CONTENTS

1. CRITIQUING MODERNISM
 Modernism
 Challenging CIAM declarations:
 Team X and Brutalism
 Writings of
 Venturi
 Jane Jacobs
 Aldo Rossi
 Christopher Alexander.
2. AFTER MODERNISM
 Conditions of Post-Modernity
 Tools of New Architecture:
 Collage,
 Technology and
 NewScience
 Canonization of Post-Modernist Architecture
 Historic Revivalism
 Pop Architecture
 Critical Regionalism
 Deconstructive Theory and Practice their limitations.
3. ALTERNATIVE PRACTICE
 Ideas and selected Works of –
 Fathy
 Baker
 Ando
 Soleri
 Bawa.
4 ARCHITECTURE IN COLONIAL INDIA
 Colonialism and its impact
 Early British Neo-classical Architecture
 Indo-Sarcenic Architecture and the works of Chisholm –
 P.W.D. and the Institutionalization of Architecture –
 Building New Delhi.
5. POST-INDEPENDENT ARCHITECTURE IN INDIA
 Chandigarh and Bhuvaneshwar experiments –
 Influence of Corbusier, Louis Khan

5
 Koeinsberger - The formation of Institutions –
 Debates on Tradition as a source and burdern –
 works and ideas:
 Nari Gandhi –
 Doshi –
 Kanvinde –
 Correa –
 A. Raje –
 U.C.Jain –
 Stein Housing and the issues of Appropriate Technology-
 Architecture in the Horizon.

6
 UNIT 1
CRITIQUING MODERNISM

MODERNISM
 Modernist architecture emphasizes function.
 It attempts to provide for specific needs rather than imitate nature.
 The roots of Modernism may be found in the work of Berthold (1901-1990), a Russian
architect who settled in London and founded a group called Tecton.
 The Tecton architects believed in applying scientific, analytical methods to design.
 Modernist architecture can express a number of stylistic ideas, including:
 Structuralism
 Formalism
 Bauhaus
 The International Style
 Brutalism
 Minimalism

Herbert F. Johnson Museum of Art at

Cornell University - I.M. Pei

7
 Modernist architecture has the following main features:
 Little or no ornamentation
 Factory-made parts
 Man-made materials such as metal and concrete
 Emphasis on function
 Rebellion against traditional styles
 Architects, influenced by this style:

Le Corbusier Philip Johnson

Mies van der Rohe

 In the later decades of the twentieth century, designers rebelled against the rational
Modernism and a variety of post modern styles evolved.
 Examples of post modern architecture include:
 Postmodernism
 High Tech
 Organic Architecture
 De-constructivism
8
POSTMODERNISM:
 Postmodern architecture evolved from the modernist movement, yet contradicts many of
the modernist ideas.
 Combining new ideas with traditional forms, postmodernist buildings may startle,
surprise, and even amuse.
 Familiar shapes and details are used in unexpected ways.
 Buildings may incorporate symbols to make a statement or simply to delight the viewer.

The concept of postmodernism is also expressed in the realm of art

 Philip Johnson's At&T Headquarters is often cited as an example of postmodernism.
 Like many buildings in the International Style, the skyscraper has a sleek, classical
facade.

AT&T Headquarter - Philip Johnson

 The key ideas of Postmodernism are set forth in two important books by
 Robert Venturi: Complexity and Contradiction in Architecture and
 Learning from Las Vegas.
9
HIGH TECH:
 High-tech buildings are often called machine-like.
 Steel, aluminium, and glass combine with brightly colored braces, girders, and beams.
 Many of the building parts are prefabricated in a factory and assembled later.
 The support beams, duct work, and other functional elements are placed on the exterior
of the building, where they become the focus of attention.

HSBC Building – Sir Norman Foster

ORGANIC ARCHITECTURE:
 Frank Lloyd Wright said that all architecture is organic, and the Art Nouveau
architects of the early twentieth century incorporated curving, plant-like shapes into
their designs.
 But in the later half of the twentieth century, Modernist architects took the concept of
organic architecture to new heights.
 By using new forms of concrete and cantilever trusses, architects could create swooping
arches without visible beams or pillars.
 Organic buildings are never linear or rigidly geometric.
 Instead, wavy lines and curved shapes suggest natural forms.

10
 The Sydney Opera House - Jorn Utzon
DECONSTRUCTIVISM:
 Deconstructivism, or Deconstruction, is an approach to building design that attempts
to view architecture in bits and pieces.
 The basic elements of architecture are dismantled.
 Deconstructivist buildings may seem to have no visual logic.
 They may appear to be made up of unrelated, disharmonious abstract forms.
 Deconstructivism in architecture, also called deconstruction, is a development of
postmodern architecture that began in the late 1980s.
 It is characterized by ideas of fragmentation, an interest in manipulating ideas
of a structure's surface or skin, non-rectilinear shapes which serve to distort and
dislocate some of the elements of architecture, such as structure and envelope.
 The finished visual appearance of buildings that exhibit the many
deconstructivist "styles" is characterized by a stimulating unpredictability and a
controlled chaos.

11
 Glass it is one of the largest constructivist buildings

World's most spectacular buildings in the style of Deconstructivism.

CHALLENGING CIAM DECLARATIONS:

 CIAM (International Congresses of Modern Architecture) were an organization
founded in 1928 and disbanded in 1959, responsible for a series of events and congresses
arranged around the world by the most prominent architects of the time, with the
objective of spreading the principles of the Modern Movement focusing in all the main
domains of architecture (like landscape, urbanism, industrial design, and many others).

12
FORMATION OF CIAM:
 The International Congresses of Modern Architecture (CIAM) was founded in June
1928, at the Chateau de la Sarraz in Switzerland, by a group of 28 European architects
organized by Le Corbusier, Hélène de Mandrot (owner of the castle), and Sigfried
Giedion (the first secretary-general).
 CIAM was one of many 20th century manifestos meant to advance the cause of
"architecture as a social art".
INFLUENCE:
 The organization was hugely influential.
 It was not only engaged in formalizing the architectural principles of the Modern
Movement, but also saw architecture as an economic and political tool that could be
used to improve the world through the design of buildings and through urban planning.
 The fourth CIAM meeting in 1933 was to have been held in Moscow. The rejection of
Le Corbusier's competition entry for the Palace of the Soviets, a watershed moment and
an indication that the Soviets had abandoned CIAM's principles, changed those plans.
 Instead it was held onboard ship, the SS Patris II, which sailed from Marseille to
Athens.
 Here the group discussed concentrated on principles of "The Functional City", which
broadened CIAM's scope from architecture into urban planning.
 Based on an analysis of thirty-three cities, CIAM proposed that the social problems
faced by cities could be resolved by strict functional segregation, and the distribution of
the population into tall apartment blocks at widely spaced intervals.
 These proceedings went unpublished from 1933 until 1942, when Le Corbusier, acting
alone, published them in heavily edited form as the "Athens Charter."
 As CIAM members traveled worldwide after the war, many of its ideas spread outside
Europe, notably to the USA.
 The city planning ideas were adopted in the rebuilding of Europe following World War
II, although by then some CIAM members had their doubts. Alison and Peter Smithson
were chief among the dissenters.
 When implemented in the postwar period, many of these ideas were compromised by
tight financial constraints, poor understanding of the concepts, or popular resistance.
 Mart Stam's replanning of postwar Dresden in the CIAM formula was rejected by its
citizens as an "all-out attack on the city."
 The CIAM organization disbanded in 1959 as the views of the members diverged.

13
  Le Corbusier had left in 1955, objecting to the increasing use of English during
meetings.
 For a reform of CIAM, the group Team 10 was active from 1953 onwards, and two
different movements emerged from it: the New Brutalism of the English members
(Alison and Peter Smithson) and the Structuralism of the Dutch members (Aldo van
Eyck and Jacob B. Bakema).
CIAM Conferences:
 CIAM's conferences consisted of:
 1928, CIAM I, La Sarraz, Switzerland, Foundation of CIAM
 1929, CIAM II, Frankfurt am Main, Germany, on The Minimum Dwelling
 1930, CIAM III, Brussels, Belgium, on Rational Land Development
 1933, CIAM IV, Athens, Greece, on The Functional City
 1937, CIAM V, Paris, France, on Dwelling and Recovery
 1947, CIAM VI, Bridgwater, England, on Reconstruction of the Cities
 1949, CIAM VII, Bergamo, Italy, on Art and Architecture
 1951, CIAM VIII, Hoddesdon, England, on The Heart of the City
 1953, CIAM IX, Aix-en-Provence, France, on Habitat
 1956, CIAM X, Dubrovnik, Yugoslavia, on Habitat
 1959, CIAM XI, Otterlo, the Netherlands, organized dissolution of CIAM by
Team 10
TEAM 10:
 Team 10, just as often referred to as "Team X", was a group of architects and other
invited participants who assembled starting in July 1953 at the 9th Congress of
C.I.A.M. and created a schism within CIAM by challenging its doctrinaire approach to
urbanism.
 The group's first formal meeting under the name of Team 10 took place in Bagnols-sur-
Cèze in 1960; the last, with only four members present, was in Lisbon in 1981.
 Team 10's core group consists of the seven most active and longest-involved participants
in the Team 10 discourse, namely
 Jaap Bakema,
 Georges Candilis,
 Giancarlo De Carlo,
 Aldo van Eyck,
 Alison and Peter Smithson and

14
  Shadrach Woods.
 They referred to themselves as "a small family group of architects who has sought each
other out because each has found the help of the others necessary to the development
and understanding of their own individual work."
 Team 10's theoretical framework, disseminated primarily through teaching and
publications, had a profound influence on the development of architectural thought in
the second half of the 20th century, primarily in Europe.
 Two different movements emerged from Team 10:
 the New Brutalism of the English members (Alison and Peter Smithson) and
 the Structuralism of the Dutch members (Aldo van Eyck and Jacob Bakema).
 "Core family members" included:
 Jacob B. Bakema, The Netherlands
 Aldo van Eyck, The Netherlands
 Alison and Peter Smithson, England
 Georges Candilis, Greece
 Shadrach Woods, USA/France
 Giancarlo De Carlo, Italy
HISTORY:
 Team 10's core group started meeting within the context of CIAM, the international
platform for modern architects founded in 1928 and dominated by Le Corbusier and
Sigfried Giedion.
 After the war CIAM became the venue for a new generation of modern architects.
 As a student, Candilis had already been taking part in the CIAM meetings since the
congress in Athens, 1933, while Bakema and Van Eyck had been involved in the
discussions on the future of modern architecture since the ‗reunion‘ congress in
Bridgwater, 1947.
 Alison and Peter Smithson attended the congress in Hoddesdon in 1951 to hear Le
Corbusier speak, and it was there that they met, among others, Candilis, Bakema and
Van Eyck.
 These individuals would form part of the core of Team 10 after the dissolution of
CIAM, as would Shadrach Woods and Giancarlo De Carlo.
 The younger members who instigated the changes in CIAM formed a much wider group
than the later core of Team 10.

15
 After the eighth congress in Hoddesdon, the individual national groups of CIAM set up
‗youngers‘ sections, whose members generally took a highly active part in the
organization.
 The intention was to rejuvenate CIAM, but instead a generation conflict started to
dominate the debates, triggering a lengthy process of handing over the control of the
CIAM organization to the younger generation.
 After the tenth congress in Dubrovnik in 1956, organized by a representative group
from the younger generation which was nicknamed ‗Team 10‘, the revival process of
CIAM began to falter, and by 1959 the legendary organization came to an end at a
final congress in Otterlo.
 An independent Team 10 with a partly changed composition subsequently started
holding its own meetings without declaring a formal new organization.
 There is a variety of reasons why Team 10 and its particular core participants emerged
from this process.
 They certainly belonged to the most combatant, outspoken and eloquent ‗youngers‘.
 They also shared a profound distrust of the bureaucratic set-up of the old CIAM
organization which they refused to continue.
 But perhaps more importantly, they were initially part of the most active and dominant
CIAM groups, namely those from the UK, France, Italy, the Netherlands and
Switzerland, which were run by the second, so-called middle generation of modern
architects.
 This observation partly explains why there are no German participants to the Team 10
discourse in the early years; due to the Second World War most of the first and second
generation of modern architects had fled the country to the UK and the USA.
 This migration also explains the dominance of the Anglo-Saxon contribution to post-
war CIAM, which was quite different from the pre-war years, when modern
architecture was dominated by developments on the European continent.
 Especially the English youngers were eager to abandon the CIAM organization and set
up their own platform.
 There is no doubt that Team 10 sprang from within CIAM but it is impossible to
identify an exact and singular moment of origin; looking back each Team 10 participant
seems to remember a different particular moment.
 The chosen period of 1953-81 represents the years of the most intensive interaction
between the core participants.

16
 All of them were present in an official capacity for the first time in 1953, at the CIAM
congress in Aix-en-Provence, except for De Carlo who first attended a CIAM meeting
in 1955 and who did not really form part of the core group of Team 10 until after the
dissolution of CIAM.
 The last ‗official‘ Team 10 meeting took place in 1977, but in retrospect the core
participants identify the demise of Bakema in 1981 as marking the end of Team 10.
 With the loss of Bakema as a driving force, the ‗magic‘ of the meetings apparently
evaporated.
 At the same time, this was the moment when Van Eyck and the Smithsons became
embroiled in a dispute which damaged their formerly close relationship beyond repair.
 Individual Team 10 members continued to meet, but the core of the group had finally
disintegrated.
 Besides the ambiguous status of the participants and of the group, as well as the time
frame, there is a third factor complicating the reconstruction of the history of Team 10.
 From the perspective of conventional historiography, there is scarcely a tangible product
or object to research.
 The individuals within the group emphatically maintained their autonomous
standpoints as demonstrated by the many clashes that arose.
 Yet they persisted in calling Team 10 a ‗family‘, so expressing their close bond and their
mutual trust and respect.
 There was no unequivocal Team 10 theory or school in the traditional sense.
 There was only one manifesto, the Doorn Manifesto of 1954, and that had been
assembled within the older CIAM organization before Team 10 came into being.
 Even this one manifesto was moreover a subject of dispute between the Dutch and
English younger members of CIAM.
 Mention may be made of two other brief public statements which were sent into the
world in 1961 in the aftermath of the dissolution of CIAM – the ‗Paris Statement‘ and
‗The Aim of Team 10‘.
 They stated the new group‘s intentions to continue to meet, but can hardly be called a
programme for a new architecture.
 According to the introductory text of the Team 10 Primer, the individual members
‗sought each other out, because each has found the help of the others necessary to the
development and understanding of their own individual work‘.

17
  It could be argued that the only ‗product‘ of Team 10 as a group was its meetings, at
which the participants put up their projects on the wall, and exposed themselves to the
ruthless analysis and fierce criticism of their peers.
BRUTALISM:
 The Bauhaus architect Le Corbusier used the French phrase béton brut, or raw concrete,
to describe the construction of his rough, concrete buildings.
 Brutalism grew out of the Bauhaus Movement and the béton brut buildings by Le
Corbusier and his followers.
 Heavy and angular, Brutalist buildings can be constructed quickly and economically.
 Common features include:
 Precast concrete slabs
 Rough, unfinished surfaces
 Exposed steel beams
 Massive, sculptural shapes
 The Prizker Prize-winning architect Paulo Mendes da Rocha is often called a
"Brazilian Brutalist" because his buildings are constructed of prefabricated and mass-
produced concrete components. Shown here is his home in São Paulo, Brazil.
 The Bauhaus architect Marcel Breuer turned to Brutalism when he designed the
Whitney Museum in New York City and the Atlanta, Georgia Central Library.

Da Rocha Residence, Sao Paolo - Paulo Mendes

18
WRITING OF VENTURI -JANE JACOB:
 Jane Jacobs, (May 4, 1916 – April 25, 2006) was an American-born Canadian writer
and activist with primary interest in communities and urban planning and decay.
 The Death and Life of Great American Cities, by Jane Jacobs, is a greatly influential
book on the subject of urban planning in the 20th century.
 First published in 1961, the book is a critique of modernist planning policies claimed by
Jacobs to be destroying many existing inner-city communities.
 The Death and Life of Great American Cities is her single-most influential book and
possibly the most influential American book on urban planning and cities.
 Widely read by both planning professionals and the general public, the book is a strong
critique of the urban renewal policies of the 1950s, which, she claimed, destroyed
communities and created isolated, unnatural urban spaces.
 Jacobs advocated the abolition of zoning laws and restoration of free markets in land,
which would result in dense, mixed-use neighborhoods and frequently cited New York
City's Greenwich Village as an example of a vibrant urban community.
 Cities and the Wealth of Nations attempts to do for economics what The Death and
Life of Great American Cities did for modern urban planning, though it has not received
the same critical attention.
 Beginning with a concise treatment of classical economics, this book challenges one of
the fundamental assumptions of the greatest economists.
 Classical (and Neo-classical) economists consider the nation-state to be the main player
in macroeconomics.
19
WRITING OF VENTURI –ALDO ROSSI:
 Aldo Rossi (May 3, 1931 – September 4, 1997) was an Italian architect and designer
who accomplished the unusual feat of achieving international recognition in four
distinct areas:
 Theory
 Drawing
 Architecture and
 Product design.
WORKS:
 His earliest works of the 1960s were mostly theoretical and displayed a simultaneous
influence of 1920s Italian modernism (see Giuseppe Terragni), classicist influences of
Viennese architect Adolf Loos, and the reflections of the painter Giorgio De Chirico.
 A trip to the Soviet Union to study Stalinist architecture also left a marked impression.

Bonnefanten Museum in Maastricht

 In his writings Rossi criticized the lack of understanding of the city in current
architectural practice.
 He argued that a city must be studied and valued as something constructed over time;
of particular interest are urban artifacts that withstand the passage of time.
 Rossi held that the city remembers its past (our "collective memory"), and that we use
that memory through monuments; that is, monuments give structure to the city.
WRITING OF VENTURI –CHRISTOPHER ALEXANDER:
 Christopher Alexander was born in Vienna, Austria, and raised in Oxford and
Chichester, England.
 He graduated from Cambridge University, where he studied Mathematics and
Architecture. He then obtained a Ph. D. in Architecture at Harvard University.

20
  For his Ph. D. Thesis, later published as the book Notes on the Synthesis of Form, he
was awarded the first Gold Medal for Research by the American Institute of
Architects.
 Since 1963 he has been Professor of Architecture at the University of California at
Berkeley, and Director of the Center for Environmental Structure.
 In 1980, Professor Alexander was elected member of the Swedish Royal Academy; and
in 1996 he was elected fellow of the American Academy of Arts and Sciences.
 Christopher Alexander is a Trustee of the Prince of Wales's Institute of Architecture.
He is now retired and is based in Arundel, Sussex, UK.
PUBLICATIONS:
 Dr. Alexander is the author of numerous books and papers.
 He has initiated a new approach to architectural thinking, in which the same set of
laws determines the structure of a city; a building; or a single room.
 He has spent most of his life in searching for these laws.
 His approach to solving this universal problem takes advantage of scientific reasoning,
and totally opposes other, unscientific approaches based on fashion, ideology, or
arbitrary personal preferences.
 This is so different from the way architecture has been taught since the second world
war that it causes conflicts with established architectural schools
 Alexander offers definitive solutions to the problems of urban architecture and design.
 It is a great pity that these were not adopted when first published.
 Fortunately, a small number of his ideas have been incorporated into the "New
Urbanism".
 Nevertheless, this very recent movement by no means represents a wholesale application
of his results.
 Alexander has actually abstracted the process by which organic and inorganic forms
evolve -- which is the same process that governs the growth of a city.
 These results lie at the basis of how matter organizes itself coherently, and are the
opposite of the modern planning approach in which grids, zones, roads, and buildings,
based on some preconceived design on paper, are imposed on human activity.

21
 UNIT 2
AFTER MODERNISM

DIFFERENCES BETWEEN MODERNISM AND POSTMODERNISM:

 Modernism is an encompassing label for a wide variety of cultural movements.
 Postmodernism is essentially a centralized movement that named itself, based on socio-
political theory, although the term is now used in a wider sense to refer to activities
from the 20th Century onwards which exhibit awareness of and reinterpret the modern.
 "Postmodern" literally means 'after modernism'. These movements, modernism and
postmodernism, are understood as cultural projects or as a set of perspectives.
 "Postmodernism" is used in critical theory to refer to a point of departure for works of
literature, drama, architecture, cinema, journalism, and design, as well as in marketing
and business and in the interpretation of law, culture, and religion in the late 20th and
early 21st centuries. Indeed, postmodernism can be understood as a reaction to
modernism.
 Postmodernist thought is an intentional departure from modernist approaches that had
previously been dominant. The term "postmodernism" comes from its rejection of the
"modern" scientific mentality developed during the Enlightenment.
 Fredric Jameson describes postmodernism as the "dominant cultural logic of late
capitalism.
POSTMODERN ARCHITECTURE:
 Postmodern architecture was an international style whose first examples are generally
cited as being from the 1950s, but which did not become a movement until the late
1970s and continues to influence present-day architecture.
 Post modernity in architecture is generally thought to be heralded by the return of "wit,
ornament and reference" to architecture in response to the formalism of the
International Style of modernism.
 As with many cultural movements, some of postmodernism's most pronounced and
visible ideas can be seen in architecture. The functional and formalized shapes and
spaces of the modernist movement are replaced by unapologetically diverse aesthetics:
styles collide, form is adopted for its own sake, and new ways of viewing familiar styles
and space abound.
 One popular building style of postmodernist style architecture is the use of pent roofing
in buildings, where roofs are slanted at an even angle from one wall to the other.

22
 Peaked roofing however, as seen on most traditional single-family homes, is an example
of Modernist Architecture.
EXAMPLES OF POSTMODERN ARCHITECTURE:
 The distinctive look of Michael Graves' Portland Building, with its use of a variety of
surface materials and colors, small windows, and inclusion of prominent decorative
flourishes, was in stark contrast to the architectural style most commonly used for large
office buildings at the time,and made the building an icon of postmodern architecture.
 Portland mayor Frank was among those who expressed the opinion that the modernist
style then being applied to most large office buildings had begun to make some
American cities' downtowns look "boring",with most of the newer, large buildings being
covered in glass and steel, and largely lacking in design features that would make them
stand out.

Portland Municipal Services Building

 First major postmodern building, opening before Philip Johnson's AT&T Building, and
its design has been described as a rejection of the Modernist principles established in the
early 20th century.

23
 AT&T Headquarter - Philip Johnson
 Philip Johnson's Sony Building (originally AT&T Building) in New York City, which
borrows elements and references from the past and reintroduces color and symbolism to
architecture.
 Postmodern architecture has also been described as "neo-eclectic", where reference and
ornament have returned to the facade, replacing the aggressively unornamented modern
styles.
 This eclecticism is often combined with the use of non-orthogonal angles and unusual
surfaces, most famously in the State Gallery of Stuttgart (New wing of the
Staatsgalerie Stuttgart)

Façade

24
 Entrance

State Gallery

25
STYLE:
 The building incorporates warm, natural elements of travertine and sandstone to
contrast the industrial pieces of green steel framing system and the bright pink and blue
steel handrails.
 The building's most prominent feature is a central circular atrium.
 This outdoor, enclosed space houses the sculpture garden.
 It is circumvented by a public footpath that leads pedestrians through the lot, turning
the architecture into an "architectural landscape.
 ―This feature allows the public to reach the higher elevation behind the museum from
the lower front of the building's main face.
PIAZZA D'ITALIA BY CHARLES MOORE.
 The Scottish Parliament buildings in Edinburgh have also been cited as being of
postmodern vogue.

Piazza d'Italia by Charles Moore

Piazza d'Italia at night

26
  The Piazza d'Italia is an urban public plaza in downtown New Orleans, Louisiana
controlled by the Piazza d'Italia Development Corporation, a subdivision of New
Orleans city government.
 Completed in 1978 according to a design by noted post-modernist Charles Moore and
Perez Architects of New Orleans, the Piazza d'Italia debuted to widespread acclaim on
the part of artists and architects.
 Modernist architects regard post-modern buildings as vulgar (many times associated
with the style of shopping malls and the nouveau riche values) and cluttered with "gew-
gaws".
 Postmodern architects often regard modern spaces as soulless and bland.
 The divergence in opinions comes down to a difference in goals: modernism 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.

Interior of the Toronto Eaton Centre in Toronto, Canada.

ROOTS OF POSTMODERNISM:
 The postmodernist movement began in America around the 1960s - 1970s and then it
spread to Europe and the rest of the world, to remain right through to the present.
 The aims of postmodernism or Late-modernism begin with its reaction to Modernism; it
tries to address the limitations of its predecessor.
 The list of aims is extended to include communicating ideas with the public often in a
then humorous or witty way.

27
  Often, the communication is done by quoting extensively from past architectural styles,
often many at once. In breaking away from modernism, it also strives to produce
buildings that are sensitive to the context within which they are built.
SAINSBURY WING:
 The most important addition to the building in recent years has been the Sainsbury
Wing, designed by the postmodernist architects Robert Venturi and Denise Scott
Brown to house the collection of Renaissance paintings, and built in 1991.
 The building occupies the "Hampton's site" to the west of the main building, where a
department store of the same name had stood until its destruction in the Blitz.
 In 1982 a competition was held to find a suitable architect; the shortlist included a
radical high-tech proposal by Richard Rogers

Sainsbury Wing of the National Gallery in London by Robert Venturi (1991).

AIMS AND CHARACTERISTICS:
 The aims of post-modernism, including solving the problems of Modernism,
communicating meanings with ambiguity, and sensitivity for the building‘s context, are
surprisingly unified for a period of buildings designed by architects who largely never
collaborated with each other.
 The aims do, however, leave room for various implementations as can be illustrated by
the diverse buildings created during the movement.
 The characteristics of Postmodernism allow its aim to be expressed in diverse ways.

28
  These characteristics include the use of sculptural forms, ornaments and materials.
 These physical characteristics are combined with conceptual characteristics of meaning.
 These characteristics of meaning include double coding, and high ceilings.

The ornament in Michael Graves' Portland Public Service Building (1980) is even more
prominent. The two triangular forms are largely ornamental. They exist for aesthetic or their
own purpose.

The Hood Museum of Art (1981-1983) has a typical symmetrical façade which was at the time
prevalent throughout Postmodern Buildings

29
 Esplanade of Europe by Ricardo Bofill, Montpellier (1978-2000).

1000 de La Gauchetière, in Montréal, with ornamented and strongly defined top, middle and
bottom. Contrast with the modernist Seagram Building.

30
 Bank of America Center in Houston by John Burgee and Philip Johnson. It combines
architecture elements of pre-WWII skyscrapers with elements of modern aesthetics.
THE CONDITION OF POSTMODERNITY:

 David Harvey‘s excellent work The Condition of Postmodernity.

 In his concept of time-space compression and the cultural and aesthetic responses to it.
 To be modern is to find ourselves in an environment that promises adventure, power,
joy, growth and transformation of ourselves and the world and at the same time, that
threatens to destroy everything we have, everything we know, and everything we are.
 To begin with, modernity can have no respect even for its own past, let alone that of
any pre-modern social order.
 The things to makes it difficult to preserve any sense of historical continuity.
 Postmodernism also ought to be looked at as mimetic of the social, economic, and
political practices in society.

31
 But since it is mimetic of different facets of those practices it appears in very different
guises.
 The superimposition of different worlds in many a postmodern novel, worlds between
which an uncommunicative prevails in a space of coexistence, bears an uncanny
relationship to the increasing disempowerment, and isolation of poverty and minority
populations in the inner cities of both Britain and the United States.
 It is not hard to read a postmodern novel as a metaphorical transect across the
fragmenting social landscape, the sub-cultures and local modes of communication, in
London, Chicago, New York, or Los Angeles.
 Changes in the way we imagine, think, plan, and rationalize are bound to have material
consequences.
 Only in these very broad terms of the conjoining of mimesis and aesthetic intervention
can the broad range of postmodernism make sense.
 He thinks it important to challenge the idea of a single and objective sense of time and
space, against which we can measure the diversity of human conceptions and
perceptions.
 He shall not argue for a total dissolution of the objective-subjective distinction, but
insist, rather, that we recognize the multiplicity of the objective qualities which space
and time can express, and the role of human practices in their construction.
 Neither time nor space, the physicists now broadly propose, had existence (let alone
meaning) before matter; the objective qualities of physical time-space cannot be
understood, therefore, independently of the qualities of material processes.
 what follows that shall make frequent reference to the concept of ‗time-space
compression.‘ mean to signal by that term processes that so revolutionize the objective
qualities of space and time that we are forced to alter, sometimes in quite radical ways,
how we represent the world to ourselves.
 The word ‗compression‘ because a strong case can be made that the history of capitalism
has been characterized by speed-up in the pace of life, while so overcoming spatial
barriers that the world sometimes seems to collapse inwards upon us. (Harvey, 1990:
240)
 He want to suggest that we have been experiencing, these last two decades, an intense
phase of time-space compression that has had a disorienting and disruptive impact upon
political-economic practices, the balance of class power, as well as upon cultural and
social life. (Harvey, 1990: 284)

32
  Aesthetic and cultural practices are peculiarly susceptible to the changing experience of
space and time precisely because they entail the construction of spatial representations
and facts out of the flow of human experience. They always broker between Being and
Becoming. (Harvey, 1990: 327)
 Since crises of over accumulation typically spark the search for spatial and temporal
resolutions, which in turn create an overwhelming sense of time-space compression, so
expect crises of over accumulation to be followed by strong aesthetic movements.
(Harvey, 1990: 327)

TOOLS OF NEW ARCHITECTURE:

COLLAGE IN ARCHITECTURE:
 Though Le Corbusier and other architects used techniques that are akin to collage,
collage as a theoretical concept only became widely discussed after the publication of
Collage City (1987) by Colin Rowe and Fred Koetter.
COLLAGE AND MODERNISM:
 Despite the pre-twentieth-century use of collage-like application techniques, some art
authorities argue that collage, properly speaking, did not emerge until after 1900, in
conjunction with the early stages of modernism.
 According to the Guggenheim Museum's online art glossary, collage is an artistic
concept associated with the beginnings of modernism, and entails much more than the
idea of gluing something onto something else.
 The glued-on patches which Braque and Picasso added to their canvases offered a new
perspective on painting when the patches "collided with the surface plane of the
painting."
 In this perspective, collage was part of a methodical reexamination of the relation
between painting and sculpture, and these new works "gave each medium some of the
characteristics of the other," according to the Guggenheim essay.
 Furthermore, these chopped-up bits of newspaper introduced fragments of externally
referenced meaning into the collision: "References to current events, such as the war in
the Balkans, and to popular culture enriched the content of their art.
 ―This juxtaposition of signifiers, "at once serious and tongue-in-cheek," was
fundamental to the inspiration behind collage: "Emphasizing concept and process over
end product, collage has brought the incongruous into meaningful congress with the
ordinary."
33
 Guggenheim Museum
MODERN SCIENCE AND TECHNOLOGY:
 Since the 19th Century, science and technology have brought both positive and negative
influences on human society.
 Many western scholars, including futurists, ecologists, Marxist cultural critics,
humanists, existential thinkers, have analyzed and criticized human living conditions
brought about by science and technology.
 It is now necessary to construct a good and united developing mode of science and
technology for the development of human societies and global economics.
 Considering that human beings obtained greater achievements in using scientific
technology to control nature, while, human beings digressed into thoughtless economic
tools ---- passive, emotionless and strength less, due to over strengthening of material
production, consumption and technical values.
 Human society had been controlled completely by mechanization and becoming a slave
to the machine.
 The reason lies in the non-humane development of technology.

34
  If we want technology to serve mankind, individuals are supposed to be motivated with
initiative playing an important role, so that a humane consumption view is established
and the human psycho renewed.
 In this complete society, love is used to build a new living manner which emphasized an
existence and commitment.
HISTORY OF REVIVALISM:
INTRODUCTION:
 Revivalism is usually considered to be those movements within Christianity which
emphasizes the religious appeal to the emotions as well as to intellect of individuals to
restore them to an active participation in Christian activities.
 It believes that a vital Christianity begins with the response of the individual's whole
being to the gospel call for repentance and spiritual rebirth to faith in Jesus Christ.
 This experience is the beginning of a personal relationship to God.
 Some have sought to make revivalism just an American experience and only on the
frontier in the early years of the American continental expansion.
 But revivalism can be seen to be a much broader Christian phenomena.
 The modern revival movement has its historical roots in the Puritan-pietistic reaction to
the rationalism of the Enlightenment and to the Lutheran and Calvinistic theological
creedal formulations of Reformation faith that characterized much of the seventeenth
century.
 This reaction resisted the depersonalization of their religion.
 These revivalists emphasized a more experiential element of their Reformation faith
which emphasized personal commitment and obedience to Christ and a life regenerated
by the indwelling Holy Spirit.
 They also emphasized personal witness and missions as a primary responsibility of the
individual Christian and of the church.
 Subjective religious experience and the importance of the individual became a new force
in the renewing and expansion of the church.
 These concerns gradually permeated much of Protestantism, especially in the developing
churches in America.

35
THE HISTORY OF REVIVALISM:
 Revivals have occurred at various times in the modern period of a renewal of faith and
life:
 Pietism reacted to the deadness of the church and to the rationalism of the
Enlighenment in 17th century;
 Quakerism reacted to the sacramentalism in the English church;
 John Wesley began an Evangelical Awakening in England in the 18th
century;
 Wesley's theology is essentially Arminianism, which is usually contrasted
with Calvinism.
 the First Great Awakening occurred in the 18th century;
 the Second Great Awakening occurred at the beginning of 19th century;
 Charles Finney spread the the Second Awakening.
 The Blanchards preserved the effects of the Second Awakening.
 the Fulton Street or Layman Revival began in 1858;
 Dwight L. Moody conducted revival and evangelistic meetings from 1875
to 1899;
 the Holiness revival began after the American Civil War in 1875;
 the Pentecostal revival occurred at the beginning of 20th century;
 the charismatic renewal movement occurred during the 1960's and 70's.
POP ARCHITECTURE:
 Architecture popular with the public
 Buildings the forms of which suggest their function, such as a shoe-shaped shoe-shop;
also called ‗programmatic‘, or ‗roadside‘ architecture.
 Venturi has included ‗autoscape‘ architecture of the large illuminated advertisements
common in the USA in the pop-architecture category.
 Work influenced by popular architecture, or responding to High Tech and Archigram-
promoted images.
 Venturi, Robert Charles (1925– ). American Post-Modern architect. He set up his own
practice with John Rauch (1930– ) in 1964, later (1967) joined by his wife, Denise
Scott Brown (1931– ), and later still by Steven Izenour (1930– ).
 His early buildings include the Vanna Venturi House, Chestnut Hill, PA. (1961–5).
 In 1966 his Complexity and Contradictions in Architecture proposed (among much else)
that ambiguity, tensions, and intricate complexities should replace the blandness of

36
 International Modernism (getting in a dig at Mies van der Rohe's pronouncement that
‗less is more‘ by stating ‗less is a bore‘), and the book made his reputation.
 He drew attention to the sources of meaning in architecture, insisted that architecture
should deal in allusion and symbolism, and was critical of Functionalist dogma.
 Although the Venturis have been landed with the label of Post-Modernism, they have
vehemently denied they are, or ever were, associated with that movement, but drew
precedents from an eclectic mix, including what might be described as commercial-
vernacular themes.
 Claiming that, for example, High-Tech is a return to an ‗industrial vocabulary in a
postindustrial age‘, they see their own work as far more truly representative of their
own times, at once tolerant and pluralist, without dogmatic assumptions.
 Other recent works include the Museum of Contemporary Art, San Diego, La Jolla, CA
(1986–96).

Museum of contemporary art san diego

Museum of Contemporary Art San Diego

37
High Tech:
 Style expressive of structures, technologies, and services by exposing and even
emphasizing them, or appearing to do so (the so-called Machine Aesthetic).
 Some hold that High Tech originated in C19 iron-and-glass structures such as Paxton's
Crystal Palace (1851)

Crystal Palace (1851) Ar.Joseph Paxton

Hong Kong and Shanghai Bank, Hong Kong (1986), by Sir Norman Foster
 It is also known as the Industrial Aesthetic, and it is really about image.
 It tends to be expensive to construct and maintain.

38
ARCHIGRAM:
 Archigram provided the precedents for the so-called High Tech style, and promoted its
architectural ideas through seductive futuristic graphics by means of exhibitions and the
magazine.
 Archigram: buildings designed by the group resembled machines or machine-parts, and
structures exhibited their services and structural elements picked out in strong colours.
 The group's vision of disposable, flexible, easily extended constructions was influential,
although very few of its projects were realized.
 Richard Rogers's architecture derives from Archigram ideas, while Price's notions of
expendability influenced Japanese Metabolism.

Pop Architecture: The Lee-Chin Crystal

CRITICAL REGIONALISM:
 Critical Regionalism is an approach to architecture that strives to counter placelessness
and lack of identity in Modern Architecture by utilizing the building's geographical
context.
 Critical Regionalism is not regionalism in the sense of vernacular architecture, but is, on
the contrary, an avant-gardist, modernist approach, but one that starts from the
premises of local or regional architecture.
 The idea of critical regionalism emerged at a time during the early 1980s when
Postmodern architecture, itself a reaction to Modernist architecture

39
 Jørn Utzon, Bagsvaerd Church (1973–6), Denmark; combinations of local culture and
universal civilization.

Alvar Aalto, Saynatsalo Town Hall (1952), Finland: the grass steps appeal to the tactile sense.
 Two examples Frampton briefly discusses are Jørn Utzon and Alvar Aalto. In
Frampton's view, Utzon's Bagsvaerd Church (1973–6), near Copenhagen is a self-
conscious synthesis between universal civilization and world culture.
 This is revealed by the rational, modular, neutral and economic, partly prefabricated
concrete outer shell (i.e. universal civilization) versus the specially-designed,
'uneconomic', organic, reinforced concrete shell of the interior, signifying with its
manipulation of light sacred space and 'multiple cross-cultural references'
 In addition to Aalto and Utzon, the following architects have used Critical
Regionalism (in the Frampton sense) in their work:
 B. V. Doshi
 Charles Correa
 Alvaro Siza
40
  Rafael Moneo
 Geoffrey Bawa
 Tadao Ando
DECONSTRUCTIVE THEORY AND PRACTICE:
DECONSTRUCTIVISM:
 Deconstructivism in architecture, also called deconstruction, is a development of
postmodern architecture that began in the late 1980s.
 It is characterized by ideas of fragmentation, an interest in manipulating ideas of a
structure's surface or skin, non-rectilinear shapes which serve to distort and dislocate
some of the elements of architecture, such as structure and envelope.

Imperial War Museum North in Manchester comprises three apparently intersecting curved
volumes.
 Originally, some of the architects known as Deconstructivists were influenced by the
ideas of the French philosopher Jacques Derrida.
 Eisenman developed a personal relationship with Derrida, but even so his approach to
architectural design was developed long before he became a Deconstructivist.
 Deconstructivism should be considered an extension of his interest in radical formalism.
 Some practitioners of deconstructivism were also influenced by the formal
experimentation and geometric imbalances of Russian constructivism.
 There are additional references in deconstructivism to 20th-century movements:
 the Modernism/Postmodernism interplay
 Expressionism
 Cubism,
 Minimalism and

41
  Contemporary art.
 The attempt in deconstructivism throughout is to move architecture away from what its
practitioners see as the constricting 'rules' of modernism such as
 "Form follows function,"
 "Purity of form," and
 "Truth to materials."
CONTEXT AND INFLUENCES:
 Deconstructivism in contemporary architecture stands in opposition to the ordered
rationality of Modernism.
 Its relationship with Postmodernism is also decidedly contrary.
 Though postmodernist and nascent deconstructivist architects published theories
alongside each other in the journal Oppositions (published 1973–84), that journal's
contents mark the beginning of a decisive break between the two movements.

Seattle Central Library

 Robert Venturi's Complexity and Contradiction in architecture (1966).
 A defining point for both postmodernism and for deconstructivism, Complexity and
Contradiction argues against the purity, clarity and simplicity of modernism.
 With its publication, functionalism and rationalism, the two main branches of
modernism, were overturned as paradigms according to postmodernist and
deconstructivist readings, with differing readings.

42
 Some Postmodern architects endeavored to reapply ornaments even to economical and
minimal buildings, an effort best illustrated by Venturi's concept of "the decorated
shed." Rationalism of design was dismissed but the functionalism of the building
 Thesis of Venturi's next major work, that signs and ornament can be applied to a
pragmatic architecture, and instill the philosophic complexities of semiology.
 The deconstructivist reading of Complexity and Contradiction is quite different.
 The basic building was the subject of problematics and intricacies in deconstructivism,
with no detachment for ornament.

Vitra Design Museum by Frank Gehry

 Rather than separating ornament and function, like postmodernists such as Venturi,
the functional aspects of buildings were called into question.
 Geometry was to deconstructivists what ornament was to postmodernists, the subject of
complication, and this complication of geometry was in turn, applied to the functional,
structural, and spatial aspects of deconstructivist buildings.
 Another example of the deconstructivist reading of Complexity and Contradiction is
Peter Eisenman's Wexner Center for the Arts.

The Wexner center's Gridwork facing the south side of the building

43
  The Wexner Center takes the archetypal form of the castle, which it then imbues with
complexity in a series of cuts and fragmentations.
 A three-dimensional grid, runs somewhat arbitrarily through the building.
 The grid, as a reference to modernism, of which it is an accoutrement, collides with the
medieval antiquity of a castle.
 Some of the grid's columns intentionally don't reach the ground, hovering over stairways
creating a sense of neurotic unease and contradicting the structural purpose of the
column.

Sidewalk in the Wexner Center

CONSTRUCTIVISM AND RUSSIAN FUTURISM:
 Another major current in deconstructivist architecture takes inspiration from the
Russian Constructivist and Futurist movements of the early twentieth century, both in
their graphics and in their visionary architecture, little of which was actually
constructed.
 Both Deconstructivism and Constructivism have been concerned with the tectonics of
making an abstract assemblage.
 Both were concerned with the radical simplicity of geometric forms as the primary
artistic content, expressed in graphics, sculpture and architecture.
 The Constructivist tendency toward purism,(Purism was a form of Cubism) though, is
absent in Deconstructivism: form is often deformed when construction is deconstructed.
 Basic structural units such as bars of steel or sawn lumber loosely attached, piled, or
scattered.
 They were also often drafted and share aspects with technical drawing and engineering
drawing.
 Two strains of modern art, minimalism and cubism, have had an influence on
deconstructivism.

44
 Analytical cubism had a sure effect on deconstructivism, as forms and content are
dissected and viewed from different perspectives simultaneously.
 Deconstructivism as Analytical cubism, but is still found in the earlier and more
vernacular works of Frank Gehry.
 Deconstructivism also shares with minimalism a disconnection from cultural references.
 With its tendency toward deformation and dislocation, there is also an aspect of
expressionism and expressionist architecture associated with deconstructivism.
 At times deconstructivism mirrors varieties of expressionism, neo-expressionism, and
abstract expressionism as well.
 The angular forms of the Ufa Cinema Center by Coop Himmelb recall the abstract
geometries of the numbered paintings of Franz Kline, in their unadorned masses.
 The UFA Cinema Center also would make a likely setting for the angular figures
depicted in urban German street scenes by Ernst Ludwig Kirchner.
 The work of Wassily Kandinsky also bears similarities to deconstructivist architecture.

UFA-Palast in Dresden by Coop Himmelb

 His movement into abstract expressionism and away from figurative work, is in the
same spirit as the deconstructivist rejection of ornament for geometries.
 The projects in this exhibition mark a different sensibility, one in which the dream of
pure form has been disturbed.
 It is the ability to disturb our thinking about form that makes these projects
deconstructive.
 The show examines an episode, a point of intersection between several architects where
each constructs an unsettling building by exploiting the hidden potential of modernism.

45
 1988 Museum of Modern Art exhibition
COMPUTER-AIDED DESIGN:
 Computer aided design is now an essential tool in most aspects of contemporary
architecture, but the particular nature of deconstrucivism makes the use of computers
especially pertinent.
 Three-dimensional modelling and animation (virtual and physical) assists in the
conception of very complicated spaces.
 Though the computer has made the designing of complex shapes much easier, not
everything that looks odd is "deconstructivist."

MIT's Stata Center, opened March 16, 2004.

 Deconstructivism can also be seen as having as much a basis in critical theory as the
other major offshoot of postmodernism, critical regionalism.
 The two aspects of critical theory, urgency and analysis, are found in deconstructivism.
 There is a tendency to re-examine and critique other works or precedents in
deconstructivism, and also a tendency to set esthetic issues in the foreground.
46
  Deconstructivists would fail in that regard if only they are made for an elite and are, as
objects, highly expensive, despite whatever critique they may claim to impart on the
conventions of design.
 The difference between criticality in deconstructivism and criticality in critical
regionalism, is that critical regionalism reduces the overall level of complexity involved
and maintains a clearer analysis while attempting to reconcile modernist architecture
with local differences.
 In effect, this leads to a modernist "vernacular." Critical regionalism displays a lack of
self-criticism and a utopianism of place.
 Deconstructivism, meanwhile, maintains a level of self-criticism, as well as external
criticism and tends towards maintaining a level of complexity.
 Some architects identified with the movement, notably Frank Gehry, have actively
rejected the classification of their work as deconstructivist.

The Guggenheim Museum Bilbao by Frank Gehry, on the Nervión River in downtown Bilbao,
Spain.

47
The museum is clad in glass, titanium, and limestone

48
 UNIT 3:
ALTERNATIVE PRACTICE

IDEAS AND SELECTED WORKS OF HASSAN FATHY

 Hassan Fathy (1900 – 1989, Arabic: ‫ )ف تحي حسن‬was a noted Egyptian architect
who pioneered appropriate technology for building in Egypt, especially by working to
re-establish the use of mud brick (or adobe) and traditional as opposed to western
building designs and lay-outs.

Hassan Fathy
 Fathy trained as an architect in Egypt, graduating in 1926 from the University of
King Fuad I (now the University of Cairo). He designed his first mud brick buildings in
the late 1930s. He held several government positions and was appointed head of the
Architectural Section of the Faculty of Fine Arts, Cairo, in 1954.
 Fathy utilized ancient design methods and materials. He integrated a knowledge of the
rural Egyptian economic situation with a wide knowledge of ancient architectural and
town design techniques. He trained local inhabitants to make their own materials and
build their own buildings.
 Climatic conditions, public health considerations, and ancient craft skills also affected
his design decisions. Based on the structural massing of ancient buildings, Fathy
incorporated dense brick walls and traditional courtyard forms to provide passive
cooling.
LIFE HISTORY:
 Hassan Fathy, who was born in Alexandria in 1900 and died in Cairo in 1989, is
Egypt's best known architect.

49
 In the course of a long career with a crescendo of acclaim sustaining his later decades,
the cosmopolitan trilingual professor-engineer-architect, amateur musician, dramatist,
and inventor, designed nearly 160 separate projects, from modest country retreats to
fully planned communities with police, fire, and medical services, with markets, schools
and theatres, with places for worship and others for recreation, including many, like
laundry facilities, ovens, and wells that planners less attuned to sociability might call
workstations.
 Although the importance of Fathy's contribution to world architecture became clear
only as the twentieth century waned, his contribution to Egypt was obvious decades
before, at least to outside observers.
 As early as halfway through his three building seasons at New Gourna (a town for the
resettlement of tomb robbers, designed for beauty and built with mud) the project was
being admired abroad.
 In March 1947 it was applauded in a popular British weekly, half a year later in a
British professional journal, and praise from Spanish professionals followed the next
year.
 A year of silence (1949, when Fathy published a literary fable) was followed by
attention in one French and two Dutch periodicals,it the lead story.
 Fathy's next major engagement, designing and supervising school construction for
Egypt's Ministry of Education, further extended his leave from the College of Fine
Arts, where he had begun teaching in 1930.
 In 1953 he returned, heading the architecture section the next year. In 1957, frustrated
with bureaucracy and convinced that buildings would speak louder than words, he
moved to Athens to collaborate with international planners
 He served as the advocate of traditional natural-energy solutions in major community
projects for Iraq and Pakistan and undertook, under related auspices, extended travel
and research for "Cities of the Future" program in Africa.
 Awards:
 Aga Khan Award for Architecture Chairman's Award (1980),
 Balzan Prize for Architecture and Urban Planning (1980),
 Right Livelihood Award (1980)

50
 Hassan Fathy - Architecture For The Poor
LIFETIME ACHIEVEMENTS OF HASSAN FATHY
 The first Chairman's Award was given in 1980 to Hassan Fathy, an Egyptian
architect, artist and poet in acknowledgement of his lifelong commitment to
architecture in the Muslim world.
 Early in his career he began to study the pre-industrial building systems of Egypt to
understand their aesthetic qualities, to learn what they had to teach about climate
control and economical construction techniques and to find ways to put them to
contemporary use.

51
 Two such systems dominated his thinking: the climatically efficient houses of Mamluk
and Ottoman Cairo, ingeniously shaded and ventilated by means of their two-storey
halls and courtyards; and the indigenous mud brick construction still to be found in
rural areas.
 The latter consists of inclined arches and vaults, built without shuttering, domes on
squinches built over square rooms in a continuing spiral, semi-domed alcoves and other
related forms.

52
 The ancient mud brick forms, in contrast, were still being produced by rural masons
unchanged. Stimulated by what he had learned, Fathy had what was then a
revolutionary idea.
 Hassan perceived that a connection could be made between the continuing viability of
mud brick construction and the desperate need of Egypt's poor to be taught once again
to build shelter for themselves.
 In his lifetime he designed more than thirty projects including several villages for the
poor. Experimental and unorthodox as his ideas were, more than two-thirds of his
projects were either partially or completely realised. Still in use, and well cared for, are a
series of modest private residences shaped by his profound understanding of vernacular
design.
 The urban housing forms of Cairo could not serve Fathy directly as a replicable source
because of the disappearance of the building traditions that created them. These fine old
houses enriched his imagination, however, and were to become models for later large-
scale work.
 The emerging ideals of the modern movement in Europe in the early part of the
twentieth century were diametrically opposed to the preservation of such traditions,
producing manifestos that proclaimed a ‗New Era‘. As Le Corbusier proclaimed in his
Towards a New Architecture in 1927,the use of materials such as plate glass, steel and
reinforced concrete, as well as the image of the industrial age, were to be the basis of the
revolutionary changes that he proposed.
 For him, and many others in this movement, the spaces that could be created by using
such technological advances had socially corrective potential and honesty of expression
in the use of this technology was deemed to be an essential prerequisite to a brighter
future.

53
 Fuad Riad House, 1967, Shabramant, Egypt.

 Rather than believing that people could be behaviorally conditioned by architectural

spaces, Fathy felt that human beings, nature and architecture should coexist in
harmonious balance.
 For him, architecture was a communal art, that should reflect the personal habits and
traditions of a community rather than reforming or eradicating them. while he was
certainly not opposed to innovation, he felt that technology should be subservient to
social values, and appropriate to popular need.
 His book Architecture for the poor, a call for integration of nature and industry,
prefigures the current ethos of sustainability.

54
 Fathy did not seek to theorize the profession, but saw the architect as working in
partnership with people, and providing guidance on structural and aesthetic issues. He
finally formalized this concept in his institute for appropriate technology, through
which he sought to expand on the ideas begun at new gourna

 When commissioned to assist in the design of the reconstruction of sohar, in the

sultanate of oman between 1970 and 1973, for example, where a fire had destroyed
much of commercial area of the city, he worked with local craftsmen to develop a
lightweight roofing element using readily available, in expensive materials, such as
woven wire fabric and reeds, which he called a baratsi truss.
 This truss proved to be very light, structurally stable and weatherproof, and yet offered
diverse architectural possibilities.

55
  Fathy encouraged a deeper respect for the use of tradition in architecture, noting that
the word itself comes from the latin trader, to carry forward or to transfer, and thus
implies the cyclical renewal of life.
 Fathy went further to identify this transfer with individual behavior and its impact on
society in general, by defining tradition as ―the social analogy of personal habit‖. By
doing so, he intimated that it is the responsibility of each architect to develop a
heightened awareness of such habits, and to incorporate them sympathetically into each
design.
IDEAS AND SELECTED WORKS OF LAURIE BAKER
 Laurence Wilfred "Laurie" Baker (March 2, 1917 – April 1, 2007) was an award-
winning British-born Indian architect, renowned for his initiatives in cost-effective
energy-efficient architecture and for his unique space utilisation and simple but
beautiful aesthetic sensibility. In time he made a name for himself both in sustainable
architecture as well as in organic architecture.
 Laurie Baker went to India in 1945 in part as a missionary and since then lived and
worked in India for over 50 years. He obtained Indian citizenship in 1989 and resided
in Thiruvananthapuram (Trivandrum), Kerala, since 1970 , where he later set up an
organization called COSTFORD (Centre of Science and Technology for Rural
Development), for spreading awareness for low cost housing.

Laurie Baker
56
  In 1990, the Government of India awarded him with the Padma Shri in recognition of
his meritorious service in the field of architecture.
EDUCATION AND MISSIONARY WORK
 Baker studied architecture at Birmingham Institute of Art and Design, Birmingham
and graduated in 1937, aged 20, in a period of political unrest for Europe.
 During the Second World War, he served in the Friends Ambulance Unit in China and
Burma.
 His initial commitment to India had him working as an architect for World Leprosy
Mission, an international and interdenominational Mission dedicated to the care of
those suffering from leprosy in 1945.
 As new medicines for the treatment of the disease were becoming more prevalent, his
responsibilities were focused on converting or replacing asylums once used to house the
ostracized sufferers of the disease - "lepers".
 Education to be inadequate for the types of issues and materials he was faced with
termites and the yearly monsoon, as well as laterite, cow dung, and mud walls,
respectively,
 Baker had no choice but to observe and learn from the methods and practices of the
vernacular architecture. He soon learned that the indigenous architecture and methods
of these places were in fact the only viable means to deal with his once daunting
problems.
 Inspired by his discoveries baker began to turn his style of architecture towards one that
respected the actual culture and needs of those who would actually use his buildings,
rather than just playing to the more "Modernistic" tunes of his paying clients.
GANDHIAN ENCOURAGEMENT AND INITIAL WORK
 After he came to India Laurie had a chance encounter with Mahatma Gandhi which
was to have a lasting impact on his ideology and also his work and building philosophy.
 After India gained her independence and Mahatma Gandhi was assassinated, Baker
lived in Kerala with Doctor P.J. Chandy, from whom he received great encouragement
 Laurie continued his architectural work and research accommodating the medical needs
of the community through his constructions of various hospitals and clinics.
 Baker would acquire and hone those skills from the local building community which had
so fascinated him during his missionary work.
 In 1966, Baker moved south and worked with the tribals of Peerumed, Kerala, and in
1970 moved to Thiruvananthapuram

57
  Baker sought to enrich the culture in which he participated by promoting simplicity and
home-grown quality in his buildings.
 Seeing so many people living in poverty in the region and throughout India served also
to amplify his emphasis on cost-conscious construction, one that encouraged local
participation in development and craftsmanship - an ideal that the Mahatma expressed
as the only means to revitalize and liberate an impoverished India.
CENTRAL FOR DEVELOPMENT STUDIES,
THIRUVANANTHAPURAM.
 One of the first buildings designed by Laurie Baker. 1971

Centre for Development Studies (Trivandrum, 1971) Baker created a cooling system by placing
a high, latticed, brick wall near a pond that uses air pressure differences to draw cool air
through the building.
ARCHITECTURAL STYLE
 Throughout his practice, Baker became well known for designing and building low cost,
high quality, beautiful homes, with a great portion of his work suited to or built for
lower-middle to lower class clients.
 His buildings tend to emphasize prolific - at times virtuosic - masonry construction,
instilling privacy and evoking history with brick jali walls, a perforated brick screen

58
 which invites a natural air flow to cool the buildings' interior, in addition to creating
intricate patterns of light and shadow.
 Another significant Baker feature is irregular, pyramid-like structures on roofs, with
one side left open and tilting into the wind. Baker's designs invariably have traditional
Indian sloping roofs and terracotta Mangalore tile shingling with gables and vents
allowing rising hot air to escape.
 Curved walls 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."

Baker's works, such as this house, blend seamlessly into the natural settings.

The Indian Coffee House in Thiruvananthapuram

 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.
 Compartments for milk bottles near the doorstep, windowsills that double as bench
surfaces, and a heavy emphasis on taking cues from the natural condition of the site are
just some examples.

59
  His approach to architecture steadily gained appreciation as architectural sentiment
creaks towards place-making over modernizing or stylizing.
 Laurie Baker's architecture focused on retaining a site's natural character, and
economically minded indigenous construction, and the seamless integration of local
culture that has been very inspirational.
 Many of Laurie Baker's writings were published and are available through
COSTFORD (the Center Of Science and Technology For Rural Development)
 COSTFORD is carrying on working towards the ideals that Laurie Baker espoused
throughout his life.
AWARDS
 1981: D.Litt. conferred by the Royal University of Netherlands for outstanding
work in the developing countries. 1983: Order of the British Empire, MBE
 1987: Received the first Indian National Habitat Award,1988: Received Indian
Citizenship
 1989: Indian Institute of Architects Outstanding Architect of the Year
 1990: Received the Padma Sri,1990: Great Master Architect of the Year
 1992: UNO Habitat Award & UN Roll of Honour,1993: International Union
of Architects (IUA) Award,1993: Sir Robert Matthew Prize for Improvement of
Human Settlements
 1994: People of the Year Award,1995: Awarded Doctorate from the University
of Central England,1998: Awarded Doctorate from Sri Venkateshwara
University
 2001: Coinpar MR Kurup Endowment Award,2003: Basheer Puraskaram
 2003: D.Litt. from the Kerala University,2005: Kerala Government Certificate
of Appreciation,2006: L-Ramp Award of Excellence,2006: Nominated for the
Pritzker Prize (considered the Nobel Prize in Architecture)

60
IDEAS AND SELECTED WORKS OF TADAO ANDO
 Tadao Ando (born September 13, 1941, in Osaka, Japan) is a Japanese architect whose
approach to architecture was once categorized as critical regionalism. Ando has led a
storied life, working as a truck driver and boxer prior to settling on the profession of
architecture, despite never having taken formal training in the field.

Tadao Ando
 He works primarily in exposed cast-in-place concrete and is renowned for an exemplary
craftsmanship which invokes a Japanese sense of materiality, junction and spatial
narrative through the pared aesthetics of international modernism.
 In 1969, he established the firm Tadao Ando Architects & Associates. In 1995, Ando
won the Pritzker Architecture Prize, considered the highest distinction in the field of
architecture. He donated the $100,000 prize money to the orphans of the 1995 Kobe
earthquake.
BUILDINGS AND WORKS
 Tadao Ando's body of work is known for the creative use of natural light and for
architectures that follow the natural forms of the landscape (rather than disturbing the
landscape by making it conform to the constructed space of a building).
 The architect's buildings are often characterized by complex three-dimensional
circulation paths. These paths interweave between interior and exterior spaces formed
both inside large-scale geometric shapes and in the spaces between them.
 His "Row House in Sumiyoshi",a small two-story, cast-in-place concrete house
completed in 1976, is an early Ando work which began to show elements of his
characteristic style.
 It consists of three equally sized rectangular volumes: two enclosed volumes of interior
spaces separated by an open courtyard. By nature of the courtyard's position between
the two interior volumes, it becomes an integral part of the house's circulation system.

61
 Azuma House
 Ando's housing complex at Rokko, just outside Kobe, is a complex warren of terraces
and balconies and atriums and shafts. The designs for Rokko Housing One (1983) and
for Rokko Housing Two (1993) illustrate a range of issues in the traditional
architectural vocabulary—the interplay of solid and void, the alternatives of open and
closed, the contrasts of light and darkness.

Rokko Housing I and II, Kobe

 More significantly, Ando's noteworthy achievement in these clustered buildings is site
specific—the structures survived undamaged after the Great Hanshin Earthquake of
1995.

62
  New York Times architectural critic Paul Goldberger argues convincingly that "Ando is
right in the Japanese tradition: spareness has always been a part of Japanese
architecture, at least since the 16th century.
 Frank Lloyd Wright more freely admitted to the influences of Japanese architecture
than of anything American." Like, Wright's Imperial Hotel in Tokyo, which did survive
the Great Kanto Earthquake of 1923, site specific decision-making, anticipates seismic
activity in Ando's several buildings.

Award Organization/Location Country Date

Annual Prize (Row House, Sumiyoshi) Architectural Institute of Japan Japan 1979
Cultural Design Prize (Rokko Housing) Tokyo Japan 1983

Alvar Aalto Medal Finnish Association of Architects Finland 1985

Gold Medal of Architecture French Academy of Architecture France 1989

Carlsberg Architectural Prize
Copenhagen Denmark 1992
(International)
Japan Art Academy Prize Tokyo Japan 1993
Pritzker Architecture Prize (International) Chicago United States 1995
Chevalier de l‘Ordre des Arts et des Lettres Paris France 1995
Praemium Imperiale First ―FRATE SOLE‖
Japan Art Association Japan 1996
Award in Architecture
Officier de l'Ordre des Arts et des Lettres Paris France 1997
Royal Gold Medal RIBA Great Britain 1997
AIA Gold Medal American Institute of Architects United States 2002

UIA Gold Medal International Union of Architects France 2005

63
CHURCH OF THE LIGHT
 Church of the light (sometimes called "Church with Light") is the Ibaraki Kasugaoka
Church's main chapel. It was built in 1989, in the city of Ibaraki, Osaka Prefecture.
This building is one of the most famous designs of Japanese architect Tadao Ando.
 In 1999, the main building was extended with the addition of a Sunday School.

Church of the light

CONSTRUCTION AND STRUCTURE
 The Church of the Light is a small structure on the corner of two streets at Ibaraki, a
residential neighborhood. It is located 25km north-northeast of Osaka in the western
foothills of the Yodo valley railway corridor. The church has an area of roughly 113 m²
(1216 ft²): about the same size as a small house
 The church was planned as an add-on to the wooden chapel and minister's house that
already existed at the site. The Church of the Light consists of three 5.9m concrete cubes
(5.9m wide x 17.7m long x 5.9m high) penetrated by a wall angled at 15°, dividing the
cube into the chapel and the entrance area.
 One indirectly enters the church by slipping between the two volumes, one that contains
the Sunday school and the other that contains the worship hall. The benches, along
with the floor boards, are made of re-purposed scaffolding used in the construction. A
cruciform is cut into the concrete behind the altar, and lit during the morning (as it is
facing east).

64
 The one element carried through Tadao Ando's structures is his idolization of the
reinforced concrete wall. The importance given to walls is a distinct departure from
Modernist architecture.
 They are usually made of 'in-situ' poured in place concrete. Considerable care is taken to
see that the walls are as perfect as technique will allow. These walls are thick, solid,
massive, and permanent . The main reinforced concrete shell of the Church of the Light
is 15 inches thick.
 Ando says "In all my works, light is an important controlling factor,". "I create enclosed
spaces mainly by means of thick concrete walls. The primary reason is to create a place
for the individual, a zone for oneself within society.
 When the external factors of a city's environment require the wall to be without
openings, the interior must be especially full and satisfying." And further on the subject
of walls, Ando writes, "At times walls manifest a power that borders on the violent.
 They have the power to divide space, transfigure place, and create new domains. Walls
are the most basic elements of architecture, but they can also be the most enriching."

65
IDEAS AND SELECTED WORKS OF PAOLO SOLERI
 Paolo Soleri (born June 21, 1919 ) is an Italian-American visionary architect with a
life-long commitment to research and experimentation in design and town planning.
 He established Arcosanti and the educational Cosanti Foundation. Soleri is a
distinguished lecturer in the College of Architecture at Arizona State University and a
National Design Award recipient in 2006.

Paolo Soleri
EARLY LIFE
 Soleri was born in Turin, Italy. He was awarded his "laurea" (M.Sc. degree) with
highest honors in architecture from the Politecnico di Torino in 1946.
 He visited the United States in 1947 and spent a year and a half in fellowship with
Frank Lloyd Wright at Taliesin West in Arizona, and at Taliesin in Spring Green,
Wisconsin. During this time, he gained international recognition for a bridge design
displayed at the Museum of Modern Art.
 Soleri returned to Italy in 1950 where he was commissioned to build a large ceramics
factory, "Ceramica Artistica Solimene."
 The processes he became familiar with in the ceramics industry led to his award-
winning designs of ceramic and bronze windbells and siltcast architectural structures.
 For over 30 years, the proceeds from the windbells have provided funds for construction
to test his theoretical work.
ARCOSANTI
 Arcosanti is an experimental town that began construction in 1970 in central Arizona,
70 mi (110 km) north of Phoenix, at an elevation of 3,732 feet (1,130 meters).
 Architect Paolo Soleri, using a concept he calls arcology (a portmanteau of architecture
and ecology), started the town to demonstrate how urban conditions could be improved
while minimizing the destructive impact on the earth.

66
 Arcosanti panorama
 Located near Cordes Junction, about 70 miles north of Phoenix and visible from
Interstate I-17 in central Arizona, the project is based on Soleri's concept of "Arcology,"
architecture coherent with ecology.
 An arcology is a hyperdense city designed to maximize human interaction; maximize
access to shared, cost-effective infrastructural services like water and sewage; minimize
the use of energy, raw materials and land; reduce waste and environmental pollution;
and allow interaction with the surrounding natural environment. Arcosanti is the
prototype of the desert arcology.
 Many features are particular to the design and construction of Arcosanti, for example
the use of tilt-up concrete panels that are cast in a bed of silt acquired from the
surrounding area, which gives the concrete a unique texture and colour and helps it
blend in with the landscape. Many of the panels were cast with embedded art.

An Arcosanti apse
 Most of the buildings are oriented toward the south to capture the sun's light and heat
— with roof designs that admit the maximum amount of sun in the winter and a
minimal amount during the summer. For example, the bronze-casting apse is built in the
form of a quarter sphere or semi-dome.

67
  The layout of the buildings is intricate and organic, rather than a North American style
city grid, with a goal of maximum accessibility to all of the elements, increased social
interaction and bonds, and a sense of privacy for the residents.

Visitor's centre and residence

 Existing structures at Arcosanti have a variety of different purposes to provide for the
complete needs of the community. They include a five-story visitors' center/cafe/gift
shop, a bronze-casting apse, a ceramics apse, two large barrel vaults, a ring of
apartment residences and storefronts around an outdoor amphitheater, a community
swimming pool, an office complex, and Soleri's suite. A two-bedroom "Sky Suite"
occupies the highest point in the complex and is available for overnight guests. Most of
the buildings have accessible roofs.
 The Arcosanti site contains a camp area that was built for the original construction
crew. It is used today as additional housing and is home to the agricultural department
which maintains greenhouses, gardens, and agricultural fields. Additional terraced
greenhouses are planned along the slope of the main building site to provide gardening
space and collect heat which will be funneled throughout the buildings.
 At present, the town is primarily an education centre, with students from around the
world visiting to attend workshops, classes, and continue construction. It is also a
tourist attraction with 50,000 visitors a year.
AWARDS
 Soleri has received fellowships from the Graham Foundation and from the Guggenheim
Foundation (1964, Architecture, Planning, & Design).

68
  He has been awarded three honorary doctorates and several awards from design groups
worldwide:
 2006 - Cooper Hewitt National Design Award for lifetime achievement
 2000 - Leone d'oro at the Mostra di Architettura di Venezia (Venice
Architecture Biennale) for his lifelong achievement
 1984 - Silver Medal of the Academie d' Architecture in Paris
 1981 - Gold Medal from the World Biennial of Architecture in Sofia,
Bulgaria
 1963 - American Institute of Architects Gold Medal for Craftmanship
IDEAS AND SELECTED WORKS OF GEOFFREY BAWA
 Geoffrey Bawa,(1919–2003) is the most renowned architect in Sri Lanka and was
among the most influential architects in southeast Asia in the last decades of the 20th
century, he is the principal force behind what is today known globally as ‗tropical
modernism‘

Geoffrey Bawa,
EARLY LIFE
 Geoffrey Bawa was born in 1919 to wealthy parents of mixed European and Ceylonese
descent.
 He was educated at the prestigious Royal College after which he studied English and
Law at Cambridge gaining a BA (English Literature Tripos) and went on to study law
at Middle Temple, London becoming a Barrister in 1944.
 Returning to Ceylon after the war he started working for a Colombo Law firm. But
soon he left to travel for two years, almost settling in Italy. Only after this did he
turned to architecture at the age of 38.

69
CAREER IN ARCHITECTURE
 Bawa became apprenticed to the architectural practice of Edwards Reid and Begg in
Colombo after he advanced his education in architecture by gaining a Diploma in
Architecture from Architectural Association, London in 1956
 In 1956 bawa became an Associate of the Royal Institute of British Architects
 Bawa returned to Ceylon becoming a partner of Messrs. Edwards, Reid and Begg,
Colombo in 1958.
 Bawa became an Associate of the Sri Lanka Institute of Architects in 1960.
 Bawa produced a new awareness of indigenous materials and crafts, leading to a post
colonial renaissance of culture.
GANGARAMAYA TEMPLE
 Gangaramaya Temple is one of the most important temples in Colombo.

Simamalaka shrine of the Gangaramaya Temple

 This Buddhist temple includes several imposing buildings and is situated not far from
the placid waters of Beira Lake on a plot of land that was originally a small hermitage
on a piece of marshy land.
 It has the main features of a Vihara (temple), the Cetiya (Pagada) the Bodhitree, the
Vihara Mandiraya, the Simamalaka and the Relic Chamber. In addition, a museum, a
library, a residential hall, a three storeyed Pirivena, educational halls and an alms hall
are also on the premises.
 Most notable for tourists is the architecture of the Simamalaka Shrine which was built
with donations from a Moslem sponsor to the design of Geoffrey Bawa.
PRESENT EDAY ACTIVITIES
 Today Gangaramaya serves not only as a place of Buddhist worship; it is also a centre
of learning.

70
  The temple is involved in Buddhist welfare work including old peoples' homes, a
vocational school and an orphanage.
 The temple is uniquely attractive and tolerant to congregation members of many
different religions. It has also been instrumental in establishing the Buddhist temple on
Staten Island (U.S.A.) the Buddhist Center in New York, Birmingham Buddhist
Vihara (U.K) and the Buddhist Centre in Tanzania, thereby helping to propagate the
Dhamma in other countries.
SRI LANKAN PARLIAMENT BUILDING
 The Sri Lankan Parliament Complex (also known as the New Parliament Complex) is a
public building and landmark that houses the Parliament of Sri Lanka. Situated in Sri
Jayawardenepura Kotte, the administrative capital. It is built on an island, surrounded
by the Diyawanna Oya it was designed by Geoffrey Bawa.
 On January 29, 1930 the British Governor of Ceylon, Sir Herbert Stanley (1927–1931),
opened a building fronting the ocean at Galle Face, Colombo, designed for meetings of
the Legislative Council. It was subsequently used by the State Council (1931–1947),
the House of Representatives (1947–1972), the National State Assembly (1972–1977)
and the Parliament of Sri Lanka (1977–1981). Today the Old Parliament Building is
used by the Presidential Secretariat.
 In 1967 under Speaker Sir Albert F. Peris, the leaders of the political parties
unanimously resolved that a new Parliament building should be constructed on the
opposite side of Beira Lake from the existing Parliament at Galle Face, but no further
action was taken.
 While Stanley Tilakaratne was the Speaker (1970–77), the leaders of the political
parties entrusted the drawing up of plans for a new Parliament building to architects,
but the project was subsequently abandoned.
 On July 4, 1979, then Prime Minister Ranasinghe Premadasa obtained sanction from
Parliament to construct a new Parliament Building at Duwa, a 5 hectare (12 acre)
island in the Diyawanna Oya (off Baddegana Road, Pita Sri Jayawardenapura-Kotte)
about 16 kilometres (10 miles) east of Colombo.
 The island was where the palace of the King Vikramabahu III's powerful Minister
Nissaka Alakesvara had been situated. It had belonged to E. W. Perera prior to being
vested in the state.
 The building was designed by architect Deshamanya Geoffrey Bawa and built with Sri
Lankan funds. On April 29, 1982, the new Parliamentary Complex was declared open
by then President J.R. Jayewardene.

71
AWARDS AND FELLOWSHIPS
 Pan Pacific Citation, Hawaii Chapter of the American Institute of Architects (1967)
 President, Sri Lanka Institute of Architects (1969)
 Inaugural Gold Medal at the Silver Jubilee Celebration of the Sri Lanka Institute of
Architects (1982)
 Heritage Award of Recognition, for ―Outstanding Architectural Design in the
Tradition of Local Vernacular Architecture‖, for the new Parliamentary Complex at Sri
Jayawardenepura, Kotte from the Pacific Area Travel Association. (1983)
 Fellow of the Royal Institute of British Architects
 Elected Honorary Fellow of the American Institute of Architects (1983)
 Conferred title of Vidya Jothi (Light of Science) in the Inaugural Honours List of the
President of Sri Lanka (1985)
 Teaching Fellowship at the Aga Khan Programme for Architecture, at MIT, Boston ,
USA (1986)
 Conferred title Deshamanya (Pride of the Nation) in the Honours List of the President
Sri Lanka (1993)
 The Grate Master's Award 1996 incorporating South Asian Architecture Award (1996)
 The Architect of the Year Award, India (1996)
 Asian Innovations Award, Bronze Award – Architecture, Far Eastern Economic
Review (1998)
 The Chairman's Award of the Aga Khan Award for Architecture in recognition of a
lifetime's achievement in and contribution to the field of architecture (2001)
 Awarded Doctor of Science (Honoris Causa), University of Ruhuna( 14 th September
2002 )

72
73
 UNIT 4:
ARCHITECTURE IN COLONIAL INDIA

ARCHITECTURE IN COLONIAL INDIA

 European colonists brought with them to India concepts of their "world view" and a
whole baggage of the history of European architecture --- Neo-Classical, Romanesque,
Gothic and Renaissance.
 The initial structures were utilitarian warehouses and walled trading posts, giving way
to fortified towns along the coastline.
 The Portuguese adapted to India the climatically appropriate Iberian galleried patio
house and the Baroque churches of Goa. Se Cathedral and Arch of Conception of Goa
were built in the typical Portuguese-Gothic style.

 The St. Francis Church at Cochin, built by the Portuguese in 1510, is believed to be the
first church built by the Europeans in India.
 The Portuguese also built the fort of Castella de Aguanda near Mumbai and added
fortifications to the Bassein fort built by Bahadur Shah, the Sultan of Gujarat, in 1532
AD. The Bassein fort is famous for the Matriz (Cathedral of St Joseph), the Corinthian
pillared hall and the Porte da Mer (sea gate).
74
  The Danish influence is evident in Nagapatnam, which was laid out in squares and
canals and also in Tranquebar and Serampore.
 The French gave a distinct urban design to its settlement in Pondicherry by applying the
Cartesian grid plans and classical architectural patterns.

The Church of Sacred Heart of Jesus (Eglise De Sacre Coeur De Jesus), the Eglise de Notre
Dame de Anges and the Eglise de Notre Dame de Lourdes at Pondicherry have a distinct
French influence
 However, it was the British who left a lasting impact on the India architecture. They
saw themselves as the successors to the Mughals and used architecture as a symbol of
power. The British followed various architectural styles – Gothic, Imperial, Christian,
English Renaissance and Victorian being the essentials.
 The first buildings were factories but later courts, schools, municipal halls and
bungalows came up, which were ordinary structures built by garrison engineers.
 A deeper concern with architecture was exhibited in churches and other public
buildings.
 Most of the buildings were adaptations of the buildings designed by leading British
architects of that time like Wren, Adam, Nash and others in London and other places.
 For instance, the Church of St. John at Calcutta was built in 1787 inspired by St.
Stephens Church at Walbrooks, the Government House in Calcutta was built by Capt.

75
 Charles Wyatt modelled on the Kedleston Hall of Derbyshire, the Indian Government
Mint in Calcutta is a half-scale replica of the Temple of Minerva at Athens and the
Pachaiyappa's Hall in Chennai was modelled on the Athenium Temple of Theseus.

Church of St. John at Calcutta was built in 1787

Temple of Minerva at Athens Pachaiyappa's Hall in Chennai

Athenium Temple of Theseus

 Unlike Europe, however, these buildings were built mostly of brick and stuccoed with
lime or chunam, sometimes "facades" incised to look like stones.

76
 Some later buildings were, however, built with stones. Churches, which were symbols
of colonialism, were built in great style.
 Based on London prototypes, several churches evolved with variations as highly
original works.

The earliest example is the St. Mary's Church in Fort St. George in Chennai.
 Neo-Gothic architecture flourished in different parts of India under the British,
inspired by the Houses of Parliament in London. Colonel Thomas Cowper built the
town hall in Bombay during 1820 to 1835.
 Governor Sir Bartle Frere tried to give a truly imperial ambience to the city of Bombay.
During his reign the old town walls were broken down and the Gateway of India was
built in the Gothic style of architecture.
 The Secretariat, University Library, Rajabai Tower, Telegraph Office and the Victoria
Terminus all followed the Victorian Gothic style, similar to buildings in London.

 Undoubtedly, the Victoria Terminus, designed by the architect Frederick Willaim

Stevens modelled on the St.Pancras Station, is the finest example of Gothic architecture

77
 with a subtle hint of the Indo-Saracenic motifs, an extravaganza of polychromatic
stone, decorated tile marble and stained glass.

Architect Frederick Willaim Stevens -St.Pancras Station, is the finest example of Gothic
architecture
 Stevens also designed other buildings like the Churchgate Terminus and the Municipal
Building opposite the Victoria Terminus.
 In Varanasi, one of the true Gothic monuments is Queen‘s College, built in a
perpendicular style by Major Kitoe from 1847 to 1852.

Gothic monuments is Queen‘s College

78
 In Allahabad, the British built a series of edifices including the University, All Saints
Cathedral, the High Court and the Mayo College. In Calcutta, a High Court was
constructed following the Gothic style.
 The Howrah Bridge (1943), with its red brick facade surrounded by eight square towers
represents a combination of the Oriental and Roman styles. Fort William, the
stronghold of the British in mid 19th century that took 13 years to construct at a cost
of more than $3.5 million and the Victoria Memorial in Calcutta (1921), designed by Sir
William Emerson, are probably the most imposing of all British structures in India.
 The passing of power from the East India Company to the British Crown, the rise of
Indian nationalism and the introduction of Railways were the watersheds in the
British Colonial Indian architectural history. New materials like concrete, glass,
wrought and cast iron opened up new architectural possibilities.
 The British also started assimilating and adopting the native Indian styles in the
architecture. All these factors led to the development of Indo-Saracenic architecture
towards the end of the 19th century. Victorian in essence, it borrowed heavily from the
Islamic style of Mughal and Afghan rulers.
 In fact it was a pot pouri of architectural styles; a hybrid style that combined in a
wonderful manner diverse architectural elements of Hindu and Mughal with gothic
cusped arches, domes, spires, tracery, minarets and stained glass.
 Gateway of IndiaThe Indo-Saracenic style was Indian on the outside and British inside
since the facade was built with an Indian touch while the interior was solely Victorian
were the pioneers of this style of architecture.

Gateway of India-Indo-Saracenic style

 The Chepauk Palace in Chennai designed by Paul Benfield is said to be the first Indo-
Saracenic building in India.

79
 Chepauk Palace in Chennai
 Other outstanding examples of this style of architecture include the Law Courts,
Victoria Memorial Hall, Presidency College and Senate House of Chennai, Muir College
at Allahabad, Napier Museum at Thiruvanthapuram, the Post Office, Prince of Wales
Museum and the Gateway of India in Mumbai, the Maharaja's Palace at Mysore and
M.S.University and Lakshmi Villas Palace at Baroda.

Victoria Memorial Hall Presidency College ,Chennai

Napier Museum at Thiruvanthapuram Maharaja's Palace at Mysore

80
 Lakshmi Villas Palace at Baroda
COLONIAL INDIAN ARCHITECTURE
 Like all other aspects, colonization of Indian also had an impact on architecture style.
With colonization, a new chapter in Indian architecture began.
 The Dutch, Portuguese and the French made their presence felt through their buildings
but it was the English who had a lasting impact on architecture.
 In the beginning of the colonial rule there were attempts at creating authority through
classical prototypes. In its later phase the colonial architecture culminated into what is
called the Indo-Saracenic architecture.
 The Indo-Saracenic architecture combined the features of Hindu, Islamic and western
elements. The colonial architecture exhibited itself through institutional, civic and
utilitarian buildings such as post offices, railway stations, rest houses and government
buildings.

Mumbai-university
 Such buildings began to be built in large numbers over the whole empire. Colonial
architecture in India followed developments not only from metropolis but also took
inspiration from existing architecture in India.

81
COLONIALISM AND ITS IMPACT
 Colonialism is the establishment, maintenance, acquisition and expansion of colonies in
one territory by people from another territory.
 Colonialism is a process whereby sovereignty over the colony is claimed by the metropole
and the social structure, government, and economics of the colony are changed by
colonists - people from the metropole. Colonialism is a set of unequal relationships:
between the metropole and the colony, and between the colonists and the indigenous
population.
 The term colonialism normally refers to a period of history from the late 15th to the
20th century when European nation states established colonies on other continents. In
this period, the justifications for colonialism included various factors such as the profits
to be made, the expansion of the power of the metropole and various religious and
political beliefs.
DEFINITION:
 Collins English Dictionary defines colonialism as "the policy of acquiring and
maintaining colonies, especially for exploitation."
 The Stanford Encyclopedia of Philosophy "uses the term 'colonialism' to describe the
process of European settlement and political control over the rest of the world,
including Americas, Australia, and parts of Africa and Asia."
 It discusses the distinction between colonialism and imperialism and states that "given
the difficulty of consistently distinguishing between the two terms, this entry will use
colonialism as a broad concept that refers to the project of European political
domination from the sixteenth to the twentieth centuries that ended with the national
liberation movements of the 1960s."
TYPES OF COLONIALISM
 Historians often distinguish between two forms of colonialism, chiefly based on the
number of people from the colonising country who settle in the colony.
 Settler colonialism involved a large number of colonists, typically seeking
fertile land to farm.
 Exploitation colonialism involved fewer colonists, typically interested in
extracting resources to export to the metropole. This category includes
trading posts, but it applies more to the much larger colonies where the
colonists would provide much of the administration and own much of the
land and other capital, but rely on indigenous people for labour.

82
NEOCOLONIALISM
 The term neocolonialism has been used to refer to a variety of things since the
decolonisation efforts after World War II.
 Generally it does not refer to a type of colonialism but rather colonialism by other
means.
 Specifically, the theory that the relationship between stronger and weaker countries is
similar to exploitation colonialism, without the stronger country having to build or
maintain colonies.
 Such theories are based on economic relationships and interference in the politics of
weaker countries by stronger countries.
IMPACT OF COLONIALISM
 Debate about the perceived negative and positive aspects (spread of virulent diseases,
unequal social relations, exploitation, enslavement, infrastructures, medical advances,
new institutions, technological advancements etc.) of colonialism has occurred for
centuries, amongst both colonizer and colonized, and continues to the present day.
 The questions of miscegenation; the alleged ties between colonial enterprises, genocides
— see the Herero Genocide and the Armenian Genocide — and the Holocaust; and the
questions of the nature of imperialism, dependency theory and neocolonialism (in
particular the Third World debt) continue to retain their actuality.
EARLY BRITISH STYLE OF ARCHITECTURE
 The British followed various architectural styles – Gothic, Imperial, Christian, English
Renaissance and Victorian being the essentials. Bombay, a forgotten port because of its
weather, was renovated after the Sepoy Mutiny in 1857.
 The town hall, built from 1820 to 1835 by Colonel Thomas Cowper and St Thomas‘
Cathedral were already there, but Governor Sir Bartle Frere‘s aim was to build a city
out of fragments.

83
 St Thomas‘ Cathedral
 The old town walls were broken down, and the Gateway of India (through which the
last British troops left) was built.
 The idea was definitely Gothic, to give Bombay a truly Imperial ambience. The
Secretariat, University Library, Rajabai Tower, the Law Courts, Public Works office,
Telegraph office, Victoria Terminus all followed the Victorian Gothic style, similar to
buildings in London.

Victoria Terminus
 Built during 1878 and 1887, the Victoria Terminus, or VT as it is fondly called, is the
finest example of Gothic architecture in India. Its architect was Frederick Willaim
Stevens, an unknown in England, who used marble, decorated tiles, stained glass,
metal, concrete and bricks in a fusion.
 High above the huge stairway inside a massive dome looms up as statement of Imperial
progress in all its glory. The entrance is flanked by symbolic sentinels of the Raj, a tiger
and a lion. Stevens was a practitioner of Victorian Gothic architecture and also
designed the Churchgate Terminus.
84
  But Stevens‘ Municipal Building opposite the Victoria Terminus with the
intermingling of Gothic and Indo-Saracenic architecture stands as the final testament
of his brilliance, unsurpassed in British India.
 Built from 1888 to 1893, the Building is a massive conglomeration of masonry crowned
with a true Islamic dome.
BRITISH GOTHIC ARCHITECTURE
 Across India Gothic architecture flourished under the British.
 In Varanasi, one of the true Gothic monuments is Queen‘s College, built in a
perpendicular style by Major Kitoe from 1847 to 1852.

Queen‘s College
 In nearby Allahabad, the British went on a rampage, building a series of edifices which
include the colossal University, All Saints Cathedral, the High Court and Mayo College
(now a sports association called Mayo Hall).
 In the east in Calcutta a High Court was erected on the Gothic style. All Saints Church
in Nagpur was redesigned, the plans being sent to India from England by G F Bodley.
INDO-SARACENIC ARCHITECTURE IN INDIA
 Indo-Saracenic architecture in India came into prominence during the later parts of the
nineteenth century. With the coming of this pattern, a majority of the patrons felt that
there was requirement to be a part of a particular style which at times led to a highly
inventive blending of Western and Oriental design.
 In the later half of the 19th century the revivalists gained ground and there was also a
good reason for it. Victorian Indo-Saracenic buildings were part of the British response
to rising Indian nationalism.
 Paradoxically, they helped to foster it by reviving a cultural awareness of the rich and
glorious past of India. They were sophisticated symbols of the Imperial presence.

85
  The outward camouflage may be Indian and Indian labour may have been used, but the
designs, plans and overall control remained British, in much the same way as the British
remained the power behind the princely states.
 This transmutation of a national Gothic image into Indo-Saracenic forms is an
indication of how the Raj began to adapt its image to make itself more palatable to the
rapidly rising middle class of India
EXAMPLES OF INDO-SARACENIC ARCHITECTURE
 A number of the 19th century palaces in the native states were designed in this style by
accomplished practitioners, like Major Charles Mant at Kolhapur or Sir Samuel
Swinton Jacob at Bikaner.
 One of the most prolific architects in this style was the versatile Robert Fellowes
Chisholm, who designed the Presidency College and Senate House at Chennai (Madras)
and the vast, rambling Laxmi Vilas Palace at Vadodara (Baroda).

Presidency College, Chennai

 However, the greatest Indo-Saracenic building in Chennai is not by Chisholm but by his
successor, W. Brassingham, and Henry Irwin, the architect of Viceregal Lodge, Shimla.
 The Madras Law Courts, constructed between 1888 and 1892, were one of the high
points of Indo-Saracenic architecture in India; `a Romantic confection of multi-
coloured Mughal domes, Buddhist shapes, canopied balconies and arcaded verandahs,
crowned by a bulbous domed minaret which forms a lighthouse`.
 Irwin also designed the exquisite Victoria Memorial Halland Technical Institute, based
on the great Buland Darwaza, the famous gateway of Akbar at Fatehpur Sikri.

86
 Victoria Memorial Hall

Fatehpur Sikri.

Laxmi Vilas Palace at Vadodara (Baroda).

 At Hyderabad, in the state of Andhra Pradesh, the English architect Vincent Eseh
adorned the city with a large number of elegant public buildings, including the High
Court and Osmania General Hospital. Here, a blending of Muslim and Hindu styles
was used to represent the harmony between the two communities.

87
  In the south, at Mysore, Henry lrwin planned the incomparable Amba Vilas Palace for
the maharaja, with an onion-dome and minaret which nearly resembled those on the
Law Courts at Chennai.

Maharaja's Palace at Mysore

 The effective conservation of many Indian monuments was one of the most enduring
legacies of the British Rule in India. The Archaeological Survey of India was founded
in the year 1861, but as early as 1808 the government had concerned itself with the
preservation of the Taj Mahal. It was Lord Curzon who established the present
framework of statutory control with the Ancient Monuments
P.W.D
 Many governments worldwide have had departments or ministries referred to as
the Public Works Department (PWD) either formally or informally.
 Public Works Department Delhi is the premier agency of Govt. of NCT of Delhi
engaged in planning, designing, construction and maintenance of Government assets in
the field of built environment and infrastructure development.
 Assets in built environment include Hospitals, Schools, Colleges, Technical Institutes,
Police Buildings, Prisons, Courts etc;
 Assets in infrastructure development include Roads, Bridges, Flyovers, Footpaths,
Subways etc.
 PWD Delhi also sustains and preserves these assets through a well developed system of
maintenance which includes amongst others specialized services like rehabilitation
works, roads signage and aesthetic treatments like interiors, monument lighting,
landscaping etc
VISION
 Significant improvement in the quality of roads, buildings and bridges of the
state through elimination of procedural redundancies by IT enablement,

88
 incorporation of intelligent decision support systems and increased resource
mobilization by the year
FUNCTIONS & OBJECTIVES
 Public Works Department of Government of India is primarily responsible
for executing the following different types development works:
 Construction and maintenance of New Roads, National Highways &
Bridges.
 Construction and maintenance of Government buildings.
 Construction of Roads under Centrally Sponsored Schemes.
 Undertaking Deposit Contribution works relating to different Government
Departments as well as of other Local Bodies.
 Resettlement works due to Natural calamities like flood, earthquakes etc.
 Construction of Road‘s under Employment Guarantee Scheme.
 Construction of Helipads for Very Very Important Person‘s visits wherever
required.
 Fixation of rent of Private premises requisitioned for housing Government
offices.
 Developing Parks and Gardens in the vicinity of important Public Buildings
and landscaping of grounds.
 Providing reservation facility of Government Rest Houses and Circuit
Houses.
 To permit construction of approaches on both sides of roads to private
individual, other institutions, factories, Petrol Pumps etc.
 Making provisions for irrigation drains, electricity lines, telephone duct
cables etc. along and across the roads.
 Facilitating evacuation of encroachment along the road sides.
 Landscaping along road sides.
 Construction of Flyovers and Airstrips.

89
 UNIT - 5
POST-INDEPENDENT ARCHITECTURE IN INDIA

CHANDIGARH AND BHUVANESWAR EXPERIMENTS

CHANDIGARH
 The planned city of chandigarh was one of Le Corbusier‘s important works. He
incorporated his principles of light, space, and greenery.
 It became symbolic of the newly independent Indian nation.
 The city had a grid plan based on the hierarchy of movement from highways to
pedestrian walkways.
 The metaphor of a human being was employed in the plan-the ‗head‘ contained the
capital complex, the ‗heart‘ the commercial centre, and the ‗arms‘, which were
perpendicular to the main axis, had the academic and lesiure facilities.

 Taking over from Albert Mayer, Le Corbusier produced a plan for Chandigarh that
conformed to the modern city planning principles of Congrès International
d'Architecture Moderne CIAM, in terms of division of urban functions, an
anthropomorphic plan form, and a hierarchy of road and pedestrian networks.
 Exposed brick and boulder stone masonry in its rough form produced unfinished
concrete surfaces, in geometrical structures. This became the architectural form
characteristic of Chandigarh, set amidst landscaped gardens and parks.

90
 The initial plan had two phases: the first for a population of 150,000 and the second
taking the total population to 500,000.
 Le Corbusier divided the city into units called "sectors", each representing a theoretically
self-sufficient entity with space for living, working and leisure.

 The sectors were to act as self-sufficient neighbourhoods, each with its own market,
places of worship, schools and colleges - all within 10 minutes walking distance from
within the sector.
 The original two phases of the plan delineated sectors from 1 to 47.

91
 Punjab and Haryana High Court at Chandigarh
 The Assembly, the secretariat and the high court, all located in Sector - 1 are the three
monumental buildings designed by Le Corbusier
 The city was to be surrounded by a 16 kilometer wide greenbelt that was to ensure that
no development could take place in the immediate vicinity of the town, thus checking
suburbs and urban sprawl; hence is famous for its greenness too.
BHUVANESWAR
 Bhuvaneshwar is the capital of the Indian state of Odisha.
 The city has a long history of over 2000 years starting with Chedi dynasty (around 2nd
century BCE) who had Sisupalgarh near present-day Bhubaneswar as their capital.
 Historically Bhubaneswar has been known by different names such as Toshali, Kalinga
Nagari, Nagar Kalinga, Ekamra Kanan, Ekamra Kshetra and Mandira Malini
Nagari(city of temples) otherwise known as the temple city of India.
 The largest city of Odisha, Bhubaneswar today is a center of economic and religious
importance in the region.

92
 The modern city of Bhubaneswar was designed by the German architect Otto
Königsberger in 1946.
 Like Jamshedpur and Chandigarh, it is one of the first planned cities of modern India.
 With the Chandaka reserve forest on the fringes, the city, with an abundance of in-city
greenery and an efficient civic body has become one of the cleanest and greenest cities of
India.
 Bhubaneswar replaced Cuttack as the political capital of the state of Odisha in 1948, a
year after India gained its independence from Britain. Bhubaneswar and Cuttack are
often commonly together known as the "twin cities" of Odisha.

93
 Ekamrahat
HISTORY:
 The history of the Bhubaneswar may be viewed as two phases:
 Ancient Bhubaneswar
 Modern Bhubaneswar
 While the ancient city has a history that goes back more than 2000 years, the modern
city came into existence in 1948.
 The first mention of Bhubaneswar in Indian history is in the infamous Kalinga War
which was held near Dhauli (presently located in south Bhubaneswar) in 3rd Century
BC.
 Later Emperor Kharavela established his capital in Sisupalgarh which is on the
outskirts of the city.
 Later innumerable temples built throughout ancient and medieval history in tune with
its status as Temple City give a chronicle of the city's history till Indian independence in
1947.

94
 In 1936, Odisha became a separate province in British India with Cuttack as its
capital.
 Notably, Cuttack was Odisha's capital since 12th century. When India got
independence in 1947, Odisha became one of the states of the Indian union.
 But for some reasons, most visibly Cuttack's vulnerability to floods and space
constraints, the capital was changed to Bhubaneswar which was built into a modern
city.
 The city planning of Bhubaneswar was given by German Architect Otto. H.
Koeingsberges. Bhubaneswar was formally inaugurated in 13 April 1948 as the capital
of the Indian state of Odisha.

MODERN CITY
 Modern Bhubaneswar was originally planned by Otto Königsberger to be a well
planned city with wide roads and many gardens and parks.

95
Balkrishna Vithaldas Doshi - Works and ideas
 Balkrishna Vithaldas Doshi was born in Pune on 26th of August 1927.

 After initial study in Bombay, he worked with Le Corbusier in Paris (1951-1954) as

senior designer
 Most of B.V.Doshi‘s projects/buildings are influenced by Le- Corbusier.
 Doshi established the Vastu-Shilpa Foundationfor Studies and Research in
Environmental Design in 1955, known for pioneering work in low-cost housing and
city planning.
 Apart from his international fame as an architect, Dr. Doshi is equally known as
educator and institution builder.
 He believed in Architecture, for a place and people.
 His importance to modern architecture has been recognised by the architectural
profession in both the UK and USA

 Doshi‘s projects in India show a distinct personal and professional evolution, starting
from early experiments in applying the lessons of Modern Architecture in an Indian

96
 context to increasing interest in South Asia‘s vernacular tradition, myth and social
diversity.
 Doshi‘s architecture is an eclectic mix of styles and influences that make it unique in
recent history.
 His own office, Sangath, is composed of vaulted interior spaces linked both internally
and externally by gentle changes in level.

 Here the landscape forms an integral part of the architecture, and Sangath rises up from
the ground without actually appearing to leave it.
 The vaults resist and soften the tendency of the verticals, and anchor the form to the
earth while reflecting, in a sense, the line of the sky.

97
 "Sangath is a fragment of Doshi's private dream: a microcosm of his intentions and
obsessions.
 Inspired by the earth-hugging forms of the Indian vernacular, it also draws upon the
vault suggestions of Le Corbusier.
 A warren of interiors derived from the traditional Indian city, it is also influenced by
sources as diverse as [Louis I. Kahn], [Alvar Aalto] and [Antonio Gaudi].
 A work of art stands on its own merits and Sangath possesses that indefinable quality
of authenticity.
 Even local labourers and passing peasants like to come and sit next to it, enjoying the
low mounds of the vaults or the water-jars overgrown with creepers."

 The Centre for Environment and Planning Technology (CEPT), incorporates in its four
main departments what is still one of the most prestigious architecture and planning
schools in the country.
98
 At CEPT Doshi creates four wings grouped around a central space. The buildings, in
their brick and exposed concrete finishes, are simply finished and make no attempt to be
pretentious.

 In 1962 the School of Architecture was established to offer a full undergraduate

programme by Prof. B. V. Doshi architect, who had returned after working with Le
Carbousier

 In the National Institute of Fashion Design (N.I.F.T.), Delhi, Doshi and the Vastu-
Shilpa Foundation are less successful.

99
 While there is nothing wrong per the in using the form of a step-well (baoli) from
Ahmedabad as conceptual and formal inspiration, what is lacking in the building is the
unity of its parts and overall coherence.

Husain-Doshi Gufa, (Husain-Doshi cave), is the collaborative product of two of the most
controversial figures in Indian art and architecture.

100
 BV Doshi creates and conceptualises the space, and MF Husain embellishes it with his
painting and sculpture. While possibly being a tourist attraction and even perhaps a
pilgrimage of sorts for students of architecture.

101
INDIAN INSTITUTE OF MANAGEMENT
 Bangalore‘s climate is very comfortable and the city is full of lush green lawns
and trees.
 Therefore in this project the ―building‖ includes the external spaces and the
links between the buildings in the Bangalore climate permit academic exchange
beyond the classrooms.
 Functional and physical attributes of the design are related to the local
traditions of pavilion – like spaces, courtyards, and ample provision for
plantation.

102
 The design included long and unusually high (three storeyed) corridors with
innumerable vistas of focal points generating a dialogue with one's self.
 These corridors are sometimes seem open, sometimes with only pergolas and
sometimes partly covered with skylight.
 To further heighten the spatial experience, the width of the corridors was
modulated in many places to allow casual sitting, interaction or moving
forwards to once destination or more towards.

 Access to classrooms and administrative offices was provided through these links
as well as to generate constant activity.
 Owing to 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

103
and the faculty, occasion to feel the presence of nature even while they are
inside.

104
  Charles correa was born in Hyderabad, India in 1930
 He studied at the University of Michigan and Massachusetts Institute of technology
after which he established a private practice in Bombay in 1958.
 Correa‘s work in India shows a careful development, understanding and adaptation of
Modernism to a nonwestern culture.
 Correa‘s early works attempt to explore a local vernacular within a modern
environment.
 Correa‘s land use planning and community projects continually try to go beyond
typical solutions to third world problems.
 During the 1970‘s and 1980‘s correa has worked on larger projects for which he used a
fuller semiotic approach.
 An international lecturer and traveler he was awarded the RIBA royal gold medal in
1984 BY Queen Elizabeth, Padma Shri award in the same year, the AALTO medal, and
the UIA gold medal in 1990.
 Correa has evolved a distinctive style of his own
 A major participant in various influential projects that shape and give definition to
postcolonial South Asian architecture
 A representative catalogue of his work displays an impressive vocabulary and technical
virtuosity that he brings to his work.
 He has an impressive knowledge of tradition from various sources, an understanding of
technique and the power of symbol and myth as a factor in good architecture
HIS STYLE
 He used square and rectangle plans for most of his buildings.
 He used open to sky spaces
 Emphasised movement through open to sky spaces and his plan consisting mainly of
large areas of open sky.

105
  He used exposed concrete during his early peroids because of strongly influenced by le
corbusier.
 Topography form used in landscape areas
 He used chatris for most of his plans.
 An intelligent response to climate lies at the root of all correa‘s work.
 He used pyramidal interior space for summer and in winter section is a reverse pyramid
opening toa sky.
 Terraces are covered by a light weight pergolas.
 He used colonnades, verandahs, and courtyards with fountains.
 Correa has rarely been tempted to import western ideas into india.
 Like most architects of his generation, he has been mostly influenced by le corbusier.
 He used chatris, an overhead canopy, a traditional indian form, in the buildings for
warm climate peoples, as an example of the minimal protection required by the climate.
PHILOSOPHY
 Long corridors and wide arches in buildings, which provide shades and ventilation.
 A balance must be struck between rooms and open spaces that will give the optimum
housing pattern.
 Low cost housing methods
 Low-rise, high-density urban areas
 Works explore a local vernacular within a modern environment.
 Importance given for having open-to-sky spaces
 Gives careful attention to natural ventilation and comfortable accommodations in
crowded living conditions.
 The hierarchical system as consisting of four major elements: space needed by the family
for private use, areas of intimate contact, neighborhood spaces and urban area open
space used by the whole city.
ELEMENTS
 Courtyards with fountains
 Plateforms to connect the buildings on open to sky spaces
 Colonnades, verandahs
 Pyramidal tiled roofs supported on brick piers.
 He used basic materials in his early works ; stone floors, brick & mud walls, wooden
doors, louvered windows devoid of glass, and tiled roofs.
 Recessed openings and wood & glazed shutters.

106
PRINCIPLES
 Few cardinal principles in his vast body of work;
 incrementality
 pluralism
 participation
 income generation
 equity
 open-to-sky space
 disaggregation.
HIS WORKS
 Tube house,ahmedabad
 Cablenagar township,kota
 Parekh house,ahmedabad
 Correa house.ahmedabad
 Rallis apartments,mumbai
 Dcm apartments,delhi
 Twin houses,bhavnagar
 Kanchanjunga apartments,mumbai
 Titan township,bangalore
 Handloom pavilion, delhi
 Ecil office complex, hyderabad
 Jnc,jakkur
 Cablenagar township, rajasthan
 Champalimaud center,portugal
 Gandhi smarak sangrahalaya, ahmedabad
 National crafts museum, new delhi
 Cidade de goa, goa
 Navi mumbai. New bombay redevelopment plan
 The mcgovern center at mit
 Parekh house, ahamedabad
RESORT HOTELS
 Kovalem beach resort, kerala
 Bay island hotel, andaman islands

107
  Cidade de goa, goa
PUBLIC BUILDINGS
 Salvacao church, Bombay
 Bharath bhavan, Bhopal
 Kala akademi, Goa
 LIC center, Delhi
 Crafts museum, Delhi
 Archeology museum, Bhopal
 Jewahar kala kendra, Jaipur
WORKS ON URBANISATON
 New bombay
 Ulwe
 Nariman point
 New bagalkot
 Parel
 Hawkers & pavements
 Malabar cements township, kerala
 Hudco housing, new bombay
 Bukit cahaya
 Acc township, andhra pradesh
KANCHANJUNGA APARTMETS
 The famous kanchanjunga was built in the period of 1970-1983 in Mumbai.
 In order to preserve the palatial old bungalow that occupied the site, correa‘s design
developed in the form of a high rise tower, consisting of 32 luxury apartments, varying
in size of 3 to 6 bedrooms each
 The building is square in plan, 21m * 21m and 85m high thus forming a tower with
width height proportion of 1:4.
 The basic interlock is of a 3 bedroom and a 4 bedroom unit, with larger apartments
formed by adding an extra half level of bed rooms.

108
 Thus, as can be seen in section there is a continuous variation in the internal spaces,
which are expressed in the elevations formed by the shear walls on the north and south
faces of the building.
 Along the east and west faces, each apartments is protected by a zone of verandahs
and bathrooms, and of course by the large terrace garden, which are a truly
extraordinary experience for him, cantilevered from the garden, which forms the focus
for the whole apartments.
 Because of the orientation of the tower, there is continues cross ventilation throughout
the year – especially on the building, poised high above the city.

109
 The taut minimalist volume of the exterior is interrupted by cuts for terraces and
verandahs.
 These mediate between the exterior and the interior, expressing through their variety of
color and profile, the spatial complexities of the dwelling that lie within.
 Thr building is 28 storey high and each of the flats large usable garden terraces which
have dramatic city views.
 The apartments are well ventilated and appear to suit the contemporary life style.

110
TUBE HOUSE
 In 1960, the Gujarat housing board held a national competition to encourage new ideas
for low income housing.
 The program specified walk up apartments, but Charles correa found that by using these
long tube houses he could get the required density, as well as much larger living spaces
for each family.
 The Judges , Jane Drew and Achyut Kanvinde, awarded first prize to correa‘s entry an
early example of energy passive architecture.
 One of the architect‘s better known works, the tube house unit was 18.2m long by 3.6m
wide (60 ft by 12ft).
 Security and privacy are provided by the horizontal metal grill which forms a pergola
over the patio thus saving on the most expensive items in low cost construction: via.,
windows and doors
 The section of the unit has a sloping roof which in conjunction with adjustable louvers
in the window by entrance, sets up a continual convection current, naturally
ventilating the dwelling.
 The heated air rising along the sloped ceiling, escapes through a vent at the top.
 Fresh air, drawn in to replace it, sets up a convention current of natural ventilation
controlled by the adjustable louvers next to the entrance door.

111
CHAMPALIMAUD CENTER
 Located in Lisbon, Portugal.
 It is private biomedical research institution.
 300,000-square-foot building
 Facilities on cancer and neurosciences and an outpatient cancer clinic.
 Adjacent to the Tower of Belem
 Open approach, whereby the general public will be given limited access to the long-
inaccessible waterfront, enabling them to mingle with the scientists working on site

112
 Open spaces and panoramic coastal views have been deliberately harnessed.

 Open approach, whereby the general public will be given limited access to the long-
inaccessible waterfront, enabling them to mingle with the scientists working on site

113
GANDHI SMARAK SANGRAHALAYA, AHMEDABAD
 To recreate the Gandhian ideal of a self-sufficient village community.
 A network of interconnected open-to-sky spaces landscaped in different themes.
 It is climatically sound and energy-efficient, using low-cost material and finishes

 Conveys some sense of the solemnity and dignity appropriate for an institution
dedicated to Gandhi‘s life and work.

114
  The use of natural light in conjunction with semi-open spaces to create tonal gradations
in illumination and shadows.

PAREKH HOUSE
 Cubical composition
 Arrangement of spaces as per their time of use.
 Two pyramidal sections from housing types developed for Cablenagar
 Summer section – to be used during daytime; protects interior from heat
 Winter section – to be used in early mornings and evenings; opens up the terraces to the
sky

115
 Since site faces east-west, house consists of 3 bays
 Summer section sandwiched between winter section and service bay (for circulation,
kitchen and toilets)
 Bearing walls made brick.

116
 Modular units arranged in cruciform shapes.
 Units have been sealed off on the east facades.
 Pergola which has a substantial overhang on the west and south.
117
  Roof consist of three elements; a solid surface; a ‗reflective surface‘ comprised of a thin
memberane of water; and a slatted pergola.

NAVI MUMBAI
 Provided land for all, especially the urban poor.
 Aim was to provide the invisible squatter population of Bombay with a degree of
human dignity and opportunity for growth that the current system denies

118
OTHER WORKS
 National Crafts Museum, New Delhi

119
 Views with details of ornament and landscape elements

 KALA AKADEMI, PANAJI.

Interior view - The right side of this interior, including the human figures at bottom
right, is actually a painting

120
Cidade de Goa, Goa. External terraces and balconies.

The Jeevan Bharti headquarters New Delhi

121
LOUIS ISADORE KAHN (born ITZE-LEIB SCHMUILOWSKY)
(February 20, 1901 or 1902 – March 17, 1974)

 Was a world-renowned American architect of Estonian Jewish origin, based in

Philadelphia, Pennsylvania, United States.
 Worked in various firms in Philadelphia, he founded his own atelier in 1935.
 While continuing his private practice, he served as a design critic and professor of
architecture at Yale School of Architecture from 1947 to 1957.
 From 1957 until his death, he was a professor of architecture at the School of Design at
the University of Pennsylvania.
 Louis Isadore Kahn (1901-1974), U.S. architect, educator, and philosopher, is one of
the foremost twentieth-century architects.
 Kahn's architecture is notable for its simple, platonic forms and compositions.
 His design of buildings, characterized by powerful, massive forms..
 Through the use of brick and poured-in place concrete masonry, he developed a
contemporary and monumental architecture that maintained sympathy for the site.

122
 Influenced by ancient ruins, Kahn's style tends to the monumental and monolithic;his
heavy buildings do not hide their weight, their materials, or the way they are assembled.
 Louis Kahn's works are considered as monumental beyond modernism
 Several open courtyards also provide light, each containing different reflective surfaces
such as foliage or water to convey a different quality of light.

 Light is the central theme as well in one of Louis Isadore Kahn 's last philosophical
concepts, "silence and light.―

123
  Silence represents the darkness of the beginning, and light symbolizes the source of life,
the inspiration of the creative act.

IIM, AHEMADABAD:
 Designed by Louis Kahn, the 60-acre campus of the Institute has it all:
 a blend of austerity and majesty
 spaces for casual interaction
 frequently changing perspectives
 a balance between modernity and tradition that captures the spirit of
contemporary India.

124
 It was to comprise a main building with teaching areas, a library and faculty offices
around the main courtyard, separate dormitory units for the students that were to be
interconnected with a series of arched passages, and houses for the faculty and staff.

 The IIM consists of classrooms, faculty offices, and a library surrounding a main
courtyard and dormitory wings organized at 45 degrees.
 Louis Kahn states: ―Orientation to wind and shade from sun has given architectural
elements to the composition;‖
 Each dorm room has a screen porch that overlooks a courtyard.

125
Plan - ―The Fullness of air, so welcome, is always present as the basis for architectural shapes‖-
Louis Kahn
 Built out of concrete and brink, Kahn describes: ―the plan comes from my feelings of
monastery,‖ and feels the dormitories proximity to the school as similar to Harvard
Business School…
 ―I use the square to begin my solutions because the square is a non-choice, really. In the
course of development, I search for the forces that would disprove the square‖-Louis
Kahn

126
127
 Kahn‘s presence in the 1960s signals a turning point in contemporary architecture in
post-independent India.

128
  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.

 Through his massive yet austere brick forms, Kahn offered these architects a spiritual
experience that made them believe they could effectively build the new nation and
achieve a balance between modernity and tradition

"A work of art is the making of a life. The architect chooses and arranges to express in spaces
environment and in relationships man's institutions. There is art if the desire for and the beauty
of the institution is filled."
"The fullness of light, protected, the fullness of air, so welcome, are always present as the basis

129
for architectural shapes. I was impressed with the need for air when I happened, with twenty
other people, in the palace in Lahore, where the guide showed us the ingenuity of craftsmen
who had covered an entire room with multicolored mirrored mosaics. To demonstrate the
mystery of the reflections, he closed all the doors and lit a match. The light of the single match
gave multiple reflections and unpredictably shut off the breeze. In that time, in that room, you
felt that nothing is more interesting than air."
—Louis I. Kahn.

130
NARI GANDHI

LIFE AND EDUCATION

 Nariman (Nari) Dossabhai Gandhi was born in 1934 in Surat to a Zoroastrian Parsi
family from Bombay.
 Nari completed his schooling at St. Xavier's High School, Fort, Mumbai, and studied
architecture at Sir J. J. College of Architecture, Mumbai for five years in early 1950s.
 He traveled to USA to apprentice with Frank Lloyd Wright at the Taliesin and spent
five years there. After Wright's death in 1959, Nari left Taliesin and studied pottery at
the Kent State University for two years.
 Nari lead a very simple life.
 His work reflected more intrinsic element of nature , which affected consciously
 He was a very religious man and believed in the Zoroastrian way of life. The simplicity
of his life reflected in his work
 He used to say that Silence and Void are synonyms of the word God.
 Nari worked on Wright's ideology of organic architecture and further developed his
own unique style with a subtle influence of local climate and culture.
 He ceaselessly continued to work on Wright's idea of 'flowing space'.
 Nari worked without an office and rarely made any drawings for any of his projects.
 Nari spent a lot of time on his sites and worked closely with the craftsmen and often
participated in the construction process himself.
 Nari's ideologies and works were in sharp contrast to the mainstream architectural
thinking.
 His works display a distinctive organic character.
 They appear to have evolved as a response to the context, remaining strongly rooted to
the site and being very well connected to the surroundings.
131
  Nari's works display highly skilled craftsmanship and structural ingenuity
 Nari rejected conventional ideas and paradigms and introduced his own through his
work.
 He created built spaces that remained forever connected to their un-built surroundings
allowing sunlight and wind to interact with the inside and animate the space with
time.
 Each house is a series of dialogs between the built and the unbuilt.
JAIN BUNGLOW

 Located on a sloping site, this house is designed to blend with the terraced gardens that
begin above the entry level and slope downwards, following the stepped sectional
profile of the house itself.
 A single large roof plane, dotted with dormer windows and covered with Mangalore
tiles, has deep overhangs and creates a stepped profile that is accentuated by the
mountainous backdrop
 The staggered spatial arrangement of the bungalow was partially dictated by the
existing trees on site

132
 Internal courts on different levels are covered in transparent corrugated roofing sheets;
these courts bind the stepped and disconnected arrangement of independent rooms
together.
 The structure consists of stone masonry walls of varying sizes and colours, composed of
igneous rocks from the Western Ghats of Maharashtra.
 The masonry walls are integrated with steel struts and trusses which then support the
sloping roof.

 Openings throughout the house follow a semi-circular profile (for windows) and
inclined parallelograms (for doors).
 The house not only attempts to blend with nature through its apertures, but also
imitates natural forms in its structure through deep overhangs, radiating steel struts
and the massive boulder walls.
 Built without any working drawings or civil engineers to supervise the site's progress,
Nari Gandhi maintained an ad hoc construction method even in the more experienced
years of his practice.

133
DAYA RESIDENCE

134
 The Moon Dust residence began as a landscaping and interior furniture project that
later developed into a complete renovation of a concrete-framed house.
 The bungalow originally had a swimming pool, a garage, and six rooms: one living room,
three bedrooms on the entry level, and two bedrooms on the upper level.
 The renovation of the Moon Dust bungalow lasted approximately ten years, during
which time the architect would periodically return to the site and make design changes.
 Beginning as a traditional trabeated structure, plastered and painted, the bungalow
was intrinsically altered in the renovation: intersecting arches of stone boulders and
broken stone chips interfaced with the concrete frame, doors glazed with glass chips and
colorful semi-precious stones replaced traditional doors, and a mural wall of mud brick
in varying geometric patterns was built.
 One of the most striking interior features of the bungalow is the staircase to the upper
floor, which is built on an arch matching the intersecting structural arches of the house.
The staircase has no handrail.

135
Ar. UTTAM.C.JAIN
ABOUT HIM
 Born in Rajasthan.
 Mumbai – based Architect
 Did advanced studies in Urban Planning
HIS PHILOSOPHY
 Every edifice is a construction but every construction is not necessarily a piece of
architecture. To produce ‗Architecture‘ the designer ought to travel far beyond four
walls and a roof. This being the design premise.
HIS WORKS…
 Vicks Vapour Rub Plant, Honda, Goa.
 Neelam Cinema, Sanchore, Rajasthan.
 Landmark, Andheri, Mumbai.
 Jawaharlal Darda Institute Of Engineering Technology, Yavatmal, Maharashtra.
 ―The relationship between man and building being established, what develops
and grows around it, becomes a measure for man and his society‖…..Uttam Jain
VICKS VAPOUR RUB PLANT, GOA.
 ―A GMP (Good manufacturing Practices) manual was mandated as a standard
practice. This manual helped us understand the kind of system that is involved in
the process of manufacturing these high end products.‖….Uttam C Jain.
 Client: Procter & gamble India Ltd, Mumbai.
 Architect: Uttam C Jain, Architects & Planners.
 Structural: Sharad R Shah, Mumbai.
 Location: Honda, Goa.
 Plot Area: 60,150sqm
 Built-up Area: 8500sqm
 Cost: Rs. 6,46,59,845/-
 Project Initiation/ Completion: May 1995- March 1997

136
 Straight elevation is given an added dimension with curved wall
 The project required the provisions of 3 major areas- the manufacturing units supported
by services inputs warehousing facilities along with loading and unloading bays, the
administrative block to accommodate administration and staff facilities such as
canteen, cloak rooms and security.

An RCC frame with concrete in fill walls makes up the mass of the building
 The design parameters were primarily related to improving production efficiency and
providing better comfort level for staff.

137
 To increase the volume of spaces within , a primary production areas, a large column-
free 35m wide area was designed
 it was wrapped on all sides by a 3m wide access passage with a service corridor at a
height of 4m.

The entire structure has been designed in tandem with the environment
 The column free spaces were covered with aluminium sheeting supported over steel and
RCC gutter beams, which drain out rainwater.
 The administrative block also, also housing the staff facilities, comprises an RCC frame
with concrete in-fill walls.
 The wall edifices stand apart in the green landscape and sets a standard for designing
an industrial plant.

138
 At night, when lit, the factory appears very unlike an industrial unit

FLOOR PLAN
1.Entrance Foyer
2.Administration
3.Meeting
4.Packing
5.Store

139
6.Rest Room/Lockers
7.Quality Control
8.Medication
9.Manufacture
10.Workshop store
11.Power Control Center
12.Utility
13.Docking Area
6a.Gents‘ Toilet
6b.Ladies‘ Toilet
6c. Lockers

Clean, minimal interiors give the factory an international look.

The colored roof that is supported by trusses, matches the sky.

140
 Light wells create a dramatic ambience in an otherwise functional environment.
NEELAM CINEMA, RAJASTHAN.
 ―With entertainment through cinema being the cheapest mode of recreation, it is
logical that viewing films remains a staple diet for most people. Designing a
movie theatre hence becomes more than merely adding an edifice to a town or a
city.‖…..Uttam Jain.
 Client: Kesu Singh Gehlot and Family, Johdpur.
 Architect: Uttam C jain, Architects & Planners structural: Sharad R shah, Mumbai.
 Structural: Sharad R Shah.
 Location: Sanchore, Rajastan.
 Plot Area: 2,225sqm
 Built-up Area: 2,210sqm
 Estimated Cost: Rs. 1,00,00,000/-
 Project Period: February1995-April 2000

141
 The theatre is designed as a space where people can interact with each other
 The structure is a simple unpretendious building comprising an auditorium with a 28m
screen, enhanced by a double-height foyer by a skylight.
 The foyer runs parallel to the hall for easy accessibility to the stalls at ground level.
 The hall has been designed as a product of provincial culture and regional architectural
culture.
 Local material and labour was used to build the cinema hall.

The theatre lobby - an attractive area elaborately done for the people of Sanchore

142
 The Architecture is created from regional resources that are apparent and abstract,
visible and invisible, manifest and no-manifest.
 The geometrical patterns on the exterior are an imprint of the linearity and right-angled
configurations that are dominant in the region.
 Solids and voids, created by the many layers and cutouts, juxtaposed with light and
shade give a 3-dimensional effect to the building.

A Geometrical grid pattern has been effectively used to develop vocabulary.

 Internal wall surfaces have been painted a monochromatic off-white to offset the
chequered flooring pattern in contrasting colors of deep green and white marble with
inlays of a stylised sun as its focus in the centre.
 A glass brick stairwell completes the overall visual experience for the cinemagoer.
 The Neelam cinema hall is a wholesome product of contemporary design in context with
the regional architectural heritage.

143
 Materials and details have been used with maximum thought given to the local environment.

FLOOR PLAN
1.Entrance Foyer
2.Canteen
3.Cinema Hall
4.Stage
5.Projector Room

144
6. Rewinding Room
7.Box – Seating
8.Toilets
9.Exit
10.Speaker Box Above
11.Screen
12.Balcony Above
LANDMARK,MUMBAI
 ―When India opened the window to globalization in the 90‘s, the availability of
industrial products, imported building materials – manmade and natural –
transformed the building industry. It also derived an alternated aesthetic order in
architecture. ‗Landmark‘ is the result of similar orientations.‖…..Uttam Jain.
 Client: Silver Group, Mumbai.
 Location: Andheri ( east), Mumbai
 Architect: Uttam C Jain, Architects & Planners.
 Structural: Larsen & Toubro – ECC Construction Division, Chennai.
 Plot Area: 5,383sqm
 Built up Area: 10,748sqm
 Approximate Project Cost: Rs. 23,00,00,000/-
 Project Period: July 1993-March 2002

The L&T welfare centre that houses the company‘s bus depot. It is connected to the other
tower through the entrance foyer.

145
 The brief was simple – to create an office complex that comprised the existing offices of
L & T, the offices of silver group and floor spaces that could be rented out.
 To utilize the permitted Floor Space Index completely and keeping in mind the height
restriction as the site was near the airport, 2 unequal cubes were conceived a building
forms.

A functional element like the staircase has been well incorporated within the design
 The smaller building encloses the welfare center and other offices while the taller cube
would house the various office spaces.
 Structural glazing on the south and west was conceived to create a sound barrier that
also allowed an unobstructed view of the surroundings.
 The main structural frame is RCC.
 Externally, the buildings are covered in glass an aluminum composite panels.
 Initially its outer skin was to be covered with red granite.

146
 Conceptual sketches that were worked out to understand the spatial configuration
 Due to the paucity of a uniform texture and color in granite, the material was
substituted with imported deep red- colored composite aluminium panels.
 Its cost competitiveness, quick erection, minimum maintenance and effortless
replacement made it an ideal choice.
 The planning of the interiors is fairly simple.
 To obtain a column less space as far as possible, 4 large circular columns were designed
to carry weight of the building,

147
 TYPICAL FLOOR PLAN
 Apart from the RCC structural frame.
 A flat slab was introduced as a ceiling to give a even finish, keeping in mind
the future requirements of a false ceiling when required in any of the office
space.
 The upper floors are approached through stairwells and a battery of high speed.
 Detailing has been the basis of the design, so as to keep wastage of spaces
minimal.
 Associated services like fire fighting and ducting have been subtly incorporated
within the design

148
The red aluminum and glass edifice stands tall on the Western Express Highway in Mumbai
and is aptly called the ‗LANDMARK‘ building

 The geometry of two cuboids wrapped in tinted glass and opaque red aluminium panels
forms the basis of architectural delineation.

A transparency has been created without wasting space, to enable a view of the city

149
 GROUND FLOOR PLAN
1.Entrance Foyer
2.Reception Lobby
3.Office
4.Meter room
5.Toilets
6.A.H.U Above
7.Skylight
8.Generator Room
9.Stilts Bus Parking
10.Electric Sub Station
11. Generator Room
12.Pump Room
JAWAHARLAL DARDA INSTITUTE OF ENGINEERING
TECHNOLOGY, MAHARASTRA
―The master plan was conceived on the basis of a comparison between the growth of a child
and the ‗Kalpa-Vriksha‘ or tree of life.‖…..Uttam Jain
 Client: Jawharlal Darda Education Trust, Yavatmal.
 Architect: Uttam C Jain, Architects & Planners , Mumbai.
 Structural: John Mech-el Technologies Pvt Ltd, Mumbai.
150
 Location: Yavatmal, Maharashtra.
 Plot Area: 92,383sqm
 Built up Area: 5805sqm
 Cost: Rs. 2,32,93,620/-
 Project Period (phase 1): January 19998-March 2002

Bird‘s eye -view of the University model

 The site is accessed through a pavilion located along the principal entrance ramp for
pedestrians, which emerges from the main road.
 A circular masonry wall encircling the campus at the lower level defines the boundaries,
provides security and has been derived as an analogy of the cosmos.
 Different activity zones are suitably located for the optimal inter-utilization of all
campus facilities.

151
 The kalpa-vriksha, a concept that has borne fruit in this university design.
 The main workshops for engineering faculties have been placed on the west along with
their drawing halls and these are approachable from a service road on the west as well
as through the connecting corridors on the east.
 Vehicular parking runs parallel to the service road.
 Key areas like the auditorium and the open air theatre are accessible to the public and
students alike.

Simple forms and neutral colors constitute the campus building

152
  The canteen is positioned to inculcate interaction and casual conversation facilitating
freer expression and learning . The pivotal location of the library encourages reading
among students.
 The east zone comprises teachers‘ rooms, common halls,classrooms and laboratories that
run parallel to each other.
 A series of green courts in decreasing sizes meant for open congregation link the east
and west zones.

Levels and terraced roofscape make an interesting visual image with the surrounding landscape
becoming the background
 The overall built-form ha a low profile with scaled volumes under 12m height.
 The stairways provided for vertical connections are strategically located not only easy
movement but also for social encounters.
 The overall color palette is essentially whit with a few splashes of deep shades.
 The workshop vaults appear greyish-green from the top.
 Exposed concrete surfaces are either form-finished or color-washed.

153
 Terraced roof
 The railings are postbox red to highlight the circulation patterns in the corridors.
 Common spaces have been differentiated from the programmed spaces with the use of
landscaping.

High ceilings with skylights create volumes that allow the students to work in an environment
of natural light

154
A model showing the elevation of the proposed structure.

155