Unit 1 - Modern Archiecture-Spread and Later Directions

CIAM
NOTE: CIAM Is not Included In syllabus. Its given

only as a precursor for understandIng team X.
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CIAM-Congres internationaux d Architecture Moderne
INTERNATIONAL CONGRESS FOR MODERN ARCHITECTURE

• CIAM captured the spirit of the machine age but before it had
done too much damage to the urban environment and in
particular urban housing, some younger member began to
question their architectural solutions.
• Under the leadership of Le Corbusier , CIAM’S vision was of a

utopia, a city which could provide the perfect life for its
inhabitants.
• His vision inspired hope but ultimately failed to create such a

place, resulted instead in destroying places and memories
which are integral to a person’s identity.
• Signed by 24 European Architects representing France,

Germany, Italy, Austria, Belgium ,Spain, Holland, Switzerland.
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CIAM’S CONFERENCES
• The C.I.A.M Organization was disbanded in 1959 as the views of

the members diverged.
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3 STAGES OF DEVELOPMENT OF CIAM
STAGE 1 – 1928 – 1933

“DOCTRINAIRE”
➢ Problems of minimum living standards
➢ Issues of optimum height and block spacing for

the most efficient use of land and materials.
STAGE II – 1933 – 1947
➢ Dominated by Le Corbusier
➢ Functionalism envisions the city as a collection of
uses to be accommodated: Residence, work,
Leisure and the Traffic systems that serve them.
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Short comings
• Rigid functional zoning

• ‘Single type of Urban housing’ termed as ‘high and widely
spaced apartment blocks.
• Idealistic, Rationalistic, unrealizable.
• the modernist city would be a single, open space for living
that was organised by a central state planning authority.
• Traffic system with a hierarchy- In place of the mixed- use road
system, modernist city would have a traffic system separated
hierarchically according to function.
• Mass housing - The housing would be dealt with by erecting
whole areas of mass housing, all built to the same standard,
and offering light, air, and sun for all.
• The charter of Athens became the guidebook for all new town
planning and building worldwide in the decades that followed.
• Its emphasis on the functionalist theory, treats residence, work
and leisure as discrete elements.
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• For Aldo van Eyck, “ The time has come to bring together the
old into new: to rediscover the archaic principles of human
nature”
• Design in human scale achieves familiarity and the sense
that things have been made by and for people.
• Humanist designers, moreover, advocate a mixed use of the
urban environment.
STAGE III – 1947- 1956

END OF CIAM
• Critique / challenge of the four functionalist categories of
the Athens charter by Alison and Peter smithsons , Aldo van
eyck in CIAM IX 1953
• Concept of DWELLING, WORK, RECREATION,
TRANSPORTATION
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Ar Tharangini K, HOA IV, AMSAA
Syllabus
• Brutalism. Team X. Ideas, works and evolution of Philip
Johnson, Louis Kahn, Paul Rudolph, Eero Saarinen, SOM,
Eames, I.M.Pei. Unit 1
• Modern architecture and postindependence India -
national building, institutions and PWD architecture. MODERN ARCHITECTURE –
• Chandigarh. SPREAD AND LATER DIRECTIONS
• Outline of evolution of the architectural profession in
India, influences on architects. Works of Kanvinde, Habib
Rehman. Corbusier and Kahn in India.
• Evolution and early works of Raje, Correa and Doshi.
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Secretariat building by Le Corbusier P.K.Kelkar Library by Kanvinde Mazar of Zakir Husain by Habib Rehman
IIFM, Bhopal by Achyut Kanvinde
Sangath, by B.V.Doshi Gandhi Ashram, by Charles Correa IIM Ahmadabad, by Louis Khan Glass House by Philip Jhonson
Milam Residence by Paul Rudolph Milwaukee War Memorial Center by The Louvre by I.M Pei Eames House by Charles Cadet Chapel, Colorado by SOM
Eero Saarinen and Ray Eames (Skidmore, Owings & Merril)
TEAM X
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Team 10 or Team X
• Team 10, just as often referred to as "Team X", was a group of architects and
other invited participants who assembled starting in July 1953 at the 9th
Congress of C.I.A.M.(International Congresses for Modern Architecture) and
created a schism within CIAM by challenging its doctrinaire approach to
urbanism.
• The group's first formal meeting under the name of Team 10 took place in
1960; the last, with only four members present, was in Lisbon in 1981.
• They referred to themselves as "a small family group of architects” who
have sought each other out because each has found the help of the others
necessary to the development and understanding of their own individual
work."
• "Core family members" included:
➢ Aldo van Eyck, The Netherlands
➢ Alison and Peter Smithson, England
➢ Jacob B. Bakema, The Netherlands
➢ Georges Candilis, Greece
➢ Shadrach Woods, USA/France
➢ Giancarlo De Carlo, Italy
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Team 10 or Team X
Team 10's theoretical framework, disseminated primarily through teaching and publications, had a profound
influence on the development of architectural thought in the second half of the 20th century, primarily in Europe.
Concepts/Contributions of TEAM X
• Alison and Peter Smithson , John Voelcker and William Howell developed a tool they referred to as the ‘scale
of Association’ which was meant to encourage architecture and town planning to be socially and
topographically responsive instead of stylistically or historically based.
• Jacob Bakema argued that modern architecture ought to be democratic and provide variety so that people
could exercise the right of choice.
• Aldo Van Eyck operated from a philosophically anti rationalist and anthropological premise.
• Georges Candilis built on the basis of a culturally and regionally sensitive International style.
• Ernesto Rogers argued for a modernism that took into account present conditions which in his
understanding included everything that led to the present-its historical context.
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CIAM X
The smithsons, Eyck, Bakema, Candilis and woods searched for:
• Structural principles of urban growth
• The next unit above the family cell
• Dissatisfaction with modified functionalism, with the “idealism
“ of Le Corbusier and Groupius
• Responded to the simplistic model of the urban core by
positioning a more complex pattern which would be
responsive to the need of the society.
• “BELONGINGS” IS A BASIC HUMAN NEED. Its associations are
of the simplest order. From belongings- identity – comes
sense of neighborliness
• Man may identify with his own hearth but not with the town
within which it is placed. Dismissed the rationalism of the
Functional city.
• The critical drive to find more precise relation between the
physical form and socio psychological need became subject
matter of CIAM X
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New Brutalism
and
Structuralism
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Two different movements emerged from Team 10:
• New Brutalism of the English members (Alison

and Peter Smithson)
• Structuralism of the Dutch members (Aldo van

Eyck and Jacob Bakema).
Brutalism
• Brutalism is a movement in architecture that flourished from the
1950s to the mid-1970s, descending from the modernist
architectural movement of the early 20th century.
• The term originates from the French word for "raw" in the term
used by Le Corbusier to describe his choice of material brut(raw
concrete).
• British architectural critic Reyner Banham
adapted the term into "brutalism" (originally "New Brutalism") to
identify the emerging style.
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Characters of Brutalism
• Brutalist buildings are usually formed with repeated modular
elements forming masses representing specific functional zones,
distinctly articulated and grouped together into a unified whole.
• Concrete is used for its raw and unpretentious honesty, contrasting
dramatically with the highly refined and ornamented buildings
constructed in the elite Beaux-Arts style.
• Surfaces of cast concrete are made to reveal the basic nature of its
construction, revealing the texture of the wooden planks used for
the in - situ casting forms. Examples: In the Boston City Hall, designed in
1962, the strikingly different and projected
• Brutalist building materials also include brick, glass, steel, rough-
portions of the building indicate the special
hewn stone, and gabions.
nature of the rooms behind those walls, such as
• Exposure of the building's functions—ranging from their structure the mayor's office or the city council chambers.
and services to their human use—in the exterior of the building.
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Peter and Alison

Smithsons
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Peter and Alison Smithson

• English architects Alison Smithson (22 June 1928 – 14
August 1993) and Peter Smithson (18 September 1923 –
3 March 2003) together formed an architectural
partnership and are often associated with the New
Brutalism (especially in architectural and urban theory).
• They first came to prominence with Hunstanton School
which used some of the language of high modernist
Ludwig Mies van der Rohe but in a stripped back way,
with rough finishes and deliberate lack of refinement.
• They are arguably among the leaders of the British
school of New Brutalism.
• They were associated with Team X and its 1953 revolt
against old Congrès International d'Architecture
Moderne (CIAM) philosophies of high modernism.
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Smithdon High School - Introduction

• Smithdon High School: (formerly known as Hunstanton Secondary
Modern School) is a comprehensive school in Hunstanton, Norfolk,
England.
• The Hunstanton School building, considered a manifestation of the new
Brutalist movement, is remembered as the project in which this term
was used for the first time and as the only escape route available from
the Modernism movement, according to the manifesto of Alison and
Peter Smithson.
• In this manifesto, they expressed that “it is out of respect for the
materials that we find the root of the New Brutalism… an understanding
of the affinity which can be established between the construction and
man…”.
• The building stood out for its extraordinary austerity, strict budget and
formal clarity. It expressed the desire of the architects to reveal the
essentials of the structure and the materials used.
• Completed in 1954, the Hunstanton School provides an overview of the
architectural experimentation of post-war Great Britain, as well as the
growing acceptance of modernity by the country’s public authorities.
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Smithdon High School
19

Location
• The Hunstanton School was built in the
town of the same name, in the county
of Norfolk, in the east of England.
Concept
• From the beginning, the architects stated
their intent to find a relationship between
culture, industry and society.
• Peter Smithson remarked that the form of
the school “is dictated by a careful study of
educational needs and pure, formal
requirements…”.
• The qualities of the building can be
synthesized as: formal legibility of the
floors, a clear display of the structure and
a valuation of the inherent qualities of the
materials as “they are found”.
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Smithdon High School - Description

• On a flat parcel of land, the building was constructed as a parallelepiped
form of 89 by 32 metres, with a large, double-height entrance hall whose
main axis lies East to West, towards Downs Road.
• The double-height hall is topped by large skylights which, according to
Peter Smithson, act as the “heart and expression of the scholastic
community and its relationship with the city”.
• The building boasts clear and defined edges and a closed symmetry in the
composition of its main façades. Notably, the Hunstanton school has a
biaxial symmetry that is easily perceived from the outside.
• It is a building constructed in the same way as it appears. Regardless of
what has been said about structural or constructive sincerity, the majority
of the buildings of the Modernist movement appear to be made from a
glass-like substance but, in reality, are more often brick or concrete.
• Hunstanton seems to be made of glass, brick and concrete and is, in fact,
made of those materials.
• The water and electricity do not appear inexplicably from holes in the
walls, but are carried through visible pipes. One can see how they are
made and how they work, and there is no other thing to see, except the
set of spaces
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Smithdon High School - Spaces

• Main hall - This space is the heart of the school, taking into the interior
the continuity of the exterior space, with the green of the courtyards
and play areas which surround it.
• Classrooms - Classrooms are located on the first floor and can only be
accessed by individual staircases, circumventing the classic corridor
layout.
• Gymnasium – The gym is found to the side of the school, on the second
formal axis of the building.
• Tower - Among the defining characteristics, the water tank is a highlight,
disguised in the form of a tower.
• STRUCTURE
➢ The structure is defined by the double-height, steel profile porticoes,
which intersect at approximately seven metres.
➢ The frames are constructed of prefabricated concrete slabs.
➢ The carpentry frames of the façade are fixed directly to the main
structure and divided with modulated closure elements of
approximately 1 by 0.5 metres.
➢ Different types of windows (fixed, pivot) are installed on these.
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Smithdon High School - Material

• All the materials appear and are left as they are, without paint, including the
electrical installations and visible tubes. The Smithsons stated their intention to
renounce the system of large standardised elements and to opt instead for
components produced industrially in England.
• The framework of the structure was designed in pre-welded steel, with floors
and roofs made from prefabricated concrete slabs.
• Flooring - Different materials have been used for the floors. In the classrooms
and workshops they put down plastic tiles in black or dark brown. In the
circulation corridors there is terrazzo, and in the main hall and gym, wooden
flooring. The interior courtyards and play areas were covered with grass and
exposed concrete slabs.
• Façades - They used yellowish bricks with a thin whitish layer to reduce their
porosity in the solid panels of both the façade and the main hall, to shut off the
view of the upper floor, in the gym, the classroom walls and for the auxiliary
buildings.
• The façades which surround the classroom area were structures with glazed
panels of the same height as the spaces they protected, which allows for the
entrance of natural light and also the heat of direct sun in summer and the cold
of winter. This meant unfavourable conditions for the students for a large part of
the year.
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• Carpentry - The door frames were made of unpainted, galvanized steel.
Ar Tharangini K, HOCA, AMSAA

• Designed by the architects Peter and Alison Smithson and
completed in 1954, the school was immediately
acclaimed by the architectural critics.
• However, its stark and uncompromising design,
particularly the large expanses of glass (inspired by the
work of Mies van der Rohe) caused some practical
problems with heating and cooling, and this has since
been modified by the addition of black panels in place of
glass.
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Peter and Alison Smithson - Ideology

• Their designs were hugely influential, with a number of housing schemes taking
inspiration from them. The term ‘Cluster’ is used to avoid association with the concept of
the ‘street’; a place that the Smithson’s felt was outdated, since the use of cars prevents
the street from being a place for a resident to identify with their environment.
• Among their early contributions were streets in the sky in which traffic and pedestrian
circulation were rigorously separated, a theme popular in the 1960s.
• This led to their project ‘Golden Lane’, designed in 1952, a multi level project with housing
occupying one side of wide ‘streets in the sky’, designed to provide residents with direct
pedestrian access to activities intended to give the community a strong sense of identity.
• This project is discussed in one of two chapters entitled ‘Connection allows scatter’, along
with ‘Berlin Haupstadt’
• Both were large utopian masterplans for development, designed with similar basic
concepts; allowance for maximum mobility, which was done by separating pedestrian and
vehicular movement as much as possible with pedestrian ‘streets in the sky’; the creation
of an inverted profile to allow for open space in the centre; allowance for growth and
change and the inclusion of green space.
• Both schemes are designed with transportation networks forming the primary structure;
connections and routes, whether vehicular or pedestrian, are the main focus for much of 25
the Smithsons' urban planning.
The Golden Lane Housing Competition Project

• Project - competition for the reconstruction of a bombed area
of the City of London, for the redevelopment of the damaged
corner of Golden Lane and Fann Street.
• A+PS set out to demonstrate that a high density (500
inhabitants) and right restrictions on budget need not result in
a low standard of living, and that “an infinitely richer and more
satisfactory way of living in cities is possible here and now”.
• The brief called for the construction of the greatest possible
number of apartments in terms of a variety of different sizes of
unit, for two, three or four people.
• “To do this, the project carried out the following features: three
levels of ‘streets-in-the-air’; each level called a ‘deck;”. Each
“Deck” was to be occupied by a sufficient number of people -
90 families- in such a way that it would constitute a social
entity.
• The “streets-in-the-air” would thus become places with their
own identity. “Two women can stop and talk without blocking
the flow, and [these streets] are safe for small children.
Urban Structuring diagram in which housing weaves between existing 26
Buildings interlaced with main roads.
The Golden Lane - Concept

• Social activity was concentrated in the intervals
between the decks. “These crossing are triple-height,
contrasting with the single-height decks, inviting one to
linger and pass the time of day.”
• All dwellings have their front doors on deck level and
their main accommodation above or below deck.
• The majority, but not all, dwelling have back
yard/gardens.
• These yard/gardens, which can be seen from the deck,
bring the out-of-doors life of a normal house—
gardening, bicycle cleaning, joinery, pigeons, children’s
play, etc., on to the deck, identifying the families with
the “house” on their deck.
• The total penetration of the yard-gardens dissolves the
dead-wall effect.
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The Golden Lane - Construction

• The structure, with beams and walls of in situ reinforced
concrete, manifests the economy and simplicity of the
construction scheme.
• The structural ‘rack’ is a reinforced-concrete-box-frame with
seven-inch bearing walls and six-inch floors. The site has been
planned to use a mobile tower-crane to best advantage.
• The walls will be cast in large-panel, timber-faced, light steel-
framed shutters which can be lifted vertically… erection finally
taking place at all levels in a pyramidal fashion. Floors are lifted
to the next level through the slot left for the pre-cast stairs.
Photomontage of Golden Lane network in North Town
• Into this ‘rack’ are built the dwelling; standardized factory-fabricated, with the Erection of walls and
minimum of site work. floors taking place in
• As there are no totally exposed end-walls it has been possible to leave all the pyramidal fashion
concrete unfaced, with a designed shuttering pattern. The remainder of the external
walls is self-cleansing materials—glass and vitreous-enameled steel-sheeting.
• Parapets are perforated pre-cast concrete panels; also pre-cast are the mullions and
transoms.
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• All windows are in softwood, stained with wood preservative and unpainted.
The Golden Lane - Importance

• The forms of the blocks owed much to Le Corbusier’s Unite d’Habitation in form and tectonics.
• What was so radical about the Golden Lane proposal was not so much the block forms themselves, but the
suggestion that the streets and housing blocks might multiply to form a network overlaid on the existing city.
• The Smithsons’ used a ‘random’ or ‘scatter’, aesthetic drawn from science, molecular geometry, and art brut to
distribute housing blocks linked by pedestrian walkways as a new layer over the existing bomb-damaged, ‘ruined’
city.
• What dictated the disposition of the blocks was no longer the predetermined geometrical grid of early Modernist
planning theory, but the topography of the specific site or ‘context’.
• Central to his presentation was the idea of ‘patterns

of association’. Thus, he proclaimed in an
accompanying statement, a community: ‘should be
built up of a hierarchy of associational
elements…(THE HOUSE, THE STREET, THE DISTRICT,
THE CITY)’, one of many aspects of real life which the
Smithsons considered had fallen ‘through the mesh
of the four functions [housing, work, recreation and
traffic].’
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The Golden Lane - Importance

• Their Golden Lane housing scheme
competition drawings were presented in
parallel as a suggestion of a solution which
offered a more precise relationship
between physical form and socio-
psychological needs of the community than
the previously accepted norm-International
Style neo-Platonic grid Planning.
• Through their aim to create original and
relevant architecture-a contemporary
vernacular-in the early fifties the
Smithsons became fathers of the ‘New
Brutalism’, and were probably the greatest
influence on the Modern Movement in
Britain after the Second World War.
• For them, Brutalism was not just about honesty in the use and construction of ‘as found’ materials, which they inherited
from Mies and Le Corbusier, but was based on a social programme committed to creating economically, environmentally,
and culturally relevant architecture. Their method was based on marrying the careful analysis and observation of historic
fabrics with brave imagination. Their 1952 entry for the Golden Lane housing competition exemplifies these concerns. 30
Berlin - Haupstadt
31
AldoVan Eyck
32
Aldo Van Eyck

• Van Eyck’s thinking fundamentally proceeded in
terms of reconciling opposites.
• Throughout his career, he applied himself to the
exploration and the relationships between
polarities, such as past and present, classic and
modern, archaic and avant-garde, constancy
and change, simplicity and complexity, the
organic and the geometric.
33
The Amsterdam Municipal Orphanage (1955-60)

• After a decade of experimenting with elementary forms and their interrelations, Van Eyck’s views were
synthesized in an iconic building, the Amsterdam Municipal Orphanage (1955-60). Here he succeeded in
reconciling a great many polarities.
• The Orphanage is both house and city, compact and polycentric, single and diverse, clear and complex, static and
dynamic, contemporary and traditional; rooted as much in the classical as in the modern tradition.
• The classical tradition resides in the regular geometrical order that lies at the base of the plan. The modern one
manifests itself in the dynamic centrifugal space which traverses the classical order.
34
The Amsterdam Municipal Orphanage

(1955-60)
35

• The archaic tradition shows up in various aspects of the building’s formal appearance.
• Due to the soft, biomorphic cupolas which cover the entire building, the first
impression it evokes is that of an archaic settlement, reminiscent of a small Arabic
domed city or an African village.
• The geometrical order of the building is articulated by a contemporary version of the
Classical Orders, composed of columns and architraves.
• The columns are slender concrete cylinders with fine ‘fluting’ left from the
shuttering; the architraves are concrete beams, each with an oblong slit at the
centre.
• Their joined extremities give the impression of a capital, though capitals as such are
absent.
• The small domes form a grid that extends evenly across the entire building so that
the overall pattern can be read at every point.
• Along the axial lines of this grid, pillars, architraves and solid walls mark off a number
of well-anchored, enclosed spaces: The living rooms and adjoining patios, the festive
hall, gymnasium and central court.
• All are spaces related primarily to their centre, a centre established by the large
dome- shapes, the axial lines of the grid generated by the small domes, and the 36
axially placed doors.

• The focus of the interior court is a circular seat marked by two lamps,
which rather than occupying the geometric centre of this space, is
shifted four metres or so diagonally from it.
• And if this piazza is indeed the centre of the entire settlement, it does
not dominate as such.
• From it the settlement fans out centrifugally in all directions; it is the
fixed point from which decentralization is developed and delineated.
• Thus, the axial ordering of the square does not extend in any way to the
internal circulation areas.
• It merely provides the initial impulse for the two interior streets, which
branch out in contrary zigzag movements, to give access, via interior
and exterior courtyards to the various units.
• The basic forms of the two groups of residential units are a union of
distinctly ‘open’ and distinctly ‘closed’.
• The ‘rear’ of the units that back on the north consists of an unbroken,
solid right-angled wall, their south-facing front being a right-angled
succession of glazed walls.
37

• In the quarters for the older children, glazed and brick walls unite
in a simple elongated L-shaped space, but in the units for the
younger ones, the brick wall envelops most of the domed area
and the entire dormitory wing.
• The glazed walls jut southward to mark out an additional shifted
space, upon which, returning to the dormitory wing, they
penetrate the building perimeter to hollow out a roofed terrace
beyond the columns and architraves.
• Embodying a maximum amount of both closeness and openness,
these units also represent a striking example of Van Eyck’s view
that architecture should, just like man, breathe in and out.
• And remarkably, the ground plan of these interlocking units
appears to resemble that of the whole building.
• In this ‘little city’, the ‘houses are linked to the outside world by
articulated external spaces with loggias. These outside spaces,
both large and small, are characterized by a similar centrifugal
structure. 38
Paul Rudolph
• Paul Rudolph, in full Paul Marvin Rudolph, (1918 -1997), one of the
most prominent Modernist architects in the United States after World
War II. His buildings are notable for creative and unpredictable designs
that appeal strongly to the senses.
• Rudolph received a bachelor’s degree in architecture from Alabama
Polytechnic Institute in 1940 and received a master’s
degree at Harvard University, where he studied under Walter Gropius.
During World War II he served (1943–46) with the U.S. Navy as a
supervisor of ship construction at the Brooklyn Naval Yard.
• In the late 1940s and early ’50s Rudolph practiced architecture
in Sarasota, Florida, first as a designer of private residences for the firm
of Twitchell and Rudolph, and later working independently.
• His early designs used the glass walls and austere geometry of
the International Style but attracted attention by their ingenious
construction and attractive lines.
• Rudolph came to believe that a building’s form should develop from
and be integrated with its interior uses and structure, and this led him
to break up building’s masses into distinctly articulated units that are
interesting from both the outside and the inside. His early
orchestrations of different units were regular and rather symmetrical, as
in the Mary Cooper Jewett Arts Center for Wellesley College (1955–58). 39
Paul Rudolph
• From 1958 to 1965 Rudolph was chairman of the
department of architecture at Yale University. His School of
Art and Architecture at Yale University (1958–63), with its
complex massing of interlocking forms and its variety of
surface textures, is typical of the increasing freedom,
imagination, and virtuosity of his mature building approach.
Considered one of the most defining designs of his career,
the 10-story building featured an interior that appeared
seamless, flowing, and shot with light. (In 1969 the building
was set on fire by student protestors.)
• Rudolph’s Boston Government Service Center (1963) and
the Endo Laboratories in Garden City, New York (1962–64),
continued a trend toward complex, irregularly silhouetted,
and dynamic structures that contain dissimilar but
harmoniously combined masses, shapes, and surfaces.
• In 1965 Rudolph left Yale to practice in New York City. His
practice grew in size and volume and embraced master
plans for urban communities as well as designs for
campuses and educational buildings, office buildings, and
residential projects.
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Paul Rudolph – Healy Guest House

• BUILDING: HEALY GUEST HOUSE
• ARCHITECT: PAUL RUDOLPH, RALPH TWITCHELL
• TIME-PERIOD: 1948-1949
• LOCATION: FLORIDA(U.S.A)
• CLIMATE: WARM
• CONSTRUCTION TYPE: POST AND BEAM WITH CATENARY
TENSILE ROOF
• STYLE: MODERN
• CONTEXT: WATER-FRONT
• AREA : 735 SQUARE FEET
41
Paul Rudolph – Healy Guest House

• Used piled foundation to support the structure on waterfront.
• Catenary roof is made of plastic sheet, was curved and span 22 feet
long.
• Flat steel bars of 12 inches to support roof.
• Glass and windows used let in outdoor environment.
• Jalsouie window used - that is window with flat wood slates stacked at
an angle for air and ventilation as well as controls glare of sunlight.
• Cables used to tie beams and columns to ground to support catenary
roof.
42
Paul Rudolph – Art & Architecture Building

BUILDING: ART & ARCHITECTURE BUILDING
ARCHITECT: PAUL RUDOLPH
TIME-PERIOD: 1959-1963
LOCATION: NEW HAVEN, CONNECTICUT
CLIMATE: TEMPRATE
CONSTRUCTION TYPE: CONCRETE
BUILDING TYPE: UNIVERSITY BUILDING
STYLE: MODERN
CONTEXT: URBAN CAMPUS
BUILDING FORM: RUGGED CUBOID FORMS
• Yale University’s Rudolph Building – formerly known as the Art and

Architecture Building – was designed in 1963 by the modern
master and then chair of the School of Architecture, Paul Rudolph.
It is considered one of his most important works.
• The 114,000 sqf Brutalist building, which is constructed of cast-in-
place concrete, has a total of 37 different levels on nine floors, two
below grade, and is a cornerstone of Yale’s vibrant arts campus. 43
Paul Rudolph – Art & Architecture Building

• The dramatic entrance to the building is up a narrow
flight of steps that penetrate deeply into the mass of the
main volume, between it and the main vertical
circulation tower.
• This has become Rudolph's favorite treatment for
exposed concrete surfaces, because, apart from being
an interesting surface, it controls staining and minimizes
the effect of discoloration inherent in concrete.
• Internally the building is organized around a central
core space defined by four large concrete slab
columns that, similar to the external towers, are
hollow to accommodate mechanical services.
• On two sunken levels, sculpture and basic design studios
encircle a central auditorium, the approach to which is
rather torturous and obscure.
• Painting and graphic art studios are on the top two levels,
with an open terrace for sketching.
• Finally, there is a penthouse apartment for guest critics,
44
that also has its own terrace
Eero Saarinen
• Eero Saarinen was a Finnish-American architect and industrial designer born in
the year 1910.
• His father Eliel Saarinen was a noted and respected architect.
• And mother was Loja Saarinen, a gifted sculptor, weaver, photographer, and
architectural model maker.
• He is famous for shaping his neofuturistic style according to the demands of the
project.
• His designs involved simple, sweeping, arching structural curves or machine-like
rationalism.
• He died of a brain tumor in 1961 at the age of 51.
Philosophy:
• Saarinen adapted his neofuturistic vision to each individual client and project,
which were never exactly the same.
• He learnt at an early age that each object should be designed in its "next largest
context - a chair in a room, a room in a house, a house in an environment,
environment in a city plan.“
• He was an architect who refused to be restrained by any preconceived ideas.
45
Eero Saarinen – The Gateway Arch

Location: St. Louis, Missouri, USA
Site: St. Louis' founding on the west bank of the Mississippi
River
Height: 630 feet (192 m)
Depth of Foundation: 60 feet
Year of design: 1947
Date of beginning of construction: February 12, 1963
Date of completion: October 28, 1965
Total budget: $13 million (equivalent to $190 million in 2015)
Date of opening to public: June 10, 1967
• For him, "The major concern ...was to create a monument which
would have lasting significance and would be a landmark of our
time... Neither an obelisk nor a rectangular box nor a dome
seemed right on this site or for this purpose. But here, at the edge
of the Mississippi River, a great arch did seem right."
46

Structure - The structure has two main
components:
1. The catenary arch
• The catenary, an ideal form that exists
largely in compression, was the starting
point for Saarinen’s design.
• It is built in the form of an inverted,
weighted catenary arch.
2. Triangular sections
• Sweeping a triangular section of variable
size along this curve was the basis for its
form.
• The arch is comprised of steel-clad
concrete triangular sections that varies in
thickness from 54ft (bottom), to 17ft (top).
Elevator cars –
• A complex system of elevator cars that climb diagonally to the top of the curved arch carry 12 people at a time to the top.
• Visitors can view the surrounding landscape from 630 feet above the ground. 47

• It preserves the formal simplicity of American monuments.
• It instills a notion of contemporality in the material and
programmatic complexity of the project.
• The tightly assembled steel plates make it look even more
slender than it is.
• It is the world's tallest arch.
• The tallest man-made monument in the Western Hemisphere. Visitor’s observation area
• It is Missouri's tallest accessible building.
• It was built as a monument to the westward expansion of the
United States.
• It is the centre piece of the Jefferson National Expansion
Memorial.
48
Eero Saarinen – MIT Chapel

Location: Cambridge, Massachusetts, USA
Height: 30 feet (9.1m)
Diameter: 50 feet (15 m)
Year of design: 1950
Year of completion: 1955
Structure
• The MIT Chapel is a simple
cylindrical volume.
• From the outside, the chapel is a
simple, windowless brick cylinder set
inside a very shallow concrete moat.
• It is topped by an aluminium spire.
• The brick is supported by a series of
low arches.
49

Exteriors-
• From a distance, Saarinen’s chapel appears as a brick building that
contextually aligns with the dormitories and the older buildings on
campus.
• The MIT Chapel is a simple cylindrical volume that has a complex
and mystical quality within.
• The chapel’s cylindrical form breaks the rigidity of the campus’s
orthogonal grid.
• Tucked away in a small forested area on campus, the windowless
chapel sits as a simple object.
• Upon approaching the chapel, one encounters a shallow concrete
moat that surrounds the chapel that seeps into the interior around
a series of low arches that provide the structure for the chapel.
• Saarinen chose bricks that were rough and imperfect to create a
textured effect. The whole is set in two groves of birch trees, with a
long wall to the east.
• The wall and trees provide a uniform background for the chapel and
isolate the site from the noise and bustle of adjacent buildings. 50

Interiors-
• Saarinen’s simple design is overshadowed by the interior form and light
that were meant to awaken spirituality in the visitor.
• Due to the windowless façade, the interior of the chapel is completely
masked by the exterior of the volume.
• The interior is inundated with a high level of detail and atmospheric qualities
that are enhanced by filtered natural light.
• Once inside, the visitor is transported to a completely unexpected interior
space that is unknown from the exterior façade.
• Unlike the smooth uninterrupted façade, the interior brick walls undulate
around the circumference of the chapel, which creates a new spatial
dynamic that is illuminated by the moat that slips into the interior from
outside.
• Above the white marble altar, there is a metal sculpture by Harry Bertoia
that hangs from the circular skylight that shimmers in the sunlight reflecting
and distributing light into the interior of the chapel.
• The sculpture appears as a cascading waterfall of light that is constantly
adjusting, moving, and redefining the interior of the chapel.
51
Louis Khan
• Louis Isadore Kahn (1901-1974), U.S. architect, educator, and philosopher, is
one of the foremost twentieth-century architects.
• Born in 1901 on the Baltic island of Osel, Louis Isadore Kahn's family emigrated to
Philadelphia, Pennsylvania, in 1905, where Louis Isadore Kahn lived the rest of his
life.
• Trained in the manner of the Ecole des Beaux Arts under Paul Philippe Cret, Louis
Isadore Kahn graduated from the University of Pennsylvania School of Fine Arts in
1924.
• In the following years Louis Isadore Kahn worked in the offices of Philadelphia's leading
architects, Paul Cret (1929-1930) and Zantzinger, Borie and Medary (1930- 1932).
• During the lean years of the 1930s, Louis Isadore Kahn was devoted to the study of
modern architecture and housing in particular.
• Louis I. Kahn undertook housing studies for the Architectural Research Group (1932-
1933), a short-lived organization Louis Isadore Kahn helped to establish, and for the
Philadelphia City Planning Commission.
• The year 1947 was a turning point in Louis Isadore Kahn 's career. Kahn established
an independent practice and began a distinguished teaching career, first at Yale
University as Chief Critic in Architectural Design and Professor of Architecture (1947-
1957) and then at the University of Pennsylvania as Crit Professor of Architecture 52
(1957-1974).
Louis Khan
Philosophy
• In his personal philosophy, form is conceived as formless and unmeasurable , a
spiritual power common to all mankind. It transcends individual thoughts,
feelings, and conventions.
• Form characterizes the conceptual essence of one project from another, and
thus it is the initial step in the creative process.
• The union of form and design is realized in the final product, and the building's
symbolic meaning is once again immeasurable.
• Defined space by means of masonry masses and a lucid structure laid out in
geometric, formal schemes and axial layouts with a strong processional character
of space and images.
• Beaux-arts tradition- Neoclassical architectural style, sculptural decoration
along conservative modern lines.
• Natural Light-Brought architecture to life.
Modernisim.
• To design is to plan and to organize , to order , to relate and to control in short it
embraces all means opposing disorder and accident.
• Social responsibility reflected in his later philosophy of the institutions of man.
53
• Architecture is timeless.
Louis Khan - Salk Institute

• The Salk Institute for Biological Studies is an independent,
non-profit, scientific research institute located in La Jolla,
California. It was founded in 1960 by Jonas Salk, the
developer of the polio vaccine.
• The Salk institute is composed of 2 groups of buildings sited on
the edge of a magnificent cliff, with the Pacific Ocean falling
behind in the horizon.
• The institute is housed in a complex designed by the firm of Louis
Kahn.
• Michael Duff of the Kahn firm was the supervising architect and a
major design influence on the structure that consists of two
symmetric buildings with a stream of water flowing in the middle
of a courtyard that separates the two.
• The buildings themselves have been designed to promote
collaboration, and thus there are no walls separating laboratories
on any floor.
• The lighting fixtures have been designed to easily slide along rails
on the roof, in tune with the collaborative and open philosophy of
the Salk Institute's science.
54
Louis Khan - Salk Institute

• According to A. Perez, the concrete was made with volcanic ash relying on
the basis of ancient Roman concrete making techniques, and as a result
gives off a warm, pinkish glow.
• The 2 buildings are mirrored around an open plaza which forms a strong
linear axis with the Pacific Ocean on one end and the entrance on the other,
thus highlighting and framing the landscape rather than imposing itself on it.
• A diagonal wall allows each of the thirty-six scientists using the studies to have
a view of the Pacific, and every study is fitted with a combination of operable
sliding and fixed glass panels in teak wood frames.
• Originally the design also included living quarters and a conference building,
but they were never actually built.
• In the courtyard is a citrus grove containing several orderly rows of lime
trees.
• The original grove contained orange and kumquat trees which were then
replaced with lime trees in the 1995 grove refurbishment.
• The plaza is stark (sharply cleared impossible to avoid), finished in travertine
marble, without anything in it except a single small linear channel of water
running down the centre.
• Yet, it is complete, the simplicity being highlighted by the magnificent
55
backdrop of the sky and the ocean with the seagulls fluttering in the distance.
SOM
• Skidmore, Owings & Merrill (SOM) is a global architectural, urban planning,
and engineering firm.
• It was founded in Chicago in 1936 by Louis Skidmore and Nathaniel Owings; in 1939 they were
joined by engineer John O. Merrill.
• The firm opened its second office in New York City in 1937, and has since expanded all over the
world, with offices in San Francisco, Los Angeles, Washington, D.C., London, Hong
Kong, Shanghai, Mumbai and Dubai.
• With a portfolio spanning thousands of projects across 50 countries, SOM is one of the most
significant architectural firms in the world. The firm’s notable current work includes the new
headquarters for The Walt Disney Company; airport projects at Kansas City International
Airport,and Kempegowda International Airport; urban master plans for the East Riverfront in
Detroit; the first net-zero-energy school in New York City; and the design of the Moon Village, a
concept for the first permanent lunar settlement, developed with the European Space
Agency and Massachusetts Institute of Technology.
• SOM has designed some of the world’s most significant architectural and urban projects
including several of the tallest buildings in the world: John Hancock Center (1969, second tallest
in the world when built), Willis Tower (1973, tallest in the world for over twenty years), and Burj 56
Khalifa (2010, currently the world's tallest building).
SOM- History
• Many of SOM's postwar designs are recognized as icons of American modern Lever House
architecture. The firm’s most influential early project was Lever House, completed
in 1952 to become the first International Style office building in New York City.
Constructed of glass and steel at a time when Park Avenue was lined with masonry
buildings, Lever House introduced a sleek modernist aesthetic that embodied the
spirit of the times and influenced an entire generation of high-rise construction. Manufacturers
Trust Company
• SOM’s influential modernist work in New York City included the Manufacturers Building
Trust Company Building, completed in 1954 as the first International Style bank
building in the United States and the Pepsi-Cola World Headquarters, completed in
1960. Architectural historian Henry-Russell Hitchcock called the Pepsi building “the
ultimate in refinement of proportion and elegance of materials,”.
• The following year saw the completion of One Chase Manhattan Plaza (1961), the Pepsi-Cola World
first International Style building to rise in New York City’s Financial District. SOM’s Headquarters
design also transformed the crowded streetscape of the Financial District by
creating a 2.5-acre plaza surrounding the tower, a novel concept that would be
adapted in many future projects.
• Another key example of SOM’s modernist legacy is found in Colorado Springs,
Colorado, where SOM master-planned a campus for the U.S. Air Force Academy.
Built between 1958 and 1968, the campus broke from the traditions to become the
first U.S. military academy designed in the modern style. The centerpiece of the Cadet Chapel
campus is the Cadet Chapel, designed by architect Walter Netsch. 57
SOM- Lever House

• Lever House is a glass-box skyscraper at 390 Park
Avenue in Midtown Manhattan, New York City.
• Built in the International Style according to the
design principles of Ludwig Mies van der Rohe, the
building was designed by Gordon
Bunshaft and Natalie de Blois of Skidmore, Owings
and Merrill.
• Completed in 1952, it was the second curtain
wall skyscraper in New York City after the United
Nations Secretariat Building.
• The 307-foot-tall (94 m) building features a
courtyard and public space.
• The construction of Lever House marked a transition
point for Park Avenue in Midtown, changing it from
a boulevard of masonry apartment buildings to one
of glass towers as other corporations adopted the
International Style for new headquarters.
• The Lever House was built in 1950–1952 to be the
American headquarters of the British soap
company Lever Brothers. 58
SOM- Lever House

• The 1916 Zoning Resolution, which required skyscrapers in New York City to
have setbacks as they rose, was designed to prevent new skyscrapers from
overwhelming the streets with their sheer bulk. However, these setbacks were not
required if the building occupied 25% or less of its lot, and it was this provision which
allowed Lever House, and the other glass boxes which followed it, to be built in the form
of a vertical slab.
• The building featured a 24-story blue-green heat-resistant glass and stainless steel
curtain-wall. The curtain-wall was designed to reduce the cost of operating and
maintaining the property. Its curtain-wall is completely sealed with no operating
windows. This meant that much less dirt from the city would get into the building. The
heat resistant nature of the glass also helped to keep air conditioning costs down.
• The ground floor contained no tenants. Instead, it featured an open plaza with garden
and pedestrian walkways. Only a small portion of the ground floor was enclosed in
glass and marble.
• The ground floor featured space for displays and waiting visitors, a demonstration
kitchen and an auditorium. The second and largest floor contained the employees'
lounge, medical suite, and general office facilities. On the third floor was the
employees' cafeteria and terrace. The offices of Lever Brothers and its subsidiaries
occupied the remaining floors with the executive penthouse on the 21st floor. The top
three stories contained most of the property's mechanical space.
59
Second Floor Walkway
SOM- Lever House

• One of the most important elements of the Lever
House is its curtain wall which is made of blue-
green heat-resistant glass and stainless steel. Its
design had both an economical and aesthetic
purpose.
• Since it was the headquarters of a soap business,
the use of an all-glass facade would make the
building easy to clean as well as maintain its
glimmer on the skyline. A system was created with a
rooftop window-washing gondola that was able to
move on tracks to clean the glass.
• The curtain wall is also completely sealed without
operable windows to prevent the passage of dirt
from the city into the building, and the heat-
resistant glass helped reduce cooling costs.
60
SOM- PEPSI-COLA CORPORATION WORLD HEADQUARTERS
• SOM designed this modernist classic to be the world headquarters for the Pepsi-Cola
Company.
• Completed in 1960, the pristine aluminum and glass structure contains approximately
142,500 gross square feet of office space that is organized against an offset core.
61
SOM- PEPSI-COLA CORPORATION WORLD HEADQUARTERS

• The overall building plan is flexible and
accommodates several clearly defined functions
efficiently, both spatially and structurally.
• Located on a corner lot fronting Park Avenue, the
transparent, 11-story box is set off distinctly from
the structures adjoining it.
• The service core on the south side is set back 15
feet from the building line. The resulting recess
divides the building visually from its taller
neighbor. On the north side, the entire structure
was set back 20 feet to comply with zoning
regulations. The glass walls of the ground-level
lobby are set back still further, leaving space for a
landscaped terrace between the entrances and
sidewalk.
• Upper floors contain large office areas,
unobstructed except for the main columns inside
the skin. The structural framework is composed of
steel columns (with concrete fireproofing) and
reinforced concrete slabs. The curtain wall's
spandrels and mullions are made of aluminum. 62
SOM- United States Air Force Academy Cadet Chapel

• The United States Air Force Academy Cadet Chapel, completed
in 1962, is the distinguishing feature of the Cadet Area at
the United States Air Force Academy north of Colorado Springs.
• Construction was accomplished by Robert E. McKee, Inc., of
Santa Fe, New Mexico. Originally controversial in its design, the
Cadet Chapel has become a classic and highly regarded
example of modernist architecture.
• The most striking aspect of the Chapel is its row of seventeen
spires.
• The structure is a tubular steel frame of 100
identical tetrahedrons, each 75 feet (23 m) long, weighing five
tons, and enclosed with aluminum panels.
• The tetrahedrons are spaced a foot apart, creating gaps in the
framework that are filled with 1-inch-thick (25 mm) colored
glass. The tetrahedrons comprising the spires are filled by
triangular aluminum panels, while the tetrahedrons between
the spires are filled with a mosaic of colored glass in aluminum
frame.
63
SOM- United States Air Force
Academy Cadet Chapel
• The Cadet Chapel itself is 150 feet (46 m) high,
280 feet (85 m) long, and 84 feet (26 m) wide.
The front façade, on the south, has a wide granite
stairway with steel railings capped by aluminum
handrails leading up one story to a landing. At the
landing is a band of gold anodized aluminum
doors.
Worship Areas
• The Cadet Chapel was designed specifically to
house three distinct worship areas under a single
roof. Inspired by chapels at Sainte-Chapelle in
France and the Basilica of San Francesco
d'Assisi in Italy, architect Walter Netsch stacked
the spaces on two main levels.
• The Protestant nave is located on the upper level,
while the Catholic and Jewish chapels and a
Buddhist room are located beneath it. Beneath
this level is a larger room used for Islamic services
and two meeting rooms. Each chapel has its own
entrance, and services may be held
simultaneously without interfering with one 64
another.
Charles and Ray Eames

• Charles (June 17, 1907 – August 21, 1978) and Ray Eames (December 15, 1912 – August 21, 1988) are best known for
their personal and artistic collaboration, and their innovative designs that shaped the course of modernism.
• Their firm worked on a diverse array of projects, with designs for exhibitions, furniture, houses, monuments, and toys.
Together they developed manufacturing processes to take advantage of new materials and technology, aiming to
produce high quality everyday objects at a reasonable cost.
• Many of their furniture designs are considered contemporary classics, particularly the Eames Lounge & Shell Chairs,
while the Eames House is a seminal work of architectural modernism.
The Eames Molded
Plastic & Fiberglass
Armchair is
a fiberglass chair, , that
appeared on the market Charles and Ray Eames
in 1950.
The Eames Lounge

Chair and ottoman are furnishings The Eames House
made of molded
plywood and leather, for the Herman
65
Miller furniture company

• Charles Eames began his architectural study after he was awarded
a scholarship to study in his hometown at Washington University
in St. Louis. However, after just two years at the university
he left, at least in part due to the school's teaching: he once
described how classical architectural training "forces upon the
young designer a system of sterile formula," and a teacher
reportedly claimed that he was "too modern."
• Undeterred, Eames set up a firm with partner Charles Gray, and
the pair was later joined by Walter Pauley. In 1938, Eames
accepted the invitation of Eliel Saarinen to study at the Art
Academy in Cranbrook, Michigan, where he would later become
head of the industrial design department.
• Bernice Alexandra Kaiser, alias Ray’s artistic talent was
recognizable from a young age, so after high school Ray left
California to study in New York City with German Abstract
Expressionist Hans Hofmann. She then went on to study at the Art
Academy in Cranbrook, where Charles was one of her teachers.
66

• Charles and Ray married in 1941 and moved to California where they
continued their furniture design work with molding plywood.
• During World War II they were commissioned by the United
States Navy to produce molded plywood splints, stretchers, and
experimental glider shells.
• In 1946, Evans Products began producing the Eameses’ molded
plywood furniture. Their molded plywood chair was called “the chair
of the century” by the influential architectural critic Esther McCoy.
• Soon production was taken over by Herman Miller, Inc., who
continues to produce the furniture in the United States today. Our
other partner, Vitra International, manufactures the furniture in
Europe.
• In 1949, Charles and Ray designed and built their own home in
Pacific Palisades, California, as part of the Case Study House Program
sponsored by Arts & Architecture magazine.
• Their design and innovative use of materials made the House a
mecca for architects and designers from both near and far. Today, it is
considered one of the most important post-war residences anywhere
in the world.
67
Charles and Ray Eames – Eames House

• Originally known as Case Study House No. 8, the Eames
House was such a spatially pleasant modern residence
that it became the home of the architects themselves.
• Charles and Ray Eames began designing the house in
1945 for the Case Study House Program in Los Angeles'
Arts and Architecture Magazine published and built these
case study homes that had to focus on the use of new
materials and technologies developed during World War II.
• The intention was for the house to be made of
prefabricated materials that would not interrupt the site,
be easy to build, and exhibit a modern style.
• The house is situated on a three-acre site on top of an
150-foot cliff that overlooks the Pacific Ocean. The site is a
flat parcel on otherwise steep land that creates a retaining
wall to the west. The response to this condition was a
concrete retaining wall that ties together the two boxes
separated by a courtyard.
68

• The two boxes serve two different functions. One is for the residence itself and the other is a studio. Both provide
double-height spaces at the corners and outer ends of both programs. This allows for a composition that breaks the
space up rhythmically and is read on the exterior of the house with the exterior courtyard serving as a double-
height space in between both boxes.
• Along with the retaining concrete wall, a simple steel frame was used for the structure of the house. The steel frame
used 4-inch H-columns for the walls and 12-inch-deep web joists for the roof. The steel frame was filled in with
different solid and transparent colored panels arranged to create a shifting light in the interior throughout the day.
• The importance given to light in the design, with the exterior arranged in this particular way, can be connected to
Japanese influence. The house was built largely of standard components, such as the windows which measure a
standard width of 3-feet 4-inches.
69

• Contrast to the cold steel framing that forms the
structure, the interior of the house is warm and
comforting with its wood-block floor and the soft light
penetrating each room through each day.
• Wooden staircases float effortlessly connecting the
lower and upper levels. The use of natural materials on
the interior bring the residence closer to nature, giving
the appearance of the house resting softly on the
earth. A row of eucalyptus trees was also planted at
the front that provide shade and blend parts of the
house with outdoors.
• The Eames House is a beautiful continuation of space.
The rooms are liberating, flowing into one another
even between floors through the double-height
spaces.
• Private and public spaces are not strictly divided. For
example, the bedroom on the upper level overlooks
the public living room with a short terrace that
connects the rooms. There are no major divisions
other than the separation of the two boxes, which still
merge into one another with the courtyard 70
Charles & Ray Eames – De Pree House

• The house shares a lot of the qualities of the Case Study
Houses, study that took place in California, though one of
the project's greatest attributes is that it takes advantage of
the local craftsmanship as well as natural light.
• The project is situated in a modest neighborhood of small
houses in Zeeland, Michigan. Its front facade is composed of
two symmetrical structures: garage and a studio that was
built later. The covered walkway that acts as a balcony leads
to the main body of the approximately 185 square meter
building.
• Natural cedars are lined for privacy. The rear area of the
house looks to a wooded area where a stream passes. Natural
ventilation was also a concern for the project, so windows
were inserted to promote cross ventilation.
• The ground floor is divided only by a large storage element
that covers the whole floor. The furniture hides all the service
equipment. The spacious living/dining room has a fireplace.
A glassed-in terrace, which was added after the construction
was completed, also connects the kitchen with the living
room and relates the interior space to the exterior. The
upper floor has three decks, two bathrooms, and a sitting 71
area in the center
I.M.Pei
• Chinese-American architect Ieoh Ming Pei (born April 26, 1917), is
arguably the greatest member of the modernist generation of architects.
When he received his Pritzker Prize in 1983, the jury citation stated that
he "has given this century some of its most beautiful interior spaces and
exterior forms.”
• Born in Suzhou, China, I.M.Pei grew up in Hong
Kong and Shanghai before deciding to move to the United States to study
architecture. Though he was uninspired by the Beaux-Arts traditions at
both the University of Pennsylvania and MIT, a professor convinced him
to persevere.
• He received his Bachelor's degree in 1940, when the second Sino-
Japanese War forced him to abandon his plans to return to his home
country - in the end, a fortuitous event for the young architect, as it
allowed him to discover the Graduate School of Design at Harvard, where
Pei worked with Walter Gropius and Marcel Breuer.
• Pei founded his own practice in 1955, then known as I.M. Pei &
Associates (but later changing its name to Pei & Partners in 1966 and
72
finally to Pei Cobb Freed & Partners in 1989).
I.M.Pei
In his firm’s six-decade history, the firm's
most well-known work:
• crystalline extension to the Louvre in
Paris;
• the Bank of China Tower in Hong
Kong,
• the East Building of the National
Gallery of Art in Washington DC
• the JFK Presidential Library in Boston.
• In 1990, Pei retired from full-time
practice, progressively reducing his
workload over the following decades
until passing away at the age of 102 in
2019.
73
I.M.Pei - Le Grand Louvre

• Intro: In 1981, the newly elected French president,
Francois Mitterrand, launched a campaign to renovate
cultural institutions throughout France. One of the
most advantageous of those projects was the
renovation and reorganization of the Louvre.
• In 1983 after touring Europe and the United States,
President Mitterrand commissioned the Chinese
American architect, I.M. Pei. It was the first time that
a foreign architect was enlisted to work on the Louvre
museum.
• History: With the history of the Louvre dating back to
the 12th Century, one could imagine that the modern
design implemented by Pei would not be fully
accepted by the historically enamored Parisian’s.
• The site of the Louvre was originally a dungeon and
fortress for Philippe Auguste, which was later
transformed into a palace under King Francis I in 1546.
It wasn’t until 1793 that Louis XVI had turned the
Louvre into a museum. The Louvre has been deeply
rooted in the history and culture of the Parisian
people. 74

Design
• Completed in 1989, I.M. Pei’s renovation redesigned
Cour Napoleon, the main court of the Louvre, in order
to alleviate the congestion from the thousands of daily
visitors. A new grand entrance provided a convenient,
central lobby space separate from the galleries, which
provided focal point for the cyclical process of one’s
experience through the museum.
• In addition to providing a new entrance to the Louvre,
Pei’s design featured a new underground system of
galleries, storage, and preservation laboratories, as well
as a connection between the wings of the museum. The
addition and relocation of the supporting spaces of the
museum allowed for the Louvre to expand its collection
and place more work on exhibit.
• Pei’s design of the Louvre addition implemented a large
glass and steel pyramid that is surrounded by three
smaller triangles that provide light to the space below
Cour Napoleon. For Pei, the glass pyramid provided a
symbolic entry that had historical and figural
importance that reinforced the main entry. 75

Design
• “Formally, it is the most compatible with the architecture of
the Louvre..., it is also one of the most structurally stable of
forms, which assures its transparency, as it is constructed of
glass and steel, it signifies a break with the architectural
traditions of the past. It is a work of our time.” – I.M. Pei
• The monumental appearance of the glass and steel
pyramid fixed in the middle of the court provides a central
focal point that compliments the scale and design of the
Louvre.
• The scale of the large pyramid, which is designed to the
same proportions of the famous Pyramid of Giza, does not
detract from the historical nature of the museum rather
the juxtaposition of the modern structure and the French
Renaissance architectural style of the museum creates a
complimentary effect that enhances each of the design’s
details and beauty. So much so that the sloping glass walls
of the pyramid begin to pay homage to the mansard roofs
of the museum, and the opaque, heavy qualities of the
Louvre’s façade exaggerate the transparency of Pei’s
design. 76
• Reactions
• Much of the criticism surrounding the renovation was
not because of the addition to the museum itself, but
more of an issue of styles. Most felt that Pei’s modern
design aesthetic would clash with the Louvre’s
Classical architecture; appearing as an alien form.
• However, as the decades have passed and Paris has
modernized. Pei’s design has become embedded in
the Parisian culture. It is regarded with similar
significance to that of the Eiffel Tower becoming an
icon for the people of Paris, as well as the world. Pei’s
design has become synonymous with the image of the
Louvre marking it as an inseparable entity from the
museum and of Paris
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I.M.Pei - JFK Presidential Library

➢ Architect I.M. Pei’s signature geometric shapes of concrete steel
and glass created an appropriate stately monumentality. A
juxtaposition of spaces and light quality along with a defined and
lucid circulation creates a logical story line of its namesake.
➢ The new site was selected at Columbia Point, adjacent to the
Harbor Campus of the University of Massachusetts Boston. The
dynamic new site boasted 9.5 acres and views of the Boston Harbor
and skyline.
➢ The main body of the structure consists of a singular and brilliant
triangular tower protruding from an expanding base of geometric
forms. A cube of glass and steel rises along with the tower;
hollowed and hallowed it represents reflection on void.
➢ A circulatory system leads the viewer through a relatively dense
memorial and archive of the life and political career of the late
president. This constrained experience is followed by a dark yet still
relatively confined space of the theater where the occupant is shown
a brief biographical film. From these tight spaces a new form
emerges at the end of the defined path.
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I.M.Pei - JFK Presidential Library

➢ A large, aerated, open cube volume allows for a period of
reflectance. The visceral connection with the outside
world and the home state which President Kennedy
dedicated his political life to is tangible through a
simplified glass and steel curtain.
➢ The understated yet omnipresent form of the library’s
stately structure at the end of the peninsula rises above
the water with a distinguished manner. The JFK
Presidential Library exemplifies architectural presence
representing both memorial and monument.
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I.M.Pei - East Building, National Gallery of Art

➢ What would eventually become known as the West Building of the
National Gallery of Art, the initial portion of the museum was financed
by art collector Andrew Mellon. Architect John Russel Pope was hired
to design the museum in the late 1930s, with the intentions of leaving
space for future additions.
➢ Mellon's son Paul had the responsibility of choosing the architect for
the expanse years later, so he turned to one of the most forward-
thinking architects of the twentieth century, I.M. Pei.
➢ The two most prominent aspects of the project that made the design
challenging for I.M. Pei were the buildings form and function, as the
small trapezoidal plot that was reserved for the building created a
difficult site to design on. Pennsylvania Avenue which was at an angle
to the north side created a strange limit, as did the proximity of the
National Mall to the south.
➢ These building limits were also restricted because the adjacent land
was marked as the President's inaugural route. But the most
demanding part of the design was that it needed to fit in with the
monumental scale of the Mall while also harmonizing with the
already-built neoclassical design of the West Building.
80

➢ In attempts to work with the shape of the site, Pei implemented forms that
reflected the trapezoidal form. When the plot was initially discussed with
Pei, he explains that first he "sketched a diagonal line across the trapezoid
and produced two triangles. That was the beginning."
➢ The first triangle, an isosceles, would contain the exhibition space, and the
second, a right triangle, would accommodate administrative offices, a library,
and a study center for art research.
➢ This isosceles triangle became a unifying motif of the building, found in the
marble floors, steel frame, and glass skylights. These acute and obtuse
angles are also repeated in the building's hexagonal elevators and
trapezoid-shaped office desks.
➢ To visually unite the neoclassical style of the West Building, characterized by
balance and symmetry , and the East Building which houses modern art, Pei
constructed the exterior of his building with the same pink Tenesse marble
used in the other building. Dust of this same marble was mixed with
concrete to create the beautiful color of the interior walls.
➢ A second unifying factor is a powerful axial link where the East Building's
main entryway is aligned along the West Building's east-west axis, opening
up a plaza space between the buildings.
81

• This serves to establish a transition
through elements like the marble paving
stones and glass pyramids which
reference the frame ceiling of the East
Building. These glass pyramids have since
become a trademark of museums designed
by I.M. Pei.
• The interior opens up to a large atrium;
the openness of the space invites visitors
to gaze upwards and let their eyes travel
around the building without feeling
overwhelmed. Although Pei wanted to
recreate the hard-edged lines of the
exterior and triangular design, he realized
that it would be best to soften these lines
for a warm and inviting feeling.
➢ He designed large round planters to
counteract these edges, each planter
containing ficus trees which helped create
a sense of scale in the large atrium.
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Philip Johnson
• Philip Johnson born in 1906, in cleveland, ohio. After graduating from high school he
attended harvard college, where he studied classics.
• At the age of twenty-six he became the director of the museum of modern art’s new
architecture department. He was the founder of the influential department of
architecture and design at moma. as co-author (with henry-russell hitchcock jr.) of the
moma exhibition catalog "the international style: architecture since 1922" johnson is
credited with introducing european modernism toamerica. T
• Though he began in the stark style of mies van der rohe’s work, by the 1960s he had
turned to a more individual style that incorporated historical elements. His greatest
influence as an architect was his use of glass.
• Johnson was among the first to experiment with all-glass facades, and by the 1980s such
buildings had become commonplace the world over.
• He eventually rejected much of the metallic appearance of earlier international style
buildings, and began designing spectacular, crystalline structures uniformly sheathed in
glass.
• He believes in "architecture is basically the design of interiors, the art of organizing
interiorspace."
• With the later work of the 1970s and 1980s, johnson began to manipulate both texture
and color on the exterior of his larger buildings.
83
Philip Johnson – Glass House
84
Philip Johnson – Sony Tower

▪ AT&T Corporate Headquarters sold to the Sony Corporation
in 1990 and renamed Sony Plaza .
▪ This thirty-four story office building (660 feet tall) is

generally viewed as the first post-modern skyscraper, even
though Philip Johnson had long been a leading American
proponent of the International Style.
• It was designed by Philip Johnson, one of the masters of

20th century architecture.
• This historicist references became associated with
Postmodern architecture, a style that this building helped
to popularize.
• Another characteristic of Postmodernism is the vertical
banding on the facade that emphasizes the height of the
building.
• More like early skyscrapers of the 20th century than the
modern buildings of the post-war period, the facade has
85
stone cladding rather than a glass and steel skin.

• The entrance is a grand, glazed arch surmounted by
porthole-shaped openings.
• It has an open galleria at the back of the site contained
restaurants, retail shops and an outdoor plaza carved out of
the base under the shadow of the tower.
• The triple division of the facade is emphasized by a large
entrance and pedestrian arcade at the base, a tall shaft with
regular windows, and a wide band of windows just below the
building's crown.
• The base encloses a public plaza and features monumental
entrances.
• The towering arched portal (110 feet high) is flanked by
three 60 foot high rectangular entrances.
• The Plaza, intended to be a public space, was never popular
with the city and was converted into enclosed retail after Sony
acquired the building.
• The building is clad in gray and pink granite.
86

• The entrance is a grand, glazed arch surmounted by
porthole-shaped openings.
• It has an open galleria at the back of the site contained
restaurants, retail shops and an outdoor plaza carved out of
the base under the shadow of the tower.
• The triple division of the facade is emphasized by a large
entrance and pedestrian arcade at the base, a tall shaft with
regular windows, and a wide band of windows just below the
building's crown.
• The base encloses a public plaza and features monumental
entrances.
• The towering arched portal (110 feet high) is flanked by
three 60 foot high rectangular entrances.
• The Plaza, intended to be a public space, was never popular
with the city and was converted into enclosed retail after Sony
acquired the building.
• The building is clad in gray and pink granite.
87
Philip Johnson – Chapel of St. Basil

• The Chapel of St. Basil is a chapel on the campus of
the University of St. Thomas in Houston, TX, designed
by Philip Johnson in 1997.
• The Chapel of St. Basil is located at the North end
of the University's Academic Mall. The mall itself is a
series of buildings representing various academic
disciplines and various forms of scholarly activity.
• The Chapel and Doherty Library are located at
opposite ends of the Academic Mall to represent the
dialogue between faith and reason, respectively.
• The structure of the Chapel is composed of three
basic geometric forms: the cube, the sphere, and the
plane. The cube comprises the majority of the
building, including the main seating area, while the
dome (a semi- sphere) rises high above the cube.
The granite plane bisects the cube and opens up the
chapel to light.
• The cube and plane interplay with the dome,
creating a sense of the dome not being a closing
vault on top of the Chapel, but rather an opening to 88
the heavens.
Philip Johnson – Chapel of St. Basil

• The Chapel itself contrasts with all of the other
buildings on campus, as it is composed of white
stucco and black granite as opposed to the rose-
colored brick that comprises the exterior of the
other campus buildings.
• Through its height, the Chapel dominates the
whole campus.
• A setup of the architecture also shifts the focus of
the building. The entry to the outdoor narthex of
the Chapel is created with a tent-like flap extending
over the entry, creating an enclosed space that is still
outdoors.
• The Chapel includes a fascinating play on light, as
there is no artificial light inside the main section of
building during the daytime. There is sufficient
sunlight to fully light the worship space, as a
combination of smooth textures and reflective
surfaces maximize all light shone in the building.
• On the west wall of the chapel is a slanted glass
cross (in the picture below), etched into the wall so
89
as to give a 3-dimensional feel.
Modern architecture and postindependence India - national

building, institutions and PWD architecture
90
Modern architecture and post independence India
The PWD architecture had taken different directions in India namely:

• The Central and State PWDs and their off-shoots such as the Delhi Development authority continued working
much as before independence, as has been noted.
• The PWDs bore the brunt of the burden of creating a new built environment for India, but they remained largely
unaffected by Independence in their organisation, modes of working and the nature of the products they created.
They continued to work within the existing paradigms.
• They were primarily involved in the design of public buildings and large scale housing developments.
• A Major concern in all their work was the standardisation and control of the built environment based on a design
method and basic assumptions concerning the hierarchical classification of both building types and uses that still
owed much to colonial practices developed a century earlier.
• Colonial practices, for better or worse, have proven difficult to shed.
• The design efforts of the Architects of the CPWD in New Delhi have made a major impression on the city. Many
of the buildings such as Vayu Bhawan, Krishi Bhavan, Supreme Court (1952) use Chajjas and Chatthris, and are
topped by domes to give an Indian character.
• They are really pastiches of Indian elements, following the forms established by Lutyens rather than capturing
the spirit of the Indian Architectural Heritage or of Lutyens’ work.
• The foremost heads of the CPWD had believed that Lutyens had set a precedent to be followed. But they failed to
capture the essence of those at Fatehpur sikri or in Edwin Lutyens’ or Herbert Baker’s work.
91
Modern architecture and postindependence India

Classification of Architectural profession in India
1. The Architecture of the established firms
2. The continuation of the classical Revival
3. Traditionalism and Revivalism
4. Modernism
5. Indian Mainstream
1. The Architecture of the established firms

• Most of the major firms continued working with the paradigms that had
brought them success in the 1920s and 1930s. They produced a range of work
in a variety of styles depending partly on who in the office was producing it.
• The style followed was modified classism of the 1930s but some were
surprisingly modern. Some were Neo Classical and some Anglo Hindu.
• Example – Central Block, IIT Kharagpur. Senate House, Kerala University, The LIC The LIC Building Chennai.
Building Chennai. 92

Architectural profession in India
2. The continuation of the classical Revival
• Classical revival in India was strongly associated with imperialism. It was also seen as a symbol of enduring
progressive values.
• There are thus several buildings in the post Independent India which one might think had been built fifty years
before.
• Example – Crawford Hall of Mysore University, Catholic Centre in Madras.
93
Crawford Hall of Mysore University

3. Traditionalism and Revivalism
• The immediate architectural response to Independence was a major Revivalist phase. It took many forms.
• In post independence India, some types of expressions involved the replication of traditional forms after a break in
their usage, others were a pastiche of past elements and others were closer to what has come to be known as “Post
Modernism” – the use of abstractions of past forms.
• This last type was common in the 1970s and 1980s. These buildings were designed to look Indian.
• Most of State Architects, State Buildings and CPWD works came under this style.
• Example – Vidhana Soudha Bangalore, Ashok Hotel Delhi
94
Vidhana Soudha Bangalore

4. Modernism
• Within modernism, one can distinguish between the generation of
architects – those who initiated modernism in India – and those, the
second generation, who followed after Le Corbusier had been to India.
There was also much work that seemed to proceed in response to
commercial needs largely and concerned by the architectural debates
around it.
• First generation Modern Architects and their works were – National Science
Centre, New Delhi by Achyut Kanvinde, Gandhi Ghat Memorial by Habib
Rahman, Gandhi Ashram by Charles Corea.
• The second generation of modernist works and architects followed after
the influence of Le Corbusier’s work in Chandigarh and Ahamedabad.
• Second generation Modern Architects and their works were – CEPT and
Tagore Memorial Hall(1971), Ahamedabad by B.V.Doshi, Harivallabhdas
House(1964) by Achyut Kanvinde, Charles Corea’s Kanchanjunga
Apartments(1970 – 83), Bombay and prototype for Ahamedabad Municipal
Transport Service Bus Stand.
95

5. Indian Mainstream
• During the period from World War II through Independence to the 1970s,
the mainstream of Indian building work was largely unaffected by the
intellectual arguments taking place those on the cutting edge of
architectural thought.
• This work has not been widely published, and so has been little heeded in
comparison to the attention the more form conscious architects received
internationally.
• It was however the type of Architecture that has shaped the cities and
suburbs which most Indians inhabits.
96
Post Independence City Planning - Chandigarh
97
Chandigarh Planning
98
Chandigarh Planning
99
Chandigarh Planning
100
Chandigarh Planning
101
Chandigarh Planning
102
Chandigarh Planning – Capitol Complex

➢Chandigarh Capitol Complex, located in the sector-1
of Chandigarh city in India, is a government compound
designed by the architect Le Corbusier and is
a UNESCO World Heritage Site.
➢It is spread over an area of around 100 acres and is a

prime manifestation of Chandigarh's architecture. It
comprises three buildings, three monuments and a lake,
including the Palace of Assembly or Legislative
Assembly, Secretariat, High Court, Open Hand
Monument, Geometric Hill and Tower of Shadows
➢Isolated from its urban context, the Capitol complex

took on a distinct aesthetic and spatial vocabulary.
➢ For the forms of the buildings themselves, Le

Corbusier applied a combination of traditional Classical
features and Indian design innovations, all simplified and
realized in concrete.
103
Corbusier in India- Palace of the Assembly

➢ One of Le Corbusier's most prominent buildings from India, the
Palace of the Assembly in Chandigarh boasts his major architectural
philosophies and style.
➢ Le Corbusier's five points of architecture can be found within the
design from its open plan to the view of the Himalayan landscape.
➢ The program features a circular assembly chamber, a forum for
conversation and transactions, and stair-free circulation.
➢ The first of Le Corbusier's architectural ideals is the use of pilotis to
lift the structure off of the ground. Reinforced concrete columns are
utilized in a grid throughout the Palace of the Assembly and are
slightly altered to raise a large swooping concrete form high above
the entrance.
➢ This form represents the second point of Le Cobusier's list a free
facade. Pilotis allow the form to express the grandiose release of
space precisely as Corbusier intended. The other various facades of
the building also bestow the free facade via brise-soleil formed
from the golden ratio. 104

➢ Le Corbusier's desire for views is then apparent from all facades.
The sun-shading along the offices provides a frame for inhabitants
into the surrounding site while the portico opens to the adjacent
landscape and the distant Himilayas.
➢ Inside, the Palace of the Assembly houses an open plan structured
by the grid of reinforced concrete columns. Again, this structural
pattern allows Le Corbusier to manipulated the program freely and
place offices and other private programming along the outside of
the plan and leave the center open for public use.
➢ Intersecting that open space, is the circular assembly chamber that
is contradictory in form to producing good acoustics.
➢ On top of the building lies an accessible roof supported by the
pilotis. Providing usable space on the roof of a structure complies
with Le Corbusier's fifth ideal of architecture by giving occupants
vertical means of connecting to nature and compensating for the
habitat removed by the building.
105
106
Corbusier in India- Secretariat, Chandigarh

➢ The Secretariat building is the largest edifice in the Capitol Complex and is the
headquarters of both the Punjab and Haryana governments.
➢ The Secretariat building is a long, horizontal concrete slab form, 254 meters long
and 42 meters high, and marks one of the edge of the Capitol Complex on the left
side.
➢ The building is composed of six eight-story block divided by expansion joints and
measures over 800 feet long, bookended by two sculptural ramps providing
vertical circulation throughout the facilities’ levels.
➢ Completed in 1952, the Secretariat building functions as the headquarters of the
Punjab and Haryana municipal governments and is the largest of Corbusier’s three
completed administrative buildings. The massive, horizontal complex is comprised
of 8 stories of rough-cast concrete.
➢ Design goal: to revolutionize the modern office building. The Secretariat was
among the first buildings designed as a “healthy building” with careful attention
paid to natural lighting, ventilation, and organizational efficiency.
➢ The whole structure is constructed in 'beton brut' (rough-cast concrete) with
Corbusier's signature 'brise-soleils' facade. 107
108

➢ Over 800 feet long, the extensive facade of the building gives a sculptural aesthetic with
exposed concrete ramps, punctured with small square windows dictating the front and
rear views. Accordingly, the Secretariat building avoids overshadowing the Capitol as a
whole with its bulk size. Instead, it plays a unifying role in the complex, which is symbolic of
its administrative function.
➢ The cafeteria rests atop the terrace, where one can have a spectacular view of the city.
Similarly, the roof garden and its promenade set against the surrounding landscape, which
constantly changes as the observer's angle of vision changes.
➢ To maximize natural lighting and increase cross-ventilation, a long and narrow plan was
implemented by Corbusier, this approach also helped delineate both the actual and the
implied borders of the capitol complex as a whole.
➢ To visually reduce the scale of its massive facade, the Secretariat was designed with a
modular façade that fragments the elevation into legible, programmatic elements. This
approach not only prevents onlookers from being overwhelmed by its scale, it also plays an
important role with regard to the daylighting scheme of the project as a whole.
➢ The various projections, recesses, circulation elements, and multi-level interior spaces act
as sun-breaks ('brise-soleils') to mitigate solar gain. 109
Corbusier in India- Millowner’s
Association Building, Ahmedabad
• Le Corbusier was commissioned by the president of the Mill
Owners’ Association to design the organization’s headquarters
in Ahmedabad, a city historically active in India’s textile trade.
• The building is a physical manifesto representing Le Corbusier’s
proposal for a modern Indian architecture. Constructed in 1954,
the Mill Owners’ Association Building is considered the first
completed commissions in Ahmedabad.
• As Le Corbusier began working predominately in warmer
environments, he developed a set of architectural devices in
response to climatic and cultural contexts.
• He took cues from India’s vernacular architecture, emulating the
deep reveals, overhanging ledges, shade screens, and grand,
pillared halls. He introduced brises-soleil, designed to prevent
sun from penetrating the facade, and employed these in
combination with thickened facades and unfinished concrete in
many of his later projects.
110
Corbusier in India- Millowner’s Association Building, Ahmedabad

• The brises-soleil on the west facade are oriented diagonally to obstruct views from the
street while permitting air and indirect sunlight to enter the space.
• Plants spill from the porous facade, activating the exposed concrete and supplementing
the roof garden. At the rear of the building, the brises-soleil are perpendicular to the
facade, allowing the breeze from the river to pass uninhibited through the shaded
perimeter. Here, Le Corbusier designed the openings to frame views of the river below.
• Completed just after Unité de Habitation, the Mill Owners’ Association Building signifies
a shift in Le Corbusier’s architectural style, combining the repetitive rigidity of Villa
Savoye with the curvilinear forms of Ronchamp.
• The facade stands free of the structural pilotis as described in Le Corbusier’s Five
Points, but departs from his earlier work in that it extends fully to the ground, screening
the cylindrical columns from view.
111
Corbusier in India- Millowner’s Association Building, Ahmedabad

• The rectilinear plan and grid expressed on the building’s exterior stand
in contrast to the interior spaces, which are characterized by convex and
concave volumes. As one moves through the interstitial space, the
intersection of curvilinear and orthogonal planes creates an experience
of compression and release.
• A conference room enclosed by a curved, brick wall paneled in wood
veneer extends from the second story to roof level. Its curved ceiling
reflects light entering through the clerestory window and holds a
reflecting pool above, which Le Corbusier had hoped to utilize as a roof
reservoir.
• The circulation is designed as a promenade, beginning with a ramp
extending from the parking lot to a three-story void at the volumetric
center of the building. As one ascends the ramp, the view penetrates
the brises-soleil, visually opening the facade. The stair core projects
beyond the central atrium and main facade, into the elements.
112
Loius I Khan in India – IIM Ahmedabad

➢ 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 60 acre campus for the Indian Institute of
Management in Ahmedabad, India. Much like his project in Bangladesh,
he was faced with a culture enamored in tradition, as well as an arid
desert climate.
• For Kahn, the design of the institute was more than just efficient spatial
planning of the classrooms; he began to question the design of the
educational infrastructure where the classroom was just the first phase
of learning for the students.
• The main focus was to create a new school of thought that incorporated
a more western-style of teaching that allowed students to participate in
class discussions and debates in comparison to the traditional style
where students sat in lecture throughout the day.
• Kahn’s inquisitive and even critical view at the methods of the
educational system influenced his design to no longer singularly focus on
the classroom as the center of academic thought. The classroom was
just the formal setting for the beginning of learning; the hallways and
Kahn’s Plaza became new centers for learning. 113
➢ The conceptual rethinking of the educational practice transformed a school into an
institute, where education was a collaborative, cross-disciplinary effort occurring in and
out of the classroom.
➢ Khan incorporated local materials (brick and concrete) and large geometrical façade
extractions as homage to Indian vernacular architecture. It was Kahn’s method of blending
modern architecture and Indian tradition into an architecture that could only be applied
for the Indian Institute of Management.
➢ The large facade omissions are abstracted patterns found within the Indian culture that
were positioned to act as light wells and a natural cooling system protecting the interior
from India’s harsh desert climate. Even though the porous, geometric façade acts as filters
for sunlight and ventilation, the porosity allowed for the creation of new spaces of
gathering for the students and faculty to come together.
114
115
Achyuth Kanvinde
• Achyut P Kanvinde and Shaukat Rai, from diverse backgrounds met when they were
chosen to go to the U.S. for a study tour by CSIR (Centre for Scientific & Industrial
Research) in 1945. The mission, to study modern research laboratories in the U.S. so
that it could be replicated in India post-Independence. It was an era when India was
an young emerging nation.
• Achyut studied architecture at the Sir J J School of Art, Mumbai, while Shaukat was a
civil engineer trained in Roorkee.
• The former was the son of an artist from a humble background, the latter the
grandson of Sir Ganga Ram. Life took them to the U.S., where they wanted to study
design and architecture. The duo came back and fulfilled their commitment by
working with CSIR. The friendship which began then, resulted in a partnership –
Kanvinde and Rai, that flourished over decades.
• Achyut Kanvinde’s (1916-2002) brilliance in designing and architecture was matched
to perfection by Shaukat Rai (1922-2003), who handled project execution,
management and business aspects.
• When Morad Chowdhury joined them, it was 20 years after the partnership was
started. He brought some fresh blood into the the firm – Kanvinde, Rai and
Chowdhury.
• Charles Correa refers to Kanvinde saheb’s design sensitivity, the unique position he
occupies in the history of contemporary architecture in India, and the partnership
between him and Shaukat as that of high-ethical professional standards unparalleled 116
in our times.
Achyuth Kanvinde
• It will not be an understatement to say that anything conceivable in brick and
mortar was designed and built by the low profile and soft spoken duo.
• It is not easy to arrive at the correct number, but it could be easily above 500
projects that covered a wide range — schools, colleges, hostels, hospitals, temples,
residences, office complexes and high rise.
• The projects include, IIT Kanpur, Nehru Science Centre, Mumbai. In Delhi, Ashoka
Estate, St. Xavier’s School, National Science Centre, Cooperation Office, Embassy of
Switzerland, Azad Bhavan, ISKCON Temple and CCRT. Of these, Gandhi Memorial
Hall, Azad Bhavan, National Science Centre and ISKCON temple make it to the list of
modern heritage buildings in the National Capital.
• Evolution - The buildings he initially designed were typically straight-faced
geometrical ones. This geometry was in stark contrast to the ornate Indian
architecture which he trained in. Though Kanvinde was a modernist since his days at
J J, it was his study under Walter Gropius at Harvard which completely altered his
thinking. As Kanvinde says in his writings, “It was Gropius who really exposed me to
the power of technology on the one hand and the psychological dimensions of
spatial concerns and realisations on the other.” But his romance with geometrical
architecture lasted through his lifetime. Over the years, the geometrical shapes
imbibed a certain fluidity, which made them almost speak
117
Achyuth Kanvinde
• Design Features
• the design would emerge from the site, topography of the land, the objectives in context of the
area. It was a sum of everything.
• Another feature which stands out is that Kanvinde Sahab discerned the taste of the inhabitants of
the space, then created the structure for them, so that they blended in well. He would go to
great lengths to understand his clients. In 1962, for Balkrishna Harivallabhdas residence in
Ahmedabad, he often stayed with the family to understand them and their lifestyle so that the
home would complement them. Similarly when he was asked to design the ISKCON temple, New
Delhi, a pro bono project, he wanted to understand the philosophy of the organisation. They in
turn presented him with 16 volumes of the Bhagavad Gita and he meticulously went through
them.
• For an architect who designed temples, he did not believe in Vaastu.
• There was always an emphasis on staircase in the buildings. Similarly, the front or porch was
designed in such a way that it would add drama to the building. It also allowed natural light to
enter the building. Apart from staircases, covered verandahs and walkways connected various
buildings allowing for light and ventilation. This is aptly reflected in the University of Agricultural
Sciences, Bengaluru where the design allows for natural ventilation and light everywhere.
• Sustainability and environment-friendly materials were a part of Kanvinde’s approach to buildings
even before they became buzzwords. His own house, ‘Akar’, built in the 1960s used local bricks
and exposed concrete. 118
Achyuth Kanvinde - TANTRA MUSEUM New Delhi, 1974
• This museum project was designed for the extensive art collection
of Ajit Mookerjee.
• Inspired by the symbolism of Tantra Art, the concept relies on an
aggregation of form, using a series of repetitive clusters
comprising circular modules around a central arrival court.
• The circulation system provides access to the topmost floor by a
flight of steps, gradually descending to the lower floors.
• The strong circular forms of the building create a visual statement
and are a marked departure from the orthogonal forms of
Kanvinde’s earlier work.
• Though the project did not proceed beyond the design
development stage, the ideas of this project were the basis of
designs for two science museums carried out in the 1980s.
119
Achyuth Kanvinde - National Science Center, New Delhi (1991)

• Situated in the vicinity of old monuments of Delhi providing a
new fabric to the city and at the same time feeling of the
ancient building.
• A set of vertical volumes that rise gradually- this buildings is
visually appealing, and unimposing. It has a large grand flight of
steps on its entrance.
• The skylights- which are the dominant highlight of the design are
a common repeating element in many of his works- such as the
Doodhsagar Dairy, and the Nehru Science Center, Mumbai.
• The building seems to have a simple & efficiently designed
structural system, and a functional approach in its layout.
• The building accommodates a complex of workshops, library,
lecture halls and observatory.
• Site Location- Bhairon Road, Adjacent Pragati Maidan, New
Delhi.
• Site Area- 7000 m2 Built up Area – 14,000 m2
• Materials Used: RCC frame, brick infill plastered in a fine stone
grit finish.
120
Achyuth Kanvinde - National Ar Tharangini K, HOA IV, AMSAA
Science Center, New Delhi
• A six-storey structure situated on a site that forms part of the Trade Fair
complex.
• The building comprises an auditorium, conference rooms, lecture hall,
library, training centre, exhibition areas, and a cafeteria, totaling 14,000
square metres of built up area.
• An entrance concourse on the first floor leads to the multi-level display; 121
and terraces provide additional outdoor exhibition areas.
Achyuth Kanvinde - Doodhsagar Dairy,

Mehsana, Gujarat
• Doodhsagar Dairy of National Dairy Development Board
built in 1973
• One of the largest Milk processing unit in gujarat.
• Style of Architecture – Brutalism
Design Features
• Monstrous and raw
• The form is very rough and solid
• Cold character
• Fortress like structure
• One of the first outburst of kanvinde’s brutalism
122
Achyuth Kanvinde - Doodhsagar Dairy ,Mehsana
123
Achyuth Kanvinde - Doodhsagar Dairy ,Mehsana

• The natural slope of the site utilized to take
advantage of a multi level processing system.
• Milk receiving is done at the roof. Processing is done
at the second level. The third and the lower most
level accommodate the worker’s amenities.
• Ventilation points are expressed as large shafts that
rise above the roof level. They evacuate the hot air
by natural convection eliminating the need for
mechanical exhaust system.
• Walls and structure are more theatrical than
technical in their function of containing and
supporting the process within.
• Banding of the exterior finish helps articulate the
muscular feature of the building.
124
Charles Correa
➢ A man often referred to as “India’s Greatest Architect” and a person whose impact on the
built environment extended far beyond his own native country. Rooted in India, Correa’s
work blended Modernity and traditional vernacular styles to form architecture with a
universal appeal.
➢ Through his buildings we, as both architects and people who experience space, have learnt
about the lyrical qualities of light and shade, the beauty that can be found in humble
materials, the power of color, and the joy of woven narratives in space.
➢ Perhaps more than anything else, however, it was his belief in the notion that architecture
can shape society which ensures the continued relevance of his work. As quoted by “At it’s
most vital, architecture is an agent of change,”.
➢ When Correa returned to India in the late 1950s, after having finished his studies at the
University of Michigan and the Massachusetts Institute of Technology in the United States,
he observed an old civilization eager to establish itself as a new country – and one with
enormous potential.
➢ Brimming with optimism, and fired up with Socialist ideals, it was in this context in which
Correa and his contemporaries (B. V. Doshi, Raj Rewal, Achyut Kanvinde, et al.) found the
patronage to nurture their talent. 125
Charles Correa
➢ It was around 1980s, a period in which it’s possible to notice a marked shift in Correa’s thinking.
Gradually moving away from Western influences, like Corbusier and Team X, Correa sought to
develop a vocabulary for Indian architecture that was more inspired by the deep mythic and
cosmological beliefs of the country itself.
➢ This was partly due to his involvement as the curator of Vistara – a travelling exhibition of Indian
architecture organized as a part of the Festival of India in 1986. The exhibition not only traced the
trajectory of Indian architecture from its ancient origins to the present day but also showed, at
each step, the beliefs and mythic imageries that determine what we build.
➢ In Correa’s work that followed, seen in both the National Crafts Museum built in New Delhi
(1975-90), and the Jawahar Kala Kendra in Jaipur (1986-92), there was a conscious attempt to National crafts Museum
break away from any obvious Western influences.
➢ Instead, like the incredible temples of South India, a movement through open-to-sky pathways
determines the layout of both museums. But it was the overlay of cultural motifs, use of
traditional materials, and references to ancient symbols that made these projects stand out as
examples of what Indian architecture could be.
➢ Correa’s deep understanding of both the past, and how it could inform the present, undoubtedly Belapur housing
pushed forward the discourse on national Indian identity. 126
Charles Correa
➢ By the time India moved from Socialism to liberalization, Correa had
already established himself as the torchbearer of Indian architecture.
➢ With fame and recognition also came the chance to build abroad. His
last three notable projects, all built overseas, appear to break away
from some of his earlier preoccupations and embody a third and
important phase in his work.
➢ The Brain and Cognitive Sciences Center at MIT (2000-05), the Ismaili
Centre in Toronto (2000-14), and the Champalimaud Centre for the
Unknown in Lisbon (2007-10), are all more abstract explorations but
still firmly rooted in their respective contexts, climates, and cultures.
➢ They are fresh reinterpretations of some of the central concepts that
had consumed his thinking and work throughout his life. Champalimaud Centre for the Unknown in Lisbon
127
Charles Correa – Gandhi Ashram

➢ This Gandhi memorial museum/ Sabarmati Ashram/ Gandhi Ashram designed by
Charles Correa is located in the Ashram where the Mahatma lived from 1917 to 1930.
➢ Housing his books, letters and photographs, this modest and humanly scaled
memorial uses brick piers, stone floors and tiled roofs to find a contemporary
expression for the spirit of swadeshi.
➢ The duality of modernity and tradition can be seen in this earliest and perhaps best-
known projects: the Gandhi Smarak Sangrahalaya in Ahmedabad.
➢ Built between 1958 and 1963 as a memorial to Mahatma Gandhi the building is
designed to embody Gandhi’s ideas and principles. It also displays Correa’s lateral
thinking as a designer.
➢ By combining contemporary materials with those used in Gandhi’s own house, Correa
was able to look to the past and to the future in the same expressive gesture.
➢ The entire structure, modest in scale and proportions, consists of interconnected
modular square huts that form a meandering pathway, sometimes through closed
spaces and sometimes open to the sky; a feature that recurred throughout his career.
128

➢ Concept:
➢ The Gandhi Smarak Sangrahalaya project provided an example of how to
combine the Hindu Architectural and cosmological idea of isotropy with
Modernist functional planning.
➢ The concept of isotropy (similar to fractals) refers to an infinitely scaleable
structure that is found in the repitition and manipulation of the decorative
elements in Hindu temples.
➢ In the Smarak Sangrahalaya, the modular pavilion unit was designed to facilitate
a future extension and to emphasize the idea of a single element making a
whole.
➢ Correa placed five distinctly programmed interior spaces within the asymmetrical
grid plan.
➢ The plan of the museum has also been
compared to village houses in India’s Banni region.
Instead of a single volume, the houses consist of
five huts each with a different function, which
surround to make a courtyard. The inhabitants walk
back and forth across the outside space to use the Gandhi’s house located nearby
different rooms
129

➢ Spaces:
➢ The site on the Sabarmati River bank
is part of the larger ashram complex
and is integrated into its gardens.
➢ Five interior rooms contain the
collection of the museum. The
rooms are enclosed by brick walls
and wooden louvered screens.
➢ All five rooms are part of the 6m
square module. Correa’s subtle
changes of the enclosure allow for
variety in the module’s lighting,
temperature, and visual
permeability.
➢ A square, uncovered shallow pool is
located between the five rooms.
130

➢ Construction:
➢ The museum uses a simple but delicately detailed post and beam
structure. Load bearing brick columns support concrete channels,
which supports both the wooden roof and direct rainwater. The
foundation is concrete and is raised about a foot from the ground.
➢ Wooden doors, stone floors, ceramic tile roofs, and brick columns are
the palette of the building.
131

➢ Most likely inspired in part by the ideas of Structuralism, the building is in many ways
reminiscent of the sorts of casual movement one encounters in a typical Indian village.
➢ In a profession where practitioners generally blossom late in their careers, Correa’s
monument to Gandhi—designed when he was only 28 years old—stands out as the
work of a child prodigy.
➢ Its use of multiple pathways and open-to-sky space would go on to inform many of his
later projects, such as the unbuilt proposal for the India Pavilion (1969) in Osaka,
Japan, and Bharat Bhavan (1975-81) and Vidhan Bhavan (1980-86), both in Bhopal.
132
Charles Correa – Jawahar Kala Kendra, Jaipur

➢ Jawahar Kala Kendra is an arts and crafts centre located in the city of Jaipur.
The centre was completed in 1991. The centre was launched by the state
government to provide space to the cultural and spiritual values of India and
display the rich craft heritage. The centre is dedicated to the late prime
minister of India Jawaharlal Nehru.
➢ Concept:
• The centre is an analogue of the original city pIan of Jaipur drawn up by the
Maharaja, a scholar, mathematician and astronomer, Jai Singh the Second, in
the mid-17th century. His city plan, guided by the Shipla Shastras, was based
on the ancient Vedic madala of nine squares or houses which represent the
nine planets (including two imaginary ones Ketu and Rahu). Due to the
presence of a hill one of the squares was transposed to the east and two of
the squares were amalgamated to house the palace.
• Correa’s plan for the Kendra invokes directly the original navagraha or nine
house mandala. One of the squares is pivoted to recall the original city plan
and also to create the entrance. The plan of Jaipur city based on the nine
square Yantra in which one square is displaced and two central squares
combined. the squares is defined by 8m high wall, symbolic of the fortification
wall along the Jaipur old city.
133
Ar Tharangini
K, HOA IV,K, AMSAA
HOCA, AMSAA
Ar Tharangini
The centre has been
Charles Correa – made in eight blocks
housing:
Jawahar Kala Kendra, Jaipur
•museums,
•theatres,
• Layout According to the Mandala •library,
• The building program has been “disaggregated” •arts display room,
into eight separate groupings corresponding to •cafeteria
the myths represented by that particular planet:
• for instance, the library is located in the square of
the planet Mercury which traditionally represents
knowledge,
• the theatres are in the house of Venus,
representing the arts.
• The central square, as specified in the Vedic
Shastras, is avoid: representing the Nothing which
is Everything. The flooring pattern in this square is
a diagram of the lotus representing the sun. City
Palace, Jaipur.
134
Charles Correa – Jawahar Ar Tharangini K, HOCA, AMSAA
Kala Kendra
135
Charles Correa – Kanchanjunga Apartments

• Located in Mumbai, the 32 luxury apartments are
located south-west of downtown in an upscale
suburban setting embodying the characteristics of
the upper class of society within the community.
• The Kanchanjunga Apartments are a direct response
to the present culture, the escalating urbanization,
and the climatic conditions for the region. They pay
homage to the vernacular architecture that once
stood on the site before the development in a
number of ways.
• In Mumbai, a building has to be oriented east-west
to catch prevailing sea breezes and to open up the
best views of the city. Unfortunately, these are also
the directions of the hot sun and the heavy
monsoon rains. The old bungalows solved these
problems by wrapping a protective layer of verandas
around the main living areas, thus providing the
occupants with two lines of defense against the
elements.
136
Charles Correa – Kanchanjunga Apartments

• Correa pushed his capacity for ingenious cellular planning to the limit,
as is evident from the interlock of four different apartment typologies
varying from 3 to 6 bedrooms each. Smaller displacements of level
were critical in this work in that they differentiated between the
external earth filled terraces and the internal elevated living volumes.
• These subtle shifts enable Correa to effectively shield these high rise
units from the effects of both the sun and monsoon rains. This was
largely achieved by providing the tower with relatively deep, garden
verandas, suspended in the air.
• The building is a 32 story reinforced concrete structure with 6.3m
cantilevered open terraces. The central core is composed of lifts and
provides the main structural element for resisting lateral loads. The
central core was constructed ahead of the main structure by slip
method of construction. This technique was used for the first time in
India for a multistory building.
• The concrete construction and large areas of white panels bears a
strong resemblance to modern apartment buildings in the West,
perhaps due to Correa's western education. However, the garden
terraces of the Kanchanjunga Apartments are actually a modern
interpretation of a feature of the traditional Indian bungalow: the
veranda. 137
138
Anant Raje
LIFE, EDUCATION AND CAREER
• BORN IN MUMBAI , INDIA ON 26 SEPTEMBER 1929
• WAS WELL KNOWN ARCHITECT , INTELLCTUAL AND TEACHER
• 1954 :GRADUATED FROM SIR .J.J. SCHOOL OF FINE ARTS , MUMBAI
• 1957-1960 : PROFESSIONAL PRACTICE WITH AR. B.V.DOSHI , IN
AHEMDABAD
• 1961-1964 : PROFESSIONAL PRACTICE , IN AHEMDABAD
• 1964-1968 : IN THE OFFICE OF AR.LOUISH KHAN IN PHILADELPHIA
• 1969-1971 : WORKING ON CONSTRUCTION OF IIM WITH AR.LOUIS
KHAN
• LATER HE BECAME THE HONORARY DIRECTOR OF SCHOOL OF
ARCHITECTURE , AHMEDABD(C.E.P.T.)
• RAJE LIVED HIS LAST BREATH ON THE 27 JUNE 2009
139
Anant Raje
ARCHITECTURAL PRINCIPLES
• USE OF BOLD MATERIAL AND VERY CLEAN GEOMETRIC SHAPES AND FORMS
• BELND OF EXTERIOR TO THE INTERIORS
• AN EXPERIENCE USING THE PLAY OF TEXTURES ON THE EXTERNAL FACADES
• ISSUES OF LIGHT AND VENTILATION
CONCEPTS
• EXPRESSION, BUILDING AND LANDSCAPE , PART AND WHOLE,
• UNILIMATED QUALITY OF ALL GOOD ARCHITECTURE THROUGH TIME
• SENSE OF RESPONSE
• YET IT IS AN ORDER ENRICHHED BY THE PANTINA OF MATERIALS
• SENSTIVILY OFLIGHT
• HIS WORKS HAD IDEEED A SOFTNESS AND QUALITY OF TRANSCEDENCE
140
Anant Raje
ACHIEVMENTS
• DISTHINGUISHED PROFESSOR’S AWARD FROM C.E.P.T
• THE INDIAN INSTITUTE OF ARCHITECT (IIA)
• BABUROA MHATRE GOLD MEDAL FOR ARCHITECTURE IN 1993
• THE MASTER AWARD FOR LIFTIME CONTRIBUTION IN ARCHITECTURE
• FROM J.K.INDUSTERIES ,INDIA IN 2000.
IMPORTANT BUILDINGS
• EXECUTIVE MANAGEMENT CENTRE AT THE INDIAN INTITUTE OF MANAGMENT ,
AHMEDABAD
• INDIAN INTITUTE OF FOREST MAGMENT (IIFM), BHOPAL
• FARMERS TRAINING INSTITUTE IN GUJRAT
141
Anant Raje - The Indian Institute of Forest Management (IIFM)

• The Indian Institute of Forest Management (IIFM) (founded 1982) is an autonomous, public institute of
sectoral management located in Bhopal, Madhya Pradesh, India, established by the Ministry of Environment, Forest and
Climate Change, Government of India with financial assistance from the Swedish International Development
Cooperation Agency (SIDA) and course assistance from the Indian Institute of Management Ahmedabad.
142
Anant Raje - The Indian Institute of Forest Management (IIFM)
143
Anant Raje - Farmers’ Training Institute

• An institute set up for rural dairy farmers under a programme set up by the National Dairy Development Board (NDDB)
in Palanpur, Gujarat, to impart basic training in cooperative dairy farming to villagers in surrounding districts. Set amidst
wheatfields, the institute consists of a hierarchy of courtyards enclosed by stone wall.
• The project includes two sets of classrooms with residential rooms for 24 students, dining and other facilities connected
with a regular dairy plant.
144

• The buildings are of load-bearing stone,
quarried from nearby quarries. Openings
are spanned by concrete lintels, and are
deeply recessed to provide shade from
the hot sun.
145
146
Habib Rehman (1915-1995) ➢Works:

➢ Habib Rahman obtained his Bachelor of Engineering in • During the 1950s and 1960s, the Nehru governement
1939 in Calcutta. He studied at the MIT and obtained invited architects, among which Habib
his Masters in Architecture in 1944 (the first Indian to Rahman, to develop new public
complete this program). From 1944 to 1946, he buildings built in the spirit of the independence
worked at the architecture firms of Lawrence B. of India.
Anderson, William Wurster Walter Gropius, and Ely
Jacques Kahn in Boston. He designed:
➢ Habib Rahman returned to Calcutta during the 1946 • the Gandhi Ghat in 1949 in Barrackpore,
Calcutta riots and became the Senior Architect of the • the New Secretariat in Kolkata (completed in 1954),
government of West Bengal from 1947 to 1953.
Starting in 1953, Habib Rahman becme the Senior • the Dak Bhawan in 1954,
Architect of the Central Public Works Department in • the Rabindra Bhavan in 1961
New Dehli (and became Chief Architect in 1970)
• the Sardar Patel Bhawan in 1973 (opposite to the Dak
➢ From 1974 to 1977, he was Secretary of the Dehli Bhawan).
Urban Arts. In 1977, he contract was discontinued
after he opposed several projets including building a • He also designed the National Zoological Park that
second Connaught Place in New Delhi. opened in 1959 (which included historical ruins, and
housed over a thousand animal species).
➢ Habib Rahman's architecture mirrored the modernist
ethos of the newly Independent India. • He also built the memorials of Abul Kalam Azad, Zakir
Husain and Fakhruddin Ali Ahmed.
147
Habib Rehman
• Habib Rahman - One of the

first generation architects to
bring in Modernism to India.
• Habib Rahmn introduced the
Bauhaus style in the Indian
context.
148
Habib Rehman- Rabindra Bhavan
➢ Rabindra Bhavan was built to mark the birth centenary of
Tagore, who in addition to being a poet and novelist, was
an artist, playwright and composer. The building is thus
the home of three National Academies: Lalit Kala (Plastic
Arts), Sangeet Natak (Dance, Drama and Music)
and Sahitya (Literature).
➢ The complex stands on a 1.45 hectare site amongst other
art institutions forming the cultural centre of New Delhi.
It consists of an administrative block, exhibition block and
a theatre block.
➢ The administrative block, Y-shaped in plan, is a four-story
structure to house offices of the three academies and a
library. A 1.2m roof overhand protects building surfaces
from the streaking effects of rain.
➢ Centre-hung windows have a double row of continuous
sloping R.C.C. chhajas, blocking off strong sunlight yet
permitting breezes to flow in. the administrative and
exhibition block enclose a cluster of beautiful old trees
shading the ruins of an ancient mosque.
149
Habib Rehman- Rabindra Bhavan

➢ The pentagonal exhibition block, one side of which follows the
curve of an adjacent traffic island, has a basement and two upper
floors on split levels. The galleries around a central service core
have continuous exhibition spaces with provision for natural and
artificial light. Jalis have been discreetly used in various parts of the
building to reduce glare and provide subdued natural light.
➢ The design of Rabindra Bhavan reflects the philosophy of Tagore:
modern creative work should neither blindly copy India’s past
heritage, nor should it blindly imitate the modern West.
150
Habib Rehman- Tomb of Maulana Azad

➢ Before passing away in 1958, Maulana Azad, India’s first education minister, had
conceived of and set up three academies for art, performing arts and literature.
➢ Rahman was asked to design his tomb in front of Shahjahan’s Jama Masjid, built
in the seventeenth century.
➢ In keeping with the requirements set down by Jawaharlal Nehru, the design was
not to conflict with the neighbouring historic monuments and represent the
"humble personality" of Maulana Azad.
➢ Finished in 1959–1960, the tomb’s design was a modern thin-shelled concrete
cross-vault structure derived from the arch of the mosque, set in a charbagh, a
quadrilateral garden layout of Persian origin favored by the Mughals (based on
the four gardens of Paradise mentioned in the Qur'an).
➢ It was designed to fit harmoniously within the great Mughal city structures from
the seventeenth century. Nehru also loved this memorial.
➢ Set in a 67m x 67m enclosed garden, the memorial structure consists of a
delicate white chhatri over the grave. The chhatri is a cross-vault, 7.5 cm thick,
supported on four slender L-shaped columns. The concrete is a mix of white
cement and crushed marble, slighly polished by hand, its profile derived from
the pointed Islamic arches of the Jama Masjid
151
Habib Rehman- GANDHI GHAT, KOLKATA

➢ The brief was very sketchy and vague. The memorial had to be
elegant and modest, reflecting the personality and philosophy of
the Mahatma, with a bathing ghat attached to it.
➢ The very first design commission he got was for the Gandhi Ghat
memorial. For this design he could not refer easily to his modernist
training, and looked instead at traditional Indian religious
architecture.
➢ Though a staunch atheist, he drew from the symbolic forms of
older religious architecture, to abstract and create a contemporary
idiom for more symbolic buildings.
➢ Gandhiji's respect and love for all religions inspired him to conceive
a structure that harmoniously and aesthetically reflected and
symbolised the three main religions in India – Hinduism, Islam and
Christianity. The result was a tower – a simplified profile of a
temple shikhara, capped with an islamic dome. A horizontal
cantilevered slab projecting from both sides appeared in silhouette
somewhat like a cross.
➢ His more conventional Bauhaus approach would manifest itself in
the many office buildings and the housing he designed for the
government all over the country in the 50s.
152
B V DOSHI
➢ Balkrishna Doshi, in full Balkrishna Vithaldas Doshi, also called B.V. Doshi, (born August 26,
1927, Pune, India), Indian architect, the first from that country to be awarded the
prestigious Pritzker Prize (2018).
➢ In a career spanning about seven decades, Doshi completed more than 100 projects, many of
which were public institutions based in India: schools, libraries, art centres, and low-cost
housing.
➢ His understated buildings adapted the principles he learned from working with Le
Corbusier and Louis Kahn to the needs of his homeland.
➢ In considering India’s traditions, lifestyles, and environment, Doshi designed structures that
offered refuge from the weather and provided spaces in which to gather.
➢ In 1947 he entered the Sir J.J. School of Architecture in Bombay (Mumbai). In 1950 he traveled
to London, where he met Le Corbusier, and, for the next four years, Doshi worked in the
famed architect’s studio in Paris. He returned to India to oversee the construction of some of
Le Corbusier’s projects, including the Mill Owners’ Association Building (1954) and the Villa
Sarabhai in Ahmedabad (1955).
➢ He eventually settled in that city, where he designed his own residence (1963), named Kamala
House after his wife; his studio, Sangath (1980); and some of his most important projects. In
1956 Doshi founded his own practice, Vastushilpa, which he later renamed Vastushilpa
Consultants. The firm worked on more than 100 projects throughout India, including a
collaboration with Louis Kahn on the Indian Institute of Management Ahmedabad (1962). 153
B V DOSHI - BUILDINGS
➢ 1979-80 Sangath, BV Doshi's office, Ahmedabad
➢ 1972 Centre for Environment and Planning Technology (CEPT), Ahmedabad
• The school continued to grow in the following decades, expanding to include, among
others, the School of Planning in 1970, the Visual Arts Centre in 1978, and the School of
Interior Design in 1982.
➢ 1962-74 Indian Institute of Management Bangalore
➢ 1989 National Institute of Fashion Technology, Delhi
➢ 1990 Amdavad ni Gufa, Ahmedabad and Aranya Low Cost Housing, Indore
• Doshi’s other notable projects included the Institute of Indology, Ahmedabad (1962),
Premabhai Hall, Ahmedabad (1976).
• He was a visiting professor at the Massachusetts Institute of Technology, Washington
University in St. Louis, the University of Hong Kong, and other universities. He lectured
extensively throughout his career and published his autobiography, Paths Uncharted, in
2011.
• That same year he was made an Officer of the Order of Arts and
Letters, France’s highest honour for the arts.In 2019 a retrospective of his work
(“Balkrishna Doshi: Architecture for the People”) was organized by the Vitra Design
Museum, Weil am Rhein, Germany, and Wrightwood 659, a private exhibition space in 154
Chicago.
B V DOSHI – DESIGN PRINCILES

1. The building profile will have natural light + air + movement.
2. The building base will gradually widen towards the ground through platforms, terraces and
steps.
3. The landscapes and building mass will integrate roof, rainwater, cascades, water bodies, and
gardens.
4. The main arrival to the building will be at a higher or lower level.
5. Not all movements within the building will be symmetrical but will shift axis to give
unexpected experiences.
6. The external finish of the building will express one homogenous mass but will have adequate
texture and modulations.
7. Scales, spaces, volumes and finishes within the building will express functions.
8. Interspersed open spaces, courts, terraces and built volumes within and outside will tie the
entire property together as an urban complex.
9. Climatic need will be expressed through the main structure, skin, courts and terraces – within
and outside the building.
10. Spaces will express the additive phasing by designing individual spaces as complete elements.
11. Services of the building will be part of the structural system, distinguishing the served and
servant spaces.
12. Local materials will preferably be used for construction to express the mode of construction.
13. Aesthetic considerations will consider local symbolism, context, associations, casting of
155
shadows, breaking of mass, rhythms in structure, solids and voids.
B V DOSHI – SANGATH
• SANGATH means “moving together
through participation.”
• It is Balkrishna Doshi’s office
• Location: Thaltej Road, Ahmedabad
• Period of construction: 1979-1981
• Project Engineer: B.S. Jethwa, Y. Patel
• Site area: 2346 m2
• Total Built-up Area: 585 m2
• Project Cost: Rs. 0.6 Million ( 1981 )
• Balkrishna Doshi's own studio, Sangath, features a series of sunken

vaults sheathed in china mosaic as well as a small grassy terraced
amphitheater and flowing water details.
• Sangath is a complete combination of Doshi's architectural themes
from his previous work including complex interiors and structures,
ambiguous edges, vaults and terraces.
• Upon entering the complex, one immediately sees the silhouette of a
vault lingering behind an exterior wall and a slight view of the interior is
present through a small break in the surface.
156
Ar Tharangini K, HOCA, , AMSAA
Design concept And Features:
• Design concerns of climate ( temperature or humidity or
sunlight).
• Extensive use of vaults
• Main studio partly bellow the ground (sunken)
• Very less use of mechanical instrument
• Special materials are used resulting in low cost in building.
• Lot of vegetation & water bodies
• Continuity of Spaces
• Use of lot of diffused sunlight
• Complete passive design
• Grassy steps which Doshi uses as informal Amphitheatre.
• Sangath is an ongoing school where one learns, unlearns and relearns. It
has become a sanctuary of culture, art and sustainability where research,
institutional facilities and maximum sustainability are emphasized.”
• The grass steps of the amphitheater lead to the entrance.
• There is an easy flow of terraces, reflecting ponds, mounds, and the
curved vaults which are the distinguishing formal elements. There is
variety and richness in the interior spaces that have different qualities of
light, different shapes as well as different uses, while united through the
use of concrete. 157
• To maximize daylight (intensity of illumination) and to diffuse Heat and glare, the light is received in
indirect manner by diffusing it. There are three ways by which natural light is drawn within.
• By upper-level large openings towards north direction, which is cool, and consistent light is
reflected off the clouds
• Skylights, which are projected masses from the roof, reflect the light on the white inner wall
surface, which further radiates light into the room.
• 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.
• Minimizing Solar Radiation on South and West side : The structure is closely integrated with the
outdoor spaces. Vegetation on site is almost left to grow into wilderness. The West and South
façade is shaded by dense trees.
• Maximizing Wind Flow : Wind from West and South-West side is taken in by juxtaposing structures
so as to create a central open space through which wind can flow unobstructed. Vaulted Roof Form
The roof form creates an efficient surface volume/ratio optimizing material quantities.
• Higher Space Volume provides for hot air pockets due to convective currents that keep lower
volumes relatively cool. Stack Effect Ventilating window at upper volume releases the accumulated
hot air through pressure difference.
• Insulation - Building is largely buried under ground to use earth masses for natural insulation.
External walls of the building are nearly a meter deep but have been hollowed out as alcoves to
provide storage that becomes an insulative wall with efficiency of space. 158
• Construction Technique - Locally made clay fuses over the concrete slab to form a non-
conductive layer. The clay fuses entrap air. Known as sandwich vault.
• 3.5 cm thick RCC - 8 cm ceramic fuses - 3.5 cm thick RCC - 6 cm thick water proofing - 1
cm thick broken China mosaic finish.
• Finishes - The concrete of slabs and wall surfaces are kept bare (unplastered) as final
visual finishes which saves on finishing material quantity. China mosaic glazed tiles
enhances insulation and Retard heat transmission as they are made up of clay.
• Use of Waste Material - Paving material is a stone chip waste while roof surface is glazed
tiles waste. They have been carefully handcrafted and integrated into the design by fully
using the waste products, which also promotes craftsmen and traditional heritage.
• Water channels: 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 form which it is recycled back or used for
irrigating vegetation.
• A temperature difference of about 8°C. For more info click the
• Time lag for heat transfer is nearly 6 hours, providing about 30% to 50% reduction in below Link-
cooling energy. http://www.ceptarchives
• Along with natural connections, Sangath holds connections to India's culture. The layout .org/project/detail/sanga
resembles the way that a temple develops a series of stages into a final platform while th-office-study-gujarat-
the form loosely imitates the boldness of a stupa. 47 159
B V DOSHI – AMDAVAD-NI-GUFA
• An underground art gallery exhibiting paintings and sculptures of
noted artist M.F. Hussain, located on the campus of the Centre for
Environmental Planning & Technology in Ahmedabad.

• The form of roof shells is guided by computer designs and the
structure, built in ferrocement, is in the form of skeletal skin and
wire mesh, sandwiched on each side by layers of cement.
• Set adjacent to the Cept University, this museum is one of a kind
– the spaces are all underground with only the domed roof shells
protruding above the ground level.
• 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 museum spaces, set below the ground contain no straight
wall, a surprise when you consider that the function was to house
Husain’s paintings…One enters the space through a staircase
For more info click the below Link-
which is partly hidden, through a circular door and reaches the
http://hiddenarchitecture.net/hussain-doshi-gufa/
surreal cavern like space. Here, the genius of Doshi & Husain https://architexturez.net/doc/az-cf-166658
combine to produce a unique marriage of art and architecture. 160
B V DOSHI – AMDAVAD-NI-GUFA
• There are cave like walls with undulations with the domed roof shapes
supported by inclined irregular shaped columns, the plan being an
interplay of intersecting circles and ellipses. The space is an inherent
appeal to the earthy qualities in man. Light comes in as shafts through a
few circular openings in the dome, the diffused light adding to the mystic
ambience.
• Spots of light on the floor, from the circular skylights, change location
according to the time of the day, adding to the mystery of the space.
Husain matches Doshi by using the undulated walls as his canvas.
• ‘‘That’s when he did the free-flowing lines inside the Gufa. With Rajesh
Sagara, Husain painted the walls, ceilings, even the air-conditioners. Then
I decided to relate it with the primordial tortoise and the cobra, so Husain
took up his brush once again and painted a headless black cobra on the
tortoise-like structures of the Gufa. Then we had specially baked black
saucers that were later broken to complete the china mosaic on the
structure,’’ says Doshi.
161

Unit 1 - Modern Archiecture-Spread and Later Directions

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CIAM

NOTE: CIAM Is not Included In syllabus. Its given

INTERNATIONAL CONGRESS FOR MODERN ARCHITECTURE

• Under the leadership of Le Corbusier , CIAM’S vision was of a

• His vision inspired hope but ultimately failed to create such a

• Signed by 24 European Architects representing France,

• The C.I.A.M Organization was disbanded in 1959 as the views of

STAGE 1 – 1928 – 1933

➢ Problems of minimum living standards

➢ Issues of optimum height and block spacing for

• Rigid functional zoning

STAGE III – 1947- 1956

IIFM, Bhopal by Achyut Kanvinde

Two different movements emerged from Team 10:

• New Brutalism of the English members (Alison

• Structuralism of the Dutch members (Aldo van

Peter and Alison

Peter and Alison Smithson

Smithdon High School - Introduction

Smithdon High School

Smithdon High School

Smithdon High School - Description

Smithdon High School - Spaces

Smithdon High School - Material

Smithdon High School

Peter and Alison Smithson - Ideology

The Golden Lane Housing Competition Project

The Golden Lane - Concept

The Golden Lane - Construction

The Golden Lane - Importance

• Central to his presentation was the idea of ‘patterns

The Golden Lane - Importance

Aldo Van Eyck

The Amsterdam Municipal Orphanage (1955-60)

The Amsterdam Municipal Orphanage

The Amsterdam Municipal Orphanage (1955-60)

The Amsterdam Municipal Orphanage (1955-60)

The Amsterdam Municipal Orphanage (1955-60)

Paul Rudolph – Healy Guest House

Paul Rudolph – Healy Guest House

Paul Rudolph – Art & Architecture Building

• Yale University’s Rudolph Building – formerly known as the Art and

Paul Rudolph – Art & Architecture Building

Eero Saarinen – The Gateway Arch

Eero Saarinen – The Gateway Arch

Eero Saarinen – The Gateway Arch

Eero Saarinen – MIT Chapel

Eero Saarinen – MIT Chapel

Eero Saarinen – MIT Chapel

Louis Khan - Salk Institute

Louis Khan - Salk Institute

SOM- Lever House

SOM- Lever House

SOM- Lever House

SOM- PEPSI-COLA CORPORATION WORLD HEADQUARTERS

SOM- United States Air Force Academy Cadet Chapel

Charles and Ray Eames

The Eames Lounge

Charles and Ray Eames

Charles and Ray Eames

Charles and Ray Eames – Eames House

Charles and Ray Eames – Eames House

Charles and Ray Eames – Eames House