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Charles M Correa
AASHRAY ARORA RANU GAHARANA RITU MALHOTRA
• 2 . and the UIA Gold Medal in 1990.SKY Spaces (verandahs.” Correa explored LOCAL VERNACULAR within modern environment. Ex Tube Houses. activist. the Aalto Medal. Prime Minister Rajiv Gandhi appointed him Chairman of the National Commission on Urbanisation. Correa's land-use planning and community projects continually try to go beyond typical solutions to third world problems. terraces etc) His buildings were designed according to the climate of the place.St Xavier’s High School 1946-1948 – St Xavier’s college. university of Bombay 1949-1953 – University of Machigan (B Arch) 1953-1955 – Massachusetts Institute of technology (M Arch) After which he established a private practice in Bombay in 1958. planner. he was chief architect for Navi Mumbai. 1930) is an Indian architect. In 1987 he received the gold medal of Indian institute of Architects. courtyards. IT BECOMES SO BORING. In 1985. He was awarded the RIBA Royal Gold Medal in 1984. His works cover a wide range from Mahatma Gandhi Memorial at the Sabarmati Ashram to the awahar Kala Kendra in Jaipur and State Assembly for Madhya Pradesh. Education:• • • • • • • 1939-1946 . SUPRERNA KUMARI VIKRANT PURI LIFE Charles Correa (born in Hyderabad. Awards Received • • • • In 1980 Correa was awarded an honourary Docterate by the university of Machigan and in 1984 he received the gold medal of the Royal Institute of British Architects. He strongly believed in the use of OPEN. Correa's early works attempt to explore a local vernacular within a modern environment. understanding and adaptation of Modernism to a non-western culture. From 1970-1975. Correa's work in India shows a careful development. India on September 1. theoretician and a fundamental figure in the world-wide panorama of the contemporary architecture. PHILOSOPHY • • • Charles Correa was a man of architecture who believed that “UNLESS YOU BELIEVE IN WHAT YOU DO.TO.
98 metres long. • The upper levels of offices are located in two separate wings. He believed in DISSAGREGATING cellular LIVING SPACES. generating a total built-up area of 63. The building is both proscenium and backdrop: a twelve-storey stage-set whose faceted glass surfaces reflect the buildings and trees around Connaught Place. It acts as a pivot between the colonnades of Connaught Place and the new generation of highrise towers that now surround it. A city proposal for an elevated pedestrian walkways (if ever constructed) will pass between the two blocks.• • • One may find in his work SUBTLE LEVEL CHANGES having a certain essential character that simultaneously serve to articulate different living zones in a particular vivacious way. and beyond which the new highrise imagery of Delhi can be glimpsed. Under the space frame • • Planning • The two lower levels of the complex consist of shopping decks and restaurants. allowing pedestrians to traverse the building as a great darwaza. with slot leading through to Connaught Circle • 3 . Correa believed in using the SITE FEATURES JEEVAN BHARATI Delhi 1975-86 • This office complex for the Life Insurance Corporation of India (LIC) is situated on the outer road of Connaught Circle.000 square metres. is a great pergola. supported at either end by masonry piers and in the middle by a single column. • Connecting the two wings. The rear facade.
gateway. 4 .e.i. defined by the portico-form.
the windows are deeply recessed into the masonry so as to protect them from the heat of the Delhi sun . Exterior clad in red sandstone Looking across from the open green area in Connaught Place 5 . culminating in the twin elevator towers which frame the slot for the pedestrian bridge. On this side of the building.• • The red sandstone of the piers wraps around the rear facade.
View from the Jantar Mantar The Knife-edged masonry pillar in the NW corner View from Janpath 6 .
Its minimalist unbroken surfaces are cut away to open up the double-height terrace gardens at the corners. varying from 3 to 6 bedrooms each. The old bungalows solved these problems by wrapping a protective layer of verandahs around the main living areas. Overlooking the city from a garden-terrace • • • • • The interlock of these variations are expressed externally by the shear end walls that hold up the cantilevers.) Typical section. and to open up the best views in the city: the Arabian Sea on one side and the harbour on the other. Kanchanjunqa. But these unfortunately are also the directions of the hot sun and the heavy monsoon rains.KANCHANJUNGA APARTMENTS Bombay 1970-83 • In Bombay a building has to be oriented east-west to catch the prevailing sea-breezes. The tower has a proportion of 1:4 (being 21 metres square and 84 metres high). thus providing the occupants with two lines of defence against the elements. showing interlock of basic units 7 . thus revealing (through the interlocking form and colour) some hint of the complex spatial organisation of living spaces that lie within the tower. an attempt to apply these principles to a high-rise building. is a condominium of 32 luxury apartments of four different types.
• Looking out towards the terrace from a living room: two against the line of defence against the sun and rain Terrace gardens in the sky 8 .
Four bedroom unit: entrance level Four bedroom unit: upper level Three bedroom unit: entrance level Three bedroom unit: upper level 9 .
Site plan Repeating the basic interlock of 3 and 4 bedroom units generated facades that seemed like just so much yardage. 4. enriched this basic pattern. 5 and 6 bedroom units 10 . giving the tower rhythm and energy. Incorporating 5 and 6 bedroom units (created by adding an additional half-level to some apartments). Section showing the interlock of 3. like a tree of Life.
Portion of facade facing Bombay harbour to the east On a terrace garden Exterior surface cut away to open up the double-height terrace gardens at the corners KOVALAM BEACH RESORT 11 .
are the kudils individual suites for longer stays. Here. In between the kudils and the hotel there are clusters of 'detached units'. o Overlooking the beach is the main hotel with 100 guest rooms. Throughout the project.Kerala 1969-74 • The purpose of this project. with their own cooking facilities. • • • • • Every room with its own private sundeck 12 . was to initiate one of India's most spectacular (but relatively unknown) beaches as a major beach resort area. in order to preserve the natural beauty of the site. white plastered walls with red tiled roofs. centres for yoga and ayurvedic massage. on the edge of the beach. the construction is in traditional vernacular of Kerala: viz. the facilities are all built into the hill slopes . commissioned by the Government of India. other pavilions consist of light bamboo chhatris with coir matting on the floor and local Kerala handicrafts. offering about the same facilities as the kudils but at slightly higher densities. water sports. hidden under the palm trees. The master plan therefore does not concentrate all the facilities in one area.and at the same time open View from beach up several strategic points on the site so as to increase future growth options.every room getting its own private sundeck. The guest rooms come in three configurations. thus allowing a more flexible response to future demands. but generates a larger number of potential growth points. and so forth) had to be deployed in a manner which would create a critical mass for each activity . etc. o Firstly. Thus the facilities specified in the programme (accommodation for over 300 guests.
View of Kovalam beach from terrace 67 Section through hotel Inside a kudil 13 .
counter-sunk into the stepped-back sections. so as to provide privacy for the guests 14 .Breakfast on a kudil sundeck Section through detached units. Every room has its own individual terrace for sunbathing and relaxing.
Kudil Unit Bamboo pavilion 15 .
• Courtyard with champa tree Sentry watching doberman crossing courtyard very swiftly • • • These went through more than a dozen incarnations the only thing they all had in common was the courtyard in the centre. the traditional old Hindu houses in Tamil Nadu and Goa are usually organised around a small central courtyard. These successive rounds of decision-making have generated a complicated layering.HOUSE AT KORAMANGALA Bangalore 1985-88 • The traditional courtyard houses of South India represent a typology much older. but sadly lacking in light and cross-ventilation. from that of the bungalows built by the British . Entrance to dining room 16 . with a tree or tulsi plant in the middle. o The result: rooms which are large and generous. and really quite different. In contrast. wrapped around with continuous verandahs. right until the end.which is usually a long shed (with the Living and Dining rooms down the centre and the Bedrooms on either side).and it allowed the rest to keep changing. That never varied .
with stairs to upper bedroom and terrace Ground floor plan 17 .Roof plan The living room.
closed at night for security. View fron terrace gardens. including the Antarang (indoor auditorium). workshops for lithography and sculpture. and the Bhairang (openair amphitheatre). looking across the lake The museum of Tribal Art The 8000 sqm of Bharat Bhavan houses a fullfledged theatrical repertoire company and facilities for the performing arts. The openings to the courtyards and terraces have two sets of shutters: the inner ones consisting of a combination of fixed glass and operable panels for light and ventilation.BHARAT BHAVAN Bhopal 1975-81 • • The site for this Art Centre is on a gently sloping hill overlooking the lake in Bhopal. galleries for Contemporary Art. slope of the hill Lighting and ventilation within the building are provided by top lights. The natural contours of the site have been used to create a series of terraced gardens and sunken courtyards . overlooking the Courtyards and terrace gardens on the lake. a library of Indian poetry (in all the 17 major languages). overlookung the lake • • • 18 . including a museum of Tribal Art. The amphitheatre (Bhairang).off which are located a number of cultural facilities. the outer ones consisting of large wooden doors. and-a studio for an artist-in-residence.
on cycles and scooters. making them accessible to the citizens of Bhopal.• • • The open-to-sky pathway is structured around three courtyards . come to stroll around in the terrace gardens . in an easy and casual manner. one comes across exhibition spaces. Every evening. or hear a concert.and perhaps stay on to watch a play. 19 .from which one enters the various facilities. This feeling of open space is an essential part of the experience of visiting Bharat Bhavan. whole families. workshops and dance theatres. Progressing through the terraced gardens and courtyards.
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