Unit 1 - Modern Archiecture-Spread and Later Directions

CIAM
NOTE: CIAM is not included in syllabus. Its

given only as a precursor for understanding
team X.
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CIAM-Congres internationaux d Architecture Moderne
INTERNATIONAL CONGRESS FOR MODERN
ARCHITECTURE
 CIAM captured the spirit of the machine age but before it
had done too much damage to the urban environment
and in particular urban housing, some younger member
began to question their architectural solutions.
 Under the leadership of Le Corbusier , CIAM’S vision

was of a utopia, a city which could provide the perfect
life for its inhabitants.
 His vision inspired hope but ultimately failed to create

such a place resulted instead in destroying places and
memories which are integral to a person’s identity.
 Signed by 24 European Architects representing France,

Germany, Italy, Austria, Belgium ,Spain, Holland,
Switzerland.
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CIAM’S CONFERENCES
 The C.I.A.M Organization disbanded in 1959 as the

views of the members diverged.
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3 STAGES OF DEVELOPMENT OF CIAM
STAGE 1 – 1928 – 1933
“DOCTRINAIRE”
 Problems of minimum living standards

 Issues of optimum height and block spacing
for the most efficient use of land and
materials.
STAGE II – 1933 – 1947
 Dominated by Le Corbusier
 Functionalism envisions the city as a
collection of uses to be accommodated:
Residence, work, Leisure and the Traffic
systems that serve them.
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Short comings
 Rigid functional zoning

 ‘Single type of Urban housing’ termed as ‘high
and widely spaced apartment blocks.
 Idealistic, Rationalistic, unrealizable.
1. the modernist city would be a single, open space for living
that was organised by a central state planning authority.
2. Traffic system with a hierarchy- In place of the mixed- use
road system, modernist city would have a traffic system
separated hierarchically according to function.
3. Mass housing - The housing would be dealt with by erecting
whole areas of mass housing, all built to the same standard,
and offering light, air, and sun for all.
4. The charter of Athens became the guide book for all new town
planning and building world wide in the decades that
followed.
5. Its emphasis on the functionalist theory, treats residence, work

and leisure as discrete elements.
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For Aldo van Eyck, “ The time has come to bring
together the old into new: to rediscover the archaic
principles of human nature”
Design in human scale achieves familiarity and the sense

that things have been made by and for people.
Humanist designers, moreover, advocate a mixed use of

the urban environment.
STAGE III – 1947- 1956

END OF CIAM
Critique / challenge of the four functionalist categories of
the Athens charter by Alison and Peter smithsons , Aldo
van eyck in CIAM IX 1953
DWELLING,WORK,RECREATION ,TRANSPORTATION
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Ar Tharangini K, HOA IV, AMSAA
Syllabus
• Brutalism. Team X. Ideas, works and evolution Unit 1
of Philip Johnson, Louis Kahn, Paul Rudolph,
Eero Saarinen, SOM, Eames, I.M.Pei. MODERN ARCHITECTURE
• Modern architecture and postindependence
India - national building, institutions and PWD – SPREAD AND LATER
architecture.
DIRECTIONS
• Chandigarh.
• Outline of evolution of the architectural
profession in India, influences on architects.
Works of Kanvinde, Habib Rehman. Corbusier
and Kahn in India.
• Evolution and early works of Raje, Correa and
Doshi.
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Secretariat building by Le Corbusier P.K.Kelkar Library by Kanvinde Mazar of Zakir Husain by Habib Rehman
IIFM, Bhopal by Achyut Kanvinde
Sangath, by B.V.Doshi Gandhi Ashram, by Charles Correa IIM Ahmadabad, by Louis Khan Glass House by Philip Jhonson
Milam Residence by Paul Milwaukee War Memorial Center The Louvre by I.M Pei Eames House by Cadet Chapel, Colorado by SOM
Rudolph by Eero Saarinen Charles and Ray Eames (Skidmore, Owings & Merril)
TEAM X
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Team 10 or Team X
• Team 10, just as often referred to as "Team X", was a group of
architects and other invited participants who assembled starting in July
1953 at the 9th Congress of C.I.A.M.(International Congresses for
Modern Architecture) and created a schism within CIAM by challenging its
doctrinaire approach to urbanism.
• The group's first formal meeting under the name of Team 10 took place
in 1960; the last, with only four members present, was in Lisbon in 1981.
• They referred to themselves as "a small family group of architects”

who have sought each other out because each has found the help of the
others necessary to the development and understanding of their own
individual work."
• "Core family members" included:
 Aldo van Eyck, The Netherlands

 Alison and Peter Smithson, England
 Jacob B. Bakema, The Netherlands
 Georges Candilis, Greece
 Shadrach Woods, USA/France 10
 Giancarlo De Carlo, Italy
Team 10 or Team X
• Team 10's theoretical framework, disseminated primarily through teaching and publications, had a profound
influence on the development of architectural thought in the second half of the 20th century, primarily in
Europe.
Concepts/Contributions of TEAM X
 Alison and Peter Smithson , John Voelcker and William Howell developed a tool they referred to as
the ‘scale of Association’ which was meant to encourage architecture and town planning to be socially
and topographically responsive instead of stylistically or historically based.
 Jacob Bakema argued that modern architecture ought to be democratic and provide variety so that
people could exercise the right of choice.
 Aldo Van Eyck operated from a philosophically anti rationalist and anthropological premise.
 Georges Candilis built on the basis of a culturally and regionally sensitive International style.
 Ernesto Rogers argued for a modernism that took into account present conditions which in his
understanding included everything that led to the present-its historical context.
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CIAM X
The smithsons, Eyck, Bakema, Candilis and woods searched

for
 Structural principles of urban growth
 The next unit above the family cell
 Dissatisfaction with modified functionalism, with the
“idealism “ of Le Corbusier and Groupius
 Responded to the simplistic model of the urban core by
positioning a more complex pattern which would be
responsive to the need of the society.
 “BELONGINGS” IS A BASIC HUMAN NEED.
Its associations are of the simplest order.
From belongings- identity – comes sense of
neighbourliness
 Man may identify with his own hearth but not with the
town within which it is placed. Dismissed the rationalism
of the Functional city.
 The critical drive to find more precise relation between
the physical form and socio psychological need became
subject matter of CIAM X
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New Brutalism
and
Structuralism
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Ar Tharangini K, HOA IV,, AMSAA
Two different movements emerged from Team 10:
 New Brutalism of the English members

(Alison and Peter Smithson)
 Structuralism of the Dutch members (Aldo

van Eyck and Jacob Bakema).
Brutalism
 Brutalism is a movement in architecture that flourished
from the 1950s to the mid-1970s, descending from the
modernist architectural movement of the early 20th century.
 The term originates from the French word for "raw" in the
term used by Le Corbusier to describe his choice of
material brut(raw concrete).
 British architectural critic Reyner Banham adapted the term

into "brutalism" (originally "New Brutalism") to
identify the emerging style.
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Characters of Brutalism
 Brutalist buildings are usually formed with repeated
modular elements forming masses representing
specific functional zones, distinctly articulated and
grouped together into a unified whole.
 Concrete is used for its raw and unpretentious
honesty, contrasting dramatically with the highly refined
and ornamented buildings constructed in the elite
Beaux-Arts style.
 Surfaces of cast concrete are made to reveal the basic
nature of its construction, revealing the texture of the
wooden planks used for the in- situ casting forms.
Examples: In the Boston City Hall, designed in 1962, the
 Brutalist building materials also include brick, glass, strikingly different and projected portions of the building
steel, rough- hewn stone, and gabions. indicate the special nature of the rooms behind those walls,
such as the mayor's office or the city council chambers.
 Exposure of the building's functions—ranging from
their structure and services to their human use—in the
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exterior of the building.
Peter and Alison

Smithsons
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Peter and Alison Smithson

•English architects Alison Smithson (22 June 1928 –
14 August 1993) and Peter Smithson (18
September 1923 – 3 March 2003) together formed an
architectural partnership, and are often associated
with the New Brutalism (especially in architectural and
urban theory).
•They first came to prominence with Hunstanton
School which used some of the language of high
modernist Ludwig Mies van der Rohe but in a
stripped back way, with rough finishes and deliberate
lack of refinement.
•They are arguably among the leaders of the British
school of New Brutalism.
•They were associated with Team X and its 1953
revolt against old Congrès International
d'Architecture Moderne (CIAM) philosophies of high
modernism.
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Smithdon High School - Introduction

• Smithdon High School: (formerly known as Hunstanton Secondary
Modern School) is a comprehensive school in Hunstanton, Norfolk.
• The Hunstanton School building, considered a manifestation of the
new Brutalist movement, is remembered as the project in which this
term was used for the first time and as the only escape route
available from the Modernism movement, according to the manifesto
of Alison and Peter Smithson.
• In this manifesto, they expressed that “it is out of respect for the
materials that we find the root of the New Brutalism… an
understanding of the affinity which can be established between
the construction and man…”.
• The building stood out for its extraordinary austerity, strict
budget and formal clarity. It expressed the desire of the
architects to reveal the essentials of the structure and the
materials used.
• Completed in 1954, the Hunstanton School provides an overview of
the architectural experimentation of post-war Great Britain, as well as
the growing acceptance of modernity by the country’s public
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authorities.
Smithdon High School
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Location
•The Hunstanton School was built in the
town of the same name, in the county
of Norfolk, in the east of England.
Concept
•From the beginning, the architects stated
their intent to find a relationship between
culture, industry and society.
•Peter Smithson remarked that the form of
the school “is dictated by a careful study
of educational needs and pure, formal
requirements…”.
•The qualities of the building can be
synthesized as: formal legibility of the floors,
a clear display of the structure and a
valuation of the inherent qualities of the
materials as “they are found”.
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Smithdon High School - Description

•On a flat parcel of land, the building was constructed as a
parallelepiped form of 89 by 32 metres, with a large, double-height
entrance hall whose main axis lies East to West, towards Downs Road.
•The double-height hall is topped by large skylights which, according to
Peter Smithson, act as the “heart and expression of the scholastic
community and its relationship with the city”.
•The building boasts clear and defined edges and a closed
symmetry in the composition of its main façades. Notably, the
Hunstanton school has a biaxial symmetry that is easily perceived from
the outside.
•It is a building constructed in the same way as it appears.
Regardless of what has been said about structural or constructive
sincerity, the majority of the buildings of the Modernist movement
appear to be made from a glass-like substance but, in reality, are more
often brick or concrete.
•Hunstanton seems to be made of glass, brick and concrete and is, in
fact, made of those materials.
•The water and electricity do not appear inexplicably from holes in the
walls, but are carried through visible pipes. One can see how they
are made and how they work, and there is no other thing to see, except 21
the set of spaces
Smithdon High School - Spaces

Main hall - This space is the heart of the school, taking into the interior the
continuity of the exterior space, with the green of the courtyards and play
areas which surround it.
Classrooms - Classrooms are located on the first floor and can only be
accessed by individual staircases, circumventing the classic corridor layout.
Gymnasium – The gym is found to the side of the school, on the second
formal axis of the building.
Tower - Among the defining characteristics, the water tank is a highlight,
disguised in the form of a tower.
STRUCTURE
•The structure is defined by the double-height, steel profile porticoes, which
intersect at approximately seven metres.
•The frames are constructed of prefabricated concrete slabs.
•The carpentry frames of the façade are fixed directly to the main structure
and divided with modulated closure elements of approximately 1 by 0.5
metres.
•Different types of windows (fixed, pivot) are installed on these.
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Smithdon High School - Material

•All the materials appear and are left as they are, without paint, including
the electrical installations and visible tubes. The Smithsons stated their
intention to renounce the system of large standardised elements and to opt
instead for components produced industrially in England.
•The framework of the structure was designed in pre-welded steel, with
floors and roofs made from prefabricated concrete slabs.
•Flooring - Different materials have been used for the floors. In the
classrooms and workshops they put down plastic tiles in black or dark
brown. In the circulation corridors there is terrazzo, and in the main hall and
gym, wooden flooring. The interior courtyards and play areas were covered
with grass and exposed concrete slabs.
•Façades - They used yellowish bricks with a thin whitish layer to reduce
their porosity in the solid panels of both the façade and the main hall, to
shut off the view of the upper floor, in the gym, the classroom walls and for
the auxiliary buildings.
•The façades which surround the classroom area were structures with
glazed panels of the same height as the spaces they protected, which
allows for the entrance of natural light and also the heat of direct sun in
summer and the cold of winter. This meant unfavourable conditions for the
students for a large part of the year.
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•Carpentry - The door frames were made of unpainted, galvanized steel.

• Designed by the architects Peter and Alison
Smithson and completed in 1954, the school was
immediately acclaimed by the architectural critics.
• However, its stark and uncompromising design,
particularly the large expanses of glass (inspired by
the work of Mies van der Rohe) caused some
practical problems with heating and cooling, and this
has since been modified by the addition of black
panels in place of glass.
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Peter and Alison Smithson - Ideology

• Their designs were hugely influential, with a number of housing schemes taking inspiration from them. The
term ‘Cluster’ is used to avoid association with the concept of the ‘street’; a place that the Smithson’s felt
was outdated, since the use of cars prevents the street from being a place for a resident to identify with
their environment.
• Among their early contributions were streets in the sky in which traffic and pedestrian circulation were
rigorously separated, a theme popular in the 1960s.
• This led to their project ‘Golden Lane’, designed in 1952, a multi level project with housing occupying
one side of wide ‘streets in the sky’, designed to provide residents with direct pedestrian access to
activities intended to give the community a strong sense of identity.
• This project is discussed in one of two chapters entitled ‘Connection allows scatter’, along with ‘Berlin
Haupstadt’
• Both were large utopian masterplans for development, designed with similar basic concepts; allowance for
maximum mobility, which was done by separating pedestrian and vehicular movement as much as
possible with pedestrian ‘streets in the sky’; the creation of an inverted profile to allow for open space in
the centre; allowance for growth and change and the inclusion of green space.
• Both schemes are designed with transportation networks forming the primary structure; connections
and routes, whether vehicular or pedestrian, are the main focus for much of the Smithsons' urban
planning. 25
The Golden Lane Housing Competition Project

• Project - competition for the reconstruction of a bombed
area of the City of London, for the redevelopment of the
blitzed corner of Golden Lane and Fann Street.
• A+PS set out to demonstrate that a high density (500
inhabitants) and right restrictions on budget need not result
in a low standard of living, and that “an infinitely richer and
more satisfactory way of living in cities is possible here and
now”.
• The brief called for the construction of the greatest possible
number of apartments in terms of a variety of different sizes
of unit, for two, three or four people.
• “To do this, the project carried out the following features:
three levels of ‘streets-in-the-air’; each level called a
‘deck;”. Each “Deck” was to be occupied by a sufficient
number of people -90 families- in such a way that it would
constitute a social entity.
• The “streets-in-the-air” would thus become places with their
own identity. “Two women can stop and talk without blocking 26
Urban Structuring diagram in which housing weaves between
the flow, and [these streets] are safe for small children. existing Buildings interlaced with main roads.
The Golden Lane - Concept

• Social activity was concentrated in the intervals
between the decks. “These crossing are triple-
height, contrasting with the single-height decks,
inviting one to linger and pass the time of day.”
• All dwellings have their front doors on deck level and
their main accommodation above or below deck.
• The majority, but not all, dwelling have back
yard/gardens. These yard/gardens, which can be
seen from the deck, bring the out-of-doors life of
a normal house—gardening, bicycle cleaning,
joinery, pigeons, children’s play, etc., on to the deck,
identifying the families with the “house” on their deck.
• The total penetration of the yard-gardens dissolves
the dead-wall effect of the conventional slab block.
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The Golden Lane - Construction

• The structure, with beams and walls of in situ
reinforced concrete, manifests the economy and
simplicity of the construction scheme.
• The structural ‘rack’ is a reinforced-concrete-box-frame
with seven-inch bearing walls and six-inch floors. The
site has been planned to use a mobile tower-crane to
best advantage.
• The walls will be cast in large-panel, timber-faced, light
steel-framed shutters which can be lifted vertically…
erection finally taking place at all levels in a pyramidal
fashion. Floors are lifted to the next level through the
Photomontage of Golden Lane network in North Town
slot left for the pre-cast stairs.
• Into this ‘rack’ are built the dwelling; standardized factory-fabricated, with the minimum of
site work. Erection taking
place in pyramidal
• As there are no totally exposed end-walls it has been possible to leave all the concrete fashion
unfaced, with a designed shuttering pattern. The remainder of the external walls is self-
cleansing materials—glass and vitreous-enameled steel-sheeting.
• Parapets are perforated pre-cast concrete panels; also pre-cast are the mullions and
transoms. 28
• All windows are in softwood, stained with wood preservative and unpainted.
The Golden Lane - Importance

• The forms of the blocks owed much to Le Corbusier’s Unite d’Habitation in form and tectonics.
• What was so radical about the Golden Lane proposal was not so much the block forms themselves, but the
suggestion that the streets and housing blocks might multiply to form a network overlaid on the existing city.
• The Smithsons’ used a ‘random’ or ‘scatter’, aesthetic drawn from science, molecular geometry, and art
brut to distribute housing blocks linked by pedestrian walkways as a new layer over the
existing bomb-damaged, ‘ruined’ city.
• What dictated the disposition of the blocks was no longer the predetermined geometrical
grid of early Modernist planning theory, but the topography of the specific site or ‘context’.
• Central to his presentation was the idea of ‘patterns of association’.
• Thus, he proclaimed in an accompanying statement, a community: ‘should be built up
of a hierarchy of associational elements…(THE HOUSE, THE STREET, THE DISTRICT,
THE CITY)’, one of many aspects of real life which the
Smithsons considered had fallen ‘through the mesh of the
four functions [housing, work, recreation and
traffic].’
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Ar Tharangini K, HOA IV,
The Golden Lane - Importance

•Their Golden Lane housing scheme
competition drawings were presented in
parallel as a suggestion of a solution which
offered a more precise relationship between
physical form and socio-psychological needs
of the community than the previously
accepted norm-International Style neo-
Platonic grid Planning.
• Through their aim to create original and relevant architecture-a contemporary vernacular-in the early fifties
the Smithsons became fathers of the ‘New Brutalism’, and were probably the greatest influence on the
Modern Movement in Britain after the Second World War.
• For them, Brutalism was not just about honesty in the use and construction of ‘as found’ materials, which
they inherited from Mies and Le Corbusier, but was based on a social programme committed to creating
economically, environmentally, and culturally relevant architecture. Their method was based on marrying
the careful analysis and observation of historic fabrics with brave imagination. Their 1952 entry for the
Golden Lane housing competition exemplifies these concerns
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Berlin - Haupstadt
31
AldoVan Eyck
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Aldo Van Eyck

•Van Eyck’s thinking fundamentally proceeded in terms of
reconciling opposites.
•Throughout his career, he applied himself to the exploration
and the relationships between polarities, such as past and
present, classic and modern, archaic and avant-garde,
constancy and change, simplicity and complexity, the organic
and the geometric.
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The Amsterdam Municipal Orphanage (1955-60)

• After a decade of experimenting with elementary forms and their interrelations, Van Eyck’s views were
synthesized in an iconic building, the Amsterdam Municipal Orphanage (1955-60). Here he succeeded in
reconciling a great many polarities.
• The Orphanage is both house and city, compact and polycentric, single and diverse, clear and
complex, static and dynamic, contemporary and traditional; rooted as much in the classical as in the
modern tradition.
• The classical tradition resides in the regular geometrical order that lies at the base of the plan. The modern
one manifests itself in the dynamic centrifugal space which traverses the classical order.
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35

• The archaic tradition shows up in various aspects of the building’s formal appearance.
• Due to the soft, biomorphic cupolas which cover the entire building, the first impression it evokes is that of an
archaic settlement, reminiscent of a small Arabic domed city or an African village.
• The geometrical order of the building is articulated by a contemporary version of the Classical Orders,
composed of columns and architraves.
• The columns are slender concrete cylinders with fine ‘fluting’ left from the shuttering; the architraves are
concrete beams, each with an oblong slit at the centre.
• Their joined extremities give the impression of a capital, though capitals as such are absent.
• The small domes form a grid that extends evenly across the entire building so that the overall pattern can be
read at every point.
• Along the axial lines of this grid, pillars, architraves and solid walls mark off a number of well-anchored,
enclosed spaces:
• The living rooms and adjoining patios, the festive hall, gymnasium and central court.
• All are spaces related primarily to their centre, a centre established by the large dome- shapes, the axial lines
of the grid generated by the small domes, and the axially placed doors.
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 The focus of the interior court is a circular seat marked by two
lamps, which rather than occupying the geometric centre of this
space, is shifted four metres or so diagonally from it.
 And if this piazza is indeed the centre of the entire settlement, it

does not dominate as such.
 From it the settlement fans out centrifugally in all directions; it is the

fixed point from which decentralization is developed and
delineated.
 Thus, the axial ordering of the square does not extend in any way
to the internal circulation areas.
 It merely provides the initial impulse for the two interior streets,
which branch out in contrary zigzag movements, to give access,
via interior and exterior courtyards to the various units.
 The basic forms of the two groups of residential units are a union
of distinctly ‘open’ and distinctly ‘closed’.
 The ‘rear’ of the units that back on the north consists of an
unbroken, solid right-angled wall, their south-facing front being a
right-angled succession of glazed walls.
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 In the quarters for the older children, glazed and brick walls unite in
a simple elongated L-shaped space, but in the units for the
younger ones, the brick wall envelops most of the domed area and
the entire dormitory wing.
 The glazed walls jut southward to mark out an additional shifted
space, upon which, returning to the dormitory wing, they penetrate
the building perimeter to hollow out a roofed terrace beyond the
columns and architraves.
 Embodying a maximum amount of both closeness and openness,
these units also represent a striking example of Van Eyck’s view
that architecture should, just like man, breathe in and out.
 And remarkably, the ground plan of these interlocking units appears
to resemble that of the whole building.
 In this ‘little city’ as a whole, the ‘houses are linked to the outside
world by articulated external spaces with loggias. These outside
spaces, both large and small, are characterized by a similar
centrifugal structure. 38

 Similarly, the diagonal direction which cuts across the orthogonal structure of the whole
building is also recognizable in the residential units.
 The large-domed spaces which are primarily centralized, self-contained places, are not
confirmed in their centralism by the arrangement of the built-in elements.
 The focus of the interior, a round or square playhouse, is offset diagonally with respect to the
geometric centre.
 Furthermore, the main central axes of the domed space are offset by secondary axes
marked by the three columns which delimit the open south-east corner of the space.
 Together with the eccentric playhouse, these shifted axes give the domed space a diagonal
direction that relates to the second, southwards-shifted living room.
 The third tradition, the ‘vernacular of the heart’, fuses organically with the classical one.
 The perforated architrave combines with the dome into an expressive biomorphic form which,
variously underpinned, evokes a changing archetypal image.
 It may be firmly planted in the ground on two columns, spanning a bay which may be filled in
with two-part glazing; or resting on a solid wall and articulated into a pregnant T-shape by an
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axially placed window or door.

 Thus, in the orphanage, Van Eyck turned not only to the idea of the Classical Orders, which, as well known,
are considered to be anthropomorphic, but in the rather reduced sense of being an abstraction of human
proportions. Inspired by archaic form language, he made this anthropomorphism more tangible by reverting
to the communicative features of the human body, the symmetry of its frontal appearance, the binary appeal
of the human face.
 The residential units are much like the recurring theme in a fugue, a single theme in various shapes which,
linked by modulating ‘interludes’, interlock contrapuntally.
 This impression is indeed produced by the roof which displays a grid of identical squares.
 But the conceptual sketches show clearly that this grid was by no means a basic assumption.
 It did not appear before the final stage of the conceptual process, when Van Eyck decided to cover the
building with a structure of domes.
 Nor do the conceptual sketches start form an a priori concept, a preconceived ‘pre- form’ (to use the
word of Kahn) that maintains itself through the processing of the ‘circumstances’ contained in the brief.
• The design process proves to be a patient ars combinatoria, an unremitting exploration of the ways to
connect the various parts of the programma, a gradual development of relevant patterns that eventually
coalesce into a balanced, non-hierarchical organism.
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Paul Rudolph
• Paul Rudolph, in full Paul Marvin Rudolph, (1918 -1997), one of the
most prominent Modernist architects in the United States after World
War II. His buildings are notable for creative and unpredictable designs
that appeal strongly to the senses.
• Rudolph received a bachelor’s degree in architecture from Alabama
Polytechnic Institute in 1940 and received a master’s degree at Harvard
University, where he studied under Walter Gropius. During World War II
he served (1943–46) with the U.S. Navy as a supervisor of ship
construction at the Brooklyn Naval Yard.
• In the late 1940s and early ’50s Rudolph practiced architecture
in Sarasota, Florida, first as a designer of private residences for the firm
of Twitchell and Rudolph and later working independently. His early
designs used the glass walls and austere geometry of the International
Style but attracted attention by their ingenious construction and
attractive lines. Rudolph came to believe that a building’s form should
develop from and be integrated with its interior uses and structure, and
this led him to break up a building’s masses into
distinctly articulated units that are interesting from both the outside and
the inside. His early orchestrations of different units were regular
and rather symmetrical, as in the Mary Cooper Jewett Arts Center
for Wellesley College (1955–58).
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Paul Rudolph
• From 1958 to 1965 Rudolph was chairman of the department of
architecture at Yale University. His School of Art and
Architecture at Yale University (1958–63), with its complex
massing of interlocking forms and its variety of surface
textures, is typical of the increasing freedom, imagination,
and virtuosity of his mature building approach. Considered
one of the most defining designs of his career, the 10-story
building featured an interior that appeared seamless, flowing, and
shot with light. (In 1969 the building was set on fire by student
protestors.) Rudolph’s Boston Government Service Center (1963)
and the Endo Laboratories in Garden City, New York (1962–64),
continued a trend toward complex, irregularly silhouetted,
and dynamic structures that contain dissimilar but
harmoniously combined masses, shapes, and surfaces.
• In 1965 Rudolph left Yale to practice in New York City. His practice
grew in size and volume and embraced master plans for
urban communities as well as designs for campuses and
educational buildings, office buildings, and residential projects.
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Paul Rudolph – Healy Guest House

• BUILDING: HEALY GUEST HOUSE
• ARCHITECT: PAUL RUDOLPH, RALPH TWITCHELL
• TIME-PERIOD: 1948-1949
• LOCATION: FLORIDA(U.S.A)
• CLIMATE: WARM
• CONSTRUCTION TYPE: POST AND BEAM WITH CATENARY
TENSILE ROOF
• STYLE: MODERN
• CONTEXT: WATER-FRONT
• AREA : 735 SQUARE FEET
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Paul Rudolph – Healy Guest House

USED PILED FOUNDATION TO SUPPORT THE STRUCTURE ON WATER FRONT.
CATENARY ROOF IS MADE OF PLATIC SHEET.
CATENARY ROOF WAS CURVED AND SPAN 22 FEET LONG.
FLAT STEEL BARS USED 12 INCHES TO SUPPORT ROOF.
GLASS AND WINDOWS USED FOR OUTDOOR ENVIROMENT.
JALSOUIE WINDOW USED THAT IS WINDOW WITH FLAT WOOD SLATES
STACKED AT AN ANGLE FOR AIR AND VENTILATION AS WELL AS CONTROLS
GLARE OF SUNLIGHT.
CABLES USED TO TIE BEAMS AND COLUMNS TO GROUND TO SUPPORT
CATENARY ROOF.
44
Paul Rudolph – Art & Architecture Building

• BUILDING: ART & ARCHITECTURE BUILDING
• ARCHITECT: PAUL RUDOLPH
• TIME-PERIOD: 1959-1963
• LOCATION: NEW HAVEN, CONNECTICUT
• CLIMATE: TEMPRATE
• CONSTRUCTION TYPE: CONCRETE
• BUILDING TYPE: UNIVERSITY BUILDING
• STYLE: MODERN
• CONTEXT: URBAN CAMPUS
• BUILDING FORM: RUGGED CUBOID FORMS
• Yale University’s Rudolph Building – formerly known as the
Art and Architecture Building – was designed in 1963 by the
modern master and then chair of the School of Architecture,
Paul Rudolph. It is considered one of his most important works.
• The 114,000 sqf Brutalist building, which is constructed of
cast-in-place concrete, has a total of 37 different levels on nine
floors, two below grade, and is a cornerstone of Yale’s vibrant
arts campus. 45
Paul Rudolph – Art & Architecture Building

 The dramatic entrance to the building is up a narrow flight of
steps that penetrate deeply into the mass of the main volume,
between it and the main vertical circulation tower.
 This has become Rudolph's favorite treatment for exposed
concrete surfaces, because, apart from being an interesting
surface, it controls staining and minimizes the effect of
discoloration inherent in concrete.
 Internally the building is organized around a central core
space defined by four large concrete slab columns that,
similar to the external towers, are hollow to accommodate
mechanical services.
 On two sunken levels, sculpture and basic design studios
encircle a central auditorium, the approach to which is rather
torturous and obscure.
 Painting and graphic art studios are on the top two levels, with an
open terrace for sketching.
 Finally, there is a penthouse apartment for guest critics, that
also has its own terrace 46
Eero Saarinen
 Eero Saarinen was a Finnish-American architect and industrial designer
born in the year 1910.
 His father Eliel Saarinen was a noted and respected architect.
 And mother was Loja Saarinen, a gifted sculptor, weaver,
photographer, and architectural model maker.
 He is famous for shaping his neofuturistic style according to the
demands of the project.
 His designs involved simple, sweeping, arching structural curves or
machine-like rationalism.
 He died of a brain tumour in 1961 at the age of 51.
Philosophy:
 Saarinen adapted his neofuturistic vision to each individual client and
project, which were never exactly the same.
 He learnt at an early age that each object should be designed in its "next
largest context - a chair in a room, a room in a house, a house in an
environment, environment in a city plan.“
 He was an architect who refused to be restrained by any preconceived
ideas. 47
Eero Saarinen – The Gateway Arch

 Location: St. Louis, Missouri, USA
 Site: St. Louis' founding on the west bank of the Mississippi
River
 Height: 630 feet (192 m)
 Depth of Foundation: 60 feet
 Year of design: 1947
 Date of beginning of construction: February 12, 1963
 Date of completion: October 28, 1965
 Total budget: $13 million (equivalent to $190 million in 2015)
 Date of opening to public: June 10, 1967
 For him, "The major concern ...was to create a monument which
would have lasting significance and would be a landmark of our
time... Neither an obelisk nor a rectangular box nor a dome
seemed right on this site or for this purpose. But here, at the
edge of the Mississippi River, a great arch did seem right."
48

• Structure - The structure has two main components:
1. The catenary arch
 The catenary, an ideal form that exists largely in
compression, was the starting point for Saarinen’s
design.
 It is built in the form of an inverted, weighted
catenary arch.
2. Triangular sections
 Sweeping a triangular section of variable size along
this curve was the basis for its form.
 The arch is comprised of steel-clad concrete triangular
sections that varies in thickness from 54ft (bottom), to
17ft (top).
Elevator cars –
 A complex system of elevator cars that climb diagonally to the top of the curved arch carry 12
people at a time to the top.
49
 Visitors can view the surrounding landscape from 630 feet above the ground.

 It preserves the formal simplicity of American
monuments.
 It instills a notion of contemporanity in the
material and programmatic complexity of
the project.
 The tightly assembled steel plates make it look
even more slender than it is.
Visitor’s observation area
 It is the world's tallest arch.
 The tallest man-made monument in the Western
Hemisphere.
 It is Missouri's tallest accessible building.
 It was built as a monument to the westward
expansion of the United States.
 It is the centre piece of the Jefferson National
Expansion Memorial.
50
Eero Saarinen – MIT Chapel

 Location: Cambridge, Massachusetts,
USA
 Height: 30 feet (9.1m)
 Diameter: 50 feet (15 m)
 Year of design: 1950
 Year of completion: 1955
 Structure
• The MIT Chapel is a simple
cylindrical volume.
• From the outside, the chapel is a simple,
windowless brick cylinder set inside a
very shallow concrete moat.
• It is topped by an aluminium spire.
• The brick is supported by a series of low
arches.
51

 Exteriors-
• From a distance, Saarinen’s chapel appears as a brick building that
contextually aligns with the dormitories and the older buildings on
campus.
• The MIT Chapel is a simple cylindrical volume that has a complex
and mystical quality within.
• The chapel’s cylindrical form breaks the rigidity of the campus’s
orthogonal grid.
• Tucked away in a small forested area on campus, the windowless
chapel sits as a simple object.
• Upon approaching the chapel, one encounters a shallow concrete
moat that surrounds the chapel that seeps into the interior around a
series of low arches that provide the structure for the chapel.
• Saarinen chose bricks that were rough and imperfect to create a
textured effect.The whole is set in two groves of birch trees, with a
long wall to the east.
• The wall and trees provide a uniform background for the chapel, and
52
isolate the site from the noise and bustle of adjacent buildings.

Interiors-
• Saarinen’s simple design is overshadowed by the interior form and
light that were meant to awaken spirituality in the visitor.
• Due to the windowless façade, the interior of the chapel is
completely masked by the exterior of the volume.
• The interior is inundated with a high level of detail and
atmospheric qualities that are enhanced by filtered natural light.
• Once inside, the visitor is transported to a completely unexpected
interior space that is unknown from the exterior façade.
• Unlike the smooth uninterrupted façade, the interior brick walls
undulate around the circumference of the chapel, which creates a
new spatial dynamic that is illuminated by the moat that slips into the
interior from outside.
• Above the white marble altar, there is a metal sculpture by Harry
Bertoia that hangs from the circular skylight that shimmers in
the sunlight reflecting and distributing light into the interior of
the chapel.
• The sculpture appears as a cascading waterfall of light that is
constantly adjusting, moving, and redefining the interior of the
chapel. 53
Louis Khan
 Louis Isadore Kahn (1901-1974), U.S. architect, educator, and philosopher, is
one of the foremost twentieth-century architects.
 Born in 1901 on the Baltic island of Osel, Louis Isadore Kahn's family emigrated to
Philadelphia, Pennsylvania, in 1905, where Louis Isadore Kahn lived the rest of his
life.
 Trained in the manner of the Ecole des Beaux Arts under Paul Philippe Cret, Louis
Isadore Kahn graduated from the University of Pennsylvania School of Fine Arts in
1924.
 In the following years Louis Isadore Kahn worked in the offices of Philadelphia's
leading architects, Paul Cret (1929-1930) and Zantzinger, Borie and Medary (1930-
1932).
 During the lean years of the 1930s, Louis Isadore Kahn was devoted to the study of
modern architecture and housing in particular.
 Louis I. Kahn undertook housing studies for the Architectural Research Group (1932-
1933), a short-lived organization Louis Isadore Kahn helped to establish, and for the
Philadelphia City Planning Commission.
 The year 1947 was a turning point in Louis Isadore Kahn 's career. Kahn established an
independent practice and began a distinguished teaching career, first at Yale University
as Chief Critic in Architectural Design and Professor of Architecture (1947-1957) and 54
then at the University of Pennsylvania as Crit Professor of Architecture (1957-1974).
Louis Khan
 Philosophy
• In his personal philosophy, form is conceived as formless and unmeasurable , a
spiritual power common to all mankind. It transcends individual thoughts, feelings,
and conventions.
• Form characterizes the conceptual essence of one project from another, and thus it
is the initial step in the creative process.
• The union of form and design is realized in the final product, and the building's
symbolic meaning is once again immeasurable.
• Defined space by means of masonry masses and a lucid structure laid out in
geometric, formal schemes and axial layouts with a strong processional character of
space and images.
• Beaux-arts tradition- Neoclassical architectural style, sculptural decoration along
conservative modern lines.
• Natural Light-Brought architecture to life.
• Modernisim.
• To design is to plan and to organize , to order , to relate and to control in short it
embraces all means opposing disorder and accident.
• Social responsibility reflected in his later philosophy of the institutions of man.
55
• Architecture is timeless.
Louis Khan - Salk Institute

 The Salk Institute for Biological Studies is an independent,
non-profit, scientific research institute located in La Jolla,
California. It was founded in 1960 by Jonas Salk, the developer
of the polio vaccine.
 The Salk institute is composed of 2 groups of buildings sited on
the edge of a magnificent cliff, with the Pacific Ocean falling behind
in the horizon
 The institute is housed in a complex designed by the firm of Louis
Kahn.
 Michael Duff of the Kahn firm was the supervising architect and a
major design influence on the structure that consists of two symmetric
buildings with a stream of water flowing in the middle of a courtyard
that separates the two.
 The buildings themselves have been designed to promote
collaboration, and thus there are no walls separating laboratories on any
floor.
 There is one floor in the basement, and two above it on both sides
 The lighting fixtures have been designed to easily slide along rails on
the roof, in tune with the collaborative and open philosophy of the Salk
Institute's science. 56
Louis Khan - Salk Institute

 According to A. Perez, the concrete was made with volcanic ash relying on the
basis of ancient Roman concrete making techniques, and as a result gives off a
warm, pinkish glow.
 The 2 buildings are mirrored around an open plaza which forms a strong linear
axis with the Pacific Ocean on one end and the entrance on the other, thus
highlighting and framing the landscape rather than imposing itself on it.
 A diagonal wall allows each of the thirty-six scientists using the studies to have a
view of the Pacific, and every study is fitted with a combination of operable sliding
and fixed glass panels in teak wood frames.
 Originally the design also included living quarters and a conference building, but
they were never actually built.
 In the courtyard is a citrus grove containing several orderly rows of lime trees.
 The original grove contained orange and kumquat trees which were then replaced
with lime trees in the 1995 grove refurbishment.
 The plaza is stark (sharply cleared impossible to avoid), finished in travertine
marble, without anything in it except a single small linear channel of water running
down the centre.
 Yet, it is complete, the simplicity being highlighted by the magnificent backdrop of
57
the sky and the ocean with the seagulls fluttering in the distance.
SOM
 Skidmore, Owings & Merrill (SOM) is a global architectural, urban planning,
and engineering firm.
 It was founded in Chicago in 1936 by Louis Skidmore and Nathaniel Owings; in 1939 they were
joined by engineer John O. Merrill.
 The firm opened its second office in New York City in 1937, and has since expanded all over the
world, with offices in San Francisco, Los Angeles, Washington, D.C., London, Hong
Kong, Shanghai, Mumbai and Dubai.
 With a portfolio spanning thousands of projects across 50 countries, SOM is one of the most
significant architectural firms in the world. The firm’s notable current work includes the new
headquarters for The Walt Disney Company; airport projects at Kansas City International
Airport,and Kempegowda International Airport; urban master plans for the East Riverfront in
Detroit; the first net-zero-energy school in New York City; and the design of the Moon Village, a
concept for the first permanent lunar settlement, developed with the European Space
Agency and Massachusetts Institute of Technology.
 SOM has designed some of the world’s most significant architectural and urban projects including
several of the tallest buildings in the world: John Hancock Center (1969, second tallest in the
world when built), Willis Tower (1973, tallest in the world for over twenty years), and Burj 58
Khalifa (2010, currently the world's tallest building).
SOM- History
• Many of SOM's postwar designs are recognized as icons of American modern Lever House
architecture. The firm’s most influential early project was Lever House, completed in
1952 to become the first International Style office building in New York City.
Constructed of glass and steel at a time when Park Avenue was lined with masonry
buildings, Lever House introduced a sleek modernist aesthetic that embodied the
spirit of the times and influenced an entire generation of high-rise construction. Manufacturers
Trust
• SOM’s influential modernist work in New York City included the Manufacturers Company
Trust Company Building, completed in 1954 as the first International Style bank Building
building in the United States and the Pepsi-Cola World Headquarters, completed in
1960. Architectural historian Henry-Russell Hitchcock called the Pepsi building “the
ultimate in refinement of proportion and elegance of materials,”.
• The following year saw the completion of One Chase Manhattan Plaza (1961), the Pepsi-Cola
first International Style building to rise in New York City’s Financial District. SOM’s World
design also transformed the crowded streetscape of the Financial District by creating Headquarters
a 2.5-acre plaza surrounding the tower, a novel concept that would be adapted in
many future projects.
• Another key example of SOM’s modernist legacy is found in Colorado Springs,
Colorado, where SOM master-planned a campus for the U.S. Air Force Academy.
Built between 1958 and 1968, the campus broke from the traditions to become the
first U.S. military academy designed in the modern style. The centerpiece of the Cadet Chapel
campus is the Cadet Chapel, designed by architect Walter Netsch. 59
SOM- Lever House

• Lever House is a glass-box skyscraper at 390 Park
Avenue in Midtown Manhattan, New York City.
• Built in the International Style according to the
design principles of Ludwig Mies van der Rohe, the
building was designed by Gordon
Bunshaft and Natalie de Blois of Skidmore,
Owings and Merrill.
• Completed in 1952, it was the second curtain
wall skyscraper in New York City after the United
Nations Secretariat Building.
• The 307-foot-tall (94 m) building features a
courtyard and public space.
• The construction of Lever House marked a
transition point for Park Avenue in Midtown,
changing it from a boulevard of masonry apartment
buildings to one of glass towers as other
corporations adopted the International Style for new
headquarters.
• The Lever House was built in 1950–1952 to be the
American headquarters of the British soap 60
company Lever Brothers.
SOM- Lever House

• The 1916 Zoning Resolution, which required skyscrapers in New York City
to have setbacks as they rose, was designed to prevent new skyscrapers
from overwhelming the streets with their sheer bulk. However, these
setbacks were not required if the building occupied 25% or less of its lot,
and it was this provision which allowed Lever House, and the other glass
boxes which followed it, to be built in the form of a vertical slab.
• The building featured a 24-story blue-green heat-resistant glass and
stainless steel curtain-wall.The curtain-wall was designed to reduce the
cost of operating and maintaining the property. Its curtain-wall is
completely sealed with no operating windows. This meant that much less
dirt from the city would get into the building. The heat resistant nature of
the glass also helped to keep air conditioning costs down.
• The ground floor contained no tenants. Instead, it featured an open plaza
with garden and pedestrian walkways. Only a small portion of the ground
floor was enclosed in glass and marble.
• The ground floor featured space for displays and waiting visitors, a
demonstration kitchen and an auditorium. The second and largest floor
contained the employees' lounge, medical suite, and general office
facilities. On the third floor was the employees' cafeteria and terrace. The
offices of Lever Brothers and its subsidiaries occupied the remaining
floors with the executive penthouse on the 21st floor. The top three Ground Floor Second Floor
61
stories contained most of the property's mechanical space Walkway
SOM- Lever House

• One of the most important elements of the
Lever House is its curtain wall which is made
of blue-green heat-resistant glass and
stainless steel. Its design had both an
economical and aesthetic purpose.
• Since it was the headquarters of a soap
business, the use of an all-glass facade would
make the building easy to clean as well as
maintain its glimmer on the skyline. A system
was created with a rooftop window-washing
gondola that was able to move on tracks to
clean the glass.
• The curtain wall is also completely sealed
without operable windows to prevent the
passage of dirt from the city into the building,
and the heat-resistant glass helped reduce
cooling costs.
62
SOM- PEPSI-COLA CORPORATION WORLD HEADQUARTERS
• SOM designed this modernist classic to be the world headquarters for the
Pepsi-Cola Company.
• Completed in 1960, the pristine aluminum and glass structure contains
approximately 142,500 gross square feet of office space that is organized
against an offset core.
63
SOM- PEPSI-COLA CORPORATION WORLD HEADQUARTERS

• The overall building plan is flexible and
accommodates several clearly defined functions
efficiently, both spatially and structurally.
• Located on a corner lot fronting Park Avenue, the
transparent, 11-story box is set off distinctly from the
structures adjoining it.
• The service core on the south side is set back 15
feet from the building line. The resulting recess
divides the building visually from its taller neighbor.
On the north side, the entire structure was set back
20 feet to comply with zoning regulations. The glass
walls of the ground-level lobby are set back still
further, leaving space for a landscaped terrace
between the entrances and sidewalk.
• Upper floors contain large office areas, unobstructed
except for the main columns inside the skin. The
structural framework is composed of steel columns
(with concrete fireproofing) and reinforced concrete
slabs. The curtain wall's spandrels and mullions are
made of aluminum.
64
SOM- United States Air Force Academy Cadet Chapel

• The United States Air Force Academy Cadet Chapel,
completed in 1962, is the distinguishing feature of the Cadet
Area at the United States Air Force Academy north
of Colorado Springs.
• Construction was accomplished by Robert E. McKee, Inc., of
Santa Fe, New Mexico. Originally controversial in its design,
the Cadet Chapel has become a classic and highly regarded
example of modernist architecture.
• The most striking aspect of the Chapel is its row of seventeen
spires.
• The structure is a tubular steel frame of 100
identical tetrahedrons, each 75 feet (23 m) long, weighing five
tons, and enclosed with aluminum panels.
• The tetrahedrons are spaced a foot apart, creating gaps in the
framework that are filled with 1-inch-thick (25 mm) colored
glass. The tetrahedrons comprising the spires are filled by
triangular aluminum panels, while the tetrahedrons between
the spires are filled with a mosaic of colored glass in
aluminum frame.
65
SOM- United States Air Force Ar Tharangini K, HOA IV, AMSAA
Academy Cadet Chapel

• The Cadet Chapel itself is 150 feet (46 m) high,
280 feet (85 m) long, and 84 feet (26 m) wide.
The front façade, on the south, has a wide
granite stairway with steel railings capped by
aluminum handrails leading up one story to a
landing. At the landing is a band of gold
anodized aluminum doors.
• Worship Areas
• The Cadet Chapel was designed specifically to
house three distinct worship areas under a
single roof. Inspired by chapels at Sainte-
Chapelle in France and the Basilica of San
Francesco d'Assisi in Italy, architect Walter
Netsch stacked the spaces on two main levels.
• The Protestant nave is located on the upper
level, while the Catholic and Jewish chapels
and a Buddhist room are located beneath it.
Beneath this level is a larger room used for
Islamic services and two meeting rooms. Each
chapel has its own entrance, and services may
be held simultaneously without interfering with 66
one another.
Charles and Ray Eames

 Charles (June 17, 1907 – August 21, 1978) and Ray Eames (December 15, 1912 – August 21, 1988) are
best known for their personal and artistic collaboration, and their innovative designs that shaped the
course of modernism.
 Their firm worked on a diverse array of projects, with designs for exhibitions, furniture, houses,
monuments, and toys. Together they developed manufacturing processes to take advantage of new
materials and technology, aiming to produce high quality everyday objects at a reasonable cost.
 Many of their furniture designs are considered contemporary classics, particularly the Eames
Lounge & Shell Chairs, while the Eames House is a seminal work of architectural modernism.
The Eames Molded Plastic
& Fiberglass Armchair is Charles and Ray Eames
a fiberglass chair, , that
appeared on the market in
1950.
The Eames Lounge

Chair and ottoman are
furnishings made of molded
plywood and leather, for
the Herman Miller furniture The Eames House 67
company

 Charles Eames began his architectural study after he was awarded a
scholarship to study in his hometown at Washington University in St.
Louis. However, after just two years at the university he left, at least in
part due to the school's teaching: he once described how classical
architectural training "forces upon the young designer a system of
sterile formula," and a teacher reportedly claimed that he was "too
modern."
 Undeterred, Eames set up a firm with partner Charles Gray, and the
pair was later joined by Walter Pauley. In 1938, Eames accepted the
invitation of Eliel Saarinen to study at the Art Academy in Cranbrook,
Michigan, where he would later become head of the industrial design
department.
 Bernice Alexandra Kaiser, alias Ray’s artistic talent was recognizable

from a young age, so after high school Ray left California to study
in New York City with German Abstract Expressionist Hans Hofmann.
She then went on to study at the Art Academy in Cranbrook, where
68
Charles was one of her teachers.

• Charles and Ray married in 1941 and moved to California where they
continued their furniture design work with molding plywood.
• During World War II they were commissioned by the United
States Navy to produce molded plywood splints, stretchers, and
experimental glider shells.
• In 1946, Evans Products began producing the Eameses’ molded
plywood furniture. Their molded plywood chair was called “the chair
of the century” by the influential architectural critic Esther McCoy.
• Soon production was taken over by Herman Miller, Inc., who
continues to produce the furniture in the United States today. Our
other partner, Vitra International, manufactures the furniture in
Europe.
• In 1949, Charles and Ray designed and built their own home in
Pacific Palisades, California, as part of the Case Study House
Program sponsored by Arts & Architecture magazine.
• Their design and innovative use of materials made the House a
mecca for architects and designers from both near and far. Today, it is
considered one of the most important post-war residences anywhere
in the world.
69
Charles and Ray Eames – Eames House

 Originally known as Case Study House No. 8, the Eames
House was such a spatially pleasant modern residence
that it became the home of the architects themselves.
 Charles and Ray Eames began designing the house in
1945 for the Case Study House Program in Los Angeles'
Arts and Architecture Magazine published and built these
case study homes that had to focus on the use of new
materials and technologies developed during World War
II.
 The intention was for the house to be made of
prefabricated materials that would not interrupt the site,
be easy to build, and exhibit a modern style.
 The house is situated on a three-acre site on top of an
150-foot cliff that overlooks the Pacific Ocean. The site is
a flat parcel on otherwise steep land that creates a
retaining wall to the west. The response to this condition
was a concrete retaining wall that ties together the two
70
boxes separated by a courtyard.

 The two boxes serve two different functions. One is for the residence itself and the other is a studio. Both
provide double-height spaces at the corners and outer ends of both programs. This allows for a composition
that breaks the space up rhythmetically, and is read on the exterior of the house with the exterior courtyard
serving as a double-height space in between both boxes.
 Along with the retaining concrete wall, a simple steel frame was used for the structure of the house. The steel
frame used 4-inch H-columns for the walls and 12-inch deep web joists for the roof. The steel frame was filled
in with different solid and transparent colored panels arranged to create a shifting light in the interior
throughout the day.
 The importance given to light in the design, with the exterior arranged in this particular way, can be connected
to Japanese influence. The house was built largely of standard components, such as the windows which
measure a standard width of 3-feet 4-inches.
71

 Contrast to the cold steel framing that forms the
structure, the interior of the house is warm and
comforting with its wood-block floor and the soft
light penetrating into each room through each day.
 Wooden staircases float effortlessly connecting
the lower and upper levels. The use of natural
materials on the interior bring the residence closer
to nature, giving the appearance of the house
resting softly on the earth. A row of eucalyptus
trees was also planted at the front that provide
shade and blend parts of the house with outdoors.
 The Eames House is a beautiful continuation of
space. The rooms are liberating, flowing into one
another even between floors through the double-
height spaces.
 Private and public spaces are not strictly divided.
For example, the bedroom on the upper level
overlooks the public living room with a short
terrace that connects the rooms. There are no
major divisions other than the separation of the
two boxes, which still merge into one another with 72
the courtyard
Charles & Ray Eames – De Pree House

 The house shares a lot of the qualities of the Case Study
Houses, study that took place in California, though one of
the project's greatest attributes is that it takes advantage
of the local craftsmanship as well as natural light.
 The project is situated in a modest neighborhood of small
houses in Zeeland, Michigan. Its front facade is composed
of two symmetrical structures: garage and a studio that
was built later. The covered walkway that acts as a
balcony leads to the main body of the approximately 185
square meter building.
 Natural cedars are lined for privacy. The rear area of the
house looks to a wooded area where a stream passes.
Natural ventilation was also a concern for the project, so
windows were inserted to promote cross ventilation.
 The ground floor is divided only by a large storage
element that covers the whole floor. The furniture hides all
the service equipment. The spacious living/dining room
has a fireplace. A glassed-in terrace, which was added
after the construction was completed, also connects the
kitchen with the living room and relates the interior space
to the exterior. The upper floor has three decks, two
bathrooms, and a sitting area in the center 73
I.M.Pei
 Chinese-American architect Ieoh Ming Pei (born April 26, 1917), is
arguably the greatest member of the modernist generation of architects.
When he received his Pritzker Prize in 1983, the jury citation stated that he
"has given this century some of its most beautiful interior spaces and
exterior forms.”
 Born in Suzhou, China, I.M.Pei grew up in Hong
Kong and Shanghai before deciding to move to the United States to study
architecture. Though he was uninspired by the Beaux-Arts traditions at
both the University of Pennsylvania and MIT, a professor convinced him to
persevere.
 He received his Bachelor's degree in 1940, when the second Sino-
Japanese War forced him to abandon his plans to return to his home
country - in the end, a fortuitous event for the young architect, as it allowed
him to discover the Graduate School of Design at Harvard, where Pei
worked with Walter Gropius and Marcel Breuer.
 Pei founded his own practice in 1955, then known as I.M. Pei & Associates
(but later changing its name to Pei & Partners in 1966 and finally to Pei
74
Cobb Freed & Partners in 1989).
I.M.Pei
 In his firm’s six-decade history, the
firm's most well-known work is likely
his :
• crystalline extension to the Louvre in
Paris;
• the Bank of China Tower in Hong Kong,
• the East Building of the National
Gallery of Art in Washington DC
• the JFK Presidential Library in Boston.
 In 1990, Pei retired from full-time
practice, progressively reducing his
workload over the following decades
until passing away at the age of 102 in
2019.
75
I.M.Pei - Le Grand Louvre

 Intro: 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.
 History: 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.
76

• Design
• 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 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. 77

• 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
• 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.
78
• Reactions
• 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
79
I.M.Pei - JFK Presidential Library

 Architect I.M. Pei’s signature geometric shapes of concrete
steel and glass created an appropriate stately monumentality.
A juxtaposition of spaces and light quality along with a
defined and lucid circulation creates a logical story line of its
namesake.
 The new site was selected at Columbia Point, adjacent to the
Harbor Campus of the University of Massachusetts Boston.
The dynamic new site boasted 9.5 acres and views of
the Boston Harbor and skyline.
 The main body of the structure consists of a singular and
brilliant triangular tower protruding from an expanding base of
geometric forms. A cube of glass and steel rises along with
the tower; hollowed and hallowed it represents reflection on
void.
 A circulatory system leads the viewer through a relatively
dense memorial and archive of the life and political career of
the late president. This constrained experience is followed by
a dark yet still relatively confined space of the theater where
the occupant is shown a brief biographical film. From these
tight spaces a new form emerges at the end of the defined
path. 80
I.M.Pei - JFK Presidential Library

 A large, aerated, open cube volume allows for a
period of reflectance. The visceral connection with
the outside world and the home state which
President Kennedy dedicated his political life to is
tangible through a simplified glass and steel
curtain.
 The understated yet omnipresent form of the
library’s stately structure at the end of the
peninsula rises above the water with a
distinguished manner. The JFK Presidential
Library exemplifies architectural presence
representing both memorial and monument.
81
I.M.Pei - East Building, National Gallery of Art

 What would eventually become known as the West Building of
the National Gallery of Art, the initial portion of the museum was
financed by art collector Andrew Mellon. Architect John Russel
Pope was hired to design the museum in the late 1930s, with
the intentions of leaving space for future additions.
 Mellon's son Paul had the responsibility of choosing the
architect for the expanse years later, so he turned to one of the
most forward-thinking architects of the twentieth century, I.M.
Pei.
 The two most prominent aspects of the project that made the
design challenging for I.M. Pei were the buildings form and
function, as the small trapezoidal plot that was reserved for the
building created a difficult site to design on. Pennsylvania
Avenue which was at an angle to the north side created a
strange limit, as did the proximity of the National Mall to the
south.
 These building limits were also restricted because the adjacent
land was marked as the President's inaugural route. But the
most demanding part of the design was that it needed to fit in
with the monumental scale of the Mall while also harmonizing
with the already-built neoclassical design of the West Building. 82

 In attempts to work with the shape of the site, Pei implemented
forms that reflected the trapezoidal form. When the plot was initially
discussed with Pei, he explains that first he "sketched a diagonal line
across the trapezoid and produced two triangles. That was the
beginning."
 The first triangle, an isosceles, would contain the exhibition space,
and the second, a right triangle, would accommodate administrative
offices, a library, and a study center for art research.
 This isosceles triangle became a unifying motif of the building, found
in the marble floors, steel frame, and glass skylights. These acute
and obtuse angles are also repeated in the building's hexagonal
elevators and trapezoid-shaped office desks.
 To visually unite the neoclassical style of the West Building,
characterized by balance and symmetry , and the East Building
which houses modern art, Pei constructed the exterior of his building
with the same pink Tenesse marble used in the other building. Dust
of this same marble was mixed with concrete to create the beautiful
color of the interior walls.
 A second unifying factor is a powerful axial link where the East
Building's main entryway is aligned along the West Building's east-
west axis, opening up a plaza space between the buildings. 83

• This serves to establish a transition
through elements like the marble
paving stones and glass pyramids
which reference the frame ceiling of
the East Building. These glass
pyramids have since become a
trademark of museums designed by
I.M. Pei.
• The interior opens up to a large
atrium; the openness of the space
invites visitors to gaze upwards and
let their eyes travel around the
building without feeling overwhelmed.
Although Pei wanted to recreate the
hard-edged lines of the exterior and
triangular design, he realized that it
would be best to soften these lines for
a warm and inviting feeling.
 He designed large round planters to
counteract these edges, each planter
containing ficus trees which helped
create a sense of scale in the large 84
atrium.
Modern architecture and postindependence India - national

building, institutions and PWD architecture
85
Modern architecture and postindependence India - national

building, institutions and PWD architecture
86
Post Independence City Planning - Chandigarh
87
Chandigarh Planning
88
Chandigarh Planning
89
Chandigarh Planning Ar Tharangini K, HOA IV, AMSAA
90
Chandigarh Planning
91
Chandigarh Planning
92
Chandigarh Planning – Capitol Complex

Chandigarh Capitol Complex, located in the
sector-1 of Chandigarh city in India, is a government
compound designed by the architect Le
Corbusier and is a UNESCO World Heritage Site.
It is spread over an area of around 100 acres and

is a prime manifestation of Chandigarh's
architecture. It comprises three buildings, three
monuments and a lake, including the Palace of
Assembly or Legislative Assembly, Secretariat, High
Court, Open Hand Monument, Geometric Hill and
Tower of Shadows
Isolated from its urban context, the Capitol

complex took on a distinct aesthetic and spatial
vocabulary.
 For the forms of the buildings themselves, Le

Corbusier applied a combination of traditional
Classical features and Indian design innovations, all
93
simplified and realized in concrete.
Corbusier in India- Palace of the Assembly

 One of Le Corbusier's most prominent buildings from India,
the Palace of the Assembly in Chandigarh boasts his major
architectural philosophies and style.
 Le Corbusier's five points of architecture can be found within
the design from its open plan to the view of the Himalayan
landscape.
 The program features a circular assembly chamber, a forum
for conversation and transactions, and stair-free circulation.
 The first of Le Corbusier's architectural ideals is the use of
pilotis to lift the structure off of the ground. Reinforced
concrete columns are utilized in a grid throughout the Palace
of the Assembly and are slightly altered to raise a large
swooping concrete form high above the entrance.
 This form represents the second point of Le Cobusier's list a
free facade. Pilotis allow the form to express the grandiose
release of space precisely as Corbusier intended. The other
various facades of the building also bestow the free facade 94
via brise-soleil formed from the golden ratio.

 Le Corbusier's desire for views is then apparent from all
facades. The sun-shading along the offices provides a frame
for inhabitants into the surrounding site while the portico
opens to the adjacent landscape and the distant Himilayas.
 Inside, the Palace of the Assembly houses an open plan
structured by the grid of reinforced concrete columns. Again,
this structural pattern allows Le Corbusier to manipulated the
program freely and place offices and other private
programming along the outside of the plan and leave the
center open for public use.
 Intersecting that open space, is the circular assembly
chamber that is contradictory in form to producing good
acoustics.
 On top of the building lies an accessible roof supported by the
pilotis. Providing usable space on the roof of a structure
complies with Le Corbusier's fifth ideal of architecture by
giving occupants vertical means of connecting to nature and
95
compensating for the habitat removed by the building.
96
Corbusier in India- Secretariat, Chandigarh

 The Secretariat building is the largest edifice in the Capitol Complex and is
the headquarters of both the Punjab and Haryana governments.
 The Secretariat building is a long, horizontal concrete slab form, 254
meters long and 42 meters high, and marks one of the edge of the Capitol
Complex on the left side.
 The building is composed of six eight-story block divided by expansion
joints and measures over 800 feet long, bookended by two sculptural
ramps providing vertical circulation throughout the facilities’ levels.
 Completed in 1952, the Secretariat building functions as the headquarters
of the Punjab and Haryana municipal governments and is the largest of
Corbusier’s three completed administrative buildings. The massive,
horizontal complex is comprised of 8 stories of rough-cast concrete.
 Design goal: to revolutionize the modern office building. The Secretariat
was among the first buildings designed as a “healthy building” with careful
attention paid to natural lighting, ventilation, and organizational efficiency.
 The whole structure is constructed in 'beton brut' (rough-cast concrete)
with Corbusier's signature 'brise-soleils' facade. 97
98

 Over 800 feet long, the extensive facade of the building gives a sculptural
aesthetic with exposed concrete ramps, punctured with small square windows
dictating the front and rear views. Accordingly, the Secretariat building avoids
overshadowing the Capitol as a whole with its bulk size. Instead, it plays a unifying
role in the complex, which is symbolic of its administrative function.
 The cafeteria rests atop the terrace, where one can have a spectacular view of the
city. Similarly, the roof garden and its promenade set against the surrounding
landscape, which constantly changes as the observer's angle of vision changes.
 To maximize natural lighting and increase cross-ventilation, a long and narrow plan
was implemented by Corbusier, this approach also helped delineate both the
actual and the implied borders of the capitol complex as a whole.
 To visually reduce the scale of its massive facade, the Secretariat was designed
with a modular façade that fragments the elevation into legible, programmatic
elements. This approach not only prevents onlookers from being overwhelmed by
its scale, it also plays an important role with regard to the daylighting scheme of
the project as a whole.
 The various projections, recesses, circulation elements, and multi-level interior 99
spaces act as sun-breaks ('brise-soleils') to mitigate solar gain.
Corbusier in India- Millowner’s
Association Building, Ahmedabad
• Le Corbusier was commissioned by the president of the
Mill Owners’ Association to design the organization’s
headquarters in Ahmedabad, a city historically active in
India’s textile trade.
• The building is a physical manifesto representing Le
Corbusier’s proposal for a modern Indian architecture.
Constructed in 1954, the Mill Owners’ Association Building
is considered the first completed commissions in
Ahmedabad.
• As Le Corbusier began working predominately in warmer
environments, he developed a set of architectural devices
in response to climatic and cultural contexts.
• He took cues from India’s vernacular architecture,
emulating the deep reveals, overhanging ledges, shade
screens, and grand, pillared halls. He introduced brises-
soleil, designed to prevent sun from penetrating the
facade, and employed these in combination with
thickened facades and unfinished concrete in many of his
later projects. 100
Corbusier in India- Millowner’s Association Building, Ahmedabad

• The brises-soleil on the west facade are oriented diagonally to obstruct views
from the street while permitting air and indirect sunlight to enter the space.
• Plants spill from the porous facade, activating the exposed concrete and
supplementing the roof garden. At the rear of the building, the brises-soleil are
perpendicular to the facade, allowing the breeze from the river to pass
uninhibited through the shaded perimeter. Here, Le Corbusier designed the
openings to frame views of the river below.
• Completed just after Unité de Habitation, the Mill Owners’ Association Building
signifies a shift in Le Corbusier’s architectural style, combining the repetitive
rigidity of Villa Savoye with the curvilinear forms of Ronchamp.
• The facade stands free of the structural pilotis as described in Le
Corbusier’s Five Points, but departs from his earlier work in that it extends fully
to the ground, screening the cylindrical columns from view.
101
Corbusier in India- Millowner’s Association Building, Ahmedabad

• The rectilinear plan and grid expressed on the building’s exterior
stand in contrast to the interior spaces, which are characterized
by convex and concave volumes. As one moves through the
interstitial space, the intersection of curvilinear and orthogonal
planes creates an experience of compression and release.
• A conference room enclosed by a curved, brick wall paneled in
wood veneer extends from the second story to roof level. Its
curved ceiling reflects light entering through the clerestory window
and holds a reflecting pool above, which Le Corbusier had hoped
to utilize as a roof reservoir.
• The circulation is designed as a promenade, beginning with a
ramp extending from the parking lot to a three-story void at the
volumetric center of the building. As one ascends the ramp, the
view penetrates the brises-soleil, visually opening the facade. The
stair core projects beyond the central atrium and main facade,
into the elements.
102
Loius I Khan in India – IIM Ahmedabad

 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 60 acre campus for the
Indian Institute of Management in Ahmedabad, India. Much like his
project in Bangladesh, he was faced with a culture enamored in
tradition, as well as an arid desert climate.
• For Kahn, the design of the institute was more than just efficient
spatial planning of the classrooms; he began to question the
design of the educational infrastructure where the classroom was
just the first phase of learning for the students.
• The main focus was to create a new school of thought that
incorporated a more western-style of teaching that allowed
students to participate in class discussions and debates in
comparison to the traditional style where students sat in lecture
throughout the day.
• Kahn’s inquisitive and even critical view at the methods of the
educational system influenced his design to no longer singularly
focus on the classroom as the center of academic thought. The
classroom was just the formal setting for the beginning of learning; 103
the hallways and Kahn’s Plaza became new centers for learning.
Loius I Khan in India – IIM Ahmedabad Ar Tharangini K, HOA IV, AMSAA
 The conceptual rethinking of the educational practice transformed a school into an

institute, where education was a collaborative, cross-disciplinary effort occurring in
and out of the classroom.
 Khan incorporated local materials (brick and concrete) and large geometrical
façade extractions as homage to Indian vernacular architecture. It was Kahn’s
method of blending modern architecture and Indian tradition into an architecture
that could only be applied for the Indian Institute of Management.
 The large facade omissions are abstracted patterns found within the Indian culture
that were positioned to act as light wells and a natural cooling system protecting
the interior from India’s harsh desert climate. Even though the porous, geometric
façade acts as filters for sunlight and ventilation, the porosity allowed for the
creation of new spaces of gathering for the students and faculty to come together.
104
Loius I Khan in India – IIM Ahmedabad
105
Achyuth Kanvinde
• Achyut P Kanvinde and Shaukat Rai, from diverse backgrounds met when
they were chosen to go to the U.S. for a study tour by CSIR (Centre for
Scientific & Industrial Research) in 1945. The mission, to study modern
research laboratories in the U.S. so that it could be replicated in India post-
Independence. It was an era when India was an young emerging nation.
• Achyut studied architecture at the Sir J J School of Art, Mumbai, while
Shaukat was a civil engineer trained in Roorkee.
• The former was the son of an artist from a humble background, the latter the
grandson of Sir Ganga Ram. Life took them to the U.S., where they wanted
to study design and architecture. The duo came back and fulfilled their
commitment by working with CSIR. The friendship which began then,
resulted in a partnership – Kanvinde and Rai, that flourished over decades.
• Achyut Kanvinde’s (1916-2002) brilliance in designing and architecture was
matched to perfection by Shaukat Rai (1922-2003), who handled project
execution, management and business aspects.
• When Morad Chowdhury joined them, it was 20 years after the partnership
was started. He brought some fresh blood into the the firm – Kanvinde, Rai
and Chowdhury.
• Charles Correa refers to Kanvinde saheb’s design sensitivity, the unique
position he occupies in the history of contemporary architecture in India, and
the partnership between him and Shaukat as that of high-ethical professional 106
standards unparalleled in our times.
Achyuth Kanvinde
• It will not be an understatement to say that anything conceivable in brick
and mortar was designed and built by the low profile and soft spoken duo.
• It is not easy to arrive at the correct number, but it could be easily above
500 projects that covered a wide range — schools, colleges, hostels,
hospitals, temples, residences, office complexes and high rise.
• The projects include, IIT Kanpur, Nehru Science Centre, Mumbai. In Delhi,
Ashoka Estate, St. Xavier’s School, National Science Centre, Cooperation
Office, Embassy of Switzerland, Azad Bhavan, ISKCON Temple and CCRT.
Of these, Gandhi Memorial Hall, Azad Bhavan, National Science Centre and
ISKCON temple make it to the list of modern heritage buildings in the
National Capital.
• Evolution - The buildings he initially designed were typically straight-faced
geometrical ones. This geometry was in stark contrast to the ornate Indian
architecture which he trained in. Though Kanvinde was a modernist since
his days at J J, it was his study under Walter Gropius at Harvard which
completely altered his thinking. As Kanvinde says in his writings, “It was
Gropius who really exposed me to the power of technology on the one hand
and the psychological dimensions of spatial concerns and realisations on
the other.” But his romance with geometrical architecture lasted through his
lifetime. Over the years, the geometrical shapes imbibed a certain fluidity,
which made them almost speak 107
Achyuth Kanvinde
• Design Features
• the design would emerge from the site, topography of the land, the objectives in context
of the area. It was a sum of everything.
• Another feature which stands out is that Kanvinde Sahab discerned the taste of the
inhabitants of the space, then created the structure for them, so that they blended in
well. He would go to great lengths to understand his clients. In 1962, for Balkrishna
Harivallabhdas residence in Ahmedabad, he often stayed with the family to understand
them and their lifestyle so that the home would complement them. Similarly when he
was asked to design the ISKCON temple, New Delhi, a pro bono project, he wanted to
understand the philosophy of the organisation. They in turn presented him with 16
volumes of the Bhagavad Gita and he meticulously went through them.
• For an architect who designed temples, he did not believe in Vaastu.
• There was always an emphasis on staircase in the buildings. Similarly, the front or porch
was designed in such a way that it would add drama to the building. It also allowed
natural light to enter the building. Apart from staircases, covered verandahs and
walkways connected various buildings allowing for light and ventilation. This is aptly
reflected in the University of Agricultural Sciences, Bengaluru where the design allows
for natural ventilation and light everywhere.
• Sustainability and environment-friendly materials were a part of Kanvinde’s approach to
buildings even before they became buzzwords. His own house, ‘Akar’, built in the 1960s 108
used local bricks and exposed concrete.
Achyuth Kanvinde - TANTRA MUSEUM New Delhi, 1974
• This museum project was designed for the extensive art
collection of Ajit Mookerjee.
• Inspired by the symbolism of Tantra Art, the concept relies
on an aggregation of form, using a series of repetitive
clusters comprising circular modules around a central
arrival court.
• The circulation system provides access to the topmost floor
by a flight of steps, gradually descending to the lower floors.
• The strong circular forms of the building create a visual
statement and are a marked departure from the orthogonal
forms of Kanvinde’s earlier work.
• Though the project did not proceed beyond the design
development stage, the ideas of this project were the basis
of designs for two science museums carried out in the
1980s.
109
Achyuth Kanvinde - National Science Center, New Delhi (1991)

• Situated in the vicinity of old monuments of Delhi providing
a new fabric to the city and at the same time feeling of the
ancient building.
• A set of vertical volumes that rise gradually- this buildings
is visually appealing, and unimposing. It has a large grand
flight of steps on its entrance.
• The skylights- which are the dominant highlight of the
design are a common repeating element in many of his
works- such as the Doodhsagar Dairy, and the Nehru
Science Center, Mumbai.
• The building seems to have a simple & efficiently designed
structural system, and a functional approach in its layout.
• The building accommodates a complex of workshops,
library, lecture halls and observatory.
• Site Location- Bhairon Road, Adjacent Pragati Maidan,
New Delhi.
• Site Area- 7000 m2 Built up Area – 14,000 m2
• Materials Used: RCC frame, brick infill plastered in a fine
stone grit finish. 110
Achyuth Kanvinde - National Ar Tharangini K, HOA IV, AMSAA
Science Center, New Delhi
• A six-storey structure situated on a site that forms part of the

Trade Fair complex.
• The building comprises an auditorium, conference rooms, lecture
hall, library, training centre, exhibition areas, and a cafeteria,
totaling 14,000 square metres of built up area.
• An entrance concourse on the first floor leads to the multi-level 111
display; and terraces provide additional outdoor exhibition areas.
Achyuth Kanvinde - Doodhsagar Dairy,

Mehsana, Gujarat
• Doodhsagar Dairy of National Dairy Development
Board built in 1973
• One of the largest Milk processing unit in gujarat.
• Style of Architecture – Brutalism
Design Features
• Monstrous and raw
• The form is very rough and solid
• Cold character
• Fortress like structure
• One of the first outburst of kanvinde’s brutalism
112
Achyuth Kanvinde - Doodhsagar Dairy ,Mehsana
113
Achyuth Kanvinde - Doodhsagar Dairy ,Mehsana

• The natural slope of the site utilized to take
advantage of a multi level processing system.
• Milk receiving is done at the roof. Processing is
done at the second level. The third and the
lower most level accommodate the worker’s
amenities.
• Ventilation points are expressed as large shafts
that rise above the roof level. They evacuate
the hot air by natural convection eliminating the
need for mechanical exhaust system.
• Walls and structure are more theatrical than
technical in their function of containing and
supporting the process within.
• Banding of the exterior finish helps articulate
the muscular feature of the building.
114
Charles Correa
 A man often referred to as “India’s Greatest Architect” and a person whose impact
on the built environment extended far beyond his own native country. Rooted
in India, Correa’s work blended Modernity and traditional vernacular styles to
form architecture with a universal appeal.
 Through his buildings we, as both architects and people who experience space,
have learnt about the lyrical qualities of light and shade, the beauty that can
be found in humble materials, the power of color, and the joy of woven
narratives in space.
 Perhaps more than anything else, however, it was his belief in the notion that
architecture can shape society which ensures the continued relevance of his
work. As quoted by “At it’s most vital, architecture is an agent of change,”.
 When Correa returned to India in the late 1950s, after having finished his studies
at the University of Michigan and the Massachusetts Institute of Technology in the
United States, he observed an old civilization eager to establish itself as a new
country – and one with enormous potential.
 Brimming with optimism, and fired up with Socialist ideals, it was in this context in
which Correa and his contemporaries (B. V. Doshi, Raj Rewal, Achyut Kanvinde, et 115
al.) found the patronage to nurture their talent.
Charles Correa
 It was around 1980s, a period in which it’s possible to notice a marked shift in Correa’s
thinking. Gradually moving away from Western influences, like Corbusier and Team
X, Correa sought to develop a vocabulary for Indian architecture that was more inspired
by the deep mythic and cosmological beliefs of the country itself.
 This was partly due to his involvement as the curator of Vistara – a travelling
exhibition of Indian architecture organized as a part of the Festival of India in 1986. The
exhibition not only traced the trajectory of Indian architecture from its ancient origins to
the present day but also showed, at each step, the beliefs and mythic imageries that
determine what we build.
 In Correa’s work that followed, seen in both the National Crafts Museum built in New National crafts Museum
Delhi (1975-90), and the Jawahar Kala Kendra in Jaipur (1986-92), there was a
conscious attempt to break away from any obvious Western influences.
 Instead, like the incredible temples of South India, a movement through open-to-sky
pathways determines the layout of both museums. But it was the overlay of cultural
motifs, use of traditional materials, and references to ancient symbols that made these
projects stand out as examples of what Indian architecture could be.
Belapur housing
 Correa’s deep understanding of both the past, and how it could inform the present, 116
undoubtedly pushed forward the discourse on national Indian identity.
Charles Correa
 By the time India moved from Socialism to liberalization,
Correa had already established himself as the torchbearer of
Indian architecture.
 With fame and recognition also came the chance to build
abroad. His last three notable projects, all built overseas,
appear to break away from some of his earlier preoccupations
and embody a third and important phase in his work.
 The Brain and Cognitive Sciences Center at MIT (2000-05),
the Ismaili Centre in Toronto (2000-14), and the
Champalimaud Centre for the Unknown in Lisbon (2007-
10), are all more abstract explorations but still firmly rooted in
their respective contexts, climates, and cultures.
Champalimaud Centre for the Unknown in Lisbon
 They are fresh reinterpretations of some of the central
concepts that had consumed his thinking and work throughout
his life.
117
Charles Correa – Gandhi Ashram

 This Gandhi memorial museum/ Sabarmati Ashram/ Gandhi Ashram
designed by Charles Correa is located in the Ashram where the Mahatma
lived from 1917 to 1930.
 Housing his books, letters and photographs, this modest and humanly scaled
memorial uses brick piers, stone floors and tiled roofs to find a contemporary
expression for the spirit of swadeshi.
 The duality of modernity and tradition can be seen in this earliest and perhaps
best-known projects: the Gandhi Smarak Sangrahalaya in Ahmedabad.
 Built between 1958 and 1963 as a memorial to Mahatma Gandhi the building
is designed to embody Gandhi’s ideas and principles. It also displays Correa’s
lateral thinking as a designer.
 By combining contemporary materials with those used in Gandhi’s own
house, Correa was able to look to the past and to the future in the same
expressive gesture.
 The entire structure, modest in scale and proportions, consists of
interconnected modular square huts that form a meandering pathway,
sometimes through closed spaces and sometimes open to the sky; a feature 118
that recurred throughout his career.

 Concept:
 The Gandhi Smarak Sangrahalaya project provided an example of how to
combine the Hindu Architectural and cosmological idea of isotropy with
Modernist functional planning.
 The concept of isotropy (similar to fractals) refers to an infinitely scaleable
structure that is found in the repitition and manipulation of the decorative
elements in Hindu temples.
 In the Smarak Sangrahalaya, the modular pavilion unit was designed to
facilitate a future extension and to emphasize the idea of a single element
making a whole.
 Correa placed five distinctly programmed interior spaces within the
asymmetrical grid plan.
 The plan of the museum has also been
compared to village houses in India’s
Banni region. Instead of a single volume,
the houses consist of five huts each with
a different function, which surround to
make a courtyard. The inhabitants walk Gandhi’s house located nearby
back and forth across the outside
space to use the different rooms 119

 Spaces:
 The site on the Sabarmati River
bank is part of the larger ashram
complex and is integrated into its
gardens.
 Five interior rooms contain the
collection of the museum. The
rooms are enclosed by brick
walls and wooden louvered
screens.
 All five rooms are part of the 6m
square module. Correa’s subtle
changes of the enclosure allow
for variety in the module’s
lighting, temperature, and visual
permeability.
 A square, uncovered shallow pool
is located between the five
rooms.
120

 Construction:
 The museum uses a simple but delicately detailed post and
beam structure. Load bearing brick columns support concrete
channels, which supports both the wooden roof and direct
rainwater. The foundation is concrete and is raised about a foot
from the ground.
 Wooden doors, stone floors, ceramic tile roofs, and brick
columns are the palette of the building.
121

 Most likely inspired in part by the ideas of Structuralism, the building is in
many ways reminiscent of the sorts of casual movement one encounters in a
typical Indian village.
 In a profession where practitioners generally blossom late in their careers,
Correa’s monument to Gandhi—designed when he was only 28 years old—
stands out as the work of a child prodigy.
 Its use of multiple pathways and open-to-sky space would go on to inform
many of his later projects, such as the unbuilt proposal for the India Pavilion
(1969) in Osaka, Japan, and Bharat Bhavan (1975-81) and Vidhan Bhavan
(1980-86), both in Bhopal.
122
Charles Correa – Jawahar Kala Kendra, Jaipur

 Jawahar Kala Kendra is an arts and crafts centre located in the city of
Jaipur. The centre was completed in 1991. The centre was launched
by the state government to provide space to the cultural and spiritual
values of India and display the rich craft heritage. The centre is
dedicated to the late prime minister of India Jawaharlal Nehru.
 Concept:
• The centre is an analogue of the original city pIan of Jaipur drawn
up by the Maharaja, a scholar, mathematician and astronomer, Jai
Singh the Second, in the mid-17th century. His city plan, guided by the
Shipla Shastras, was based on the ancient Vedic madala of nine
squares or houses which represent the nine planets (including two
imaginary ones Ketu and Rahu). Due to the presence of a hill one of
the squares was transposed to the east and two of the squares were
amalgamated to house the palace.
• Correa’s plan for the Kendra invokes directly the original
navagraha or nine house mandala. One of the squares is pivoted to
recall the original city plan and also to create the entrance. The plan of
Jaipur city based on the nine square Yantra in which one square is
displaced and two central squares combined. the squares is defined
by 8m high wall, symbolic of the fortification wall along the Jaipur old
city. 123
The centre has
Charles Correa – been made in eight
blocks housing:
Jawahar Kala Kendra, Jaipur
•museums,
•theatres,
• Layout According to the Mandala •library,
• The building program has been •arts display room,
“disaggregated” into eight •cafeteria
separate groupings corresponding to the
myths represented by that particular planet:
• for instance, the library is located in the
square of the planet Mercury which
traditionally represents knowledge,
• the theatres are in the house of Venus,
representing the arts.
• The central square, as specified in the Vedic
Shastras, is avoid: representing the Nothing
which is Everything. The flooring pattern in
this square is a diagram of the lotus
representing the sun. City Palace, Jaipur.
124
Charles Correa – Jawahar
Kala Kendra
125
Charles Correa – Kanchanjunga Apartments

• Located in Mumbai, the 32 luxury apartments
are located south-west of downtown in an
upscale suburban setting embodying the
characteristics of the upper class of society
within the community.
• The Kanchanjunga Apartments are a direct
response to the present culture, the escalating
urbanization, and the climatic conditions for the
region. They pay homage to the vernacular
architecture that once stood on the site before
the development in a number of ways.
• In Mumbai, a building has to be oriented east-
west to catch prevailing sea breezes and to
open up the best views of the city.
Unfortunately, these are also the directions of
the hot sun and the heavy monsoon rains. The
old bungalows solved these problems by
wrapping a protective layer of verandas around
the main living areas, thus providing the
occupants with two lines of defense against the
elements.
126
Charles Correa – Kanchanjunga Apartments

• Correa pushed his capacity for ingenious cellular planning to the
limit, as is evident from the interlock of four different apartment
typologies varying from 3 to 6 bedrooms each. Smaller
displacements of level were critical in this work in that they
differentiated between the external earth filled terraces and the
internal elevated living volumes.
• These subtle shifts enable Correa to effectively shield these high
rise units from the effects of both the sun and monsoon rains.
This was largely achieved by providing the tower with relatively
deep, garden verandas, suspended in the air.
• The building is a 32 story 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. This technique was used
for the first time in India for a multistory building.
• The concrete construction and large areas of white panels bears
a strong resemblance to modern apartment buildings in the West,
perhaps due to Correa's western education. However, the garden
terraces of the Kanchanjunga Apartments are actually a modern
interpretation of a feature of the traditional Indian bungalow: the 127
veranda.
128
Anant Raje
LIFE, EDUCATION AND CAREER
• BORN IN MUMBAI , INDIA ON 26 SEPTEMBER 1929
• WAS WELL KNOWN ARCHITECT , INTELLCTUAL AND
TEACHER
• 1954 :GRADUATED FROM SIR .J.J. SCHOOL OF FINE
ARTS , MUMBAI
• 1957-1960 : PROFESSIONAL PRACTICE WITH AR.
B.V.DOSHI , IN AHEMDABAD
• 1961-1964 : PROFESSIONAL PRACTICE , IN AHEMDABAD
• 1964-1968 : IN THE OFFICE OF AR.LOUISH KHAN IN
PHILADELPHIA
• 1969-1971 : WORKING ON CONSTRUCTION OF IIM WITH
AR.LOUIS KHAN
• LATER HE BECAME THE HONORARY DIRECTOR OF
SCHOOL OF ARCHITECTURE , AHMEDABD(C.E.P.T.)
• RAJE LIVED HIS LAST BREATH ON THE 27 JUNE 2009
129
Anant Raje
ARCHITECTURAL PRINCIPLES
• USE OF BOLD MATERIAL AND VERY CLEAN GEOMETRIC SHAPES AND
FORMS
• BELND OF EXTERIOR TO THE INTERIORS
• AN EXPERIENCE USING THE PLAY OF TEXTURES ON THE EXTERNAL
FACADES
• ISSUES OF LIGHT AND VENTILATION
CONCEPTS
• EXPRESSION, BUILDING AND LANDSCAPE , PART AND WHOLE,
• UNILIMATED QUALITY OF ALL GOOD ARCHITECTURE THROUGH TIME
• SENSE OF RESPONSE
• YET IT IS AN ORDER ENRICHHED BY THE PANTINA OF MATERIALS
• SENSTIVILY OFLIGHT
• HIS WORKS HAD IDEEED A SOFTNESS AND QUALITY OF
TRANSCEDENCE
130
Anant Raje
ACHIEVMENTS
• DISTHINGUISHED PROFESSOR’S AWARD FROM C.E.P.T
• THE INDIAN INSTITUTE OF ARCHITECT (IIA)
• BABUROA MHATRE GOLD MEDAL FOR ARCHITECTURE IN 1993
• THE MASTER AWARD FOR LIFTIME CONTRIBUTION IN ARCHITECTURE
• FROM J.K.INDUSTERIES ,INDIA IN 2000.
IMPORTANT BUILDINGS
• EXECUTIVE MANAGEMENT CENTRE AT THE INDIAN INTITUTE OF
MANAGMENT , AHMEDABAD
• INDIAN INTITUTE OF FOREST MAGMENT (IIFM), BHOPAL
• FARMERS TRAINING INSTITUTE IN GUJRAT
131
Anant Raje - The Indian Institute of Forest Management (IIFM)

• The Indian Institute of Forest Management (IIFM) (founded 1982) is an autonomous, public institute of
sectoral management located in Bhopal, Madhya Pradesh, India, established by the Ministry of Environment,
Forest and Climate Change, Government of India with financial assistance from the Swedish International
Development Cooperation Agency (SIDA) and course assistance from the Indian Institute of Management
Ahmedabad.
132
Anant Raje - The Indian Institute of Forest Management (IIFM)
133
Anant Raje - Farmers’ Training Institute

• An institute set up for rural dairy farmers under a programme set up by the National Dairy Development
Board (NDDB) in Palanpur, Gujarat, to impart basic training in cooperative dairy farming to villagers in
surrounding districts. Set amidst wheatfields, the institute consists of a hierarchy of courtyards enclosed by
stone wall.
• The project includes two sets of classrooms with residential rooms for 24 students, dining and other facilities
connected with a regular dairy plant.
134

• The buildings are of load-bearing
stone, quarried from nearby quarries.
Openings are spanned by concrete
lintels, and are deeply recessed to
provide shade from the hot sun.
135
136
Habib Rehman (1915-1995) Works:

 Habib Rahman obtained his Bachelor of • During the 1950s and 1960s,
Engineering in 1939 in Calcutta. He studied at the Nehru governement invited
the MIT and obtained his Masters in Architecture architects, among which Habib
in 1944 (the first Indian to complete this Rahman, to develop new public
program). From 1944 to 1946, he worked at the buildings built in the spirit of the
architecture firms of Lawrence B. independence of India.
Anderson, William Wurster Walter Gropius,
and Ely Jacques Kahn in Boston. He designed:
 Habib Rahman returned to Calcutta during • the Gandhi Ghat in 1949 in Barrackpore,
the 1946 Calcutta riots and became the Senior • the New Secretariat in Kolkata (completed in
Architect of the government of West Bengal from 1954),
1947 to 1953. Starting in 1953, Habib Rahman
becme the Senior Architect of the Central Public • the Dak Bhawan in 1954,
Works Department in New Dehli (and became • the Rabindra Bhavan in 1961
Chief Architect in 1970)
• the Sardar Patel Bhawan in 1973 (opposite to the
 From 1974 to 1977, he was Secretary of the Dak Bhawan).
Dehli Urban Arts. In 1977, he contract was
discontinued after he opposed several projets • He also designed the National Zoological Park that
including building a second Connaught Place in opened in 1959 (which included historical ruins,
New Delhi. and housed over a thousand animal species).
 Habib Rahman's architecture mirrored the • He also built the memorials of Abul Kalam
137
modernist ethos of the newly Independent India. Azad, Zakir Husain and Fakhruddin Ali Ahmed.
Habib Rehman
• Habib Rahman - One of

the first generation
architects to bring in
Modernism to India.
• Habib Rahmn introduced
the Bauhaus style in the
Indian context.
138
Habib Rehman- Rabindra Bhavan
 Rabindra Bhavan was built to mark the birth
centenary of Tagore, who in addition to being a poet
and novelist, was an artist, playwright and
composer. The building is thus the home of three
National Academies: Lalit Kala (Plastic
Arts), Sangeet Natak (Dance, Drama and Music)
and Sahitya (Literature).
 The complex stands on a 1.45 hectare site amongst
other art institutions forming the cultural centre of
New Delhi. It consists of an administrative block,
exhibition block and a theatre block.
 The administrative block, Y-shaped in plan, is a
four-story structure to house offices of the three
academies and a library. A 1.2m roof overhand
protects building surfaces from the streaking effects
of rain.
 Centre-hung windows have a double row of
continuous sloping R.C.C. chhajas, blocking off
strong sunlight yet permitting breezes to flow in. the
administrative and exhibition block enclose a cluster
of beautiful old trees shading the ruins of an ancient 139
mosque.
Habib Rehman- Rabindra Bhavan

 The pentagonal exhibition block, one side of which follows
the curve of an adjacent traffic island, has a basement and
two upper floors on split levels. The galleries around a central
service core have continuous exhibition spaces with
provision for natural and artificial light. Jalis have been
discreetly used in various parts of the building to reduce
glare and provide subdued natural light.
 The design of Rabindra Bhavan reflects the philosophy of
Tagore: modern creative work should neither blindly copy
India’s past heritage, nor should it blindly imitate the modern
West.
140
Habib Rehman- Tomb of Maulana Azad

 Before passing away in 1958, Maulana Azad, India’s first education
minister, had conceived of and set up three academies for art,
performing arts and literature.
 Rahman was asked to design his tomb in front of Shahjahan’s Jama
Masjid, built in the seventeenth century.
 In keeping with the requirements set down by Jawaharlal Nehru, the
design was not to conflict with the neighbouring historic monuments and
represent the "humble personality" of Maulana Azad.
 Finished in 1959–1960, the tomb’s design was a modern thin-shelled
concrete cross-vault structure derived from the arch of the mosque, set
in a charbagh, a quadrilateral garden layout of Persian origin favored by
the Mughals (based on the four gardens of Paradise mentioned in the
Qur'an).
 It was designed to fit harmoniously within the great Mughal city
structures from the seventeenth century. Nehru also loved this memorial.
 Set in a 67m x 67m enclosed garden, the memorial structure consists of
a delicate white chhatri over the grave. The chhatri is a cross-vault, 7.5
cm thick, supported on four slender L-shaped columns. The concrete is
a mix of white cement and crushed marble, slighly polished by hand, its
profile derived from the pointed Islamic arches of the Jama Masjid 141
Habib Rehman- GANDHI GHAT, KOLKATA

 The brief was very sketchy and vague. The memorial had to
be elegant and modest, reflecting the personality and
philosophy of the Mahatma, with a bathing ghat attached to
it.
 The very first design commission he got was for the Gandhi
Ghat memorial. For this design he could not refer easily to
his modernist training, and looked instead at traditional
Indian religious architecture.
 Though a staunch atheist, he drew from the symbolic forms
of older religious architecture, to abstract and create a
contemporary idiom for more symbolic buildings.
 Gandhiji's respect and love for all religions inspired him to
conceive a structure that harmoniously and aesthetically
reflected and symbolised the three main religions in India –
Hinduism, Islam and Christianity. The result was a tower – a
simplified profile of a temple shikhara, capped with an
islamic dome. A horizontal cantilevered slab projecting from
both sides appeared in silhouette somewhat like a cross.
 His more conventional Bauhaus approach would mani-fest
itself in the many office buildings and the housing he
142
designed for the government all over the country in the 50s.

Unit 1 - Modern Archiecture-Spread and Later Directions

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CIAM

NOTE: CIAM is not included in syllabus. Its

 Under the leadership of Le Corbusier , CIAM’S vision

 His vision inspired hope but ultimately failed to create

 Signed by 24 European Architects representing France,

 The C.I.A.M Organization disbanded in 1959 as the

STAGE 1 – 1928 – 1933

 Problems of minimum living standards

 Rigid functional zoning

5. Its emphasis on the functionalist theory, treats residence, work

Design in human scale achieves familiarity and the sense

Humanist designers, moreover, advocate a mixed use of

STAGE III – 1947- 1956

IIFM, Bhopal by Achyut Kanvinde

• They referred to themselves as "a small family group of architects”

 Aldo van Eyck, The Netherlands

The smithsons, Eyck, Bakema, Candilis and woods searched

Two different movements emerged from Team 10:

 New Brutalism of the English members

 Structuralism of the Dutch members (Aldo

 British architectural critic Reyner Banham adapted the term

Peter and Alison

Peter and Alison Smithson

Smithdon High School - Introduction

Smithdon High School

Smithdon High School

Smithdon High School - Description

Smithdon High School - Spaces

Smithdon High School - Material

Smithdon High School

Peter and Alison Smithson - Ideology

The Golden Lane Housing Competition Project

The Golden Lane - Concept

The Golden Lane - Construction

The Golden Lane - Importance

The Golden Lane - Importance

Aldo Van Eyck

The Amsterdam Municipal Orphanage (1955-60)

The Amsterdam Municipal Orphanage (1955-60)

The Amsterdam Municipal Orphanage (1955-60)

The Amsterdam Municipal Orphanage (1955-60)

 And if this piazza is indeed the centre of the entire settlement, it

 From it the settlement fans out centrifugally in all directions; it is the

The Amsterdam Municipal Orphanage (1955-60)

The Amsterdam Municipal Orphanage (1955-60)

The Amsterdam Municipal Orphanage (1955-60)

Paul Rudolph – Healy Guest House

Paul Rudolph – Healy Guest House

Paul Rudolph – Art & Architecture Building

Paul Rudolph – Art & Architecture Building

Eero Saarinen – The Gateway Arch

Eero Saarinen – The Gateway Arch

Eero Saarinen – The Gateway Arch

Eero Saarinen – MIT Chapel

Eero Saarinen – MIT Chapel

Eero Saarinen – MIT Chapel

Louis Khan - Salk Institute

Louis Khan - Salk Institute

SOM- Lever House

SOM- Lever House

SOM- Lever House

SOM- PEPSI-COLA CORPORATION WORLD HEADQUARTERS

SOM- United States Air Force Academy Cadet Chapel