RAVINDRA BHAN

Submitted by |Monalisa Panda |1180700005 |MLA

ABOUT HIM

PROF. RAVINDRA BHAN is a one of the eminent landscape architect in India

known for his ecological approach, designing with nature. His interest in
nature was deep rooted in his upbringing in the picturesque surrounding of
immense natural beauty of Kashmir.

As an immature he has worked with Ar. A. P. Kanvinde. He participated in

first ever master planning attempt of Delhi and very first Yamuna Riverfront
Development plan.

He attained his formal architectural education , B. Arch from Washington

University, St. Louis, Missouri, U.S.A and Masters in Landscape architecture
from University of Pennsylvania, U.S.A which was setup by the doyen of
Landscape Architecture, Ian McHarg. There he interacted with him and
later he worked with him as a senior designer for over 7 years.
DESIGN PHILOSOPHY

Greatly inspired by the famous Ian McHarg, Bhan always included nature
into his designs. For him understanding the nature and how best we can
design to maximize the potential it is offering us was the main priority. The
close and symbiotic relationship between plains, site and mass is very crucial
and it is important to understand that for a design process. Finally the design
depends on the end user or the client for whom you are designing.

A landscape architect is one who manages the development in such a way

so that the relationship between man and nature remains within tolerable
limits, thus, minimizing the abuse of natural environment.
POPULAR PROJECTS

• Shakti sthala – memorial for late prime minister indira Gandhi *

• Hotel Mughal Sheraton ,Agra *
• Model colony lake (lakaki), pune ravindra bhan
• Storm water drainage scheme, churu
• Andrews ganj housing, new delhi
• Children’s park, india gate new delhidoyen of Landscape Architecture
• Ayodhya ghats, faizabad
• Asian games village complex, delhi
• Chambal fertilizers & diagonistic centre, gadgaon, kota
• Golden temple corriodors
• Iskon temple
• Ayodhya ghats
• Ecological planning of delhi ridge
(A detailed study about the star marked are provided later in the document.)
AWARDS
PROF. RAVINDRA BHAN
LANDSCAPE ARCHITECT

2010
Recipient Of Isola Landmark Award for excellence in design at Shakti
Sthala-Smadhi of Smt. Indira Gandhi.
2010
Isola Medal 2010- Lifetime achievement and contribution to profession.
1980
Recipient of the AGA KHAN award for architecture (Prestigious
International Award for overall excellence).
1980
Recipient of Second prize for All India Low Cost Housing Competition,
HUDCO.
1980
Recipient of first stage prize in National Competition for City Centre in
Faridabad – Haryana.
1974
Merit award American society of Landscape Architects
1973
First prize International Low Cost Housing Competition.
1962
Traveling Fellowship INAL (Italy).
1955
Recipient of First prize in Gate Design Competition.
SHAKTI STHALA – winner of ISOLA award 2010-the landmark award

Location : New Delhi

Total area : 45 acres

Shakti Sthala, literally “the abode of

energy”, the memorial of late Prime
Minister Indira Gandhi in New Delhi, is
located on the eastern side of Delhi
on the low lying flood plains of river
Yamuna. The project site lies between
two existing memorial- Raj Ghat
(Mahatma Gandhi) and Shanti Vana
(Jawaharlal Nehru) on the fringes of
old city of Shahjahanabad. The place
depicts the life of Indira Gandhi
through elements of nature.
DESIGN PHILOSOPHY

The idea behind the Samadhi was not to make it into a sacred space rather a public space.
It is a place where one experiences quieter moments to pay homage to one of the most remarkable woman
that ever lived. It is a tribute to the life, ideals, vision and courage of Indira Gandhi. The memorial evokes the
emotional response of her innate strength and varied personality which combines strength and sensitivity,
traditionalism, progressive outlook and symbolizes the charismatic impact of her personality.

Several major problems had to be tackled while planning the landscaping of the Shakti Sthala. To begin with, the
land was extremely flat, and noise level very high, as the site is adjacent to the highway, next to the Raj Ghat
and Shanti Van. To resolve these problems, it was decided to create large earthen mounds, so converting this
flat area into an undulating landscape of hills and downs. Before one reaches the actual Samadhi, two earthen
mounds and a belt of trees would be effectively block out sound, so that in Samadhi area the noise from
highway is minimal. Once the dense tree belt is fully grown, noise level will be even lower, as the noise on the
highway will have to filter through the dense belt of trees. Besides keeping the noise level down, the trees would
also form the barrier needed for security reasons. Plants have been selected carefully so that every season of the
year brings the change in the landscape enhancing the nature phenomena.
DESIGN ELEMENTS AND SYMBOLISM

The design of Shakti Sthala reflects the love and concern of Indira Gandhi for nature. The primordial elements of
nature – earth, water, rocks and trees were the only design elements used in the project. the place is a reminiscent of
her childhood memories of Kashmir – sweeping meadows, framed views, clusters of flowering trees and rolling hill rocks. The
understanding of interdependence of these design elements with each other resulted in creating a befitting
memorial with an ever changing visual experience.

An iron rock which weighs 60 tonnes and is 5m high stands like a sentinel guarding the spot where Indira Gandhi
was cremated. The rock symbolizes her courage, fortitude and strength of purpose. The shape, colour and texture
of the rock imparts a haunting beauty and radiance to the environment which is dramatic but at the same time
peaceful and serene and gives an aura that is almost like her presence.

Everything in the memorial is depicted in a way to connect back to Indira Gandhi’s life and the diversity of the
country she lived in. The diversity of the country was represented by displaying large rocks (numbering almost a
thousand and weighting 5 to 60 tons) of geological significance from each state and union territory of India making
it the first geological park of it kind in the world and representative of the total geological crust of India.
THE DESIGN

THE APPROACH
The entrance is dominated by a large banyan tree (ficus mysorensis) forming a natural gateway. The gradual
transition from entrance to approach road is bridged by broad steps leading through winding path, paved in granite
from Rajasthan to a central enclosed space. As the path leads it reveals ever changing vistas of landscape, dotted
with rocks placed carefully among indigenous trees, many of them the favourites of Indira Gandhi. Before the path
turns it overlooks a shimmering lake which reflects the serenity of the environment. Another path paved with wood
blocks made from Irul trees (xylia xylocarpa)leads to the sentinel rock.
THE LAKE
The land is flood-prone area, perennially soggy and damp, with the salts having accumulated on the low-laying
areas, over the years. The design of a lake solves the drainage problem. As the region is low lying, the lake was
located at the lowest level and allowed the natural depressed land-form to serve as drains, collecting water from
the higher areas. The water would then flow down to the lower areas and eventually find its way to the lake.
ATTRACTING WILD LIFE
The lake would also have water plants and fish so as to attract the wildlife, and in particular the birds of the region. So
certain species of trees and shrubs were selected from various areas, which would provide a natural habitat for birds.
THE DESIGN

THE ROCK
The architects wanted Shakti Sthal to be more than just another Samadhi-something unique and unusual hence
the idea of an imposing rock symbolizing the strength and power of Mrs. Gandhi’s personality was made the
prime focus.
At first it was decided that a huge, natural crystal, seated on a mound, would be most suitable. This crystal would
act as a mirror reflecting the moods of the seasons, the times of the day, the flowers, fruits and trees. But the
crystals available in India were not large enough – merely a foot wide. The crystal, which was visualized, would
have to be 8 to 10 feet wide and around 10 feet high. Czechoslovakia offered to cast, free of cost an artificial
crystal of that size, for us. But the Prime Minister who wanted something natural mooted the idea out.
The rock was finally found at Bhillai which was lying in a ditch from years. The texture, colour and form were just
right; there was no need for blasting. This was ideal as the rock would look natural and not have jagged edges. It
was only later that the designers noticed its symbolism – the white streaks, the streaks symbolizing sacrifice, and
that it was shaped just like the Congress hand.
The rock was named the ‘Sentinel Rock’, this 10 meter tall, 50 tones, hand – shaped rock – banded hematite
jasper – forms an effective backdrop to the Samadhi, represented by a flower bed.
THE DESIGN

GEOLOGICAL ROCK GARDEN

The design was decided to place rocks, representing the major rock foundation, all over the area. It was planned
to place 500 such rocks ranging from the oldest rock formations to the youngest, in chronological order. Since here
the challenge was to make a large scientifically important rock garden. The large dimensions pose its owns
problems: where to place the rocks, how to place them and in what setting to place them. Transporting these
rocks, which weighted from 6 to 7 tones to 15,20 or 30 tones was another problem: some had to lifted by cranes,
others pulled out of ravines, and still others rolled down from the mountain tops. These rocks were to represent the
geological crust of India; major rock formations of every region would be represented. These specimens were not
only to be geologically unique – having scientifically value in terms of geological content – but be aesthetically
pleasing as well. Rocks from all over the country – right from Ladakh, to the Andamans and Lakshwadeep islands –
have been selected, according to their form, color, texture and shape and place in a geological time-scale.
The Shakti Sthala will be a scientific revelation, especially for the younger generation as Indira Gandhi loved
nature, this would be an appropriate and fitting tribute to her memory.
Combination of elevated and sunken base plane
to accentuate the enclosure quality Space definition through trees

Contour plan of the Samadhi Interplay of components of nature

HOTEL MUGHAL SHERATON, AGRA – winner of first Aga Khan Award,1980

Location : Agra

Total area : 12.35 acre with 5000sqm of

garden courtyards and 20000sqm of
gardens.

Hotel Mughal Sheraton is a two-storey,

garden oriented structure is a
contemporary expression of traditional
Mughal architecture. Designed as a
low profile structure, constructed
entirely of local materials. The intent
was to not over shadow the urban
character of old and historic town of
Tajgang, but to integrate the new
construction with the surroundings.
 Formal gardens. On axis with the Detail of formal garden. The
SITE PLAN Taj Mahal, this garden is 'similar terraced water tank is enclosed
to those of the Mughal period' at the far end by a sandstone
wall carved with lantern niches.
DESIGN PHILOSOPHY

An oasis greenery, water, shade and

orderliness in the hot, dusty
environment of Agra. The otherwise
modern building expresses its
significance by incorporating culture
and rich architectural tradition of the
region. The interplay of gardens,
fountains, bridges, light, air and
coolness indeed gives the Mughal
feeling. All the rooms are oriented to
take advantage of the cooling effects
of the gardens and pools. Integrating
the hotel with its immediate surrounding
is one of the prime ideas that shaped Cypresses, fruit trees, lantern niches and waterfalls recall a Mughal
garden.
the entire project.
DESIGN ELEMENTS

The geometry of the building grows out of the landscape with

entrances being diagonal. The complex has been designed as
a series of related building blocks arranged around three
sunken landscape courtyards to reduce heat intake into the
build form.
A Contemporary Pleasure Garden utilise all the Islamic
elements like
• Symmetry
• Water body
• Sunken garden
• lawns
• Trees specific to Islamic culture like cypress,fruit bearing trees
• Local materials
• The terraced water fall is enclosed by a sandstone wall
carved with lantern niches.
THE DESIGN

The hotel is pulled back from the road, and on entering the driveway one feels at once a sense of lush sanctuary.
Thickly planted banks line the approach to the complex. From the entrance canopy, the visitor are led, by bridge,
across a large reflecting pool, past fountains, and the lobby beyond.
The primary focus of the complex is inward to the gardens courts. From the room level the courted gradually step
down, through a series of terraces, planters, pools and the fountains, to a level twelve feet below grade. Here, pools
are used extensively, the largest designed as swimming pool. A network of walkways weaves among the planters
and pools, forming small terraces and seating and linking various courts.
The gardens are the place of greatest activity, in much the same manner as were the garden courts at Fatehpur
Sikri. The three landscape courtyards are enclosed by the guest wings. The wall of these wings from wide planters at
their bases, providing a privacy screen for the rooms and a transition from a building to landscape. From the room
level the courtyards gradually step down, through a series of terraces, planters, pools and fountains, to a level of 3.65
meters below grade. The cooling presence of large water tanks, well understood by the Mughals, has been
introduced also. Pools are used extensively with tanks of varying size, the largest designed as swimming pool. A
network of walkways weaves among the planters and pools, forming small terraces and seating areas, and linking
the various courts.
THE DESIGN

In the centre, on an axis with the Taj Mahal, is a formal garden similar to the gardens of the Mughal Period. Cyprus
trees line terraced water tank, which is enclosed at the far end by sand stonewall curved with lantern niches, into
small pools and fountains.
Surrounding the guest wings are two hectors of informal gardens which offer further recreation, including putting
greens and archery and croquet facilities. The entire site is bounded, not by a wall, by thick bougainvillea.
REFERNCES:

• WITH RESPECT TO NATURE , ARCHITECTURE + DESIGN , NOV-DEC 1984

• ATTUNED TO NATURE, INDIAN ARCHITECT & BUILDER, NOVEMBER 1987
• A FITTING TRIBUTE , INDIAN ARCHITECT & BUILDER, NOVEMBER 1987
• SHAKTI STHAL , RECREATING NATURE, THE ECONOMIC TIMES, NEW DELHI, 21.04.1990
• PERSONALITY RAVINDRA BHAN LANDSCAPE ARCHITECT,
JOURNAL OF THE INDIAN INSTITUTE OF ARCHITECTS,MAY 1993
• SHAKTI STHALA , JOURNAL OF THE INDIAN INSTITUTE OF ARCHITECTS,AUGUST 1996
• INTERVIEW, A MODERN TRADITIONALIST,JOURNAL OF LANDSCAPE ARCHITECURE,ISSUE TWO,SUMMER 2001
• PROJECT BRIEF , MUGHAL SHERATON HOTEL , THE AGA KHAN AWARD FOR ARCHITECTURE
• UNDERSTANDING OF NATURE’S WORLD ,RAVINDRA BHAN ,ARCHITECT OF THE MONTH ,ARCHI TIMES ,APRIL 2011