INDIA’S GREATEST ARCHITECT

CHARLES CORREA

Presented by: ● AARUSHI AGGARWAL

● ARYAN DALAL
India’s greatest Architect. That was the title given to
CHARLES CORREA when he was alive. In a career
spanning 5 decades, he designed over a 100 buildings, with a
design style that spoke to and of the people. But perhaps his
biggest contribution to society at large is a generation of
architects that he inspired, teaching them what Modernism
could mean for India.

Charles Mark Correa, born on 1 september 1930, in

Secunderabad, Telangana who pursued architecture at the
University of Michigan and later masters at the MIT.

Studying in west, he was undoubtedly influenced by the works of

Architects like Le Corbusier and Louis Kahn but he never lost
touch with his Indian Roots.

He didn’t see tradition and modernity as mutually exclusive. He

always wanted to include Indian beliefs and traditions in his
designs but in a Modern Architectural language.
 IDEOLOGY AND PHILOSOPHY
● Adaption of modernism to a non western culture.
● Prime Concern- Cultural requirements and need of native
country.
For example-
1. Open Planning in Jawahar Kala Kendra (Jaipur) 2.Use of
double doors in Bombay
3.Played with light and Shadows seeing the corporate culture
in Delhi
● Hierarchical Concept- Spaces needed by family for private
use, areas of intimate contact, neighbourhood spaces.
● Common features in his buildings-
1.Efficient use of space
2.Careful attention to ventilation
3.Optimum but comfortable planning
● Instead of blindly following European style he rather preferred
following his own style
● Was influenced by Le Corbusier
1.Brutal concept of exposed brick and concrete works
2. Raised sunroofs and Open courtyard were always his
favourite element
● Used traditional materials (brick, mud, stone) and encouraged
local craftsmen.
JAWAHAR KALA KENDRA
JAIPUR, RAJASTHAN, 1986-1991
PROJECT : JAWAHAR KALA KENDRA
LOCATION : Jaipur, Rajasthan, India
ARCHITECT : Charles Correa
PURPOSE : Cultural centre to preserve
Rajasthani arts and crafts
PROJECT YEAR : 1986 – 1991
MATERIAL : Red stone, marble
BUILT-UP AREA : 9.5 acre

CONCEPT
● The plan is inspired by the original City plan of Jaipur consisting of nine square with Central
square left open.
● The whole complex is itself a unique design and concept in architectural industry especially the KETU BUDH CHANDRA
concept of nine squares as ‘Navgrah’. Each square was linked to the planet as per the
characteristics of the particular planet and its astrological values and the functionality of the
SURYA
square.

N
Entrance Plaza Madhyavarti Art Galleries Alankar Museum SHANI MANGAL

RAHU GURU SHUKRA

SITE ZONING
Museum/Art gallery
Spaces of learning
Recreational Spaces
Administration
FEATURES
~The ceiling which depicts animals, mountains,
rivers in a traditional Indian cosmology, it
shows how well Correa was able to meld the
traditional with contemporary.

~Play of light and Shadow creates a dynamic

ENTRANCE
transition space and creates a unique experience
even do the interiors of the library are not at
display.
Light through oculus
at Admin area.
FACILITIES ~Modulation in heights & hierarchy of open
semi open and closed spaces create varying
● Library
experiences throughout the journey.
● Museum
● Terracotta gallery
~Courtyard is used to maintain the temperature
● Chaturdik gallery
of the building. Due to the incident solar
● Sukriti gallery
radiation in the courtyard the air gets warmer
● Surekh gallery
and rises.
● Parjit-1,2 gallery
● Workshops
● Cafeteria
● Guest house
● Open air theatre
● Shilpgram
 PLANNING
● The main building contains six exhibition galleries, open air theatre, auditoriums, dormitories, and coffee house.
● Each section of the building resembles the characteristics of the respective planet for instance, the library is located in the Jupiter section, which attributes to
knowledge and wisdom. The murals from the Jain mythology, the charts and paintings on the ceiling of the central dome formulate the exceptional nature of JKK.
● Adjoining the main building of JKK, a rural complex housed in it 9.5 acre complex known as Shilpgram is the venue for fairs, haat bazaars and festivals. It has six
huts representing Braj (Bharatpur) , Hadauti (Kota), Tribal( Dungarpur), Desert (Barmer and Bikaner), Shekhawati (Sikar) and Centre ( Jaipur).

MADHYAVARTI (OAT)

The theatre was located and placed so well in the layout and planned that the rest of its squares were well connected to the central Open Theatre
and the best part of it were the stepped platforms which would be used as seating areas. The stepping and the walls were cladded with red
sandstone, the locally available material.
 BHARAT BHAVAN
BHOPAL, MADHYA PRADESH, 1986-1991
PROJECT : BHARAT BHAVAN
LOCATION : Bhopal, Madhya Pradesh, India FORM OF THE BUILDING
ARCHITECT : Charles Correa ● The building form is unique and kept simple based on the column grid.
PURPOSE : Red sandstone, brick, RCC, concrete, ● The auditorium has a unique design of RCC shell which has a skylight on top
marble, granite for natural light to enter.
ESTABLISHED : 1982 ● The enclosed areas are grouped around the sunken Courtyard and sets on
AREA : 2.46 acres varied plinths.

CONCEPT
● Based on the idea of ‘non building’ , only a glimpse of the structure is seen
from the entrance as if there is no building at all. RCC Shell
● Due to sloping terrain, building unfolds itself when one walks in gradually
leveling down.
● Series of courts and terrace gardens are inspired from Indian village setting. Amphitheatre

Terrace
Garden

LANDSCAPING
● Roofs are covered with grass keeping the building cooler.
GEOMETRY GRID ● Open to sky courtyards are made to manage the crowd.
● The grid consists of group of 4 columns at a distance of 2 m each. ● Landscape is built from itself that gently terminates at the lakefront forming
into a amphitheatre.
● The group is placed at a distance of 9 M from each other. ● The steps in the Courtyard are designed and inspired from the Indian
● This structural framework is adopted throughout the building. architecture of ghats.
AUDITORIUM
1.THEATRE/ANTARANG
● An indoor auditorium with 300 people of capacity.
● Seating on three sides of the stage.
● Maximum distance between last seat and stage is
18m.
● Coffers above are covered to reduce echoes

2.STUDIO THEATRE/ABHIRANG
● An indoor auditorium with hundred people of
capacity.

3.AMPHITHEATRE/BAHIRANG
● And outdoor open air theatre with 1000 people of
capacity.
● It stands overlooking the big lake and also the
picturesque scene of the old city

MUSEUM
1.PERMANENT MUSEUM
● Also known as Roopankar/ Modern Art Gallery.
● Only art museum in India which houses both tribal art and contemporary folk with a fan art.
● It has fully equipped workshop for printmaking and ceramics
● Finishes: Walls-white, Floor-Kota stone, Ceiling-Exposed concrete

2.THE TRIBAL ART GALLERY

● It tries to create a timeless experience for the visitor.
● The idea behind is not to just showcase the artwork but to create a contrasting difference between Urban and tribal art.
SPACES
1.ADMINISTRATION LIGHTING AND VENTILATION
● Also known as Karyalya which is situated at the right ● Lighting and ventilation are provided from the concrete shells
corner of the Bhavan and from slots along the terrace parapet.
● It is the main office for organising festivals and ● There are two sets of shutters between the opening of courtyard
functions. and terraces.
● The inner one consists of combination of fixed glass and outer
2.GREEN ROOM ones consists of large wooden doors for security purposes.
● The Antarang, abhirang and bahirang are attached
with the green room.
● Each room sizes 20 sq. m with 20 people capacity

3.PRINT SHOP
● It is one of the significant creative spaces for
providing a platform of graphics art.
● The artists can work on zinc plate, fiberglass,
lithography, serigraphy and screen printing.
● Photography, modelling, lithography, drama, dance,
painting, textiles, sculpture, pottery and ceramics
studios are different spaces under print shop. BUILDING SERVICES
● The vertical members of the Waffle slab are punctured for electrical wires.
● AC compressor fans are placed on terrace of theatres.
● Water sprinklers are used to irrigate rain water to terrace gardens.
● Circulation spaces are covered with rough flagstone paving using 600 X 600
mm grid with gap for grass.
● Ceiling inside the galleries precast coffer slab with provision of skylight.
GANDHI SMARAK SANGRAHALAYA
SABARMATI ASHRAM, AHMEDABAD 1958-63
PROJECT : Gandhi Smarak Sangrahalaya
LOCATION : Sabarmati Ashram, a suburb of Ahmedabad, India
ARCHITECT : Charles Correa
PROJECT YEAR : 1963
MATERIAL : Wood, Stone, Ceramic tile, and brick

● used modular units of 6 m*6 m of RCC connecting spaces, both open and covered,
allowing for eventual expansion
● uses a detailed post and beam structure
● Load-bearing brick columns support concrete channels, which also support the
wooden roof
● The foundation is made of concrete and is raised a foot from the ground

The Gandhi Smarak Sangrahalaya project provided an example of how to combine

the Hindu Architectural and cosmological idea of isotropy with Modernist functional
planning.

ISOTROPY- The concept of isotropy (similar to fractals) refers to an infinitely scalable

structure found in the repetition and manipulation of Hindu temples’ decorative elements.

● initial construction consisted of 51 modular units

CONCEPT:
● units grouped in consciously asymmetric manner to be analogous to the
village houses in India’s Banni region
● Instead of a single volume, the houses consist of five huts with different
functions surrounding a courtyard
● The inhabitants walk back and forth across the outside space to use the
different rooms
Vidhan Bhavan (State Assembly)
BHOPAL, MADHYA PRADESH, 1983-96
PROJECT : VIDHAN BHAWAN CONCEPT
LOCATION : Bhopal, India ● The concept used by Charles Correa is a total break with modernism and
ARCHITECT : Charles Correa
postmodernism
PROJECT YEAR : 1983 – 1996
MATERIAL : Sandstone ● The entire architectural composition is enclosed by a circular wall, as if it were a city
AREA : 32,000 square meter within another
SITE AREA : 85,000 square meter ● The circular form that was developed for the project symbolizes both equality and
self-containment
● “The Kund”, a space that is ritually dedicated to the god Surya and that is a point
central to the ancient and medieval architecture in India and almost a signature of
Charles Correa.
● Therefore, the main entrance to the Vidhan Bhavan is through the Kund Area
● The tradition and the mythological beliefs of the country are conceived in the design in
the form of “Navagraha Mandal”
● The general plan is formed by a series of gardens within the gardens.The administrative
offices are used to define a pattern of nine compartments.
● The five central ones are rooms and patios, with the four corners occupied by
specialized functions. The Navagraha Mandal is complemented by other features that in
turn represent the state and the building.

MATERIALS
● local red stone, hand-made ceramic tiles and surfaces painted with large contemporary
murals
● Broken tiles have been placed on the roof for thermal insulation.
 COURTYARD
● used open courtyards and a labyrinthine pattern of ways to organize the complex
requirements of administrative and legislative functions.
● diverse elements are united by a series of gardens defined by two symmetrical
architectural axes that intersect in the center of the circle.
● The courtyards, with its architectural and human attributes, are a good way to deal
with the hot and dry climate and a natural meeting place for people.
● Taking into account these circumstances, 5 courtyards have been placed
symmetrically along the main axis, with different treatments and atmospheres.
● The entrance courtyard, open to the sky and with a large pergola
● the central patio covered by a vaulted skylight that allows the entrance of light.
● The other three patios are partially covered and partially open to the sky in different
ways.
● Therefore, as one progresses through the building, there are subtle changes in
character and environment.
● The pattern of movement within the building has been carefully studied.
● For bureaucrats and politicians circulation is always along the edge of the courtyards.
● On the way to the galleries and offices people walk along bridges and ramps.
 CRITICAL REGIONALISM IN ARCHITECTURE
● Modernism tried to render all the regions in the same tone as fits in very well in any part of the world. Therefore, led to the fading away of
local and cultural significance.
● This led to a movement of regional awakening.
● Architects around the globe came up with ideologies that encouraged the inclusion of regional features in the design rather than blindly
accepting the parameters of modern architecture.
● This was the onset of Critical Regionalism in architecture.
● Critical regionalism buildings co-related with the local environment and showcased cultural and regional features.
● They also had provisions designed to adapt to the local climate.

IMPORTANCE OF CRITICAL REGIONALISM

● What modernism introduced were just general guidelines for design. Cities around the globe began following these guidelines without any
regional context.
● Everyone began designing plain glass and steel structures and made evident use of concrete which lacked a sense of the local environment.
● Architecture is about creating spaces that are comfortable and habitable to the users which society failed to understand
● A tall glass structure might do well in New York, considering the climate but not feasible to erect the same glass structure in a tropical
region or the Middle Eastern countries where the climate is opposite to that of the west.
● The glass towers in this region then lead to more economical stress in the form of the money spent on cooling, keeping out the sun glare,
and shading devices.
● Therefore, to tackle these issues, some Architects led to the process of regional awakening. They resorted to designing what is feasible
regionally and fits in the micro and macro-climate.
CONTRIBUTION OF CHARLES CORREA
● Charles Correa’s approach to critical regionalism can be defined in site planning principles, climatic consideration, cultural context,
appropriate use of local building materials.
● He uses access and approach to building in a very interesting way and all is done with intentionally.
● He uses the elements such as courtyards, louvers, pergolas, local building materials, use of water bodies etc to make climatic responsive
design.
● Correa uses the local building materials but at same time he uses concrete steel and other new materials too in same complex and he uses
so wonderfully of mixing of these materials that these building materials become identity of building .

GANDHI SMARAK SANGRAHALAYA, AHMEDABAD (1958-63):

● The Gandhi Smarak Sangrahalaya is an excellent example of combining the Hindu architectural/cosmological idea of isotropy and
Modernist functional planning.
● In the Smarak Sangrahalaya, the modular grid is adopted for planning which is easy to repeat and can be extended easily.
● The plan of museum can be also compared to village houses of India’s Banni region
● The courtyards, water body and the pathways are placed in very random order to give a feeling of Indian village.
● He is using modular grid but at the same time he is also following organic planning of village to break the rigidity of grid.
● In the end it can be concluded , Charles Correa is using the modular grid refers to modernism but he is somehow also inspiring this
modular grid to ancient architecture and vernacular architecture
THANK YOU