Revivalist

architecture
GROUP MEMBERS :

NIKITA SINGHAL
VIDYA VASU SHARMA
UTKARSH SHARMA
OJASWI GOEL
REVIVALIST ARCHITECTURE
•The Late 19th Century and Early 20th Century Revival period is
sometimes described as the Eclectic Movement in American
architecture.
• Throughout history, architecture has been a way to reflect the
lifestyle and the political and religious climate of a certain epoch.
• With each new political or religious movement, new
architectural styles appeared to reflect the mood of that particular
historic era.
• These new trends were often based on architectural styles of
previous epochs as a way to protest the reality or to re-introduce
the values of the past. Such architectural styles are called "revival"
styles.
• Revivalism in architecture refers to using the details and trends
of the architectural styles of previous eras.
• There are many revival styles, some of which have had more
influence and historic value than others.
• The two most prevalent styles of this period were the Colonial Revival
and the Classical Revival which were inspired by early American buildings
of Georgian, Federal, or Greek or Roman Revival style.
• Of course those earlier styles had been designed to incorporate stylistic
elements of ancient Greece and Rome, so many of same architectural
details are common to all.
• The larger size and scale, and arrangement of details set the buildings of
the later Colonial Revival and Classical Revival apart.
• The Spanish Revival style and to some extent the Tudor Revival style, also
looked back to the buildings of America's colonial period.
• The Collegiate Gothic style was developed from the earlier Gothic Revival
style and the original Gothic style buildings of Europe.
• The Beaux Arts style and the Italian Renaissance Revival style were all
based on historic European design.
• This period of architecture was the last to focus on the recreation of past
forms; in all the architectural periods to come, the desire to make a new
architectural statement took precedence.
Styles
•Colonial Revival Style
•Tudor Revival Style
•Collegiate Gothic Style
•Italian Renaissance Revival Style
•Classical Revival Style
•Beaux Arts Style
•Spanish Colonial Revival Style
ARCHITECTS OF REVIVALIST ARCHITECTURE

1- LOUIS I KHAN
2-JAMES STIRLING
3- CHARLES GWATHMEY
4-RICHARD MEIER
 JAMES STIRLING
CAREERANDDESIGNPHILOSOPHIES
• Started with International style (1950s)-small scale houses
and housing complexes all built with traditional bricks and
traditional English forms of warehouses, factories, barns
etc.
• Modern-functional, austere(no ornamentation) and
with volumes defined by clean spaces and lines.
• But these were very humane in scale and style.
• “Architecture is not a question of style or appearance, it is
how you organize spaces and movement for a place and
Sir James Frazer Stirling (1926- activity”
1992) • He was one of the earliest architects to use technology and
• BORN :GLASGOW, SCOTLAND new materials in architecture, but he always believed that
• EDUCATION : LIVERPOOL UNIVERSITY the humanistic approach has to be given more importance.
• WORKED MAINLY IN ENGLAND, US AND • The use of color was a characteristic of Stirling, who saw
GERMANY architecture as an expression of art, not merely of social
• CONCENTRATED ON INTERNATIONAL STYLE planning and engineering.
• 1970S BUILDINGS IN US SHOW • Stirling signature was mullioned glass, colored building
CONTEXTUALISM materials (including green window frames, purple and
• HIS GERMAN PROJECTS: turquoise moldings, and pink railings against yellow stucco
and Portland stone), and simple geometric forms and
• STAATSGALERIE ARE POSTMODERN
apparently random fenestration punched and cut into the
• PRITZKER PRIZE IN 1981
building.
 ART GALLERY ADDITION, STAATSGALERIE, STUTTGART
• This building was an addition to the existing Staatsgalerie.
• It consisted of a new gallery extension, chamber theater and music
school.
• A feature of the site was a pedestrian walk diagonally across the
property to be incorporated in the plan without jeopardizing
building security.
• The design was not well-received in the German press.
• Was disturbing because it was not a classically modernist design.
• As it developed, it was recognized that James Stirling had brought off
a
project which reinterpreted the past in a brilliant new way.
• The complexity of the project, and its references to existing buildings
both old and new reward close study.
Architect : James Stirling • For instance, not far away from the site is the Weissenhofsiedlung,
Location : Stuttgart, Germany with buildings by Mies van der Rohe, Le Corbusier, and J. J. P. Oud.
Construction : 1977 - 1983 period
• A hint of this may be found in one elevation of the building, at the
Bldg. type : Art Museum
rear of the chamber theater.
Construction : Stone Cladding system
: Temperate
• The more obvious source is the reinterpretation of the classical
Climate
museum such as Shinkel's Altes Museum in Berlin (1824), but in the
Style : Post-Modern
Stuttgart building, the central domed rotunda is replaced with the
open air circular court, a true public space.
PLANS ANDSECTIONS
 FLOREY BUILDING
The Queen's College Florey building is the
third and last building of “The Red Trilogy”
(the Leicester Engineering Faculty building
and the Cambridge History Faculty building
being the first two) designed by James
Stirling, solidifying him as an irreplaceable
facet in modern Architecture.
Save this picture!

The Florey building was named after provost and 1945 Nobel
UNIVERSITY Laureate Lord Howard Florey, who sat on the committee in
•OXFORD, UNITED KINGDOM charge of choosing an architect for the project. Although
•Architects: James Stirling Stirling was not the most popular choice for lead architect on
•Year: 1971 the project, Florey was an advocate of his, and Stirling was
ultimately agreed upon because of the promise and potential
held in his reputation at that time to deliver an iconic, modern
building to boost the college’s reputation and enrollment.
All three of Stirling’s university buildings were designed
in the decade between 1958 and 1968, but the Florey
building did not begin construction until after the end of
this time period and was not completed until 1971.
The structure is primarily a concrete frame with exposed, A-frame “feet” at the
ground level. As with his previous university buildings, terra cotta tiles make up
the majority of the façade, while the inside of the somewhat ‘U’-shape made up
of a glazing system that faces North and overlooks the River Cherwell.

The building contains 74 dormitories over four levels, with a top level of
double-height gallery rooms for graduates and a ground level equipped
with a dining hall and other general rooms.
In the classic book Modern Movements in Architecture, Charles Jencks
writes of Stirling’s university buildings and praises him as ‘the best
architect of his generation’. This, however, was never particularly the
standpoint of the Florey building’s various clients or users. Stirling’s office
was inevitably sued by the Queen’s College because of the many
problems encountered both during construction and after completion. As
a result, Stirling’s office was unable to find work in England for at least a
decade after the Florey building, instead finding promise of work in places
like Germany, Japan, and the Unites States.
 AR. LOUIS I KAHN
DESIGN PHILOSOPHIES
• LOUIS KAHN’S WORK INFUSED THE
INTERNATIONAL STYLE WITH A FASTIDIOUS
& HIGHLY PERSONAL TASTE.
• HE WAS KNOWN FOR CREATING
MONUMENTAL ARCHITECTURE THAT
RESPONDED TO HUMAN SCALE.
• HE CREATED DISTINCTION BETWEEN
SERVED SPACES & SERVANT SPACES.
• HIS PALETTE OF MATERIALS TENDED
Real Name Itze-Leib Schmuilowsky TOWARDS HIGHLY TEXTURED BRICK &
Date Of Birth February 20, 1901 BARE CONCRETE.
Died
• ALSO HE USED TRAVENTINE MARBLE.
March 17, 1974 (Aged 73)
• HE IS WIDELY KNOWN FOR HIS SPACES
Birth Place Parnu, Estonia POETIC SENSIBILITY.
Religiion Jewish

Nationality American
 The Kimbell Art Museum in Fort Worth
• The steel handrails were "blasted" with ground
pecan shells tocreate a matte surface texture.
• A open porches flanking the entrance would create
a good transition from the lawn and courtyard to
the galleries inside.
• Skylights-
lighting consultant, determined that a reflecting
screen made of perforated anodized aluminium with
a specific curve could be used to distribute natural
light evenly across the cycloid curve of the ceiling

• The Kimbell Art Museum in Fort Worth, Texas, hosts a small but excellent art collection as well
as traveling art exhibitions, educational programs and an extensive research library.

• The museum is composed of 16 parallel vaults that are each100 feet (30.6 m) long, 20 feet (6
m) high and 20 feet (6 m) wide (internal measurements).
• Kahn built this museum in the early nineteen seventies. This large museum has
long rooms with curved or vaulted ceilings.
• Inside, all of the walls can be moved to best fit the artcollection.
• The ends of the vaults, which are made of concrete block, arefaced with travertine
inside and out.
INDIAN INSTITUTE OF MANAGEMENT, AHMEDABAD

HISTORY OF IIM:
While Louis Kahn was designing the
National Assembly Building in
Date of establishment: 1962,. Bangladesh in 1962, he was
Location:Vastrapur, Ahmedabad, Gujarat, India approached by an admiring Indian
Climate:hot dry climate, with very high temperature architect, Balkrishna Doshi, to design
and Topography:flat land form with negligible slope. the 66 acre campus for the Indian
Vegetation:sparse vegetation, difficult to maintain. Institute of Management in
Site area:106 acres
Ahmedabad, India.
STUDENTS =1105
FACULTY =110
ARCHITECT :Louis I Kahn
 MAIN ENTRANCE- LOUIS KAHN PLAZA
HARVARD STEPS

RJMCEI AUDITORIUM COURTYRD

THE PROMENADE CLASSROOMS HELICAL STAIRWAY

PICTURES OF THE CAMPUS

SCHOOL BUILDING BLOCK

CLASSROOMS

1. The shape of the classroom is hexagonal

2. The design of classroom is based on the seminar type interaction between the students and the faculty.
3. Windows are high to get glare free light.
DORMITORIES
1. The shape of each dormitory block is square with two residential wings, triangular lounge and a service area.
2. The position of the staircase and washroom are meant to protect the living room from sun and glare without
obstruction and the breeze and ventilation.
3. The dorms are places one behind the other to obtain the much needed breeze and cross ventilation
LIBRARY BLOCK
1. The library building is a five storied structure with rectangular plan.
2. It is approached by a broad, imposed flight of steps from the parking lot.
3. The design has been convinced to entail movement from the active space to most private and quiet carrels at the farthest
reaches.
4. FIRST FLOOR : main reading hall
5. SECOND FLOOR: accommodate triple height reciting hall and conference hall
6. THIRD FLOOR : accommodates bound volumes of journals.
7. FOURTH FLOOR : has bound volumes of old books and journals.

2- library

Ground floor plan Second floor plan

20
AUDITORIUM DINING HALL

GROUND FLOOR PLAN

FIRST FLOOR PLAN

•CAPACITY 550 SEATS

•AREA
•ENTRANCE LOBBY 560 SQ.FEET
•FOYER 560 SQ.FEET
•AUDITORIUM HALL 3000 SQ.FEET
•CONFERENCE ROOM 200 SQ.FEET
•SEMINAR ROOM 400 SQ.FEET
THE LARGE FAÇADE OMISSIONS ARE ABSTRACTED PATTERNS FOUND WITHIN THE
INDIAN CULTURE THAT WERE POSITIONED TO ACT AS LIGHT WELLS AND A NATURAL
COOLINGSYSTEMPROTECTINGINTERIORFROM INDIA’S HARSHDESERTCLIMATE.
THANK YOU