found in Le Corbusier's architecture were also expressed in his designs for simple, streamlined furniture. Immitations of Le Corbusier's chrome-plated tubular steel chairs are still made today.Le Corbusier is perhaps best known for his innovations in urban planning and his solutions for low income housing. Le Corbusier believed that the stark, unornamented buildings he designed would contribute to clean, bright, healthy cities. Le Corbusier's urban ideals were realized in theUnit d'Habitation, or the "Radiant City," in Marseilles, France. The Unite incorporated shops, meeting rooms, and living quarters for 1,600 people in a 17-story structure. Today, visitors can stay at the Unite in the historic Hotel Le Corbusier.4.PHILOSOPHYIn his bookVers une architecture, Le Corbusier described "5 points of architecture" that became the guiding principles for many of his designs, most especiallyVilla Savoye.1. Freestanding support pillars2. Open floor plan independent from the supports3. Vertical facade that is free from the supports4. Long horizontal sliding windows5. Roof gardensAn innovative urban planner, Corbusier anticipated the role of the automobile and envisioned cities with big apartment buildings in park-like settings.5.SELECTED WORKS 1922: Ozenfant House and Studio, Paris 1946-1952:Unit d'Habitation, Marseilles, France 1953-1957: Museum at Ahmedabad, India 1950-1963: High Court Buildings, Chandigarh, India 1950-1955: Notre-Dame-du-Haut, Ronchamp, France 1954-1956: Maisons Jaoul, Neuilly-sur-Seine, Paris 1957-1960: Convent of La Tourette, Lyon France 1958: Philips Pavilion, Brussels 1961-1964: Carpenter Center, Cambridge, MA 1963-1967: Centre Le Corbusier, Zrich, Switzerland

High Court in Chandigarh, India Villa Savoye

KISHO KUROKAWA

1.INTRODUCTIONBorn inKanie, Aichi, Kurokawa studied architecture atKyoto University, graduating with abachelor's degreein 1957. He then attendedUniversity of Tokyo, under the supervision ofKenzo Tange. Kurokawa received amaster's degreein 1959. Kurokawa then went on to study for adoctorate of philosophy, but subsequently dropped out in 1964.With colleagues, he cofounded theMetabolist Movementin 1960, whose members were known as Metabolists. It was a radical Japaneseavant-garde movement pursuing the merging and recycling of architecture styles within an Asian context. The movement was very successful, peaking when its members received praise for the TakaraCotillion Beautillionat theOsaka World Expo 1970. The group was dismantled shortly thereafter.Kurokawa had a daughter, potter Kako Matsuura, and a son, renowned photographer Mikio, from his first marriage to his college classmate. His second marriage was toAyako Wakao( Wakao Ayako), an actress with some notable films in the 1950s and 1960s and who still appears on stage. Kurokawa's younger brother works inindustrial designbut has also cooperated with Kurokawa on somearchitectureprojects.Kurokawa was the founder and president of Kisho Kurokawa Architect & Associates, established 8 April 1962. The enterprise's head office is inTokyowith branch offices inOsaka,Nagoya,Astana,Kuala Lumpur,BeijingandLos Angeles. The company is registered with the Japanese government as a "First Class Architects Office."

2.EARLY LIFEKurokawa wrote extensively on philosophy and architecture and lectured widely. He wrote that there are two traditions inherent in any culture: the visible and the invisible. His work, he claimed, carried the invisible tradition of Japan. In 1972, he received a grant from the Graham Foundation to deliver a lecture at the Museum of Science and Industry in Chicago.Looking at his architectureparticularly at metabolismtradition may not appear to be present, but, underneath the hard skin of the surface, his work is indeed Japanese. However, it is difficult to claim that the modern technologies and material he called on was inherited from the Japanese tradition and that the traditional forms of Japanese architecture can be recognized in his contemporary concrete or steel towers. Yet, Kurokawas architecture evolved from the Japanese tradition, and there is a Japanese aesthetic in the context of his work. His architecture focused on keeping traditional Japanese concepts invisible, especially materiality, impermanence, receptivity and detail. Kurokawa specifically referred to these four factors in his discussions of new wave Japanese Architecture.3.MORE ABOUT KISHO KUROKAWAKurokawa explained that the attention paid to detail in Japanese work derived essentially from the typical attempt to express individuality and expertise. In Japan the execution of details was a process of working not from the whole to the parts but from the parts to the whole. Every wood connection in a house was carefully crafted from the inside out. Japan is a country that moved from a non-industrial country to a fully industrial nation in less than 50 years, during the Meiji revolution. This sharp jump from producing goods by craftsmen to industrially realized production was so rapid that the deep-rooted tradition of fine craftsmanship as a statement of the creator did not disappear. As a result, the Japanese maker continues to be instilled with a fastidious preoccupation for fine details, which can be seen in contemporary architecture, art and industry. The attention to detail, an integral part of Japan's tradition, forms a uniquely indigenous aesthetic.

4.PHILOSOPHY1) Impermanence :-Kurokawa noted that, with the exception ofKyotoandKanazawa, most Japanese cities were destroyed duringWorld War II. When Western cities are destroyed, brick and stone remained as proof of their past existence. Sadly, remarks Kurokawa, Japans cities were mostly built of wood and natural elements, so they burnt to ashes and disappeared completely. He also noted that both Edo (now Tokyo) and Kyoto were almost entirely destroyed during several battles of the Warring States period in the 15th and 16th centuries. The shifting of power caused parts of Japan to be destroyed. On the same note, historically speaking, Japans cities have almost yearly been hit with natural disasters such as earthquakes,typhoons, floods andvolcanic eruptions. This continuous destruction of buildings and cities has given the Japanese population, in Kurokawa's words, an uncertainty about existence, a lack of faith in the visible, a suspicion of the eternal.2) Materiality :-Kurokawa explains that the Japanese tried to exploit the natural textures and colours of materials used in a building. The traditional tea room was intentionally built of only natural materials such as earth and sand, paper, the stems and leaves of plants, and small trees. Trees from a person's own backyard were preferred for the necessary timbers. All artificial colours were avoided, and the natural colours and texture of materials were shown to their best advantage. This honesty in materials stemmed from the idea that nature is already beautiful in itself. The Japanese feel that food tastes better, wood looks better, materials are better when natural. There is a belief that maximum enjoyment comes from the natural state.3) Receptivity :-The notion of receptivity is a crucial Japanese ideapossibly a tradition." Kurokawa stated that Japan is a small country. For more than a thousand years, the Japanese had an awareness of neighboringChinaandKoreaand, in the modern age,Portugal,Great BritainandAmerica, to name a few. The only way for a small country like Japan to avoid being attacked by these empires was to make continuous attempts to absorb foreign cultures for study and, while establishing friendly relations with the larger nations, preserve its own identity. This receptivity is the aspect that allowed Japan to grow from a farming island into an imperial nation, first using Chinese political systems and Chinese advancement, then Western techniques and knowledge. Japan eventually surpassed China and stumbled upon itself during World War II. After the war, Japan, using this same perspective absorbed American culture and technology.4) Sustainability :-In 1958, Kisho Kurokawa predicted a Transition from the Age of the Machine to the Age of Life, and has continually utilized such key words of life principles as metabolism (metabolize and recycle), ecology, sustainability, symbiosis, intermediate areas (ambiguity) and Hanasuki (Splendor of Wabi) in order to call for new styles to be implemented by society. For four decades, Kisho Kurokawa created eco-friendly and sustainable architectural projects. In 2003 he was awarded theDedalo-Minosse International Prize(Grand Prix) for his creation of the Kuala Lumpur International Airport in Malaysia and KLIA is the first and only airport in the world to receive the United Nations' Green Globe 21 certification for the airport's commitment to environmental responsibility each year since 2004. In 2008, theKisho Kurokawa Green Institutewas founded in his honour. Impermanence

The National Art Center, Tokyo Saitama Prefectural Museum of Modern Art

NARI GANDHI

1.INTRODUCTIONBornJanuary 1, 1934Surat, India

DiedAugust 18, 1993Khopoli near Mumbai, India

NationalityIndian

BuildingsDaya residence (Mumbai), Patel residence (Surat), Gateway to mosque (Kolgaon), Jain house (Lonavala)

Nari Gandhi (19341993) was an Indian architect known for his highly innovative works in organic architecture.2.EARLY LIFENariman (Nari) Dossabhai Gandhi was born in 1934 in Surat to a Zoroastrian Parsi family from Bombay. He was one of the six children with three brothers and two sisters.Nari completed his schooling DDFF at St. Xavier's High School, Fort, Mumbai, and studied architecture at Sir J. J. College of Architecture, Mumbai for five years in early 1950s. He traveled to USA to apprentice with Frank Lloyd Wright at the Taliesin and spent five years there.

ANTONIO GAUDI

1.INTRODUCTIONAntoni Gaud i Cornet (25 June 1852 10 June 1926) was an architect from Reus, who was the figurehead of Catalan Modernism. Gaudis works reflect his highly individual and distinctive style and are largely concentrated in Barcelona, notably his magnum opus, the Sagrada Famlia.Much of Gaud's work was marked by his big passions in life: architecture, nature, religion. Gaud studied every detail of his creations, integrating into his architecture a series of crafts in which he was skilled: ceramics, stained glass, wrought ironwork forging and carpentry. He introduced new techniques in the treatment of materials, such as trencads, made of waste ceramic pieces.Gaud's work enjoys widespread international appeal and many studies are devoted to understanding his architecture. Today, his work finds admirers among architects and the general public alike. His masterpiece, the still-uncompleted Sagrada Famlia, is one of the most visited monuments in Catalonia. Between 1984 and 2005, seven of his works were declared World Heritage Sites by UNESCO. Gaud's Roman Catholic faith intensified during his life and religious images permeate his work. This earned him the nickname "God's Architect" and led to calls for his beatification

2.STYLEGaud and Modernism

The four-armed cross, one of the most typical features of Gaud's worksGaud's professional life was distinctive in that he never ceased to investigate mechanical building structures. Early on, Gaud was inspired by oriental arts (India, Persia, and Japan) through the study of the historicist architectural theoreticians, such as Walter Pater, John Ruskin and William Morris. The influence of the Oriental movement can be seen in works like the Capricho, the Gell Palace, the Gell Pavilions and the Casa Vicens.During his time as a student, Gaud was able to study a collection of photographs of Egyptian, Indian, Persian, Mayan, Chinese and Japanese art owned by the School of Architecture. The collection also included Moorish monuments in Spain, which left a deep mark on him and served as an inspiration in many of his works. He also studied the book Plans, elevations, sections and details of the Alhambra by Owen Jones, which he borrowed from the School's library. He took various structural and ornamental solutions from nazar and mudjar art, which he used with variations and stylistic freedom in his works. Undoubtedly the style that most influenced him was the Gothic Revival, promoted in the latter half of the 19th century by the theoretical works of Viollet-le-Duc. The French architect called for studying the styles of the past and adapting them in a rational manner, taking into account both structure and design. Nonetheless, for Gaud the Gothic style was "imperfect", because despite the effectiveness of some of its structural solutions it was an art that had yet to be "perfected". In his own words: Gothic art is imperfect, only half resolved; it is a style created by the compasses, a formulaic industrial repetition. Its stability depends on constant propping up by the buttresses: it is a defective body held up on crutches. The proof that Gothic works are of deficient plasticity is that they produce their greatest emotional effect when they are mutilated, covered in ivy and lit by the moon.

The salamander in Park Gell has become a symbol of Gaud's work.After these initial influences, Gaud moved towards Modernisme, then in its heyday. Modernisme in its earlier stages was inspired by historic architecture. Its practitioners saw its return to the past as a response to the industrial forms imposed by the Industrial Revolution's technological advances. The use of these older styles represented a moral regeneration that allowed the bourgeoisie to identify with values they regarded as their cultural roots.Some essential features of Modernisme were: an anticlassical language inherited from Romanticism with a tendency to lyricism and subjectivity; the determined connection of architecture with the applied arts and artistic work that produced an overtly ornamental style; the use of new materials from which emerged a mixed constructional language, rich in contrasts, that sought a plastic effect for the whole; a strong sense of optimism and faith in progress that produced an emphatic art that reflected the atmosphere of prosperity of the time, above all of the esthetic of the bourgeoisie.

3.QUEST FOR A NEW ARCHITECTURAL LANGUAGEGaud is usually considered the great master of Catalan Modernism, but his works go beyond any one style or classification. They are imaginative works that find their main inspiration in nature. Gaud studied organic and anarchic geometric forms of nature thoroughly, searching for a way to give expression to these forms in architecture. Some of his greatest inspirations came from visits to the mountain of Montserrat, the caves of Mallorca, the saltpetre caves in Collbat), the crag of Fra Guerau in the Prades Mountains behind Reus, the Pareis mountain in the north of Mallorca and Sant Miquel del Fai in Bigues i Riells.4.GEOMETRICAL FORMSThe nave in the Sagrada Familia with a hyperboloid vault. Inspiration from nature is taken from a tree, as the pillar and branches symbolize trees rising up to the roof.This study of nature translated into his use of ruled geometrical forms such as the hyperbolic paraboloid, the hyperboloid, the helicoid and the cone, which reflect the forms Gaud found in nature. Ruled surfaces are forms generated by a straight line known as the generatrix, as it moves over one or several lines known as directrices. Gaud found abundant examples of them in nature, for instance in rushes, reeds and bones; he used to say that there is no better structure than the trunk of a tree or a human skeleton. These forms are at the same time functional and aesthetic, and Gaud discovered how to adapt the language of nature to the structural forms of architecture. He used to equate the helicoid form to movement and the hyperboloid to light. Concerning ruled surfaces, he said "Paraboloids, hyperboloids and helicoids, constantly varying the incidence of the light, are rich in matrices themselves, which make ornamentation and even modelling unnecessary."Gaud evolved from plane to spatial geometry, to ruled geometry. These constructional forms are highly suited to the use of cheap materials such as brick. Gaud frequently used brick laid with mortar in successive layers, as in the traditional Catalan vault. This quest for new structural solutions culminated between 1910 and 1920, when he exploited his research and experience in his masterpiece, the Sagrada Famlia. Gaud conceived this church as if it were the structure of a forest, with a set of tree-like columns divided into various branches to support a structure of intertwined hyperboloid vaults. He inclined the columns so they could better resist the perpendicular pressures on their section. He also gave them a double turn helicoid shape (right turn and left turn), as in the branches and trunks of trees. This created a structure that is now known as fractal

5.SURPASSING THE GOTHICThis new constructional technique allowed Gaud to achieve his greatest architectural goal; to perfect and go beyond Gothic style. The hyperboloid vaults have their centre where Gothic vaults had their keystone, and the hyperboloid allows for a hole in this space to let natural light in. In the intersection between vaults, where Gothic vaults have ribs, the hyperboloid allows for holes as well, which Gaud employed to give the impression of a starry sky.Gaud complemented this organic vision of architecture with a unique spatial vision that allowed him to conceive his designs in three dimensions, unlike the flat design of traditional architecture. He used to say that he had acquired this spatial sense as a boy by looking at the drawings his father made of the boilers and stills he produced. Because of this spatial conception, Gaud always preferred to work with casts and scale models or even improvise on site as a work progressed. Reluctant to draw plans, only on rare occasions did he sketch his works, in fact only when required by authorities.

An upside down force model of the Colnia Gell, Sagrada Famlia MuseumOther factors that led to the initial neglect of the Catalan architect's work was that despite having numerous assistants and helpers, Gaud created no school of his own and never taught, nor did he leave written documents.

6.DESIGN AND CRAFTSMANSHIP

Entrance gate of the Gell PavilionsDuring his student days, Gaud attended craft workshops, such as those taught by Eudald Punt, Lloren Matamala and Joan Os, where he learned the basic aspects of techniques relating to architecture, including sculpture, carpentry, wrought ironwork, stained glass, ceramics, plaster modelling, etc.He also absorbed new technological developments, integrating into his technique the use of iron and reinforced concrete in construction. Gaud took a broad view of architecture as a multifunctional design, in which every single detail in an arrangement has to be harmoniously made and well-proportioned. This knowledge allowed him to design architectural projects, including all the elements of his works, from furnishings to illumination to wrought ironwork.Gaud was also an innovator in the realm of craftsmanship, conceiving new technical and decorative solutions with his materials, for example his way of designing ceramic mosaics made of waste pieces ("trencads") in original and imaginative combinations. For the restoration of Mallorca Cathedral he invented a new technique to produce stained glass, which consisted of juxtaposing three glass panes of primary colours, and sometimes a neutral one, varying the thickness of the glass in order to graduate the light's intensity.

Dedicatory object for Orfe Catal (1922), designed by Gaud, drawn by Francesc Quintana and coloured by Josep Maria Jujol7.URBAN SPACES AND LANDSCAPINGGaud also practiced landscaping, often in urban settings. He aimed to place his works in the most appropriate natural and architectural surroundings by studying the location of his constructions thoroughly and trying to naturally integrate them into those surroundings. For this purpose, he often used the material that was most common in the nearby environment, such as the slate of Bellesguard and the grey Bierzo granite in the Episcopal Palace, Astorga. Many of his projects were gardens, such as the Gell Park and the Can Artigas Gardens, or incorporated gardens, as in the Casa Vicens or the Gell Pavilions. Gaud's harmonious approach to landscaping is exemplified at the First Mystery of the Glory of the Rosary at Montserrat, where the architectural framework is nature itselfhere the Montserrat rocknature encircles the group of sculptures that adorned the path to the Holy Cave.8.INTERIORS

Interior of the Casa VicensEqually, Gaud stood out as interior decorator, decorating most of his buildings personally, from the furnishings to the smallest details. In each case he knew how to apply stylistic particularities, personalising the decoration according to the owner's taste, the predominant style of the arrangement or its place in the surroundingswhether urban or natural, secular or religious. Many of his works were related to liturgical furnishing. From the design of a desk for his office at the beginning of his career to the furnishings designed for the Sobrellano Palace of Comillas, he designed all furnishing of the Vicens, Calvet, Batll and Mil houses, of the Gell Palace and the Bellesguard Tower, and the liturgical furnishing of the Sagrada Famlia. It is noteworthy that Gaud studied some ergonomy in order to adapt his furnishings to human anatomy. Many of his furnishings are exhibited at Gaud Museum.With regard to light, he stated: Light achieves maximum harmony at an inclination of 45, since it resides on objects in a way that is neither horizontal nor vertical. This can be considered medium light, and it offers the most perfect vision of objects and their most exquisite nuances. It is the Mediterranean light.Lighting also served Gaud for the organisation of space, which required a careful study of the gradient of light intensity to adequately adapt to each specific environment. He achieved this with different elements such as skylights, windows, shutters and blinds; a notable case is the gradation of colour used in the atrium of the Casa Batll to achieve uniform distribution of light throughout the interior. He also tended to build south-facing houses to maximise sunlight.9.EARLY WORKSGauds first works both from his student days and the time just after his graduation stand out for the precision of their details, the use of geometry and the prevalence of mechanical considerations in the structural calculations.University yearsDuring his studies, Gaud designed various projects, among which the following stand out: a cemetery gate (1875), a Spanish pavilion for the Philadelphia World Fair of 1876, a quay-side building (1876), a courtyard for the Diputaci de Barcelona (1876), a monumental fountain for the Plaa Catalunya in Barcelona (1877) and a university assembly hall (1877).Cemetery gate (1875)Quay-side building (1876)10.EARLY POST-GRADUATION PROJECTSAfter his graduation as an architect in 1878, Gaud's first work was a set of lampposts for the Plaa Reial, the project for the Girossi newsstands and the Matar cooperative, which was his first important work. He received the request from the city council of Barcelona in February 1878, when he had graduated but not yet received his degree, which was sent from Madrid on 15 March of the same year.[80] For this commission he designed two types of lampposts: one with six arms, of which two were installed in the Plaa Reial, and another with three, of which two were installed in the Pla del Palau, opposite the Civil Government. The lampposts were inaugurated during the Merc festivities in 1879. Made of cast iron with a marble base, they have a decoration in which the caduceus of Mercury is prominent, symbol of commerce and emblem of Barcelona.

Lampposts

Esteban Comella displayIn May 1878 Gaud designed a display cabinet for the Esteban Comella glove factory, which was exhibited in the Spanish pavilion at the Paris World Exhibition that year. It was this work that attracted the attention of the entrepreneur Eusebi Gell, visiting the French capital; he was so impressed that he wanted to meet Gaud on his return, beginning a long friendship and professional collaboration. Gell became Gaud's main patron and sponsor of many of his large projects.Orientalist periodDuring these years Gaud completed a series of works with a distinctly oriental flavor, inspired by the art of the Middle and Far East (India, Persia, Japan), as well as Islamic-Hispanic art, mainly Mudejar and Nazari. Gaud used ceramic tile decoration abundantly, as well as Moorish arches, columns of exposed brick and pinnacles in the shape of pavilions or domes.Between 1883 and 1888 he constructed the Casa Vicens, commissioned by stockbroker Manuel Vicens i Montaner. It was constructed with four floors, with facades on three sides and an extensive garden, including a monumental brick fountain. The house was surrounded by a wall with iron gates, decorated with palmetto leaves, work of Lloren Matamala. The walls of the house are of stone alternated with lines of tile, which imitate yellow flowers typical of this area; the house is topped with chimneys and turrets. In the interior the polychrome wooden roof beams stand out, adorned with floral themes of papier mach; the walls are decorated with vegetable motifs, as well as paintings by Josep Torrescasana; finally, the floor consists of Roman-style mosaics of "opus tesselatum". One of the most original rooms is the smoking room, notable the ceiling, decorated with Moorish honeycomb-work, reminiscent of the Generalife in the Alhambra in Granada.

Casa Vicens (188388)

El Capricho (188385Neo-Gothic periodDuring this period Gaud was inspired above all by mediaeval Gothic art, but wanted to improve on its structural solutions. Neo-gothic was one of the most successful historicist styles at that time, above all as a result of the theoretical studies of Viollet-le-Duc. Gaud studied examples in Catalonia, the Balearic Islands and Roussillon in depth, as well as Leonese and Castillian buildings during his stays in Len and Burgos, and became convinced that it was an imperfect style, leaving major structural issues only partly resolved. In his works he eliminated the need of buttresses through the use of ruled surfaces, and abolished crenellations and excessive openwork

Episcopal PalaceGaud received his next commission from a clergyman who had been a boyhood friend in his native Reus. When he was appointed bishop of Astorga, Joan Baptista Grau i Vallespins asked Gaud to design a new episcopal palace for the city, as the previous building had caught fire. Constructed between 1889 and 1915, in a neo-Gothic style with four cylindrical towers, it was surrounded by a moat. The stone with which it was built (grey granite from the El Bierzo area) is in harmony with its surroundings, particularly with the cathedral in its immediate vicinity, as well as with the natural landscape, which in late 19th-century Astorga was more visible than today. The porch has three large flared arches, built of ashlar and separated by sloping buttresses. The structure is supported by columns with decorated capitals and by ribbed vaults on pointed arches, and topped with Mudejar-style merlons. Gaud resigned from the project in 1893, at the death of Bishop Grau, due to disagreements with the Chapter, and it was finished in 1915 by Ricardo Garca Guereta. It currently houses a museum about the Way of Saint James, which passes through Astorga

Casa BotinesAnother of Gaud's projects outside of Catalonia was the Casa de los Botines, in Len (18911894), commissioned by Simn Fernndez Fernndez and Mariano Andrs Luna, textile merchants from Leon, who were recommended Gaud by Eusebi Gell, with whom they did business. Gaud's project was an impressive neo-Gothic style building, which bears his unmistakable modernista imprint. The building was used to accommodate offices and textile shops on the lower floors, as well as apartments on the upper floors. It was constructed with walls of solid limestone. The building is flanked by four cylindrical turrets surmounted by slate spires, and surrounded by an area with an iron grille. The Gothic facade style, with its cusped arches, has a clock and a sculpture of Saint George and the Dragon, the work of Lloren Matamala. As of 2010 it was the headquarters of the Caja Espaa.Naturalist periodDuring this period Gaud perfected his personal style, inspired by the organic shapes of nature, putting into practise a whole series of new structural solutions originating from his deep analysis of ruled geometry. To this he added a great creative freedom and an imaginative ornamental style. His works acquired a great structural richness, with shapes and volumes devoid of rational rigidity or any classic premise.

Rosary of Montserrat

Finca MirallesWorld HeritageSeveral of Gaud's works have been granted World Heritage status by UNESCO: in 1984 the Park Gell, the Palau Gell and the Casa Mil; and in 2005 the Nativity facade, the crypt and the apse of the Sagrada Famlia, the Casa Vicens and the Casa Batll in Barcelona, together with the crypt of the Colnia Gell in Santa Coloma de Cervell.The declaration of Gaud's works as World Heritage aims to recognise his outstanding universal value. According to the citation:The work of Antoni Gaud represents an exceptional and outstanding creative contribution to the development of architecture and building technology in the late 19th and early 20th centuries.Gaud's work exhibits an important interchange of values closely associated with the cultural and artistic currents of his time, as represented in el Modernisme [sic] of Catalonia. It anticipated and influenced many of the forms and techniques that were relevant to the development of modern construction in the 20th century.Gaud's work represents a series of outstanding examples of the building typology in the architecture of the early 20th century, residential as well as public, to the development of which he made a significant and creative contribution.

FRANK GEHRY

1.INTRODUCTIONFrank Owen Gehry, CC (born Frank Owen Goldberg; February 28, 1929) is a Canadian-American Pritzker Prizewinning architect based in Los Angeles.A number of his buildings, including his private residence, have become world renowned tourist attractions. His works are cited as being among the most important works of contemporary architecture in the 2010 World Architecture Survey, which led Vanity Fair to label him as "the most important architect of our age".Gehry's best-known works include the titanium-covered Guggenheim Museum in Bilbao, Spain; MIT Ray and Maria Stata Center in Cambridge, Massachusetts; Walt Disney Concert Hall in downtown Los Angeles; The Vontz Center for Molecular Studies on the University of Cincinnati campus; Experience Music Project in Seattle; New World Center in Miami Beach; Weisman Art Museum in Minneapolis; Dancing House in Prague; the Vitra Design Museum and the museum MARTa Herford in Germany; the Art Gallery of Ontario in Toronto; the Cinmathque franaise in Paris; and 8 Spruce Street in New York City. But it was his private residence in Santa Monica, California, that jump-started his career, lifting it from the status of "paper architecture"a phenomenon that many famous architects have experienced in their formative decades through experimentation almost exclusively on paper before receiving their first major commission in later years. Gehry is also the designer of the future National Dwight D. Eisenhower Memorial.

2.ARCHITECTURAL STYLE

Vontz Center for Molecular Studies, University of Cincinnati

The tower at 8 Spruce Street in lower Manhattan which was completed in February 2011 has a stainless steel and glass exterior and is 76 stories high.Much of Gehry's work falls within the style of Deconstructivism, which is often referred to as post-structuralist in nature for its ability to go beyond current modalities of structural definition. This can be seen in Gehry's house in Santa Monica. In architecture, its application tends to depart from modernism in its inherent criticism of culturally inherited givens such as societal goals and functional necessity. Because of this, unlike early modernist structures, Deconstructivist structures are not required to reflect specific social or universal ideas, such as speed or universality of form, and they do not reflect a belief that form follows function. Gehry's own Santa Monica residence is a commonly cited example of deconstructivist architecture, as it was as drastically divorced from its original context, and in such a manner as to subvert its original spatial intention.Gehrys style at times seems unfinished or even crude, but his work is consistent with the California "funk" art movement in the 1960s and early 1970s, which featured the use of inexpensive found objects and non-traditional media such as clay to make serious art [citation needed]. Gehry has been called "the apostle of chain-link fencing and corrugated metal siding".[39] However, a retrospective exhibit at New York's Whitney Museum in 1988 revealed that he is also a sophisticated classical artist, who knows European art history and contemporary sculpture and painting[citation needed].3.CAREER

Gehry Residence in Santa Monica, CaliforniaGehry established his practice in Los Angeles in 1962, which eventually became the Gehry partnership in 2001.Gehry's earliest commissions were all in Southern California, where he designed a number of relatively small-scale yet innovative commercial structures such as Santa Monica Place (1980) and residential buildings such as the eccentric Norton House (1984) in Venice, California.Among these works, however, Gehry's most notable design may be the renovation of his own Santa Monica residence. Originally built in 1920 and purchased by Gehry in 1977, the Gehry Residence features a metallic exterior wrapped around the original building that leaves many of the original details visible. Gehry still resides there today.Other completed buildings designed by Gehry during the 1980s include the Cabrillo Marine Aquarium (1981) in San Pedro and the Air and Space exhibit building (1984) at the California Museum of Science and Industry in Los Angeles.In 1989, Gehry was awarded the Pritzker Architecture Prize. The jury cited Gehry as "Always open to experimentation, he has as well a sureness and maturity that resists, in the same way that Picasso did, being bound either by critical acceptance or his successes. His buildings are juxtaposed collages of spaces and materials that make users appreciative of both the theatre and the back-stage, simultaneously revealed.

Chiat/Day Building in Venice, CaliforniaIn 1997, Gehry vaulted to a new level of international acclaim when the Guggenheim Museum Bilbao opened in Bilbao, Spain. Hailed by New Yorker Magazine as a "masterpiece of the twentieth century" and legendary architect Philip Johnson as "the greatest building of our time", the museum became famous for its striking yet aesthetically pleasing design and the economic effect that it had on the city.

New World Center in Miami Beach, FloridaSince then, Gehry has regularly won major commissions and has further established himself as one of the world's most notable architects. His best received works include several concert halls for classical music, such as the boisterous and curvaceous Walt Disney Concert Hall (2003) in Downtown Los Angeles, which has been the centerpiece of the neighborhood's revitalization and has been labeled by the LA Times as "the most effective answer to doubters, naysayers, and grumbling critics an American architect has ever produced, the open-air Jay Pritzker Pavilion (2004) adjacent to Millennium Park in Chicago, and the understated New World Center (2011) in Miami Beach, which the LA Times called "a piece of architecture that dares you to underestimate it or write it off at first glance."Other notable works include academic buildings such as the Stata Center (2004) at MIT and the Peter B. Lewis Library (2008) at Princeton University, museums such as the EMP Museum (2000) in Seattle, Washington, commercial buildings such as the IAC Building (2007) in New York City, and residential buildings such as Gehry's first skyscraper New York by Gehry at Eight Spruce Street (2011) in New York City.However, in recent years, some of Gehry's more prominent designs have failed to go forward. Gehry was notoriously dropped by developer Bruce Ratner from the Atlantic Yards Project in Brooklyn, New York due to high costs in 2009 and, though he has recently been put back on the project, Gehry's designs for the Grand Avenue Project adjacent to Disney Hall in Los Angeles have been delayed for years. Gehry's controversial design of the National Dwight D. Eisenhower Memorial in Washington, D.C. has been subject to numerous delays during the approval process with the United States Congress.In October 2013, Gehry was appointed joint architect with Foster + Partners to design the "High Street" phase of the development of Battersea Power Station in London, England. This will be Gehry's first building in London.4.FURNITURE AND CLOTHING DESIGNIn addition to architecture, Gehry has made a line of furniture, jewelry for Tiffany & Co., various household items, sculptures, and even a glass bottle for Wyborowa Vodka. His first line of furniture, produced from 1969 to 1973, was called "Easy Edges", constructed out of cardboard. Another line of furniture released in the spring of 1992 is "Bentwood Furniture". Each piece is named after a different hockey term. He was first introduced to making furniture in 1954 while serving in the U.S. Army, where he designed furniture for the enlisted soldiers. Gehry claims that making furniture is his "quick fix".In 2009, Gehry designed a hat worn publicly by pop star Lady Gaga, reportedly by using his iPhone.Awards and honors 1989: Pritzker Architecture Prize 1992: Praemium Imperiale 1994: The Dorothy and Lillian Gish Prize 1995: Academy of Achievement's Golden Plate Award 1998: National Medal of Arts 1999: AIA Gold Medal 2000: CooperHewitt National Design Award Lifetime Achievement 2003: Order of Canada 2004: Woodrow Wi