CHARLES CORREA (1930-2015)

Charles Mark Correa was an Indian architect and urban planner. Credited with the creation of
modern architecture in post-Independent India, he was celebrated for his sensitivity to the needs of
the urban poor and for his use of traditional methods and materials.

Correa started studying at Saint Xavier’s College at the University of Mumbai, and later he went on
to study at the University of Michigan at Ann Arbor (1949–53) and the Massachusetts Institute of
Technology (MIT) in Cambridge, Massachusetts (1953–55). In 1958 he came back to India and
commenced his practice in Mumbai.

The initial works of Charles Correa had a traditional touch in them. He tried to blend local cultural
values in architecture. Traditional symmetrical spaces, modernist use of materials, exemplary
concrete forms and sensitivity towards site were some major characteristics of his work. He always
designed buildings complementing the context and landscapes of India.

IDEAS, PRINCIPLES AND PHILOSOPHY

 Architecture is not an abstraction, it should work

 Architecture is three- legged stool climate, technology and culture together they generate
the building.
 “We do not know if architecture can teach but we know it can be learnt” for learning is the
process that depends on us ourselves, and our attitude of mind
 “History is profound repository of space and time it is the abstract principles we discover in
history that we imbibe and learnt from
 Metaphysical values
 Open to sky
 Instrumentality, identity, pluralism, income generation, equality, disaggregation
 Use of Vaastu Shastra
 Centre has to be empty…. brahman
 The empty space kind of gives a sense of orientation.
MAJOR ARCHITECTURAL WORKS
• 1958 – MAHATMA GANDI SANGRAHALAYA
• 1963 – MAHATMA GANDI MEMORIAL
• 1961-62 – TUBE HOUSE
• 1961-66 – SONMARG APARTMENTS
• 1967 – MADHYA PRADESH LEGISLATIVE ASSEMBLY
• 1970 – KALA ACADEMY
• 1975-90 –NATIONAL CRAFTS MEUSUEM
• 1980-97 – VIDAN BHAVAN
• 1982 – BHARAT BHAVAN
• 1986 – JAWAHAR KALA KENDRA
 • 1992 – JAWAHAR ARTS CENTRE
• 1986 –JEEVAN BHARATI LIFE INSURANCE
• 1987-92 – BRITISH COUNCIL
• 1989 – CENTRE OF AVANCED SCIENTIFIC REASEARCH
• 2000 – ST. PETER AND PAUL’S CHURCH
• 2000-05 – MC GOVERN INSTITUTE
• 2004 – CITY CENTRE
• 2007-10 – CHAMPALIMAUD CENTRE FOR UNKNOWN
VIDHAN BHAVAN
Vidhan Bhavan, the new State Assembly for the government of
Madhya Pradesh, reflects architect Charles Correa’s concern for
humanist values in the seat of governmental authority. Rather
than design a monument to political power, Correa organized
the large government facility with a series of courtyards and
pathways, which, while meeting the requirements of administrative and legislative functions, break
down what could have been a monolithic whole into a series of urban spaces that welcome public
participation
Vidhan Bhavan sits on the crest of the Arerà Hill, overlooking the capital city of Bhopal and its
historic Muslim monuments. It replaced a colonial-era structure that had served as a guesthouse for
the viceroy of India before becoming the State Assembly building after the Indian States
Reorganization Act of 1956. The approach to the hilltop site is via a winding road; hence the plan of
the building was developed as a circle. This gave the 32,000-square-metre building unity and
presence regardless of the direction from which it was approached. The program for the State
Assembly specified four main functions:

 the Vidhan Sabha, or Lower House, for 366 members;

 the Vidhan Parishad, or Upper House, for seventy-five members;
 the Combined Hall;
 and the library.

KANCHANJUNGA APARTMENTS

Kanchanjunga is a condominium of 32 luxury apartments of three to six

bedrooms each. The building is 28 storeys (85 meters) high and square in plan:
21 meters x 21 meters. The basic interlock is that of a three- and four-bedroom
apartment with the larger flats formed by the addition of another half level.
The structure is built around a central service core which was constructed first.
Each of the flats have large usable garden-terraces which have dramatic city
views. In section, there is a continuous variation of internal spaces best
expressed as shear walls on the north and south elevations of the building.
The Bombay climate and location present architects with a contradictory
situation: the east-west axis affords the best views (of the Arabian sea to the
west and the harbor to the east) and catches all the sea breezes, but also
brings into the buildings the hot afternoon sun and the hard monsoon rains.
Correa decided to use the organization of a bungalow of wrapping around the
main living spaces a protective verandah. He developed this idea further when he realized that
"another interesting variation on the principle of the bungalow is to tum the verandah or buffer zone
into a garden which not only protects the living areas from the sun and rain but actually thrives on
them ". Combining climatic considerations with that of views he settled upon a configuration of
interlocking units which faced east and west.

KENZO TANGE (1913-2005)

Kenzo Tange was a Japanese architect. He was graduated from Tokyo Imperial University. He was
one of the most significant architects of 20 th century. He dedicated his life to achieve a fusion
between Japanese tradition and functional modernity. He also won Pritzker Prize for architecture in
1987.

Influenced from an early age by the Swiss modernist, Le Corbusier, Tange gained
international recognition in 1949 when he won the competition for the design of Hiroshima Peace
Memorial Park. Tange was in charge of the reconstruction of Hiroshima after World War II. His
university studies on urbanism put him in an ideal position to handle redevelopment projects after
the Second World War. His ideas were explored in designs for Tokyo and Skopje. Tange's work
influenced a generation of p

He was also one of the influencing patrons in the Metabolist Movement (a post-war
Japanese architectural movement that fused ideas about architectural megastructures with those of
organic biological growth). The Metabolists worked at the largest scale conceivable, seeing their
structures through a biological metaphor as an expression of the city’s new life force. Despite this
large scale, Metabolism was a philosophical proposition about inhabiting the earth in harmony with
the forces of nature. Although Tange’s urban plans bore little fruit, his architectural practice,
patronized by Japan’s elite, flourished.

ARCHITECTURAL PHILOSOPHY AND PRINCIPLES

 He believed that Japanese are searching freedom of expression symbolizing new postwar
society free from old technocratic regimes.
 He demonstrated that unique regionalism could be developed, and recognized within the
circumstance of International Style.
 He marked a remarked awareness of Japanese Architectural traditions expressed through a
contemporary interpretation of architectural form.
 Concept of “Communication Space”.
 Young architects should be allowed in the lapse of flights of fantasy so that architecture may
progress.
 Architectural expression of shift of agrarian to an industrial to an information-based society
must be considered Modernism.
"Architecture must have something that appeals to the human heart, but even then, basic forms,
spaces and appearances must be logical. Creative work is expressed in our time as a union of
technology and humanity. The role of tradition is that of a catalyst, which furthers a chemical
reaction, but is no longer detectable in the end result. Tradition can, to be sure, participate in a
creation, but it can no longer be creative itself." 

MAJOR ARCHITECTURAL WORKS

 - Hiroshima Peace Memorial Park - Town Hall, Kurashiki
- St. Mary’s Cathedral, Tokyo, Japan - Yoyogi National Gymnasium
- Tange's own home - Supreme Court Building of Pakistan
HIROSHIMA PEACE MEMORIAL PARK
After the Hiroshima devasted by the atomic bomb
in the 2nd World War, reconstruction of Hiroshima had to be
done. By designing the Hiroshima Peace Center and
Memorial Park, Tange expressed the solidarity of human
kind as well as symbolizing a commitment to peace.
Architecturally, the Peace Center shows a deep
understanding of traditional culture while at the same time
is a signpost in the search of a modern style in Japan.
The building is raised up on pillars, its structure with
a framework of exposed concrete. The complex as a whole
has a monumental quality. There are two secondary
buildings, one on either side. It consists of an auditorium, a
hotel, an exhibition gallery, a library, offices and a
conference center to the west, and an assembly hall with
capacity for 2,500 people to the east. Together they form a
kind of screen for the square of Peace, which extends to the north, in which up to 50,000 people can
congregate around the monument to Peace. The monument...in the form of a hyperbolic parabola,
brings together modern tendencies and techniques and the ancient form of the Haniwa, the
traditional tombs of the rulers of old Japan.

 YOYOGI NATIONAL STADIUM

It is situated in an open area in Yoyogi Park on an

adjacent axis to the Meiji Shrine, designed for the 1964
Tokyo Olympics. Inspired by the skyline of
the Colosseum in Rome, the roofs have a skin suspended
from two masts. The buildings were inspired by Le
Corbusier's Philips Pavilion. The buildings were placed to
optimize space available to permit the smoothest
transition. It is comprised of two arenas: Major arena
(main stadium) and Minor arena (smaller pavilion).

Tange’s innovative structural design creates

dramatic sweeping curves that appear to effortlessly
drape from two large, central supporting cables. Sitting within one of the largest parks in the
metropolitan region of Tokyo, Tange uses the context as a way in which to integrate his building into
the landscape. The subtle curves of the structural cables, the sweeping roof plane, and the curving
concrete base seem to emerge from the site appearing as one integrated entity.

Minor arena is situated to the southwest of the major arena. It is based on a circular form. It
is connected to the major arena
by a way of series of underground
and ground level facility. Concrete
pre-stressed anchor blocks are used. The roof appears to be hung from summit point in an
asymmetrical configuration.

ZAHA HADID(1950-2016)- QUEEN OF CURVES

ZAHA HADID was an Iraqi British architect whose works are a combination of the
culture, identity of Iraq and the new thoughts, architectural and artistic schools like
Suprematism, Deconstructivism, and Fluidity of Arabic Calligraphy. Her early
projects reflected Deconstructivism, a non-Derridean philosophy which is based on
ideas from various sources like Suprematism, Constructivism, Parametric
architecture or nature to create a sculptural image. She was influenced and inspired
by Rem Koolhaas, Elia Zenghelis, Kazimir Malevich, Russian Constructivism, Chinese
and Japanese architecture; nature was her dominant source of inspiration.

Though she is called the Female Modernist of the Twenty-First Century, she understood the roots of
modernism, believing in new structure, seeing things in new ways and representing the reality of modernity
but she disliked the repetition principle of modernism which she portrays as mass production of the Industrial
period.Her designs are a continuation of the modernism breaking down the inherited rules of architecture,
which represents freedom in design.

The first sight of her architecture gives the impression of a strong and elegant form where external appearance
is given the priority followed by the functional accomplishments, circulation, lighting, etc. She perceives
architecture as an art, which deals with human emotional experience like excitement, joy, adventure, etc.

She pushed boundaries of design, defied architectural rules and conventions and built what used to be
unbuildable. She created her own radical rules of design from her own experience and rationalism. She
searches for aesthetics in art, nature and architecture and applies them in design. This eagerness of searching
helps her to obtain some primary skills diligently which became her own Design Techniques.

ARCHITECTURAL STYLES, PHILOSOPHIES & PRINCIPLES :-

● Her style is Deconstructivism (breaking architecture, displacement and distortion, leaving

the vertical and the horizontal, using rotations on small, sharp angles, breaks up
structures apparent chaos)- non-Derridean philosophy

● Her projects reflect complexity, emotionality, creativity, technological advancement,

innovation, etc

● She was influenced by Russian Constructivism, a utilitarian philosophy where beauty is more
important than function

● Her later projects were either characterized by Abstract and Fragmented forms or Fluid and
Free forms

● She created her own radical rules of design from her own experience and rationalism.&
created her own technique: Abstraction and Fragmentation, Idea of the Ground and Gravity,
Landscaping the surrounding, Layering, Play of light, Seamlessness and Fluidity.

MAJOR ARCHITECTURAL WORKS:-

- Vitra fire station, Weil am Rhein (1994)
(2005)
- Bridge Pavilion, Zaragoza (2008)
- Galaxy Soho, Beijing (2012)
(2012)
- Guangzhou opera house, Guangzhou (2010)
- Phaeno science centre, Wolfsburg
- Heydar Aliyev cultural center, Baku (2012)
- London aquatics centre, Stratford
-MAXXI, Museum of Arts of the XXI century
 MAXXI, Museum of Arts of the XXI century

MAXXI, ROME MAXXI stands for ‘Museo nazionale delle arti del
XXI secolo’ (National Museum of 21st Century Art). It’s concepts
were Gravity-defying, Fragmentary, Revolutionary, a main theme
of Her that a building can float & defy Gravity. The building is a
composition of bending oblong tubes, overlapping, intersecting
and piling over each other, resembling a piece of massive
transport infrastructure. It is built on the site of old army barracks
between the river tiber and via guido reni, the centre is made up
of spaces that flow freely and unexpectedly between interior and
exterior, where walls twist to become floors or ceilings. It's no
longer just a museum, but an urban cultural centre where a dense
texture of interior and exterior spaces have been intertwined and
superimposed over one another. Its an intriguing mixture of
galleries, irrigating a large urban field with linear display surfaces"

The architecture of MAXXI is the concrete walls that define the

exhibition galleries and determine the interweaving of volumes; and the transparent roof that modulates
natural light. The roofing system complies with the highest standards required for museums and is composed
of integrated frames and louvers with devices for filtering sunlight, artificial light and environmental control.

Galleries, Walkway and Materials Located around a large full height space which gives access to the galleries
dedicated to permanent collections and temporary exhibitions, the auditorium, reception services, cafeteria
and bookshop. Outside, a pedestrian walkway follows the outline of the building, restoring an urban link that
has been blocked for almost a century by the former military barracks in Rome. Materials such as glass (roof),
steel (stairs) and cement (walls) give the exhibition spaces a neutral appearance, whilst mobile panels enable
curatorial flexibility and variety.

The fluid and sinuous shapes, the variety and interweaving of spaces and the modulated use of natural light
lead to a spatial and functional framework of great complexity, offering constantly changing and unexpected
views from within the building and outdoor spaces.

London aquatics centre, Stratford (2012)

The architectural concept of the London Aquatic Centre is inspired by
the fluid geometries of water in motion, creating spaces and a
surrounding environment that reflect the riverside landscapes of the
Olympic Park. An undulating roof sweeps up from the ground as a
wave - enclosing the pools of the Centre with a unifying gesture of
fluidity, while also describing the volume of the swimming and diving
pools.

The Aquatics Centre is designed with an inherent flexibility to

accommodate 17,500 spectators for the London 2012 Games in
‘Olympic’ mode while also providing the optimum spectator capacity
of 2000 for use in ‘Legacy’ mode after the Games.

The Aquatics Centre is Positioned on the south eastern edge of the Olympic Park with direct proximity to
Stratford, a new pedestrian access to the Olympic Park via the east-west bridge (called the Stratford City
Bridge) passes directly over the Centre as a primary gateway to the Park. Several smaller pedestrian bridges
will also connect the site to the Olympic Park over the existing canal.

The Aquatic Centre addresses the main public spaces implicit within the Olympic Park and Stratford City
planning strategies: the east-west connection of the Stratford City Bridge and the continuation of the Olympic
Park along the canal.

The Aquatics Centre is planned on an orthogonal axis that is perpendicular to the Stratford City
Bridge. All three pools are aligned on this axis. The training pool is located under the bridge with the
competition and diving pools located within the large pool hall enclosed by the roof. The overall
strategy is to frame the base of the pool hall as a podium connected to the Stratford City Bridge Its
form is generated by the sightlines of the 17,500 spectators.

GANGADHAR BHATTA

He is First nepali architect. He had Received B .Arch (1961) degree from India ,Joined Bhawan Vibhag
(the department of building)as an assistant engineer
There was No position for architects in government sectors. Upatyaka Nirman Samiti was established
by him to work out on development plans. Instrumental in developing architecture in its modern
form in Nepal. He drew the plan of the Ktm. Valley based on the photographs taken from the plane.
His philosophy were ;Architecture and society should go hand on hand. The ingredients of a good
building are Honesty, sincerety, seriousness and Hard work. Form should satisfy function .Building
should respond to its surrounding. Roofed large skylight at its zenith divided in the shape of a citrus
fruit.
His major works are; Hotel Soaltee along with Shankar Nath Rimal;City Hall, Exhibition
road .Master Plan and His works; Hotel Pavilion design of Dashrath Stadium; Police Club Building,
exhibition road; Rastrya Panchayat Building; Godawari Botanical Garden.

HOTEL SOLTEE

Location: Tahachal Kathmandu

Style: Modern with Traditional touch

Use: business center, Seminars

Site Area: 11 acres

Built up Area: 6112sq.m

No. of Storey: 5

Construction Technology: Framed Structure

Material Used: Traditional Nepalese

elements like brick façade
SILENT FEATURES
Huge complex composed of different blocks. Having high quality facilities like restaurants, lounge
bar, convenience store, gift shop, sauna and fully equipped gymnasium with state-of-the-art
equipment. It offers 283 Superior, Deluxe and Crown Plaza Club rooms, 8 Executive Suites and 7
Regal Suites.107 are single bedded, 126 are double bedded and 80 are non- smoking rooms.  7
elegant meeting rooms with space for 20-1,200 people.

DASARATH STADIUM
Location: Tripureshwor, Kathmandu
Year: 1926 B.S. – 2034 B.S.
Architect: Ar. Gangadhar Bhatta
Style: Modern
Use: Sports, Yoga, Concert

Site topography: Flat land

Site area: 102 ropani
Built up area: 65 ropani
Construction technology: Frame structure
Materials used: Concrete, Steel
Main venue for first SAF game. Capacity: approx. 20,000. Seats: approx. 5,000. Covered
seats: approx. 3,000. Modern building blended with traditional slope roof. Building composed of
interpenetration of geometrical forms. Use of pergolas to symbolize the deviation towards modern
design. Various halls well managed under the parapet of stadium. horizontal fenestration balanced
by vertical column like structures.

SUBMITTED BY:
Asish Baraili
Aviyan Guragain
Dibya Adhikari
Jeevan Dhungel
Kajol Tiwari
Prakash Pokharel SUBMITTED TO:
Ramakant Kumar Sah Ar. PRADIP POKHREL
Yuwash Rai  Department Of Architecture