SUBMITTED TO : Ar.

GARIMA SINGH SUBMITTED BY : SONALI SHUKLA

B.ARCH 4TH SEM
REVOLUTIONARY ARCHITECT OF INDIA
 Raj Rewal was born in 1934 in Hoshiarpur, Punjab, India.

 He created a revolution in geometric design systems.

 Creation of geometric systems and responding visual imageries

are apparent in Raj Rewal’s architectural works.
 Raj Rewal took up his first job as an assistant stage manager for
several avante grade theatre production in London.
 He became an associate of the Royal Institute of British
Architects, London.
 Raj Rewal worked with Michel Ecochards’s office in Paris before
starting his practice in New Delhi.
 TRADITIONS SHOULD NOT BE APPROACHED
NOT FOR ITS UNDERLYING ORDER, NOT FOR
ITS SUPERFICIAL EFFECTS IT SHOULD BE
RETHOUGHT IN TERMS THAT ARE RIGHT FOR
THE POSSIBLITIES AND LIMITATIONS OF THE
PRESENT SOCIAL ORDER
 THE TWO MAJOR INFLUENCE THAT HE ENCOUNTERED IS THE TIME WHEN
HE RETURNED TO INDIA. HE ADMITS THAT THOSE INFLUENCES HAVE
HELPED HIM IN HIS DEVELOPMENT AS AN ARCHITECT

 When he became a Professor at the School of Planning and

Architecture in New Delhi
 After studying the Projects of Le Corbusier

 Corbusier made contemporary designs. After the success

achieved by him in the planning of Chandigarh City, it
became evident to Raj Rewal that Modern means can be
applied to build in India.
 He developed a sense of Contemporary style as well as
learned to retain the traditionalism of India.
• The Parliament Library, New Delhi
• Asiad Village,
• Hall of Nations,
• STC Building, New Delhi
 The central point of the complex is the Parliament Library, a
house of knowledge, symbolically a place of enlightenment.
 The design concept reflects a specific preference for serene
spatial enclosures, modulated with light, rather than forms of
grandeur.
 Both visually and symbolically, the central hall of the existing
Parliament denotes power, consensus and democracy and is
linked to the central core of the new complex.
 Symbolically a house of knowledge, the Parliament Library
has its site next to the Parliament House in Lutyens Delhi.
 It was estimated that about 14 thousand sqm of space would
be required for stacking about three million publications
which the Library was expected to have in the next four
decades or so.
 The site measures 10 acres with a built-up area of 50,000 sqm.
 For the library, a formal structure is conceived within the
Indian tradition, built in a contemporary idiom to capture the
essence without mimicry of past historical styles.
• The design and construction of the domes have been the first of its
kind in the country.
• It is composed of four petals which are tied together with delicate
tension rods. The upper part of the glass dome has a symbol
circle representing the Ashok Chakra.
 A large amount of glazing has been used throughout the
building.
 The focal centre of the complex is built with sun reflecting,
state-of-the-art, structural glass and stainless steel.
• A large number of false ceiling patterns have been used, using
materials like stainless steel planks, perforated aluminium planks,
gypsum board, sand stone jail, Burma teak, cedar and seesham.
 Born in 1935 in Manchester, England
 Entered Manchester School of Architecture when 21 years old
 Received Master’s Degree at Yale University
 Norman, Wendy, Sue Rogers and Richard Rogers form firm
‘Team 4’ in 1963
 Foster’s Associates (now known as Foster and Partners)
created in 1967
 Receives AIA Gold Medal (1994)
 Wins the Pritzker Architecture Prize (1999)
 Currently has offices across the world in London, Berlin and
Singapore with over 500 employees
 “the best architecture comes from a synthesis of all the
elements that separately comprise a building…”
 “Technology is part of civilization and being anti-technology
would be like declaring war on architecture and civilization
itself. If I can get carried away with some passion about the
poetry of the light in one of my projects, then I can also, in the
same vein, enjoy the poetry of the hydraulic engineering.”
 Willis Faber and Dumas Headquarters, Ipswich, United
Kingdom
 Chek Lap Kok Airport, Hong Kong, China
 Hearst Tower, New York City, USA
 St. Mary Axe, London
 Reichstag , Berlin
 The shape of the tower is influenced by the physical
environment of the city.
 The smooth flow of wind around the building was one of the
main considerations.
 A net office floor area within the building of around 500,000
ft2 (46,450 m2).
 Minimum impact on the local wind environment.
 Flexibly serviced, high specification ‘user-friendly’ column
free office spaces with maximum primary space adjacent to
natural light.
 30 St. Mary Axe is a 40 story building in the
St. Mary Axe area of London.

 It is recognised as one of the more

distinctive skyscrapers in the financial
district of London and it stands on the former
site of the Baltic Exchange building.

 Its form is so unique, that it has been given

the nickname "the Gherkin."
 The Gherkin is essentially an elongated, curved, shaft with a
rounded end that is reminiscent of a stretched egg.
 It is covered uniformly around the outside with glass panels
and is rounded off at the corners.
 It has a lens-like dome at the top that serves as a type of
observation deck.
 The design of the Gherkin is heavily steeped in energy
efficiency and there are a number of building features that
enhance its efficiency.
GROUND FLOOR SIXTH FLOOR

TWENTY FIRST FLOOR FORTIETH FLOOR

 There were open shafts built in between each floor that act as
ventilation for the building and they require no energy for
use.
 The shafts pull warm air out of the building during the
summer and use passive heat from the sun to bring heat into
the building during the winter.
 These open shafts also allow available sunlight to penetrate
deep into the building to cut down on light costs.
 It has been said that 30 St. Mary Axe uses only half of the
energy that a similarly-sized tower would use.
There are 24,000 sq m of The white-painted diagonals
external glass-equivalent and dark-painted horizontals
to five football pitches. both enclose structural
members.

Top space of the building offers a spectacular 360-

degree panorama across the capital.
 The Neo-Renaissance building was designed by Paul
Wallot and was completed in 1894.
 It was the home of the Reichstag (“Imperial Diet”) from 1894
to 1933, during the periods of the German Empire (1871–
1918) and the Weimar Republic (1919–33).
 By the 1970s it had undergone partial restoration and became
a museum of German history.
 More extensive restoration and renovation took place, under
the direction of British architect Sir Norman Foster, after the
reunification of West and East Germany in 1990.
• Reichstag, building in Berlin that is the
meeting place of the Bundestag (“Federal
Assembly”), the lower house of Germany’s
national legislature.
• One of Berlin’s most famous landmarks, it is
situated at the northern end of the Ebertstrasse
and near the south bank of the Spree River.

• Tiergarten Park is directly west of the

building, and the Brandenburg Gate is to the
south.
 The building’s huge glass dome, once its most recognizable
feature, was rebuilt.
 An interior ramp spirals to the top of the dome, affording
excellent views of the surrounding city.
 After the restoration was completed, the Reichstag became
one of Berlin’s most prominent tourist attractions, drawing
hundreds of thousands of visitors each year.
 The Reichstag’s iconic dome was designed to bathe the
Bundestag chamber in natural light, and a massive solar array
on its roof further increased the building’s energy
independence.
The reconstruction takes cues from the original fabric; the layers of
history were peeled away to reveal striking imprints of the past -
stonemason's marks and Russian graffiti − scars that have been
preserved as a 'living museum'. But in other respects it is a radical
departure; within its heavy shell it is light and transparent, its
activities on view.
 It is a radical departure; within its heavy shell it
is light and transparent, its activities on view.