Section D- Architecture

SESSION- 4

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COURSE CONTENT
S.N. TOPIC SESSION REMARKS
1 History of architecture 1,2
2 Contemporary world architecture 2,3
3 Contemporary Nepalese architecture 4
4 Traditional architecture of Nepal 5
5 Architecture of Kathmandu Valley 6
6 Principles of architectural design 7
7 Factors to be considered while designing buildings 8
8 Standards to be followed while designing buildings in Nepal 9
9 Contemporary world architects and their works 10
10 Architectural landmarks in Nepal 11
11 Conservation of historic buildings 12
12 Ethics of architects in professional practice. 12

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PAST QUESTIONS
2067/68

9) The contribution of Le-Corbusier in the evolution of world contemporary architecture is found to be always
revolutionary. Explain with the help of sketches that his ideas are translated in to reality in High Court Building at
Chandigarh.

10) What is context based design? How is this applied in the bulding design and by-laws in the heritage cores of the
tradiotional towns of Kathmandu?

2068/69
9) Explain the vernacular architecture of Nepal ins different from place to place. Discuss the issue with reference to
topography, ethnicity, culture, geology and vegetation.

10) How does contemporary architecture effect the ecological systems of the region?

2070/71
9) “Art and artifact of the Kathmandu valley are reflected in monuments and dwellings which became basis for the
exploration of architecture in the context”. Explain with your agreement and disagreement with reasons.

10) State briefly the main problems in standardization of government building in Nepal.

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2071/72
9)What are the matters to keep in mind while designing and building a house? Describe briefly about each matters.

10) Which building has been designed by LOUIS KAHN in Kathmandu? What are the main features of that building?

2072/73
9) Write on vernacular architecture of Nepal in general and Kathmandu in particular.

10) What do you understand by traditional architecture in Nepal? Illustrate three architectural landmarks in Nepal.

2073/74
9) Draw the construction of roof of traditional buildings of Kathmandu Valley.

10) Compare broadly on the designing principles between Frank Llyod Wright and Mies –Vande Rohe.

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1. Contemporary
Nepalese architecture
REFERENCES:
IOE, Lecture Notes

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Carl Pruscha

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 Introduction

Born in 1936 in Innsbruck is an Austrian architect and physical planner in the

services of UNDP.
Completed his study in architecture at the Academy of Fine Arts, Vienna.
Post graduate at the Graduate School of Design.
Masters degree in urban planning.

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 Introduction

Practical experience in New York City Urban Development.

 Selected as an adviser in area planning for the government of Nepal in early
1970.
Assigned to
 prepare the master plan of Kathmandu valley
help Nepal in preparing a detailed inventory of Valley’s monuments and
cultural sites.

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 In Nepal…

After the completion of survey, 888 number of sacred sites identified.

had the research work published in two volumes entitled “Kathmandu
Valley: Preservation of the Physical Environment and Cultural Heritage, a
Protective Inventory”
 this was the basis for UNESCOs declaration of Kathmandu Valley as a World
heritage site

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 In Nepal…

“The problems of the valley are physical rather than social and
should be relatively easy to solve with sufficient financial and technical
assistance…”
-Carl Pruscha

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 In Nepal…

“Urbanization and population distribution, transportation and infrastructure, preservation

of physical environment and cultural heritage, are the three main pillars of the development
policy for the valley.”
-Carl Pruscha

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 His concept for urban
planning

recommended the urban complex of Kathmandu-Patan to be guided in its growth to absorb new
population in acceptable standards of density.
suggested revitalizing the Bhadgaon area through planned development and settlement expansion to the
south and southwest.

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 His concept for urban
planning

recommended a combined action of the proposed Land use and Transportation

policy to utilize these arteries in a directed manner to guide the urban growth.

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 For Nepal…

Pruscha and his team had proposed to invite the local leaders to the valley and provide basic
instruction courses, seminars and workshops.
, he had requested the Ford Foundation for aid to construct a suitable building to conduct
such activities. (CEDA)
Carl Pruscha translated the prevailing rules to incorporate them into more modern and
technical context

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 Honors

1999 Austrian decoration for Science

and Art.
2006 senator of the Viennese Academy
of the Forming Arts
2008 golden decoration for
earnings/services to the country Vienna

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 Works

1970: CEDA - Tribhuvan University, Kathmandu, Nepal

Taragaon Resort, Bouddha, Kathmandu, Nepal
1985: Settlement way of heap of beaver in Vienna, district XXII (also Heinz Tesar and Otto Häuselmayer )
1988-1991: Housing estate Traviatagasse in Vienna, district XXIII
1995: Reorganization of the Semper depot in Vienna
2005: Bible center in Vienna

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 Works

Taragaon Resort

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 Works

CEDA building
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CEDA building , T.U.

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 CEDA building , T.U.
 selected a site on the foothills of Kirtipur at the edge
of the rice-fields for the design.

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 CEDA building , T.U.
An attempt to blend physical, cultural and spiritual landscape of the valley
while maintaining its contemporary expression.

An inspiration from the geometry of the Mandela with its circle and its
square, with the floor plan to indicate its abstract symbol.

The building merged with the site so well that it looks like a continuation of
man made nature into man made building.

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 CEDA building , T.U.
Terrace landscape is used.

Building material narrowed down to

bricks as it was a predominant building
material since many centuries.

Structural engineer Mr. Zenon Zielinsky

who was then working for Ford Foundation
in Calcutta, designed a special
prefabrication system for concrete panels.

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 CEDA building , T.U.
Administrative part designed as a square while circle
reserved for conference space.

The third complex of the building given a triangular form

as a mediator between square and circle

Its function was to provide the

living quarters for the invitees.

The use of natural lighting is very

well considered in the design.

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 CEDA building , T.U.

Natural light in the central staircase

Light well in the staircase

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CEDA building , T.U.

sections

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Taragaon Resort,
Bouddha

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 Taragaon Resort,
Boudhha
Constructed outside of the large stupa of Buddha.

The building served as a lodge for the pilgrims

visiting the Boudha stupa.

A central small plaza was created with

the cluster of 16 small units grouped
around a communal building.

The brick vault commonly was

selected instead of the pitched roofs
commonly found in the valley.

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 Taragaon Resort,
Boudhha
There are three types of apartments according to the requirement.
Circular wide windows are used in the openings.

window
door

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 Taragaon Resort,
Boudha
There is no boundary wall in the back.

Natural lighting is well considered in the

design with the help of wide circular windows
and vaults.

Natural light for the toilet

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 Later…

Apart from his own contributions to Nepal he also proposed many personalities of outstanding
reputation like Sekler, Tange, Kahn, and Zielinsky, who otherwise would not have been put in the position
to contribute in Nepal.

After 10 yrs in Nepal he went to Vienna and served as a professor and head of the Institute of Planning
Fundamentals and Building Research at the Academy of Fine Arts.

Upon retirement, he was invited by the Getty Institute in Los Angeles as a Head of Studio for Habitat,
Environment and Conservation research scholar to spend six months there.

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 Conclusion

At Present
At present the CEDA building in TU is still functioning as
CEDA.
 But the spaces are not well utilized : only few spaces
are used and most of the spaces are unused and isolated.
Library is still functioning well.

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 Conclusion

At Present

The Taragaon resort building no longer serves as

lodge for the pilgrims.
It has been around 15 years since it ceased its
service.
Renovation of the building is taking place at present.
It will be serving as library and café in near future.

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 Conclusion

 Carl Pruscha made great attempts in merging his buildings into the surrounding, physically.

 He intentionally avoided any features suggestive of Nepali architecture, yet managed to design
buildings in harmony with the place.

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KENZO TANGE

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 INTRODUCTION
(1913 – 2005)
•KNOWN AS “FATHER OF 20TH CENTURY JAPANESE ARCHITECTURE”

•WHAT DOES MODERN JAPAN LOOK LIKE TODAY?.IT LOOKS THE WAY TANGE
DECIDED IT SHOULD.

•INSPIRED FROM LE CORBUISER’S WORK

TO JOIN ARCHITECTURE

•GRADUATED FROM UNIVERSITY OF TOKYO IN 1938

•TRADITION CAN, TO BE SURE, PARTICIPATE IN A CREATION

BUT IT CAN NO LONGER BE CREATIVE ITSELF

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• JOINING THE GROUP OF ARCHITECTS KNOWN AS TEAM X IN THE LATE 1950S
HE STEERED THE GROUP TOWARDS THE MOVEMENT THAT BECAME
METABOLISM.

• HE DISLIKED POSTMODERNISM IN THE 1980S AND CONSIDERED THIS STYLE OF

ARCHITECTURE TO BE ONLY "TRANSITIONAL ARCHITECTURAL EXPRESSIONS“.

•THE FIRST ARCHITECT WHO ACHIEVED IN COMBINING MODERN ARCHITECTURE

INTO THE UNDERLYING CONTEXT AND HISTORY.

•HE FEELS ARCHITECTS HAVE A SPECIAL DUTY AND MISSION TO THE SOCIO-
CULTURAL DEVELOPMENT OF ARCHITECTURE AND URBAN PLANNING.

•FIRST MODERN ARCHITECTS WHO PLAYED AN IMPORTANT DESIGN ROLE IN

POSTWAR REBUILDING OF JAPANESE CITIES.

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 DESIGN PHILOSOPHIES

•VERY MUCH INSPIRED FROM JAPANESE TRADITION AND LOVED NATURE

•APPROACH FROM FUNCTIONALISM TO STRUCTURALISM

•BOLDLY SPARE AND ELEGANT STYLE, BLENDING JAPANESE AND WESTERN

AESTHETIC PRINCIPLES

• WORKS BASED ON CLEAR STRUCTURES

•ALWAYS COMMUNICATED WITH THE SURROUNDING AND PEOPLE FOR WHOM IT IS

MADE

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 OLYMPIC ARENA

•PLAN FORM OF TWO SEMI CIRCLES

•PLAN FORM DERIVED FROM YING YANG
•ENTRANCE IN THE CONCAVE SIDE

•COMBINATION OF MODERNISM WITH

TRADITIONAL JAPANESE FORMS OF
ARCHITECTURE

•EXTERNAL FEATURES DERIEVED FROM THE

FORM OF LARGE SCALE BUDDHIST TEMPLE

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 •DRAMATIC FORM WITH VAULTING
VAST OVAL AND CIRCULAR SPACES

•CURVING FORM OF THE ROOF

SERVES AS RESISTANT TO WIND.

OLYMPIC
SPORTS CENTER
•ROOF SUPPORTED BY TWO
REINFORCED CONCRETE PILLARS

•MADE UP OF SYSTEM OF STEEL CABLES

ON TO WHICH ENAMELED STEEL PLATES
ARE SOLDERED

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 HIROSHIMA PEACE CENTER

•CONCRETE BUILDING

•MODERN STYLE REVEALING THE MONUMENTAL QUALITY

•HYPERBOLIC PARABOLA

• FORM OF MONUMENT OF PEACE

•TWO SECONDARY BUILDINGS ON EITHER SIDE CONSISTS

OF AN AUDITORIUM, A HOTEL, AN EXHIBITION GALLERY,
OFFICES AND A CONFERENCE CENTER TO THE WEST AND
ASSEMBLY HALL TO THE EA

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•BUILDING RAISED ON PILLARS, WITH STRUCTURAL FRAME OF
EXPOSED CONCRETE

•COMPRISED OF MUSEUM AND COMMUNITY CENTER

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 ST. MARY’S CATHEDRAL
•CROSS PLAN FORM, FROM WHICH THE WALLS,8 HYPERBOLIC PARABOLAS RISE UP AT AN
ANGLE

•WALLS OPEN UPWARD TO FORM A CROSS OF LIGHTS THAT CONTINUE VERTICALLY THE
LENGTH OF THE FOUR FACADES

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•SECONDARY CONSTRUCTIONS IN RECTANGULAR VOLUME ARE
ADDED TO THE RHOMBOIDAL VOLUME.

• ORIGINAL STRUCTURE WAS A WOODEN BUILDING IN THE

GOTHIC STYLE. IT WAS BURNED DURING WORLD WAR II

•HE WON THE COMPETITION FOR THE RECONSTRUCTION OF THIS

CHURCH.

•AT A LITTLE DISTANCE FROM THE CATHEDRAL STAND A BELL

TOWER OF 60m HEIGHT, INTERIOR FINISHED AND EXPOSED IN
CONCRETE

•EXTERIOR SURFACE WITH STAINLESS STEEL CLADDING

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 TOKYO CITY PLANNING

•THINKING BASED ON VISIONARY PLAN

FOR TOKYO’S FUTURE GROWTH
•GIANT HOUSING UNITS, FLOATING
PARKING, MANMADE ISLANDS
•NEW SYSTEMS OF SUPERHIGHWAYS
AND TRANSPORTATION ROUTES

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 TOKYO CITY HALL COMPLEX
•AN AWARD WINNING PROJECT

•PURPOSE WAS TO PRODUCE A LANDMARK TO REPRESENT THE AUTHORITY OF THE

TOKYO METROPOLITAN GOVERNMENT

•TANGE EMPLOYED THE BASIC FORM

OF TRADITIONAL JAPANESE
ARCHITECTURE IN THE FAÇADE.

•USE OF ITS ANGULAR CONTOURS TO IMPOSE

DOMINANCE OVER ITS SURROUNDINGS

•COMPLEX CONSISTS OF THREE MAIN BUILDINGS

-NUMBER ONE , NUMBER TWO AND THE
METROPOLITAN ASSEMBLY BUILDING

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 AKASAKA PRINCE HOTEL

•ONE OF THE IMPORTANT LANDMARK IN TOKYO

• V-SHAPED PLAN DERIVED FROM FLYING PATTERN OF WILD

GEESE

•TWO PROTRUDING MASSES DERIVED FROM PLAN MAKES

ELEVATION MORE ATTRACTIVE AND REMARKABLE

•RELATED WITH NATURE AS HE LOVED AND RESPECTED

NATURE

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 YAMANASHI COMMUNICATION
CENTER
•CENTER PROVIDES AN OPEN, EXTENSIBLE AND SPATIAL
STRUCTURE WHICH DEVELOPS 3-DIMENSIONALLY

•CERTAIN AREAS IN THE BUILDING HAVE UNPREDICTABLE

USE

•SERVICE FUNCTIONS HOUSED IN 16 HOLLOW CIRCULAR CONCRETE

SHAFTS

•STRUCTURAL FLOOR BETWEEN THESE SHAFTS PROVIDES UTILIZABLE

WORK SPACE

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 TANGE’S WORK IN NEPAL
•MASTER PLAN OF LUMBINI IN 1978

•THREE SQUARE MILE MANDALA LEADS IN CONCENTRIC CIRCLES TO THE CIRCULAR SACRED
GARDEN SURROUNDING THE MAYADEVI TEMPLE AND THE ASHOKAN PILLAR

•ADDITIONAL 16m2 OF BUFFER AREA FOR THE PRESERVATION OF AGRICULTURAL

ENVIRONMENT

•THE PLAN INCORPORATES THE

PRINCIPLES OF BUDDHISM

•WATER IN THE POND SYMBOLIZES

PURITY AND PEACE

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LUMBINI, MASTER PLAN

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The Kenzo Tange Master Plan covers an area of 5×5 miles with the central square mile being the Sacred Garden within
which lies the UNESCO World Heritage Property. Of the Master Plan, the 1×3 mile area includes the following three zones:

THE SACRED GARDEN ZONE

The Sacred Garden includes the World Heritage property, Maya Devi temple, the Asokan Pillar, various stupas, chaityas
and old remains of the garden and its trees. New construction is restricted in this zone to reflect the great ideals of peace,
compassion, purity and brotherhood.

THE MONASTIC ZONE

This zone accommodates monasteries and meditation centers, including approximately 49 stupas and monasteries. This
zone is divided into East and West Monastic Zones. The East Monastic Zone is reserved for the construction of Theravada
centers. The West Monastic Zone hosts various monasteries and meditation centers representing the Mahayana Buddhist
tradition.

THE NEW LUMBINI VILLAGE ZONE

This zone is purely allocated for physical facilities like hotels, pilgrims’ inns, post and telegraph offices, etc. A Museum, an
international Buddhist research center, and a tourist information center have already been constructed in this area.

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• TO CREATE AN ATMOSPHERE OF SPIRITUALLY , PEACE, UNIVERSAL BROTHERHOOD AND
NON VIOLENCE CONSISTENT WITH THE TIME AND BUDDHA’S MESSAGE TO THE WORLD

•13 PLOTS OF LAND IN EASTERN ZONE AND 29 PLOTS OF LAND IN WESTERN ZONE

•MONASTIC ZONE CONSISTS OF MONASTIC AREA,CULTURAL CENTRE AND THE CENTRAL PEDESTRIAN
LINK

•LUMBINI VILLAGE ZONE CONSISTS OF LUMBINI CENTRE AND THE CAMPING SITE
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 LUMBINI MUSEUM
•BIRTH OF MODERN ARCHITECTURE IN AN ANCIENT CITY OF LUMBINI.

• CANTILIVERED HALF CYLINDRICAL ROOF SHELTERING THE MAIN ENTRANCE.

•CIRCULAR PUNCTURES AND ARCHWAYS.

• CYLINDRICAL VOLUMES INTERSECTING AT RIGHT ANGLE.

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 WORKS OUTSIDE JAPAN

UNIT OVERSEAS BANK ,SINGAPORE UNIVERSITY OF ORAN .ALGERIA

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 WORKS OUTSIDE JAPAN

SINGAPORE STADIUM INDOOR KUWAIT INTERNATIONAL

AIRPORT

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 ACHIEVEMENTS
•ROYAL GOLD MEDAL OF RIBA IN 1965

•GOLD MEDAL IN 1966

•
•HONORARY DOCTORATE AWARD

•THE MEDAL OF HONOUR OF THE DANISH ROYAL ACADEMY OF FINE

ARTS.

•PRITZKER PRIZE IN 1987 AT THE AGE OF 71

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 CONCLUSION

• METHODOLOGY HAS EVOLVED FROM A FUNCTIONALIST TO A STRUCTURALIST APPROACH.

•THROUGHOUT HIS CAREER, HIS TRADEMARK WAS A BOLDLY SPARE AND ELEGANT STYLE,
BLENDING JAPANESE AND WESTERN AESTHETIC PRINCIPLES

•DESIGN BASED ON CLEAR STRUCTURES WHICH COMMUNICATE WITH SITE AND SURROUNDING.

•HE WAS NOT ONLY A GOOD ARCHITECT BUT ALSO A GOOD PLANNER.

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 GANGADHAR BHATTA
INTRODUTION








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His Philosophies
Architecture and society should go hand on hand
The ingredients of a good building are Honesty, sincerety, seriousness and Hard work
Form should satisfy function
Building should respond to its surrounding
Roofed large skylight at its zenith divided in the shape of a citrus fruit.

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Hotel Soaltee along with Shankar Nath Rimal
City Hall, Exhibition road
Master Plan and Pavillion design of Dashrath Stadium
Police Club Building, exhibition road
Rastrya Panchayat Building
Godawari Botanical Garden

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Location: Tahachal , Kathmandu
Style: Modern with Traditional touch
Use: business centre, Seminars
Site Topography: Flat land
Site Area: 11 acres
Built up Area: 6112sq.m
No. of Storey: 5
Construction Technology: Framed Structure
Material Used: Traditional Nepalese elements like brick facade

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

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Location: Tripureshwor, Kathmandu
Year: 1926 B.S. – 2034 B.S.
Architect: Ar. Gangadhar Bhatta
Style: Modern
Use: Sports, Yoga, Concert
Site topography: Flat land
Site area: 102 ropani
Built up area: 65 ropani
Construction technology: Frame structure
Materials used: Concrete, Steel

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65
Salient Features
Main venue for first SAF game
Capacity: approx. 20,000
Seats: approx. 5,000
Covered seats: approx. 3,000

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 Rastriya Panchayat Building
Comissioned through Design Competition
Consisted of five buildings
The Assembly Hall, Secretatiat Building, Library Building, Multipurpose Hall and Restaurant
The 90 ft. dia. Assembly hall was never built

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 Godawari Botanical Garden
Location: Godawari, Kathmandu
Style: green architecture
Use: Green house, picnic spots,
recreational area
Site Topography: sloppy land
Material Used: plastic sheets, CGI, Glass Windows and brick works

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 Salient Features
Use of the natural aspects to its best
An area of research and studies as well as a recreational space created with the integration to
the nature

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City hall
Land mark in the modern architecture of nepal
First hall so completely a new building at that time
Spaces for national and international conference
While designing he considered three types of people
First the pedestrians for whom he gave the wide staircase connecting the ground floor and first floor
Secondly for the vehicular, porch was provided and a lobby on the ground floor
Lastly for the performers, different entrance
Wide staircase for easy exit and entrance

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71
Born in 1st march 1935 AD in Tangal, Naxal
He graduated from Calcutta University in 1957 in Civil Engineering
In 1959, left for Germany on a yearlong training in Dtckechooff and Widman K.G.
Autodidactic in Architecture
Started professional work as assistant Engineer in the public works department
 In 1961 started his own firm “Shankar Nath Rimal Engineers and Architects P. Limited.”
He spared time for creative works in the form of sculpture and painting in water color,
oil, etc

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He has displayed his skills in other specialized fields such as Project Writing,
Structural Details, Working Drawing and Landscape Designs
Also reshaped our national flag to proportions

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His Philosophy in design were
 Spiritual Quality in design,
 Heterogeneity over homogeneity,
 Redefine Nepali architectural Space,
 Use of Modern Technology Faithful use of elements,
 Emphasis use on purity of forms and
 Cost Effective
He had a very good knowledge of structure so it was easy for him to apply his philosophies in design.

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Use of modern materials in simpler ways so that future
generations also may be able to accept that form
Creation of hybrid of Nepalese traditional style in modern era
and style
Use of earthquake resistance materials in the buildings
Use transparency of huge glass

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One must be fully engaged in his work to be successful
Originality comes from philosophy, which is also essential to achieve sustainability,
 Architecture is an applied art, point where art and science meet to form a new
perspective,
Planning, Aesthetic and Structures should be given equal importance
Without Planning it cannot be functional
Without Aesthetic it cannot be satisfactory and
Without structure it will fail
Better locally available materials with local workmanship while use of modern material
should be in a simplified way.

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His works include Gateways, Hotels, Industries, Public Buildings, Institutions, Museums, Library, Audiotoriums,
Temples and numerous Residences.

 First of his works which was memorial arc Nepal Smarak Dwar
Built in 1958
He was told to design such that vehicles could pass through it
but he created it as a sculpture
Along with the statue the picture of the then King Tribhuwan arriving at the airport also engraved

Frame construction with overall marble cladding

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 Engineer Incharge of construction(1961-1972), in which Mangal Sadan, Nanigung and Darbar Parisar are his
own creation

Built in 1962, along with Architect G.D. Bhatta

and other engineers
First five star luxury hotel in Nepal
Vey good treatment of spaces and circulation with well relationship of building with site

Frame construction with earthwork resisting materials

Whole building laid on mat foundation
Brick exposed and based on traditional style with Pagoda styled roofs
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Built in -1964, largest audiotorium of that time
Designed for ballet, opera, dance, lectures, cinemas, and other musical functions
Has two galleries, two multipurpose halls, library, administration rooms etc
Two ramps leading to the stage for multipurpose function
Stage of clear width of 96 ft

Use of open girders, pre cast, post tensioned girders lifted from ground level
Pre cast in situ beams of even 51 ft. span for art gallaries
Diaphragm wall and shear walls provided for resisting earthquake
Mixture of both modern and traditional forms

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Built in 1969
Tricky distribution of guest rooms, public areas and service spaces
Massing of podium and guest room slab for easy circulation and beautiful view

Use of diaphragm wall with earthquake resistant materials

Exposed brickwork with transparency of plain glasses could be seen

Pioneer example of master plan in Nepal for around twenty five thousand people that started since 1973
It introduced modern concept in town planning
Did with modern and feasible technologies providing every basic facilities

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He did the revised master plan of the existing conditions and facilities to increase the capacity of
production in 1964
Warehouse, re drying plants, vehicular garage, staff housing all were revised
Other remaining amenities like school, clinic, ores, playground areas etc. were added

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◦ Built in 1969, was one of the tallest government building of that time (eight storey)
◦ Square in plan with around hundred rooms
◦ Central core used as the services core with circulation belt around it
◦ Offices of head of department are arranged along the outer periphery in the ground floor
◦ General offices have been arranged in the inner periphery around the circulation corridor

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Broad framework
Structures are lightened by the use of band of clear storey windows
Use of corner windows also can be found
Lift shaft also been used
Diaphragm walls for earthquake resistance

Built in memory of late Amrit Bahadur Shrestha

Did as a group project with various Architect
Totally modern in construction with use of large corridors inside the building

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 Has designed various residences according to the client needs, also balancing the aesthetics part
Accumulation of cubic volumes to enjoy the simplicity of lines
Some of his best examples are
 Santi sadan for Her Late Shanti Singh at Kamaladi
 Shobha Sadan for Her Late Shobha Singh at Kamladi
 Chattey ghar(Umbrella house) of his own at Laldurbar Marg in which he has used single huge pillar at the
centre and then only added slabs and walls all the sanitiary and pipe lines were serviced through that hollow
large pillars. (But now dismantled)
 Khutte ghar of Angur Baba Joshi
 Panghre ghar of Khadka Bahadur Joshi at Patandhoka

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Taragaon Cultural Tourism Centre,
 Chhinnalata Guthi,
 Nepal Art Council,
 Rastra Bank,Bhairahawa NIDC Arcade,
Mercantile Corporation show room,
Hetauda Flour Mill,
Tikapur Hospital,
Lumbini Development Trust,
Library,Museum and Audiotorium Building,Reuki Training Centre(Pokhara),

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Bishnu Mandir(Singapore),
Pashupatinath Temple(Patan),
Medicare Hospital(Balkhu),
Nepal Temple(USA).

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87
HOTEL EVEREST INTERNATIOAL, NEW BANESHWOR

SOALTEE CROWN PLAZA

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NARAYAHITI PALACE

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NEPAL ACADEMY, KAMLADI

RESIDENCE

BISHNU TEMPLE,
SINGAPORE 90
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92
 LOUIS I. KHAN
INTRODUCTION
AMERICAN ARCHITECT BORN IN SAARAMA,ESTONIA(USSR) IN
1901.
KNOWN FOR HIS OBSESSION FOR NATURAL LIGHT AND
SHADOWS AND CONNECTION WITH OUTDOORS.
ARCHITECT WHO REJECTED UNIFORMITY IN DESIGN.
SUPPORTED INDIVIDUALITY, SENSITIVITY AND FREEDOM TO
RESPOND IN PARTICULAR WAY ACCORDING TO CONSTRAINS OF
BUILDING PROGRAM.
BECAME THE LEGEND OF THE MODERN ARCHITECTURE.

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BACKGROUND
FROM ESTONIA HE IMMIGRATED TO PHILDELPHIA,USA IN 1905.
AS A BOY HE WAS INTERESTED IN PANITING AND MUSIC.
SCHOOLING FROM CENTRAL HIGH SCHOOL AND PUBLIC
 INDUSTRIAL ART SCHOOL IN PHILADELPHIA.
HE GRADUATED IN ARCHITECTURE FROM UNIVERSITY OF PENNSYLVANNIA IN 1924.
HE WORKED WITH JOHN MOLITOR, PAUL CRET AFTER
 GRADUATION LATER WITH GEORGE HOWE AND OSCAR
 STONORVO.
HIS PROMINENT APPRENTICES INCLUDE MOSHE SAFDAI
 AND ROBERT VENTURI.

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CONTINUE………
IN 1950S HE EMERGE WITH A PROMINENT STYLE WITH PERFECT PHILOSOPHY.
FROM 1947 TO 1957 HE WAS DESIGN CRITIC AND PROFESSOR OF ARCHITECTURE AT YALE
UNIVERSITY.
BEGINNING IN 1935 KAHN WORKED WITH A SERIES OF PARTENERS, BUT FROM 1948 UNTIL
HIS DEATH IN 1974, KAHN WORKED ALONE.
ALTHOUGH HE DEVELOPED HIS OWN ARCHITECTURAL FORMS HE DERIVED INFLUENCE
FROM LE CORBUSIER AND HIS OWN BEAUX ARTS EDUCATION.

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 KHAN UNIQUE VOCABULARY
1. SERVANT AND THE SERVED SPACES
FORMAL ZONING DIFFERNTIATION BETWEEN THE PRIMARY SPACE OF THE BUILDING AND THE
EQUIPMENT AND ANCILLARY USE
2. SILENCE AND LIGHT
HE IS CONCERNED WITH EXPRESSING THE CONTRASTS OF DUALITY
SILENCE MEANS VOID AND DARK SPACES AND CLEAR DISTINCT SPACE IS LIGHT

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 EXTERIOR
.

 He believed that building should be honored and

always left exposed

 Simple and elegant use of pure geometry

 Heavily textured brick and bare concrete

 the textures often reinforced by juxtaposition to

highly refined surfaces


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 INTERIOR

Interior he believed began with the room as one space of

human activity in communication with the other rooms

Circular paired arches used in his building,

allow hot sunlight to cool as it reflects and
resonates within the building

 Concern for both natural light and

artificial light in the space

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 CONSTANTS
1.THE SENSE OF COMPOSITION AND
INTEGRITY OF THE BUILDING

• BATH HOUSE IS MOST SIGNIGICANT ONE IN

ALLOCATION OF SPACE AND ORDER PLAYS A
KEYROLE .
• ORDER HAS PSYCHIC RELATION WITH ART
,INFLUENCE THE WEIGHT OF COMFORT OF
THE OCCUPANT.
• REALIZE WHETHER A SPACE IS TO SERVE OR
TO BE SERVED.

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2.THE ATTEMPT TO REVEAL THE CHARACTER OF THE
BUILDING

• HUGE OPENINGS IN THE BUILDING HAVE

BEEN POSSIBLE DUE TO THE CONCRETE
BEAMS AND COLUMN.
• GEOMETRY IS THE LINK BETWEEN
MEASUREMENT AND SPACES.
• IN THREE OUTSTANDING PROJECT HE
USED SIMPLER MATERIAL (BRICK AND
CONCRETE).

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3.THE SENSE OF THE ‘ROOM’ AS THE ESSENCE OF
ARCHITECTURE

THE ROOM IS THE PLACE OF MIND.

SPACE GIVE ORDER THAN FUNCTION WILL BE
FULFILLED.
STRUCTURE OF THE SPACE WAS MORE IMPORTANT
THAN THE BUILDING.

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4.DAYLIGHT CAREFULLY EMPLOYED AS THE MAKER OF
ARCHITECTURE
• KIMBELL ART MUSUEM IS BEST ONE WHERE
WE CAN FIND EFFECT OF NATURAL LIGHT
FROM SKYLIGHT AND METAL REFLECTOR AND
OPENING MODULATES THE QUALITY AND
INTENSITY OF DAYLIGHT INSIDE.
• KAHN SAW ARCHITECTURAL ELEMENTS, SUCH
AS THE COLUMN, ARCH, DOME, AND VAULT, IN
THEIR CAPACITY OF MOLDING LIGHT AND
SHADOW.
• HE TOOK LIGHT FOR DIVISION OF SPACES AND
THINKS THAT “ SHADES AND SHADOW ARE
MYSTERY OF LIGHT”.

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5. ARCHITECTURE OF CONNECTION

THE CONNECTING ELEMENTS IN ARCHITECTURE ARE IMPORTANT WHEN THE

CONCEPT OF COMPLEXITY IS SUBSTITUTED FOR A SINGLE BUILDINGS.
CONNECTIVE COLUMNS AND VAULT IN KIMBELL MUSEUM ARE PERFECTLY
PLACED.
BRYN MAWR COLLEGE DORMITORY THE CONNECTIONS ARE MADE AT THE
CORNER OF THE SQUARE.

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BUILDINGS

BUILDINGS

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 NATIONAL ASSEMBLY BUILDING KIMBELL ART MUSEUM

PHILIP EXETER ACADEMY LIBRARY SALT INSTITUTE 105

 YALE UNIVERSITY ART GALLERY

NEWTON RICHARDS MEDICAL

RESEARCH BUILDING

FIRST UNITARIAN CHURCH AND SCHOOL

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 KIMBELL ART MUSEUM
FORT WORTH,TEXAS(1966-1972)

• LOCATED IN A PARK IN FORTH WORTH TEXES.

• AREA 120000 sq ft , LENGTH 318 ft, WIDTH 174 ft, HIGH 40 ft.
• VAULT ROOF COVERED WITH COPPER.
• EACH VAULT SPLIT BY A SKYLIGHT AT APEX.
• LIGHT COMES FROM BOTH ABOVE AND FROM INTERNAL
COURTYARD.
• MOVEABLE WALLS.
• SPACE OF MUSEUM IS FLEXIBLE FOR TEMPORARY
EXHIBITION 107
 Influential Works

Kimbell Art Museum

Location : Fort Worth, Texas

Date : 1967 to 1972

Building Type : Art museum

Construction :Reinforced concrete

System

Style: Modern

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 Influential Works

 Austere yet rich simplicity

 Repetition of a vault like form

Beautifully articulated concrete structural

frame with infill paneled walls of travertine

 Classic sense of timelessness emphasized

by use of material and detail

Interior bathed in a diffused natural light

between vaults

Composites of parts working in total

harmony among themselves and as a whole.

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Influential Works

110
 Influential Works

National Assembly in
Dhaka
Location :Dhaka, Bangladesh

Date :1962 to 1974

Building Type :Government center

Construction :Concrete, marble

System

Style : Modern

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 Influential Works
Magnificent example of vernacular and monumental
architecture with clear form and design

Key design philosophy was to represent Bangladeshi

culture and heritage, while at the same time optimizing the
use of space

Exterior of the building is striking in its simplicity, with

huge walls deeply recessed by porticoes and large openings
of regular geometric shapes

An artificial lake surrounds three sides of the main building

this skillful use of water to portray the riverine beauty of
Bangladesh

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 Influential Works

Magical sequence of buildings that appear to float above the

surrounding water in vernacular brick and marble construction.

efficient and aesthetic use of light a strong architectural aspect

artificial lighting system has been carefully devised to provide zero

obstruction to the entry of daylight

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 Influential Works

Salk Institute
Location: La Jolla, California

Date: 1959 to 1966

Building type: laboratories and

offices

Construction : reinforced concrete

system

Style: Modern

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 Influential Works

Kahn took advantage of the site’s tranquil surroundings and abundant natural
light. His scheme became a symmetrical plan, two structures mirroring each
other separated by an open plaza.

A single narrow strip of water links the

buildings to the vast Pacific Ocean
reminding people of their scale compared
to that of the ocean.

Empty open plaza symbolizes open

environment for new creation, thoughts
and ideas where people could talk, share
and need not spend all the time in their
laboratories.

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 Influential Works

Exeter library

Location: Exeter, New

Hampshire

Date: 1967 to 1972

Building type: school library

Construction : reinforced
system concrete

Style: modern

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 Influential Works

Built in strict contemporary style

using pure geometric forms ,
straight lines without any
ornamentation

Plan
Central hall encircled by balconies
that illuminates the central space.

 Giant circular openings in the interior

screen wall adds geometry into the interior.
Fig: lower plan

Fig: section
117
 Influential Works

 Repetition of brick piers, wider as they approach the ground where the book loads are
greater, cut back at all four corners to subtly articulate the building's exterior square form.

smaller windows at eye level afford views to the campus or conversely can be closed by
a sliding wooden shutter for privacy and concentration.

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INTERIOR OF NATIONAL ASSEMBLY BUILDING

119
120
MINISTRY OF HEALTH
KATHMANDU, NEPAL
ALTHOUGH NOT HIS MASTER PIECE OF WORKS, THE BUILDING
REFLECTS HIS TASTE FOR EXPOSED BRICK MASONARY WORK AND
SIMPLE INTERPALY OF MASS AND VOID.
THE EXISTING MANDALA WAS ALSO PART OF THE PLAN WHICH WAS
BUILD MANY YEARS AFTER. THIS REFLECTS HIS FUTERISTIC VISION.
THE BUILDING HAS BEEN BUILT IN CONTEXT TO NEPLESE SOCIETY
WHICH IS REFLECTED BY USE OF BRICK MASONARY AND COURTYARD
PLANNING.

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SETBACKS
MUCH OF KAHN LIFE WAS STRUGGLE.
KAHN WORK OFTEN FAILED ECONOMICALLY BECAUSE OF HIS UNWILLINGNESS
TO COMPROMISE HIS ARTISTIC AND THE SOCIAL GOALS.
THE INSTITUTE OF MANAGEMENT AND ANOTHER ONGOING WORK, THE
CAPITAL COMPLEX OF GOVERNMENT BUILDINGS AT DHAKA IN BANGLADESH,
KAHN’S MOST AMBITIOUS PROJECT WERE COMPLETED AFTER HIS DEATH.
IT WAS DUE TO HIS UNCOMPROMISING CHARACTER THAT HE DIED BANKRUPT
OWING HUNDREDS OF THOUSANDS OF DOLLARS.

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CONCLUSION
KHAN WAS ONE MODERN ARCHITECT WHO BELIEVED IN
PRODUCING BUILDINGS WHICH WERE AS MONUMENTAL AND AS
SPIRITUALLY INSPIRING AS THE ANCIENT RUINS OF GREECE AND
EGYPT.
POINEER IN USE OF NATURAL LIGHTING IN THE BUILDING HIS
WORKS LIKE KIMBELL ART GALLERY SETS BENCHMARK IN
INTERPLAY OF LIGHTING IN BUILDING.
HIS WORK DISPLAYS MASSIVE CREATIVE EFFORTS MORE
ARTISTICALLY IMPULSIVE THAN ANALYTICAL.
HE WAS PHYLOSOPHICAL AMONG THE ARCHITECT

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STUDY TIPS:
1. Focus on architectural characteristics of each architect and 1 building
example with sketches.

2. Special priority on lumbini masterplan, CEDA building, Health Ministry

and Works of Louis Kahn.

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