2020 - 2021

SHRUTI VINOD KALE

THIRD YEAR - A

180014

HOA - IV

SHRUTI VINOD KALE

 History Of Architecture
Assignment 1

1. Various revivals in architecture.

• Revivalism in architecture is the use of visual styles that consciously
echo the style of a previous architectural era.
• Some of the examples are:
1. Russian revival architecture
2. Historicism
3. New classical architecture
4. Traditionalist school
5. Vernacular architecture
6. Indo- Sarsenic architecture
7. Georgian revival architecture
8. Mediterranean revival architecture
9. Mycenaen revival architecture
10. Egyptian revival architecture
11. Neoclassical architecture
12. Byzantine revival architecture
13. Mayan revival architecture
14. Romanesque revival architecture
15. Gothic revival architecture
16. Moorish revival architecture
17. Tudar revival architecture
18. Black and white revival architecture
19. Renaissance revival architecture
20. Baroque revival architecture
21. Modern revival architecture
2. Crystal Palace
• Crystal Palace is located in London, England.
• it was a cast iron and plate glass structure originally built in Hyde
park, London, two house the great exhibition of 1851.
• Joseph Paxton was the designer of Crystal Palace.
• Crystal Palace was 1851 ft (563m) long, with an interior height of
128ft (39m).
• Architectural style of Crystal Palace is Victorian architectural style.
• Using combinations of prefabricated cast iron, laminated wood and
standardized size glass sheets, Paxton created the “Ridge and
furrow” roof design.
• This system was used for first time in 1836 in the “great stove” the
largest building at that time.
• The modular system considered of the right-angled triangles,
mirrored and multiplied by the grid of cast iron blams and pillars in
support.
• Basic units were extremely light and strong and were extended to an
increased length of 564m.
• The design was inspired by Paxton's passion for biomimicry when
the exhibition was closed
• 6 months the structure was disassembled and reassembled in the
south London suburb of Sydenham Hill.
• Tragically, the building was destroyed in a fire IN 1936.

3. Chicago school
• Factors of development and typical features
o Factors of development
1. Architects were encouraged to build higher structures because of
escalating land prices.
2. Conscious of the possibilities of the new materials and structures
they developed buildings in which
a. Isolated footing supported a skeleton of iron casted in masonry.
b. There were fireproof floors, numerous fast elevations and gas light.
3. The school appeared after the fire in Chicago that created the need of
rebuilding city.
4. The traditional masonry walls became curtains full of glass,
supported by the metal skeleton.
5. The first skyscrapers were born.
o Typical Features
1. Bold geometric facades piered with either arches or lintel type
openings.
2. The wall surface highlighted with extensive low relief sculptural
ornamentation in terra-cota
3. Buildings often topped with projecting eaves and flat roofs
4. The multi-storey office complex highly regimented into specific ones
or ground storey, intermediate floors and the attic or roof.
5. The intermediate floors are arranged in vertical bands, large arched
window.
6. Highly decorated frieze
7. Porthole windows
8. Decorated Terra cotta spandrils
9. Capital of pilaster strips
10. Foliated and linear enrichment along jambs or entry.

4. Chicago School
• Prominent architects
1. Henry Hobson Richardson ( Lousiana, USA)
2. William Le Barron Jenny (Massachusetts, America)
3. Daniel Burnham (New York, USA)
4. Martin Roche (USA)
5. John Root (Chicago USA)
6. William Holaboard (New York, USA)
7. Solon S Berman (New York, USA)
8. Louis Sullivan (Boston, USA)
9. Danmark Adler (Germany)
• Famous buildings
1. Home insurance building (Chicago 1885-1931) First skyscraper ever
to 10 story
2. Sollivan center (Chicago) designed by Martin Roche and William
Holabird.
3. Marquette building (Chicago 1895) designed by Martin Roche and
William Holabird.
4. Brook building (Chicago 1909) designed by Martin Roche and
William Holabird.
5. Chicago building (Chicago 1904), John root and William Holabird.
6. Reliance building (Chicago 1890) John root.
7. Auditorium building (Chicago 1889) Louis Sullivan and Dankrner
Adler.
8. Warn Wright state office building (Missouri 1969) Louis Sullivan and
Dankrner Adler.
9. Monadork building (Chicago 1891) 16 storey.
10. Rookery building (Chicago 1888) Daniel Burnham.

5. Arts and Crafts Movement.

• Origin
1. It grew out of a concern for the effects of industrialization, on design,
on traditional skills and on the lives of the ordinary people.
2. Reactions against a decline in standards associated with machinery
and factory production.
3. The movement took its name from the arts and crafts exhibition
society, founded in 1887 but it encomposed a very wide range of like-
minded societies, workshops of manufacturers.
4. Architects, designers and artists began to pioneer new approaches to
design. These in turn led to the foundation of art.
5. They established a new set of principles for living and working.
• The Initialators.
1. The theories and critic John Ryckin.
2. The designer, writers and activists William Marris.
− Ryckin examined the relationship between art, society and labor,
Marris put Ryckin's philopnoes into practice, placing great value on
work, the joy of craftsmanship and natural beauty of materials.
• Objective Of the movement
1. Concern for the role of Craftsman.
2. Advocated the revival of traditional handicrafts and a return to
simpler way of life and an improvement in the design ordinary
domestic objects.
3. Worked to raise the status of the decorative also of the individual
Craftsman
4. Determined to interact with the commercial world and influence
industrial design.

• Other than United States, most arts and crafts practitionries in Britain
had strong, slightly incoherent negative feelings about machinery.
• They thought of the Craftsman as free creative and working with his
hand “the machine” as repetitive and inhuman.

• Impact of Arts and crafts movement for architecture

1. Architecture developed principles which not only influenced 19th
century architects but would later become the touch stones of 20th
century architects.
2. The belief that design should be dedicated by function.
3. Vernacular styles of architecture and local materials should be
respected.
4. New building should be integrated by surrounding landscapes.
5. Freedom from historical styles was essential.

• Prominent Examples:
1. The Gamble House by Charles and Henry Green.
2. The green house by Phillip Webb
3. The Stopold by Thomas Phillip.
4. Knightwick manot by Edward Could.

6. Art Noveau Philosophy and features.

1. It means new art.
2. ornamental style of art that flourished between about 1890 and 1914
through the Europe and United States.
3. It was a deliberate attempt to create and style, free of a imitative
historism that dominated much of 19th century art and design.
4. Art Noveau developed first in England and spread soon to the
European continent.
5. It was aimed at modernizing design, seeking to escape the electric
historical style that had previously been popular.
6. The movement was committed to abolishing the traditional hierarchy
of the arts, such as painting and sculpturing, as a superior to
carftswood decorative arts.
7. The practitioners of art – Noveau sought to revive good
workmanship, raise the status of craft, and produce genuinely
modern design.
• Features
1. Asymmetric shapes.
2. Extensive use of arches and curved forms.
 3. Curved glass
4. Mosaics
5. Stained glass
6. Japanese motis

7. Art Noveau prominent architects and buildings.

I) Victor Horta (Belgium architect and designer)
1. Hotel tassel Brussels Belgium (1893-1894)
• It was the 1st art Noveau building in the world.
2. Hotel Vanretvelde Brussels Belgium (1898-1900)
3. Hotel Solway Brussels Belgium (1898- 1900)
4. Horta museum Brussels Belgium (1898-1900)
II) Hector Guimard (French artist)
1. Castle Beranger – Paris, France (1890)
2. Paris metro entrances – France (1899-1900)
3. Hotel Guiamard – Paris, France (1912)
III) Louis soullivan (American Architect)
“Father of skyscrapers”
“Father of modernism”
“One of the recognized trinities of American architecture”
Wain Wright Building (USA 1890- 1891)
IV) Charles Rennie Mackintosh (British Architect and Interior Designer)
The light house – Scotland (1875)
V) Antonio Gaude (Architect Barcelona)
1. Spanish Architect, created complex buildings.
2. Biomorphic or organically shaped buildings
3. Casa Mila – Barcelona, Spain. (1905-1907)
4. Casa batolio – Barcelona, Spain, (1905-1907)
SKETCHES :
THANKYOU!
DE STIJL
• SUMITTED BY :
• SHRUTI KALE
• SIDDHESH KALANGE
• SIDDHARTH MHETAR
• PRANJALI KURHADE
• HARSHADA PATIL
 • In Dutch, "DE STIJL"

INTRODUCTION means "THE STYLE" ,

also known as
neoplasticism.
• It is a school of art
founded in Holland in
1917 (to 1931)
typically using
rectangular forms and
the primary colors
plus black and white
and asymmetric
balance
• The harmony and
order was established
through a reduction of
elements to pure
geometric forms and
primary colors.
 STARTING OF DE
STIJL
• In 1915 Van Doesburg started meeting the artists Met Piet Mondrian at
Stedelijk Museum Amsterdam.
• While his stay at Laren, Peit M. Met Bart van der Leck Van Doesburg also knew
J.J.P. Oud & Vilmos Huszar.
• In 1917, cooperation of these artists resulted in foundation of De Stijl.
• In 1918, Gerritt Rietveld joined the group but Van Der Leck left due to artistic
differences of opinion.
• Nieuwe Beelding (neoplasticism) was a term first coined in one 917 by
Mondrian.
PAINTINGS
  From the flurry of new art movements
that followed the impressionist
revolutionary new perception of
paintings, cubism arose in the early 20th
century as an important and influential
new direction. In the Netherlands, too,
there was interest in this ‘ new art’.
 However, because the Netherlands
remained neutral in WW 1, Dutch artists
were not able to leave the country after
HISTORY 1914 and were thus effectively isolated
from the international art world and in
particular, from Paris, which was its
center then.
 During the period, painter Theo van
Doesburg started looking for other artists
to set up a journal and start an art
movement. Van Doesburg was also a
writer, poet and critic who had been
more successful writing about art than
working as an independent artist. He had
many useful connections in art world.
 To rebuild society after WW 1.
Construct an ideal model for a
new world.
Achieving a utopian perception of
OBJECTIVES spiritual harmony.
Would function as a sign for a
ethical view of society.
To show that art and design have
the power to change the future.
 THEO VAN DOESBURG
• A Dutch artist, who practiced painting , writing, poetry and architecture.
• Founder and leader of De Stijl Movement.
• Complete abstraction of reality in his paintings.
• Promoted De Stijl across Europe.

SIMULTANEOUS COUNTER –
COMPOSITION 1929
COMPOSITION VII (THE THREE
GRACES) 1883-1931
PIET
MONDRIAN
• A Dutch painter and a contributor
VICTORY BOOGIE WOOGIE 1942-44
1872-1944

to De Stijl Movement.
• He evolved a non-representational
form which he termed
neoplasticism. This consisted of
white ground, upon which he
painted a grid of vertical and
horizontal black lines and the
three primary colors.
• Believed that 3D world was
deceptive and De Stijl offered a
simplified meaning of the world at
its basic level.
TABLEAU, 1921
GERRIT
RIETVELD
Dutch furniture designer and SCHRODER HOUSE BY GERRIT RIETVELD –EXTERIOR
architect.
One of the principal members of
De Stijl.
Famous for his Red and Blue chair
design.
The chair was designed for the
Rietveld Schroder House built in
1924 which is a UNESCO world
heritage site.

1888-1964 INTERIOR
 CHARACTERISTICS
• Precise geometrics forms of
flat squares and rectangles.
• Play on positive and negative
emphasis.
• Asymmetry
• Colors: primary, black, white
and gray.
• Horizontal and vertical lines.
• Paintings were never framed
as They were believed to be
intimate part of the world.
• ARCHITECTURAL
CHARACTERISTICS
Flat roof , asymmetry, geometric
forms, white or gray walls with details
highlighted by primary color

Compositions generally emphasize the

separation of planes, the application
of primary colors, and the spatial
relationship of solids to voids

Rectangular shapes define the

geometric repetition of windows,
doors, and blocks of color
Windows size vary on an individual
building from large to small. They may
be arranged in patterns or one unit on
a large wall

Flat roofs are typical ,and distinctly

different from other structure
FURNITURE 1. Furniture and decorative arts are
conceived as one with the
architecture and interior design.
2. Designers similarly emphasize
structure, construction, proportion
and the balance between solid and
void relationships.
3. They carefully place individual
parts to develop visual balance and
harmony so that all parts are
appreciated alone as well as in
context with the whole furniture
piece.
4. Chairs and Tables are the most
important conveyors of concepts.
5. Furniture complements the
architectonic character of an
interior through it’s emphasis on
straight lines, rectangular planes
and geometric forms.
MODERN
INTERPRETATIONS
THANK
YOU
COMPARATIVE
ANALYSIS
St. Margaret’s Eltham
Church
AND
Church at Firminy
INTRODUCTION

St. Margaret’s Eltham Church Church at Firminy

• Architects: Le Corbusier • Architects: Atelier Wagner
•Year: 1963 • Year: 2015

St. Margaret’s
Eltham Church

Church at Firminy
LOCATION
St. Margaret’s Eltham Church Church at Firminy

• Saint-Pierre is a • Atelier Wagner

concrete building in architects has
the commune of extended
Firminy, France. The St.Margaret’s
last major work of Eltham church in
Le Corbusier, it was Australia, stitching
started in 1973 together its disparate
components into one
complex.
HISTORY
St. Margaret’s Eltham Church
• Designed to be a church in the model city
of Firminy Vert, the construction of Saint-Pierre
was begun in 1971, six years after Le Corbusier's
death in 1965. Due to local political conflicts it
remained stalled from 1975 to 2003, when the
local government declared the mouldering
concrete ruin an "architectural heritage" and
financed its completion. The building was
completed by the French architect José Oubrerie,
Le Corbusier's student for many years.
• It has been used for many different purposes, as a
secondary school and as a shelter. As
the secularist French state may not use public
funds for religious buildings, Saint-Pierre is now
used as a cultural venue
Church at Firminy
• St.Margaret’s Anglican Church was built in 1861,
designed by the architect Nathaniel Billing as a
polychromatic brick gothic revival building atop a
hill in Pitt Street, Eltham. The Heritage Victoria
registered building is notable for its geometric
brickwork, large buttresses, and central bell turret,
but also featured a farsighted temporary rear wall
which facilitated the extension of the worship
space to nearly twice its original size. The
property is also occupied by another Heritage
Victoria listed building in Dendy House, a 1870s
former vicarage as well as the 1978 mud-brick
community hall by Robert Marshall. Aside from
extending the worship space, the scheme
endeavoured to relate to these other two
distinctive buildings as well as creating a new
identifiable entry with ancillary support spaces.
 Church at Firminy
The extension responded to the dominant gabled roofof the church
PLAN by following the spine
and eastern flank, albeit lowered from the historic ridgeline and
St. Margaret’s Eltham Church transformed the western
flank by the creation ofsectional elements. The varying length of
Natural light floods in through light boxes and through a theseelements facilitated a
series of organized openings that are a series of southerly glazed facets allowing the ingress of mellow
direct reference daylighting
to the into the worship space
Constellation without impacting
Orion. audio-visual projection.
The light Clerestory windows to the
boxes are eastern elevation project in
designed in a a southerly orientation to avoid
way that will direct daylight while also
bring light to the facilitating cross ventilation.
alter on specific A pointed arch stained glass window
religious holidays, from the demolished 1861 wall was relocated asymmetrically to the
new north wall of the extension to characterize the space as a
like Good Friday potential choir or chapel space.
and Easter Sunday.
St. Margaret’s Eltham Church
Church at Firminy
SECTION
St. Margaret’s Eltham Church Church at Firminy
THANKYOU
SHRUTI KALE
THIRD YEAR
SECTION – A
S.B.P.C.O.A.D
ARCHITECT
BALKRISHNA
DOSHI
Ar. BALKRISNA VITHALDAS DOSHI
LIFE HISTORY
Balkrishna Vithaldas Doshi was born in Pune, India in 1927.
He did his bachelors from J. J. School of Art, Bombay in 1950.
He worked for four years with Le Corbusier as senior designer
(1951-54) in Paris.
In 1956 he established a private practice in Vastu- Shilpa,
Ahmedabad and in 1962 he established the Vastu-Shilpa
Foundation for Environmental Design.
He also founded and designed the School of Architecture and
Planning in Ahmedabad.
Doshi has worked in partnership as Stein, Doshi & Bhalla since
1977. B.V. DOSHI WORKING IN J.J COLLEGE OF ARCHITECTURE
Doshi worked closely with Louis khan and Anant Raje, when
Kahn designed the campus of the Indian Institute of
Management.
In 1958 he was a fellow at the Graham Foundation for
Advanced Studies in the Fine Arts.
Doshi has been a member of the Jury for several international
and national competitions including the Indira Gandhi National
Centre for Arts and Aga Khan Award for Architecture.
He was presented in 1995,Aga Khan Award for Architecture, for
the Aranya Community Housing in Indore, India.
Doshi's architecture provides one of the most important
models for modern Indian architecture

FIRST INDIAN ARCHITECT TO WORKING WITH LE

RECEIVE THE PRITZKER AWARD CORBUSIER IN PARIS
PHILOSOPHIES AND PRINCIPLES
• According to him Architecture of a building is conceived not as a container of specific activities but as a place to be inhab ited, as a place to facilitate the course of
human environment. Doshi's work has consistently revolved around the interrelationship of indoor and outdoor space, an approp riate and honest approach to
materials, proper climatic response and observance of hierarchy and order that has always been present in the best modern arc hitecture.
• It is this so called ‘filter’ between contemporary and traditional architecture which Doshi has masterfully brought in. The success of any project depends on
effective construction, contracting, logistic planning and co-ordination. An essential part of the philosophy is the construction of scale models and of full scale
mockups to make decisions jointly with the client about the building.
• Doshi has categorized 8 principles in traditional architecture which he believes would greatly enrich contemporary practice. 1. Doshi belief in the ‘Mythical Sense’
of space often evident in traditional architecture which is not simply confined to open or closed areas. According to him spa ce can be modified according to the
desire of the perceiver and is never static.
• The structural and formal systems that Doshi has adopted led him to assimilate the 2nd principle of Vaastu -Purusha Mandala to ensure minimum standards of
health and hygiene in each project . Vaastu’ (environment), ‘Purusha’ (energy) and ‘Mandala’ (astrology) are combined in the diagram that has evolved to assist
builders in determining proper orientation. North relates to the lord of wealth, south relates to the lord f death , east to the lord of light (the rising sun), and west
to the lord of wind. The centre is attributed to the lord of the Cosmos .
• Following this chart has generally indicated a southwest orientation , favoring he prevailing breeze and also has defined the use of central courtyard. 3.
Transformation of Energy between the building and people using the space for functional use. The Energy takes place between t he walls, columns and space of
the building. The natural energy produces through sun radiations or natural elements, surroundings, species around it etc. Do shi followed it in his architecture by
providing openness in buildings through colonnades, pergolas, porticos, sky lights etc. for e.g.- IIM, Bangalore.
• Doshi has persisted a deep belief in importance of ‘Human Institutions’, just as Louis-i-Kahn did before him. This belief, is amplified by his own deep cultural
experience and popular evolution of new institutions. The name of his office itself, the Vaastu-Shilpa foundation, is a ringing affirmation of Doshi’s faith in the
dialogue between people and architecture of which he speaks and powers of dialogue to bring about old institutions and create new ones.
• A more specific principle is to follow ‘flexible rather than rigid approach to the structure’. This is how transformation of space from the mere static container ; to
a place where people actually feel a psychic interchange is best achieved. Here Doshi refers to the multiple mixed structural systems, of the type found in
Madurai temple and city of Fatehpur Sikri. 6. The idea of flexibility leads him to a principle, of incorporating “symbolism”. He believes that it can only be
accommodated by mixture of structural systems. Symbolically charged space must be designed as receptacle for human activity.
• Doshi also advocates “Amorphous rather than finite forms” ; used with multiple structural systems so that ‘experience with th em may be loose meandering and
multiple’. For e.g.- Aranya low cost housing, Indore. 8. As an eighth and final principle, Doshi seeks “Timelessness” in his architecture much as Louis khan did
when describing his quality in historical precedents as' open endness’
 PROJECT – AMDAVAD NI
•
GUFA
Type- Art Gallery
• Location- Ahmedabad
• Construction Period- 1992-1995
• Architect- Ar. B.V Doshi
• Client- M.F Hussain
• Ahmedabad ni Gufa is an underground art gallery in Ahmedabad. It exhibits works of the famous
artist Maqbool Fida Hussain. The gallery represents a unique juxtaposition of architecture and
art. The cave-like underground structure has a roof made of multiple interconnected domes,
covered with a mosaic of tiles. On the inside, irregular tree-like columns support the domes
• The gallery is called Gufa because of its resemblance to a cave. It was known earlier as Hussain-
Doshi ni Gufa, after its architect, B.V. Doshi, and the artist, M.F. Hussain. DEVELOPMENT
• The structure's contemporary architecture draws on ancient and natural themes. The Buddhist
caves of Ajanta and Ellora inspired Doshi to design the interior with circles and ellipses, while
Hussain's wall paintings are inspired by Paleolithic cave art.
• The mosaic tiles on the roof are similar to those found on the roofs of the Jain temples at Girnar,
and the mosaic snake is from Hindu mythology.
• The entire design is made up of circles and ellipses. The interior is divided by tree trunk or
columns similar to those found on Stonehenge. Computer assisted planning facilities were used
to resolve the structure’s unorthodox design. The domes are inspired by the shells of tortoises
and by soap bubbles. Development
SITE PLAN
SECTIONAL
VIEW
 NATURAL LIGHT
The building is oriented north south direction allowing the skylights
to face the South
Therefore allowing the maximum light inside the gallery at the
peak hours.
Even when the sun is at its lowest position the shadows from the
trees do not overcome any part of the structure above the
ground. As you observe at night the protuberances act as
torches and their positions will so light the surrounding trees
and landscape that it will appear as if it is a moonscape
Similarly on the day time they reflect light and keep the Gufa from
heating that maintaining a cooler in a environment
The Rotundas have been sculpted with projected skylights that
diffuse natural light inside the Gufa but what is unexpected is
the experience inside.
One is surprised to find that it is larger than you had imagined and
deceptive in its form. The sky lights you see on the roof as a
protuberances are not immediately visible at the light that they
CIRCULATION let in makes the Gufa space glow lending it an almost ethereal
quality
THANKYOU

Submitted by
SHRUTI KALE
THIRD YEAR
SECTION A