SRM Institute of Science & Technology

(Deemed to be university u/s 3 of UGC Act, 1956)

School of Architecture & Interior Design

STUDY MATERIAL
B.Arch.
JAN 2021 – MAY 2021
(EVEN SEMESTER)

19ARH210T – HISTORY OF ARCHITECTURE IV

(CONTEMPORARY)

2ND YEAR – 4TH SEMESTER

2019 REGULATIONS

Compiled by:
Ar.Manjari.K, M.Arch.,
Assistant Professor,
School of Architecture and Interior Design,
SRM IST, Kattankulathur.

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 INDEX

1. CYCLE -1 ……………………………………………………..04
2. CYCLE -2 ……………………………………………………..41
3. CYCLE -3 ……………………………………………………..75
4. CYCLE -4 …………………………………………………….102
5. CYCLE -5 ……………………………………………………..124

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 CYCLE -1

ARCHITECTURE IN WESTERN CONTEXT

SELF CONSCIOUS MODERNITY

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INTRODUCTION TO NEO CLASSICISM AND ITS TYPES

Neoclassical architecture describes buildings that are inspired by the classical

architecture of ancient Greece and Rome. After the ancient Roman cities of
Herculaneum and Pompeii were discovered in the mid-1700s, artists sought to revive
the ideal of classical Greece and Rome in architecture, sculpture, painting, and the
decorative arts. Architects and artists adopted Neoclassicism for aesthetic and political
reasons, and the style flourished during the revolutionary periods in France and the
United States. (Approx. 1750-1900)

During the late 18th and early 19th centuries many of the foundational buildings
of the United States government were constructed. The United States based its
constitution, including our three branches of government that incorporates
checks and balances, on the governments of ancient Greece and Rome. The U.S.
also looked back to antiquity as its prototype for a new democratic system.
The founding fathers of this country
chose the Neoclassical style for
government buildings, as it
symbolizes the classical roots of our
government.

Monumental Architecture -
For most of history, temples and
palaces served as the leading
forms of monumental architecture.

During the Neoclassical era, these building types were gradually

replaced by government buildings (e.g. courts, public service
buildings, schools) and commercial buildings (e.g. office and
apartment buildings, performing arts centers, transportation

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terminals).Today, government and commercial buildings dominate
cityscapes all over the world.

TYPES OF NEOCLASSICAL BUILDINGS

Neoclassical buildings can be divided into three main types:

— Temple: features a design based on an ancient temple. Many temple style buildings
feature a peristyle (a continuous line of columns around a building).

— Palladian: Andrea Palladio was an Italian architect who admired ancient Roman
architecture. His influence is still seen today and he is the best known neo-classical
architect in the western world. A well known Palladian detail is a large window
consisting of a central arched section flanked by two narrow rectangular sections.

— Classical block: features a vast rectangular (or square) plan, with a flat roof and an
exterior rich in classical detail. The exterior is divided into multiple levels, each of which
features a repeated classical pattern, often a series of arches and/or columns. The
overall impression of such a building is an enormous, classically-decorated rectangular
block.

NEOCLASSICAL ARCHITECTURE FEATURES

FEATURES OF CLASSICAL ARCHITECTURE FOUND IN

NEOCLASSICAL DESIGN
On a columned building, the section between the
top of the columns and the roof is called the
entablature. The three parts, cornice, frieze, and
architrave, were designed to complement different
types of columns.

Column & Capital Basics

CAPITAL

A Capital is the crowning member (top) of a column, on which

rests the column and base. Capital styles are based on the
Orders of Architecture.

COLUMNS

Columns are vertical architectural support. They typically

include: the round or square
shaft, the top (capital) and the bottom (base). The base is the
lowest element of a column structure on which the column
shaft rests. The plinth is the square or round slab that the column
base rests upon. In architecture, columns are utilized as load

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bearing elements supporting
porches, arches or a cornice.
Ancient Greek and Roman builders
developed the Five Orders, or rules,
for the design and proportion of
buildings. These classical orders are
prominent in Neoclassical
Architecture.

DORIC

The Doric
order was the
earliest order. It was
mainly used on the
exterior of large
structures and public
buildings. A Doric
capital consists of a
square stone slab
[abacus], above a round molded slab with
fillets and is elegantly simple in design.
The Parthenon is the most famous surviving
building in the Doric order. Built to honor the
Greek goddess Athena, the Parthenon is considered an ideal example of Greek
achievement and the finest example of the Doric order.

IONIC

The Ionic order was developed later than the Doric. Ionic capitals were more elaborate
than their Doric counterparts. Its graceful, well proportioned style was used for small
buildings and decorative interiors.

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CORINTHIAN

The ornate Corinthian order was developed by the Greeks in the fifth century. It was not
used often by the Greeks, but was modified and used extensively by the Romans.

ARCHITECTURAL PEDIMENT

An architectural element developed in ancient Greece, pediments were historically

embellishments over doors and windows that were both structural (supported by
columns) and decorative (with sculpture reliefs). Beginning with Roman architecture,
pediments became primarily decorative.

NEOCLASSICAL BUILDING CHARACTERISTICS

• 1 - 2 1/2 stories in height – generally low buildings

• Symmetrical: balance and symmetry are the most predominant characteristic of
neoclassicism
• Porticos (porches) featuring Doric or Ionic columns
• Building’s facade is flat and long, often having a screen of free-standing columns.
• May feature domes or towers
• Dentil molding and frieze band beneath the cornice are common

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• Decorative pediments on doorways and windows
• Multiple windows; upper and lower levels
• Wide variety of different window configurations including basic, arched, Palladian
and Norman Wheel
• Ornamental detail includes broken or unbroken pediments and side lights (windows)
surrounding the entry.

Examples of Neoclassical Buildings

Perhaps the single

greatest example
of Neoclassical
style in the U.S. is
the United States
Capitol Building,
for which
construction
began in 1793.
President
Washington selected a building
plan that was composed of
three sections. The central
section was topped by a low
dome and was flanked by two
rectangular wings, one for the
House of Representatives and
one for the Senate. This original
plan can still be seen today but
in a much grander scale than
the original concept. The
building has evolved over
hundreds of years but still retains its original Neoclassical style.

• Massive scale
• Symmetrical floor plans
• Simplicity of form
• Built to achieve classical perfection (from Greeks and Romans)

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 • Uncluttered appearance (minimum
decorations)
• Roofs are flat and often domed
• Supported with tall columns (Doric or
Ionic)
• Gardens around buildings follow
geometric patterns
• Built in 1800s
Neoclassical architecture began in 1800s as a
reaction to Rococo and Baroque
architectural styles.
Rococo and Baroque architecture focused on elaborate ornaments, detail and
decoration.
Neoclassical architecture response was to go back to simple, massive, classical form
of the Greek and Roman architecture era.

WHAT IS RATIONALISM?

Ration was what defined humans as a species and separated us from animals.
• A building committed to a logical, mathematically ordered design.
• Rationalism as a movement implied the complete devotion to logical, functional, and
mathematically ordered architecture.
• Rationalism has often been proposed as a way to create an environment perfect for
rational beings.
• 20th century rationalism derived less from a special, unified theoretical work than from
a common belief that the most varied problems posed by the real world could be
resolved by reason. In that respect it represented a reaction to historicism and a
contrast to Art Nouveau and Expressionism.

The concept of rational architecture first

emerged with the ancient Greeks. rational
architecture was defined by its function as
much as its form.
• Vitruvius, the first person to codify architecture
into a consistent discipline, formally asserted
that architectural forms could be rationally
deduced. From there,
rationalism as a formal ideology began.

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Rationalism in the Enlightenment
The Enlightenment was defined by the idea that
nothing should be trusted that could not be
proven.
• Focused on simple geometric shapes like
circles, squares, and triangles, breaking complex
forms into basic
units. This movement was largely a rejection of
the extremely
fancy and ornate Baroque movement.
• All excess was stripped away, revealing the structure in terms of basic
shapes,elements, and materials.

DECORATIVE ELEMENTS
• The decorative elements disappear in favor of the straight and nude form.
• There is a worry about proportion, simplicity and asymmetry.
• The internal space is based of the free plan with interior wall that curve and move
freely, adapting to the different functions.
• In the exterior the projecting, the free low level and the terrace in horizontal define
new image.
BUILDING TYPOLOGY
• There is a great interest about urbanism because they aim at accommodating
people to the new leaving standards and organize their groups, proposing new
formulas as the garden city or industrial city.
• The representative buildings are
- social houses
- skyscrapers
- industrial buildings
- administrative constructions
- theatres
- concert halls and stadiums.

Cenotaph for Newton / Etienne-Louis Boullée

Minuscule clusters of visitors ascend a
monumental stairway at the base of a
spherical monument rising higher than the
Great Pyramid of Giza. An arc of waning
sunlight catches a small portion of the
sphere, leaving the excavated entry portal
and much of the mass in deep shadow.
Bringing together the emotional affects of
romanticism, the severe rationality of
neoclassicism and grandeur of antiquity,
Etienne-Louis Boullée’s sublime vision for a
cenotaph honoring Sir Isaac Newton is both
emblematic of the particular historical precipice and an artistic feat that foreshadowed
the modern conception of architectural design. Rendered through a series of ink and
wash drawings, the memorial was one of numerous provocative designs he created at

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the end of the eighteenth century and included in his treatise, Architecture, essai sur
l’art. The cenotaph is a poetic homage to scientist Sir Isaac Newton who 150 years after
his death had become a revered symbol of Enlightenment ideals.

Beyond representing his individual

creative genius, Boullée’s
approach to design signaled the
schism of architecture as a pure
art from the science of building.
He rejected the Vitruvian notion
of architecture as the art of
building, writing “In order to
execute, it is first necessary to
conceive… It is this product of the
mind, this process of creation,
that constitutes architecture…”
The purpose of design is to
envision, to inspire, to make manifest
a conceptual idea though spatial
forms. Boullee’s search was for an
immutable and totalizing
architecture.
Paris during Boullée’s lifetime (1728-
1799) was the cultural center of the
world as well as a nexus great
transformation. Pre-Haussmanization
streets were the breeding ground of
class strife as poor crops and costly
wars led to financial crisis.
Enlightenment ideals, particularly
notions of popular sovereignty and inalienable
rights, influenced the rise of malcontent and
eventual revolution
Although Boullée completed a number of
small-scale built commissions for private and
religious patrons, he was most influential during
his lifetime in academic roles at the École
Nationale des Ponts et Chaussées and the
Académie Royale d'Architecture. Boullée
rejected the perceived frivolity of sumptuous
Rococo design in favor of the rigid orders of
the Greeks and Romans. Driven by his search
for pure forms derived from nature, he looked
back into history to the monumental forms of
cultures that predated the Greeks.
Transcending mere adulation of historical
precedents, Boullée remixed classic elements
at a scale and level of drama previously unachieved.

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For Boullée the sphere represented perfection and majesty, creating soft gradations of
light across its curved surface and having an “immeasurable hold over our senses”.
For Newton’s cenotaph a 500 ft diameter sphere is embedded within a three-tiered
cylindrical base, giving the impression of a buried volume. Boullée smartly completes
the figure of the sphere with a flanking pair of curved ramps.

THE ARTS AND CRAFTS MOVEMENT

The Arts and Crafts Movement was a British and American aesthetic movement
occurring in the last years of the 19th century and the early years of the 20th century.
It was Inspired by the writings of John Ruskin .
The Arts and Crafts Movement began primarily as a search for authentic and
meaningful styles for the 19th century and as a reaction to the eclectic revival of
historic styles of the Victorian era.
Reaction to the" soulless" machine-made production aided by the Industrial Revolution.
Considering the machine to be the root cause of all repetitive and mundane evils,
some of the protagonists of this movement turned entirely away from the use of
machines and concentrated towards handcraft.
It was neither anti-industrial nor anti-modern.
eclectic revival of historic styles - kind of mixed style in the fine arts.

To the proponents of Arts & Crafts, the Industrial Revolution separated humans from
their own creativity and individualism; the worker was a cog in the wheel of progress,
living in an environment of shoddy machine-made goods, based more on ostentation
than function. These proponents sought to reestablish the ties between beautiful work
and the worker, returning to an honesty in design not to be found in mass-produced
items.

The Great Exhibition of 1851 in London had

demonstrated that England was the industrial leader
of Europe.
However, many observers, including art critic John
Ruskin, believed that quality art and design were
sorely lacking.
Voysey , Lutyens , Britsh scott and the other english
architects who might be loosely grouped as arts and
crafts in first decade of the 20th century were bold
innovators in domestic design but they are far from
attempting the creation of a brave new world.
The British movement focused on the richly detailed
gothic style. Their interior walls were either white-washed or covered in wallpaper
depicting medieval themes. The pottery and textile designs were intricate, colorful and
realistic. While the original intent was to provide handmade goods to the common
man, the cost of paying craftsmen an honest wage resulted in higher prices than the
common man could afford. This limited the movement to the upper class.

 In contrast, the American movement drew inspiration from the materials,

choosing to highlight the grain of the wood or the form of the pot.

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  They incorporated walls of rich wood tones, relegating wallpaper to borders.
Paints were in rich earth tones.
 Furniture and architectural details were designed to take advantage of
machines allowing the individual craftsmen to assemble the furniture and finish
the wood.
 The use of machines lowered the cost, making the furniture, pottery and
metalwork affordable and therefore available to "the people".
Gamble house in california (1907-08) - Gable portions , stylish balconies

sleeping porches,Exterior red wood , earth quake proof of sliding joints

F.L.Wright’s own architecture and the prairie school which he developed were the
other development in the arts and crafts movement .
From 1901 to 1916 gustav strictly spread of the message of the craftsman movement
in a magazine called the craftsman.
The Arts and Crafts movement owes its success in many ways to two other nineteenth-
century trends: Aestheticism and Art Nouveau.
Aestheticism, which rose in popularity during the 1860s, encouraged the belief that one
should surround oneself with beautiful art in order to become more refined.

RED HOUSE-LONDON
Red House, London (1859), by architect Philip Webb
for Morris himself, is a work exemplary of this movement
in its early stages.
Red House in Upton, in the southern suburbs of London,
England is a key building in the history of the Arts and
Crafts movement and of 19th century British
architecture.
It was designed in 1859 by its owner, William Morris, and
the architect Philip Webb, with wall paintings and
stained glass by Edward Burne-Jones.

He also desired to have a "Palace of Art" in which he and his friends could enjoy
producing works of art.
The house is of warm red brick with a steep tiled roof and an emphasis on natural
materials.
The garden is also significant, being an early example of the idea of a garden as a
series of exterior "rooms".

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Morris wanted the garden to be an integral part of the house, providing a seamless
experience.
There is a deliberate attempt at expressing surface textures of ordinary materials, such
as stone and tiles.The house is of warm red brick with a steep tiled roof and an emphasis
on natural materials.

ART NOUVEAU
• International style of decoration & architecture which developed in the 1880’s
and 1890’s.
• It was a strong reaction against the Beaux-Arts classicism which is practiced in
Britain in those period.
• Beaux Arts Classicism – exploited lightness & Airiness by the invention of new
materials eg.Glass.
• Art Nouveau – drawing inspiration from nature.
• Name derived from ‘Maison de I Art Nouveau’ an interior Design Gallery opened
in Paris 1896.
Germany - Jugendstil (Magazine Jugend)
Italy - Stile Liberty
Spain - Floreale
Austria - Modernist
 It affected many parts of design like textiles , glassware & jewellery.
• supporters called it as a representation of a daring challenged to the Architecture
establishments.
• detractors called as a merely surface decoration & unworthy to the status of truly
architecture monument.
 It is characterized by sinus , curving lines that appeared in various undulating and
interlaced patterns.
 It emphasize the purifying effect of simple handicraft & the beauty of natural
materials.
 It considered as a design responsible for the total human environment .the architect
was supposed to design not only the house but also its fittings and house hold
equipment as well.
 Tension throughout the movement between the decorative and modernist
movement can be seen in the work of individuals.

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 It also links with contemporary symbolist ideas.
 Symbolism – literary movement developed from romanticism – use of symbols or the
concept of expression of the inner life rather than artistic condition.

Art Nouveau became the basis for an international style through its dissemination in
magazines , exhibitions & theoretical writings all of which helped to bring together the
isolated work of designer.
 Though it is found in Britain it was known as continental style.
 First true example for art Nouveau was the title page by Arthur Mackmurdo (1851-
1942) for his book Wren’s city Churches .
 First building – louis Sullivan (1889) . Spiral floral decoration for the 4000 seated –
Chicago Auditorium

If the long , sensitive curve , reminiscent of the lilly’s stem , an insect’s feeler , the
filament of blossom , or occasionally a slender flame , the curve undulating , flowing &
inner playing with the others , sprouting from the corners and coverine asymmetrically
all available surfaces , can be regarded as a leitmotif of art nouveau . Arthur
H.Mackmurdo’s.

Example - Used exposed floral ironwork & used linear tendril

decoration on both walls and ceilings.

In hotel Salvay he used extensively the decorative pattern in

staircase design . Staircase of the Maison & Atelier of Victor
Horta. This building is one of four Horta-designed town houses in
Brussels that are together recognized by UNESCO as
"representing the highest expression of the influential Art
Nouveau style in art and architecture.

Antoni Gaudí

• Antoni Gaudi was born in Catalonia in 1852.

• The artist's parents, Francesc Gaudí Serra and Antònia Cornet Bertran, both came
from families of metal smiths.
• In the modernist movement in Barcelona and even in Barcelona’s history of
Architecture ,no other architect has brighter place than gaudi.
• It was this exposure to nature at an early age that influenced him to incorporate
natural shapes into his later work.
• Gaudi, as an architecture student at the Escola Tècnica Superior d'Arquitectura in
Barcelona from 1873 to 1877, achieved only mediocre grades but did well in his "Trial
drawings and projects". After five years of work, he was awarded the title of architect in
1878.
Some of his works include -
 Casa Calvet
 Casa Vicens
 Casa Batlló
 Park Güell

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  Casa Milà, "La Pedrera“
 Sagrada Família

THE ‘SAGRADA FAMILIA’

• La Sagrada Familia is considered one of the
most iconic buildings not only of Barcelona, but
also in Spain.
• Antoni Gaudí tells through the façades of the
building one of the most known stories of our time:
Jesus Christ life
• and because, without wanting it, the building
itself represents the technological evolution in
architecture, from the end of the 19th Century to
the XXIst Century. • Antoni Gaudi represents
Catalonian Modernism (contemporary movement
akin to Art Noveau). But still he has his own style.

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• It will also have
18 towers:
• 12 symbolizing
the Apostles (four
for each
façade).
• 4 evangelists
• The Virgin Mary
• Christ. The
tallest tower,
crowned by a
large cross, not
yet constructed.
It will stand 170
meters, only one
meter less than the Montjuïc.

GLASGOW SCHOOL OF ART

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 GLASGOW SCHOOL OF ART Mackintosh
developed an artistic relationship
with Margaret MacDonald, Frances
Macdonald and Herbert McNair. Known
as "The Four", they exhibited posters,
furnishings, and a variety of graphic
designs in Glasgow, London, Vienna and
Turin. These exhibitions helped establish
Mackintosh's reputation.

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BRUTALISM
• Style with an emphasis on materials, textures and construction, producing highly
expressive forms.
• Seen in the work of Le Corbusier from the late 1940s with the Unité d’Habitation in
Marseilles, the term was first used by Alison Smithson in 1953 for an unexecuted project.
• Known for its use of functional reinforced concrete and steel, modular elements,
and utilitarian feel.
• Brutalist architecture was primarily used for institutional buildings.
• Imposing and geometric, Brutalist buildings have a graphic quality that is part of
what makes them so appealing today.
• The word Brutalist doesn't come from the architecture's fortress-like stature, but
from the raw concrete its often made from—béton brut.

CONSTRUCTIVISM
Constructivist architecture, or ‘constructivism’, is a form of modern architecture that
developed in the Soviet Union in the 1920s.
Inspired by the Bauhaus and the wider constructivist art movement that emerged from
Russian Futurism, constructivist architecture is characterised by a combination
of modern technology and engineering methods and the socio-political ethos of
Communism.
Despite there being few realised projects before the movement became outdated in
the mid-1930s, it has had a definite influence on many subsequent architectural
movements, such as Brutalism.
• An artistic and architectural philosophy that originated in Russia beginning in 1915
by Vladimir Tatlin and Alexander Rodchenko. Abstract and austere, constructivist art
aimed to reflect modern industrial society and urban space.
• While rejecting decorative stylization in favor of the industrial assemblage of
materials. Designs combined advanced technology and engineering with an
avowedly communist social purpose.
• Although it was divided into several competing factions, the movement produced
many pioneering projects and finished buildings, before falling out of favor around
1932. It has left marked effects on later developments in architecture.

Constructivist architecture was used to build utilitarian projects for the workers, as well
as more creative projects such as Flying City, that was intended as a prototype for
airborne housing.

The main characteristic of constructivism was

• The application of 3D cubism to abstract and

non-objective elements.

• The style incorporated straight lines, cylinders,

cubes and rectangles; and merged elements of
the modern age such as radio antennae, tension cables, concrete
frames and steel girders.

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• The possibilities of modern mat erials were also explored, such as steel frames that
supported large areas of glazing, exposed rather than
concealed building joints, balconies and sun decks. The style aimed to explore the
opposition between different forms as well as the contrast between different surfaces,
predominately between solid walls and windows, which often gave the structures their
characteristic sense of scale and presence.

CUBISM

• The name cubism was suggested by Henri Matisse in 1909.He observed that the
pictures themselves consisted of “nothing but little cubes”.
• The idea behind cubism is to show the essence of an object by displaying it from
many angles and points of views at the same time.
• Architectural interest in Cubism centered on the dissolution and reconstitution of
three-dimensional form, using simple geometric shapes
• The cubist pallet was restricted to a narrow, almost monochromatic scale, dominated
by greys and browns.
• The subjects were represented in the form of basic geometric shapes (cube , sphere ,
cylinder and the cone).

Constructivism and Russian Futurism:

Another major current in deconstructivist architecture takes inspiration from the Russian
Constructivist and Futurist movements of the early twentieth century, both in their
graphics and in their visionary architecture, little of which was actually constructed.
Both Deconstructivism and Constructivism have been concerned with the tectonics of
making an abstract assemblage. Both were concerned with the radical simplicity of
geometric forms as the primary artistic content, expressed in graphics, sculpture and
architecture.
The Constructivist tendency toward purism,(Purism was a form of Cubism) though, is
absent in Deconstructivism: form is often deformed when construction is deconstructed.

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Basic structural units such as bars of steel or sawn lumber loosely attached, piled, or
scattered. They were also often drafted and share aspects with technical drawing and
engineering drawing.
Two strains of modern art, minimalism and cubism, have had an influence on
deconstructivism. Analytical cubism had a sure effect on deconstructivism, as forms
and content are dissected and viewed from different perspectives simultaneously.
Deconstructivism as Analytical cubism, but is still found in the earlier and more
vernacular works of Frank Gehry. Deconstructivism also shares with minimalism a
disconnection from cultural references.
With its tendency toward deformation and dislocation, there is also an aspect of
expressionism and expressionist architecture associated with deconstructivism. At times
deconstructivism mirrors varieties of expressionism, neo-expressionism, and abstract
expressionism as well.
The angular forms of the Ufa Cinema Center by Coop Himmelb
recall the abstract geometries of the numbered paintings of Franz Kline, in their
unadorned masses. The UFA Cinema Center also would make a likely setting for the
angular figures depicted in urban German street scenes by Ernst Ludwig Kirchner. The
work of Wassily Kandinsky also bears similarities to deconstructivist architecture.
His movement into abstract expressionism and away from figurative work, is in the same
spirit as the deconstructivist rejection of ornament for geometries.
The projects in this exhibition mark a different sensibility, one in which the dream of pure
form has been disturbed. It is the ability to disturb our thinking about form that makes
these projects deconstructive. The show examines an episode, a point of intersection
between several architects where each constructs an unsettling building by exploiting
the hidden potential of modernism.

FUTURISM
Futurism – lively attack on traditionalism in culture , nourished by contemporary forces
.And it was released by a new industrial environment.
It had no particular political affiliation but was in favor of revolutionary change,speed,
Dynamism of all sorts and an aggressive adulation of the machine.
Futurism was an artistic and social movement that originated in Italy in the early 20th
century. It emphasized and glorified themes associated with contemporary concepts of
the future,

ERICH MENDELSOHN
Erich Mendelsohn (21 March 1887 – 15 September 1953) was a Jewish German
architect, known for his expressionist architecture in the 1920s, as well as for developing
a dynamic functionalism in his projects for department stores and cinemas. Mendelsohn
is a pioneer of the Art Deco and Streamline Modern architecture, notably with his 1921
Mossehaus design.

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The Einstein Tower / Erich Mendelsohn
The Einstein Tower, designed by the German architect
Erich Mendelsohn, is one of the best-known examples of
German expressionist architecture.
Designed as an amorphic structure of reinforced
concrete, Mendelsohn wanted the tower to represent as
well as facilitate the study of Einstein’s radical theory of
relativity – a groundbreaking theorem of motion, light and
space.

Astrophysicist Erin Finlay Freundlich commissioned Mendelsohn (along with a young

Richard Neutra on his team) to design the Einstein Tower as a research facility for the
theory of relativity. Between 1917-1920 Mendelsohn made numerous sketches of the
facility, attempting to create a dynamic structure which would give form to Einstein’s
groundbreaking theories. The resulting plan revealed a centralized observatory tower,
banded by rings of windows, raised on top of a wavelike platform that would house the
laboratories.

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“Every building material,
like every substance, has
certain conditions
governing the demands
that can be made on it...
steel in combination with
concrete, reinforced
concrete, is the building
material for formal
expression, for the new
style... the relation between
support and load, this
apparently eternal law, will
also have to alter its
image, for things support
themselves which formerly
had to be
supported...Towers mount and grow out of themselves with their own power and spirit
and soul”

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PIET MONDRIAN COMPOSITION AND DESTIJL MOVEMENT

Composition II with Red Blue and Yellow is a 1930 painting

by Piet Mondrian. A well-known work of art, Mondrian
contributes to the abstract visual language in a large way
despite using a relatively small canvas.

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De Stijl, or The Style, is an art and design movement founded in Holland by painters and
architects around 1917.
• The movement strives to express universal concepts through elimination, reduction,
abstraction, simplification, and a dynamic asymmetrical balance of rectangles, planes,
verticals, horizontals, the primary colors, and black, white, and gray.

• Designers formulate a new language and vocabulary for architecture.

• To do this, they take the traditional house apart, analyze it like an object, abstract it
to eliminate traditional references, and then reassemble it in a new way.
• The new form emphasizes the cube. It is not a solid box, but instead opens up from
outside to inside with solid and void relationships established through flat planes.

Furniture and decorative arts are conceived as one with the architecture and interior
design.
• Designers similarly emphasize structure, construction, proportion, and the balance
between solid and void relationships.
• They carefully place individual parts to develop visual balance and harmony so that

25
all parts are appreciated alone as well as in context with the whole furniture piece.
• Chairs and tables are the most important conveyors of concepts.
• Furniture complements the architectonic character of an interior through its emphasis
on straight lines, rectangular planes, and geometric forms.

WALTER GROPIUS

One of the most highly regarded architects of the 20th century, Walter Gropius (18 May
1883 – 5 July 1969) was one of the founding fathers of Modernism, and the founder of
the Bauhaus, the German "School of Building" that embraced elements of art,
architecture, graphic design, interior design, industrial design, and typography in its
design, development and production.

What was the Bauhaus style?

The Staatliches Bauhaus (German: [ˈʃtaːtlɪçəs ˈbaʊˌhaʊs] ( listen)), commonly known as

the Bauhaus, was a German art school operational from 1919 to 1933 that combined
crafts and the fine arts, and was famous for the approach to design that it publicized
and taught. The Bauhaus was founded by Walter Gropius in Weimar.

Why is the Bauhaus so important?

The Bauhaus school was the most important influence on graphic design in the
twentieth century. The Bauhaus school was founded by the architect Marcel Gropius in
1919. It moved from Weimar to its purpose-built home in Dessau in 1924, before being
forced to close its doors by the Nazis in 1933.

26
Founded in Weimar in 1919;
• One of the first colleges of design;
• Was an innovative training centre;
• Place of production and a focus of international debate;
SIMPLICITY , FUNCTIONALISM , ANONYMOUS AND ITS EMPHASIS ON THE HARDCRAFT
ETHIC.
The name Bauhaus stems from the German words for "to build“ and "house.

In 1920 two important artistic events help to change the Bauhaus.

1.One was as international conference of the a want-grad that the idea on purity of
form and honesty of construction to establish a new constructivist international.

2. The other was the major exhibition of Soviet design arranged interest not only in
constructivism but also the social aims which informed it.

27
Objectives of Bauhaus :
• One of the main objectives of the Bauhaus was to unify art, craft , and
technology
• The machine was considered a positive element , and therefore industrial and
product design were important components.
• The Bauhaus had a profound influence upon subsequent developments in art,
architecture, graphic design, interior design, industrial design and typography.
• Between 1919 and 1933 the German school art and design called the Bauhaus
was producing designs which were truly made for mass production but it was thirty
years later that industry caught up with this thinking and was able to manufacture the
designs for products such as furniture and lighting cheaply enough and in large
quantities.
• Many of the designs we now regard as design classics originate from the
Bauhaus.

28
WALTER GROUPIUS
Walter Adolph Georg Gropius was a German architect and founder of the Bauhaus
School, who, along with Alvar Aalto, Ludwig Mies van der Rohe, Le Corbusier and Frank
Lloyd Wright, is widely regarded as one of the pioneering masters of modernist
architecture.

29
MODERNISM BECOMES A MOVEMENT
CIAM INTERNATIONAL CONGRESSES OF MODERN ARCHITECTS

The Congrès Internationaux d’Architecure Moderne (CIAM), 1928 and lasted until 1959
The Congrès International d'Architecture Moderne (CIAM) (or International Congress of
Modern Architecture), founded in 1928 and disbanded in 1959, was a series of
international conngresses of modern architects.

CIAM was one of many 20th century manifestos meant to advance the cause of
"architecture as a social art“.
The Congrès International d'Architecture Moderne (CIAM) (or International Congress of
Modern Architecture), founded in 1928 and disbanded in 1959, was a series of
international conferences of modern architects.
"The Functional City,“ CIAM 4 (1933 ) After the previous two congresses on «The
Minimum Dwelling» (Frankfurt/Main, 1929) and «Rational Land Development» (Brussels,
1930),
"The Functional City," which broadened CIAM's scope from architecture into urban
planning
It represented an ambitious project to apply modern methods of architectural analysis
and planning to the city as a whole.
Based on an analysis of thirty-three cities, CIAM proposed that the social problems
faced by cities could be resolved by:

30
 - strict functional segregation, and the distribution of the population into tall
apartment blocks at widely spaced intervals.
- the chaotic division of land, resulting from sales, speculations, inheritances, must
be abolished by a collective and methodical land policy.“

These proceedings went unpublished from 1933 until 1942, when Le Corbusier,
acting alone, published them in heavily edited form as the "Athens Charter."
The Athens Charter

- This document remains one of the most controversial ever produced by CIAM.
The charter effectively committed CIAM to rigid functional cities, with citizens to be
housed in high, widely-spaced apartment blocs.

- Green belts would separate each zone of the city. The Charter was not actually
published until 1943, and its influence would be profound on public authorities in post-
war Europe.

- The observations taken from the studies of 33 cities set guidelines under the titles:
- LIVING,
- WORKING,
- RECREATION
- CIRCULATION

CIAM demanded that housing districts should occupy the best sites, and a minimum
amount of solar exposure should be required in all dwellings. For hygienic reasons,
buildings should not be built along transportation routes, and modern techniques
should be used to construct high apartment building spaces widely apart, to free the
soil for large green parks.

-Mumford, 2000, The CIAM Discourse on Urbanism, 1928-1960, The MIT Press, p85

Significance of International style

The International Style or internationalism is a major architectural style that was

developed in the 1920s and 1930s and was closely related to modernism and modern
architecture. It was first defined by Museum of Modern Art curators Henry-Russell
Hitchcock and Philip Johnson in 1932, based on works of architecture from the 1920s.

31
The terms rationalist architecture and modern
movement are often used interchangeably with
International Style.

The style is characterized by an emphasis on volume

over mass, the use of lightweight, mass-produced,
industrial materials, rejection of all ornament and color,
repetitive modular forms, and the use of flat surfaces,
typically alternating with areas of glass.

The International Style grew out of the work of a small

group of brilliant and original architects in the 1920s who
went on to achieve great influence in their field. These
major figures included Walter Gropius and Ludwig Mies
van der Rohe in Germany and the United States, J.J.P.
Oud in the Netherlands, Le Corbusier in France,
and Richard Neutra and Philip Johnson in the United
States.

The typical International Style or "corporate architecture" high-rise usually consists of the
following:
• Square or rectangular footprint
• Simple cubic "extruded rectangle" form
• Windows running in broken horizontal rows forming a grid
• All facade angles are 90 degrees.

Key Ideas & Accomplishments

• The International Style is often thought of as the "architecture of the machine age,"
which symbolized for many the crystallization of modernism in building design. This
became particularly true after World War II, when the postwar economic building
boom made the International Style a kind of "unofficial" American architecture.
• Often called "minimalist" architecture, International Style buildings are well-known
for the way they seem to strip away all extraneous ornament from the structure, leading
to an extreme blurring of interior and exterior space, the exposure of buildings'
construction with unvarnished honesty, and the glorification of modern industrial
materials: chiefly, steel, concrete, and glass.
• The International Style was one of the first architectural movements to receive
renown and be adopted unequivocally on every inhabited continent. It became a
global symbol of modernity both before and after World War II, especially in Latin
America and Asia, where nations felt a keen desire to industrialize and compete
politically and economically with traditional powers in Europe and North America.
• The term "International Style" was coined in 1932 by an eponymous exposition of
European architects at the Museum of Modern Art in New York curated by Henry-Russell
Hitchcock and Philip Johnson to describe an ethos of construction purely in terms of
materials and space, with virtually no reference to the sociopolitical dimension, as had
been highly emphasized in Europe. This differentiated the International Style between its
understanding in Europe versus in the USA.

32
Critics of modern movement: Christopher Alexander & Jane Jacob
• Christopher Wolfgang
Alexander (born 4 October 1936
in Vienna, Austria is a widely influential
British-American architect and design
theorist, and currently emeritus
professor at the University of California,
Berkeley.
• His theories about the nature of
human-centered design have affected
fields beyond architecture,
including urban
design, software, sociology and others.
Alexander has designed and personally built over 100 buildings, both as an architect
and a general contractor.
• Alexander uses “pattern” in a specific sense. Using Patterns "Each pattern
describes a problem which occurs over and over again in our environment, and then
describes the core of the solution to that problem, in such a way that you can use the
solution a million times over, without ever doing it the same way twice.
• A Pattern Language provides 253 “patterns” for “bottom up” architecture from,
pattern 1 INDEPENDENT REGIONS, the most general, to pattern 253, the most specific.

33
PHILOSOPHIES AND WORKS OF ROBERT VENTURI

”Architects can no longer afford to be intimidated by the puritanically moral language

of orthodox Modern architecture.” – Robert Venturi
ORN: June 25, 1925 (age 88) Philadelphia, Pennsylvania
AWARDS: Pritzker Prize (1991)Vincent Scully Prize (2002 FOUNDING PRINCIPAL of the firm
Venturi, Scott Brown and Associates. In 1972, Venturi and his wife began a study of Las
Vegas architecture-their effort was to categorize and classify architecture.
• Learning from Las Vegas was a criticism of orthodox modernism and its elite style.
• The project studied Las Vegas architecture and the role its signs played in creating
the urban landscape.
• It became a call to reintroduce symbolism into architectural design.
Robert Venturi and Denise Scott Brown, Venturi in full Robert Charles Venturi and Scott
Brown née Lakofski, (respectively, born June 25, 1925, Philadelphia, Pennsylvania, U.S.—
died September 18, 2018, Philadelphia; born October 3, 1931, Nkana, Northern
Rhodesia [now Zambia]), American architects who proposed alternatives to the
functionalist mainstream of 20th-century American architectural design. Their design
partnership was at the vanguard of the eclectic movement known as postmodernism.

34
35
KENZO TANGE
Kenzo Tange (1913-2005),
winner of the 1987 Pritzker
Architecture Prize, is one of
Japan’s most honored
architects. Teacher, writer,
architect, and urban planner,
he is revered not only for his
own work but also for his
influence on younger
architects.He was one of the
significant architects of the
20th century, combining
traditional Japanese styles with modernism, and designed major buildings on five continents.

ST. MARY CATHEDRAL

• Architects: Kenzo Tange
• Area: 2541 m²
• Year: 1964

36
 • The Tokyo Cathedral has been completed in
1964, replacing the old wooden cathedral, in
gothic style, burnt during wartime. Tange
conceived the new church as a concrete
structure, simple in concept and complex in
shape, which recalls the lightness of a bird and
its wings.

The eight walls – the elements which hold the whole

structure – are at the same time roof and walls,
enclosing the space and opening to the outside
through vertical gaps. The walls are curved
hyperbolically to express the tension to the sky, and
turning the rhomboidal ground floor into a cross at the
roof top. The different heights of the wings,
asymmetrical, make i t a dynamic shape on the sky background. The highest wing is
39,41 m high.

The reflection of the sunlight on the stainless steel external cladding looks as a shining
dress on the hard concrete slabs. Although it is a monochromatic cladding, the curves
and the U-shaped profiles enhance the dynamicity of the structure. It all makes the
church an iconic building in the dense urban context of Tokyo.
At the basement level the stone blocks play in contrast with the metal wings, hanging
to the ground the movement of the walls. The side entrance zone has a lower ceiling
area which introduces the main hall.

The light passes through the glazed gaps, four vertical in between the walls, and four as
roof light – the cross at the top. It is a rather dark space, but the contrast
dark/enlightened enhance the symbolism of the church as a religious space.
The effect of the light on the curved walls, changing at every hour, makes the interior
atmosphere extremely involving: direct sunlight and diffused reflections accompany
the bending surfaces, and the visitor can immediately see and understand the curving
of the concrete walls.
The bell tower follows the guidelines of the composition: its four vertical lines are in fact
flowing into one, stretching up to the sky. The organ, especially designed to adapt to
the space of the entrance, was made in Italy by Mascioni and installed in 2004.
The Tokyo Cathedral is considered one of the most important of Tange’s work, and one
of the most interesting architectures in Tokyo. The building puts together an occidental
subject and the oriental culture and sensibility, resolving the complexity of the project in
a brilliant architecture.

37
38
39
 CYCLE - 2

ARCHITECTURE IN WESTERN CONTEXT

40
INTRODUCTION TO POST MODERNISM.
EVOLUTION, PRINCIPLE AND OBJECTIVES OF POST MODERNISM.

Postmodernism – international architectural movement that emerged in the 1960s,

became prominent in the late 1970s and 80s, and
remained a dominant force in the 1990s.
Postmodernist movement is often seen as an American
movement, starting in USA around the 1960s–1970s and
then spreading to Europe and the rest of the world.
The movement largely has been a reaction against the
austerity, simplicity and functional design approach of
the modern architecture/international style.
Rejection of strict rules set by the early modernists and
seeks high spirits in the use of building techniques, angles,
and stylistic references.
Postmodernism has its origins in the perceived failure of
Modern Architecture; its preoccupation with
functionalism and economical building which failed to
meet the human need for comfort both for body and for
the eye. In response, postmodern architects sought to reintroduce ornament, color,
decoration and human scale to buildings. Form was no longer to be defined solely by
its functional requirements or minimal appearance.

CHARACTERISTICS OF POSTMODERNISM

• Postmodern Architecture rejects the notion of “pure” or “perfect” form, instead it

draws from: all methods, materials, forms, & colors available to architects.
• Moves away from the neutral white colors seen in modernism the return of "wit,
ornament and reference" to architecture
• Took past components of different styles and melded them together to create
new means of design.
• It is known for the re-emergence of surface ornament, reference to its surrounding
buildings, and historical references revival of traditional elements and techniques.
• Post modernists looked into past architecture in order to learn from it. Classical
designs such as pillars, arches, and domes used in new, almost humorous ways, just
to send a message to the modernist people. It favored personal preferences and
variety over objective truths and principles!
• Sensitivity to the building’s context, history and the client’s requirements
• Physical characteristics- the use of sculptural forms, ornaments and
anthropomorphism
• Conceptual characteristics - pluralism, double coding, high ceilings, irony, paradox
& contextualism.

SIGNIFICANCE OF HIGH TECH ARCHITECTURE

High-tech architecture, also known as Structural Expressionism, is a type of Late

Modern architectural style that emerged in the 1970s, incorporating elements of high

41
tech industry and technology into building design. High-tech architecture grew from
the modernist style, utilizing new advances in technology and building materials.
It emphasizes transparency in design and construction, seeking to communicate the
underlying structure and function of a building throughout its interior and exterior. High-
tech architecture makes extensive use of steel, glass, and concrete, as these materials
were becoming more advanced and available in a wider variety of forms at the time
the style was developing.

High-tech architecture focuses on creating adaptable buildings through choice of

materials, internal structural elements, and programmatic design.
It seeks to avoid links to the past, and as such eschews building materials commonly
used in older styles of architecture. Common elements include hanging or overhanging
floors, a lack of internal load-bearing walls, and reconfigurable spaces.

The style's premier practitioners include the following: Bruce Graham, Fazlur Rahman
Khan, Minoru Yamasaki, Sir Norman Foster, Sir Richard Rogers, Sir Michael
Hopkins, Renzo Piano, and Santiago Calatrava.

CHARACTERISTICS OF HIGH TECH ARCHITECTURE

High-tech buildings often incorporate a range of materials reminiscent of industrial

production.
Steel, glass, and concrete are all commonly found in high-tech structures, as these
elements evoke a feeling of being mass-produced and widely available.
Not all high-tech designs are made to accommodate truly mass-produced materials,
but nonetheless seek to convey a sense of factory creation and broad distribution.
• Tensile structures,
• cross beams, and
• exposed support and
• maintenance elements are all important components found in high-tech
designs.
A focus on strong, simplistic, and transparent elements all connect high-tech as a style
to the principles of engineering.

CHARACTERISTICS OF HIGH TECH ARCHITECTURE

1. The emphasis on exposed colored technical elements.

2. The prominent display of the building's technical and functional components on the
external façade.
3. The use of pre-fabricated elements, glass walls and steel frames.
4. Technology being the main feature of the building.
5. Architecture design is very much functionally orientated.
6. The large interior open space and the easy access to all floors
7. Neatness in architectural design.
8. The high-tech buildings make persistent use of glass curtain walls and steel structure.
9. It is greatly indebted to modern architecture, and influenced by Mies van der Rohe's
high rise buildings.

42
10. It's a British Oriented Architecture style that started its imprint by the seventies of the
last century.

Background Architect: Renzo Piano, Richard Rogers and

Gianfranco Franchini
Location: Paris, France
Structural Engineer: Arup
Area: Land area：5 acres
Floor Area：103,305㎡
Project Year: 1971-1977

RENZO PIANO
Renzo Piano was born on September 14, 1937 in Genoa (Italy), in the bosom of a
wealthy family of construction companies Renzo Piano's work has been called high-
tech and bold postmodernism.
The interior is open, light, modern, natural, old and new at the same time. "Unlike most
other architectural stars,“ writes architecture critic Paul Goldberger, "Piano has no
signature style. Instead, his work is characterized by a genius for balance and context.

RICHARD ROGERS
PHILOSOPHY AND ARCHITECTURAL STYLE:
Richard George Rogers, born on July 23rd 1933 in Florence, is an Italian born British
architect known for his modernist and functionalist designs.
Richard Rogers’ architectural philosophy’s topics are legible, transparent, lightweight,
systems, urban, public and green.

“Georges Pompidou National Art and Cultural Centre”

French national cultural Centre on the Rue Beaubourg and on the fringes of the historic
Marais section of Paris; a regional branch is located in Metz. It is named after the French
president Georges Pompidou, under whose administration the museum was
commissioned.

43
CENTRE GOERGES POMPIDOU

Type : Culture and Leisure

Architectural style : Postmodern /High-
Tech
Structural system : superstructure with
reinforced concrete floors.

It is a building in two parts:

1. Three levels of infrastructure where

they gather technical facilities and service,
2. A large glass and steel superstructure of seven levels, including the terrace and the
mezzanine, which concentrates most sectors of activity of the Center, with the
exception of Ircam, located in the plaza Stravinsky.

• The plan is rectangular, with the longer sides on the front of the square and the
service.
• It has a patio at the upper right .
The initial intention was to create much more than a museum; rather, Renzo Piano and
Richard Rogers sought to create a cultural icon.
Their competition entry was the only to propose using half of the available land on-site.
Located in the building are an Industrial Creative Center, Public Library, Modern Art
Museum, and Center for Music & Acoustic Research The skeleton itself turns the building
inside-out, color coding the different mechanical, circulatory and structural systems.
Rogers and Piano also intended for the space to be flexible, with large spans
unimpeded by columns.

The different systems on the exterior of the building are painted different colors to
distinguish their different roles.

• The structure and largest ventilation components were painted white,

stairs and elevator structures were painted a silver grey, ventilation was painted blue,
plumbing and fire control piping painted green, the electrical elements are yellow and

44
orange, and the elevator motor rooms and shafts, or the elements that allow for
movement throughout the building, are
painted red.
One of the "movement" elements that the center is most known for is the escalator
(painted red on the bottom) on the west facade, a tube that zigzags up to the top of
the building providing visitors with an astonishing view of the city of Paris.

F.L.WRIGHT

Frank Lloyd Wright (June 8, 1867 – April 9, 1959) - An American architect, interior
designer, writer, and educator who designed more than 1,000 projects, of which more
than 500 resulted in completed works.
Wright promoted organic architecture (exemplified by Falling water)
" ...having a good start, not only do I fully intend to be the greatest architect who has
yet lived, but fully intend to be the greatest architect who will ever live. Yes, I intend to
be the greatest architect of all time."

THE FALLING WATER HOUSE ,Pennsylvania

Client : Edgar.J.Kaufmann
Location : Mill Run, Pennsylvania
Nearest city : Pittsburgh
Built/Founded : 1935
Construction of the main house was started in April 1936 and was completed in
October 1937.
Architectural style(s): Modernism
Cost estimated : $155,000

• The design of the

house the house
promotes a
harmony between
man and nature, so
that the buildings,
walls, and structures
within the house are
extensions of the
exterior world.
• The materials of the
structure blend with
the colorings of rocks and trees, while occasional accents are provided by bright
furnishings, like wildflowers or birds outside.
• The cantilevered house which sits on a waterfall that is audible rather than visible was
Wright’s unique achievement.

• In designing the house, Wright mimicked the natural pattern of rock ledges over
the waterfall and cantilevered the house over the falls in a serious of concrete

45
 ledges, anchored to masonry walls made of the same sandstone as the rock
ledges.
• The paths within the house, stairs & passages, meander without formality or
urgency, and the house hardly has a main entrance; there are many ways in
and out.
• The living spaces extend up to the waterfall giving a spectacular view of
surroundings. A staircase directly leads to the water fall.

• The upper floor consists of bedrooms, bathrooms and two terraces while the
smaller top floor has one bedroom, a gallery and a terrace.

• The bedroom on the second floor opens on to the terrace, which is cantilevered
more than the terrace of the first floor.

• The second floor is much smaller than the first and have only one bedroom with
an adjoining terrace.

MATERIALS USED –

• The vertical elements of the house are constructed of NATIVE STONES, with “stick outs”
to give more sculptural quality to the stone masses.
• The horizontal elements are made of poured CONCRETE.
• The floors throughout are paved in stone, same is done with the walls as well.
• WOODWORK is a sap grain walnut, executed at an extremely fine level of
craftsmanship.

CONTRASTING FEATURES –

• House is a combination of the organic and the geometric forms.

• The horizontal forms of the concrete cantilevered balcony and canopies is in
contrast to the vertical masonry pylons of local stones.
• The materials used the natural stone and concrete, contradict each other.

46
 • The house creates the combination of a feeling of security with a sense of open
freedom against the dense wilderness outside.

Falling water house stands as one of Wright’s greatest masterpieces both for its
DYNAMISM and for its integration with its striking natural surroundings.The fireplace
hearth in the living room is composed of boulders found on the site and upon the house
was built.Another strange detail about the house is that glass meets the walls, there is
no metal frame; rather, the glass is caulked directly to the stone.

CONCLUSION –
The house had certain drawbacks too, Pronounced sags were noticed immediately
with both of the prominent balconies.
Inspite of its drawbacks, The Falling water House yet stands as a greatest work of Wright,
bringing close in relationship between man and nature.

LE CORBUSIER

Le Corbusier was born Charles-Edouard Jeanneret-Gris in Switzerland on October 6,

1887. In 1917, he moved to Paris and assumed the pseudonym Le Corbusier. In his
architecture, he chiefly built with steel and reinforced concrete and worked with
elemental geometric forms.

FIVE PRINCIPLES OF ARCHITECTURE

1. PILOTIS - Raise the building on “pilotis,” freeing the walls of their structural
function.
2. FREE PLAN - With the walls freed of their structural role, a free plan should be
employed.
3. FREE FAÇADE - Similarly, the facade should be designed freely.
4. ROOF GARDEN - The roof should be flat and host a roof garden, replacing the
ground space that is occupied by the building.
5. BRISE SOLELIL - The horizontal ribbon window, enabled by the free facade, should
be used to light rooms evenly.

NOTRE DAMN DUE HAUT CHAPEL , LE CORBUSIER

 Notre damn due haut chapel,France is one

of lecorbusier’s most original , least controversial
and widely admired building.
 The building is the relief from the severity
and logic and the international style , though if
confirms with the system of proportional
dimensions ( modulor )
 The building demonstrated that the most rational of architects could design , a
building that is essentially personal and poetic , a work of sculpture in concrete which
springs from faith nor reason.

47
  In the words of the architect ‘ I sought to create a place of silence , of prayer ,
peace and inner joy. An experimental form probably Inspired by the landscape.
 One can read in the forms the dual function he wanted to give the building
 a small chapel for prayer / meditation.
 place of worship – vast crowd of pilgrims
 The idea of deep grotto for the small chapel – by effects of soft , round masses
that surround the observer and give reassurance.
 Though the firm in no way correspond to that of a traditional roman church , it
had the same sacred atmosphere , bulky volumes , thick walls , deep splays and
semi darkness. Thus it exhibits implicit bond with the past.

LOUIS I KAHN

Louis Isadore Kahn was an American architect, based in Philadelphia. After working in
various capacities for several firms in Philadelphia, he founded his own atelier in 1935.

KIMBELL ART MUSEUM

Inspired from Roman Architecture
• Roman Arch and Vault
• The idea of creating a space that evoked “the luminosity of silver”
• Composed with 16 barrel cycloid vault.
• Each vault 100’ long, 20’ high and 20’ wide.
• Vaults are grouped into three wing
• Central wing has 4 vaults with the western one open as entrance.

48
 • Concrete shell and column structure
• No true vault
• Vaults are made as concrete shell
• Concrete vault shell has beam on each
edge and beam supported by 4 column on
each corner
• Concrete arch is used in the both end of
the shell to make I stronger
• The arch is connected with the column

• Walls connecting the columns are used to

make the building stable
• All the walls are detached with the vault to
define that they are not used as structure
• Space between the vault and the walls are
covered with glass
• All the structure is visible inside and outside.
• Light courts 1 in left and 2 in right wing are
given to enter the natural light.
• light also came from the long punch in the
apex of the vault.
• Anodized aluminum wings are used to reflect
the sun light to give a silvery lighted roof
• Glass is used under the aluminum wing
• Shape of the aluminum wing is defined by
computer

49
• it is one of the first architectural
elements ever to be designed with
computer technology.
• Artificial lighting is provided from
the edge of the glass panels.
• Air duct and other mechanical
services are located at the flat
channels between the vault.
• "like a piece of sculpture outside
the building.“ - Louis I Kahn
• Illustrates how the building is
constructed.

Materials
• Concrete
• Travertine
• Anodized aluminum
• glass

50
I.M.PEI
Ieoh Ming Pei, FAIA, RIBA was a Chinese-American architect. Born in Guangzhou, raised
in Hong Kong and Shanghai, Pei drew inspiration at an early age from the garden villas
at Suzhou, the traditional retreat of the scholar-gentry to which his family belonged.

GRAND LOUVRE, PARIS

In 1981, the newly elected French

president, Francois Mitterrand,
launched a campaign to renovate
cultural institutions throughout France.
One of the most advantageous of those
projects was the renovation and
reorganization of the Louvre.
In 1983 after touring Europe and the
United States, President Mitterrand
commissioned the Chinese American
architect, I.M. Pei. It was the first time that a foreign architect was enlisted to work on
the Louvre museum.

Completed in 1989, I.M. Pei’s renovation redesigned Cour Napoleon, the main court of
the Louvre, in order to alleviate the congestion from the thousands of daily visitors. A
new grand entrance provided a convenient, central lobby space separate from the

51
galleries, which provided focal point for the cyclical
process of one’s experience through the museum.

In addition to providing a new entrance to the Louvre, Pei’s

design featured a new underground system of galleries,
storage, and preservation laboratories, as well as a
connection between the wings of the museum.
The addition and relocation of the supporting spaces of the
museum allowed for the Louvre to expand its collection
and place more work on exhibit.

Pei’s design of the Louvre addition implemented a large

glass and steel pyramid that is surrounded by three smaller
triangles that provide light to the space below Cour
Napoleon. For Pei, the glass pyramid provided a symbolic
entry that had historical and figural importance that
reinforced the main entry.

The monumental appearance of the glass and

steel pyramid fixed in the middle of the court
provides a central focal point that compliments
the scale and design of the Louvre.
The scale of the large pyramid, which is designed
to the same proportions of the famous Pyramid of
Giza, does not detract from the historical nature of
the museum rather the juxtaposition of the
modern structure and the French Renaissance
architectural style of the museum creates a complimentary effect that enhances each
of the design’s details and beauty.
So much so that the sloping glass walls of the pyramid begin to pay homage to the
mansard roofs of the museum, and the opaque, heavy qualities of the Louvre’s façade
exaggerate the transparency of Pei’s design.

“Formally, it is the most compatible with the architecture of the Louvre..., it is also one of
the most structurally stable of forms, which assures its transparency, as it is constructed
of glass and steel, it signifies a break with the architectural traditions of the past. It is a
work of our time.” – I.M. Pei
Much of the criticism surrounding the renovation was not because of the addition to
the museum itself, but more of an issue of styles. Most felt that Pei’s modern design
aesthetic would clash with the Louvre’s Classical architecture; appearing as an alien
form.

However, as the decades have passed and Paris has modernized Pei’s design has
become embedded in the Parisian culture. It is regarded with similar significance to
that of the Eiffel Tower becoming an icon for the people of Paris, as well as the world.
Pei’s design has become synonymous with the image of the Louvre marking it as an
inseparable entity from the museum and of Paris.

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With the history of the Louvre dating back to the 12th Century, one could imagine that
the modern design implemented by Pei would not be fully accepted by the historically
enamored Parisian’s. The site of the Louvre was originally a dungeon and fortress for
Philippe Auguste, which was later transformed into a palace under King Francis I in
1546. It wasn’t until 1793 that Louis XVI had turned the Louvre into a museum. The
Louvre has been deeply rooted in the history and culture of the Parisian people.

DECONSTRUCTIVISM CONCEPTS

Deconstructivism in architecture, also called deconstruction, is a development of

postmodern architecture that began in the late 1980s. It is characterized by ideas of
fragmentation, an interest in manipulating ideas of a structure's surface or skin, non-
rectilinear shapes which serve to distort and dislocate some of the elements of
architecture, such as structure and envelope.

Originally, some of the architects known as Deconstructivists were influenced by the

ideas of the French philosopher Jacques Derrida. Eisenman developed a personal
relationship with Derrida, but even so his approach to architectural design was
developed long before he became a Deconstructivist.

Deconstructivism should be considered an extension of his interest in radical formalism.

Some practitioners of deconstructivism were also influenced by the formal
experimentation and geometric imbalances of Russian constructivism. There are
additional references in deconstructivism to 20th-century movements: the
modernism/postmodernism interplay, expressionism, cubism, minimalism and
contemporary art. The attempt in deconstructivism throughout is to move architecture
away from what its practitioners see as the constricting 'rules' of modernism such as
"form follows function," "purity of form," and "truth to materials."

ANALYZING THE CONCEPT EVOLUTION OF DECONSTRUCTIVISM

Context and Influences:

Deconstructivism in contemporary architecture stands in opposition to the ordered

rationality of Modernism. Its relationship with Postmodernism is also decidedly contrary.
Though postmodernist and nascent deconstructivist architects published theories
alongside each other in the journal Oppositions (published 1973–84), that journal's
contents mark the beginning of a decisive break between the two movements.

Robert Venturi's Complexity and Contradiction in architecture (1966). A defining point

for both postmodernism and for deconstructivism, Complexity and Contradiction
argues against the purity, clarity and simplicity of modernism.

With its publication, functionalism and rationalism, the two main branches of
modernism, were overturned as paradigms according to postmodernist and
deconstructivist readings, with differing readings.

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Some Postmodern architects endeavored to reapply ornaments even to economical
and minimal buildings, an effort best illustrated by Venturi's concept of "the decorated
shed." Rationalism of design was dismissed but the functionalism of the building
Thesis of Venturi's next major work, that signs and ornament can be applied to a
pragmatic architecture, and instill the philosophic complexities of semiology.

The deconstructivist reading of Complexity and Contradiction is quite different. The

basic building was the subject of problematics and intricacies in deconstructivism, with
no detachment for ornament.
Rather than separating ornament and function, like postmodernists such as Venturi, the
functional aspects of buildings were called into question. Geometry was to
deconstructivists what ornament was to postmodernists, the subject of complication,
and this complication of geometry was in turn, applied to the functional, structural, and
spatial aspects of deconstructivist buildings.
Another example of the deconstructivist reading of Complexity and Contradiction is
Peter Eisenman's Wexner Center for the Arts.
The Wexner Center takes the archetypal form of the castle, which
it then imbues with complexity in a series of cuts and fragmentations. A three-
dimensional grid, runs somewhat arbitrarily through the building. The grid, as a
reference to modernism, of which it is an accoutrement, collides with the medieval
antiquity of a castle. Some of the grid's columns intentionally don't reach the ground,
hovering over stairways creating a sense of neurotic unease and contradicting the
structural purpose of the column.

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55
ZAHA HADID

Dame Zaha Mohammad Hadid DBE RA was a British Iraqi architect, artist and designer,
recognised as a major figure in architecture of the late 20th and early 21st centuries.

Architect:
Zaha Hadid Architects,
Zaha Hadid, Patrik
Schumacher
Associate Architect:
Saffet Kaya Bekiroglu
Year of construction:
2007-2012
Roof Height: 74m
Length: 10,092m
Floors: 9
The Heydar Aliyev Center,
with 57,519 sq.m built, is a
complex of buildings
designed by British Iraqi
architect Zaha Hadid,
noted for its architecture
and fluid curved style that avoids sharp angles.

• The center is named Heydar Aliyev, leader during the Soviet Azerbaijan 1969-1982, and
president of the country from October 1993 to October 2003.
• The Heydar Aliyev Center, an internationally recognized architectural work, has
become a benchmark in the modern Baku, due to its innovative and cutting edge
design.
• The building was nominated for the World Architecture Festival and Inside Biennial
Festival in 2013.

LOCATION –
• Located near the city
center, the site has a
fundamental role in the
redevelopment of Baku,
Azerbaijan Republic, on
the west coast of the
Caspian Sea. To access
the center has planned
a new subway line that
leaves the visitor at the
foot of the small hill on
which the building sits.
• The spaces surrounding
the Cultural Center of
Heydar Aliyev were approved for residential, offices, a hotel and a shopping

56
 mall, while the ground between the cultural center and the main artery of the
city became the Cultural Plaza, a space open for public use.
CONCEPT –
• The structure
accompanying Hadid
variations within the unit.
With a continuous self-
processing design in all
directions, there is little
sense of limits, and no
indication of completion
is an immersion in a bath
of space.
• The immateriality of a
building varies between
white, whiter and even whiter depending on the incidence of the sun on their
surfaces, give a weightless character, releasing gravitational visitors obligations.
• As an object, the building is subjective, causing strong feelings triggered by the
suspension of physical gravity .
• An agile spatial structure of two layers, is the main support of the double jacket
which are smoothly curved along the top and bottom of the outer casing, the
structural frame and concealing emphasizing the surface rather structure , as if
the building was all effect and not cause.

— Represents a fluid form that emerges by the folding of the natural topography of the
landscape and the wrapping of individual functions within. All features, together with
the inputs are represented by folds in one continuous outer surface.
Fluidly connecting the various cultural
spaces and at the same time, provide
each member of the Centre its own
identity and privacy.
• Following the inner folds, skin
erodes to become an element of
the interior landscape of the
Centre.
• The shapes of the 57,519 m2
cultural center show the lightness
of a scarf billowing in freefall.
• The center is designed to
become the main building of
cultural programs.

SPACES –
— Baku complex actually consists of three buildings, a conference center with
auditorium and halls, a museum and a library, connected via an interior space and the
curve and "fluid" outer skin that winds throughout the structure.
— The complex also houses a restaurant and a parking.

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Exterior access

— visitors find the building through a long and steep park with a zigzag path,
leading to a square paved with squares of white concrete,
The landscape emerges from the ground to blend with the building. This area called

Cultural Plaza.

— In response to plummeting to the ground above topographically divided into two,

the project has a terraced landscape that provides alternative routes and connections
between the public square, construction, and underground parking.
• The design of the Heydar Aliyev Center provides a continuous and fluid relationship
between the surrounding square and inside the building.
• The plaza, accessible to the public as part of the urban fabric of Baku rises to wrap an
equally public interior space and define a sequence of event spaces dedicated to
collective celebration of both contemporary and traditional Azeri culture.
• Extrapolated the fluid forms the center environment creating a series of terraces
interlaced with mirrors, waterfalls, ripples, bifurcations, folds and flexures that turn the
surface of the square in an architectural landscape that fulfills many functions,
welcoming and directing visitors through different levels to the inside.
• With this gesture, the building blurs the conventional distinction between object and
architectural cityscape, building envelope and urban square, figure and ground, inside
and outside.
• A cut of the barrel at the front of the housing carries the glass doors that open to a
corridor of whiteness.

INTERIORS –

— The inside center is characterized by continuous surfaces that twist to transform the
ceiling walls and ramps.The ground floor has several spaces lobbying aimed at creating
public places that unite the different aspects of the program of the center.
— From these rooms welcome inside the building continues the theme of the merger,
with continuous surfaces. Soils become ramps and walls, turning on ceilings, then keep
turning and moving out of sight, forming endless white landscapes.

LIBRARY
— The Library is oriented north to take advantage of natural light and has its own
entrance.
— Levels dedicated to reading and file are stacked one above the other, wrapped in
the folds of the outer skin.
— Plants tumble over one another with ramps which connect, creating a continuous
circulation path.
— The Library and Museum are also connected by a ramp that leads through the
ground floor of the Library, to the first floor of the Museum.
— The Library is connected to the conference room through a bridge that 'fly' over the
entrance hall.

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— Its shape reaches the Cultural Plaza, leaning to create the necessary slope leading
to the seats of outdoor space.

AUDITORIUM

The auditorium and its associated facilities have direct access to the Plaza.
The main entrance is on the void created in the outer layer, "stretching" of the volume
of the museum and the library tower.The secondary entrance is on the north side of the
building.

STRUCTURE –
— The building consists of two main systems that collaborate: concrete structure
combined with a system of spatial structure.
— large-scale columns allow visitors to experience the fluidity of the interior, vertical
structural elements are absorbed by the walls and curtain wall system.
— The special geometry of surfaces promotes unconventional structural solutions, such
as the introduction of curves "Boot columns" for reverse shell from the ground surface to
the west of the building, and the "duck tail"
resulting from the narrowing of the cantilever beams that support the skin
of the building on the east side.

— The space frame system allows the construction of a free form structure and saves
time during the construction process, while the substructure has been developed to
incorporate a flexible connection between rigid grid of the spatial structure and

59
sheathing seams freely.These seams were obtained from a process of
rationalization of the complex geometry, use, and
aesthetics of the project.
— The glass fiber reinforced concrete and fiberglass reinforced polyester were chosen
as materials ideal coating, allowing the powerful plasticity building design while
responding to very different functional requirements related to a variety of situations:
square, transition zones and sheath.

Materials

— The building, whose distorted grid panels soft polyester reinforced fiberglass has no
visible connections, is less "as built" and more like "if landed".
— The construction has been used 121,000 m3 of reinforced concrete, 194,000tn
formwork and 19.000tn mold steel.
— To shape the outer skin 5,500 tons of structural steel were needed, creating the
40,000 m2 basis area for panels made from fiberglass reinforced polyester or with
concrete, a total of almost 17,000 individual panels with different geometries.

Lighting

— To
emphasize
the ongoing
relationship
between the
exterior and
interior of the
building,
lighting
Heydar Ali
Center has
been
carefully
considered.
— During the
day the
volume
reflects light,
constantly
changing its
appearance
depending on the time and perspective.
— The use of semi- reflective glass hints at undisclosed inside space trajectory .
— At night, the building is gradually transformed by the light that flows from within, the
formal composition to reveal its contents and continue to maintain the fluidity
between interior and exterior develops.

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SANTIAGO CALATRAVA VALLS
Santiago Calatrava Valls is a Spanish Swiss architect, structural engineer, sculptor and
painter, particularly known for his bridges supported by single leaning pylons, and his
railway stations, stadiums, and museums, whose sculptural forms often resemble living
organisms.

MILWAUKEE ART MUSEUM

ARCHITECT: EERO SAARINEN, SANTIAGO CALATRAVA, DAVID KAHLER, JAMES SHIELDS
YEAR: 1955 - 1957
LOCATION: MILWAUKEE, WISCONSIN, UNITED STATES
The Milwaukee Museum of Art is the largest art museum in the state of Wisconsin,
housing a collection of more than 30,000 works and an impressive collection of
renowned international exhibitions. In 1980 the Milwaukee Art Center changed its name
to the Milwaukee Art Museum, in 1983, it was
accredited by the American Museum
Association.
The Milwaukee Art Museum

• Began with Layton Art Gallery (1888) and

Milwaukee Art Institute (1918)
• Joined to form Milwaukee Art Center in 1957
and moved into new EeroSaarinen-designed
building on Milwaukee waterfront.
Museum collection continued to expand
throughout the 1980s and ’90s
• Attendance increased dramatically, approaching 200,000 annual visitors
• Both factors prompted consideration of an expansion
• Looking for a strong architectural statement, museum officials turned to architect and
engineer Santiago Calatrava in 1994
• Calatrava’s design was unveiled in March 1996, receiving an
enthusiastic response from the community
• The Quadracci Pavilion was completed in October 2001, becoming the first building
constructed by Calatrava in the United States.

Calatrava’s designs are often inspired by nature, and present a combination of organic
forms and technological innovation. The expansion of the Milwaukee Art Museum
incorporates multiple elements inspired by its lakefront location.
Among the many maritime elements in the design are: mobile steel blinds inspired by
the wings of a bird, a wired pedestrian bridge with a raised mast inspired by the shape
of a sailboat and a curved gallery of a single floor reminiscent of a wave.
The expansion of the Museum was made possible by the generosity of the donors, with
significant funds provided primarily by Betty and Harry Quadracci in whose honor the
new building was named.

The three-level building is a cruciform form of concrete, steel and glass floating on a
pedestal that includes three main components:
The first is the base that rises to the city level and contains an art museum.

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The second, at the city level, is the memorial courtyard,
surrounded by polyhedron-shaped pillars, which support
the building and also create frames for the stunning views
of the lake and the sky.
The third part is the superstructure, with a cantilever of
9.14m in three directions, which contains the meeting
rooms and offices of veterans’ organizations.

THE QUADRACCI PAVILION

The City of Milwaukee was looking for a “strong
architectural statement in an exciting yet functional
building” that would “set an architectural standard for the
next millennium”

The Museum with 31,680 m2 includes the War Memorial Center (1957) designed by the
Finnish-American architect Eero Saarinen, the Kahler Building (1975) by David Kahler.
Architect Santiago Calatrava’s response was to design a “glowing ‘lantern’ on the
downtown lakefront, radiating light in all directions”

• The design features a large pavilion containing a glass-enclosed reception hall with a
transparent, boat-like prow facing the lake, as well as
a huge, operable wing-like Brise-Soleil sunscreen. Quadracci Pavilion (2001) created by
the Spanish architect Santiago Calatrava. In 2015, a new extension
by Milwaukee architect James Shields was inaugurated.

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Structural Features:
Finite Element Model
• The complexity of the Quadracci Pavilion required that the mat foundation slab,
pavilion, A-frames, ring beams, and Burke Brise-Soleil be designed through a detailed
finite element model analysis.
Building Section
• A quick study of a partial building section reveals the clever arrangement of pinned
concrete arch elements which transfers structural loads to the foundation wall and
center beam.

• The mildly-reinforced concrete pavilion supports the back stay beam and east pier of
the pedestrian bridge, as well as the A-frames and building spine that in turn support
the moveable Burke Bruise-Soleil.

The cable-stayed bridge pylon and the Quadracci Pavilion’s building spine are aligned
on the same axis and are inclined 48.36 degrees toward the Pavilion.

STRUCTURAL FEATURES: PEDESTRIAN BRIDGE

• A cable-stayed pedestrian bridge featuring a steeply-raked pylon and ‘boomerang’

abutment spans 230 feet across a major thoroughfare, connecting Milwaukee’s
downtown with the waterfront.

• The 192-foot-long pylon supports the 10 major spans of the bridge through 9 locked-
coil cables and 18 back stay cables.
The main section of the bridge is a five-sided
closed steel cell with a stressed-skin structure, measuring 0.6 m deep and 5 m wide with
a 0.6-m-high parapet.

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The cell has no internal beams or girders and acts as a tubular member resisting live,
dead and wind loading.
The stressing allows for more transverse load with less deflection. The “boomerang”
bridge abutment is formed from welded plate steel plate and is anchored at the top to
the west end of the pavilion ring beam and supports the pylon base.

PETER EISENMAN

Peter Eisenman is an American architect. Considered one of the New York Five,
Eisenman is known for his writing and speaking about architecture as well as his designs,
which have been called high modernist or deconstructive.

STATE FARM STADIUM

State Farm Stadium, formerly known as University of Phoenix Stadium, is a 68,000-seat

National Football League stadium for the Arizona Cardinals, which expands to
accommodate 73,000 spectators for the Super Bowl and other extravaganzas.
By integrating the stadium with the facilities required for a convention center, this
multipurpose venue is equally effective for hosting exhibitions and sporting events.

64
In addition to providing innovative suites and concourse accommodations, the stadium
features a retractable roof and a movable field of natural grass that is rolled into the
arena on game days.

Concept
University of Phoenix Stadium was designed to be a truly multi-purpose facility with the
ability to host football, basketball, soccer, concerts, consumer shows, motorsports,
rodeos and corporate events.
The outside shape of the stadium represents a barrel cactus, a very typical plant from
the desert where it’s located. That’s the way the architect found to relate such a huge
building with such a characteristic environment as the desert of Arizona can be.
The building features alternating sections of shimmering metal panels intended to
reflect the shifting desert light alongside magnificent vertical glass slots allowing patrons
a spectacular view of the horizon from any level of the exterior. There are 21 vertical
slots on the exterior wall of the stadium.

University of Phoenix Stadium was the first in North America with both a retractable roof
and retractable field.
The roll-out natural grass playing field weighs nearly 20 million pounds and travels a
distance of 740 feet in less than an hour.
The stadium is clad in alternating sections of metal panels and recessed vertical glass
bands that allow views out from the circulation concourse. The shiny, metallic panels
will reflect shifting desert light patterns to mimic the ever-changing colors of the Arizona
sky, as well as throw off the desert heat. The translucent fabric roof admits daylight and
creates the feeling of being outdoors, yet protects spectators and players from the
direct heat of the sun.
The field allows football to be played on natural grass indoors – a feature that has to be
given special consideration in the desert climate. It remains outside the stadium in the

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sun until game day, getting the maximum
amount of sunshine and nourishment, while
eliminating humidity problems inside the
stadium and providing unrestricted access to
the stadium floor for events and staging.
The 25 acres (100,000 m2) surrounding the
stadium is called Sportsman’s Park. Included
within the Park is an 8-acre (32,000 m2)
landscaped tailgating area called the Great
Lawn.
Two 700-foot long trusses provide primary
support to the retractable panels and are the
dominant visual element. The exterior of the
stadium is comprised of metal panel and glass
in a form resembling both a barrel cactus and a coiled snake – two shapes very true to
the stadium’s desert surroundings.

Spaces
• Approximately 63,400 permanent seats, expandable to 72,200 seats
• 88 luxury lofts (Three party lofts), approximately 7,400 Club Seats, Two (2) 39,000
square foot Club Lounges
• 160,000 square feet of contiguous exhibit space, 20,000 square feet of meeting
room space
• 2 high resolution video scoreboards
• 77 Public Restrooms (30 Men’s, 35 Women’s and 12 Family)
• 47 Concession stands operated by Center plate
• 10 Number of elevators for public use in stadium
• 18 Number of escalators for public use in stadium
The stadium seating
capacity can be
expanded by 9,600 for
“mega-events” such as
college bowls, NFL Super
Bowls, etc. by adding risers
and ganged, portable “X-
frame” folding seats. The
endzone area on the side
of the facility where the
mobile turf moves in and
out of the facility can be
expanded to
accommodate the
additional ticketholders.
There are no obstructed
view seats in the stadium.
There are visible areas in
the upper deck of the end
zone where seats could

66
have been put in but were not due to the giant super columns supporting the roof
structure.

Structure & Materials

A concrete structure was used to hold the retractable roof. Super columns were
preferred instead of regular columns in order to minimize the zones where the structure
would obstruct the direct view of the field.
The roof is made out of translucent “Bird-Air” fabric and opens in twelve minutes. It is the
first retractable roof ever built on an incline.
The design, functionality and overall wow factor of University of Phoenix Stadium kicked
off a movement of 21st century sports facility design.

DANIEL LIBESKIND

Daniel Libeskind is a Polish-American architect, artist, professor and set designer.

Libeskind founded Studio Daniel Libeskind in 1989 with his wife, Nina, and is its principal
design architect. He is known for the design and completion of the Jewish Museum in
Berlin, Germany, that opened in 2001.

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Daniel Libeskind (born May 12, 1946) is a Polish-American
architect, artist, professor and set designer of Polish Jewish descent.
An international figure in architecture and urban design, Daniel Libeskind is renowned
for his ability to evoke cultural memory in buildings. Informed by a deep commitment
to music, philosophy, literature, and poetry, Mr. Libeskind aims to create architecture
that is resonant, unique and sustainable.
His designs are out of the ordinary and very different and some architects don't have
that quality.
He incorporates
 overhangs,
 diagonals, and
 other "indescribable" shapes in his architecture.
He highly favored CUBISM. And cubism is very evident in the Spiral Extension. Libeskind
shows what he learned in his early life in his architecture. He really stays true to his
origins.

Libeskind has a signature design, it is the curved lines of his buildings that allows light to
bounce off their edges so they appear to almost dance in a skyline. And each design is
driven by his mantra, “every building deserves a cultural approach”.

Libeskind’s egalitarian principles had a big influence on his design“My idea was always
very simple: make it as public as you can. Music is an integral part of what Libeskind
calls his “para-architectural” methods. “A lot of people think of architecture in a
physical context like physics, but the context is far richer,” he says. “It’s about memory,
tradition, things that you cannot see or hear but are there. I always try not to be
seduced by the physics of the site. It’s a portal to the
past.”

JEWISH MUSEUM,BERLIN

Daniel Libeskind communicates the displacement and

disassociation of the Jewish people in Germany through
his use of metaphor, fragmentation, void, and
disorientation.

BACKGROUND - Daniel Libeskind is a Polish-American

architect who has been practicing since completing his
education in the 1970s. His works are most
concentrated in Europe and more recently the United
States, and many are related to Jewish culture and history(“Daniel Libeskind” 2014).
Libeskind believes in architecture as a form of communication:
“For me, a building is a medium to tell a story. It’s not only about itself” (Quoted in
Libeskind & Goldberger, 2008).
As a deconstructivist, Libeskind often uses explicit metaphors of fragmentation in

68
his works, especially in regards to historical events like wars and the Holocaust.

69
The other main metaphor of the building’s interior is the split entry route, where visitors
are faced with choices mirroring the choices of Jews during the Holocaust.

GARDEN OF EXILE - The garden, which visitors move through as they exit the museum,

“Represents an attempt to completely disorient the visitor. It represents a shipwreck of

history”
Additionally, the vegetation is placed on top of the structural elements, leaving the
earth “remote inside concrete columns, roots above, hard ground below, and
vegetation intertwined above – out of reach". This will also serve to disorient a visitor,
whose usual conception of a garden features plants rooted in the ground.

Daniel Libeskind uses metaphor, fragmentation, void, and disorientation in ways

described in the table below to communicate the suffering of the Jewish people in and
out of Berlin.
Daniel Libeskind’s addition to the Jewish Museum, Berlin utilizes
Symbolism and metaphor
Including fragmentation,
Void, and disorientation,

70
 In order to create a more substantial museum experience for the visitor. Rather than
presenting information as museums often do,
Libeskind’s Jewish Museum Berlin uses these effects
to communicate the aspects of Jewish history, especially the Holocaust, which cannot
be expressed in only words.

PETER ZUMTHOR

Philip Cortelyou Johnson was an American architect. He is best known for his works of
Modern architecture, including the Glass House in New Canaan, Connecticut, and his
works of postmodern architecture, particularly 550 Madison Avenue which was
designed for AT&T, and 190 South La Salle Street in Chicago.
Structures: 7132 Hotel, Kunsthaus Bregenz, Bruder-Klaus-Feldkapelle, Kolumba
Awards: Pritzker Architecture Prize
Born
1943 Basel, Switzerland
Education
1958 Apprenticeship in cabinetmaking.
1966 Pratt Institute, New
York, USA, visiting student in architecture and design.
•He is a Swiss architect and winner of the 2009 Pritzker Prize.
•His father was a cabinet-maker and he was also apprenticed to a cabinetmaker in
1958.
•In 1966, Zumthor studied industrial design and architecture as an exchange student at
Pratt Institute in New York.
•In 1968, he became conservationist architect for the Department for the
Preservation of Monuments of the canton.
• His buildings explore the tactile and sensory qualities of spaces and materials
while retaining a minimalist feel.
•Zumthor founded his own firm in 1979.
•The attention Zumther pays to materials and to their visual, tactile and even factory
attributes.
•He applies materials with the sop histicated precision and he pursues the skills and
techniques of construction.
•Each of Zumthor’s works always responds to extraordinary architectural demands.

BROTHER KLAUS FIELD CHAPEL - EIFEL, GERMANY

• The field chapel dedicated to Swiss Saint Nicholas von

der Flüe known as Brother
• Klaus, was commissioned by farmer Hermann-Josef and
constructed with help of his farmer friends
• Zumthor used a technique called “rammed concrete”
where farmers poured a layer of concrete over a tepee of
timber.
•In its irregular five-sided form, rising starkly above the
surrounding landscape, there

71
are virtually no clues to what lies within.
•A narrow gravel path leads from the road directly to
its massive, triangular steel door.
•The tower rises 12 meters in 24 layers of concrete
each of 50 cm. thick.

•The interior of the chapel had to be shaped for that,

112 slender tree
Trunks, cut from trees felled in a nearby forest, were
arranged in the shape of a tepee over a concrete
platform.
•And after that 50cm layers of concrete, each layer
poured one per day for 24 days

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73
 CYCLE -3

CRITICAL REGIONALISM

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CRITICAL REGIONALISM

The term Critical Regionalism was coined by Alexander Tzonis and Liane Lefaivre in the
early 1980s, and was later elaborated by architectural critic and historian Kenneth
Frampton in his essay ‘Towards a Critical Regionalism: Six Points for an Architecture of
Resistance’, published in 1983.
Critical regionalism can be defined is an architectural approach that strives to counter
the homogeneity inherent in modernist architecture By using contextual forces, critical
regionalism imparts a sense of place and meaning to architecture.

Kenneth Frampton coined the phrase Critical Regionalism to define the elements of
topography, climate, light and tectonics fundamental to the art of building – these are
equally valid today.

Critical regionalist designs are sensitive to the local climate as well as the technological
constraints of the local building industry. The practitioners of critical regionalism seek to
integrate global architectural and technological developments with regional
sensibilities derived from spatial, cultural and historical contexts.

According to Frampton, critical regionalism should adopt modern architecture critically

for its universal progressive qualities but at the same time should value responses
particular to the context.
Emphasis should be on topography, climate, light, tectonic form rather than
scenography and the tactile sense rather than the visual.

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• As put forth by Tzonis and Lefaivre, critical regionalism need not directly draw from the
context, rather elements can be stripped of their context and used in strange rather
than familiar ways.

• Critical regionalism is different from regionalism which tries to achieve a one-to-one

correspondence with vernacular architecture in a conscious way without consciously
partaking in the universal.

CRITICAL REGIONALISM IN INDIA

RAJ REWAL – Traditional architecture was based on a vocabulary of design

which may not be relevant today even in Kashmir or Rajasthan. We are building with
concrete with concrete frame structures, infill walls and now also beginning to build
partially industrial structures. The base of contemporary architecture has to be new
techniques of building.
and
CHARLES CORREA - "Our identity we are searching for is going to be pluralistic. It is not a
mono centric one."India is a pluralistic society. It has many layers of orders. Firstly
overviews are very important in looking for identity. Secondly identity is not a single
pattern.
•Architect should have the right instincts so that he can tell the difference between
something authentic and something superficially picked up. There are three streams
that create built form. The first is what is being constructed in the rural areas. It is
indigenous. And the second is new popular. The third is the architect. We are the
purveyors of myths and of ideologies.

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PAOLO SOLERI

Born in Turin, Soleri studied architecture at the Polytechnic University of Turin in 1946
where he received a doctorate with highest honors. After, he moved to the United
States, he was an apprentice to Frank Lloyd Wright for a year and a half in Arizona.
In 1950 Soleri returned to Italy with his wife where he was commissioned to
build Ceramica Artistica Solimene; a ceramics factory in Vietri. He adapted the
ceramic industry processes learned to use in his designs and production of wind bells
and silt cast architectural structures.

Soleri called for a “highly integrated and compact three-dimensional urban form that is
the opposite of urban sprawl with its inherently wasteful consumption of land, energy
and time tending to isolate people from each other and the community”.

Arcosanti struggled to attract residents, reaching a peak population of about 200 in the
mid-1970s.
There are fewer than 60 permanent residents of the town, but thousands of students
and tourists still arrive at Soleri’s “urban laboratory” each year to learn more about the
architect’s ideas and methods.

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The greenhouse effect is a membrane that seals off an area of ground that can be
cultivated, extending the growing season to practically twelve months, and also saves
a great amount of water. ...
With the "greenhouse,“ one has intensive agriculture, limited use of water and
extension of seasonal cycles. This is the horticultural effect.
Then there is the apse effect. Some structures can take in the benign radiation of the
sun in winter months, and tend to cut off the harsh radiation of the sun in the summer.
By the chimney effect, which is connected with the greenhouse effect, one can
convey, passively, energy through the movement of air and heat from one area to
another.
So we have these four effects; there is also the capacity of masonry
to accumulate and store energy-the heat sink effect. With relatively large masonry, one
can store energy during the warm hours of the day, and give it out during cool or cold
hours of the night.
The intent is to see if these five effects can be organized around what we call the urban
effect.

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PAOLO SOLERI – UNDERSTANDING THE ARCO SANTI COMMUNITY

Putting his ideas into motion, Soleri bought land overlooking the Agua Fria River, 70 miles
north of Phoenix. This was the start of Arcosanti. Soleri spent most of his career trying to
build an eco-Utopia in the desert planned for 5,000 people in 1970. His vision was

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originally designed to be 20 stories high which supported a study center for
experimental workshops and performing arts.
The construction was assisted by student volunteers from all over the world to help
provide a model demonstrating Soleri’s concept of Arcology.

In the winter months, the warmed air will be directed into the buildings above to
provide additional heating.
CHRIDIN - conference-exhibition-housing facility located immediately south of the East
Crescent. Twelve small housing units will be built along the top of the cloister, with an
open-air theater below. The buildings will connect directly with the Energy Apron
Greenhouse located on the south slope.
LA LOGGIA
La Loggia is primarily designed as residential space for short-term and long-term
residents. On the north side, La Loggia faces Tristan's Wall, a composition of precast
panels offering a vertical landscape in the backyard. La Loggia also provides
immediate access to the Energy Apron with food and energy production features,
providing a unique living experience for residents. Each room has an expansive view of
the valley.

ARCO SANTI – FUTURE

Arcosanti is a living community, an urban laboratory whose design has been
continuously evolving since the idea was first conceived by Paolo Soleri in 1963.
Initiated in that year as a nimble proposal entitled “Macro-Cosanti,” an enlargement of

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the Cosanti theme, it has always intended to demonstrate how intrinsic bio-techno-
logical paradigms like miniaturization and complexity may be applied to the design of
a real community.
These concepts and others – chief among them 'leanness' - began to emerge from
the architecture of Cosanti itself. Since Arcosanti’s construction commenced in 1970, its
evolution has continued from the research, drawing, modelling and publications that
the Cosanti Foundation has constantly been developing.

LAURIE BAKER

March 2, 1917 – April 1, 2007)

Lawrence Wilfred "Laurie" Baker was a British-born Indian architect, renowned for his
initiatives in cost-effective energy-efficient architecture and designs that maximized
space, ventilation and light and maintained an uncluttered yet striking aesthetic
sensibility.
• He went to India in 1945 in part as a missionary and since then lived and worked in
India for over 50 years.

ARCHITECTURAL STYLE –
Designing and building low cost, high quality, beautiful homes.
• Suited to or built for lower-middle to lower class clients.
• Irregular, pyramid-like structures on roofs, with one side left open and tilting into the
wind.
• Brick jali walls, a perforated brick screen which utilizes natural air movement to cool
the home's interior and create intricate patterns of light and shadow. Baker's designs
invariably have traditional Indian sloping roofs and terracotta Mangalore tile shingling
with gables and vents allowing rising hot air to escape.
•Curved walls to enclose more volume at lower material cost than straight walls.
•His respect for nature led him to let the peculiarity of a site inform his architectural
improvisations, rarely is a topography line marred or a tree uprooted.
•This saves construction cost as well, since working around difficult site conditions is
much more cost effective than clear-cutting.

ADVANTAGES
•Energy saving eco-friendly compressive roof.
•Decorative & Highly Economical for larges spans.
•Maintenance free
Filler slabs employ replacing 'unproductive' concrete by a 'Filler' material which reduces
the weight of the slab and also the cost by reducing the amount of concrete used.
Also, since the weight of the slab is thus reduced, lesser steel is required for
reinforcement, further reducing the cost.

EXAMPLE 1 – THE HAMLET

This is Baker's home in Trivandrum.
• This is remarkable and unique house built on a plot of land along the slope of a rocky
hill, with limited access to water
• However Baker's genius has created a wonderful home for his family
• Material used from unconventional sources

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• Family eats in kitchen
• Electricity wiring is not concealed. The wall is decorated from broken pottery, pens,
glass. Gables for proper air circulation and ventilation

EXAMPLE 2 - MRS NALINI NAYAK`S RESIDENCE, ULLOOR, TRIVANDRUM (1971)

The main house is formed by a simple three-floor stacking of the pentagon on nine-
inch-thick brick walls
• internally each floor divides into the bedroom, bath and landing
• The additional segment on the ground, forming the living/dining and kitchen, is
structured with bays of half brick thickness, alternating wall and wall and door.

ANANT DAMODAR RAJE

• Born in Mumbai , India on 26 September 1929
• was well known architect , intellectual and teacher
• 1954 :graduated from sir .J.J. School of fine arts , Mumbai
• 1957-1960 : professional practice with ar. B.V.Doshi , in Ahmadabad
• 1961-1964 : professional practice , in ahemdabad
• 1964-1968 : in the office of Ar.Louis khan in philadelphia

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• 1969-1971 : working on construction of IIM with Ar.Louis khan
• Later he became the honorary director of school of architecture ,
Ahmadabad(C.E.P.T.)

PHILOSOPHY OF ANANT RAJE

 Strongly feels that post independence architecture in India was triggered by

architects like Louis Khan & LE Corbusier who were not architects and thus do not refer
our traditional values.
 Prefers more open spaces as most activities in the country are performed in
courtyards , streets or open spaces .
 Very much concerned to issues like economy, climate , traditional aspects etc.
 Working in hot dry climate he realized that open planning not only achieves
economy in spaceutilization , economy in structure design , economy in overall
building expenditure but a meaningful solution to building in such a climate – he thus
preferred open planning.
 “An architect possesses a strong conviction of theory and design.”
 According to him architecture is not conceived as container of specific
activates but as a place to facilitate the course of human environment.
 Raje’s work has consistently revolved around interrelationship of indoor and
outdoor spaces , an appropriate and honest approach to materials ,proper climatic
response, and hierarchy of spaces
 Encouraging interaction through built form.
 Resource conservation.
 Built in flexibility and open ended ness of design.

INSTITUTE OF FOREST MANAGEMENT,

BHOPAL

Location: Bhopal, India

Architect/Planner: Anant Damodar Raje
Client : Indian Institute of Forest
Management
Year :1984
Type : educational Building
Usage: training center

• The project restates time tested premises of the court and garden, fundamental to
most Islamic architecture in India.
• The land straddle two hills with outcrops of slate. The natural vegetation is wild
grass, which has been allowed to grow, augmented by rows and clumps of trees.
• The rooms, arcade and porch, are made from a simple vocabulary of trabeated
and arcuated construction, with the walls clad with stone screed in shades of green
and yellow grey that establishes a close rapport with the site.

ARCHITECTURAL STYLE : MODERN

The design of Indian Institute of Forest Management (IIFM), Bhopal was inspired

83
by the concept of continuity.
Institutions are self-contained entities, whose growth is nurtured by a process of self-
renewal through the various stages of their development.

Ø Located in Nehru Nagar, in the southern west corner of the city of Bhopal.
Ø Situated on a hill that overlooks the Bhadbhada barrage that controls the overflow of
the upper lake or Bada Talab of Bhopal.
Ø The spillway for Bhadbhada tails around the IIFM hill , giving it a scenic Location
surrounded by water on three sides during good monsoons.
Ø The inspiration for the project came from the historical town of Mandu.
Ø The natural vegetation is wild grass , which has been allowed to grow , augmented
by rows and clumps of trees.
Ø Walls cladded with stone in shades of green and yellow grey.

PROJECT DETAILS:
Builtup Area : 17500 Sq.M
Site : 65 Hectares Hilly site
Client : Govt Of India.
SPACES :
I. Academic Complex : Classrooms,
Library, Auditorium, Seminar rooms
II. Living Zone : Dormitories,
Kitchen, Dining , Spaces for group
meetings.
Hilly site is occupied by academic
complex and is marked by cohensive
group of buildings which constitute
academic zone.
The academic complex has a court
surrounded by classrooms, library ,
auditorium and seminar rooms.
Demonstrating
rigours and
containing faiths so
necessary, and yet
elusive in practice.
The IIFM building
has become a
touchstone for the
professional,
especially the
young.

Humanism & Urbanism: Using primarily Enlightenment design methods, and developing
a particular variant of technique or the mode of knowing best represented by the
school of Louis Kahn, Anant Raje constructs an ideogrammatic representation of
architecture.

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• The library building is four storied serves focal point of academic court.
• An amphitheatre with seating capacity of 750 is planned for multipurpose
activities.
o There are water bodies all over site.Water is carried in narrow channels to
green areas. A water reservoir on top of one of hillocks gives sharp focus the
landscape.
o Living zone consists of students dormitories, dining areas, spaces for group
meetings. The students dormitories are located at southern tip of academic complex.
o All dormitories faces lakes on southern slopes and are close proximity to library.
o The openings are recessed in shadow pockets which becomes dominant
architectural feature controlling and directing scale and proportion throughout the
complex.
o Rows of trees between dormitories and academic complex create buffer zone
besides providing shaded walkways connecting group of dormitories.
o The entire campus is constructed of brick masonry for walls. RCC is used for
internal frame structure.
o Lintels are standardized and left exposed concrete surfaces.
o The areas around opening is clad with rough kota stone . The remaining part of
exterior masonry wall surfaces is plastered stone washed grit.
o Course stone masonry retaining.

The chaotic metropolis of Bombay

deeply influences Raje and he infact
proclaims himself an "urban man" contrary to
Doshi who although from the same school,
looks to village life.

Anant raje’s Stress is placed on integration of

culture and spiritual wellbeing and efforts
as designer are aimed at process
of integration of man, the space around him
and the elements making up the space.

The plan of the Institute depicts a set of space

requirements for various activities. The
complex should be architecturally interpreted
as a homogenous entity rather than as
separately identified buildings for specific
functions on distinct territories

This perception of continuity mitigates

isolationist tendencies and eases the progress
towards academic and social interaction,
both of which are the hallmark of a successful and flexible Institute. To this end, the plan
attempts to create a sense of community without contradicting the student's need to
feel independent.

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Relating the Buildings: The 65 hectares of site is open
and rises approximately 50 meters from the lower road
level on a hill plateau, and is heavily contoured on the
western and southern sides, while the eastern side has
gradual slopes. The major axis runs north- south, and the
main circulation spine is located on this north-south
axis.
Ø ACADEMIC COMPLEX :
— Court surrounded by classrooms , a library , an
auditorium , a seminar room.
— Library building being four storeyed serves as the
focal point of academic complex.
Ø LIVING ZONE :
— Consists of student dormitories , a kitchen , dining
areas and a space for meetings.
— Dormitories face lake and are located at the
southern tip of the complex.
Ø OPENINGS :
— Openings are recessed into shadow pockets which become the dominant feature
controlling and directing scale and proportion throughout the building.

Ø The building seems to be truly ahead of its time and completely in compliance with
Raje’s philosophy of architecture which aimed at simplicity and honesty.
Ø The magnificence of the clear sky is brilliantly framed through the circular rings
supported on the arches , carefully and precisely as one would stack cards.
Ø Instead of concrete being rendered into a monolith, the facade displays a variety of
textures in concrete and stone.

BALKRISHNA DOSHI

D.O.B.-26 August 1927,In 1950 he became a senior designer on Le Corbusier's projects in

Ahmedabad and Chandigarh.His craft under Le Corbusier for four years. (1951-54)
Awards:
Associate Member, Royal Institute of British Ar., 1954 Fellowship, Graham Foundation,
1958

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Honorary Fellow, American Institute of Ar., 1971 Fellow, Indian Institute of Architects,
1971 Padma Shri Award, Government of India, 1976
Doshi worked closely with Louis kahn and Anant raje , when Kahn designed the
campus of the Indian Institute of Management.
He was presented in 1995,Aga Khan Award for Architecture, for the Aranya
Community Housing in Indore, India.

PRINCIPLES
Doshi's work has consistently revolved around the
interrelationship of indoor and outdoor space.
Doshi followed it in his architecture by providing
openness in buildings through colonnades, pergolas,
porticos, sky lights etc.
The success of any project depends on effective
construction, contracting, logistic planning and co-
ordination.

The IIMB campus was designed by celebrated

architect B V Doshi.
The campus is a destination and a pilgrimage for
students of architecture and practicing architects,
with the architecture of the academic and administrative blocks becoming a case
study. Completed in 1983, the original stone architecture is now complemented by the
greenery, just as B V Doshi had intended.
Geographical Location : Bangalore lies in the southeast of the South Indian state of
Karnataka.
Location-site is in hilly area in south Bangalore on Banerghatta. Contexturban setting ,
linked by a highway. Site area-102 acres
Topography-undulating terrain with gentle slope
Climate-temperature arid climate. Vegetation-lush green belt of tropical rain forest,
beautifully landscaped and maintained.

B.V Doshi PHILOSOPHIES

According to him Architecture of a

building is conceived not as a
container of specific activities but as
a place to being habited , as a
place to facilitate the course of
human environment.
Doshi is work has consistently
revolved around the interrelationship
of indoor and outdoor space , an

87
appropri ate and has one
approach to materials ,
proper climatic response and
observance of hierarchy and
order that has always been
present in the best modern
architecture .
Fatehpur Sikri’s courtyards
and the gardens of
Bangalore merged in B V
Doshi’s mind’s eye.
• He picked up the gardens
and put them in the
courtyards.
• He made green corridors,
which allow for academic
exchanges to be carried
beyond the classroom.
• A good integration of climatical factors ,the ‘Sun Path diagrams’, and proper
implementation of ‘Vastu Shashtra’ was one of the best qualities of B.V.Dodhi’s
architecture.
• A perfect blend of modern and traditional architectural style.

Site Zoning : Influence

of IIMA zoning
• Site divided into 2
halves; northern for staff
housing and southern
for educational block.
• Doshi’s plan tightened
up so that the
academic zones were
arranged around
interlocking courts and
terraces linked by
galleries.
Southern zone is
wrapped with a blanket
of greenery, Screens off
unwanted noise
emanating from road
and breaks visual link
with surrounding spaces

• Achieved by adopting a network of corridors linking together all volumes, courtyards

,and externals.
• Pergolas wit creepers are used instead of just plain roofs for corridors.
• Vistas are also included.

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• Pedestrian movement designating within academic complex and student’s
dormitories.
• Roads are restricted to outside of the buildings.
• Roads have trees on the sides.

GEOFFREY BAWA

Geoffrey Manning Bawa

•Born in 1919
•In 1938 Geoffrey went to Cambridge to read English and later studied Law in London.
•worked for some time in a Colombo law firm.
•Soon tired from the legal profession
•1948 he came to a temporary halt in Italy where, seduced by its Renaissance gardens
•He returned to Ceylon where he bought Lunuganga.
•Wanted to make Lunuganga an Italian garden but laid bare his lack of technical
knowledge.
•1951 he began a trial apprenticeship with Edwards, Reid and Begg.
•1953 he applied to the Architectural Association School in London.
•Finally qualified as an ARCHITECT in 1957 at the age of 38.

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PRACTICE - Geoffrey Bawa started in the firm of Edwards Reid and Begg.
• His fellow partners from 1959 to 1967 were Jimmy Nilgiria and Valentine Gunesekera.
• The Danish architect Ulrik Plesner joined the practice in 1959 and worked as
a close collaborator with Bawa until the end of 1966.
• After 1967 Bawa’s sole partner was Dr. K. Poologasundram who acted as engineer
and office manager until the partnership was dissolved in 1989.
• In 1990 Bawa founded ‘Geoffrey Bawa Associates’.
• Channa Daswatte acted as his principal associate from 1993 until 1998.

PHILOSOPHY - Highly personal in his approach, evoking the pleasures of the senses that
go hand in hand with the climate, landscape, and culture of ancient Ceylon(Present
day SriLanka).
•Brings together an appreciation of the Western humanist tradition in architecture with
needs and lifestyles of his own country.
•The principal force behind TROPICAL MODERNISM.
•Work with a sensitivity to site and context.
•His designs break down the barriers between inside and outside, between interior
design and landscape architecture.
•He reduced buildings to a series of scenographically conceived spaces separated by
courtyards and gardens.
•His ideas are providing a bridge between the past and the future, a mirror in
which ordinary people can obtain a clearer image of their own evolving culture.

EXAMPLE 1 – LUNUGANGA, BENTOTA

A small rubber plantation consisting of a house and 25 acres of land
•A low hill planted with rubber and fruit trees and coconut palms with rice fields.
•Surrounded by the Dedduwa lake.
NOW - The Italian inspired garden with spectacular views over lakes and tropical jungle
together with a simply designed plantation house.

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THE REASON - When Bawa came back to Ceylon in 1949, he became almost totally
involved in the pleasures of altering his house and transforming the rubber plantation
into a wonderfully beautiful, rolling landscape; staircase and terraced, squared into
paddy fields, on the edge of a long lake with a wild island in its centre.
This he so enjoyed that he decided to become an ARCHITECT .A garden is not a static
object, it is a moving spectacle, a series of scenographic images that change with the
season, the point of view, the time of day, the mood. So Lunuganga has been
conceived as a series of separate contained spaces, to be moved through at leisure or
to be occupied at certain times of the day.
Geoffrey Bawa created this tropical garden idyll.
The Italian inspired gardens, with spectacular views over the lake and tropical jungle,
has been transformed into a series of outdoor rooms creating a huge feeling of space
with vistas that have been carefully chosen to emphasize their beauty with points of
architecture and art; from entrances, pavilions, broad walks to a multitude of
courtyards and pools.

PLANTATION HOUSE –
•A collection of courtyards, verandahs and loggias create a haven of peace and
inspiration.
•Suites are individual and beautifully decorated to provide a relaxing and memorable
environment.
STUDIO -
•Set at the edge of a cinnamon plantation
•High on the hill overlooking the lake to the south thus giving the privacy.

This is not a garden of colorful flowers, neat borders and gurgling fountains: it is a
civilized wilderness, an assemblage of tropical plants of different scale and texture, a
composition of green on green, an ever changing play of light and shade, a succession
of hidden surprises and sudden vistas, a landscape of memories and ideas.
• This is not a garden of colorful flowers , neat borders and curling
fountains –
1. It is a civilized wilderness
2. An assemblage of tropical plants of different scale and texture
3. A composition of green on green
4. An ever changing play of light and shade

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5. A succession of hidden surprises and vistas
6. A landscape of memories and ideas

Today the garden seems so natural, so established, that it is hard to appreciate just how
much effort has gone into its creation. Vast quantities of earth have been shifted, trees
and shrubs have been planted and transplanted, branches have been weighed down
with stones to train their shape.
In 1948, a young man dreamt of making a garden. Today the garden is in its prime but,
after the passage of over fifty monsoons, the young man has grown old. As he sits in his
wheelchair on the terrace and watches the sun setting across the lake it may be that
he reflects on his achievement.
This is a work of art, not of nature: it is the contrivance of a single mind and a hundred
pairs of hands working together with nature to produce something that is 'supernatural'.

SRI LANKAN PARLIAMENT BUILDING

The new sri lankan parliament is an asymmetric group of colonnaded pavilions with
striking copper roofs, built on an island the ‘floating’ on a man-made lake.

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The site was originally a marsh and was dredged to form a small island to support the
structures and a wide shore with dense tree cover. The approach is along a causeway
and across a forecourt. Again, bawa has used a modernist framework to support
indigenous components of past architecture and produced a building of great beauty
and harmony.

¡ Building is designed in a style of regional modernism ; while the building is an example

of modernism, it still respects sri lankan vernacular architecture.
¡ The parliament complex has the illusion of symmetry, which contrasts sharply with
the organic form of the lake it is located in.

¡ The chamber, the focus of power, lies within the main pavilion with balconies and
galleries rising three storey's. The tiered terraces below hold administrative and
committee offices. Other pavilions accommodate rooms of varying functions.
¡ traditional wood and stone columns, reminiscent of ancient palaces and temples,
supports the copper roofs
¡ the lake itself can be read as a tribute to sri lanka’s two millennia of tank building,
recalling the sea of parakramabahu and the tree-lined lake at kandy

¡ In their final form the parliament roofs are an abstraction of the traditional kandyan
roof.
¡ The use of copper in place of tile gives them the thinness and tent-like quality of a
stretched skin, transporting them far from the realms of historical artwork while recalling
the fabled 'brazen roofs' of anuradhapura.
The project was commissioned by President J.R. Jayawardene in 1979 and was in
recognition of Bawa’s increasing prestige. The completed design brought him even
more international kudos. The Parliamentary complex is Bawa’s most symbolic work,
conceptualized as movements through spaces, resulting in the asymmetrical

93
configuration. It is also perhaps the only project where he has allowed form to override
the priority of landscape.

TADAO ANDO

Born in Osaka
He did not receive any formal architectural schooling, instead he trained himself by
reading and travelling.
"I was never a good student. I always preferred learning things on my own outside of
class… There's a lot of great traditional architecture in the area. I was studying
architecture by going to see actual building, and reading books about them.“

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CHURCH OF THE LIGHT

The Church of the Light embraces Ando’s

philosophical framework between nature and
architecture through the way in which light can
define and create new spatial perceptions
equally, if not more so, as that of his concrete
structures.
Completed in 1989, the Church of the Light was a
renovation to an existing Christian compound in
Ibaraki. The new church was the first phase to a
complete redesign of the site – later completed in
1999 – under Ando’s design aesthetic.
For Ando, the Church of Light is an architecture of
duality – the dual nature of existence – solid/void,
light/dark, stark/serene. The coexisting differences
leave the church void of any, and all, ornament
creating a pure, unadorned space. The
intersection of light and solid raises the occupants
awareness of the spiritual and secular within themselves.
The employment of simplistic materials reinforces the duality of the space; the concrete
structure removes any distinction of traditional Christian motifs and aesthetic. Besides
an extruded cross from the east facing façade, the church is composed of a concrete
shell; the concrete adds to the darkness of the church by creating a more humble,
meditative place of worship. As a testament to minimalist architecture, the crosses void
in the east facing wall is the only prominent religious symbol present in the church.

Formally, Ando’s Church of the Light is minimalist and reductive of religious

paraphernalia to a simple cruciform extrusion, which is often criticized as disturbingly
empty, void, and undefined. Although it has been stated to be nothing more than six
walls and a roof, there is a whole level of design aesthetic implemented by Ando and
his contractors that is misread and unrecognized by the occupants.

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The concrete construction is a reinforcement
of Ando’s principal focus on simplicity and
minimalist aesthetic; however, the way in
which the concrete is poured and formed
gives the concrete a luminous quality when
exposed to natural light.
Ando’s approach to light and concrete in the
Church of the Light, as well as his other
projects, has a surreal effect that perceptually
changes material into immaterial, dark into
light, light into space.
Ando’s decision to place the cross on the east façade allows for light to pour into the
space throughout the early morning and into the day, which has a dematerializing

96
effect on the interior concrete walls transforming the dark volume into an illuminated
box.

HASSAN FATHY

Egyptian Architect (1900 – 1989)

The master builder, Hassan Fathy (1900-1989) was one of
the first architects to break with modern architecture and to
found a new approach based on a conception of interpreting forms and masses from
the past.
He was unique in believing that this language could exist
alongside that of an aggressively modern one that cut all ties with the past he Designed
160 separate projects from modest country retreats to fully planned communities,
markets, schools, theatres, places for worship and for recreation.

ARCHITECTURAL PERSPECTIVES –
•Ancient design methods and materials
•Utilizing a knowledge of rural Egyptian economic situation
•Space design suitable to surrounding environment
•Low cost construction without using R.C.C and steel
• Training locals to build ones own house.

SIX MAJOR PRINCIPLES THAT FORM THE CRUX OF FATHY'S WORK :

• The belief in the primacy of human values in architecture
• The importance of a universal rather than a limited approach
• The use of appropriate technology
• The need for socially oriented, cooperative construction techniques
• The essential role of tradition
• The re-establishment of cultural pride through the art of building

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As an architect, he was influenced the most by the monumental architecture in the
Pharaonic period also, strongly influenced intellectually by the concept of the
vernacular arch. of the Nubians.
• Hassan Fathy’s main purpose was housing the poor in developing nations by applying
the concept he was strongly influenced by which is the vernacular architecture of the
Nubians which opened up his mind to discover the true essence of the heritage and
being inspired by the ancestor’s work.
• His goal was to combine between a comfy descent housing & being poor, because
after all, home is where the person should feel comfy at ease serene
and cool no matter what was the temperature and the circumstances outside.
"Matchbox houses" were too hot in the summer and too cold in winter.
 Nubian craftsmen were masters at constructing domed and vaulted roofs of mud
brick which they also used for the walls. Hassan Fathy developed his own ideas,
inculcating traditional Arab styles like the malkhaf (wind catcher), the shukshaykha
(lantern dome) and the mashrabeya (wooden lattice screens) which could be
combined with the mud brick construction.

• He designed complete communities including utilities and services, country retreats,

and special projects and homes.

• Hassan Fathy had already worked for decades in his beloved Egypt before he
designed and built for the homeless community of Gourna, Upper Egypt, which
attracted international acclaim.
• One would enter a home made out of local natural resources with dome shaped
ceilings and no electrical air-conditioning, to find a
sudden descent of peace and calm within a cool
atmosphere.
New Gourna was a housing project masterminded by
Hassan Fathy with the objective of re-housing the Seven
Thousand people of Gourna, a village built on the site
of the Tomb of the Nobles, part of the ancient
cemetery of Thebes (now
Luxor, Egypt). The project
incorporated traditional
techniques and materials
and vernacular styles with
the benefit of contemporary
know-how, generating an
economically and
ecologically sustainable
building ethos that was
integral to the community
that would occupy the
village.

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Sadly, after six years of work, due to bureaucratic backing problems among others, the
scheme was abandoned before completion. With villagers resistant of the move from
the start the settlement was soon unsettled and much of the architecture has since
been lost.

Despite the educational value of the scheme and the knowledge and philosophies
embedded there, the site has been mostly overlooked for 60 years and has only
recently been recognised by UNESCO who have now started work to preserve what is
left of New Gourna.

MATERIALS AND BUILDING TECHNIQUES

New Gourna showcases the potential of traditional techniques as genuine solutions to

some contemporary problems. All of the buildings here are built from the earth of which
they stand, in the form of either adobe or, as in most cases, baked mud bricks. A huge
brick production yard was setup on site to supply the build with adjacent water supply,
established using the holes the generated by the excavation of mud for bricks.

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CULTURAL AND SOCIAL CONTEXT

Gourna was a village grown out of tomb raiding, a community of people who lived off
of the proceeds of artifacts supplied by the ancient graveyard, on and around which
their settlement had established itself, as well as work connected with official
excavations. The time came when the tombs were not as fruitful as they once were,
tourism died down and the authorities became less and less tolerant of raiders.
Inevitably the Egyptian government eventually decided it was time to evict the Gournis
from the historically significant site of the established home.

EARTH AND CLIMATE

New Gourna is in Upper Egypt, the region occupying the south of the country. Water is
plentiful, even for the further reaches of the settlement that are not directly on the Nile,
as a network of waterways has been developed over the centuries, carrying water
inland to help sustain life. However, rainfall is scarce and temperatures reach 50
degrees in the summer so most of the land itself is dry and much of daily life for the
inhabitants revolves around water.

……………………………...

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 CYCLE - 4

ARCHITECTURE IN INDIAN CONTEXT

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INTRODUCTION TO EARLIER AND LATER PERIOD COLONIAL ARCHITECTURE

The British arrival in 1615 overthrew the Mughal empire. Britain reigned India for over
three hundred years and their legacy still remains through building and infrastructure
that populate their former colonies.
The major cities colonized during this period were Madras, Calcutta, Bombay, Delhi,
Agra, Bankipore, Karachi, Nagpur, Bhopal and Hyderabad. While British supremacy did
not change the fact that India was becoming rapidly urbanized, it did lead to new
alignments and priorities, since the controlling power was now different. A number of
new towns and new suburbs were built to house the British, and the pattern of new
town planning changed. India was still divided into administrative districts as under the
Mughals, and the towns which functioned as district headquarters were the ones where
most of the new architecture was built.

In the main the effort was to physically and socially separate the Europeans from the
indigenous populace – the so-called ‘White’ and ‘Black’ towns of Madras being an
example. This was also made to enforce sanitary and developmental guidelines on the
old towns, though these had little effect as in the main they failed to take into account
traditional ways of community life. In some cases new urban design smacked of
retribution – Delhi and Lucknow in particular, being the centres of the Mutiny of 1857,
lost large parts of their historic areas to new British planning and city-core demolitions.

EARLY COLONIAL PERIOD -

INTRODUCTION
 Colonization of India also had an impact on architecture style.
 With colonization, a new chapter in Indian architecture began. The Dutch,
Portuguese and the French made their presence felt through their buildings but it
was the English who had a lasting impact on architecture.
 In the beginning of the colonial rule there were attempts at creating authority
through classical prototypes. In its later phase the colonial architecture culminated into
what is called the Indo-Saracenic architecture.
 The colonial architecture exhibited itself through institutional, civic and utilitarian
buildings such as post offices, railway stations, rest houses and government buildings.
Such buildings began to be built in large numbers over the whole empire.

ARCHITECTURAL CHARACTERISTICS
 Development of colonial architecture in india was at peak and coincided with
the industrial
revolution of europe. Hence, the buildings they constructed in India were the direct
reflection of their achievements back home.
 When british established power in india the Palladian and the Baroque were the
prevailing styles in England. Hence, the Britons established themselves in Bombay
(presently Mumbai) during the construction of St. Paul`s Cathedral in London.

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  Georgian neo-classicism was the overriding fashion in the years when they were
developing the Presidency towns of Bengal, Madras and Bombay. By the time
they had made themselves paramount throughout India, the Gothic revival was
in full flair.
 Early buildings has to adjust with unpredictable climatic conditions. Rattan
screens blocked its
porticoes and verandahs. Shutters, hoods, lattice-work or Venetian blinds shaded its
windows.Proportions had to be adjusted, layouts adapted, in response to the heat and
the blazing light.

UNDERSTANDING THE ELEMENTS OF INDO SARACENIC ARCHITECTURE WITH

ARCHITECTURAL DETAILS OF CENTRAL RAILWAY STATION , CHENNAI.

The century-old Chennai Central

Railway Station was designed by
architect George Harding in 12th-
century Romanesque
architecture. It is indeed one of
the most prominent landmarks of
Chennai that serves as the main
gateway by Rail to the rest of the
country along with Egmore
Railway station 2 kms away .These
two stations are well connected
by suburban and Road
connectivity . The Buchingham
canal built by the British to ferry
goods by waterway upto Nellore
in Andhra pradesh lies to the west
of this Station. The suburban railways that includes MRTS and Metro has its main hub
near this central station . The Sub terrenian metro station and muti layered shopping
plaza now under consruction will becomr one of Asia's largest . The headquarters of
the Southern Railway and the corporation Ripon Building.built during the British Raj are
to the east and west of this station respectively . To the south is the main General
hospital .and Madras Medical college . To its credit of long history it has been renamed
twice, from Madras Central to Chennai Central in 1996, in line with change if its city's
name from. Madras to Chennai, and then later to to Puratchi Thalaivar Dr. M.G.
Ramachandran Central Railway Station in 2019, after the late Chief Minister of Tamil
Nadu M. G. Ramachandran.

UNDERSTANDING THE ELEMENTS OF INDO SARACENIC ARCHITECTURE

Built in the Gothic Revival style, the original station was designed by George Harding
and consisted of four platforms and a capacity to accommodate 12-coach trains.
It took another five years for the work to be completed, when the station was modified
further by Robert Fellowes Chisholm with the addition of the central clock tower,
Travancore 'caps' on the main towers, and other changes.
The redesign was eventually completed in 1900. The main building, a combination
of Gothic and Romanesque styles has been declared as a heritage building.

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The clock tower with the flagstaff, the tallest of the towers of the main building, has four
faces and reaches a height of 136 ft.
It is set to chime every quarter of an hour and every hour.

The station has a platform area of 51,182 square metres (excluding the suburban station
building) and the total building area of the main station is 14,062 square metres.

SENATE HOUSE, MADRAS UNIVERSITY

o The senate house madras is the work of british architect
robert chishlom.
o The design of this building were chosen through an open
competition announced by the madras government in 1864.
completed by 1879 at a cost of Rs. 289,000.
o The senate house was to serve as the examination hall
and offices of the madras university.
o The Senate House is situated on the southern side of the
Chepauk Campus of the Madras University.
o The building was used for meetings of the senate,
syndicate and academic departments of the
University. Its main hall was used for convocations for over a
century.
Planning:
o It comprises of large two floor high central hall, 16m high,
measuring approx. 50m by 15m, and
has a capacity to seat 1600 people.
o Though laid out as a simple rectangle, a strong variation in
form is achieved on the sensitive lacing of the four towers on
simple square projections that fall behind each of the side entrance porches.
o The building essentially consists of a cellar hall, a ground floor hall called as Great
Hall with a high ceiling, Northern and Southern wings and main entry porches.
The gigantic central hall were supported by massive side walls on east and west . The
walls of north and south essentially consist of brick pillars 2mx 1.5m. They are build with
brick and lime mortar.

o The central hallis flanked on the East and West by wide corridors supported by six
massive but exquisitively chiseled stone pillars on either side. The capitals of all the pillars
are carved with Hindu deities, human and animal figures and geometric designs.
o Below the central hall is the 2.69m deep Cellar Hall below the ground level. It is
provided with massive end and intermediate walls of brick masonry.

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o The roof is further supported by main and secondary timber beams with additional
brick pillars.
o The north wing has two floors and is provided with partition walls to accommodate
office rooms and toilets. The staircase is provided on the northern wing of the Great hall.
The stairs provide access to both cellar and first floor.

Elevation:

o Between the brick walls of north and south are provided with finished doors and
windows in shapes of arches. The big circular windows are decorated with stained
glass.
o The floor of the hall consists of timber planks.
o The building on the four corners is endowed with four attractive towers rising high
with artistically shaped domes painted on the exterior with variegated colours.

THE PLANNING AND DESIGN OF LUTYENS DELHI

Reasons for the shifting of the capital:

• Controversial partitioning of Bengal In 1905 - right to vote between Bengali
Hindus n Muslims.
• Delhi’s geographical position at the centre of northern India (roughly equidistant
from Bombay and Calcutta)
• Delhi’s historic importance (Important seat of the Mughal empire) (For Hindus –
maharbharata-era city of Indraprastah)
• Perceived political need to rearticulate british power.
• On December 15, 1911, King George V and Queen Mary laid the foundation
stone for New Delhi, at a Darbar under a purposely built Shah Jahani dome.

• The message was clear: the British were the legitimate successors of the Mughals
and their new capital was intended to express the power of the Raj, just as Shah
Jahan’s capital had expressed the authority of the Mughals.

THE INITIAL DESIGN OF NEW DELHI

Lutyens had initially designed Delhi with all the streets crossing at right angles, much like
in New York.
However, Lord Hardinge told him of the dust storms that sweep the landscape in these
parts, insisting on roundabouts, hedges and trees to break their force, giving him the
plans of Rome, Paris and Washington to study and apply to Delhi.
Intentions of the Layout:
Lutyens’ Delhi was planned on the most spacious garden city lines with the great
avenues decorated with classical buildings with lush landscape.
The layout of Lutyens Delhi was governed by three major visual corridors, linking the
government complex with :

• Jama Masjid
• Indraprastha
• Safdarjungs Tomb

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Features

1. The plan reflects Lutyens’ “transcendent fervour for geometric symmetry,” which
is expressed through amazing sequences of triangles and hexagons, through
sightlines and axes.
2. Lutyens’ plan is also remarkable for the generous green spaces, lawns,
watercourses, flower and fruit-bearing trees, and their integration with the parks
developed around monuments.

3. The attempt was to include all natural and historical wonders in the new city.

KNOWING THE IDEA OF POST NEHRUVIAN MODERNIST ARCHITECTURE AFTER

INDEPENDENCE.
• After 1960 ‘s in India , the developments like Nariman point , Cuffe Parade &
Cumballa hill in Bombay were developed as a simplified Modernist buildings.
• They have related character with each other & They established a uniform
background to their districts.
• Each building wants to grab the attention by its mass. They are not Influenced by
any urban design idea.
• HUDCO , DDA & PWD developed more housing developments and Institutional
buildings in much the same fashion as in the 1950-60’s.
• The verbal image of the work can be identified as follows.
• it consists of reinforced concrete frame , masonry in-fill & floor slab Roof , a strip
or screen of concrete sun breakers over continuous Fenestrations, a linear , outward
looking order in planning with a Spacious grid – determined distribution of elements in
the landscape.
• Though its scored more critics , it is considered as the Indian architecture. Its is
Followed in other parts of the world also. Its designers have learned little bit from the
past 30 yrs of experience.
• The manuals which we are following for the present housing development or
other public buildings were got from these modernist building only. It only provides
accommodation and shelter for more no of people. These developments Started to
merge with the needs of the people , their affordability and also maintenance level.

THE AGE OF INDIAN ARCHITECTURE AFTER INDEPENDENCE

A study of major changes that took place after the independence in the field of
architecture in India
• India is one of the countries in the world with the richest history.
• One of the many things India is known for is art and architecture.
• The field of architecture in India has undergone significant changes
since independence.
• Jawaharlal Nehru, the first prime minister of the independent India is widely
known for his far vision, he was a modernist who favoured state intervention. Nehru
was the one to take the initiative of betterment and development of art and
architecture in India.

Realisation of freedom in following fronts:

Cultural, Political, Social and Economic.

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Yardsticks in future development of India:
GANDHI:
• Absolute belief in science and technology but passionate about rural India.
• Local materials, local skills, cost effective architecture.
• Going back to roots.
• Sabarmati Ashram, Sabarmati, Gujarat.
NEHRU:
• Very forward looking.
• Interested in what science and technology have to offer.
• Strength of industrialization.
• Belief in liberal, modern, independent, industrialized India.
• Nehru, championed a vision of architecture that embraced the current western
centric practices namely modernism.
• Tremendous sense of urgency to build.
• Urbanisation demanded creation of new cities and towns.
• Demand for new built form types: schools, hospitals etc.

PHILOSOPHIES OF NEW INDIA

1. RIVIVALISM: Going back to seek inspiration from the past
2. MODERNITY: Inspired by the contemporary spirit of the age.
3. CONTINUITY: Found favor with the older generation of architects who were
skeptical about modernism.

LE CORBUSIER
Modernism after Corbusier and Khan :
• Corbusier’ works in India – Chandigarh and the Ahmedabad buildings - their
influence on the modern rationalists.
• Louis Kahn’s works in India - their influence on the empiricists.
Le Corbusier’s works in India:
• City planning of Chandigarh
• Palace of Assembly Chandigarh
• Capital Complex Chandigarh
• Shodan house Ahmedabad
• Sanskar Kendra Ahmedabad
• Museum at Ahmedabad.
• Mill owners Association building

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CITY PLANNING OF CHANDIGARH
 Chandigarh is an experimental city designed in1952, and is the single
biggest and most significant example of urban planning.
• It demonstrates modern idiom of architecture, radical and visionary plan of low
density terrace housing, monumental government buildings, tree lined streets and
green belts penetrating .
• The city is spread over a massive area, divided into sectors each containing their
own shops, schools, places of worship etc, with additional key sectors such as the main
shopping precinct, university sectors as well as administration and government facilities.
• Conveniently all these neighborhoods are named ‘sector 1 to sector 46
(excluding unlucky 13).

HISTORY
• It was conceived after India‘s Independence.
• build a new Capital city called Chandigarh
about 240 kms. north of New Delhi
• It is a sloping terrain and two rivers flowing on its
two sides.
• 304.8 to 365.76 meters above sea level.
Site location:
• Central location in the state
• proximity to the national capital
• availability of sufficient water supply
• fertile soil
• gradient of land for natural drainage
• beautiful site with the panorama of blue hills.
• moderate climate
Initial plan:
• Albert Mayer and
Mathew Novicki – A
FAN SHAPED MASTER
PLAN.
• THEY MADE
CONCEPTUAL SKETCHES
OF SUPER BLOCK- self –
sufficient neighborhood
units placed along the
curvilinear roads and
comprised of cluster
type housing, markets
and centrally located
open spaces.
Final plan:
In 1951 Le Corbusier was
assigned the work assisted by
three senior architects -
Maxwell Fry,Jane B Drew and Pierre Jeanneret.

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Sectors –
• The city is composed of sectors.
• Each sector is 800 meters x 1200 meters enclosed by roads allocated to fast
mechanized transport and sealed to direct access from the houses.
• Each sector caters for the daily needs of its inhabitants which vary from 5000 to
25000 and has a green strip oriented longitudinally stretching centrally along the
sector in the direction of the mountains.
• The green strip should stay un-interrupted of the mountains and accommodate
schools, sports, walks and recreational facilities for the sector. Vehicular traffic is
completely forbidden in the green strips.

THE MAIN FEATURE OF THIS PLAN ARE ITS-

 Human scale
 Self sufficient sectors
 Roads system
 Areas of special interest
 architectural control

LE CORBUSIER’S WORKS IN INDIA & THEIR INFLUENCES ON EMPIRICISTS

 Le corb architectural work in India added new dimension to the Indian
experience .it focused on purely forms – the , cube , the cylinder and the cone.

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 many young architect where influenced by this newer manifestation of Le
corbusier art.
 To some architect he was simply a provider of a new architectural vocabulary . –
a set of patterns they can adapt and adopt.
 Three set of his work and relationship with Indian architects have particularly
important to the country.- the Chandigarh experience , the Ahemedabad
buildings and the training to the young architects.
CHANDIGARH INFLUENCE
• He wished to create a fundamental organic architecture , unquestionable ,
which is neither English nor French nor American but Indian of the second half of
the 12th century.
• He also felt he has the free hand to give India the architecture of modern times.
• Le corbusier’s Indian work is certainly seen by a no of Indian cognoscenti as
capturing the essence and grandeur of Fatehpur sikiri.
• He was succeeded in creating a monumentality to Indian architecture.

LOUIS I KAHN
Born on 20 February 1901 American architect
Born Itze-Leib Schmuilowsky
• Louis Kahn, the American architect known for combining
Modernism with the weight and dignity of ancient monuments,
Kahn might be categorized as a late Modernist, and a hugely influential one at that.
KAHN’S STYLE:
• Kahn’s architecture is notable for its simple forms and compositions.
• Kahn’s design of buildings is characterized by powerful massive forms.
• Through the use of brick and poured- in concrete masonry, he developed a
contemporary and monumental architecture that maintained sympathy for the
site and did not loose its proportion.
• Louis Kahn’s work infused International style with a highly personal taste, poetry
of light and exposing the materials without altering.
• His buildings were like mathematical theorems, well-realised to the last brickbat
came with a great emotional sweep. Linear perfection. Monastic lines.
Reductionist volumes. Unadorned surfaces. Geometric harmony.

KAHN’S PHILOSOPHY:
• Kahn believed architecture was not just about function but intention, not just
purpose but inspiration and emotional connection.
• He wanted to build modern buildings with evolved techniques but he wanted to
make spaces breathe, and he wanted them to communicate with the shifting
light of night and day, and to be relevant and timeless.
• Louis Kahn used to tell his students: if you are ever stuck for inspiration, ask your
materials for advice."You say to a brick, 'What do you want, brick?' And brick
says to you, 'I like an arch.' And you say to brick, 'Look, I want one, too, but
arches are expensive and I can use a concrete lintel.' And then you say:' What
do you think of that, brick?' Brick says: 'I like an arch.' He was known as Louis
Kahn: the brick whisperer.

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 • He believed strongly that architecture should appeal not only to practical and
aesthetic needs but also to the humanistic needs of the people and
communities it serves.
• Kahn was inspired by the work of many modern architects, including Le
Corbusier, Frank Lloyd Wright,and Ludwig Mies van der Rohe, and was equally
drawn to classical and ancient forms of building

INDIAN INSTITUTE OF MANAGEMENT, AHMEDABAD

Date of establishment: 1962, established to meet the demand of industries for

competent managers as well as to improve prevalent management
technique.
Location: Vastrapur, Ahmedabad, Gujarat, India
Climate: hot dry climate, with very high temperature and harsh sun.
Topography: flat land form with negligible slope.
Vegetation: sparse vegetation, difficult to maintain.
Site area: 106 acres
STUDENTS = 1105
FACULTY = 110

HISTORY OF IIM:

While Louis Kahn was

designing the
National Assembly
Building in
Bangladesh in 1962,
he was approached
by an admiring
Indian architect,
Balkrishna Doshi, to
design the 66 acre
campus for the
Indian Institute of
Management in
Ahmedabad, India.

SITE ZONING:
• The campus has an old campus and a new campus.
• The master plan of the institute is divided into two parts
ACADEMIC BLOCK:
1. Library
2. School building
3. Faculty blocks
4. Dormitories

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 5. Louis Kahn Plaza
• RESIDENTIAL BLOCK for faculty and clerical staff.
• Influenced by the management philosophy and student’s busy schedule Kahn
integrated the living and learning spaces.
• All activities are places within walk able distance.

ORIENTATION:
The diagonal layout had the advantage of the building being oriented towards the
southwesterly breezes. The orientation also helps to cut out the west sun reducing glare.

CIRCULATION PATTERN:
Circulation in IIM campus is through three major roads
1. Peripheral
2. Internal
3. Smaller internal roads
Separate accesses are provided for the institutional complex and the residential area.

LOUIS KHAN WORKS IN INDIA & THEIR INFLUENCES ON EMPIRICISTS

• Louis khan was steeped in classicism by his beaux arts education and his
Experience at the American academy in Rome.
• He came to India to in 1962 a decade later than lecorbusier on being selected
to design iim Ahmadabad.
• Kahn’s influence on the Indian architectural scene occurred in much same way
as lecorbusier but the time, volume , location and size of his work resulted in a
lesser impact. He was less of a guru for Indian architects.
• Some of his work in India were the iim in Ahmadabad and gandhinagar Gujarat's
new capital.
• Kahn is officially listed as the architectural consultant to the national insitute of
design in Ahmadabad on the iim project but he was actually the architect. Doshi
& anant raje were the liason architects.

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• In iim he used local building skills and used brick , a common building material
rather than going for more sophisticated techniques used by lecorbusier in
Chandigarh.
• In south asian work he was able to explore the use of brick in way that he had
been unable to do in America. His Indian experiences thus very much influenced
the later American architecture.

• The IIM seems to have stood up well over time although shortcomings in dealings
with the climate are again in evidence.
• Kahn’s indian colleagues such as raje and assistants such as kulbushan jain were
directly affected by the experience of working with him. His major lessons for
india stemmed from the grounding of his work in reality and tradition , local
materials and methods .
• On khan’s death and the withdrawal of his philadelphia office from work on the
IIM , raje continued the development of the campus with the designing of the
dining halls , the management development center and the housing for staffs
and students .
• To the lay person this work is almost indistinguishable from khan’s and gives
consistency of design to the whole institute.

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 • Like le corbusier ,kahn also had an impact on architectural education. His
collaboration with doshi occurred in formative years of the school of
architecture at the CEPT in ahmedabad. With the development of such schools
and with the younger architects being exposed to the work of le corbusier and
khan , a new period of architectural work emerged in India. It is highly influenced
by the masters.

CHARLES CORREA

Indian architect, Urban planner and an activist.

▪ Born: September 1, 1930(Age 83)
▪ Education: Massachusetts Institute of Technology, University of Michigan
▪ Awards: Royal Gold Medal, 7th Aga Khan Award for Architecture, Gold Medal of UIA
WORKS :
1. KANCHANJUNGA APARTMENTS
2. BELAPUR HOUSING
3. BRITISH COUNCIL LIBRARY
4. TUBE HOUSE
5. JAWAHAR KALA KENRA,JAIPUR
6. GANDHI SMARAK SANGRAHALAYA

KANCHANJUNGA APARTMENTS

▪ Location : Bombay, India

▪ Date: 1970 – 1983
▪ Building Type: Skyscraper
multifamily housing
▪ Climate: Hot
▪ Style: Modern
Height : 84 Meters Floor : 27
Function : Housing (Residential)

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The building had to be oriented east – west to capture prevailing sea breeze and views
to the city.

 But also the orientation for hot sun

and heavy rains.
 This building has 32 different
apartments with 4 types of flats
varying from 3 to 6 bedrooms.
 Interlocking of these variations
expressed externally by shear end
walls that hold up the cantilevers.
 Minimalist surfaces cut away to
open up double-height terrace
gardens at the corners.
 Complex spatial organization of
living spaces .The building is a 32 storey
reinforced concrete structure with 6.3m
cantilevered open terraces.
▪ The central core is composed of lifts
and provides the main structural
element for resisting lateral loads.
▪ The central core was constructed
ahead of the main structure by slip
method of construction.

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NARI GANDHI
Nariman (Nari) Dossabhai Gandhi was born in 1934 in Surat to a Zoroastrian Parsi family
from Bombay.
Nariman Dossabhai Gandhi's ideologies and works were in sharp contrast to the
mainstream architectural thinking.
THE ORGANIC ARCHITECTURE INFLUENCE IN THE WORKS OF NARIGANDHI
His works display a distinctive organic character. They appear to have evolved as a
response to the context, remaining strongly rooted to the site and being very well
connected to the surroundings. Nari's works display highly skilled craftsmanship and
structural ingenuity. He has stacked earthen pots to construct arches out of them and
built stairs out of brick arches. Throughout his works you see extraordinary use of stone,
brick, wood, glass and leather.
Nari spent a lot of time on his sites and worked closely with the craftsmen and often
participated in the construction process himself. Also known as ‘Howard Roark of India’.
Construction - Extensive use of :
Brick Arches
Buttresses
Stone Masonry

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He created built spaces that remained forever connected to their un-built surroundings
allowing sunlight and wind to interact with the inside and animate the space with time.

DAYA’S BUNGALOW, REVDANDA

Revdanda House by Nari Gandhi is a quaint red brick house that has undone the
concept of ‘home’. This project is a perfect example of Nari’s ‘Out of the box’ thinking.
This shows that a house need not be a space confined to walls and ceilings but can be
a collection of organic spaces – open semi-open and scattered.
Again this too is a climate responsive design with sloping roofs, clerestory windows, and
deep overhangs.
As late as the 1980s, the village of Revdanda was easier to reach by water than by
road. Vernacular structures in the village employed deep roof overhangs, spacious
verandas, and clerestory windows for ventilation.

This project was more of remodeling work and the main highlights include retention of
the dense vegetation on the site, usage of locally available red bricks, and tree trunks
as the main materials of constructions and use of local ‘geru’ as paint for walls.
Revdanda House is more than a ‘House’. The large fenestrations aided for an
unobstructed view, for the tree trunks to grow and also served as spaces for art objects
like terracotta pots. The house and the design is an artistic mural in itself.
Based upon the local vernacular architecture and the local flora, the architect
remodelled the house using brick and tree trunks as the main building elements.
Local materials and local labor were used, as the original house walls facing the betel
nut plantation were removed and replaced by large arched fenestrations that
provided an unobstructed view of the landscape. The process of this renovation was
similar to that undertaken in the Moon Dust residence, another renovation project
carried out by the same architect for the same client. Similar elements, such as the
profiles of circles and vertical tree shafts, appear in both projects.

During the renovation, a mezzanine serving as a sleeping area/deck was added. The
older, multicolored windowpanes were retained, while clay murals were added to the
walls. A new story in exposed brick was built above the original, plastered walls on the
lower level, and the entire house was given a new external finish of the local geru paint.
As of January, 2008, the house retains these elements.

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It is speculated that the inspiration for the arches comes from the nearby Revdanda
Fort (the Revdanda area is a former Portuguese colony).

RAJ REWAL

THE “ROLE MODELS” FOR RAJ REWAL ARE :-

1. LE CORBUSIER
2. CHARLES CHORREA
3. LOUIS I. KAHN

INFLUENTIAL ASPECTS :

1. LOCATION - RAJASTHAN
2. OLD TOWNS
3. TRADITIONAL HAVELI HOUSE
4. ANCIENT BUILDINGS
5. MODERN BUILDINGS AS WELL AS
6. WESTERN THEORIES OF URBAN
PLANNING &
BUILDING TECHNOLOGY

PHILOSOPHY

• ARCHITECTURAL THEORY - BUILDINGS

SHOULD RESPOND TO COMPLEX
DEMANDS OF RAPID URBANISATION,
CLIMATE & CULTURE.

• CONCEPT - BASE OF DESIGNING HOUSING IS TRADITIONAL ARCHITECTURE OF INDIA

AND A DUAL CONCERN FOR A BUILDING’S EXPRESSIVENESS BY MEANS OF
INCORPORATING HISTORICAL PRECEDENTS INTO URBAN DESIGN.

PLANNING STRATEGY :
• Raj Rewal tried to evolve mass housing schemes based on similar criteria.
• In the Asian games village and Sheikh Sarai housing project , the peripheral
roads are connected to parking squares.
• The central spine of the layout is reserved for narrow ,shaded, pedestrian
pathways .
• The layout plans follow traditional methods of creating shade and cross
ventilation.
• The creation of the traditional narrow street, linking all the housing units, provides
for intimate encounters between people and a sense of belonging to the
neighborhood square.

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THE SPATIAL PLANNING OF PARLIAMENT LIBRARY BY RAJ REWAL

Symbolically a house of knowledge, the Parliament Library has

its site next to the Parliament House in Lutyens Delhi. Both
visually and symbolically, the central hall of the existing
Parliament denotes power, consensus and democracy and is
linked to the central core of the new complex. For the library,
a formal structure is conceived within the Indian tradition, built
in a contemporary idiom to capture the essence without
mimicry of past historical styles. The site measures 10 acres with
a built-up area of 50,000 sqm.
The design for the existing Parliament follows the "Beaux Arts",
the central line axis planning criteria. It is circular in plan with
three axes culminating in a central dome.

• Courtyards form an important feature of the design

vocabulary, keeping in mind Delhi's extreme climate. They help in creating a dust free
atmosphere and in reducing the summer heat.
• The height of the building is restricted to the podium level of the Parliament House .

CONCEPT BEHIND THE DESIGN

To give the library an identity of its own while respecting the Parliament building, Rewal
says he drew on Indian history and likened the relationship between buildings to the
traditional relationship between guru and king. A guru acknowledges the power of the
king — neither confronting nor submitting — and retains the strength of his integrity as a
sage.

Historically, Indian buildings with interior open-air spaces helped in defense. But for
Rewal, in a library that needs neither defense nor ceremony, such forms seem to
symbolize an introversion characteristic of the ancient Indian guru.
The inspiration is the Adinatha Temple (1439 A.D.) at Ranakpur in western India.
Adinatha is square in plan, with cardinal axes meeting at the center, leaving open-to-
sky courtyards in the leftover spaces. In addition to being icons of Indian architecture,
courtyard plans admit daylight and have social and climatic advantages.

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THE SITE AND THE BUILDING

• Located on a 10-acre (4-hectare) site, the library is nearly 590,000 square feet (55,000
square meters) in area and can accommodate three million volumes on the two
basement floors. It has hitech networks and facilities for microfilm, multimedia, and
satellite links.
• Site conditions and trees prohibited the northwestern corner of the plan from being
built, leaving the square incomplete. Otherwise the plan, with its courtyards and axes, is
similar to historic precedents.
• The full-height central core of the building, formed at the point of intersection of the
two axes, houses the reading room for members of parliament (MPs), the research area
and archival storage, committee room, and a banquet hall. Beyond this central core
are the courtyards, and further beyond are separate entrance lobbies for MPs, scholars,
and the public.

• The corners of the incomplete square and the nodes formed at the ends of the axes
are designated for various functions. The axes and the sides of the square form corridors
and outline the courtyards.

• Each courtyard symbolizes one aspect of the Indian constitution. One is an

amphitheater, symbolizing freedom of expression. Another courtyard has a pool of
water symbolizing equality. A tree forms the focal point of the third courtyard,
representing social justice.

TECHNOLOGY AND STRUCTURE

• The domes are perhaps the building's most significant feature. Several domes of
different sizes
and types make up the roof and benefit from Rewal's experiments in earlier buildings.
• The central dome, spanning 82 feet (25 meters), is entirely of glass that was specially
developed for this building. The intense heat and glare of New Delhi, with summer
temperatures rising to over 110 degrees Fahrenheit (43 degrees Centigrade), make
conventional glass impractical for skylights.

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• Rewal insisted on using glass to let in light. Conventional reflective glass reduces glare
and heat build-up, and this specially developed glass is claimed to be still more
efficient in resisting heat transfer. The result: almost magical views of the blue sky, of the
sun minus its heat and glare, and of the seasonal monsoon clouds.
• This dome reminds you that you are standing at the intersection of the building's two
main axes. The point of intersection projects up in the dome in the form of two bands
formed by the structural frame for the glass panels. The remainder of the dome consists
of a lattice of structural frames held together by a network of steel cables converging
at key tension nodes.
• Other domes are made of thin fiber-reinforced concrete shells, sometimes with inset
glass panels. Tensile forces are transferred through tubular steel members.
• Other structural elements of the building are of reinforced concrete. The slabs are
coffered to support long spans. The diaphragm walls and the foundation slab of the
underground structure resist inward and upward pressure from the water table through
anchors into the surrounding soil and the rocky substrate.

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Section looking west, through the VIP entrance lobby , the central core, and the 1075-
seat auditorium.

The ceiling of the entrance hall

as seen from the ground floor.
Daylight enters through square
glass panels set among shallow
domes.

The glass dome above the

central core admits soft natural
light and provides a magnificent
view of the sky without
introducing excessive heat gain.

TRADITIONAL CRAFT
One such attempt is Rewal's use of handcrafted stone grills, or
jalis. In precolonial Indian
architecture, jalis were used for decoration and to separate
the outside from the inside, to diffuse the harsh sunlight, and
to visually and audibly connect two spaces while physically
separating them.

MODERNIST IDIOM
• Rewal has introduced craftsmen to modern tools and
chemicals hoping that they will revive the tradition. In the Parliament Library, jalis are
integrated artfully, creating a typically Indian look.
• Rewal's search for a contemporary Indian identity does not stop there. The building
typology and the spirituality associated with the mandala are quintessentially Indian. He
has created contemporary Indian architecture that uses innovative technology to
express both modernity and regionalism with connections to the physical surroundings
and to a venerable history.

………………………

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 CYCLE - 5

ARCHITECTURE IN INDIAN CONTEXT

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INTRODUCTION TO 21ST CENTURY ARCHITECTURE OF INDIA

The changing culture of architecture in modern India, both as a lifestyle and as a

profession, has been eye-opening. As a profession, the huge wave of development and
technology that caused us to try and ape everything that didn’t belong to us, has
made us question and search for our own identity and provoked us to revisit the solid
traditional roots and foundation of Indian architecture.

The concepts of sustainability and ‘going green’ have become commonplace though
some architects and real estate builders use these terms more so as marketing
gimmicks rather than as a mandate for responsible design. The adaptation to
technology has also been appreciable with advancements being successfully
integrated in design aspects.
The importance of context, sustainability, nature, and creating an architecture that is
true to our culture and cultivates an ‘Indian identity’ has gained much credence. The
works of legends such as Charles Correa, BV Doshi, Raj Rewal, Laurie Baker among
others, have long represented Indian architecture on international platforms.

PHILOSOPHY AND IDEAS OF L.M.CHITALE

Laxman Mahadeo Chitale, (1892-1960) was an Indian architect, author and one of the
first Indian associates of the Royal Institute of British Architects He was the architect of
several landmark buildings in India such as the Life Insurance Corporation of India
building, Chennai, Ram Mohan Palace, Kochi which was once the seat of the High
Court of Kerala Subramania Bharati Monument, Ettayapuram, Central Leather Research

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Institute (CLRI), Adyar and the Reserve Bank of India building, Nagpur. The Government
of India honoured him in 1957, with the award of Padma Shri, the fourth highest Indian
civilian award for his services to the nation.

DESIGN PHILOSOPHY

• Deeply influenced by the freedom struggle of 1947, Chitale believed in

simplicity.
• Each project was pragmatic and utilitarian, and responded to functional needs,
site context, and was equipped with ample natural light and ventilation.
• The Kothari building in Chennai reflects the architect’s concern for sustainability
and climatic response, several decades before it became a mantra for climate
change.

• The Kothari Building on Nungambakkam High Road is one of the first buildings in
Madras to use sun control louvres.
• The Kothari Building was a first for Chennai that had aluminium louvres as shading
devices on the façade.
• very clear drawings of sun paths and even in designing the interior open office
plan, he was detailed in how the grid should be.
• The space was carefully thought out so that rooms could morph into cabins or
conference rooms based on need.

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 • The ingenuity and uniqueness of Chitale’s architecture lies in its simplicity and
suitability to context and not embodying form for form’s sake.

PHILOSOPHY AND IDEAS OF SANJAY MOHE

• Light as building material

• Respect 5 senses and work with 5 elements
• Architecture is about search of souls and not about cosmetics
• Falling in love with an idea and relentless fight for its realization
• Participate, understand and work with
the nature.
Our underlying attempt in all projects is to
participate, understand and work with
nature, while also trying to imbibe culture
and people's aspirations.

To create buildings that are simple, but not

simplistic; that are modest and not
monumental.

Climate is an integral part of our work as designers in a tropical context. His work are
towards creating naturally cooler internal conditions by creating buffers to avoid the
harsh sun, minimizing glazing on western facades with high radiation and bringing in a
strong air flow into the building.

He believes in ideas without limits, and strive to create spaces without boundaries, as
architecture for us is beyond the cosmetic and about the soul: it is about falling in love
with an idea and fighting relentlessly for its realization.

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C.A.R.E (Centre for Applied
Research and Education) , Trichy

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The sprawling campus (Many Acres) stands in a landscape merging symbiotically within
each other. A contemporary circular structure marks the entry into the campus. The
play of light and shadow is evident through the built structures and the trees there.
Many of the trees are fully grown and were transplanted from elsewhere in Tamil Nadu.
Multiple playgrounds, parking gardens, hostel complex, pathways, students canteen,
mess space, etc., are the other components within the campus neighborhood. Among
the campus complex, the open air performance space and the newly built O’Shell
structure are the most impressive ones. The water body with the tree at its centre, is a
natural abode for diverse bird kinds.

PHILOSOPHY AND IDEAS OF CNT

Architecture has often defined itself in terms of other disciplines such as art, philosophy,
sociology, linguistics, and semiotics. This weakens its core as an autonomous discipline.
The unique core activity that architecture undertakes is the ordering and scaling of
space.
The concern about how one senses the spaces of architecture: the order, enclosure,
and gradations of scale and texture that create a sense of where one is within
architecture.

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Exploring the ways in which spatial order can create experiential richness and the
potential for multiple perceptions and conceptions of space.

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With an international clientele, the office was to project a global aura, while at the
same time maintaining a local touch.
This core idea was reflected at various levels in details throughout.
Whether in the climate responsively of the overall planning or the selection of materials,
like the clay-tile external cladding, the building responds to the local context, while at
the same time satisfying international standards.
The building is LEED Gold rated.
It is envisioned as a structure that is grounded by making it bottom heavy with a lighter
top mass. Relief is provided by the voids that are sculpted within this mass at various
levels. Three separate masses interweave around and over these central voids, resulting
in a series of office spaces at various levels branching off a central social street.

PHILOSOPHY AND IDEAS OF MORPHOGENESIS

Morphogenesis is recognized as one of the leading Architecture firms in India. Founded
in 1996, by Ar. Manit Rastogi & Ar. Sonali Rastogi, the firm is based out of New Delhi and
specialized in offering services in Architecture, Interior design, Master planning, Urban
design, Landscape design, and Environmental design consultancy.
Since his childhood, he has been fascinated by nature's design which can be seen in
his works at Morphogenesis where creativity is inspired by the evolutionary processes in
nature to create form which is optimized for the built environment and the community.
"At Morphogenesis, we have three main guiding principles in the way we work, aimed
at delivering the best to all our clients. We are charged with a pursuit of excellence in
design, through a methodology of professional rigor, informed by a belief in
sustainability. Clients and their team are an important part of the design process and
we believe that a great design emerges only through an exchange of ideas."
Morphogenesis views design as a mighty amalgamation of a multitude of external and
internal influences, which includes climatic conditions and even local traditions.

PEARL ACADEMY OF FASHION, JAIPUR

Pearl Academy, Jaipur - An

environmentally responsive
passive habitat:
 The institute creates
interactive spaces for a highly
creative student body to work
in multifunctional zones which
blend the indoors with the
outdoors seamlessly.
 Confluence of modern
adaptations of traditional
Indo-Islamic architectural
elements:
 Given the nature of an institution, budgetary constraints on the project necessitated
the use of cost effective design solutions to keep within the price points set by the client
and yet be able to achieve the desired functionality and effect.

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The Pearl Academy of Fashion, Jaipur is a
campus which by virtue of its design is geared
towards creating an environmentally responsive
passive habitat. The institute creates interactive
spaces for a highly creative student body to work
in multifunctional zones which blend the indoors
with the outdoors seamlessly. The radical
architecture of the institute emerges from a
fusion of the rich traditional building knowledge
bank and cutting edge contemporary
architecture.

The adverse climate makes it a challenge to

control the micro climate within the project thus
incorporating various passive climate control
methods becomes a necessity and also reduces
the dependence on mechanical environmental
control measures which are resource hungry.
The architecture of the academy needed to be a confluence of modern adaptations
of traditional Indo-Islamic architectural elements and passive cooling strategies
prevalent in the
hot-dry desert
climate of
Rajasthan such as
open courtyards,
water body, a
step-well or baoli
and jaalis
(perforated stone
screen). All these
elements have
been derived
from their historic
usages, but will
manifest
themselves
through the built
form and
become an
intrinsic part of
the daily life of
the design
student.

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The building is protected from the environment by a double skin which is derived from a
traditional building element called the ‘Jaali’ which is prevalent in Rajasthani
architecture.
The double skin acts as a thermal buffer between the building and the surroundings.
The density of the perforated outer skin has been derived using computational shadow
analysis based on orientation of the façades.
The outer skin sits 4 feet away from the building and reduces the direct heat gain
through fenestrations. Drip channels running along the inner face of the Jaali allow for
passive downdraft evaporative cooling, thus reducing the incident wind temperature.

The scheme relies on self shading sliver courts to control the temperatures of internal
spaces and open stepped wells while allowing for sufficient day lighting inside studios
and class rooms.
The entire building is raised above the ground and a scooped out under belly forms a
natural thermal sink which is cooled by water bodies through evaporative cooling. This
under belly which is thermally banked on all sides serves as a large student recreation
and exhibition zone and forms the anchor for the entire project. During the night when
the desert temperature drops this floor slowly dissipates the heat to the surroundings
keeping the area thermally comfortable. This time lag suits the staggered functioning of
the institute.

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B.SHASHI BHOOSHAN

THE VILLAGE: A RESORT HOTEL AND SPA, MYSORE, BY B.S.BHOOSHAN, BSB ARCHITECTS

This place was developed over a long

time (from 1991 to 1994 in two phases)
on the periphery of Mysore city by the
side of Bangalore to Kozhikode
Highway. It was originally thought of as
a club and Naturopathy spa, but
Mysore city was not big enough to
absorb it then. So it transformed more
as resort hotel for the tourist city. The
brief did not undergo any major
change but added more rooms to the
original 5 cottages.
The form was to give an ambience
of the rural setting, close to the earth
feeling.
 The method of construction
that is eco conscious and
green at a time it was not
known as today and
developed from traditional
skills.
 All that was not compatible
and feasible with the content
of brief, so early stage of
design, we decided to do a
hybrid technology and
showcase the contradiction
itself.
 So we had decided on
stabilized mud blocks as and
ferro-cement arches for walls
and spans, coconut wood
timber rafters, steel and timber combination trusses, steel pipe space frames and
Mangalore tiled sloping roofs.
 The architecture was derived from this materiality of making of the place.
• The spaces were organized around the periphery of the site, in an L shape.

• The entrance was taken in the middle to an arrival space opening to an expanse
of landscaped greenery with an open assembly and performance space in
front.

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A stairway was introduced in the middle of the spine winding and landing on an access
bridge corridor, though not exactly above the one below but floating and meandering
in a similar way. The stairs were uniquely built with an exposed-brick- spine wall of 60 cm
wide and saddled with granite treads. The treads were held stable by their own weights
and steel railings. The entire space of the stairs were roofed by translucent sheets over
concrete pergola providing a most dramatic access spaces to the rooms with a
generous sprinkling of greenery. The intention was to make access pace more
interesting as a narrative text than usual drab corridors.

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The foundations were made of boulder filled lime cement concrete for reducing the
cost of construction and to reduce embedded energy. Similarly, walls and columns
were of stabilized mud blocks using the soil from the excavation made on the site. Filler
slabs of concrete using 360 x 250 mm of fired hollow terracotta formed the intermediate
slabs. Flooring used traditional terracotta tiles and red oxide finished cement floor.

A separate access from the road led to another bar cum restaurant in the ground floor
and a party space with a dance floor at the first. The large party space pass roofed
with tiles on coconut rafters placed over a steel space-frame and sits over the kitchen
below.

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To this extend it was an experiment in many ways and an early attempt towards green
building.

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HASMUKH C PATEL'S

SABARMATI RIVERFRONT DEVELOPMENT PROJECT - AHMEDABAD, 1997 :

An environmental improvement, social uplift and urban rejuvenation project.

The project will reclaim approximately 200 hectares of land from the riverbed. To
reclaim the land, protect low lying developments from floods, and to prevent erosion of
the river banks, retaining walls have been built on both sides of the river. Since
Sabarmati is a seasonal river,

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• Water is channeled into the river from narmada canal, which intersects the river
upstream from ahmedabad and is retained located downstream.

• To prevent untreated sewage from flowing into the river, two sewage interceptor
lines with new pumping stations have been constructed along both the
reclaimed banks.

• These lines carry untreated sewage to the augmented sewage treatment plants.

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• Slum dwellers living on the riverbed, and affected by the project, will be
relocated and provided with ‘pucca’ housing with secured tenure.

• The reclaimed land will make a public asset.

• For better access to the riverfront and facilities built along it, a number of streets
leading up to the river will be strengthened.

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• 11.5 km long pedestrian at the water’s edge along both the banks.
• New parks and gardens will be built, cultural centers, museums, sports facilities,
trade fair grounds and open air markets.
• A small portion of the reclaimed land will be sold for commercial development.
• The sale of the reclaimed land will finance the project.

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