POUL RUDOLPH

1. SUBMITTED TO SUBMITTED BY
LUBHANA (1120052)
AR. AMANDEEP KHIVA PRIYA (1120060)

2. PAUL RUDOLPHPAUL RUDOLPH

3. LIFE
PAUL MARVIN RUDOLPH WAS BORN ON
OCTOBER 23, 1918 IN ELKTON, KENTUCKY.
HIS FATHER WAS A METHODIST MINISTER AND
LEAD A MOBILE LIFE.
HE EARNED HIS MASTER’S DEGREE IN
ARCHITECTURE AT AUBURN UNIVERSITY THEN
KNOWNAS ALABAMA POLYTECHNIC INSTITUTE
FROM 1935 TO 1940.
1940 -TOOK A JOB IN OFFICE OF K.B.KUERIN.
1940 -1943 - STUDIED UNDER WALTER
GROPIUS AT HARVARD GRADUATE SCHOOL OF
DESIGN.

4. 1943 -1946 - SERVED IN U.S. NAVY AS
OFFICE INCHARGE OF SHIP
CONSTRUCTION.
1946 – 1947 - HE RETURNED TO HARVERD
GRADUATE SCHOOL OF DESIGN TO
RECEIVE HIS MASTER’S.
1947 – 1951 - HE MOVED TO SARASOTA,
FLORIDA AND PATNERED WITH RALPH
TWITCHELL FOR FOUR YEARS.
1951 - HE STARTED HIS OWN PRACTICE.
1954 - HE RECEIVED “THE OUTSTANDING
YOUNG ARCHITECT” TITLE AT
INTERNATIONAL FUNCTION.
1958 -1965 - APPOINTED CHAIRMAN OF
SCHOOL OF ARCHITECTURE AT YALE
UNIVERSITY.

5. 1958 - NOTABLE FOR ITS APPERANCE IN
THE BOOK, MASTERS OF MODERN
ARCHITECTURE.
1947 -HE DIED IN NEW YORK CITY FROM
MESOTHELIOMA AUGUST ,8, 1997.

6. PHILOSPHY
PAUL RUDOLPH,ONE OF THE 20TH
CENTURY’S MOST ICONOCLASTIC.
HE WAS ONE OF THE MOST INFLUENTIAL
AMERICAN ARCHITECTS OF MID 20TH
CENTURY CREATINHG BUILDINGS THAT
WERE OFTEN CHARACTERIZED BY BOLDLY
CONTRASTING MASSES, COMPLEXLY
INTERLOCKING SPACES & INNOVATIVE
SURFACES.
IN HIS DESIGN, HE SYNTHESIS THE
MODERNICT IDEAS OF LE-
CORBUSIER,F.L.WRIGHT,LOUIS I.KAHN.
HE USES SWEEPING MONOLITHIC FORMS &
INTRICATE INTERIOR SPACE TO CREATE A
POWERFUL SCULPTURAL QUALITY.

7. IN HIS EARLY CAREER HE DEVELOPED A
SERIES OF HOSE THAT REPRESENT
MODERNISM,WITH THEIR DISTINCTIVE
NATURAL LANDSCAPE,LOCAL
ARCHITECTURAL PRECEDENT &
EXPLOITATION OF INNOVATIVE
CONSTRUCTION MATERIALS.
HE USES SWEEPING MONOLITHIC FORMS &
INTRICATE INTERIOR SPACE TO CREATE A
POWERFUL SCULPTURAL QUALITY.
IN HIS EARLY CAREER HE DEVELOPED A
SERIES OF HOSE THAT REPRESENT
MODERNISM,WITH THEIR DISTINCTIVE
NATURAL LANDSCAPE,LOCAL
ARCHITECTURAL PRECEDENT &
EXPLOITATION OF INNOVATIVE
CONSTRUCTION MATERIALS.

8. ABOUT DESIGN
DESIGN BEGINS WITH A QUESTION AND
ENDS WITH RESULT.
IN BETWEEN IS A CREATIVE PROCESS.
DESIGN PRINCIPLES MAY BE APPLIED TO
ANY SITUATION WHERE THERE IS A GOAL.
DESIGN IS A PROCESS WITH MANY
APPLICATION.
HIS BUILDINGS ARE NOTABLE FOR
CREATIVE & UNPREDICTABLE DESIGN THAT
APPEAL STRONGLY TO SENSE.
THE INTERIOR ARE DYNAMIC, PLAYING
WITH LIGHT & SHADOW, DRAMA &
ABSTACTION.

9. HEALY GUEST HOUSE
BUILDING: HEALY GUEST HOUSE
ARCHITECT: PAUL RUDOLPH,
RALPH TWITCHELL
TIME-PERIOD: 1948-1949
LOCATION: FLORIDA(U.S.A)
CLIMATE: WARM
CONSTRUCTION TYPE: POST AND BEAM
WITH CATENARY
TENSILE ROOF
STYLE:MODERN
CONTEXT: WATER-FRONT

10. HEALY GUEST HOUSE IS A WONDERFUL
EXAMPLE OF RUDOLPH’S INNOVATIVENESS
WHICH GAVE CREDENCE TO MODERN
MOVEMENTS INTERPRETATION OF SPACE,
FORM AND LIGHT
HEALY GUEST HOUSE IS INNOVATIVE
DESIGN WHICH INCLUDED A LOW SLUNG
CATENARY ROOF SUPPORTED BY
SUSPENDED CABLES AND WALLS
CONSTRUCTION OF LOUVERED WOOD AND
FIXED GLASS.
HEALY GUEST HOUSE IS SMALL ONLY 735
SQ.FT AREA.
THE PLAN IS RECTANGULAR WITH A PORCH
AND A BALCONY ON RIVER SIDE.

11. RUDOLPH USED PILED SUPPORT TO
ALLOW THE BASE TO EXTEND OVER
WATER ABOVE THE CONCRETE
FOUNDATION, GIVING APPEARANCE OF
FLOATING ON WATER
IT CLAIM THAT IT SHOULD HAVE BEEN
DESIGNED AS SINGLE VOLUME BUT FOUR
SEP[ERATE SPACE ARE PROVIDED UNDER
CONCAVE BUILDING

13. HEALY GUEST HOUSE

14. THE PLAN IS RECTANGULAR WITH A PORCH
AND A BALCONY ON RIVER SIDE.
RUDOLPH USED PILED SUPPORT TO ALLOW
THE BASE TO EXTEND OVER WATER ABOVE
THE CONCRETE FOUNDATION, GIVING
APPEARANCE OF FLOATING ON WATER
IT CLAIM THAT IT SHOULD HAVE BEEN
DESIGNED AS SINGLE VOLUME BUT FOUR
SEPERATE SPACE ARE PROVIDED UNDER
CONCAVE BUILDING.

15. CATENARY ROOF
THE ROOF IS INTERESTING: A SIMPLE
CATERNARY ROOF SPANNING 22 FT. WAS
DEVELOPED, USING FLAT STEEL BARS 12
INCH. CENTRES, SPANNING POST AND
BEAM CONSTRUCTION OF FLANKING SIDES.
THE ROOF WAS CONCAVE IN ORDER TO
ALLOW RAINWATER TO DRAIN OFF.

16. PICTURE SHOWING CATENARY
TENSILE ROOF

17. MATERIALS
HE USED A TENT-LIKE FABRIC SPRAYED
WITH SARAN VINYL PLASTIC TO PREVENT
WATER SEEPAGE.
THE USE OF THIS MATERIAL RESULTED IN
THIS STRUCTURE BEING REFFERED TO AS
COCOON HOUSE
HANGING CATENARY ROOF MADE UP OF
PLASTIC SHEET.
RUDOLPH USED JALOUSIE WINDOWS
WHICH ENABLED THE BREEZE TO FLOW
INTO HOUSE

18. SHOWING
JALOUSIE
WINDOWS
• BALCONY
FACING
SEA SIDE

19. JALOUSIE WINDOW
A SLATTED WINDOW COVERING, TYPICALLY
A SHUTTER OR WINDOW COVERING WHICH
CONSIST OF A SET OF PARALLEL ANGLE
SLATS.
THESE SLATS CAN BE OPEN VARIOUSLY SO
AS TO CONTROL THE AMOUNT OF AIR OR
LIGHT ALLOWED TO PASS THROUGH .
A WINDOW HAS OVERLAPPING GLASS
SLATS WHICH OPEN TO ALLOW
VENTILATION.
THIS KIND OF WINDOW IS GOOD FOR SUN
PORCHES THAT ARE NOT AIR-
CONDITIONED.

21. JALOUSIE WINDOWS WITH OVERLAPPING
GLASS -THAT IS ANGLE SLATS TO CONTROL
AMOUNT OF AIR AND LIGHT

28. BUILDING: MILAM HOUSE
ARCHITECT: PAUL RUDOLPH
TIME-PERIOD: 1960-1962
LOCATION: JACKONVILLE,FLORIDA (U.S.A)
BUILDING TYPE: SINGLE FAMILY HOUSE
CONSTRUCTION TYPE: CONCRETE CORE
SIMPLE STRUCTURE
EXPOSED CONCRETE
FACADE

29. PAUL RUDOLPH, A MASTERFUL FORM-GIVER
AND PRODUCED EYE-POPPING MILAM
HOUSE.
ITS CUBISTIC FORMS DID NOT DEPENDS ON
LONG-SPAN, BUT GENERATED ENORMOUS
SCULPTURAL INTERSET.
USING THE SIMPLEST MATERIALS: FLAT
SLAB AND CONCRETE BLOCK.
VIGOROUS MANIPULATION OF SPACE.
THE EXTERIOR OF THE HOUSE IS
DOMINATED BY POWERFUL COMPOSITION
OF RECTANGLES FORMING A SUNSHADE
ACROSS THE REAR FACADE.
THE SPIRIT OF THIS WALL IS CONTINUED ON
TO THE INTERIOR OF THE HOUSE,WHERE
FLOORS ARE ARRANGED ON SEVEN
DIFFERENT LEVELS.

30. SECTION THROUGH
REAR FACADE
SHOWING
LIVING,BEDROOMS
FACING TOWARDS
SEA AND SECTION
CLEARLY SHOWING
DIFFERENT LEVELS.
• REAR
FACADE

31. EXTERNALLY,IT IS BEAUTIFUL PIECE OF
SCULPTURE BLENDED GRACIOUSLY WITH
SEA AND SAND SURROUNING IT.
IT IS VERY COMFORTING INSIDE,DIFFERENT
CEILING HEIGHTS,DIFFERENT VIEWS,
DIFFERENT FLOOR LEVELS MAKE IT
INTERESTING AND VARIED.
ALL LIVING AREAS AREA ESSENTIALLY ONE
ROOM WITH AREAS OF DINING,SITTING BY
FIREPLACE, CREATED PRINCIPALLY BY
CHANGES IN FLOOR LEVELS.
THE HALLWAY LINKING UPSTAIRS
BEDROOMS IS TREATED AS A BALCONY AND
ADDS YET ANOTHER LEVEL.

32. BIG LIVING AREAS ARE MADE TO APPEAR
EVEN LARGER AND MORE OPEN BY USING
VERY FEW PIECES OF PORTABLE
FURNITURE.

35. THE HOUSE IS CONSTRUCTED OF SAND
STONE CONCRETE BLOCK, LEFT EXPOSED
INSIDE AND OUT.
THE MAIN FLOOR IS TERRAZZO, AND
SECOND FLOOR ARE HARDWOOD OR
CARPET,EXCEPT TILES IN BATHROOMS.
CEILING ARE ACOUSTICAL PLASTER FOR
NOISE ABSORPTION IN BIG AREAS.
ONE OF THE BATHS ALSO HAS AN OUTSIDE
EXIT AND STAIRS TO SERVE AS DRESSING
AREA FOR SWIMMERS FROM BEACH.
THE ENTIRE HOUSE IS AIR-CONDITIONED.

36. THE KITCHEN IS CONVENIENTLY PLACED
FOR ACCESS TO LIVING AND DINING
AREAS, TO GARAGE FOR UNLOADING
GROCERIES.
THE COST OF HOUSE ITSELF WAS ABOUT
$88,074.

37. ART AND ARCHITECTURE
BUILDING
ARCHITECT - PAUL RUDOLPH
LOCATION - NEW HAVEN,
CONNECTICUT
DATE - 1959 TO 1963
BUILDING TYPE - UNIVERSITY BUILDING,
ARCHITECTURE SCHOOL.
CONSTRUCTION SYSTEM – CONCRETE
CLIMATE - TEMPERATE
CONTEXT - URBAN CAMPUS
STYLE - MODERN

38. VIEW OF BUILDING

39. PLANNING
THE DRAMATIC ENTRANCE TO THE
BUILDING IS UP A NARROW FLIGHT OF
STEPS THAT PENETRATE DEEPLY INTO THE
MESS OF THE MAIN VOLUME.
FUTURE EXTENSION OF THE BUILDING WILL
SIMPLY CONNECT TO THIS.
THIRTY SEVEN CHANGES OF LEVELS
ACCOMODATEFUNCTIONAL AND
CIRCULATION AREAS, AND CIRCULATION
AREAS , AND SINCE WALLS ARE DE
EMPHASIZED THESE LEVELS ARE DEFINED
PRINCIPALLY BY FLOOR AND CEILING
PLANS.

40. PLAN
1. LIBRARIAN
OFFICE
2. READING
AREA
3 LIBRARY
4 LIFTS
5 TOILETS
6 ARCHITECTS
ARCHIVES
7 STUDIO
8 ENTRANCE
1 2
3
4
5
6 7
8

41. VIEW OF ENTRANCE

42. IN THIS BUILDING, RUDOLPH CONCERNED
WITH THE DRAMA OF NATURAL LIGHTING.
THIS IS A IMPORTANT CHARACTER IN THE
DESIGN OF THE BUILDING, AS IT
CONTRIBUTES TO THE CHANGING
CHARACTER AND PSYCHOLOGICAL
IMPLICATION OF SPACE.
BUILDING HAS TOTAL NINE FLOORS WHICH
INCLUDES TWO BASEMENT FLOORS.
THE BUILDING IS ORGANISED AROUND A
CENTRAL CORE SPACE DEFINED BY FOUR
LARGE CONCRETE SLAB COLUMNS THAT,
SIMILAR TO THE EXTERNAL TOWERS, ARE
HOLLOW TO ACCOMMODATE MECHANICAL
SERVICES.

43. ON TWO SUNKEN LEVELS, SCULPTURE AND
BASIC DESIGN STUDIOS ENCIRCLE A
CENTRAL AUDITORIUM, THE APPROACH TO
WHICH OBSURE.
AT STREET LEVEL, THE LIBRARY OCCUPIES
A SINGLE STOREY SIDE.
ABOVE THIS, WITH THE POSSIBILITY OF
LOOKING DOWN INTO THE READING AREA,
IS A TWO STORY EXHIBITION HALL, WITH
ADMINISTRATIVE OFFICES ON ITS
MEZZANINE, AND A CENTRAL, SUNKEN
JURY PIT.

44. FOURTH LEVEL IS THE MOST DRAMATIC
SPACE: AN ARCHITECTURAL ZONE ON FIVE
LEVELS, EACH CONNECTED BY FEW STEPS,
AN ELEMENT IN A PART OF THE GREATER
SPACE, ABOVE WHICH RUN TWO PARALLEL
MEZZANINES SPANNED BY A CHANNEL
SHAPED BRIDGE.
BETWEEN THE FOUR PIERS TWO
SKYLIGHTS RISE AS GIANT CLERSTORIES,
INTENSIFYING NATURAL LIGHT IN THE
CENTRE OF THE SPACE THAT RECEIVES IT
ON ALL FOUR SIDES THROUGH
PERIPHERALGLAZING.
PAINTING AND GRAPHIC ART STUDIOS ARE
ON THE TOP TWO LEVELS, WITH AN OPEN
TERRACE FOR SKETCHING.

45. FINALLY, THERE IS A PENTHOUSE
APARTMENT FOR GUEST CRITICS, THAT
ALSO HAS ITS OWN TERRACE.
THE TREATMENT FOR EXPOSED
CONCRETE SURFACE BY POURING
CONCRETE INTO VERTICALLY RIBBED
WOOD FORMS, THAT ARE STRIPPED AWAY,
AND EDGES HAND HAMMERED TO EXPOSE
THE AGGREGRATE, IS DONE BECAUSE
APART FROM BEING AN INTERESTING
SURFACE, IT CONTROLS STAINING AND
MINIMIZES THE EFFECT OF
DISCOLORATION INHERENT IN CONCRETE.

46. EXPOSED AGGREGRATE AND
STRAINED CONCRETE

47. SECTIONAL PERSPECTIVE
View

48. THE VERTICALLY STRAITED CONCRETE
RIBBING

49. PART OF DRAFTING STUDIO

50. BOSTON GOVT. SERVICE
CENTRE
BUILDING TYPE - OFFICE BUILDING
ARCHITECTS - PAUL RUDOLPH,
DESMOND AND LORD
ARCHITECTS,
PEDERSEN AND TILNEY,
M.A.DYER
LOCATION - BOSTON
TIME PERIOD - 1967-1972
(PLANNING AND CONSTRUCTION

51. VIEW OF BOSTON GOVT. SERVICE
CENTRE

52. THE LOW BUILDINGS HAVE A PEDESTRAIN
COURTS OF SMALL SCALE.
THE SCALE OF STREET FAÇADE IS MUCH
GREATER BECAUSE OF AUTOMOBILES.
REGULAR BAYS AT THE STREET WITH
COLUMNS 60 TO 70 FT. IN HEIGHT HAVE
BEEN UTILIZED.
THE MULTI STOREY BUILDING ACT AS A
PIVOTING POINT AT THE ENTRY TO THE
PLAZA AND SERVE AS ITS PRINCIPAL
SPATIAL ELEMENT
MATERIAL USED FOR THIS BUILDING IS
CONCRETE.

53. The Building Occupies most of a large
Superblock created when Boston’s old
 West End was destroyed in the name
Of urban renewal. The area was formely
Crisscrossed by narrow streets . Though
the building is very large , it is unfinished
Courtyard area was landscaped and
features such as stairways ,an elevator ,
a wheel chair acess ramp were added
``

54. DESCRIPTION
ONE OF RUDOLPH’S WORK
AMBITIONIERTESTEN.
THE COMPLEX CONSISTS OF STATE
HEALTH, EDUCATION AND WELFARE
SERVICE CENTRE.
THE SPACE OF BOSTON’S IRREGULAR
STREETS BEEN DEFINED BY PLACING
BUILDINGS PARALLEL TO THEM.
ALL BUILDING ENTRANCE IS THROUGH A
PEDESTRIAN COURTYARD.
ALL THE BUILDING WHICH ARE PARALLEL
TO STRRET HAVE BEEN 5 TO 7 STOREYS
HIGH.

55. PLAN LEADING TO UNDER GROUND
PARKING

56. PLAN OF STANDARD FLOOR

57. URBAN SITE PLAN
1 STATE SERVICE
CENTRE
2 PRIVATE OFFICE
AND
COMMERCIAL
BUILDING
3 GARAGE FOR
2000 CARS
4 FEDERAL OFFICE
BUILDING
5 CITY HALL AND
PLAZA

65. THANKS….