CASE STUDY ON THREE HORSEMANS OF POST

MODERN ARCHITECTURAL APOCALYPSE.

“FRAGMENTARY”, “
REVOLUTIONARY” AND
“AHEAD OF HER TIME”
 INTRODUCTION
• Birth: 31 October 1950, Baghdad, Iraq
• Bachelor degree in mathematics at
American university of Beirut
• Studied at the Architectural
Association, London
• Hadid established her own London
based firm in 1979 and taught
architecture at many places, including
the Architectural Association, Harvard
university, the University of Chicago,
and Yale University.
• Also worked as a furniture designer, a
designer of interior spaces such as
restaurants, and a set designer
ARCHITECTURAL BACKGROUND

• An architect who consistently pushes the

boundaries of architecture and urban
design.

• Experiments with new spatial concepts

intensifying existing urban landscapes in
the pursuit of a visionary aesthetic that
encompasses all fields of design.

• Introduced the concept of fluidity in her

designs.

• Revolutionary experimentation and

research in the interrelated fields of
urbanism, architecture and design.
ARCHITECTURAL STYLE:

• Deconstructivism, or Deconstruction, is an
approach to building design that attempts to
view architecture in bits and pieces.
1. The basic elements of architecture are
dismantled.
2. Deconstructivist buildings may seem to have
no visual logic. They may appear to be made
up of unrelated, disharmonious abstract forms.
3. Deconstructive ideas are borrowed from the
French philosopher Jacques Derrida
ARCHITECTURAL STYLE:

 Her public buildings are often described as

dynamic, as if they're a freeze-frame of an
action shot. Zaha Hadid's style embraces
striking lines, sometimes bold with expressive
curves; other times brutalist in essence.

 Ahead of her time, and responsive to

emerging social demands, which express
themselves through lavish, singular trophies.
But it is different from the ideals she used to
express, or of her achievements at their best.
ARCHITECTURAL STYLE:

 As a material and spatial practice, however,

architecture is able to manifest fluidity in ways
not readily allotted other fields

 Fluidity, however, elicits a set of complex

relations in and through architecture that
rejects any such divisive split; asking of
architecture, not what flows or how to form
flows.

 This reformation moves beyond explaining

how architecture forms flows to offer clues to
why fluidity appears as a defining image at the
onset of the twenty first century.
AWARDS AND
ACHIEVEMENTS
• 2002, she won the International Design
Competition to design Singapore's One North
Master Plan. In 2005, her design won the
competition for the New City Casino of Basel,
Switzerland.

• 2004, Zaha became the first female and first

Muslim recipient of the Pritzker Architecture
Prize, architecture's equivalent of the Nobel
Prize.

• 2006, she was honored with a retrospective

spanning her entire work at the Guggenheim
Museum in New York.

• 2008, she ranked 69th on the Forbes list of

"The World's 100 Most Powerful Women". In
2010, she was named by Time as an influential
thinker in the 2010 TIME 100 issue.
 INTRODUCTION

 Location: Baku, Azerbaijan

 Year: 2007-2012
 Status: Completed
 Construction System – Concrete
 Site Area-101 801 meter square
(Building: 57 519 met sq., Site: 111 292
met sq. and Footprint: 15 514 met sq.)

• The Heydar Aliyev Cultural Centre is one of many buildings that will
be erected in Azerbaijan, and it is one of several projects exhibiting
progressive design elements and cutting-edge engineering
solutions.
 VISION

 Zaha Hadid Architects created a building form

that appears to emerge from the topography.
The skin of the building – a single curving
surface – rises, undulates, and wraps in.
 The curved surface allows a freedom of form
that can simultaneously differentiate and unite
the Heydar Aliyev Cultural Centre's three
distinct programmatic elements.
 Its inward curl is formed into stairways and
ramps that connect the lower floors to
mezzanine levels; other circulation paths also
emanate from the curves of the building
REALITY

 Zaha Hadid Architects’ vision of sublimity

presented some very material challenges for
the engineers and builders.
 It was necessary to construct a building that
could seal out the elements and bear high
wind and seismic loads without relying on
interior support columns (which would have
impeded the flow of space).
 Ultimately, a system was devised that utilized
a space frame as its main structural element;
the cladding is a curtain wall system
comprised of various specially fabricated
panels.
PLAN AND SPACES

 Baku complex actually consists of three

buildings:
1. a conference center with auditorium and halls,
2. a museum and a library, connected via an interior
space and the curve and "fluid" outer skin that winds
throughout the structure.
3. The complex also houses a restaurant and a parking.

 The center is designed to become the

main building of cultural programs.
EXTERIOR ACCESS

 Visitors find the building through a long

and steep park with a zigzag path, leading
to a square paved with squares of white
concrete,
 The landscape emerges from the ground
to blend with the building. This area called
Cultural Plaza.
 In response to plummeting to the ground
above topographically divided into two,
the project has a terraced landscape that
provides alternative routes and
connections between the public square,
construction, and underground parking.
EXTERIOR ACCESS
EXTERIOR ACCESS
CULTURAL PLAZA

 The plaza, accessible to the public as part of

the urban fabric of Baku rises to wrap an
equally public interior space and define a
sequence of event spaces dedicated to
collective celebration of both contemporary
and traditional Azeri culture.
 Extrapolated the fluid forms the center
environment creating a series of terraces
interlaced with mirrors, waterfalls, ripples,
bifurcations, folds and flexures that turn the
surface of the square in an architectural
landscape that fulfills many functions.
CULTURAL PLAZA
INTERIORS

 The inside center is characterized by

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

 The Library is oriented north to take advantage of

natural light and has its own entrance.
 Levels dedicated to reading and file are stacked
one above the other, wrapped in the folds of the
outer skin.
 The Library and Museum are also connected by a
ramp that leads through the ground floor of the
Library, to the first floor of the Museum and is
connected to the conference room through a
bridge that 'fly' over the entrance hall.
 Its shape reaches the Cultural Plaza, leaning to
create the necessary slope leading to the seats of
outdoor space.
AUDITORIUM

 The auditorium and its associated

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

With an example of revolutionary trendsetting building like Heydar Aliyev Cultural

center it is certainly clear that Zaha Hadid was a revolutionary architect whose
designs not only bounded towards the architectural horizon but also certainly set a
tone for the future. Thus “she” is one of the most influential architect of all time.
CHARLES CORREA

PREMIER ARCHITECT OF INDIA

WHOSE “AUTHENTIC MODERNITY”
SUPERSEDED “STALE COLONIAL
IMPORTS”
 INTRODUCTION
 Born in 1930, Charles Correa
grew up in the city of
Secunderabad in the Indian state
of Andhra Pradesh

 University of Bombay, followed

by the University of Michigan
and then MIT Massachusetts

 Leading architect for urban

growth centers and founder of
the Urban Design Research
Institute in Bombay, his work
uses a combination of traditional
and modern features in order to
create cutting-edge designs.
 Professional Experience

1955-1958 Partner with G.M. BHUTA associates

1964-1965 Prepared master plan proposing twin city across the harbor
from Bombay.
1971-1975 Chief architect to CIDCO
1975-1976 Consultant to UN secretory-general for HABITAT
1975-1983 Chairman Housing Urban Renewal & Ecology Board
1985 Chairman Dharavavi planning commission
 Charles Correa and Le Corbusier

Like most architects of his generation he has been influenced by Le Corbusier , but by his response to
the Mediterranean sun with his grand sculptural decisions he believes that Corbusier’s influence in
the colder climates has not been beneficial because these heroic gestures had to withdraw into
defensible space, into mechanically heated (and cooled) interiors of the building.

On way back to Bombay in 1955 - saw the Jaoul House (le Corbusier) in Paris under construction. He
said:

‘I was absolutely knocked out . It was a whole new world way beyond anything being taught in
America at that time ,then I saw Chandigarh and his buildings in Ahmedabad . They seemed the only
way to build.”
INSPIRATIONS

“Charles Correa: From a child

with toy train to the origami
artist in stone”
 Hornby Trains:
Nothing very ambitious, really just
enough to run the trains around
your room, and the following day,
perhaps change the layout so that
they could run into the next room,
under a table and back again. That
was the marvelous thing about
those old tinplate rails.

They had flexibility. Every time one

finished playing, back they went
into their wooden box – to be
reincarnated the next day in a
totally new formation.
Chinese gardens
First you go through the sequence
of pond and bridge and dragon wall
in one direction, and then you find
yourself coming in from another
direction, experiencing them all in
another sequence, in another order,
from another height and so forth.

The same handful of props are

used and reused, again and again.
And each time, because of a slight
change in angle, or in sequence,
they carry a new significance.
PRINCIPLES:

Incrementalism
Identity
Pluralism
Income generation
Equity
Open-to-sky space
Disaggregation.
Fig: Belapur housing being the one project
where he has literally used these principals
MP VIDHAN SABHA

‘Vidhan Bhavan is a public building which should say

something very powerful about democracy, It is a building
which has got to down with the idea of governing yourself.
It has to express the role it has to play and tell people that
this is your city, this is your state and you must participate
in it, It must not be low-key. It should have a presence.’

-Charles Correa
INTRODUCTION
 The building is located in the
centre of Bhopal.

 References of this circular form

are – parliament building in New
Delhi, Buddhist stupa near Sanchi
some fifty kilometers away from
the city, its site on the crest of a
hill and perhaps the most
determinant factor was the
mandala- the cosmic
of functions, sequences and
spaces within the Hindu universe
PLAN SETUP
1. The plan is a pattern of gardens
within gardens, divided into 9
squares .

2.The five central ones are halls

and courtyards , while the 4 corner
positions are occupied by The
Vidhan Sabha , The Vidhan
Parishad, Central library, and
Combined hall.

3.It also contains a host of other

facilities : offices, cabinet rooms,
cafeterias, common rooms for
security staff etc..
4. According to the
requirements there are 3 main
entrances- for public, VP’s,
MLA’s

5. While moving along

verandah and overlooking
courtyards and gardens – as in
traditional architecture of India.
 Courtyards
• The movement inside the
building has been carefully
studied.

• For bureaucrats and

politicians the circulation is
along the side of the
courtyards.

• Hence pathways have been

created alongside the
courtyards for free
movements without any
hindrance
 Circulation

 The whole building presents

as extremely pleasing vision of
powerful curves and straight
vertical and horizontal lines.

 Voids and horizontal planes

provides aesthetics and view
of the surrounding spaces and
gardens. Hence the path to
the offices and waiting areas
become a more pleasant
experience.
 The whole composition is
enclosed by a wall that defines
its exterior form like a circular
inner city.

 The building can be explained

as series of energies connecting
the inside to the outside and
setting vibrations between its
forms and users like a ying
yang relationship.
Open To Sky Concept
 Correa has used open to sky
courtyards and a labyrinthine
pattern of pathways to organize
the complex requirements of
administrative and legislative
functions.

 India’s tropical climate gave the

great advantage of having a
perfectly happy existence under
the sky so long as some shade is
available. This can help us build
more economically, more in
connection with nature.
BRITISH COUNCIL

Charles Correa is the most perfect architect you could

imagine. He first suggested that I think about the mural as
an Indian flag turning into a Union Jack. I said no. Instead, I
did a mural of a banyan tree. He was totally cooperative
and loyal. We are great friends.”
-Hodgon On Charles Correa
INTRODUCTION
 The building is located in the
centre of Delhi and was built
during the year 1987-1992.

 This landmark boasts the use of

traditional materials.

 Materials : walls - red sandstone ,

sculptures –black rock quarried
from Mahabalipuram.
INTRODUCTION
 This new building for the British
Council houses a number of
diverse functions, including a
Library, an Auditorium, an Art
gallery and the Headquarters of
their offices in India.

 Correa's design references

Hinduism, Islam and the
European Enlightenment as well
as the importance of cosmic and
religious symbolism to his work.
Design
Philosophy
 Correa’s challenge - to express
the three basic cultural identities
that have shaped contemporary
India.

 These elements are arranged in a

series of layers – represents the
historic interfaces that have
existed between India and Britain.
Courtyard

1. He created a series of three

courtyard representing the
three cosmic focal points
hat stand for the world centre
in Hindu, Muslim and European
cultures.

2. The first node at the farthest

end of the axis : mundi of
Hinduism
A spiral symbolizing bindu :
energy center of the cosmos
nite.
Courtyard

4. The central node : It is the

main courtyard of the building
which is centered around Courtyard 1
another mythic image: the
traditional Islamic Char Bagh,
i.e. Garden of Paradise.

Courtyard 2
5. The third is the European
icon : inlaid in marble and
granite.
Represents ‘Age of Reason’
including mythical values of Courtyard 3
science and progress
Open To Sky Concept

• Extensive use of this concept Courtyard 1

is also seen in this design.

• Brought in use to counter

the tropical climate that
Delhi possesses. Courtyard 2

• It also meant to bring the

people closer to nature and
provide a more livable
habitat than suffocating Courtyard 3
spaces
m
“THE LE CORBUSIER DISCIPLE, WHO HARNESSED
“MODERNISM” TO INDIAN CULTURE”
BIOPIC
1. A teacher, a speaker, an architect- Bal Krishna Vithaldas Doshi is a
man who has worn several hats. Born in26 August 1927, Doshi led
a he evolution of contemporary Indian architecture.

2. Applies Modernists concepts to an Indian context, and he has

developed a theory of the city as an augmentation of layers and
overlays. As a result, his work is a visual feast of diverse mediums,
dimensions, and textures.

3. His extensive portfolio of educational, cultural, public

administration, and residential projects is matched only by his
contribution to architectural culture

4. Noteworthy designs include:

• Indian Institute of Management, Bangalore
• Indian Institute of Management, Udaipur
• Aranya Low Cost Housing (Aga Khan Award for Architecture)
BRIEF TIMELINE OF EVENTS
1950, Completes his Bachelors from J. J. School of Art, Bombay and
becomes a senior designer on Le Corbusier's projects in Ahmedabad
and Chandigarh.

1951-54, gets trained in his craft under Le Corbusier for four years between
in Paris and returns to Ahmedabad to supervise Le Corbusier's projects.

1955, His studio, Vastu-Shilpa (environmental design), was established.

1961, Doshi worked closely with Louis Kahn and Anent raja , when Kahn designed
the campus of the Indian Institute of Management.

1977, He also founded and designed the School of Architecture and Planning in
Ahmedabad .Doshi has worked in partnership as Stein, Doshi & Bhalla since then.

1995, Aga Khan Award for Architecture, for the Aranya Community Housing in
Indore, India.

2018, becomes a laureate of Pritzker prize, the highest accolade in architecture.

GENERAL PHILOSOPHIES TOWARDS DESIGN

• Flexible Rather Than Rigid Approach To The Structure

• Timelessness In His Architecture .
• Mythical Sense –Moving Beyond Historical Examples Of
His Own Region
• Transformation Between The Building And The People
That Transcends The Functional Use.
• Doshi Has Persisted A Deep Belief In Important Of Human
Institutions.
• The Notation Of Flexibility And Symbolism. Doshi Made An
Intensive And Sustained Study Of Traditional Indian
Philosophy And Ancient Architectural Texts, While
Maintaining A Deep Commitment To Modernism.
• Towards Materials Remain Thematically Strong
Throughout His Works.
SANGATH: MOVING TOGETHER WHERE
ONE LEARNS, UNLEARNS AND RELEARNS.
 INTRODUCTION

 Location : Ahmedabad, India

 Project Year: 1981
 Building Type : Architectural Office
 Construction System – Concrete
 Site Area- 2346 SQ.M (585SQ.M)
 Cost- 0.6MILLION

Trivia:
• Sangath is Bal Krishna Doshi's own studio/
workspace and uses secondary waste as a
building material
THEME

“Sangath" is a design laboratory where

professionals from diverse disciplines are
invited to explore new visions, concepts Etymology: Sangath Means 'moving
and solutions integrating arts, crafts, Together Through Participation’.
engineering and philosophy of life. Sangath Is Alive, Well And Growing.
Sangath to see that each individual in the
coming millennium is benefited from its
visions and design solutions.
PLAN

 Upon entering the complex, one

immediately sees the silhouette of a vault
lingering behind an exterior wall and a slight
view of the interior is present through a small
break in the surface.

 The path turns and forces the occupant off

of the north-south axis. As one passes by the
reflecting ponds that capture the vaults in
still water the entrance is made apparent. It
lies at the end of an angled approach to the
vaults.
PLAN
PLAN
ENTRY

 The main entry lowers the visitor a few steps

into the a vault and proposes the choice of
ascending a flight of stairs in a three story
height, or proceeding through small
corridor by Doshi's office and into the main
drafting hall.

 The underside of the vault in the main

drafting room is finished with a textured
concrete that dispersed natural light into the
space. At the end of the hall lies the opening
seen from the site entrance and one regains
their sense of place along the main axis.
ENTRY
ORGANIC DISCIPLE

The overall form exaggerates the details of

nature with its rolling mounds, cave-like
spaces, terraced land, playful water channels,
and reflective surfaces.

Storm water in funneled through the site by

the slick, round vaults and water troughs.

Better Landscaping Techniques At

Open Spaces
ORGANIC DISCIPLE
 RELATION TO INDIAN VERNACULARITY

 In Ahmedabad, the summer temperature

reaches 45 °C and the heat is very intense.
Natural comfort conditions can be achieved
by protecting spaces from the heat and
glare of the sun.

 The sunken interior spaces are insulated by

clay within the structure. Heat from the sun
is reduced by grassy mounds and the white
reflective china mosaic that covers each
vault.
Courtyard for cross
ventilation, wind
circulation and micro
climate creation
 RELATION TO INDIAN VERNACULARITY

 Along with natural connections,

Sangath holds connections to India's
culture.

 The layout resembles the way that a

temple develops a series of stages into
a final platform while the form loosely
imitates the boldness of a stupa

 Closely integrated with the outdoor

spaces and shaded by dense trees
towards the south and the west.
LIGHTS AND SHADOWS

• Interiors Are Characterized By The Building’s

Various Shapes And Forms so as to permit
the light and shadows to interplay each
other.

• Light Enters From Different Directions:

i. Large Opening at the Northern side
ii. Skylights projected mass from the roof
iii. Small cut outs on slab with hollow glass blocks

• Natural light is also filtered into the interior

spaces during the day, while the moon is
reflected in the ponds.
LIGHTS AND SHADOWS
OTHER CONNECTIONS TO MODERNISM

Other references to modern styles are

also apparent with :
• The Le Corbusier ear shaped pool
• Amphitheater steps resembling
those by Aalto and Wright
• Gaudi's broken china mosaic
• And a water feature similar to that of
Kahn's Salk Institute.
OTHER CONNECTIONS TO MODERNISM

Other references to modern styles are

also apparent with :
• The Le Corbusier ear shaped pool
• Amphitheater steps resembling
those by Aalto and Wright
• Gaudi's broken china mosaic
• And a water feature similar to that of
Kahn's Salk Institute.
AMDAVAD NI GUFA : AN EXPERIMENTAL TALE
OF FUSION BETWEEN AN ARTIST AND AN ARCHITECT
 INTRODUCTION

 Location : Ahmedabad, India

 Project Year: 1994
 Building Type : Architectural Office
 Construction System – Concrete
 Project Status: Built
 Cost- 0.8 MILLION

Trivia: The gallery was built so as to exhibit

the works of an Indian artist Maqbool Fido
Husain and was known as Hussain-Doshi ni
Gufa earlier.
INTRODUCTION

 Amdavad ni Gufa is an underground art

gallery in Ahmedabad that represents a
unique juxtaposition of architecture and
art.

 The cave-like underground structure has a

roof made of multiple interconnected
domes, covered with a mosaic of tiles. On
the inside, irregular tree-like columns
support the domes.

 There are facilities for special painting

exhibitions and for projecting films.
Gardens and a café are located above
ground.
THEME

“Amdavad Ni Gufa, designed as an art

gallery, transformed and became a
The gallery is called gufa ("cave" in
living organism and sociocultural
Gujarati) because of its resemblance to a
centre due to its unusual combination
cave Later it was renamed after the city
of computer aided design, use of
of Ahmedabad, known locally as
mobile ferro-cement forms and
Amdavad.
craftsmanship by local crafts people
using waste products.
ENTRY

 The gallery space is below ground level.

A partially hidden staircase leads to a
circular door which opens into a cave-like
space.

 Primitive inspired gate with natural

curvilinear contour form and a touch of
modernism with glass shades so as to
connect the interior and exterior.

 Visual relationship is established so as to

glorify the whole “Ajanta cave” and
primitiveness concept.
STRUCTURE

 The entire design is made up of circles

and ellipses. While the interior is divided
into pockets of spaces by tree inspired
columns.

 Though designed to display paintings,

the cave has no straight walls, instead
using a continuation of the curved dome
structure which extends down to the floor.

 Buried spaces, earth mounds, raised

volumes and china mosaic finish renders
the architectural energy conscious.
CIRCULATION

 The building is oriented towards the

north south direction allowing the
skylights to face south. Even when the
sun is at its lowest positon the shadows
from the tree don't cover any part of the
interiors.

 The rotundas have been sculpted so as to

provide diffuse natural light which when
experienced inside is deceiving.

 The skylights on the room aren’t

imminently visible yet the lights inside
provide ethereal quality.
CIRCULATION
CIRCULATION
 RELATION TO INDIAN VERNACULARITY

 Together they planned an

underground structure capable of
withstanding the area's severe summer
heat.

 The cave was constructed by unskilled

tribal laborers using only hand tools.

 Broken ceramic crockery and waste

tiles were used to cover the domes'
exterior, which bears a transversal
mosaic of a snake.
 RELATION TO INDIAN VERNACULARITY

 Enigmatic in its spatial experience the

form of Gufa is a direct translation of
climatic and constructional obligations.

 Buried spaces, earth mounds, raised

volumes and china mosaic finish
renders the architectural energy
conscious, in an otherwise harsh hot
dry climate.

 Use of open to sky spaces and in

designing the landscape and entrance,
the architect connects the building to
the extended world
CONNECTIONS TO ART NOVEAU

 The structure's contemporary architecture

draws on ancient and natural themes.

 The domes are inspired by the shells of

tortoises and by soap bubbles.

 The mosaic tiles on the roof are similar to

those found on the roofs of the Jain
temples at Garner, and the mosaic snake is
from Hindu mythology.

 The interior is divided by tree trunks or

columns similar to those found at
Stonehenge.
CONNECTIONS TO ART NOVEAU
CONNECTIONS TO ART NOVEAU
CONCLUSION

In conclusion, Bal Krishna Doshi has always created an architecture that is serious, never flashy or a
follower of trends but has continually exhibited the objectives" of architecture's highest honor. His
exceptional architecture as reflected in over a hundred buildings he has realized, his commitment and his
dedication to his country and the communities he has served, his influence as a teacher, and the
outstanding example he has set for professionals and students around the world throughout his long
career is what makes him one of the most proficient architect of all times.
2018 FINALLY PAYS OFF: AFTER SIX AND A
HALF DECADES INTO THE FIELD!!!!!
IN A FIRST FOR PRITZKER PRIZE, ARCHITECTURE
AWARD GOES TO AN INDIAN ARCHITECT
Thank you