Ca 6TH Sem PDF

CONTEMPORARY ARCHITECTURE
15ARC 6.4
2018-2019
Prepared By : Ar.Harshitha K V
Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

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NOTE : This study material will act as a reference and is not the sole source of information.
OBJECTIVE : To do a critical survey of contemporary architecture from the 1960s to the present, and to
provide an understanding and appreciation of contemporary issues and trends in Indian and western
architecture in terms of ideas and directions.
MODULE 1
1. Architecture in India (Pre independence): The Architecture of the Princely States of Jaipur, Bikaner
and Mysore: Their city examples – clock towers, railway stations, public offices, assembly halls, water
systems, public hospitals, etc.
2. Modern Architecture in India-1: Architecture in India(Post-Independence): Works of public nature in

Chandigarh and Ahmedabad (Legislative Assembly Complex including High Court, Legislative assembly
and Secretariat, Chandigarh and Mill Owners‟ Building, Ahmedabad), IIM, Ahmedabad and its
significance.
3. Modern Architecture in India-2:Ideas and works of BV Doshi (Institute of Indology Ahmedabad, IIM-
Bangalore and Gufa, Ahmedabad) and Charles Correa: (RamaKrishna House, Ahmedabad, Kanchen
Junga Apartments, Mumbai and MRF Headquarters, Chennai).

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PRE INDEPENDENCE PERSPECTIVE
• Architecture during British Raj

• India endowed with a rich cultural and Architectural heritage.
• Beginning of 17th century
• Country ruled by Mughal dynasty, based in the North.
• India became a British colony.
• August 15th 1947-end of the 300 years of British colonialism
• British Raj and the architectural development during that period must form an introduction to a study
of the era of Independent India.

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The Period Of Settlement:
• Construction of forts-in three presidency towns and for years their original settlements.
• Example: Fort St. George at Madras-1750-Benjamin Robins
Fort William at Calcutta-1756-Captain Brohier
• “Cantonments” Next phase-Military stations, which however were not fortified
• Functionally planned and were self-sufficient Military towns-having their own Market, Slaughter
houses, Church, Cemeteries, Jails, Hospitals and services like water supply.
• 1860s-175 such Cantonments
• Often elaborately equipped and planned
• Strict Grid-iron pattern of streets
• All principal buildings were largely oriented to receive the season’s breeze.
• Major criteria-distinct segregation of various functions and activities.
• A wide green belt on the edge of the complex.
• Parade Grounds.

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Fort St. George at NOTE : This study material will act as a Fort
Madras reference and is notat
William theCalcutta
sole source of information.
The Period Of Ascendancy-1840-1940
• Extension of the British School of Architectural thought
• The Architecture –produced in India was the mirror image of their achievements at Home
• Splendid Scale, tall pinnacle steeple and reverent works of art and craftsmanship, the detailing was all
Gothic.
• Ex: St. Paul's Cathedral, Calcutta; Victoria Terminus, Bombay.-1887

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St. Paul's Cathedral, NOTE : This study material will act as a reference and
Calcutta is not the sole
Victoria source of information.
Terminus, Bombay
The Period Of Transition-1900-1925
• Conscious efforts were made by British architects to take into account the Indian Conditions while
building.
• Despite being imperial people, they made conscious efforts, to express such a synthesis resulted in
weird hybrid styles of Architecture.
• Example: Howrah railway station at Calcutta-1906 ; Capital Complex at New Delhi-1912
Howrah railway station at Calcutta

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The Modern Movement-1925-1947:
• The truth dawned on British Architects that if their works in India were to pulsate or vibrate with life
these must mirror the culture and the living styles of the Indians.
• British architecture in India was now compatible with the habits, ways of life, culture and life giving spirit
of the natives.
• This form of architecture evolved from modern concepts and ideas and could well be called the
beginning of modern movement.
• Example: Stephen’s College , New Delhi , St. Thomas’s church,-New Delhi-1929, St. Martin’s Garrison
church,-New Delhi-1928
• These buildings, with simple geometric forms and smooth, finely –finished surfaces free from
overmuch and redundant garnishing, not only responded well to the local climate, economically built,
modest scale and the existing technology but also provide an admirable precedent for the advent of
modern Indian architecture.
• The advent of pre-cast and pre-fabricated metal components like staircases, handrails etc. had already
initiated modifications and changes in the external expression of buildings. Exploitation of reinforced
concrete as contemporary building material by those who supported the modern movement further
supplemented this change of expression.
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• Modernism offered
NOTE : boundless scope
This study material foras development
will act ofthe
a reference and is not independent India.
sole source of information.
Stephen’s College , New Delhi

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St. Thomas’s NOTE : This study
church,-New Delhi • St.andMartin’s
material will act as a reference is not the sole source of information.
Garrison church,-New Delhi
PRINCELY STATES
• The term ‘princely states’ applies to those regions of India not under direct control of the British, but
which continued to be ruled by their traditional rulers.
• In that sense the term ‘princely’ is misleading, since these rulers were kings in their own right.
• However, for the British there was only one King, and he was in London, and so the term ‘princely
states’ came into being.
• The new princely towns of Jaipur, Bikaner and Mysore showed themselves amongst the most successful
in negotiating this divide.
• Their towns were modelled along British examples – clock towers, railway stations, public offices,
assembly halls, water systems and public hospitals were built. Buildings were European classical, or if
constructed later, Indo-Saracenic, or again an eclectic mix.

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MYSORE
Public hospital
• Krishna Rajendra Hospital: Built in 1876 rebuilt in 1918 at a cost of Rs.5 lakhs,
• This stately building is predominantly Greco-Roman architecture.
• Column styles, both in the central pediment and at either end of the facade, are varied between the
grounds floor and the first floor- fluted Tuscan, Ionic and Corinthian.
• Arched and plastered colonnades from the two wings.
• A huge dome resting on an octagonal drum, dominates the elevation. Built by - Sri Krishnadevaraja
Wadiyar.
• The end-blocks, each with a set of elaborately carved and moulded niches, are treated with pyramidal
steps ending in a finial.
• Greek dentils define the lines and a balustrade parapet lends an agreeable touch to a rich composition.

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Pyramidal steps
Corinthian order
ending in a finial.
Ionic order Dome resting on an octagonal drum
Fluted Tuscan order
PUBLIC HOSPITAL

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Clock tower
• With the advent of modern civilization and digital clocks, the age-old clock towers have become things
of the past.
• Further, clock towers are still today mostly admired for their aesthetics and their usefulness to find time
in the past.
• A Clock tower is a specific type of structure which may be free standing or can also adjoin or be set
atop of another building.
• The structure houses a turret clock and may have one face or more clock faces on the upper exterior
walls. The clocks are big enough so that people can read the numerals easily.
• World over, many cities have one or more clock towers and in many places, they add beauty to the
iconic buildings and the area.

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Example 1
• Silver Jubilee clock tower in Mysore city in the Domed canopy

state of Karnataka forms yet another important
landmark in this city.
• It stands in a busy area adjacent to Chamaraja Circle Curvilinear chajja
and the Town Hall. Carved brackets

• To commemorate the silver jubilee (25 years) of the
rule of Krishnaraja Wodeyar IV, the maharajah of
Mysore, this tall clock tower was constructed in 1927.
• Also called as dodda gadiyara Tall double
• Structure – indo-Saracenic style arches and
• Height – 75 ft. framing slit
windows
• Clock dia – 5 ft. and carries Kannada numerals.
• In the curvilinear chhajja (overhanging eaves supported
on carved brackets) design, one can see the influence
of Rajasthani tradition.
• Topped with a domed canopy which rests on a
consoled base just above the clock.
• The tall double arches and framing slit windows suggest
early English church architecture.
• The structure is set on a base amidst a well-tended
circular garden
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Silver Jubilee clock tower in Mysore city
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Example 2
Dufferin clock tower – Chikka gadiyara
• Built in – 1886
• Honour of lord Dufferin –the British viceroy of India
• Adjacent to KR circle
• Built on foundation of 8 pillars covered by railing
• A decorative fountain at the centre – showpiece of the structure
• Renovation –2012
• Before was occupied by vendors and vehicle parkers, later was vacated by Govt. and the space
around was covered with tiles and seats for tourists
• 9 small fountains and 13 decorated lamps were added to the space

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The Majestic Building Housing The Office Of The Deputy Commissioner, Mysore.
• This was once the place where the Octagonal dome, with an unusual
Mysore Representative Assembly held double-bulb final resting on an
some of its sittings in 1881. elaborately composed square drum
• Foundation for the DC office complex

was laid on June 20, 1887, and was
formally opened in 1895.
• It cost Rs 1.75 lakh and had two halls,

27 rooms that served as
offices/chambers.
Corinthian pilasters
• It has an octagonal dome, with an
unusual double-bulb final resting on an
elaborately composed square drum,
arches of different shapes, with
Corinthian pilasters open verandas
leading into high ceilings, represents a
typically European style.

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JAIPUR
• Jaipur is known for its town planning inspired from ancient texts.
• The death of the Mughal emperor Bahadur Shah accentuated the influence of Maharaja Jai Singh II of
Amber, who then embarked upon the construction of a modern capital in the plains – a metropolitan
fort inspired by Kautilya’s Arthashastra.
• Jaipur is regularly planned.
• Its original regular nine-square geometry was however disturbed by military and aesthetic
considerations
• The uniform pink colour of the construction and the fantastic observatory built by Sawai Jai Singh
contribute to give Jaipur its distinctive flavour.
• The famous nine-square pattern of Jaipur is again much celebrated and has once again inspired modern
buildings
The Albert Hall Museum, Jaipur

Prepared by Harshitha K V
Clock Tower, St Andrew’s Church
I Assistant Professor AAAD, Bengaluru
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The Albert Hall Museum, Jaipur
• The Albert Hall Museum, Jaipur located in Ram Niwas Garden outside the city wall opposite New gate
and is a fine example of Indo-Saracenic architecture developed by famous British Architect, Sir Samuel
Swinton Jacob.
• Considered as the oldest museum in the state of Rajasthan, it was opened as public museum in 1887.
• Then Maharajah Ram Singh initially wanted this building to be a town Hall, however his
successor Madho Singh II, preferred opening a museum in that building for the art of Jaipur.
• The museum has an excellent collection of artifacts including paintings, carpets, ivory, stone, metal
sculptures, and works in crystal.
• The foundation stone was laid on 6 February 1876 by the Prince of Wales - Albert Edward (later King
Edward VII) on his visit to the city. Appropriately it is named after King Edward VII (Albert Edward).

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• The purpose of this is to explain local craftsmen with the best examples of art work and handicrafts of
India to inspire them to improve their skills, thereby protecting and preserving traditional art and reviving
skills, while providing greater employment for artisans. It was also the intention that the display would
help to educate youth in a wide variety of fields, entertain and inform the people of Jaipur.
• While designing this place, he used the combination of India Islamic Architecture along with the Neo-
gothic.
• This Neo-gothic pattern was very trendy and popular in the Victorian era. This combination and pattern
of design was further referred to as Indo-Saracenic.
• Albert Hall Museum is one of the best example of such kind of style.
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Clock Tower At Yaadgar
• Yaadgar, which now holds the traffic control • Jharokas
room and the police control room of Jaipur, • Capped by a
has a famous clock tower. dome
• This is one of the prominent historical • Balcony with
landmarks of the city and the clock tower bracket supports
installed here was built to commemorate the • Jali work
visit of King Edward to India in 1886. • Arched window
opening
Mayo Hospital
• Major Samuel Swinton Jacob, a British Military
engineer became Director of the newly
established Jaipur PWD in 1867 and spent the
rest of his 35 year career in Jaipur,
contributing substantially to architectural
activities of the time.
• The first building he designed was the Mayo
Hospital. The architectural style adopted was
Indo-Saracenic.
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BIKANER
• Bikaner state has produced several able Generals and warriors.
• Famous name is Raja Anup Singh who ascended the throne in AD 1669 a scholar and warrior.
• His period has been described as "the golden time of Bikaner valour and fame".
• In the modern period Bikaner produced the most outstanding Ruler, namely Maharaja Ganga Singh
who ruled for 56 years.
• He was a strong and able ruler who renovated the traditional administration, modernized the army,
constructed the famous "Ganga Canal“ and provided a number of welfare schemes, hospitals.

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Lalgarh Palace, Bikaner
• The architectural masterpiece in red sandstone, built by Maharaja Ganga Singh (1881 AD-1942 AD) in
memory of his father Maharaja Lall Singh between 1902 -1926.
• This magnificent palace is an example of pure Rajput martial architecture.
• Designed by Sir Swinton Jacob, this palace has several grand halls, lounges, cupolas and pavilions.
• The exotic palace has magnificent pillars, richly carved fire mantles , Italian colonnades and motif of
lotus in full bloom , adding to the magic of this jewel of the desert.
• Walls of palaces are reminiscent of the past vintage etchings, hunting trophies and old portraits.
• The palace has it's own museum and library (the fourth largest in the world), clay pigeon trap and skeet
shooting traps facilities at adjoining ranges.
• Bikaner royal family still lives in part of the palace.
• A portion of palace is now a hotel.
Cupola

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Lalgarh Palace, Bikaner
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Ganga Canal, Bikaner
• The Ganga Canal of Rajasthan is an irrigation system of canals
laid down by Maharaja Ganga Singh of Bikaner in his princely
state in the present district of Sri Ganganagar in the early 20th
century.
• Advances in Irrigation facility took place as Bikaner state was one

of the areas most affected by the Indian famine of 1899–1900
Gang canal in northern-western
area of district near Ganganagar
Date of first use 26 October 1927
• The foundation stone of the Canal Head Works at Ferozepur was laid on 5 December 1925 and the
work completed in 1927 by constructing 89 miles of lined canal.
• The opening ceremony was performed on 26 October 1927 by Lord Irwin, the then viceroy of India.
Irrigated parts of then Bikaner State now came under the Sri Ganganagar district and Hanumangarh
district.

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Ganga - Government Museum, Bikaner
• Maharaja Ganga Singh was among the most illustrious rulers, the state of Bikaner has produced. He
was a great force behind cultural activities of the city.
• The art treasures so acquired from the various parts of the state added with a number of other objects
of general interest, spared by Maharaja Shri Ganga Singh himself, for the museum from his own palace,
were housed in a newly constructed building during the Golden jubilee celebration of his reign.
• The new institution was name Ganga Golden Jubilee Museum and Lord Linlithgow then Governor
General of India, inaugurated it on 5th November 1937 A.D.

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Modern Architecture in India-1: Architecture in India(Post-Independence): Works of
public nature in Chandigarh and Ahmedabad (Legislative Assembly Complex including High
Court, Legislative assembly and Secretariat, Chandigarh and Mill Owners ‟Building,
Ahmedabad), IIM, Ahmedabad and its significance.
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Post- Independence India
The challenges and paradoxes of India (1947); India is both a land of ancient culture and a major society of
the modern world.
• Post-independence and after the partition, the new India was faced with an enormous task.
• Independence woke us to a changed situation: In place of religion or royal concern the ordinary man, his
environment and needs became the centre of attention.
1. Demand for low cost housing became urgent.
2. Industrialism generated problems of townships and civic amenities for workers.
3. Migration strained housing capacities of existing cities.
4. Few Indian architects in the country and practically no planners.
5. There was only one school of architecture in Bombay.
6. Limited resources and technological advancements.
• Government was the only agency with the largest resource; it had to carry the heaviest responsibility
for construction.
• Each fresh attempt by the architects was a step closer to building of forms more suitable for the Indian
climate and socio-economic conditions.
• Indian identity through the built environment began primarily with growth of nationalism under British
rule.
• Attempts that had to combat imperial ideas, both political and architectural, as well as international
movements in architecture.
• Two basic trends have been evident throughout one of looking forward to the creation of a new future
largely rejecting the past, and the other of looking to the past for inspiration.
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Post-independence Architecture
The early post-independence period marked the beginning of two styles of architecture (as it was during
nationalist movements)
Revivalist: was an extension of the late Indo-European Modernist or International style: was the outcome of a
style and laid importance on form and external rational approach to design, free from historical or
expression. It personified the efforts to evolve built cultural restraints. It had a distinct expression with free
forms appropriate to contemporary needs, yet facades, unembellished planes, long horizontal glazed
bearing a resemblance to traditional architecture. windows and contemporary sun-shading devices.
This was achieved by superficial envelopes of Skyscrapers which were restricted to USA were
traditional decorative motifs (domes, kiosks) on the introduced to India after independence only because of
other wise contemporary buildings. intense urbanization and rising land prizes.
Ex: Ashoka hotel ,New Delhi (1955-56) by B.E.Doctor; Ex. Golconde house, Pondicherry by architects George
VidhanSaudha at Bangalore. Nakashima; T.B. Association Building at new Delhi
Ashoka hotel ,New Delhi T.B. Association Building at new Delhi

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The First Generation of Modernist Architecture – 1945 to 1970
• Nehru’s ambition of making modern India and development of state capitals made him to call
Le- Corbusier to India for design of Chandigarh.
• Le-Corbusier arrival became of significant mile stone in development of Architecture in Independent
India.
• Tremendous impact on the mind of Indian architects, who had so far only seen-either glorious temples
or forts of the past or the Imperial British capital of New Delhi in the name of modern architecture.
• Overwhelmed, they found this expression of modern architecture quite acceptable. It was grand and
sensational and at the same time was based on rational basis of climatic analysis and planning freedom.
• In the years to follow, buildings spring up all over India which had similar expression and the same
materials.
• The First Generation of Modernist Architecture – 1945 to 1970
• Majorly dominated by foreign architects like Le-Corbusier and Louis I Khan and their design followers

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The Second Generation of Modernist Post-Nehru Modernist Architecture – 1965 to
Architecture – 1950 to 1980 1990
• By the mid-1960s,few Indian architects began • Some realized that concrete and plastic forms were
to examine their work and evaluate its after all not the solution for all Indian architectural
relevance to our indigenous requirements. problems, howsoever sensational they might be.
• Such Indian architects looked on the past as • Prefabrication has potential in large scale housing,
neither wasted nor purposeless but, enriched large span structures and industrial buildings on
by its experience. anywhere were repetitive units can be employed.
• They rejected the international style as • One of the first places where Indian architects
uniformity of independent facades having no looked for inspiration for expression of total
rationality with the functions inside, too much architecture of India is our own village and folk
of glazed surfaces and concrete louvers ,all architecture.
which were found ornamental then functional. • From desert settlements of Jaisalmer, to village
• The “outward to inward” approach to design developments of hills, plains and sea-coasts, all
change to “inward to outward”. became the focus of study.
• Emphasis was laid on function of the building, • With simple methods of construction and
mode of life, topography of the site, the conventional low cost materials, when laid out in a
climate, the character and in particular the planned manner, that we will find the answer urban
soul of the region. housing for our really poor masses.

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Influence of international architects on independent Indian architecture and architects:
• Works of le Corbusier and Louis I Kahn in Chandigarh and Ahmedabad respectively had set the pace for
the emergence of modern architecture and provided a wide spectrum of topics for planners, architects,
engineers and administrators to think, discuss, and criticize and to appreciate.
• Their work embodied a vocabulary of powerful architectural images that seemed in many ways
timeless and universal.
• Their use of materials, moreover, gave their work certain suitability to India.
• In a land where building maintenance was often lacking, and where surfaces were subject to strong
weathering, brick and concrete seemed feasible alternatives to the smooth, plastered surfaces of the
International Style.
• Louis Kahn and Le-Corbusier had experimented with sun-shading devices such as inset balconies and
brise-soleil to design their buildings to suit the Indian climate
• Perhaps Le Corbusier’s greatest immediate impact was to settle the debate between the revivalists and
the fledgling modernists.
• They based their design philosophy in Chandigarh and constantly lived up to its architectural
vocabularies.
• The result was creation of building which was competent aesthetic imitations in Delhi, Ahmedabad
and Chandigarh.

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Le-Corbusier:
Concepts and styles-Modernism: Corbusier’s 5 points of architecture:
1. The elevation of the house on pilotis.
2. A flat roof used as garden terrace.
3. Free interior planning by means of partition walls.
4. Free composition of external façade.
5. Ribbon windows.
• Modern architecture-volume and space rather than mass.
• His architecture combined the classical ideas of forms along with the futuristic mechanomorphism as
well as abstract art.
• His architecture exhibits machine like efficiency in serving physical and psychological needs.-need not
necessarily resemble actual machine.
• He had preference for floating columns and hovering planes, a vogue for thin weightless skins of
masonry and glass drawn around rigid masses, externally a single quadratic box like structure.
• Le Corbusier placed systems of harmony and proportion at the centre of his design philosophy, and his
faith in the mathematical order of the universe was closely bound to the golden section and the
Fibonacci series.
• Brutalism.
WORKS OF CORBUSIER IN INDIAN CONTEXT:
1952: Palace of Justice (Chandigarh) , 1953: Secretariat Building (Chandigarh) , 1953: Governor's Palace
(Chandigarh)
1955: Palace of Assembly (Chandigarh), 1959: Government College of Art (GCA) and the Chandigarh
College of Architecture(CCA) (Chandigarh), Mill owners building
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Chandigarh:
Introduction:
• The idea of building Chandigarh was imagined soon after India's independence in 1947, when the
tragedy and chaos of Partition, and the loss of its historic capital Lahore, had crippled the state of
Punjab.
• A new city was needed to house innumerable refugees and to provide an administrative seat for the
newly formed government of re-defined Punjab.
• It was accordingly modelled as a city of prestige, as an aesthetic ideal, and, above all, as a social utopia.
• In the process, it became the first post-colonial city in India to provide a generous cultural and social
infrastructure and equitable opportunities for a dignified, healthy living even to the "poorest of the
poor".
• The search was narrowed to a good modern architect who would be capable of developing a new
conception originating from the demands of the project itself and suited to the Indian climate, available
materials and the functions of the new capital.
• The Chandigarh Project was, at first, assigned to the American planner Albert Mayer, with his associate
Matthew Nowicki working out architectural details.
• Le Corbusier's association with the city was purely accidental, a result of Nowicki's sudden death in
August 1950.
• Beginning in 1951, he continued to be associated with the city as the principal ‘architectural and
planning advisor' till his death in1965.

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Features:
He conceived the master plan of Chandigarh as analogous to human body. He proposed the
state to have a
• Head (the capitol complex, sector-1),

• Heart (the city centre, sector-17),
• Lungs (the gardens and the leisure valley),
• Mind (cultural and educational institutions),
• The circulatory system (road network), and
• The viscera or limb (the University and the Industrial Area)
The concept of the city is based on four major functions of living, working, taking care of the
body and spirit and circulation.
The Capitol Complex is Le Corbusier most spectacular work, which makes Chandigarh unique
from other places of India.
Located in sector 1 of Chandigarh, the capitol complex serves as the seat of the government of
the states of Punjab and Haryana.

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The Assembly Hall or Parliament:
• The Assembly building, completed in 1962, was conceived as a horizontal rectilinear structure square in
plan. • The great portico, on the fourth
side, facing the high court, consists
of eight small piers.
• This support a huge trough from
which rain water spills out at either
end, falling into reflecting pools.
Monumental portico facing the main

plaza.

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• The assembly chamber is in the form of • The most impressive part of the Assembly is the Assembly
hyperbolic shell is surrounded by Chamber (Punjab Assembly), which is crowned by a massive
ceremonial space. hyperbolic tower, extending above the roofline and providing a
sculptural & dramatic look against the backdrop of distant hills
128 ft. in diameter
• The hyperbolic shell of the assembly hall with a base diameter
of 39.6 meters.
• smaller Council Chamber
• This shell has a 38 (Haryana Assembly)
meter height, conceived in a rectilinear
terminating in an frame is crowned by a
oblique section with a pyramidal roof, provided
metallic framework at with a North light.
the top. This frame
work directs the
interplay of natural
and artificial lighting,
ventilation and • Three sides a bank of
acoustics. offices is protected by
• The hyperbolic shell is Brise soleil protecting
only 15cm thick, glazing against sun.
which helped in
reducing the cost and • The two legislative chambers were conceived as free
the weight of the standing, curvilinear forms enclosed within a rectilinear
structure. shell, carrying on one side the entrance portico and on
the opposite side of band of offices.
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• The assembly chamber has a seating capacity for 252 people. Additional galleries are provided for
ladies, journalists and officials. An attempt has been made to modulate the dubious acoustics resulting
from such a form, by sound-absorbing panels in bright colours and random curvilinear shapes.
• The council chamber, with a capacity of 70 seats, is crowned by a pyramid which admits light from the
north into its interior.
• A ladies gallery with 90 seats, a

men’s gallery with 104 seats and
a press gallery with 24 seats are
also provided in this chamber.
• Staircase lifts and ramps provide
various means of circulation and
access to different levels of the
building.
• The construction of the entire
structure is in exposed
reinforced concrete.

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THE SECRETARIAT:
• The 8 storied secretariat houses

administrative offices, those of ministers
and all ministerial agencies it is a
reinforced concrete frame structure
separated by five expansion joints into 6
distinct bays.
• The offices are arranged on either sides of
the corridor on each floor.
• Keeping in view the ever changing needs
of the government, the floor area is
divided by removable partitions.
• The corridors are designed to cross
ventilation and yet arrest the noise by
public movement.
• The building is oriented to obtain the maximum benefit of the wind direction for effective cross
ventilation and to cause minimum obstruction to the view of the Shivalik hills from elsewhere in the city.

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• 5 of the bays are identical were as one containing the double
height offices of the elected ministers, also has been so designed
as to provide dignity to the elected representative ministers.

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• To visually reduce the scale of its massive façade, the Secretariat was designed with a modular façade
that fragments the elevation into legible, programmatic element. The various projections, recesses,
circulation elements, and multi-level interior spaces act as sun-breaks to mitigate solar gain.
• The undulating glass panels are well protected by sun and rain by a grill of brise soleil on two principal
facades.
• The secretariat is topped by roof garden which has been designed not only to insulate the building
against the direct rays of the sun but also to provide an excellent recreational place.
• Canteen has been built on the 10th floor so that the smell and fumes from the kitchen may not pollute
the interiors of the building.
• Bears close resemblance to the Marseilles apartment block, one of Corbusier's earlier projects.
• The building is equipped with lifts and staircases.
Marseilles apartment block

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HIGH COURT:
• The high court symbolizes three ideas in its structure, the majesty of law, the shelter of law and the
power and fear of law.
• The building has ‘L’ shaped plan and houses a double height small court rooms and triple height large
high court on the ground floor with offices above each court.
• The court rooms are identical expressed on façade facing and esplanade and are separated from the
high court by a great entrance portico.
• Each court room is accessible individually to public from outside. On the south eastern side is the public
entrance and a car park at the lower level.
entrance portico.
court room court room

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• The continuity of the surface of the esplanade
with the entrance portico.
• They are cement rendered and painted

respectively green, yellow and pinkish red. The
flanked walls are painted black.
• The working areas in the building are shielded by

the brise-soleil on the north west and south east
facades of which slopes
• The double roof is provided to protect the entire

structure from the sun. The roof slopes towards
the centre, through which the rain water gushes
out on either ends.
• The space between the roofs is left open to allow

free movement of air, cooling the interiors
considerably.
• The building is constructed in exposed RCC

which is treated in a verity of manners.

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Evident colour scheme has been evolved to enhance
the visual weight of the building across the plaza.
The upper roof cantilevered out of the office block

in the manner of parasol shades the lower roof
The three pylons express majesty of the law.

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HEADQUARTERS OF THE MILL OWNERS ASSOCIATION, AHMEDABAD (1954-56)
• The Mill Owners' Association Building is a Le Corbusier building in Ahmedabad, India.
• The structure is a symbol of the architect’s response to the Indian climate and contains all of his formal
inventions in this regard, e.g., pilots, free plan, free façade, brise-soleil and a roof-garden.
• The building has accommodation for business, social and cultural activities of the Mill Owners
Association and is expressive of its dual character- private and public.
• The ground floor is partly open and contains the services and circulation activities.
• A ceremonial ramp makes for a grand approach into a triple- height entrance hall.

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• Arrival is on the first floor,
where the executives‟ offices
and boardroom are located
• The second floor, intended for

public functions, is a treated as
a double floor and contains a
lobby and an auditorium
• The lobby, with its open space

defined by harsh angular
forms, and the top-lit
auditorium, with curved
surfaces penetrating the roof,
adds to the visual variety of
the interiors.
• All these levels are vertically

linked by two elevators and an
external staircase.

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• The roof, with its terrace-garden extending over the entire
area, has been envisaged for use for evening entertainment,
besides protecting the interiors from the heat of the sun.
• The building is oriented to catch the

prevailing breezes through openings on
its east and west facades with reinforced-
concrete brise-soleil and adjustable
blinds.
• The ground floor is partly open and contains the services and
circulation activities.
• A ceremonial ramp makes for a grand approach into a triple- height
entrance hall.
• The north and south facades are predominantly blank with exposed brick surfaces.
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LOUIS I KAHN
INTRODUCTION
• He was U.S. architect educator and philosopher and
is one of foremost 20th century architect.
• At the age of 16, inspired by his school he took
architecture
• In 1924 the graduated from university of
Pennsylvania school of arts.
• In 1947, he visited, Yale as a critic and soon was
made professor there.
• 5 years later he designed an extension to Yale which
was the first modern building of Yale.
• In 1950 he became an architect of international
status.
• Le Corbusier touched his sense of architecture a lot i.e. he was inspired by him.
• Considered one of the foremost architects of the late twentieth century, Kahn received the AIA Gold
Medal in 1971 and the RIBA Gold Medal in 1972.

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PHILOSOPHY
• "Kahn's architecture is notable for its simple, platonic forms and compositions.
• Kahn design of buildings, characterized by powerful, massive forms, made him one of the most discussed
architects to emerge after World War II.
• Through the use of brick and poured-in place concrete masonry, he developed a contemporary and
monumental architecture that maintained sympathy for the site.
• Kahn saw architectural elements, such as the column, arch, dome, and vault, in their capacity of
moulding light and shadow.
• One of the principal idea was the distinction between the “SERVED AND SERVANT SPACES.”
He was also concerned with creating strong formal distinctions between served spaces and servant
spaces.
What he meant by servant spaces was not spaces for servants, but rather spaces that serve other spaces,
such as stairwells, corridors, restrooms, or any other back-of-house function like storage space or
mechanical rooms.
• For Kahn it was natural light that brought architecture to life; the artificial light had an unvarying "dead"
quality in contrast to the ever-changing daylight.
• His palette of materials tended toward heavily textured brick and bare concrete, the textures often
reinforced by juxtaposition to highly refined surfaces such as travertine marble.
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INDIAN INSTITUTE OF MANAGEMENT, AHMEDABAD (1962-74)
Introduction:
• In 1962, Indian architect Balkrishna
Doshi invited Louis Kahn, to design
the building for the Indian Institute of
Management (IIM) in Ahmedabad.
• Kahn’s presence in the 1960s

indicated a turning point in
contemporary architecture in post-
independent India .
• When designing the school, Kahn put

into question how and where people
learn.
• Learning was not happening strictly in

classrooms, but in the corridors and
the spaces in between as well.
• Built between 1962 and 1974, the

complex now sits on a 60-acre
campus. Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru
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Concept:
• Their 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.
• The classroom was just the formal setting for the beginning of learning; the hallways and Kahn’s Plaza
became new centres for learning. Education was a collaborative, cross-disciplinary effort occurring in and
out of the classroom.
• He incorporated local materials (brick and concrete) and large geometrical façade extractions as homage
to Indian vernacular architecture.
• The large façade 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
• Kahn created a clear distinction between "served and servant spaces." "Served" spaces being offices,
laboratories, elevators, and other places where people would be.
• "Servant" spaces were ventilation systems, storage rooms, lights, plumbing, heating and air conditioning
systems, and other things that are essential for a building to function properly
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• Main Academic Complex (administration block, class room and faculty room around central pizza, which
also has main entrance)
• Kitchen and dining
• Faculty and Staff housing
• Management development centre
• Students dormitories

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Features:
• The Indian Institute of Management is situated on a 27 – hectare site on the western side of the city
of Ahmadabad, in close proximity to Gujarat University.
• The campus is so planned as to promote interaction between students and teachers.
• Its master plan comprises an institutional complex and a housing sector for the faculty and staff.
• Separate accesses are provided to the institutional complex and the housing sector.
• All service buildings like the cooling tower, water reservoir and the kitchen – dining block are located
on the north – western side of the campus.
• The institutional complex consists of a school on the southern side, faculty officers to the north and
the library to the east.
• At the heart of this complex is a large open space known as the Louis Kahn Plaza.
• It is the hub of all campus activities and relates to movement around the classrooms, library and
the faculty and administrative offices.
• The library, the most prominent building in the campus, is approached by a broad flight of steps
rising from the parking court.
• It is so designed as to become the centre of faculty student interaction.
• A stair – well in the centre of the rectangular plan of the library helps define the reading and stack
areas.
• The design has been conceived to entail movement from the active spaces to the most private and
quiet study carols at the farthest reaches.
• The school building is connected to the library by an ambulatory and to the dormitory blocks by an
over bridge.
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• The ground floor has most of the administrative offices with classrooms and seminar rooms on the first
and second floors, respectively.
• Lobbies are created in between the classrooms and these not only provide entry to rooms but also
serve as spots where students can meet and exchange ideas before dispersing after their classes.
• The seats in the classrooms are arranged in a horseshoe pattern.
• Illumination is provided by light – wells especially designed for glare free interiors.
• Four storied faculty office blocks are joined together by a corridor.
• The dormitory blocks are planned around the educational buildings.
• There are 18 dormitory blocks which can accommodate 400 students.
• A series of courtyards have been created to give free access to the needed breeze.
• The design of individual blocks as well as their layout is intended to promote interaction among the
students and to provide them privacy.
• The shape of each dormitory block is square with two residential wings, a triangular lounge and a
service area.
• In the housing sector, the layout of the structures forms large inner courts to give a feeling of peace and
serenity, qualities vital in housing.
• The houses have low heights and their plans are simple.
• The faculty houses are oriented diagonally to catch to prevailing breeze.
• Design elements like the deep – recess windows and segmental and flat arches accentuate their forms
and help in maintaining visual uniformity.
• All the buildings are constructed in red brick with external surfaces left exposed.

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LIBRARY BLOCK
FIRST FLOOR PLAN OF LIBRARY
• The library building is five storeyed structure with

rectangular plan.
• It is approached by a broad, imposing flight of

steps from the parking lot.
• The design has been conceived to entail

movement from the active spaces to most private and
quite areas.
SECOND FLOOR : Accommodate triple height reading

hall and conference hall
THIRD FLOOR : Accommodates bound volumes of

journals.
FOURTH FLOOR : Has bound volumes of old books

and journals.
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Modern Architecture in India-2:Ideas and works of BV Doshi (Institute of Indology Ahmedabad, IIM-
Bangalore and Gufa, Ahmedabad) and Charles Correa: (RamaKrishna House, Ahmedabad,
KanchenJunga Apartments, Mumbai and MRF Headquarters, Chennai).
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Ar. Balkrishna Vithaldas Doshi
• Balkrishna Vithaldas Doshi was born in Pune , India in 1927.
• He did his bachelors from J. J. School of Art, Bombay in

1950.
• He worked for four years with Le Corbusier as senior

designer (1951-54) in Paris.
• In 1956 he established a private practice in Vastu-Shilpa,

Ahmedabad and in 1962 he established the Vastu-Shilpa Ar. Balkrishna Vithaldas Doshi
Foundation for Environmental Design.
• He also founded and designed the School of Architecture

and Planning in Ahmedabad.
• Doshi worked closely with Louis khan and Anant raje, when
Kahn designed the campus of the Indian Institute of
Management.
• Doshi's architecture provides one of the most important

models for modern Indian architecture Sangath is Doshi’s own studio,
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FAMOUS WORKS
• INSTITUTE OF INDOLOGY AHMEDABAD(1957-62)

• SCHOOL OF ARCHITECTURE AHMEDABAD 1968
• INDIAN INSTITUTE OF MANAGEMENT BANGALORE (1977-85)
• MADHYA PRADESH ELECTRICITY BOARD JABALPUR (1979-89)
• SANGATH AHMEDABAD (1979-89)
• ARANYA LOW-COST HOUSING INDORE (1983-86)
• HUSAIN-DOSHI GUFFA (1992-95)
• NATIONAL INSTITUTE OF FASHION TECHNOLOGY NEW DELHI (1997)
• GANDHI LABOUR INSTITUTE

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PHILOSOPHIES
• According to him Architecture of a building is conceived not as a container of specific activities but as a
place to be inhabited, as a place to facilitate the course of human environment
• Doshi's work has consistently revolved around the interrelationship of indoor and outdoor space, an
appropriate and honest approach to materials, proper climatic response and observance of hierarchy
and order that has always been present in the best modern architecture.
• It is this so called ‘filter’ between contemporary and traditional architecture which Doshi has
masterfully brought in.
• The success of any project depends on effective construction, contracting, logistic planning and
coordination.
• An essential part of the philosophy is the construction of scale models and of full scale mock-ups to
make decisions jointly with the client about the building.
• Doshi made an intensive and sustained study of traditional Indian philosophy and ancient architectural
texts, while maintaining a deep commitment to modernism.
• The architectonic scale and massing (vaulting), the clear sense of space and an attraction towards
materials remain thematically strong throughout his works.
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PRINCIPLES
Doshi has categorized 8 principles in traditional architecture which he believes would greatly enrich
contemporary practice.
1. Doshi belief in the ‘Mythical Sense’ of space often evident in traditional architecture which is not
simply confined to open or closed areas. According to him space can be modified according to the
desire of the perceiver and is never static.
2. The structural and formal systems that Doshi has adopted incorporated the 2nd principle of Vaastu-
Purusha Mandala to ensure minimum standards of health and hygiene in each project.
3. Transformation of Energy between the building and people using the space for functional use. The
Energy takes place between the walls, columns and space of the building. The natural energy produces
through sun radiations or natural elements, surroundings, species around it etc. Doshi followed it in his
architecture by providing openness in buildings through colonnades, pergolas, porticos, sky lights etc. for
e.g. - IIM, Bangalore.
4. Doshi has shown a deep belief in importance of ‘Human Institutions’, just as Louis-I-Kahn did before
him. This belief is amplified by own deep cultural experience and popular evolution of new institutions.
The name of his office itself, the Vaastu-Shilpa foundation, is a ringing affirmation of Doshi’s faith in the
dialogue between people and architecture of which he speaks and powers of dialogue to bring about old
institutions and create new ones.
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5. A more specific principle is to follow ‘flexible rather than rigid approach to the structure’. This is how
transformation of space from the mere static container; to a place where people actually feel a psychic
interchange is best achieved. Here Doshi refers to the multiple mixed structural systems, of the type
found in Madurai temple and city of Fatehpur Sikri.
6. The idea of flexibility leads him to a principle, of incorporating “symbolism”. He believes that it can
only be accommodated by mixture of structural systems. Symbolically charged space must be designed
as container for human activity.
7. Doshi also advocates “Amorphous rather than finite forms” ; used with multiple structural systems so
that ‘experience with them may be loose meandering and multiple’. For e.g. - Aranya low cost housing,
Indore.
8. As an eighth and final principle, Doshi seeks “Timelessness” in his architecture much as Louis khan did
when describing his quality in historical precedents as' open endedness’.

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The Indian Institute of Management, Bangalore (1977-83):
• The Indian Institute of Management with 54,000 square meters of built – up area is located on the
Bangalore – Bannerghatta road, south of Bangalore city.
Concept:
• The design of this academic
complex has been guided and
governed by the climate and
culture of Bangalore, a garden city,
the sloping topography of the site,
the concern that buildings should
not swamp the landscape
• The use of local materials.
• The fountainhead of the inspiration
for the open spaces is derived from
the courtyards of the Capital
complex at Fatehpur Sikri.
• The principles of planning method,
especially the use of multiple
structures, mythical space, dialogue
between architecture and people.

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Features:
Planning:
• The main grouping of the campus, which contains administration offices, classrooms, laboratories and a
library is arranged as a datum in a ladder-like plan along a longitudinal axis with student dormitories a
short distance away, organized in interlocking squares at an angle to this axis.
• To make important buildings like the lecture halls or the library stand out in sharp relief, the architect
varied the scale of fenestration and sometimes used symmetry to display a beauty that has strangeness
in proportion.
• The interlocking courtyards are scaled to suit the functions located around them.
• The administrative block is placed on the north – eastern side.
• The “open office” planning in this block provides flexibility for reorganization of interior spaces.
• Faculty offices with their garden courts are located to the north – west and south – west.
• Planned to accommodate 600 students, the dormitory blocks are linked together by walkways and
verandahs.
• Each block has four wings of residential rooms which are arranged around a central court, creating a
community feeling and a sense of security.
• Rough – cut blocks of local granite stone have been used for the walls.
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Elements of design:
• The voids in the structure lets in the fresh air from the green
surroundings.
• The pergolas and geometrical roofs let in the controlled ‘Sun
Light’ creating a dramatic effect and eventually avoiding the
excess heat from entering in.
• The “streets” often stand open on one side or are topped by skylights to admit the crystal clear stream of
light.
• The width of the streets has been modulated at places to heighten the spatial experience and to
promote interaction.
• To further heighten the spatial experience, the width of the corridors was modulated in many places
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• The varying rhythm of the solids and voids, i.e. wall and
opening, coupled with direct or indirect natural light, these
links change in character during the different times of the
day as well seasons and offer the students and the faculty,
occasion to feel the presence of nature even while they
are inside.
• By creating such an environment the activities pursued

within the building become enriched because they
become one with the larger, total world.
Library exterior skylight
• A system of major interior streets for movement has been adopted.
• The teaching spaces, faculty and administrative offices are dispersed along these circulation spines.
• to allow casual sitting, interaction or moving forwards to once destination.
• Access to classrooms and administrative offices was provided through these links as well as to generate
constant activity.

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INSTITUTE OF INDOLOGY,
AHMEDABAD
Concept and introduction:
• A local Jain monk, Muniji Punyavijaiji

Muharaj, came to Kasturbahi Lalbhai
offering to donate a collection of
ancient manuscripts on the condition
that they would be preserved.
• As a result of this donation, lalbhai

decided to expand the manuscripts
storage into a research institute and
museum.
• Idea was embraced by the community and Ahmedabad education society donated 3.7 hectare plot
close to Gujarat University. The manuscripts became available for study from university as well as
institute students and researchers.
• Inspiration was drawn from one of the cave-like temples to build the institute.
• Climatologically appropriate building form for withstanding the scorching heat of Ahmedabad
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OUTDOOR CIRCULATION AXIS
• Doshi compared it to a boat.

• The cross section of the building shows the
dynamic climate needs of the building.
• The ‘hallways’ are pushed to the exterior to
maximize air movement and shade.
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LIGHTING NOTE : This study material will act as a reference and is not the sole source of information.
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Features:
• The entry of the building is through a vast green lawn and garden.
• The approach to the institute is the most monumental; similar almost to the Tajmahal . Through the
lush garden with jungle trees and blooming tropical plants, a visitor is connected to the surrounding
nature before elevated to enter the building on a plinth.
• Entering the building • The second floor

a half story above hangs over the first,
ground allows the creating a cool
basement storage shadowy public space
areas to have indirect which also serves as
light while benefiting the exterior
from the natural circulation.
cooling of the earth-
surrounded walls and
pools surrounding • The bottom floor
building. cantilevers over the
moats of either side
of the building,
• A bridge leads visitors • Moat allows the building to utilize water as a
making it appear as if
above the moat which cooling mechanism as well as adding
it’s floating.
surrounds the humidity to lower portions of building which
building. hold the precious manuscripts.
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• The primary building material is concrete, which is both structure and cladding.
• This material was a step towards technology and modernity.
• Using both precast

and site cast concrete,
Doshi was able to
minimize the amount
of skilled labor
needed.
• The institute is one of

the first examples of
precast concrete
members.
• Reinforced concrete was a new technology at the time and took a lot of effort on the part of the
architect to train the skill of pouring concrete with equipment.
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HUSSAIN –DOSHI GUFA
Designer : Ar.B.V.Doshi
• Location : Ahmedabad
• Site area : 1000sq.mt
• Built up area : 280sq.mt
• Building : public- Museum
• Architectural style : Modern
• Construction system : shell structure
• Ahmedabad Doshi Gufa is an underground
art gallery in Ahmedabad
• It exhibits works of the famous artist
M F Hussain.
• The cave-like underground structure has a roof made of multiple interconnected domes, covered with a
mosaic of tiles.
• On the inside, irregular tree-like columns support the domes.
• The entrance is approached
down a flight of steps in to the
cave like interior
• Climatologically appropriate
building form for withstanding
the blazing heat of Ahmedabad
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Light comes in as shafts through
a few circular openings in the
dome, the diffused light adding
to the mystic ambience.
Ferro-Cement shell
Tree shaped columns
transferring loads to
the ground
Internal walls open to

diffused lighting
• Structure is in form of skeletal skin & wire mesh sandwiched on each side by layers of cement.
• The concrete is then covered with a compacted layer of vermiculite followed by mosaic of pieces of
broken china, complete with a black serpentine imagery snaking across the surfaces.
• White tiles reflect the sun rays helps to keep the interior cool.
• The structure is specifically oriented to let in the minimum amount of heat & light to give the interior a
golden glow.
• To enhance the cave like feeling of gallery, the contours of the site were retained, rather than being
leveled. The gently undulating surface of the earth can still be perceived beneath the thin concrete floor
2019 86
slab poured over it.: This study material will act as a reference and is not the sole source of information.
NOTE
• The gallery represents a unique juxtaposition of architecture and art.
The mosaic tiles on the roof are similar to those

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

temples at Girnar
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• The entire design is made up of circles and
ellipses.
• The interior is divided by tree trunk or columns

similar to those found on Stonehenge.
• Computer assisted planning facilities were used

to resolve the structure’s unorthodox design.
• The domes are inspired by the shells

of tortoises and by soap bubbles.
The figures were

designed to resemble
ancient cave paintings in a
Modern environment.
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CHARLES CORREA
• Charles Correa, in full Charles Mark
Correa
• Born in Secundrabad, India in 1930.
• He is an Architect, planner, activist and

theoretician, an international lecturer and
traveler, particularly noted for his
sensitivity to the needs of the urban poor
and for his use of traditional methods and
materials
• Kevin lynch , then in the process of

developing his themes for image of the
city triggered Correa’s interest in urban
issues
• Correa's work in India shows a careful

development, understanding and
adaptation of Modernism to a non-
western culture.
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Traditional in the Modern
• His work in India is an adaptation of Modernism to a non-western culture.
• His early works attempt to explore a local vernacular within a modern environment.
• Correa was influenced by the works of Le Corbusier but sought to develop new forms of modernism
appropriate to Indian culture, producing designs that reflect a sensitive understanding of local climate
and living patterns.
• In the realm of urban planning, he is particularly noted for his sensitivity to the needs of the urban
poor and for his use of traditional methods and materials.
• Locally available building materials of brick and masonry and the local craftspeople who have been using
these materials for centuries while taking cues from Western technology in his designs showing a
intelligent responses to an architectural problem.
• “Climate plays an important role in design”

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Ramkrishna House
Location: Ahmedabad, Gujarat, India
Project Duration: 1962 – 1964
Building: Residential
Construction System: Exposed Concrete & Exposed Brick
Architectural Style: Modern
• This large residence was built for one of

Ahmedabad's mill owners is based on the
spatial and climatic concepts developed in
the Tube House and the Hindustan Lever
Pavilion .
• The plan sets up a series of parallel

bearing walls, punctuated by interior
courts and "canon", climaxing in the living
room which opens out onto the main
garden to the south .
• The Ramakrishna House represents the

combination of ideas explored in the early
1900’s.
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• The Ramkrishna House is segregated
into zones;
• The ground floor is the family living/

entertaining area, the guest room with
its own garden, kitchen, and the service
room.
• A second, more private family area, is

located on the upper floor, with
additional bedrooms spanning across
the main facade overlooking the garden.

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• These houses are built in a hot-dry
climate and provides a natural flow
of the air, so that the hot air are
ventilated out through the top light
“cannon” openings.
• These openings also provides natural lighting for the house.

• This splendid home was constructed using exposed brick and
concrete, the flooring was polished kota stone in a luminous
color.2019 NOTE : This study material will act as a reference and is not the sole source of information.
94
• Combination of geometric brick and
concrete volumes.

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KANCHANJUNGA APARTMENTS, BOMBAY - 1970-83
• Climate: Tropical wet & Dry
• Site & Situation: City landscape surrounded by
midrise & high rise structures.
• Prevailing wind direction: From Southwest &
Northwest
• The tower has a proportion of 1:4 (being 21 meters
square and 84 meters high).
• Height (architectural) : 83.32
• Floors: 27
• Ingenious cellular planning – interlock of one and a
half storey, split-level units.
• Effectively shields the effects of both Sun and Rain
• Tower with deep garden verandahs
(Unite d habitation)
• Well ventilated and appear to suit the
contemporary lifestyle
• Typical open floor plans with double height living
room for cross ventilation.
• Skip-stop elevators give access to a jagged stack of
split level units.

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• West side of the building have sea and east
side have view of the city which playing
dynamic role from the building.
• Also the building have good access of day

light and breeze through terrace garden
and window
• The building have 4 different types of

house, that is of variations expressed
externally by shear end walls that hold up
the cantilevers.
• The surfaces cut away to open up double

height terrace gardens at the corners is
the nice idea.
Main principle: Correa subverts the traditional

principles of a bungalow veranda and applies
them to a high-rise, creating generous two-
storey terraces within geometrically-complex
interlocking apartments.
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Ventilation & Daylight
• 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.

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MATERIALS & COLOURS
• The garden terraces of Kanchenjunga
apartments are actually a modern
interpretation of a feature of the
traditional Indian bungalow; Veranda.
• In India and other Asian countries, one
finds a predominance of reds and
yellows.

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MRF Headquarters
• Madras Rubber Factory, popularly known as MRF, is a
major tyre manufacturing company located in Chennai.
• The project of designing its main headquarters was

given to Charles Correa & Associates.
• The MRF Building is a large horizontal structure with

sweeping cantilevers and an internal atrium.
• It is located on a bend of Greams Road and its façade

gently follows the street curve, creating a series of
terraced gardens.
• It is comparable to the waves on the seashore of the

Marina along Chennai’s waterfront.
• As such, unlike many Modernist buildings, it helps

define the street.

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• It rejects the notion of a high-rise tower to convey commercial importance to clients.
• Its scale is also surprisingly compatible with its more traditional neighbors and comes from its horizontal
massing.
• A major feature of the building is its curving, slatted pergola standing on massive pillars
• Its tower-like monumentality is generated through a single free-standing column rising to support the
large pergola that floats above the terraces.
• Within the building, the various levels of the offices open out onto a central atrium linked through a
casual pattern of connecting stairs. It creates a focus for the building.

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• On the ground floor are the common
areas; each of the floors above is
allotted to one of the company’s
major departments.
• The offices of the senior personnel are
along the façade while the general
staff are located in an open
arrangement behind.
• At the roof terrace level, one emerges
on to a large garden, with trees and
buildings all around.
• Within the building, the various levels
of the offices open out onto a central
atrium, linked through a casual pattern
of connecting stairs, creating a focus
for the building.
• A wonderfully casual way to walk from
one department to another, or to exit
and go home at the end of the working
day.

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CONTEMPORARY ARCHITECTURE
15ARC 6.4
MODULE 2
4. Modern Architecture in India-3:Ideas and works of Raj Rewal and Uttam Jain (Pragati Maidan, New Delhi
and Asian Games Village, New Delhi), Achyut Kanvinde(IIT, Kanpur and Nehru Science Centre, Mumbai),
Uttam Jain(Lecture Theatres, Jodhpur and Engineering College, Kota).
5. Modern Architecture in India-4:Enrichment of Indian experience- Cost effectiveness and local influences.
Lauire Baker and Anant Raje (Centre for Development Studies, Thiruvananthapuram and St. John Cathedral
at Tiruvalla) and Anant Raje(IIFM, Bhopal and Management Development Centre, IIM-A).
6. Parallel trends in Indian architecture; a) Revivalistic- monumental, Religious b) Experimental-Pondicherry,

Belgium embassy, IITB, Sriram Centre Newdelhi c) Vernacular influence-Cost effective concepts.

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Ar.Raj Rewal
Biography:
• He lived in Delhi and Shimla for a couple of

years in his childhood that is from 1939 – 1951.
• In 1951-1954, he attended Delhi School of

Architecture.
• He moved to London and attended the

architectural association for one year.
• He completed his formal professional training

at the Brixton school of building, London.
• Raj Rewal took up his first job as an assistant

stage manager for several Avante grade theatre
production in London.

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Principles:
• His bldg. design includes pure structural expressions, cubic volumes.
• He also provide for honesty in expression ( materials, structural elements)
• Reflects a concern for climatic sensitivity (court yards , cross ventilation, spatial orientation, use of cavity
walls )
• He has been influenced by Le Corbusier and Louis khan.
• His architectural pursuit is centered on attempts to evolve a contemporary architecture rooted in
traditional wisdom.
• He got inspired by Mughal architecture i.e. the planning of squares with chamfered corners with exact
symmetry and same elevations on four sides.
• He was also influenced by the typologies of traditional bldg. and cities like Jaiselmer (traces from the past
he transforms them into the new). Urban fabric, clusters, streets, gateways, inner courtyards, roof gardens.
• He derives lessons from different sources (modern, technical ,tradition etc.)
• Stone as a cladding material was excessively used by Raj Rewal in his almost all buildings, he justifies that
monumental usage of stone.
• Rewal's work combines sophisticated technology and a sense of history and context

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Hall of Nations & Hall of Industries, Pragati Maidan, New Delhi
• Pragati Maidan Located in 149 acres of extensive ground is rated as the finest exhibition complex in Asia.
Besides the 15 giant exhibition halls, there is 10,000 square meters of open area for trade related
exhibitions.
• The complex has various interesting sites like the National Science Centre, Hall of Nations, the unique
Crafts Museum and the States Pavilion. The Nehru Pavilion, Atomic Energy and Defense Pavilion are also of
considerable interest.

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Design:
• Raj Rewal designed the two pavilions, hall of

Nations and hall of industries in the Pragati Maidan.
• The main Pavilion of the hall of nations has a clear

span of 78m and a height varying from 3m to 12m,
thereby providing a vast capacity for items to be
exhibited from books to bulldozers.
• The plan of these pavilions is square with

chamfered corners, providing eight anchoring
points.
• The square plan adopted permits additional units

to be added as required.

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• The hall of Industries on the other hand is a combination of 4 smaller pavilions interconnected by
ramps, enclosing a central area for open exhibits In the Hall of Industries the height varies from
2.5 m to 15 m.
• Utilities, toilets, and other services are located under the ramps.
• While the program set forth by the government simply stated the number of square feet of
exhibition space required, it was the architect who opted for a structure that would allow for
vast unobstructed areas.
• With the aid of a celebrated engineer, Mahendra Raj, the space frame solution emerged.
• Although each of the halls was initially conceived as a full pyramid, the truncated form was
ultimately adopted in order to avoid unnecessary construction.
• The steel for the space frame construction was expensive in India and not always available in
strengths required.
• Labor however was not expensive and contractors had experience with reinforced concrete
construction.
• As a result, this R.C.C system was conceived, analyzed by the computer and built.

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ASIAN GAMES VILLAGE, NEW DELHI (1980-82)
• The Asian Games Village in New Delhi is a

housing complex built on a 14-hectare site to house
contestants from the participating countries in the
Ninth Asian Games held in November 1982.
• It is located near the ruins of Siri Fort in South
Delhi and consists of 500 flats and 200 individual
houses in two-to four- storied construction,
achieving a density of 50 units per hectare.
Concept:
• The architect draws inspiration from the old
cities of India like Jaiselmer and Jodhpur in terms
of spatial organization, planning and the use of
architectural elements like gateways and courtyards
.• The layout simulates the traditional urban morphology of North India, incorporating the mohalla as
the basic module for planning.
• The concept provides for pauses, spots for rest and changing vistas evolved through a sequence of
spaces interlinked by narrow pedestrian streets.

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Passageways and Gateways:
• The spaces are brightened through careful mix of
recreational and commercial uses.
• The streets are purposely broken up into
comprehensible units and often defined by
gateways (These passageways are also an
inspiration from those seen in Jaisalmer).
• This provides for intermingling among the
residents to give a sense of belonging to the
neighborhood square.
• A sense of enclosure and continuity of
movement is maintained throughout the scheme,
respecting the identity of spaces.
• The houses and roof terraces often overlook the
streets and the open spaces, creating a sense of
community participation among the inhabitants.
• The dining complex forms the central node of
activities in the complex.
Movement:
• Vehicular and pedestrian movement is
intentionally segregated.
• A central pedestrian spine interconnects the
courts and street of various clusters.
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Clusters:
• Each mohalla or neighbourhood comprises a

cluster of 16 to 36 dwellings.
• The entrance gateways punctuate the sequence
of spaces around communal courtyards and define
clusters.
• The flats are located along the inner pedestrian
network.
• Each unit has its own independent open-to-sky
space-either a courtyard or a terrace.
Courtyards:
• The public courtyard accommodates a multiple of activities ranging from religious like marriage
ceremonies to the celebrations of secular festivals.
• Courtyards are protected by external walls and verandahs or are defined by rooms, and act as a light
and air well in which cool night air is trapped.
Material:
• The materials and color combinations have been selected meticulously.
• The external walls of the buildings are finished in stone aggregate, while the courtyard walls are of
Delhi quartzite stone. The pathways are paved with white or red sandstone. The gates, doors and
windows are painted in different colors to give a sense of identity to the dwellings units.
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AR. ACHYUT PRAKASH KANVINDE
Biography :
• He was born in Achara, in the Konkan region of Maharashtra, in 1916.

• Ar. A.P. Kanvinde belonged to the very small village of Sindhudurg
district in Maharashtra.
• Kanvinde graduated architecture from the “J.J. School of Arts”,
Mumbai, in 1942
• He was then sent by the government of India to study at “Harvard
University”.
• There he worked under Walter Gropius and was influenced by his
thinking and teaching.
• Kanvinde was also influenced by his father, who was portrait and
landscape painter.
• When he retuned to India he joined the council for “Scientific and
Industrial Research”.
• Established a firm ”Kanvinde and Rai” which received and executed
many important commissions.
• He practiced perfectly for 55 years; he was considered the pioneer of
what may be termed the modern movement in architecture in India.

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Philosophy:
• Kanvinde plays with space and forms. His designs are slender, balanced, proportionate, neat and well
crafted.
• Importance to the natural light.
• Form of the building could solve the problem of ventilation as well as excessive heat
• He treated his building with “VASTUSHASTRA”.
Major Projects
• Ahmadabad Textile Industry's Research Association 1953

• Darpana Dance Academy, Ahmedabad1963
• IIT Kanpur, 1960-65
• Residence of A.P.Kanvinde 1967
• Campus Building for National Dairy Development Board, Anand , 1970
• Milk Processing plant for the National Dairy Board, Mehsana , India, 1970-73
• Nehru Science Centre, Mumbai, 1980
• National Science Centre, New Delhi, 1991

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NEHRU SCIENCE CENTRE, MUMBAI
• The Nehru Science Centre in Bombay, essentially a

museum of science and technology, occupies a
5.3-hectare.
• Sloping site, reclaimed from the marshy lowlands in
the heart of Bombay.
• The multifunctional complex comprises the science
and technology museum, a hall of industry, children’s
museum, library, auditorium, seminar rooms and a
cafeteria, besides administrative offices, an outdoor
science park and the requisite services infrastructure.
Concept:
• The site is naturally sloping in different directions. The architect deliberately wanted to maintain and
accentuate to this natural topography of the site, in the form of split-levels of modular units.
• Large unobstructed spans essential for the exhibition halls .( i.e. longer span placement of columns
with coffered slab)
• Ventilation shafts have been commendably used to enhance the character of the building.

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Features:
• The design has all the attributes of modernism, appropriate to the technological character of the building.
• The design is more functional than cultural – an unpredictable and changing mix of architectural forms and
facades presenting an utterly unexpected form for museum building.
• Modular Design – The design is based on multidimensional modular units but the repetition of module is not
predictable with central service cores and structural shafts.
• These modules are integrated in such a way that in spite of their repetition they present variety in their overall
character.
• The form further develops into a multi directional module with central service cores structural shafts. The
entire requirements are resolved in four major modular units.
• Public and material movements are completely segregated by providing the service areas on a low level(through
a vehicular ramp to the basement which is further connected to the exhibition areas through a large flight, lift in
the central zone) and the public areas on the upper levels(approached through a wide flight of steps from the
landscaped forecourt.)
• The building is designed primarily for artificial lighting. However, minimal fenestration is provided to ensure
natural lighting in case of a power breakdown.
• The circulation pattern is so designed as to direct the visitors to the various exhibition areas and then return
them to the entrance hall, from where they can proceed to the cafeteria, the library, the auditorium and the heavy
exhibit areas which are located on the ground level for easy accessibility.

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Materials
• The exterior surface of the structure, for low
maintenance cost, is finished with local grey
stone, grit plaster with grey cement (1:1)
panels created by making grooves on the grit
plaster at certain intervals.
Air running unit

• The vertical shaft is designed, to allow the
forced air from the AHU enter each halls with
the help of outlets and allow the warm air to
escape out
Structural System
• The structural system is conceived with
structural supports placed at 12.0m c/c.
• Large unobstructed spans were essential for
the exhibition halls therefore ribbed or waffle
slab is used.

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INDIAN INSTITUTE OF TECHNOLOGY, KANPUR
(1959-66)
• The Indian Institute of Technology at Kanpur is a
institution established by the Union Government to
import high quality technological training in India.
• Located on the outskirts of the city of Kanpur in Uttar
Pradesh.
• It is the first example of a comprehensive
modern campus built in the country.

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Features:
The main academic complex is organized in a quadrangle on an area of 20 hectares.
It is planned in such a way that the main vehicular traffic is confined to a peripheral road, allowing
human and material access to the various building activities on the campus but keeping the inner core
mainly a pedestrian island.
The quadrangle comprises of a

1. Library 2. A lecture theatre block 3.A faculty building 4.Computer center. 5. Workshops 6.Areas for
cultural and recreational facilities
• The elevated ambulatories, together with the library-podium, stilted areas of lecture theatres, the
plaza and a variety of other open spaces, encourage inter-disciplinary activity and give scope to
intellectual and cultural stimulation-an important objective of the program of this institute.
• Based on the modular concept, the buildings are harmonious in character, have open forms with
linking corridors and spaces penetrating through, thus providing shelter from the extremely hot sun,
yet allowing welcome breezes.

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• Building components are interlinked by
detached two-level corridors which not only
facilitate cross-ventilation but also allow for
future growth.
• An underground service tunnel runs along these
corridors.
Library
• The library forms an important part of the whole
complex.
• It is a framed structure based on grid, built in R.C.C
with a brick facade.
• The whole structure gives a very beautiful play of
shade and shadow.
• The program of the institution was prepared base
on departmental needs.

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Uttam C Jain
• Born in Malwara , Rajasthan in 1934.

• Obtained a bachelor degree in architecture from IIT Khargapur in
1958..
• Awarded a scholarship for advanced studies by the university of
Tucuman ,Argentina.
• He set up his practice in Bombay in 1961.
• Jain has taught several universities all over India and in
USA,AUSTRALIA, BANGLADESH,PAKISTAN,SINGAPUR.
• He has won several architectural competitions and served as jury
member in many.
• Currently he is the editor of the journal of Indian institute of
architects.
KEY PROJECTS
• University of Jodhpur, Jodhpur, India, 1969-1999, Institutional
• Kota college of engineering,1984-1996, Institutional
• Indira Gandhi Institute of Development Research, Bombay, India,
1985-1987, Institutional
• Capitol Complex, Naya Raipur, India, 2006-Ongoing, Institutional

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Philosophy
• The efforts are directed towards creating a preference in the public mind for consumption of good
design in their day to day living.
• The immediate surroundings is source of construction materials; snow, stone, straw, reed, wood or
mud is the indigenous materials for constructing an enclosure.
• The relationship between human being and the building being established, what develops and grows
around becomes a measure for man and his society.
• Spatial configuration in his design is an attempt to invoke a spirit that will establish a symbiotic bond
between the present and the past.

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1. APPROPRIATNESS
In the context of function and technology are universal in their appeal .
To Jain there should be high technology too and bare existence to cross consumerism, all of which are to
be duly related to time, space, local, and context that is what is appropriate for Jain.
2. INDIANESS
• Jain was inspired by the evolution of life and creation as laid down in the vastu shastra, panchbhutas.
• The shape and form of the Buddhist chaitya the Jain Gufa.
• Mughal arch, Christian cross and Hindu navagraha mandala.
3. USE OF LOCAL RESOURCES

• In his work Jain contently tries to establish an equation between what he calls the three.
• Place: not just the site but the environment.
• People: there values there are in built needs and demands in human beings which just cannot be
ignored.
• Personality and eye factor: the architect own intellectual essence, perceptions, experience and
responses which he brings to his design.
• Translating these Indian symbols he has created unique designs.

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Engineering College complex, Kota , Rajasthan
• The Engineering College complex near Kota in

Rajasthan is planned over 140-hectare site along the
south-east bank of the River Chambal.
• It is accessible from the road leading to the Rana Pratap
Sagar Dam.
• The complex with a built-up area of 2, 45,000 square
meters, is predominantly residentially in nature.
• The main concept revolves around the principles
‘interaction at every stage” and “man on foot”.
• This necessitated evolving close-knit pedestrian core
intercepted with landscaped courts where students can
pause and establish contact beyond the teaching areas.
• The vaulted roof all along the main spinal corridor that
connects the different faculties and common facilities not
only gives visual cohesiveness but also creates an air
cushion, keeping the movement areas relatively cool and
bearable.

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• Evocative of the morphology of a desert settlement, the layout assimilates the architecture of street
fronts and public squares for learning.
• Indigenous stone and surplus manpower, typical of the Indian situation, have been used to the
maximum extent possible.
• Considering the rock surface of the entire area and the hot climate, the site has been tropicalised with
dense forestation, especially in the areas outside the building zones.
• Kota stone, being locally available, has been fully exploited in the design of the campus buildings.
• Two natural shades of the stone have been used.
• Natural materials are left untreated, revealing their texture through a play of light and shade.
• A combination load-bearing stone walls and reinforced-concrete frames has been used as the basis of
the structural system.

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Lecture theatres at JODHPUR UNIVERSITY
• The Jodhpur University Campus Extension in Jodhpur city comprises a dozen separate academic,
residential and service buildings.
• There is a cluster of lecture theatres, botany and zoology laboratories, the Faculty of Arts and Social
Sciences, a central library, printing press and housing.
• Though designed for different uses and for accommodating a varying scope of work, these component
parts are knit together to form an organic whole.
Features:
• The design attempts to imbibe the spirit of the architectural heritage of Jodhpur city.
• The planning of the cluster is kept simple to evoke the use of local stone for both structural and non-
structural requirements.
• A simple plan is achieved by placing four rectangular lecture halls in two sets of twin units
symmetrically along a central axis.
• A ramp leads up to a raised central court, which is a transitional space between the theatres.
• The space below these steps and the central court is proposed for storage.
• Wide stone steps are provided on either side of the cluster where informal talks could be held in
winter.

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• All the components were conceived of as simple structures based on small repetitive modules.
• The modules are capable of being built by hand, using traditional and simple means of construction
which local craftsmen were familiar with.
• Stone is used profusely as finishing material and is left natural on the exterior as in the traditional
buildings in Jodhpur city.
• Stone bonded in lime mortar is used to keep down the cost of materials and to provide jobs for local
skilled labor.
• Various traditional elements from Jodhpur city are also incorporated in the design: a ramp entry
defined by a gate ; narrow street-like spaces formed by high walls on either side ; small openings in bare,
stone textured walls.
• The entire cluster rises gradually from both sides to the narrow central open space. This is reminiscent
of traditional hillside cluster formations so typical of the region.
• The stepped section helped in developing a series of clerestories which provide natural light.
• The design shows concern for climate and economy.
• Locally available materials predominantly yellow sandstone, were extensively used to economise the
cost.
• To make buildings responsive to the local culture, climate, people and materials, the design principles
were derived from both traditional Indian architecture and modernism.

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Modern Architecture in India-4:
Enrichment of Indian experience- Cost effectiveness and local influences. Lauire Baker and Anant Raje
(Centre for Development Studies, Thiruvananthapuram and St. John Cathedral at Tiruvalla) and Anant
Raje(IIFM, Bhopal and Management Development Centre, IIM-A).

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Laurie Baker
• Laurie Baker was born on March 2, 1917 in a Christian

Methodist family.
• After his matriculation, he joined the Birmingham’s School
of Architecture and became an Associate Member of the
Royal Institute of Architects (ARIBA) in 1938.
• In 1941, Laurie joined the ‘mission to lepers’ at Kutsing in
inland China until the sisters could find a permanent helper.
What was supposed to be a temporary job in the remote
isolated leper colony in inland china became a four-year
stay.
• In 1945 Laurie decided to go back to England and start his
practice. But because of the war he had to stay in
India(Mumbai) for three months. This was the period when
he met Mahatma Gandhi who made a great influence on
him.
• Laurie returned to England after this but only for a short
period, he came back to India and settled in pithogarrh for a
period. Later he married Elizabeth Baker and settled in
Kerala.

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DESIGN PRINCIPLES
1. True to material and expression, exposed brick work, concrete and structural elements.
2. Climatically responsive designs.
3. His buildings tend to emphasize masonry construction, instilling privacy and evoking history with brick
jali walls, a perforated brick screen which invites a natural air flow to cool.
4. Laurie Baker's architecture focused on retaining a site's natural character, and economically minded
indigenous construction, and the seamless integration of local material, crafts men and construction
technique.
5. Curved walls enter Baker's architectural vocabulary as a means to enclose more volume at lower material
cost than straight walls, and for Laurie, "building [became] more fun with the circle."
6. Baker's architectural method is one of improvisation, in which initial drawings have only an idealistic link
to the final construction, with most of the accommodations and design choices being made on-site by the
architect himself.
7. Discourages extravagance and snobbery, avoid opulence and showing off.
8. Study of potential services within the site( water ,drainage, power etc)
9. Well known for designing and building low cost, high quality, beautiful homes.
10. Used many cost efficient methods and design.

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CENTRE FOR DEVELOPMENT STUDIES, Trivandrum, 1972-1974
• The building of this centre also incorporates all the elemental characteristics of Baker’s style- the
jali’s, the traditional roofs, the stepped arches, the over-hanging eaves and the skylights.
• The design of CDS demonstrates how Baker is able to transfer vernacular architecture to suit the
requirements of a modern academic institution.
• The Centre for Development Studies consists of a group of buildings located on a hillock on the
outskirts of Trivandrum.
• An area of 9 acres accommodates administrative offices, computer centre, amphitheatre, library,
classrooms, housings and other components of an institutional design.

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Main features of this building:
• The design is in response to its sloping contoured site and seems to grow out of it.
• Baker simply moulds his walls around the trees so as not to disturb it.
• He designed the buildings at the Centre to practically cool them.
• He renders jails, a perforated wooden screen found in traditional Indian architecture, in brick;The
open grillwork allows cool breezes to waft into the interior while filtering harsh, direct sunlight.
• Some buildings include a series of small courtyards containing shallow pools in the center, whose
evaporation helps cool the air..
• In evaluating the campus for the Centre, Baker planned roads along the lower, while footpaths were
routed along naturally occurring elevated areas; following the natural topography helps to limit
erosion and despoilment of the environment.
• Brick walls were left unplastered and brick corbelling was used rather than more expensive concrete
lintels.
• With his mastery over his medium, Baker creates a variety of textures and patterns by simple
manipulation of the way in which bricks are placed in the wall. Each structure curling in waves,
semicircles and arcs
• The architecture of this academic complex was conceived as a demonstration of economically
responsible building practices.
• The teaching block, the largest of the buildings, occupies the highest point.
• Its circular, brick-textured library tower is the core structure providing a visual focus.
• A special staircase provides access to the different library floors.
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Areas for administration and teaching radiate out from the library.
• The Library dominates the center with seven storey tower, the administrative offices and classrooms
are scattered in a randomness determined by each ones position on the slope. However, the building
remain tightly connected through corridors that snakes upwards to the library along breezy walkways
and landscape courts.
• The administrative offices and classrooms are scattered in randomness determined by its position on
the slope.
• However the buildings remains tightly connected through corridors that snake upward till the library
along breezy walkways and landscaped courtyards.
• Wall thicknesses change on different floors based on loading and requirement.

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MEN’S HOSTEL
• Student hostel is set apart from this central
complex across an informal amphitheatre
fashioned from excess building material, and made
by merely consolidating the contours.
• 8 rooms in a single file opening onto a verandah
and 4-stacked floors give a formidable linear
space to the plan.
• Each room is entered simply down a rare corridor
built into the shade walls.
• This inordinately regimented organization is
offset by playfulness of the circulation and the
entrance block – both of which move away from an
excessive rectilinearity into the magical realm of
curve walls, circular staircase and deep set wall
niches.
• Further down is the student’s canteen and girl’s

hostel.
• At the far end, near the entrance gate are located
varying densities of staff housing.

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WOMEN’S HOSTEL
• The rooms, like those of the men’s hostel, have the rigid layout of differentiated rectangular, opening
into the privacy of a forest behind the building.
• The wall forming the circulation to the room is curved not merely for structural stiffness but the curves are
made as to incorporate the interactive hostel life.
COMPUTER CENTRE:
• The 2-storied high computer block with a double-
walled building with an outer surface of intersecting
circles of brick jails which followed the design of the
main academic block, while the internal shell fulfilled
the constraints and controls necessary for a
computer laboratory, the space between the 2 walls
accommodates the secondary requirements for
offices and
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St. John Cathedral, Tiruvalla, 1973, Area: 1140 M2
• The design of this provincial cathedral is away from the massive Baroque prototype of church
architecture first imported by Portuguese Vatican Council of the early 1960s encouraged a reinterpretation
of many traditional forms and ideals with a view to encouraging a more personal involvement of the
worshipper in the church.
• Implicit in these changes was call for more accessible and culturally appropriate church architecture.
• With its circular plan and tent –like wooden roof, this Kerala cathedral is a response to the modern
Vatican; an attempt to design an indigenous church type.
• The building is sited in a semi-rural context adjacent to a main road.
• One enters it through a large brick gateway proceeding down a broad set of stairs to the level clearing in
a grove of coconut trees in which the building nestles.

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• The structure is built of local materials. Stone piers are
the main load – bearing elements. Non –load-bearing brick
infill, as intricate grill work, allows air and light to filter into
the hall.
• Long plywood trusses, assembled at the site, spring from
the piers to meet at the apex of the structure about 25
meters above the floor.
• The clear –span conical roof, which has a collar of dormer
windows, is crowned with an impressive cross.
• The sizable structure was erected with innovative adhoc
engineering with the help of unskilled laborers and local
parishioners(members of church community)
• The interior experience is inspiring, moody and
reminiscent of soaring Gothic spaces.
• The building is a fine example of the architect’s arts and
crafts training in England.
• This is well displayed in the Ruskinian harmony between
the tectonics of the construction and the decorative and
textural development of the architecture, a creative
collaboration between the architect and various artisans
who were responsible for some excellent iron and stained –
glass work.

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Architect Anant Raje (1929–2009)
• Anant Raje (1929–2009) was a well-known architect,

intellectual and teacher.
• He graduated in 1954 from the J.J. School of Fine Arts,
Mumbai.
• He started his architecture studio in India in 1969, upon
returning from working with Louis Kahn in Philadelphia.
• Raje’s association with the School of Architecture, CEPT
University, was consistent throughout the period of his
independent practice.
• He also taught at the National Institute of Design, Ahmedabad
and at the University of New Mexico, Albuquerque.
• He was Visiting Professor at several universities in the United States, Europe and Australia, and he
lectured extensively at architecture schools in India and around the world.
• Raje received several professional and academic awards, including the Distinguished Professor’s
Award from the Centre for Environmental Planning and Technology (CEPT), Ahmedabad in 1987, the
Indian Institute of Architects (IIA) Baburao Mhatre Gold Medal for Architecture in 1993, and the
• Master Award for Lifetime Contribution in Architecture from J.K. Industries, India in 2000.

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Design principal:
• Raje follows Kahn in many aspects: Building within a Building, Expression of Material, Expression of
Construction, Arched Openings, Precise works of brick masonry, Scale of open spaces.
• Believed in designing based on transition from spontaneous to formal spaces.
• Excellent understanding of the elements of building, and the laws of construction, that give it the sense
of ordered presence.
• Enriched by the patina (exterior) of materials he chooses and his sensitivity of light.
• Raje believes in the essence of history and its continued presence in design.
• Conceptualization of any project before it went for drawing and construction stage.
• Combination of romanticism (the natural surroundings around the building) and monumentality
(buildings out of heavy, solid materials and forms ) resulting in humane spaces
• Use of large open spaces in the outer skeleton for natural ventilation and lighting.
• Most of his buildings were of brick masonry and exposed concrete surfaces.
• He used geometric patterns to emphasize the façade of the building.
• Simple, functional, platonic forms and compositions.

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Indian Institute of Forest Management, Bhopal .
Architect: Anant D. Raje
1. Building on his smaller – scale institutional an experiment Anant

Raje has conceived this large government project with a
combination of romanticism and monumentality unprecedented in
recent Indian architecture.
2. The architect’s deep veneration for Louis Kahn is undisguised, but
he has allowed himself exceptional license to distort and enrich
Kahn’s idiom.
3. The primary inspiration is historical.
4. Just as Louis Kahn turned to Roman ruins as a source of
architectural forms and relationships, this campus derives its
complex assemblage of spaces, elements and arched masonry from
classical Deccan architecture.
5. The enigmatic majesty of the ruined palace of Mandu as
captured in the architect’s sketches – is translated into
contemporary structures more delicate in mass and proportion, but
characterized all the more by that gaunt and haunted quality of a
ruin.

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6. The plan: a formal base order half effaced by an overlay of autonomous, sometimes colliding
geometries, like successive archaeological deposits on single site.
7. Bordering the complex is a linear reflecting pool that serves as the datum for the composition.
8. A series of monumental loggia make the transition from this water body (spontenous spaces) and its
esoteric formalism to the more mundane complex of office and teaching blocks behind(formal spaces).
9. Structural order is determined by functional and symbolic criteria.
10. The plan is resolved into distinct components, some of which are repeated, as in the faculty offices,
or skewed off the base grid and distinguished by their own geometry.
11. The dense congregation of structures creates a romantic sequence of semi – enclosed and open-to-
sky spaces intimate enough in scale to be a useful, sun-protected extension of the architectural
environment.
12. Structural order is determined by functional and symbolic criteria.
13. The experience of a ruin, with the silence and the presence of the past is captured in this complex
by; varying geometry of the foot print (like in an archeological site), pavilions bordering the water
body, and the oversized openings.
14. Two large courts are created to act as extended learning areas, one with the class rooms and library
bordering and the other with faculty offices and admin functions.
15. Building is clad on the exterior with kota stones of varying color, inside face is grit finished plaster.
16. Precision, which is the hallmark of Raje’s architecture, is evident in formal, spatial and at craft level.

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Management Development Centre, Ahmedabad, 1982, Area: 4500 M2
1. The honor of carrying on the work of a master was a difficult challenge well met in this prestigious
academic building.
2. The Management Development Centre is the last important element to be added to Louis Kahn’s
campus for the Indian Institute of Management left incomplete at his death in 1975.
3. The architect has shown due respect for that powerful context by assiduously employing Kahn’s
brick vocabulary.
4. It Kahn’s ideas on the intrinsic order of materials and light a step further.
5. The centre is a self-contained school with library facilities, shared with the main institute.

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6. The play of light on fair-faced concrete is exploited originally, for example, in the elegant light shafts
that pierce the central academic block of the complex.
7. Taut planes of concrete like stretched parchment retains a narrow interface between the major spaces
in the dark brick core of the building.
8. The complex is organized around a landscaped court.
9. Two wings of guest rooms extend from the teaching block to complete the long sides of the
quadrangle
10. Two circulations spines each serving thirty-two rooms on either side, for a total of one hundred and
twenty-eight participants. The two spines are connected through foyers and a concourse to lounges and
dining halls.
11. The C-shaped double-storied structure so formed encloses a terraced courtyard
12. The fourth side enclosed with a brick wall and a screen of trees.
13. The symmetrical positioning of a pair of descending stairs in the concourse of the academic wing
creates a large veranda – like terrace on the central axis of the block.
14. Board arches from the view of the court.
15. The comfortable, domestic scale of the quadrangle is established by manipulating its levels.
16. Despite a masterful fidelity to the formal language of Kahn, this intimate, introverted composition is
refreshing exception to the overbearing weight and masculinity of the earlier campus buildings - a
landmark in itself.

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Parallel trends in Indian architecture;
a) Revivalistic- monumental, Religious b) Experimental-Pondicherry, Belgium embassy, IITB, Sriram Centre

Newdelhi c) Vernacular influence-Cost effective concepts.

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Parallel trends in Indian architecture
• Shaped by the sentiments of anti-colonialism, patriotism ,revivalism ,traditionalism , as well as the
sentiments of development ,modernity ,progress - STYLE OF NEW INDIA
3 trends identified:
1) Revivalism: going back to seek inspiration from the past.
2) Modernism: according to western ideologies.
3) Continuity: before independence, colonial style to be continued. The Philosophies 1950 – witnessed
battle of architecture ideologies
It was an immediate architectural response after the independence.
In 1959, a group of architects chose modernist free expression over a state-driven revivalist style.
Revival buildings of the 1950s demonstrate India's formation of a national identity.
Revivalism took many forms:

• Replication of traditional forms .
• The abstraction of past forms.

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VIDHANA SOUDHA

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DEEKSHABHOOMI
• Deekshabhoomi is in Nagpur, Maharashtra, a location regarded as

a pilgrimage center of Buddhism in India.
• Type: Religious and historical monument
• Architectural style: Stupa
• Location: Nagpur, Maharashtra,
• Construction started: July 1978
• Inaugurated:18 December 2001
• Design and construction: Architect Sheo Dan Mal, Shashi Sharma
• Deekshabhoomi is spread over four acres of significant land in the
city.
• In 1968, construction started with residential houses for monks,
later on P/G College.
• The stupa was inaugurated on 18 December 2001 by the President
of India K. R. Narayanan.

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STUPA
• It comprises a large two storied hemispherical buildings with gates resembling a

Sanchi gate.
• Five thousand monks can stay in each storey.
• The design of the stupa at Deekshabhoomi is based on the architecture of the
world famous stupa of Sanchi.
• But unlike the stupa of Sanchi, Deekshabhoomi stupa is completely hollow
inside.
• It is the largest hollow stupa among all Buddhist stupas in the world.
• The inner circular hall is spread across 4000 square feet with granite, marble and
Dholpur sandstone used in its construction.
• On the ground floor, there is a 211 x 211 feet large square hall. At the center of
this hall, an image of Buddha is placed.
• Above the hall, there is a hollow dome. This dome is surrounded by a veranda.
• On all four sides, fountains are placed. Above the dome, there is a small slab and
a little decorative umbrella.
• The stupa has doors facing four directions. The doors open in large arcs, which
are decorated with Ashok Chakras, and statues of horses, elephants, and lions.
• Around the stupa, there is a garden that is maintained by the Nagpur
Improvement Trust. Statues of Ambedkar and images of Gautama Buddha are in
front of the stupa.

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EXPERIMENTAL
SHRI RAM CENTRE FOR PERFORMING ARTS

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•THE SRI RAM CENTRE, WHICH PRASAD DESIGNED ALMOST AT THE ASME TIME AS AKBAR HOTEL WAS FOR A PRIVATE TRUST THAT
PROMOTES DANCE, DRAMA AND THEATRE. IT CAN BE REGARDED AS AN EXAMPLE OF WORK RESULTING FROM THE SECOND PHASE OF
LE CORBUSIER’S INFLUENCE.
Prepared by Harshitha K V I Assistant Professor

AAAD, Bengaluru
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NOTE : This study material will act as a reference
and is not the sole source of information.
EMBASSY OF BELGIUM, NEW DELHI
• The Embassy of Belgium in New Delhi is the diplomatic mission

of the Kingdom of Belgium to India. The embassy is located in
Shantipath, Chanakyapuri.
• Belgium had opened its embassy in India in 1947, just a few
months after India's independence. Its first ambassador to India
was Eugène, 11th Prince of Ligne.
• The construction of the current embassy complex (seen in
picture) was designed and managed by Satish Gujral, and
completed in 1984.
• The design resembles a fortress of rocky outcrops.
• The embassy was one of Satish Gujral's most challenging
assignments, winning him national and international awards. In
2000, the building was recognised as one of the 1000 best
buildings in the 19th century.

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• The building complex includes the administrative buildings of the embassy, chancellor's residence, ambassador's
residence, and staff housing.
• The front facade consists of two large cupolas with a central fold above the entrance.
• The entrance opens into a courtyard with stone masonry and greenery within. The building is constructed with red
bricks. The ubiquitous red brick construction of the building has been compared to early architectural forms
prevalent in Mohenjo-daro and the buddhist architecture in Sanchi and Nalanda.
• Along with two other embassies, the post-modern architecture of the Belgian embassy in New Delhi has been
critiqued by Roger Connah for its confusing appeal to pre-colonial glory of Delhi on one hand and the fading
(British) empire on the other.
• Some parts of the building near the entrance are open to visitors, while the parts hosting the residence and the
administrative blocks are not accessible to the public.

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IITB
(Indian Institute of Technology Bombay)
• The Indian Institute of Technology Bombay (abbreviated IITB
or IIT Bombay) is a public engineering institution located at
Powai, Mumbai, India.
• IIT Bombay was founded in 1958.
• Campus is divided into clusters of buildings. The academic
area chiefly comprises the main building, various
departmental annexes and auditoria.
• All department annexes are connected by a corridor named
Infinite Corridor.
• Beyond the Convocation Hall lie most of the hostels.
• There are a total of 16 hostels, of which two hostels (Hostels
10 and 11) and a part of the newly constructed hostel (Hostel
15) are for female students.
• Due to its proximity to the Sanjay Gandhi National Park, the
campus has significant green cover and is mostly untouched
by the pollution of the rest of the city.

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• The institute has two swimming pools; football, hockey and cricket grounds; and tennis, basketball, squash and
volleyball courts.
• It also has a Students' Activity Center (SAC) for various cultural and other extracurricular activities.
• In addition to these facilities, the campus also houses two high schools, one of which is a Kendriya Vidyalaya and
the other is called IIT Campus School.

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MODULE 3
7. Last phase of Modern Architecture: Ideas and works of Richard Meier (Smith House, Connecticut
and Getty Centre, Brent Wood, LosAngeles) and Charles Moore (Architect‟s Own House at Orinda and
Piazza d‟Italia, New Orleans), Bernard Tschumi (Kyoto Railway Station Project and Parc de la Villete,
Paris).
8. Ideas and works of Frank Gehry (AeroSpace Museum, Santa Monica and Guggenheim Museum,
Bilbao).
9. High-tech architecture or Structural Expressionism-1: An architectural style that emerged in the

1970s: The High-tech architecture practitioners include British architects Sir Norman Foster(Hong Kong
Shanghai Bank and Renault Distribution Centre, Swindon, England), Sir Richard Rogers, Sir Michael
Hopkins.

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Ar. Richard Meier:
• Richard Meier (born October 12, 1934 in Newark, New Jersey) is
an American architect known for his rationalist designs and the use of
the color white.
• Worked for Skidmore, Owings and Merrill briefly in 1959, and then
for Marcel Breuer for three years, prior to starting his own practice
in New York in 1963.
• Identified as one of The New York Five in 1972
• He earned a Bachelor of Architecture degree from Cornell
University in 1957.
• Much of Meier's work builds on the work of architects of the early
to mid-20th century, especially that of Le Corbusier and, in
particular, Le Corbusier's early phase.
• Meier expanded many ideas evident in Le Corbusier's work,
particularly the Villa Savoye and the Swiss Pavilion.
• His work also reflects the influences of other designers such as Mies
Van der Rohe and, in some instances, Frank Lloyd Wright and Luis
Barragán
• In 1984, Meier was awarded the Pritzker Prize, and in 2008, he won the gold medal in architecture
from the Academy of Arts and Letters.
• Smith House, Getty Centre, Barcelona Museum Of Contemporary Art,
• The Athenaeum, Museum Of Television and Radio, Jubilee Church.
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Philosophy /theory:
• Richard Meier has maintained a specific and unalterable attitude toward the design of buildings from the
moment Richard Meier first entered architecture.
• Although his later projects show a definite refinement from his earlier projects, Richard Meier clearly
authored both based on the same design concepts.
• With admirable consistency and dedication, Richard Meier has ignored the fashion trends of modern
architecture and maintained his own design philosophy.
• Richard Meier has created a series of striking, but related designs.
• Richard Meier usually designs white Neo-Corbusian forms with enameled panels and glass. These
structure usually play with the linear relationships of ramps and handrails. Although all have a similar look,
He manages to generate endless variations on his singular theme.
• Richard Meier 's white sculptural pieces have created a new vocabulary of design for the 1980s.
• His white is never white since it is subject to constant change through the forces of nature: the sky, the
weather, the vegetation, the clouds and, of course - the light.
• The three of the most significant concepts of Richard Meier 's work are Light, Color and Place.
• His architecture shows how plain geometry, layered definition of spaces and effects of light and shade,
allowed him to create clear and comprehensible spaces.
• The main issue Richard Meier is focusing on as an architect, is what Richard Meier termed placeness:
"What is it that makes a space a place."

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Smith house, Connecticut
• On the use of white in his buildings: "The whiteness enables one to see the architectural ideas,
openness vs. closure, linear vs. plane elements, solid vs. void, public vs. private. "
• Set on the craggy coast of Long Island Sound in Darien, Connecticut, Richard Meier ’ s Smith House is a
Modernist lighthouse of transparent geometry.
• The site is 1 1/2 acres and drops from a plateau on the north side that contains several evergreen trees
to the rocky shoreline of Long Island Sound on the south.
• The house is located on an axis with the entry drive, and lies slightly below the crest of the sloping hill.
This allows a sequence of approach, entrance, and views. As one enters the site, they see views of the
house beyond, but they are also able to see the surrounding landscape.
• The main principle of the house’s design is the dialectic between public and private spaces. This
opposition plays itself out in spatial organization, both vertical and horizontal.

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• The steep front elevation, a closed white plane interrupted only intermittently by windows, acts as an
opaque screen to private interior spaces such as bedrooms and bathrooms, which, on all three levels, lie
just beyond.
• The transition through the entryway to the southern, public side is sudden: the brilliant blue sound
leaps into view, invited by the fully glazed rear elevation. Meier uses glass generously on this side of the
house to open the corresponding public spaces above and below the main floor to the spectacular
setting.
• The building’s materials sustain its spatial dynamics.
• The Smith House keeps to a traditionally American structural system. A wooden bearing-wall and
framing system supports the private half of the house, while the glazed public areas rely upon a steel
columnar structure. Only the fire-place is brick
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Architect: Charles Willard Moore
(1925-1993)
Biography
Charles Willard Moore, renowned American
architect, writer of numerous articles and
books, and teacher, was born in Benton
Harbor, Michigan in 1925.
• Moore was highly educated. He earned a
Bachelor of Architecture Degree from the
University of Michigan in Ann Arbor (1947),
and Master of Fine Art and Doctoral Degrees
from Princeton University by 1957
• He studied with Jean Labatt, Enrico
Peressutti and American architect Louis Kahn.

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Thought process of Charles Moore:
• “Followed neo-classism”
• "Working within the existing context” He emphasized on the fact that buildings should reflect the
particular circumstances of place and use.
• “Architecture is about feeling, and about place, and its function is to enrich human emotion and enhance
sense of place.”
• “Design should be based on client preference and on a symbolic reference to the site.”
• “Architecture should bring out responses from all the senses, not only the visual.”
• “Architects should have a humanist approach.”
• Charles Moore was a postmodern innovator, an architect who gave importance to the use of loud colors
and unconventional materials.
• Moore established his reputation with striking and fanciful designs that both blend his constructions into
the landscape and separate them out in amazing ways.
• Moore's buildings, do not represent any single style or belief, but rather are the result of his response to
their setting, their cultural context, and their individual clients.
• They tend to be playful, full of drama and surprise, expressing cultural aspirations and translating
architectural precedents into something new and relevant to the present age.
• He tried to establish a contrast between functionality and the possibilities of irony.
• He used loud color combinations, wild graphics and unconventional materials including plastic, platinum
tiles and neon signs.
• His projects exhibited his sense of pop, historical, and modern motifs.
• He had the amazing ability to transform historical architecture into work relevant to the modern world -
"Working within the existing context"
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Moore House -Architect’s own house at Orinda, California, US
• The Moore House is a private dwelling designed by Charles Moore for himself. It was built in Orinda,
California, in 1962.
• "Its forms were derived from primitive huts and from Mayan or Hindu temples “.
• This house brought Moore early acclaim because of its evocation of a Vernacular tradition and its
unique expression of interior space.
• This small square residence is located on a round meadow in a grove of oaks.
• It is a tiny building, only 25 sq ft. but it makes up for this with a spatial/structural system that is complex
for its few members and size.

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• The foundation is cast- in-situ concrete on a gravel bed.
• Two square aedicule (an opening such as a door or a window, framed by columns on either side, or a
pediment above) define specific spaces beneath them and support a steel truss that serves as a ridge
beam for the hipped roof.
• The base of the roof is supported by a rigid square frame of horizontal beams cantilevered off of four
shear walls.
• This allows for the corners of the roof to "float", with sliding windows and opaque screens that can open
the corners completely to the surrounding meadow. It also provides lateral stability.
• Large wooden columns placed to hold up a symmetrical roof over a square plan, and the symmetry of the
openings lies about a diagonal axis, so that patterns are overlaid.
• Sliding walls unlock to an open site.
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Piazza d'Italia in New Orleans, Louisiana :
Introduction:
• After 1974 Moore worked mostly in Los Angeles with the Urban Innovations Group of the University of
California at Los Angeles' School of Architecture and Perez Associates, with whom he designed his best-
known project, the Piazza d'Italia in New Orleans, Louisiana.
• The Piazza is owned and maintained by the City of New Orleans.
• The central fountain, located in the middle of a city block, was accessed in two directions: via a
tapering, keyhole-shaped passage extending from Poydras Street, or through an arched opening in the
clock tower sited where Commerce Street terminates at Lafayette Street.
• Essential to the Piazza's design was the full realization of its intended surroundings, which were to have
included a rehabilitated historic row of 19th century buildings facing Tchoupitoulas Street (buildings
whose rear abutted the edge of the Piazza).
• Piazza d'Italia, an urban square (public place) dedicated to the Louisiana city's Italian community that
provides a place to play in the water in the setting of a melodramatic manifestation similar to Rome's
Trevi Fountain.
• The Piazza d’Italia is located adjacent to the American Italian Renaissance Foundation Museum and
Library on the corner of Tchopitoulas and Poydras Streets.
• The mixture of restored architecture and new construction was to have fully brought into being the
context envisioned for the Piazza, such that it would function as a "surprise plaza" in the mode of the
urban area, wherein the pedestrian is proceeding unawares along a narrow passage or alley, only to
suddenly emerge into a sunlit plaza ringed by cafes and shops.

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• This intended effect was responsible for the placement of the Piazza d'Italia at the heart of a city block,
set back from the surrounding streets.
• The story of the Piazza's conception, planning, and execution is an inspiring one: a idyllic combination
of architects and clients that was enriched by a concerned intersection of tastes and fantasies, a
surprising sharing of values and dreams.
• It was originally conceived by several members of New Orleans; considerable Italian community.
• The vibrant cultural mix of New Orleans has owed a great deal to its Italians, though their contributions
has never been widely recognized as those of the French, Spanish, or African Americans.
• To remedy that situation, it was decided that a new symbolic focus - part gathering and part memorial -
was needed by the Italian community.
• At about the same time, New Orleans was becoming increasingly concerned about the startling
Demolition rate of buildings in the central business district (CBD).
• To counteract that trend and to provide a sign of revitalization, the city decided to develop a block it
owned in that area. That created the perfect opportunity to give the Italian citizenry its longed for
monument.

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Planning and design
• Combination of ancient architecture and modern design elements.
• Moore conceived of a public fountain in the shape of the Italian neck of land, surrounded by multiple
hemi cyclical colonnades, a clock tower, and a campanile and Roman temple - the latter two expressed
in abstract, minimalist, space frame fashion.
• The facades are one side of the space and the whole is surrounded by a ring of trees.
• The Piazza d'Italia occupies a circular area off center of the development, which consists of buildings
and open-air corridors planted with trees.

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Architect Bernard Tschumi
· Bernard Tschumi (born January 25, 1944, Lausanne,

Switzerland) is an architect, writer and educator,
commonly associated with Deconstructivism.
 Born of French and Swiss parentage, he works and lives

in New York and Paris.
 He studied in Paris and at ETH in Zurich, where he

received his degree in architecture in 1969.
· From 1977 to 1981, after his move from London to New

York, Tschumi produced the ‘Manhattan Transcripts,’
designs and collages in which he tackles new forms of
‘architectonic notations’ including
such ideas as ‘form follows fiction’.

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His Philosophy:
· Throughout his career as an architect, theorist and academic, Bernard Tschumi's work has reevaluated
architecture's role in the practice of personal and political freedom.
· Tschumi has argued that there is no fixed relationship between architectural form and the events
that take place within it.
· The ethical and political imperatives that inform his work emphasize the establishment of a
proactive architecture, which non-hierarchically engages balances of power through programmatic
and spatial devices.
· According to Tschumi's theory, architecture's role is, not to express an extant social structure, but to
function as a tool for questioning that structure and revising it.
· This approach unfolded in his architectural practice
1. By exposing the conventionally defined connections between architectural sequences and the
spaces, programs and movement which produce and reiterate these sequences (deconstruction).
2. By inventing new associations between space and the events that ‘take place’ within it, through
processes of DE familiarization, de-structuring, superimposition and cross programming.
· By arguing that there is no space without event, he designs conditions for a reinvention of living,
rather than repeating established aesthetic or symbolic conditions of design .
· Through these means, architecture becomes a frame for ‘constructed situations,’ a notion informed
by the theory, city mappings and urban designs of the Situationist International (context).
· By advocating recombination of program, space and cultural narrative, “Tschumi asks the user to
critically reinvent themselves as subjects.”
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PARC DE LA VILLETTE , Paris.

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Kyoto Station
Back ground:
The first Kyoto Station opened for service by decree of Emperor Meiji on February 5, 1877. It was
replaced by a newer, Renaissance-inspired facility in 1914, which featured a broad square leading from
the station to Shichijo Avenue.
Before and during World War II, the square was often used by imperial
motorcades when Emperor Showa traveled between Kyoto and Tokyo: the image of Kyoto Station with
its giant rising Sun flags became a well-known image of the imperial era. This station burned to the
ground in 1950 and was replaced by a more utilitarian concrete facility in 1952.

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Kyoto, one of the least modern cities in Japan by virtue of its many cultural heritage sites, was largely
reluctant to accept such an ambitious structure in the mid-1990s: The station's completion began a wave
of new high-rise developments in the city that culminated with the 20-story Kyocera Building. For this,
there are opinions criticizing the station design for taking part in breaking down the traditional
cityscape.
Conceptual planning for the competition of Kyoto station:
The competition for the railway station in Kyoto, Japan is characteristic of hybrid megaprojects at the
end of the 20th century.
He began by decomposing the overall program into its main constituent elements and aligning them
with the Kyoto grid—one block for the cultural centre, two for the hotel and convention centre, two for
the department store, and two for parking, keeping a nine-meter opening between each block at the
location of the street grid.

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· Subdivided the blocks into organizational strips 18 meters, 27 meters, and 18 meters wide
respectively, with a three- meter gap between them to allow natural light into the centre of the blocks.
· Finally, we “staged” a combination of image theater, sky lounge, wedding chapel, athletic club,
amusement arcade, gourmet market, and historical museum into a new and composite architectonic
element invented : the programmatic extractor or “skyframe.” Placed in front of the hotel, convention
center, large store, and the parking lot blocks, the skyframe is the intersection of a horizontal slab (the
250-meter-long, structurally gridded, hollow beam) and seven uneven vertical slabs (the supporting
towers or yaguras, 5.4 meters wide by 15 meters deep and ranging from 62 to 83 meters high).
· Besides extreme programmatic intensity, the skyframe, with its long cantilevered space and slender
glass towers (“seven gates”), was to give Kyoto a new heterogeneous sign to be superimposed on the
temple landscape without obliterating it.

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8. Ideas and works of Frank Gehry (AeroSpace Museum, Santa Monica and Guggenheim Museum,
Bilbao).

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Architect Frank Gehry
Born: February 28, 1929 in Toronto, Ontario, Canada

• Frank Gehry was born Ephraim Owen Goldberg in Toronto, Canada.
• He moved with his family to Los Angeles as a teenager in 1947 and later became a
naturalized U.S. citizen.

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Architectural style:
· Gehry's work falls within the style of Deconstructivism (departing from modernism).
Deconstructivist structures are not required to reflect specific social or universal ideas, i.e.
universality of form, do not reflect a belief that form follows function.
· Ex:Gehry's own Santa Monica residence is a

commonly cited example of Deconstructivist
architecture, as it was so drastically divorced from
its original context, and in such a manner as to
subvert its original spatial intention.
• Gehry sometimes remains controversial due to the lack of a unifying philosophy or theory.
• Gehry’s style at times seems unfinished or even crude , but his work is consistent with the
California "funk" art movement in the 1960s and early 1970s, which featured the use of
inexpensive found objects and nontraditional media such as clay corrugated steel, chain link
fencing, unpainted plywood and other utilitarian or "everyday" materials to make serious art
• A retrospective exhibit at New York's Whitney Museum in 1988 revealed that he is also a
sophisticated classical artist, who knows European art history and contemporary sculpture and
painting.
• Gehry building begins with a sketch, and Gehry’s sketches are distinctive. They’re characterized by a sense
of off-hand improvisation, of intuitive spontaneity. The fine line is invariably fluid, impulsive. The drawings
convey no architectural mass or weight, only loose directions and shifting spatial relationships.
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GUGGENHEIM MUSEUM BILBAO
Established in October 18, 1997
Location : Abando , Bilbao , Spain
Type : art museum
Designed by Canadian-American Architect Frank Gehry Concepts used by the architect
The monument in the design stage was split into separate volumes.
He has worked with multiple concepts with each volumes.
Eg: Cruise liner, A metal flower with petals and A fish with its head and tail chopped off.

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• “Fish and their movements have always been a part of my architectural vocabulary. I think it goes back
to my childhood days
• The architect was successful in relating the design to the site surroundings.
• To the south the dialogue with the city, stone ,the use of right angles, windows aligned, strict geometry.
• To the north is the river Angilations, fluid shape etc. is used.
• Process of design. He started with sketches sketching in a subconscious mind to get random forms
• The image of the FISH appears right away in the very first sketches of the building.
• Frank Gehry Combined his subconsciously drawn sketches with the requirements of the building. To get a
correctly functioning design He interpreted his designs into a variety of volumes. And he worked like a
sculpist standing before a clay.
• After achieving a beautiful object computer software's were used to get the practical feasibility of the
building.

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•The atrium, which Gehry nicknamed The Flower because of its shape, serves as the organizing
center of the museum.
•With a total 256,000 square feet, it had more exhibition space than the three Guggenheim
collections in New York and Venice combined at that time.
•Eleven thousand square meters of exhibition space are distributed over nineteen galleries, ten of
which follow a classic orthogonal plan that can be identified from the exterior by their stone finishes.
•The remaining nine galleries are irregularly shaped and can be identified from the outside by
their swirling organic forms and titanium cladding. The largest gallery, measures 30 meters wide
and 130 meters long.
• Gehry uses blocks of limestone, half-millimeter-thick titanium panels, glass curtains and a water
surface at the rear.
• Limestone represents the tradition (Deusto University, on the other side of the river, is made of
sandstone) and titanium panels give the building a futurist image (reminiscent of fish scales).
•The walls and surfaces of the atrium are curved, bowed and twisted to generate a sense of
movement.
•On the inside, exhibition rooms are large enough to show Modern Art, that includes great scale
works.
•The building was constructed on time and budget, which is rare for architecture of this type.
• Computer simulations of the building's structure made it feasible to build shapes that
architects of earlier eras would have found nearly impossible to construct.
• An artificial pond has been created to give a feeling the museum is built on the water.

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CALIFORNIA AEROSPACE MUSEUM:
Completed in 1984, the Aerospace Museum in California is one of Frank Gehry’s early museum
commissions.
• Architect: Ar. Frank O Gehry
• Location: California, LA, USA
• Context: Urban
• Style: Post modern
• Climate: Temperate
• Material: Glass, Steel and Sheet metal.
Completed in 1984, the Aerospace Museum in California is one of Frank Gehry’s early museum
commissions.
• Together with other structures (including a DC-8 jetliner), they constitute the California Science
Center complex in Los Angeles.
• Gehry's work incorporated the distinctive style he adapted from previous residential projects,
creating geometric shafts and irregular angular forms which break from the spacial bounding of
the base structure.
• During this time, Gehry was more famous for the eccentric, out-of-the-box designs he did for
various Californian residences, and this he carried over into the Aerospace Museum.
• The technological program is further suggested through the industrial materials, including
glass, steel, and sheet metal, covering the building’s abstract forms, whose irregularity and
arrangement mimic its urban context.
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The structure is segmented, comprising of a union of differentiated pieces brought together in
a special collage of artistic style and architectural form.
• The Museum's exterior has the signature sculptural style that permeates Gehry's work, with the
facade of the building an arrangement of intricate stylistic components: a large metal-skinned
polygon, a glass wall with a windowed prism above it, and a stucco cube with a hangar door.
• Above this aircraft hangar door is an F-104 Lockheed Model G Star fighter Jet poised in midflight,
jutting out from the structure as both artistic statement and the purpose of the structure is
reinforced through these materials, with the building itself as an abstraction of aircraft and their
environment.

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The main entrance to the museum is ironically
placed at the rear, facing the entrance of its
neighbor structure, the Armory. This was done to
supposedly integrate the new museum with the
institution beside it.
• From the long, sweeping ramp, the entrance
leads to a main viewing platform inside where
museum-goers could stare in awe at the
suspended life-size aircraft exhibits.
• The museum was meant to be more “interior”.
Aside from the obvious vastness of the interior
space highlighted by multiple skylights, Frank
Gehry made use of the museum’s “Come Touch
Tomorrow” theme literally by strategically placing
stairs and platforms where visitors can be
around the suspended aircraft on display
• The use of skylights is a necessity for the
illumination of the interior spaces; however Gehry
again takes a unique approach to these elements,
incorporating them into walls, angling and
rotating them to become architectural elements
within themselves, rather than simply utilities

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9. High-tech architecture or Structural Expressionism-1: An architectural style that emerged in the
1970s: The High-tech architecture practitioners include British architects Sir Norman Foster(Hong Kong
Shanghai Bank and Renault Distribution Centre, Swindon, England), Sir Richard Rogers, Sir Michael
Hopkins.

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HIGH TECH:
•High-tech architecture, also known as Structural Expressionism, is an architectural style that emerged in the late 80s;
this style became a bridge between modernisms and post-modernism.
•Modern architecture is primarily driven by technological and engineering developments, and it is true that the
availability of new building materials such as iron, steel, and glass drove the invention of new building techniques as part
of the Industrial Revolution.
•Buildings designed in this style usually consist of glass for the facade, steel for exterior support, and concrete for the
floors and interior supports
Example is the I.M. Pei's Bank of China Tower in Hong Kong.
•In the 1980s, high-tech architecture became more difficult to distinguish from post-modern architecture. It is the
simplification of form and the elimination of ornament.
Characteristics:
•High Tech architecture is rooted in minimal and true use of material as well as absence of ornament, while
postmodernism is a rejection of strict rules set by the early modernists and seeks exuberance in the use of building
techniques, angles, and stylistic references.
•By mid 80s, ornaments returned. High-tech architecture’s characteristics include the use of sculptural forms,
ornaments, anthropomorphism and materials. These physical characteristics are combined with conceptual
characteristics of meaning.
•Designed openness, inclusion in the visual series of pipes, fittings, ducts, the complex structuring of space, favorite
materials: metal, glass and concrete
•They included the prominent display of the building's technical and functional components, and an orderly
arrangement and use of pre-fabricated elements. Glass walls and steel frames were also immensely popular.
•Architecture exposes the high-tech design than as stemming from their menial functions, treating it as an ornament
•An architect "high-tech" space does not care at all - for them the most important is the building as an object.
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• High-tech architecture, also known as: - Late Modernism - Structural Expressionism is an
architectural style that emerged in the, incorporating elements of high-tech industry and
technology into building design.
• At the beginning of the 20th century ,as technology has greatly evolved, new materials and modern
equipment started to be used in the construction industry. Thus born a new architectural design
developed using advanced technology, known as high-tech
• High-tech architecture appeared as a revamped modernism, an extension of those previous
ideas aided by even more advances in technological achievements.
• This category serves as a bridge between modernisms and postmodernism, however there remain
gray areas as to where one category ends and the other begins. ( Overlapping ) In the 1980s, high-
tech architecture became more difficult to distinguish from post-modern architecture.

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Architect : Sir Norman Foster
BIOGRAPHY
Born on 1st June 1935, in Manchester, England.
He entered Manchester University School of Architecture and City Planning when he was 21 (1956) and
graduated in 1961.
Upon graduating he won a fellowship to Yale University and there he earned a Master’s Degree in
Architecture.
In 1963 he worked with Richard Rogers, Sue Rogers, Gorgie Wolton and his wife, Wendy Foster as a
member of “Team 4.”
Foster Associates (now known as Foster and Partners) was founded in 1967 and now has offices in London,
Berlin, and Singapore, with over 500 employees worldwide.
Foster and Partners has received over 190 awards and citations for excellence and has won over 50 national
and international competitions.
He was knighted in 1990.
In 1999 he was honoured with a life peerage award (taking the title Lord Foster of Thames Bank) and in
that same year was awarded the 21st Pritzker Architecture Prize Laureate.

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DESIGN PHILOSOPHIES:
• Foster Associates became known for "High Tech" design that explored technological shapes and ideas.
In his work, Sir Norman Foster often uses off-site manufactured parts and the repetition of modular
elements.
• Creates buildings that people are fascinated by, that is dynamic and yet stays very environmentally
aware.
• In design process he takes into consideration ways to reduce elements that are harmful to the
environment such as carbon dioxide emissions, greenhouse gases and fuel consumption.
• Foster’s designs have many bold shapes and he’s not afraid to use colour to enhance and emphasize his
work; which includes everything from door handles and tables to airports, bridges, and office buildings.
• He doesn’t limit himself in the design world to just one field, he allows himself to branch out and really
show his talent by taking on smaller projects as well as bigger, publicized ones.
• Foster’s advances in the design world have allowed him to alter many architectural rules that for so
long were never challenged.
• His works were mainly based on ecology. There were definite relationships between nature and
buildings.
• Norman allowed natural light to penetrate, and used it as a medium to interact man and nature. He
believed that daylight upgrades the efficiency and state of mind of visitors and users of the building.
• He also believed in the use of latest technology to design very sustainable buildings.

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The Centre was commissioned as the French car manufacturer’s main UK distribution facility. In
addition to warehousing, it includes a showroom, training school, workshops, offices and a staff
restaurant.
 Supportive local planners increased their site development limit from 50 to 67 per cent, allowing a
floor area of 25,000 square meters.
 It has brilliant yellow (Renault’s corporate color); cable-stayed tubular steel masts, that
supports a reinforced polyvinyl chloride (PVC) membrane roof.
 Prefabricated rectangular building was formed as a series of suspended modules—42 in total—
comprising 16m high masts, connected to pin-jointed portal frames.
 Each module measured 24m x 24m - much larger than usual planning module developed so as to
maximize the planning flexibility of the internal spaces. And was 7.5 meters high at the edge and 9.5
meters in the center - Allowing the Centre to accommodate a range of uses from industrial warehouse
racking to its subdivision into office floors.

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 The building is also stepped at one end,
narrowing to a single, open bay that forms a
Porte-cochre (a passageway through a
building or screen wall designed to let
vehicles pass from the street to an interior
courtyard. )alongside a double-height
gallery.
 Primarily a showroom - as signified by
suspended car body shells - the gallery was
used by Renault as a popular venue for arts
and social events, encouraging wider
community involvement in the building.
 Covered spaces were used for spare
parts warehousing, visitor reception,
distribution and regional offices, vehicle
showroom, after-sales maintenance
training, and staff dining.
 Ample natural lighting was achieved by
clear glass panels inserted where the mast
pierced the roof and by a louvered roof
light at the apex of each module; the
louvers could be opened for ventilation.

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The Hong Kong and Shanghai Banking Corporation
The HSBC Main Building is the headquarters for The Hong Kong and Shanghai Banking Corporation
Limited in Central Hong Kong.
• It is located along the southern side of Statue Square near the location of the old City Hall, Hong Kong.
The previous HSBC building was built in 1935 and pulled down to make way for the current building.
• The new building, after three previous demolitions, was designed by the British architect Lord Norman
Foster and Civil & Structural Engineers Ove Arup & Partners
• The building is 180-metres high with 47 storeys and four basement levels.
• The building has a module design consisting of five steel modules prefabricated in the UK by Scott
Lithgow Shipbuilders near Glasgow, and shipped to Hong Kong.
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• There are 47 storey's of office spaces including the main lobby
• There are four basement storeys which are the vaults.
• Express lifts travel from the plaza to the double-height areas, while movement between the floors
in each zone is by escalator. Altogether there are 62 escalators in the building.
• The building is also one of the few to not have elevators (only 10) as the primary carrier of building
traffic. Instead, elevators only stop every few floors, and floors are interconnected by escalators.
Entrance and atrium:

• At ground level, beneath the building, an open public area has been created without any loss of office
space.
• On entering this plaza what first strikes most visitors is the spectacular atrium rising 170 feet through
11 levels of the building.
• The public banking areas are situated around the atrium and are reached from the plaza by the
longest freely supported escalators in the world.
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• The bridge building techniques have been used in the • The most conspicuous features of the building are the
construction of this skyscraper. Eight large tubular steel eight groups of four aluminium-clad steel columns,
columns on two sides of the building, braced by which rise from the foundations up through the main
rectangular beams, act as bridge supports, with the structure, and the five levels of triangular suspension
floors suspended from them. trusses which are locked into these masts.
• The floors are hanging

floors. The building is
divided into five zones.
• These zones, and the
double-height levels
which separate them,
form an integral part of
the concept of
movement around the
building.
• Allowing free floor plans with ample floor area

lost to columns. Services are also located in and
around the concrete columns.
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• The need to build downwards and upwards simultaneously led to the adoption of a suspension
structure, with pairs of steel masts arranged in three bays.
• By the use of bridge engineering techniques, and by locating all services in prefabricated modules hung
on the east and west sides of the building, Foster eliminated the need for a central core, creating large,
unobstructed floor areas that are the key to the building's flexibility and efficiency.
• Five levels of triangular

suspension trusses which are
locked into these masts.
• From these trusses are

suspended five groups of floors.
They can be seen clearly on the
outside of the building -- the
inverted 'v' sections of the
suspension trusses span the
structure at double-height levels
-- giving the building much of its
distinctive character.

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• At the top of the atrium is a bank of giant mirrors. These form part of an innovative, computer-controlled
sunscoop that reflects natural sunlight into the atrium and down to the plaza,.
• Open-plan offices surround the atrium, allowing staff to work under natural light, while noise levels are
controlled by means of careful acoustic engineering.
• Sophisticated building management computers automatically keep light and temperature at constant levels.
• The mast structure allowed another radical move, pushing the service cores to the perimeter so as to create
deep-plan floors around a ten-storey atrium.
• From the plaza, escalators rise up to the main banking hall, which with its glass underbelly was conceived as a
shop window for banking?
• The main characteristic of HSBC Hong Kong headquarters is its absence of internal supporting structure.
• Another notable feature is that natural sunlight is the major source of lighting inside the building.
• There is a bank of giant mirrors at the top of the atrium, which can reflect natural sunlight into the atrium and
hence down into the plaza. Through the use of natural sunlight, this design helps to conserve energy. Additionally,
sun shades are provided on the external facades to block direct sunlight going into the building and to reduce
heat gain.
• Instead of fresh water, sea water is used as coolant for the air-conditioning system.
• The emphasis on flexibility is apparent throughout the building. All flooring is constructed from lightweight
movable panels made from the same material as that used for aircraft floors. The panels, which may be covered
with carpet tiles or other materials, can be lifted to reveal a comprehensive network of power, data, and
telecommunication and air-conditioning systems. Computer terminals or other such pieces of equipment can be
installed easily with minimum disturbance.
• This design was to allow equipment such as computer terminals to be installed quickly and easily.
• Similarly, all internal walls are made up of movable partitions so that office layouts can be changed and
modified as required, without the need for any structural alterations.
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MODULE 4
10. High-tech architecture or Structural Expressionism-2: The High-tech architecture practitioners

include Italian architect Renzo Piano (Pompidou Centre, Paris and Menil Museum, Houston) and
Spanish architect Santiago Calatrava (Lyon-Satolas Railway Station and Olympic Stadium at Athens).
11. Postmodern Architecture: Development of Postmodernism with its origins in the alleged failure of
Modern architecture from 1950s, and spreading in the 1970s and its continuous influence on present-
day architecture. Ideas and works of Michael Graves, James Stirling, Robert Venturi etc.

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ARCHITECT: RENZO PIANO
Renzo Piano was born in Genoa (Italy) on September 14,

1937. He graduated in 1964 from the school of
Architecture of the Milan Polytechnic
• As a student, he was working under the design
guidance of Franco Albini, while also regularly attending
his father's building sites where he got a valuable
practical experience. Between 1965 and 1970, he
completed his formation and work experiments with
study travels in Britain and America.
• In 1995, Renzo Piano was called upon to renovate the
Centre Georges Pompidou, because the popularity of
the place needed to expand library and exhibition place
and to reorganize public spaces. The renovation was
reopened on the eve of new miilenium, December
31,1999.
• Renzo Piano 's principal work includes more than 40
world-famous projects, as museums, galleries, churches,
music parks, institutes and national centers, shopping
centers, bridges, reconstructions of squares, airports
etc.
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Design ideology:
• Followed High tech architecture and structuralism.

• Renzo Piano is an absolute master of art, master of light and lightness.
• He understands well about construction, structures and the scale of pieces.
• Like most works designed by members of the "High-Tech" movement, Piano established technology as a
starting point for his designs.
• Generate an architectural character based on technological forms with a concern for user comfort and
needs.
• Piano has applied his structural experiments to a range of social and civic projects.
• Fusion of local traditions and global technologies.
• Research, Experimental forms and a sensitivity to context are fundamental approach to architecture.
• Ideas are explored through scale models, computer simulations and full-size mock-ups of building details.
• Collaboration with experts in other disciplines complements the design process and influences the
evolution of a more complete and responsive design solution.
• "In their nomination of Piano, Thomas Howarth, FAIA, and Kira Gould, AIA, described his work as
'sculptural, beautiful, technically accomplished, sustainable... He integrates the diverse disciplines that
combine in contemporary building into cohesive, humane environments.‘
• Renzo Piano also achieve several honour, regarding to his recent works. Renzo won the Pritzker
Architecture Prize in 1998 and is a UNESCO Goodwill Ambassador.

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Menil Collection Museum, Houston (TX), USA,1982-1986:

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• The building envisioned by would not remake the existing neighborhood but rather blend in and
harmonize with it.
• The building’s dark-stained pine floors, low-slung profile, large lawn, and surrounding portico (which
mimics the deep porches typical of early Houston homes) further recall the neighboring domestic
structures.
• The first time that Piano gave to the light a particular role was working in the project of a museum of
the surrealist and primitive African art collection of Dominique De Menil, sited in Houston. During a trip
in Tel Aviv with De Menil, visiting a museum in the same latitude of Huston, arose the idea to make of
light the main point of the new musem. The idea grew up and Piano studied a lot of different ways to
utilize the zenithal light in the exposition halls.
• Extremely meticulous and advanced research into natural light, and concern for conservation of works
of art, were the two principal forces driving the design of the Menil Museum.

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• A modular system of "leaves" covering the roof regulates the flux of light into the halls and is the
building's main architectural feature.
• On top of the building is "The Treasure House“, which houses the collection of 10,000 pieces of art.
Selected pieces are continually rotated throughout the predominantly naturally lit conditions.
• The interiors are kept simple to encourage contemplation on the art itself.
• The exterior—an understated facade of gray cypress siding, wide expanses of glass, and white-painted
steel—echoes the surrounding bungalows, all of them painted the same shade of what has become
known as “Menil gray.”
• The museum is only one floor of galleries, with storage and services in the basement below, and one
floor of offices and art storage above.
• Visitors are first greeted by a large lawn on the North side, and the walk across this space allows for
taking in the spatial context of the museum.
• The portico wrapping around the entire building creates a tectonic understanding of the structure,
exposing the steel I-beam columns and intricate detail of the custom steel roof assembly.
• The museum contains nearly 30,000 square feet of gallery and public space, most of it along the north
side of a 320-foot corridor.
• Leaf system
• The inspiration was Piano’s own sailboat which he had recently built using ferro-cement.
• Due to the flexibility of this particular material, Piano designed a wave-shaped “leaf” for the Menil’s
roof and ceiling.
• He used this along with white steel trusses, both in the gallery spaces and on the building’s exterior, to
unify the structure.
• The leaves function as a method of controlling light levels and also as a means of returning air flow.
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CENTRE GOERGES POMPIDOU
Type : Culture and Leisure

Architectural style : Postmodern / High-Tech
Location : Paris, France
Structural system : superstructure with
reinforced concrete floors
Completed : 1971 - 1977
It is a building in two parts:
1. Three levels of infrastructure where they
gather technical facilities and service,
2. A large glass and steel superstructure of
seven levels, including the terrace and
the mezzanine, which concentrates most
sectors of activity of the Center

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The plan is rectangular, with the longer sides on the front of the square and the service.
• It has a patio at the upper right .

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The different systems on the exterior of the building are painted different colors to distinguish their
different roles.
• The structure and largest ventilation components were painted white,
• stairs and elevator structures were painted a silver gray,
• ventilation was painted blue,
• plumbing and fire control piping painted green,
• the electrical elements are yellow and orange, and the elevator motor rooms and shafts, or the
elements that allow for movement throughout the building, are painted red. One of the "movement"
elements that the center is most known for is the escalator (painted red on the bottom) on the west
facade, a tube that zigzags up to the top of the building providing visitors with an astonishing view of the
city of Paris.
ESCALATOR
The plexiglass escalator tubes running up the six floors
of the Centre Georges Pompidou's western façade.

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CONTEMPORARY ARCHITECTURE

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

2. Modern Architecture in India-1: Architecture in India(Post-Independence): Works of public nature in

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

• Architecture during British Raj

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

• Extension of the British School of Architectural thought

• Ex: St. Paul's Cathedral, Calcutta; Victoria Terminus, Bombay.-1887

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

• Example: Howrah railway station at Calcutta-1906 ; Capital Complex at New Delhi-1912

Howrah railway station at Calcutta

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

Fluted Tuscan order

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

• Silver Jubilee clock tower in Mysore city in the Domed canopy

and the Town Hall. Carved brackets

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

• Foundation for the DC office complex

• It cost Rs 1.75 lakh and had two halls,

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

The Albert Hall Museum, Jaipur

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

• Advances in Irrigation facility took place as Bikaner state was one

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

Ashoka hotel ,New Delhi T.B. Association Building at new Delhi

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

• Head (the capitol complex, sector-1),

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

Monumental portico facing the main

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

• A ladies gallery with 90 seats, a

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

• The 8 storied secretariat houses

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

Marseilles apartment block

court room court room

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

• They are cement rendered and painted

• The working areas in the building are shielded by

• The double roof is provided to protect the entire

• The space between the roofs is left open to allow

• The building is constructed in exposed RCC

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

The upper roof cantilevered out of the office block

The three pylons express majesty of the law.

Prepared by Harshitha K V I Assistant Professor AAAD, Bengaluru

• The second floor, intended for