SRM Institute of Science & Technology

(Deemed to be university u/s 3 of UGC

Act, 1956)
School of Architecture & Interior Design

STUDY MATERIAL
B. Arch.
2019 - 2020
(ODD SEMESTER)
16AR303 – CONTEMPORARY INDIAN ARCHITECTURE

3RD YEAR – 5TH SEMESTER

2016 REGULATIONS

Compiled by: Ar.Prashant.P, M.Arch.,

Ar.Manjari.K, M.Arch.,
Assistant Professor
SAID SRM
INDEX

1. UNIT -1 ARCHITECTURE IN COLONIAL INDIA & AFTER

INDEPENDANCE ………….……………………………... 01
2. UNIT -2 POST-NEHRUVIAN MODERNIST
ARCHITECTURE………………………..………………….. 37
3. UNIT -3 POST INDEPENDANT
ARCHITECTURE…………………….……………………... 75
4. UNIT-4 WORKS OF CONTEMPORARY
ARCHITECTS……………………………………………….. 104
5. UNIT-5 CRITICAL REGIONALISM…….……………….... 150
6. QUESTION BANK…………………………………………. 179
7. REFERNCE…………………………………………………… 190
 UNIT -1
ARCHITECTURE IN COLONIAL INDIA & AFTER
INDEPENDANCE
INTRODUCTION :
British Colonial Era: 1615 to 1947
The British arrival in 1615 overthrew the Mughal empire. Britain reigned India for over three
hundred years and their legacy still remains through building and infrastructure that
populate their former colonies. The major cities colonized during this period were Madras,
Calcutta, Bombay, Delhi, Agra, Bankipore, Karachi, Nagpur, Bhopal and Hyderabad.

While British supremacy did not change the fact that India was becoming rapidly
urbanized, it did lead to new alignments and priorities, since the controlling power was
now different. A number of new towns and new suburbs were built to house the British,
and the pattern of new town planning changed.

India was still divided into administrative districts as under the Mughals, and the towns
which functioned as district headquarters were the ones where most of the new
architecture was built.

In the main the effort was to physically and socially separate the Europeans from the
indigenous populace – the so-called ‘White’ and ‘Black’ towns of Madras being an
example. This was also made to enforce sanitary and developmental guidelines on the
old towns, though these had little effect as in the main they failed to take into account
traditional ways of community life.
In some cases new urban design smacked of retribution – Delhi and Lucknow in
particular, being the centres of the Mutiny of 1857, lost large parts of their historic areas
to new British planning and city-core demolitions.
EARLY COLONIAL PERIOD -

INTRODUCTION
 Colonization of India 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 colonial architecture exhibited itself through institutional, civic and utilitarian

buildings such as post offices, railway stations, rest houses and government buildings.
Such buildings began to be built in large numbers over the whole empire.
ARCHITECTURAL CHARACTERISTICS
 Development of colonial architecture in India was at peak and coincided with
the industrial revolution of Europe. Hence, the buildings they constructed in India
were the direct reflection of their achievements back home.

 When British established power in India the Palladian and the Baroque were the
prevailing styles in England. Hence, the Britons established themselves in Bombay
(presently Mumbai) during the construction of St. Paul`s Cathedral in London.

 Georgian neo-classicism was the overriding fashion in the years when they were
developing the Presidency towns of Bengal, Madras and Bombay. By the time
they had made themselves paramount throughout India, the Gothic revival was
in full flair.

 Early buildings have to adjust with unpredictable climatic conditions. Rattan

screens blocked its porticoes and verandahs. Shutters, hoods, lattice-work or
Venetian blinds shaded its windows. Proportions had to be adjusted, layouts
adapted, in response to the heat and the blazing light

BUILDING METHODS
Initial role of military engineers, followed by the setting up of Public Works Department
(1862)

— Introduction of new building practices affecting rural as well as urban scales.

— Superimposition, modification and replacement of existing building practices,

introduction of new materials and building techniques with their impact on architectural
form.

ARCHITECTURAL CHARACTERISTICS
  British followed common Indian practices and built their houses of bamboo, or
reeds plastered with earth and cow-dung, and they used sun dried bricks. Pitched
roofs were thatched at first, or tiled in rough clay. Ceilings were of whitewashed.

 Good building materials were much in demand. In order to make a British

construction astounding, sometimes the imperial builders had to import their
materials, like marble from China, teak from Burma, gravel from Bays water.

 Colonial architectural style in British India witnessed another feature of rare usage
of stone. This was in fact an everyday feature during the early days of the Empire
and the church of St. John`s in Calcutta was simply called The Stone Church. Later
stone replaced brick as prime material

 The early stages in British Empire witnessed mere amateurish works by carpenters,
who was apparently architects to legendary buildings, like the first Writers`
Buildings In Calcutta. Britons of many other callings boldly undertook architectural
works around places.

 However, during the more advanced and later stages, amateurism left the British
Empire and the soldier-designers and engineers gave way to professional
architects.

 The Public Works Department, a virtuoso of the hybrid styles was established for this
aim to train and govern masterpiece architectures.

Writers Building, Kolkatta

ARCHITECTURAL STYLES
 The first recognizable colonial architectural styles of British India were, in one sort
or another, classical: this was the chosen mode of the East India Company until its
dissolution and it was altogether deliberate. The British colonialists in India were
evolving from traders to rulers and they welcomed a style that would so
graphically express their `cool` superiority
  When they took Delhi in 1803, the British commandeered a fine local palace, built
in the Mughal style, to be their Residency in the city. To this grand architectural
wonder, they had affixed to its facade a grand colonnade of Ionic columns,
setting their style and stamp upon it.

 The first signs of gothic was seen in madras and calcutta at end of 18 th century like
a Gothic chapel, with pepper-pot turrets and flying buttresses etc. Thus Gothic
architectural style, thus, became the important British style. The reason is its
cheaper to built than classical, got the support of church authorities in england.

Garrison Church of fort william, Kolkatta St.Paul Cathedral, Kolkatta

 

 Next in line to the highly-progressive colonial architectural style in British India was
secular architecture, which soon followed suit. hinge of architectural style was
signaled, after the Sepoy Mutiny, by the culmination of the British East India
Company. Queen Victoria and Her Majesty`s Crown now established its own
administration for India.

 It was a time that the British began to introduce Indian features and motifs into
their imperial architecture.

St.PAUL CATHEDRAL, KOLKATTA

• The building was initiated by Bishop Daniel Wilson in 1839 and was completed in
1847, in Gothic Revival style with stained glass windows and two frescoes in
Florentine Renaissance style

• The tower was rebuilt along the lines of Bell Harry Tower in Canterbury Cathedral
following the 1934 Calcutta earthquake.

• The cathedral was designed in the Indo-Gothic style by William Nairn Forbes, a
military engineer who was later promoted to Major General .

• The tall central spire and square tower beneath were inspired by a similar feature
at the 12th-century cathedral in Canterbury, England.
TECHNICAL CHARACTERISTIC
 The cathedral is predominantly brick masonry structure and was built using locally
available materials.

 The mortar used in this building is lime and surkhi (Brick Dust). Wood and wrought
iron are other major materials used mainly for fenestrations, ornamentation etc

 Progressive buttress intermittently support cathedral high thick brick wall.

 The main roofing is vaulted brick spanning 21m and length of 71m.

• A steel truss with corrugated sheets were introduced at

later stage above main roof to provide protection from weathering.

 The external and internal plastering is done with lime mortar.

 The flooring is stone slabs that were available in nearby quarries.

 The gothic fenestrations were of timber framework with stained glass panels.
INDO SARCENIC ARCHITECTURE
Indo-Saracenic architecture represents a synthesis of Islamic designs and Indian

materials developed by British architects in India during the late nineteenth and early
twentieth centuries.

• It drew elements from native Indo-Islamic and Indian architecture, and

combined In with the Gothic revival and Neo-Classical styles favoured in Victorian
Britain.

• Turkish and mughal conquest in india brought in islamic style of architecture and
successfully incorporated with already existing Hindu temple architecture.

• The prevailing style in india is of trabeate style involving pillars, beams and lintels
and advancement of mughal rule has brought in arches, domes, minarets, open
pavilions, chatris.

• Local influences also contributed to development of islamic architecture such as

development of chajja, motifs, corbel brackets which were from Gujarat school
and bengal school.
 The principal Characteristics of Indo-Saracenic Buildings

• Onion (Bulbous) Domes

• Overhanging Eaves

• Pointed Arches, Cusped Arches, or Scalloped Arches

• Vaulted Roofs

• Domed Kiosks

• Many Miniature Domes, or Domed Chatris

• Towers or Minarets

• Harem Windows

• Open Pavilions

• Pierced Open Arcading

The leading Architects of 1ndo-Saracenic Buildings in India were

• Robert Fellowes Chisholm

• Charles Mant

• Henry Irwin

• William Emerson

• George Wittet

• Frederick W. Stevens

The prominent Buildings in the lndo-Saracenic Style types include

• Courts and other Civic Buildings

• Clock Towers

• Government Colleges and High School Buildings

• Railway Stations

• Art Galleries

• Palaces of the INDIAN Maharajas

• Islamic architecture flourished for more than 400 years under mughal rule.

Decline and Revival

• Islamic architecture were at peak when mughal ruled india from early 14th century
when mughal style was conceived by akbar. This 'Akbari' Style was an amalgam
of earlier Timurid, Persian and indigenous Indian styles.

• This style was further consolidated by shah jahan under whom some significant
structures such as taj mahal, forts of agra, akbar tomb, city of fathepur sikri.

• Decline started to happen when aurangazed came to rule who has no soft spot
for art and architecture and most of time was spent on battles and annexion of
territories.
 Revival of style- BEFORE 1857
• When the British came to India, the European classical style (incorporating Greek
and Roman Features such as columns, triangular pediments) was followed for the
public and other buildings during their earlier period of colonial rule to reflect their
self-image as the holders of power and status and to distance themselves from
the natives.

 The hybrid, combined diverse architectural elements of Hindu and Mughal with
cusped arches, domes, spires, tracery, minarets and stained glass, in a wonderful,
almost playful manner.

 Chief proponents of this style of architecture were these: Robert Fellowes

Chisholm, Henry Irwin and Gilbert Scott.
• Structures built in Indo-Saracen style in India and in certain nearby countries were
predominately grand public edifices, such as clock towers and courthouses.
Likewise, civic as well as municipal and governmental colleges along with town
halls.
SENATE HOUSE, MADRAS UNIVERSITY
o The senate house madras is the work of british architect robert chishlom.

o The design of this building were chosen through an open competition announced
by the madras government in 1864. completed by 1879 at a cost of Rs. 289,000.

o The senate house was to serve as the examination hall and offices of the madras
university.

o The Senate House is situated on the southern side of the Chepauk Campus of the
Madras University.

o The building was used for meetings of the senate, syndicate and academic
departments of the University. Its main hall was used for convocations for over a
century.

Planning:
o It comprises of large two floor high central hall, 16m high, measuring approx. 50m
by 15m, and has a capacity to seat 1600 people.

o Though laid out as a simple rectangle, a strong variation in form is achieved on

the sensitive lacing of the four towers on simple square projections that fall behind
each of the side entrance porches.

o The building essentially consists of a cellar hall, a ground floor hall called as Great
Hall with a high ceiling, Northern and Southern wings and main entry porches.
..................................................................................................................

o The central hallis flanked on the East and West by wide corridors supported by six
massive but exquisitely chiseled stone pillars on either side. The capitals of all the
pillars are carved with Hindu deities, human and animal figures and geometric
designs.

o Below the central hall is the 2.69m deep Cellar Hall below the ground level. It is
provided with massive end and intermediate walls of brick masonry.

o The roof is further supported by main and secondary timber beams with additional
brick pillars.

.
 o The north wing has two floors and is provided with partition walls to accommodate
office rooms and toilets. The staircase is provided on the northern wing of the
Great hall. The stairs provide access to both cellar and first floor.

Elevation:
o Between the brick walls of north and south are provided with finished doors and
windows in shapes of arches. The big circular windows are decorated with stained
glass.

o The floor of the hall consists of timber planks.

o The building on the four corners is endowed with four attractive towers rising high
with artistically shaped domes painted on the exterior with variegated colours.
RIPON BUILDING
The Ripon Building is the seat of the Greater Chennai
Corporation in Chennai(Madras), Tamil Nadu. It is a fine example of the Neoclassical
style of architecture, a combination of, Ionic and Corinthian. The Ripon Building is an all-
white structure and is located near the Chennai Central railway station.
 • Designed by G.S.T. Harris was assisted by Loganatha Mudaliar in Classical style and
took four years to build at a cost of 750,000, including a sum of 1550,000 paid to
Mudaliar.

DETAILS
• The building is rectangular and is 85 metres (279 ft) long and 32 metres (105 ft)
wide with a 43 metres (141 ft) central tower containing a clock 2.5 m (8.2 ft) in
diameter.
• The first of its three floors has approximately 2,800 m2 (30,139 sq ft) of space.
• The walls were constructed with stock bricks, set and plastered with lime mortar
and the roof is supported with teak wood joists.
• The original flooring of the ground floor was Cuddapah Slate that has been
replaced with marble.
• One of the main attractions of the building is the Westminster Quarter chiming
clock.
• This was installed by Oakes and Co. in 1913.
• The clock has a mechanical key system, which is wound every day.
• There are four bells, which were cast by Gillet and Johnston in 1913.
THE PLANNING AND DESIGN OF LUTYENS DELHI
The capital shifted from Calcutta to Delhi in 1911

Reasons for the shifting of the capital:

• Controversial partitioning of Bengal In 1905 - right to vote between Bengali Hindus
n Muslims.

• Delhi’s geographical position at the centre of northern India (roughly equidistant

from Bombay and Calcutta)
 • Delhi’s historic importance (Important seat of the Mughal empire) (For Hindus –
maharbharata-era city of Indraprastah)

• Perceived political need to rearticulate british power.

1911 – Foundation stone for New Delhi at Delhi Darbar

On December 15, 1911, King George V and Queen Mary laid the foundation stone for
New Delhi, at a Darbar under a purposely built Shah Jahani dome.

The message was clear: the British were the legitimate successors of the Mughals and
their new capital was intended to express the power of the Raj, just as Shah Jahan’s
capital had expressed the authority of the Mughals.

The initial design of New Delhi

Lutyens had initially designed Delhi with all the streets crossing at right angles, much like
in New York.

However, Lord Hardinge told him of the dust storms that sweep the landscape in these
parts, insisting on roundabouts, hedges and trees to break their force, giving him the plans
of Rome, Paris and Washington to study and apply to Delhi.
Intentions of the Layout:
Lutyens’ Delhi was planned on the most spacious garden city lines with the great avenues
decorated with classical buildings with lush landscape.

The layout of Lutyens Delhi was governed by three major visual corridors, linking the
government complex with :

• Jama Masjid

• Indraprastha

• Safdarjungs Tomb
Features
1. The plan reflects Lutyens’ “transcendent fervour for geometric symmetry,” which
is expressed through amazing sequences of triangles and hexagons, through
sightlines and axes.

2. Lutyens’ plan is also remarkable for the generous green spaces, lawns,
watercourses, flower and fruit-bearing trees, and their integration with the parks
developed around monuments.

3. The attempt was to include all natural and historical wonders in the new city.
The Road Network
• Besides the major Pathway, there were extremely wide avenues. The original
design of the road network was capable of accommodating 6000 vehicles,
however these avenues, had the potential of increasing their carriageway-the
reason why the road layout has survived till today.

• In general, the road network consisted of diagonals and radials, at 30 degree/ 60

degree angles to the main axis, forming triangles and hexagons.
Lutyens’ Delhi – Zoning

GOVERNMENT
COMPLEX

BUNGLOW
ZONE
COMMERCIAL
DISTRICT
The Government Complex/ Administrative area
1. Lutyens laid out the central administrative area of the city.

2. At the heart of the city was the impressive Rashtrapati Bhawan, located on the
top of Raisina Hill. The Rajpath connects India Gate to Rashtrapati Bhawan, while
Janpath, which crosses it at a right angle, connects South end with Connaught
Place.

3. The Secretariat Building, which houses various ministries of the Government of India
including Prime Minister's Office are beside the Rashtrapati Bhawan and were
designed by Herbert Baker.

4. Also designed by Baker was the Parliament House, located on the Sansad Marg,
running parallel with the Rajpath.

The Rashtrapati Bhawan

Lutyen's grandiose Government House (Rashtrapati Bhawan) - located on Raisina Hill,
and one of New Delhi's major thoroughfares, Rajpath, connects it to the Purana Qila.Lord
Hardinge chose the Raisina Hill for locating the viceroy’s palace because:

• It was a well-drained.

• Constituted of slopes and plains between the ridge and the river.

• Its eastern and southern margins were studded with monuments of vanished
empires. A broad crescent from Shahjahanabad and Kotla Firoz Shah, south to
Tughlaqabad and the Qutub with tombs of Safdarjung and Lodhis as well as
Jantar Mantar in the foreground could be viewed from the site.
The Secretariat
• The Secretariat Building was designed by architect Herbert Baker in Indo-
Saracenic Revival architecture.

• Much of the building is in classical architectural style, yet it

incorporated Mughal and Rajasthani architecture style and motifs in its
architecture.

• These are visible in the use of Jali.

• Another feature of the building is a dome-like structure known asthe Chatri.

• The style of architecture used in Secretariat Building is unique to Raisina Hill. In front
of the main gates on buildings are the four "dominion columns", given by Canada,
Australia, New Zealand and South Africa.

The Parliament House

• The Parliament House was designed by Edwin Lutyens and Herbert Baker.

• It was built with indigenous materials and by Indian labour and the architecture of
the building bears a close imprint of the Indian tradition.

• The layout of fountains both inside and outside the building, the use of Indian
symbols, the "Chhajjas” and the varied forms of "Jali" in marble are reminders of
the story of the craftsmanship displayed in ancient monuments and memorials.
 UNIT -2
POST-NEHRUVIAN MODERNIST ARCHITECTURE
UTILITARIAN MODERNISM
• After 1960 ‘s in India , the developments like Nariman point , Cuffe Parade &
Cumballa hill in Bombay were developed as a simplified Modernist buildings.

• They have related character with each other & They established a uniform
background to their districts.

• Each building wants to grab the attention by its mass. They are not Influenced by
any urban design idea.

• HUDCO , DDA & PWD developed more housing developments and Institutional
buildings in much the same fashion as in the 1950-60’s.

• The verbal image of the work can be identified as follows.

• it consists of reinforced concrete frame , masonry in-fill & floor slab Roof , a strip or
screen of concrete sun breakers over continuous Fenestrations, a linear , outward
looking order in planning with a Spacious grid – determined distribution of
elements in the landscape.

• Though its scored more critics , it is considered as the Indian architecture. Its is
Followed in other parts of the world also. Its designers have learned little bit from
the past 30 yrs of experience.

• The manuals which we are following for the present housing development or other
public buildings were got from these modernist building only. It only provides
accommodation and shelter for more no of people. These developments Started
to merge with the needs of the people , their affordability and also maintenance
level.

• The verbal image of the work can be identified as follows.

• it consists of reinforced concrete frame , masonry in-fill & floor slab Roof , a strip or
screen of concrete sun breakers over continuous Fenestrations, a linear , outward
 looking order in planning with a Spacious grid – determined distribution of
elements in the landscape.

• Though its scored more critics , it is considered as the Indian architecture. Its is
Followed in other parts of the world also. Its designers have learned little bit from
the past 30 yrs of experience.

• The manuals which we are following for the present housing development or other
public buildings were got from these modernist building only. It only provides
accommodation and shelter for more no of people. These developments Started
to merge with the needs of the people , their affordability and also maintenance
level.
 Gragson , Batley , King (GBK) – Winged building around a central entrance. The
building hugs and forms the curved street and stuccoed façade is articulated to
provide shading from sun

The 18 storied Civic block of New Delhi Municipal Corporation covers an area of 24,000
sqm. It is supported on a central core and four shear walls which curve outwards from a
width of 28m at the ninth floor level to a width of 64m at the ground level; with a large
three storey high opening in the two central shear walls to provide an inner atrium. The
central shear walls are pre stressed in stages and the building is supported on driven cast-
in-situ piles.
Nehru place in South Delhi
• Its architecture is highly utilitarian, and the urban designs Ideas was an Indian
innovation. It segregates pedestrian & vehicular traffic and creates an internal
plaza Existing as an island in a sea of parking.
NEO MODERNISM
• The neo modernist in India retain an admiration for the skills of Modern masters
and also they have started adopted to a new Techniques for the Indian buildings.

• For eg though new urban design principles has been adapted in the New Bombay
– Satellite town but it can be comparable with the designs of North America.

• The Neo Modernists have built on the foundation they received from the work of
Bauhaus or Le corbusier to a lesser extent Louis Khan.

• But they lacked concern for urban design issues when designing buildings:
Buildings continue to be seen as elements in space rather than as urban space
defining elements. The younger generation of neo modernist architects is
represented by Sen Kapadia (1936) and Bimal Patel (1960)

Bimal patel designed entrepreneurship development institute (1985-1987)In

Ahemedabad . It has its character on its own. It has training center ,Residential area ,
administrative as well as auditorium. it has organized Around a major courtyard and some
minor spaces .the architect also tried have the brick buildings as energy efficient on by
introducing verandhah , recessed window and thick walls.

• Ahemedabad also has The Center for environmental education designed by

Neelkanth and Kallol Joshi (1988-90). The face brick construction Of educational
complexes has the domestic scale rather than other Institution as well as concern
for topography and the sequences of spatial Experiences.
SCOPE (standing conference of public enterprise) building
is an another example for neo modernism. SCOPE is an apex professional organization
representing the Central Government Public Enterprises. It has also some State
Enterprises, Banks and other Institutions as its Members. It is promoting excellence in
organizations where public investment is involved, in order to enable them to be globally
competitive.
• The concept is based on fragmenting the mass into polygonal form of eight blocks
which interlock with each other around a central courtyard and provide for
diffused natural light and ventilation.
• On the external periphery of the complex the building mass overhangs on the top
floors. This obstructs the sun rays and creates deep shadows, resulting in energy
saving. However, towards the internal protected the courtyard the building
recesses at different levels providing protected terrace.
 • The cluster of four columns on the facade of the building acts like a structural
minaret and encloses air conditioning ducts and services. The cafeterias on top
most floors have been covered with ribs with segments of vaults. They are
approached through the roof garden by means of open steps. Their elevated
position would ensure splendid views of the nearby monuments, which have been
elemental in the evolution of the building form.

THE AGE OF INDIAN ARCHITECTURE AFTER INDEPENDENCE

A study of major changes that took place after the independence in the field of
architecture in India

• India is one of the countries in the world with the richest history.

• One of the many things India is known for is art and architecture.

• The field of architecture in India has undergone significant changes since

independence.

• Jawaharlal Nehru, the first prime minister of the independent India is widely known
for his far vision, he was a modernist who favored state intervention. Nehru was the
one to take the initiative of betterment and development of art and architecture
in India.

• A new era of architecture began when the very famous architect Le Corbusier
was invited to design the capital of the Punjab state, Chandigarh. Le Corbusier’s
uncompromising functionalism consciously broke with the past ‘historicism’ of
imperial architecture. Other invited architect, the very notable Louis Kahn created
the avant- garde architecture with the little spice of the ‘Mughal’, in Ahmedabad
INDIA AND INDEPENDENCE
Realization of freedom in following fronts:
Cultural, Political, Social and Economic.
Yardsticks in future development of India:
GANDHI:
• Absolute belief in science and technology but passionate about rural India.
• Local materials, local skills, cost effective architecture.
• Going back to roots.
• Sabarmati Ashram, Sabarmati, Gujarat.
NEHRU:
• Very forward looking.
• Interested in what science and technology have to offer.
• Strength of industrialization.
• Belief in liberal, modern, independent, industrialized India.
• Nehru, championed a vision of architecture that embraced the current western
centric practices namely modernism.
• Tremendous sense of urgency to build.
• Urbanization demanded creation of new cities and towns.
• Demand for new built form types: schools, hospitals etc

PHILOSOPHIES OF NEW INDIA

1. RIVIVALISM: Going back to seek inspiration from the past
2. MODERNITY: Inspired by the contemporary spirit of the age.
3. CONTINUITY: Found favour with the older generation of architects who were skeptical
about modernism.
LOUIS I KAHN
Born on 20 February 1901 American architect

Born Itze-Leib Schmuilowsky

• Louis Kahn, the American architect known for combining Modernism with the
weight and dignity of ancient monuments, Kahn might be categorized as a late
Modernist, and a hugely influential one at that.

KAHN’S STYLE:
• Kahn’s architecture is notable for its simple forms and compositions.

• Kahn’s design of buildings is characterized by powerful massive forms.

• Through the use of brick and poured- in concrete masonry, he developed a

contemporary and monumental architecture that maintained sympathy for the
site and did not lose its proportion.

• Louis Kahn’s work infused International style with a highly personal taste, poetry of
light and exposing the materials without altering.

• His buildings were like mathematical theorems, well-realised to the last brickbat
came with a great emotional sweep. Linear perfection. Monastic lines.
Reductionist volumes. Unadorned surfaces. Geometric harmony.

KAHN’S PHILOSOPHY:
• Kahn believed architecture was not just about function but intention, not just
purpose but inspiration and emotional connection.

• He wanted to build modern buildings with evolved techniques but he wanted to

make spaces breathe, and he wanted them to communicate with the shifting
light of night and day, and to be relevant and timeless.

• Louis Kahn used to tell his students: if you are ever stuck for inspiration, ask your
materials for advice. “You say to a brick, 'What do you want, brick?' And brick says
to you, 'I like an arch.' And you say to brick, 'Look, I want one, too, but arches are
expensive and I can use a concrete lintel.' And then you say:' What do you think
of that, brick?' Brick says: 'I like an arch.' He was known as Louis Kahn: the brick
whisperer.
 • He believed strongly that architecture should appeal not only to practical and
aesthetic needs but also to the humanistic needs of the people and communities
it serves.

• Kahn was inspired by the work of many modern architects, including Le Corbusier,
Frank =Lloyd Wright, and Ludwig Mies van der Rohe, and was equally drawn to
classical and ancient forms of building.

INDIAN INSTITUTE OF MANAGEMENT, AHMEDABAD

Date of establishment:
1962, established to meet the demand of industries for competent managers as well as
to improve prevalent management technique.
Location: Vastrapur, Ahmedabad, Gujarat, India
Climate: hot dry climate, with very high temperature and harsh sun.
Topography: flat land form with negligible slope.
Vegetation: sparse vegetation, difficult to maintain.
Site area: 106 acres
STUDENTS = 1105
FACULTY = 110
ARCHITECT: Louis I Kahn
HISTORY OF IIM:
While Louis Kahn was designing the National Assembly Building in Bangladesh in 1962, he
was approached by an admiring Indian architect, Balkrishna Doshi, to design the 66 acre
campus for the Indian Institute of Management in Ahmedabad, India.

LOCATION

Location: Vastrapur, Ahmedabad, Gujarat, India

ABOUT

• YEAR OF COMPLETION: 1963

• CHIEF LOUIS I KAHN

ARCHITECTS: B.V. DOSHI ,ANANT RAJE

• SITE A R E A : 66 ACRES
• BUILDING: CONTEMPORARY STYLE
SITE ZONING:
• The campus has an old campus and a new campus.
• The master plan of the institute is divided into two parts
• ACADEMIC BLOCK:
1. Library
2. School building
3. Faculty blocks
4. Dormitories
5. Louis Kahn Plaza
• RESIDENTIAL BLOCK for faculty and clerical staff.
• Influenced by the management philosophy and student’s busy schedule Kahn
integrated the living
• and learning spaces.
• All activities are places within walk able distance.
• ORIENTATION:
• The diagonal layout had the advantage of the building being oriented towards
the southwesterly breezes. The orientation
• also helps to cut out the west sun reducing glare.
• CIRCULATION PATTERN:
• Circulation in IIM campus is through three major roads
• Peripheral
• Internal
• Smaller internal roads
• Separate accesses are provided for the institutional complex and the residential
area.
PLAN OF ACADEMIC BLOCK

LIBRARY BLOCK
1. The library building is a five storied structure with rectangular plan.

2. It is approached by a broad, imposed flight of steps from the parking lot.

3. The design has been convinced to entail movement from the active space to
most private and quiet carrels at the farthest reaches.

4. FIRST FLOOR : main reading hall

5. SECOND FLOOR: accommodate triple height reciting hall and conferenc hall

6. THIRD FLOOR : accommodates bound volumes of journals.

7. FOURTH FLOOR : has bound volumes of old books and journals.

2- library

SCHOOL BUILDING BLOCK

MANAGEMENT DEVELOPMENT CENTER
• Management development center is located towards eastern edge of the
campus. It has been planned as a self-contained unit with academic area,
offices, executive’s hostels and dining facilities.

• It is a double storied building with a basement and has a u shape plan enclosing
a court in between

• There are two lecture halls, two conference rooms and eight syndicate rooms in
the mdc building.

THE PLAN OF MDC

BUILDING MATERIALS
• Brick has been used as primary building material

for the entire complex walls, columns.

• Brick arches have been used for wide spans.

• Use of concrete has been restricted to

Foundations, floor slabs, and ties for arched openings.

LOUIS KHAN WORKS IN INDIA & THEIR INFLUENCES ON EMPIRICISTS
• Louis khan was steeped in classicism by his beaux arts education and his
Experience at the American academy in Rome.

• He came to India to in 1962 a decade later than lecorbusier on being selected to

design iim Ahmadabad.

• Kahn’s influence on the Indian architectural scene occurred in much same way
as le Corbusier but the time, volume , location and size of his work resulted in a
lesser impact. He was less of a guru for Indian architects.

• Some of his work in India were the iim in Ahmadabad and gandhinagar Gujarat's
new capital.

• Kahn is officially listed as the architectural consultant to the national insitute of

design in Ahmadabad on the iim project but he was actually the architect. Doshi
& anant raje were the liason architects.

• In iim he used local building skills and used brick, a common building material
rather than going for more sophisticated techniques used by lecorbusier in
Chandigarh.

• In south asian work he was able to explore the use of brick in way that he had
been unable to do in America. His Indian experiences thus very much influenced
the later American architecture.

• The IIM seems to have stood up well over time although shortcomings in dealings
with the climate are again in evidence.

• Kahn’s indian colleagues such as raje and assistants such as kulbushan jain were
directly affected by the experience of working with him. His major lessons for india
stemmed from the grounding of his work in reality and tradition , local materials
and methods .

• On khan’s death and the withdrawal of his philadelphia office from work on the
IIM , raje continued the development of the campus with the designing of the
dining halls , the management development center and the housing for staffs
and students .

• To the lay person this work is almost indistinguishable from khan’s and gives
consistency of design to the whole institute.

• Like lecorbusier ,kahn also had an impact on architectural education. His

collaboration with doshi occurred in formative years of the school of architecture
at the CEPT in ahemedabad. With the development of such schools and with the
younger architects being exposed to the work of lecorbusier and khan , a new
period of architectural work emerged in india. It is highly influenced by the masters
Ar.RAJ REWAL - HALL OF NATIONS,NEW DELHI
RAJ REWAL
INTRODUCTION
Born:1934
placeofbirth:hoshiyarpur,punjab,india
nationality : indian

EDUCATION:
1. Schooling :- Harcourt butler secondary school, Shimla (1939 -1951)
2. Graduation :- delhi school of architecture, new delhi (1951-1954)
3. 1955 -1961 - attended the architectural association of
architecture for 1 year
4. Completed his formal professional training at brixton school of
building, london

CAREER:
He worked as an archiectural asst. In various practices in london &
theatre scenery designer in the evenings.
Ø he became associate of the royal institute of british architects (riba)
ø 1961-1962 : worked in the offices of michel ecochard, architect,paris
ø 1962 : returned to new delhi to set up his own architectural practice.
Ø 1963-1972 : taught at delhi school of architecture.
Ø 1974 : opened a second office in tehran,iran
ø 1985 : founded the architectural reseach cell with ram sharma
ø 1986 : creator of exhibition “traditional architecture in india”
for the festival of india in paris

The “role models” for raj rewal are :-

1.Lecorbusier
2.Charleschorrea
3. Louis i. Kahn

Influential aspects :
1.Location: rajasthan
2.Oldtowns
3.Traditional haveli house
4.Ancient buildings
5.Modern buildings as well as
6. Western theories of urban planning & building technology
PHILOSOPHY
• Architectural theory - buildings should respond to complex demands of rapid
urbanization, climate & culture.

• Concept - base of designing housing is traditional architecture of india and a dual

concern for a building’s expressiveness by means of incorporating historical
precedents into urban design.

Window openings constitute a modern interpretation of carved jalis in ancient

buildings

Morphology of old towns into a contemporary equivalent.

(Sheikh sarai mass housing complex)

FEATURES

• Clusters in buildings (asian games village)

• Courtyards providing public space within the building.

(Asian games village)

• Scatter of terraces permitting yet another set of activities (sheikh sarai housing)

FEATURES

• Streets : narrow, shaded , broken up into small units creating pauses, points of rest
& changing (sheikh sarai)
• Gateways : allow for a change &contain a contunity, bridges formed by linking 2
neighbouring houses (asian games village)

PLANNING STRATEGY:
• Raj Rewal tried to evolve mass housing schemes based on similar criteria.

• In the Asian games village and Sheikh Sarai housing project, the peripheral roads
are connected to parking squares.

• The central spine of the layout is reserved for narrow, shaded, pedestrian
pathways.

• The layout plans follow traditional methods of creating shade and cross
ventilation.

• The creation of the traditional narrow street, linking all the housing units, provides
for intimate encounters between people and a sense of belonging to the
neighborhood square.
The architect interwove three principle dictates that simultaneously conjoined traditional
layouts with a contemporary response:

• Configuring a low rise

• High density development representative of the typical

Indian ‘mohalla’ or community

• Creating cluster formations ideal for the Indian climate.

• In all, there are some 500 housing units, comprising 200 individual town houses and
300 apartments in two-storey to four-storey with each unit type has variations
according to areas.

• A relatively wide variety of unit types, from individual houses to apartment type.

• The combination of various dwelling types into an urban pattern of unusual

diversity makes the Asian village quite remarkable.
• The concept is based upon a sequence of open spaces linked by narrow, shaded
pedestrian streets and containing both recreational and commercial activities.

• An obvious source of inspiration for such narrow streets linking the housing units is
the traditional street scale and pattern found in many Indian cities, where narrow
paths become spaces for encounters between people, and the open squares
offer a sense of neighborhood.

• Centrally located within the Asian village, but easily accessible from outside as
well, was a dining complex for those participating in the games. This now serves
the local community as a recreational and commercial centre.

• Vehicular and pedestrian movements is thereby segregated but closely interlinked

for convenience: about 80% of the dwellings have access from both pedestrian
enclosures as well as the parking areas.
• With a restricted budget, wanting minimal issues with construction and
maintenance, the architect choose Jaisalmer stone grit as an external finish, using
variations to distinguish the unit types, but in harmony with the whole.

• The combination of grit with cement also helped fortify the 9” bricks against water
leakage.
HALL OF NATIONS AND HALL OF INDUSTRIES
AR.BALKRISHNA VITHALDAS DOSHI

 D.O.B.-26 August 1927

 In 1950 he became a senior designer on Le Corbusier's projects in Ahmedabad

and Chandigarh

 His craft under Le Corbusier for four years. (1951-54)

Awards:
 Associate Member, Royal Institute of British Ar., 1954 Fellowship, Graham
Foundation, 1958

 Honorary Fellow, American Institute of Ar., 1971 Fellow, Indian Institute of

Architects, 1971 Padma Shri Award, Government of India, 1976

 Doshi worked closely with Louis kahn and Anant raje , when Kahn designed the
campus of the Indian Institute of Management.

 He was presented in 1995,Aga Khan Award for Architecture, for the Aranya
Community Housing in Indore, India.

IMPORTANT BUILDINGS
 SANGATH VASTU SHILPA FOUNDATION
 CEPT UNIVERSITY

 GANDHI LABOUR INSTITUTE

 NIFT,NEW DELHI

 TAGORE HALL,AHMEDABAD

 ARANYA LOW COST HOUSING-INDORE

 IIM UDAIPUR

 HUSSAIN- DOSHI GUFA

 IIM BANGALORE

 INSTITUTE OF INDOLOGY,AHMEDABAD
PRINCIPLES
Doshi's work has consistently revolved around the interrelationship of indoor and outdoor
space.

Doshi followed it in his architecture by providing openness in buildings through

colonnades, pergolas, porticos, sky lights etc.

The success of any project depends on effective construction, contracting, logistic

planning and co-ordination
SANGATH

Location-Ahmedabad, Gujarat

Date - 1979-1981

Building type - Architectural office

Construction system- concrete

“Sangath" is a design laboratory where professionals from diverse disciplines are invited
to explore new visions, concepts and solutions integrating arts, crafts, engineering and
philosophy of life. Sangath to see that each individual in the coming millennium is
benefited from its visions and design solutions. - Balkrishna Doshi
PLAN
 In Ahmedabad, the summer temperature reaches 45 °C and the heat is very
intense.

 Natural comfort conditions can be achieved by protecting spaces from the heat
and glare of the sun.

CHARACTER OF THE BUILT SPACE -

form starts to reveal itself right at the entrance, which makes one wonder about where
to move and how to reach the sanctum. In achieving a destination, there are many ways
to go.

Sangath has two entrances, one at level + 1.8 m and the other at 1.m. Both finally reach
the same place, but through different paths.
SECTION
Subterranean spaces
The building is largely buried under the ground to use earth masses for natural insulation.

DESIGN FEATURE
PASSIVE SOLAR DESIGN
Indirect/diffused light
There are three ways by which natural light is drawn within.

1. By upper-level large openings towards north direction, which is cool, and

consistent light is reflected off the louds
2. 2.Skylights, which are projected masses from the roof, reflect the light on the white
inner wall surface, which further radiates light into the room
3. 3.Innermost spaces are lit up through small cutouts in the roof slab, which are then
filled with hollow glass blocks that take away the glare and transmit diffused light
.

LANDSCAPING
POND
Rainwater and overflow of pumped water from the roof tank are harnessed through roof
channels that run through a series of cascading tanks and water channels to finally
culminate in a pond from where it is recycled back or used for irrigating vegetation.
MATERIAL AND CONSTRUCTION
 Sandwiched construction of vault the vaulted
roof is of locally-made clay fuses over the concrete slab, which provides a
non-conducting layer.

The top finish of China mosaic glaze tiles further adds to the insulation. Being white and
glossy it reflects sun while being made from clay it retards the heat transmission.

 Use of secondary waste material

 Exposed natural finishes

 The concrete of slabs and wall surfaces are kept bare unplastered as final visual
finishes, which provide a natural look and save on finishing material quantity
HUSSAIN DOSHI GUFA

Architect-Balkrishna Doshi Location-Ahmedabad 1992-1995

 An underground art gallery in Ahmedabad, as a join collaboration b/w MF Hussain
and BV Doshi.

 The gallery represents a unique juxtaposition of architecture and art.

INSPIRATION
 The mosaic tiles on the roof are similar to found on the roof of the Jain
temples,Girnar.

 The domes are inspired by the shells of tortoises and by soap bubbles.

 The mosaic snake is from Hindu mythology.

 The Buddhist caves of Ajanta and Ellora inspired Doshi to design the

 interior with circles and ellipses.

PLAN
 The references for the Gufa are elemental and primeval. The circle, mountains,
historical precedents as Caves (Karli, Ajanta), Stupas etc.

SECTION
The entire design is made up of circles and ellipses. The interior is divided by tree trunks or
columns similar to those found at Stonehenge.
 The cave-like underground structure has a roof made of multiple interconnected
domes, covered with a mosaic of tiles.

 On the inside, irregular tree-like columns support the domes

 Light comes in as shafts through a few circular openings in the dome, the diffused
light adding to the mystic ambience.

 The structure is specifically oriented to let in the maximum amount of heat & light
to give the interior a golden glow.

 Some shell consists appeared snouts with apertures (hole), used to capture Fresh
air and light.
 From the exterior, the Gufa looks more like a work of art, a sculpture of domed
shells finished in dazzling china mosaic, complete with a black serpentine imagery
snaking across the surfaces.

 The central hall is supported by 2 rows of columns which divide the interior in to a
wider centre aisle & 2 side aisle.


  Ferro cement was used to create the undulating walls and domes, which also
helped in reducing the total load of the structure.

 Waste tiles were used on top of the external dome.

 CERAMIC

 RCC

LeCorbusier
CITY PLANNING OF CHANDIGARH
 Chandigarh is an experimental city designed in1952, and is the single
biggest and most significant example of urban planning.

• It demonstrates modern idiom of architecture, radical and visionary plan of low

density terrace housing, monumental government buildings, tree lined streets and
green belts penetrating.

• The city is spread over a massive area, divided into sectors each containing their
own shops, schools, places of worship etc, with additional key sectors such as the
main shopping precinct, university sectors as well as administration and
government facilities.

• Conveniently all these neighborhoods are named ‘sector 1 to sector 46 (excluding

unlucky 13).
HISTORY
• It was conceived after India‘s Independence.

• build a new Capital city called Chandigarh about 240 kms. north of New Delhi

• It is a sloping terrain and two rivers flowing on its two sides.

• 304.8 to 365.76 meters above sea level.

Site Potentials:
• Central location in the state

• proximity to the national capital

• availability of sufficient water supply

• fertile soil

• gradient of land for natural drainage

• beautiful site with the panorama of blue hills.

• moderate climate

Initial plan:
• Albert Mayer and Mathew Novicki – A FAN SHAPED MASTER PLAN.

• THEY MADE CONCEPTUAL SKETCHES OF SUPER BLOCK- self –sufficient

neighborhood units placed along the curvilinear roads and comprised of cluster
type housing, markets and centrally located open spaces.
FINAL PLAN
• In 1951 Le Corbusier was assigned the work assisted by three senior architects-

• Maxwell Fry

• Jane B Drew

• Pierre Jeanneret.

Some young Indian architect and planner consisting of M.N. Sharma, A. R.

Prabhawalkar, U.E. Chowdhary, J.S. Dethe, B.P. Mathur, Aditya Prakash, N.S. Lanbha
and others
HUMAN SCALE

SECTORS
• The city is composed of sectors.

• Each sector is 800 meters x 1200 meters enclosed by roads allocated to fast
mechanized transport and sealed to direct access from the houses.

• Each sector caters for the daily needs of its inhabitants which vary from 5000 to
25000 and has a green strip oriented longitudinally stretching centrally along the
sector in the direction of the mountains.

• The green strip should stay un-interrupted of the mountains and accommodate
schools, sports, walks and recreational facilities for the sector. Vehicular traffic is
completely forbidden in the green strips.