UNIT I - Brutalism

1.1 Introduction to Brutalism

1.2 Characters of Brutalism
1.3 Architects involved in Brutalism
1.4 Buildings example

1.1 Introduction to Brutalism

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 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 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.
1.2 Characters of Brutalism
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.
▪ Brutalist building materials also include brick, glass, steel, rough- hewn stone, and
gabions.
▪ Exposure of the building's functions—ranging from their structure and services to their
human use—in the exterior of the building.
1.3 Architects involved in Brutalism
▪ Architects involved in brutalism
o Architects whose work reflects certain aspects of the brutalist style include Louis Kahn.
o Architectural historian William Jordy says that although Kahn was opposed to what he
regarded as the muscular posturing of most Brutalism", some of his work "was surely
informed by some of the same ideas that came to momentary focus in the brutalist
position.
o The style, as developed by architects such as the Smithsons, Hungarian-born Ernő
Goldfinger, and the British firm Chamberlin, Powell & Bon, was partly foreshadowed by

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 the modernist work of other architects such as French-Swiss Le Corbusier, Estonian
American Louis Kahn, German American Mies van der Rohe.
1.4 Building example
Unité d'Habitation.
▪ With its human proportions, chunky pilotis and interior
"streets", it redefined high-density housing by reimagining
a city inside an 18-storey slab block
▪ Communal living for all the inhabitants to shop, play, live, and
come together in a “vertical garden city.”

National Assembly Building in Dhaka

▪ A concentric plan, where several functional layers are
developed around a main hall where meetings with
capacity for 354 parliament seats are held.
▪ The exterior of the building is striking in its simplicity, with
huge walls deeply recessed by porticoes and large
openings of regular geometric shapes.

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UNIT I - MODERN ARCHITECTURE – SPREAD AND LATER DIRECTIONS

1.1 Introduction to Team 10

1.2 Membership
1.3 History
1.4 Concepts/Contributions of Team X
1.5 CIAM X
1.1 Introduction to Team 10
• Team 10 – just as often referred to as Team X or Team Ten – was a group of architects
and other invited participants who assembled starting in July 1953 at the 9th Congress
of the International Congresses of Modern Architecture (CIAM) and created a schism
within CIAM by challenging its doctrinaire approach to urbanism.

1.2 Membership
• 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.
• Team 10 had a fluid membership yet a core group actively organized the various
meetings.
• 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. 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 and the United States.
• Two different movements were associated with Team 10: the New Brutalism of the
British members (Alison and Peter Smithson) and the Structuralism of the Dutch
members (Aldo van Eyck and Jaap Bakema).

1.3 History
• Team 10's core group started meeting within the context of CIAM, the international
platform for modern architects founded in 1928. Their views often opposed the
philosophies put forward by CIAM, and following founder Le Corbusier's exit in 1955,
CIAM dissolved in 1959 to give way to Team 10 as the centralized, authoritative
think tank concerning Brutalism, Structuralism, and related urban planning.
• When Jaap Bakema, one of Team 10's core members, died in 1981, the other
members used this as an occasion to end their collaboration as Team 10.

1.4 Concepts/Contribution 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

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 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.

Pedestrian net structuring the central area of Berlin Berlin Plan

CIAM X
• 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
neighbourliness.
• 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 CIAMX

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Unit – 1 : Modern Architecture (PHILIP JOHNSON)

1.1 Introduction
1.2 Architecture style
1.3 The Glass House
1.4 Gate of Europe

1.1 Introduction.
• Philip Johnson born in 1906, in Cleveland, Ohio.
• He was an American architect best known for his works of modern and postmodern
architecture.
• In 1930, Johnson became the first director of the department of the museum of Modern Art
in New York.
• He was the founder of the Influential department of architecture and design at Moma.
• Johnson is credited with introducing European Modernism to America.

1.2 Architecture Style

• His greatest influence as an architect was his use of Glass.
• He Designing spectacular, crystalline structures uniformly sheathed in glass.
• He believes in “ARCHITECTURE IS BASICALLY THE DESIGN OF INTERIORS, THE ART OF
ORGANISATION THE INTERIOR SPACE”.

1.3 Glass House, 1949

• The Glass House is one of the largest projects undertaken by architect Philip Johnson.
• He designed it as his own residence in New Cannan , Connecticut.
• There are no interior support.
• It is steel frame structure and all the doors and windows are
made up of glass.
• The house is a 56 feet by 32 feet glass rectangle.
• The interior space is divided by cabinets.
• A low brick cylinder containing the bathroom.

1.4 Gate of Europe

Introduction

• It is a major office and residential projects.

• location – Madrid, Spain.
• This is also known as “Puerta De Europa” and was completed in 1996.
• The buildings have plan dimensions of 35 mts. X 36 mts.
• The towers have the height of 114m and have 26 floors.
• Building slope is 14.3 degrees (Approx 15’)
• Floor to floor height is 3.97 mts.
• Symmetry is main governing principle.
• Verticality dominates.
• Central axis runs in plan.

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▪ Materials used
o Charcoal mullion

o Red metal

o Glass

o Stainless steel
o Architectural style : structural expressionism

▪ Main structural system used

o Steel wireframe - The fifteen degree angle of the buildings is achieved through the use
of a steel frame.
o Glass curtain wall - Exterior facades are composed of glass in a curtain wall system.
o Concrete core – Interior floors are stabilized with a concrete core through the center.

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UNIT I – MODERN ARCHITECTURE – SPREAD AND LATER DIRECTIONS

1.1 Louis Khan

1.2 Philosophy
1.3 Louis Khan – Salk Institute

1.1 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.
• During the lean years of the 1930s, LouisIsadore 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
PhiladelphiaCity 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
asChief Critic in Architectural Design and Professor of Architecture (1947-1957) and
then at the University of Pennsylvania as Crit Professor of Architecture (1957-1974).it.

1.2 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.

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 • 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.

• Architecture is timelessIntegration

1.3 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.
• There is one floor in the basement, and two above it on both sides
• 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. variety.
• 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.

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• 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 backdrop of the
sky and the ocean with the seagulls fluttering in the distance.

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UNIT I - MODERN ARCHITECTURE – SPREAD AND LATER DIRECTIONS

Paul Marvin Rudolphe

1.1 Introduction-Paul Marvin Rudolphe

1.2 Works
1.3 Healy guest house
1.4 Art & Architecture building
1.1 Introduction -Paul Marvin Rudolphe
▪ He’s an American Architect of 20th century

▪ Influenced by Walter Gropius at Harvard graduate school of design

▪ Appointed chairman of school of architecture at yale university

▪ In his early years he developed a series of hose that represent modernism, with their
distinctive natural landscape, local architectural precedent &exploitation of innovative
construction materials

▪ Design is a process with many applications, his buildings are notable for creative &
unpredictable design that appeal strongly to sense
Materials used in his design
▪ Concrete

▪ Plastic sheet for façade

▪ Steel for construction

▪ Glass for residences and commercial façade

▪ Catenary roofing

▪ Cable structure

Philosophy
▪ He was one of the most influential American architect of mid 20th century

▪ Created buildings that were often characterized by boldly contrasting masses, complexly
interlocking spaces &innovative surfaces

▪ In his design he synthesized the modernist ideas of Le Corbusier, F. L. Wright, Louis I. Kahn

▪ He uses sweeping monolithic forms & intricate interior space to create a powerful sculptural
quality

▪ Design principles may be applied to any situation where there is a goal

▪ The interiors are dynamic, playing with light& shadow, drama & abstraction

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1.2 Works
▪ Art and architecture

▪ Walker guest house

▪ River high school

▪ Haley guest house

▪ Blue cross – blue shield headquarters

▪ Milam house

1.3 Healy guest house

▪ Healy guest house built by Paul Rudolph; Ralph Twitchell located in U.S.A

▪ It is a building of modern style with construction of post and beam with catenary tensile
roof
▪ Planning
o Four room divisions with porch and balcony on waterfront

o Rectangular planning

o Used pile foundation as for water front area

▪ Materials & construction

o Used piled foundation to support the structure on water front

o Catenary roof is made of plastic sheet
o Catenary roof was curved and span 22 feet long
o Flat steel bars used 12 inches to support roof
o Glass and windows used for outdoor environment
o Cables used to tie beams and columns to ground to support catenary roof
1.4 Art & Architecture building
▪ Art & Architecture building built by Paul Rudolph located in New Haven

▪ It is a Modern style University building built of concrete

▪ Form is of Rugged cuboid forms

▪ Planning
o 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

o It is Rudolph’s favorite treatment for exposed concrete surfaces, because apart from
being an interesting surface, it controls staining and minimizes the effect of discolor

o 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

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▪ Special features
o Painting and graphic art studios are on the top two levels, with an open terrace for

sketching

o There is also a penthouse apartment for guest critics, that also has its own terrace

o At street level, the library occupies a single storey side

o Above this, with the possibility of looking down into the reading are, is a two – story
central exhibition hall, with administrative offices on its mezzanine, and a central,
sunken jury pit

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UNIT I -EERO SAAARINEN

1.1 Eero Saarinen

1.2 Architectural Style
1.3 TWA Flight Center
1.1 Eero Saarinen
• Eero Saarinen:
o Eero Saarinen was a Finnish-American architect and industrial designer who was known for
his innovative approach to architecture and his use of new materials and sweeping curves.
o He was influenced by his fathers who was an architect.

• Architectural Style:
o Saarinen's architectural style was characterized by the use of bold curves, sweeping lines,
and sculptural forms.
o His designs were influenced by modernism, which emphasized simplicity, functionality, and
the use of new materials such as steel and concrete.

• Works:
o Gateway Arch in Missouri,
o The TWA Flight Center in New York,
o The Washington Dulles International Airport.

1.2 Philosophy

o Eero Saarinen believed that good design should enhance people's lives and be accessible to
everyone.
o He emphasized the importance of context and creating inspiring, sculptural forms that
evoke emotion.
o His philosophy focused on the power of design to shape our world and create meaningful
experiences.

1.3 TWA Flight Center

• Introduction:
Location: The TWA Terminal is an iconic airport terminal located at John F. Kennedy
International Airport in New York City.
Considered a masterpiece of mid-century modernist architecture.
o Design Concept:
Design concept and inspiration behind the building: Saarinen's design for the TWA Terminal
was inspired by the shape of a bird in flight. The building features sweeping curves and a
dramatic shell-like roof that creates a sense of movement and fluidity.
o Zoning:

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 The TWA Terminal is divided into four main zones: the public arrival area, the departure
lounge, the service core, and the ramp area. Each zone is designed to function independently
while maintaining a sense of continuity and flow throughout the space. The careful zoning of
the building ensures that each function can be carried out efficiently and effectively.

o Floor Plans:

Overview: The TWA Terminal is a two-level building with a total floor area of approximately
230,000 square feet.

Main Level: Features a grand entrance hall, ticketing area, and departure lounges. Curved
walls and ceilings create a sense of fluidity and movement.

Lower Level: Houses baggage claim, customs, and ground transportation facilities. Connected
to the main level by a grand staircase and innovative mobile lounges.

Unique Features: Terminal includes a dramatic circular observation deck and sunken lounge
areas. Skylights throughout the building provide natural light and a sense of openness.
• Interior design:
Openness and fluidity in design. Departure lounge featured a large skylight and custom light
fixtures. Furniture and fabrics custom-designed to reflect modernist aesthetic.
• Building materials:
The TWA Terminal is primarily constructed of reinforced concrete, with the roof consisting of
four thin-shell concrete structures. Interior columns were also made of reinforced concrete,
designed to give the appearance of floating. Other materials used include glass, stainless steel,
and terrazzo flooring. This combination of materials creates the sleek and modern appearance
that defines the TWA Terminal's iconic design.
• Function:
The terminal was designed with a focus on passenger experience and efficiency, with carefully
designed transitions between different zones and a sense of flow throughout the space.
Today, the TWA Terminal is no longer in use as an airport terminal, but it has been repurposed
as the TWA Hotel, a luxury hotel that pays homage to the terminal's mid-century modern
design.
• Conclusion:
o The buildings bold and innovative design was highly influential in the field of airport
architecture and continues to be celebrated for its beauty and engineering excellence.

o The TWA terminal center’s design represents a remarkable integration of form and
function, creating a fluid and memorable experience for travelers that embodies the
optimism and excitement of the jet age.

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SOM- SKIDMORE, OWINGS AND MERRILL

1. Introduction
2. Aim and goal.
3. History:
3.1- the foundation1920-1940
3.2- the rise 1950-1960
3.3- the submit 1970-1980
3.4- the design table 1990
3.5- the win 2000- 2004
4. Works
5. Innovation
6. Partnership
7. awards

1.INTRODUCTION:

• Famous for skyscraper, the American firm laid the image for corporate urban areas.
• SOM is the largest American architectural, urban planning and engineering firm.
• Formed in 1936 by Skidmore and Owings, later, in 1939, joined my John o. Merrill.
• They opened their first branch in New York in 1937.
• SOM led the way to widespread use of international style or “glass box” skyscraper.

LOUIS SKIDMORE- american architect

NATHENIAL OWINGS- american architect
JOHN MERRILL- american architect

THE BEGINNING:
SOM started their journey with transport building at 1933 in Chicago exposition and
followed by, government commissioned work of wartime town of oak reign, Tennessee in
1942.

2.AIM AND GOAL:

• SOM believes that design is about more than meeting people’s needs—it is the art of
realizing their aspirations and changing the way they experience the world.
• The best results come from a balance of disciplines: planning, interiors,
engineering, and architecture.
• This total design approach means seamless coordination, from the initial design
stages to the pride in seeing users inspired by the end result.
• GOAL: to build the structure in the vernacular style of their era.

3. HISTORY

3.1- THE FOUNDATION- 1920-1940:

 • The first world fair:
While studying in Paris, Skidmore got his opportunity to work in
Chicago exposition in 1933.

• He was appointed as chief for exposition and he then, aligned with his
brother-in-law Owings.
• After exposition got over, the partnership broke and reunited in 1936, when
they established their first firm in Chicago.
• They got to work on their second world fair- New York world fair in 1939.
• John Merrill joined the allies in 1939.
• By early 1940, they established their own style.
3.2- THE RISE- 1950-1960:

• By 1952, the company numbered 14 partners, more than 1000 employees and
office in Chicago, New York, San Francisco, Portland and Oregon
• They started to fund and create furniture
• They got their landmark building like Istanbul Hilton and chase Manhattan
• Adapted contemporary and art, as exterior get minimalist and interior was rich
in colour and texture
3.3- THE SUBMIT- 1970-1980:

• By 1970-72, they began to build lots of structure around the world

• In 1977, the won their important commission to build bank in Saudi Arabia
and at the completion, this project was firm historic design as founders
started to withdraw
• With the start of postmodernism, SOM’s dedication to modernism was seem
outdated, the company found itself struggling
3.4- THE DESIGN TABLE- 1990:

• The sales dropped and adding insult to injury, the project was also gone out
of hand
• By 1995, with 800 employees, SOM started to regain its status.
• Project like 88 stores in Shanghai and Hong Kong convention store
unbridged the sale
3.5- THE WIN 2000-2004:

• As the new millennium rolled up, firm got its attention again.
• From Columbus centre to house time warner, they started to build noteworthy
structures
• Criticism evolved in 2001 as world trade centre fell down
• By dec 2004, Taipei 101 tower, largest occupied building, Toronto’s CN tower,
largest freestanding structure and Burj Khalifa was built by SOM.
CHRONOLOGY- TIMELINE:
1936: Louis Skidmore and Nathaniel Owings establish a design firm in Chicago.
1937: The New York City office is opened.
1939: John Merrill joins the firm, prompting a name change.
1952: Skidmore, Owings & Merrill has 14 partners and more than 1,000 employees.
1959: The completion of the Istanbul Hilton represents a feat of architectural and interior design for SOM.
1961: SOM receives the first Firm Award presented by the American Institute of Architects (AIA).
1974: SOM designs the Sears Roebuck Tower in Chicago, then the tallest building in the world.
1982: The completion of the National Commercial Bank in Jidda, Saudi Arabia, marks the end of an era .
1986: First overseas office is opened in London.
1991: David Childs assumes the role of company chairman.
1996: SOM receives its second Firm Award from AIA.
2004: SOM is set to reclaim its status as designer of the world's tallest building

4. WORKS:

-Lever House (1952) New York;

-Inland Steel Building (1957) Chicago;
-United States Air Force Academy (1958) Colorado Springs;
-Haj Terminal (1972) Jeddah, Saudi Arabia;
-Willis Tower (1974) (formerly Sears Tower), Chicago;
-Shaklee Terraces (1979) San Francisco;
-Georgia-Pacific Tower (1982) Atlanta;
-NBC Tower (1989) Chicago;
-Vasco da Gama Tower (1998) Lisbon;
-Korean World Trade Centre (2000) Seoul
-Time-Warner Centre (2004) New York;
-Ben Gurion Airport Terminal 3 (2004) Tel Anvil
-AIG Tower (2005) Hong Kong
-Trump International Hotel and Tower (2009) Chicago;
-Burj Khalifa Dubai
-One World Trade Centre, New York

5.INNOVATIONS:

SUSTAINABILITY:
• Build Weyerhaeuser building- “original green building”
• Us censer headquarter which received LEED certification
• Zero net energy school in New York
• Recognized for its research with new energy saving and carbon reduction
tech- timber tower and modified concrete slab

HIGH RISE INNOVATION- SKYSCRAPER:

Born in the city that gave rise to the First Chicago school of architecture (c.1880-
1910), and being themselves part of the second Chicago school (c.1940-75), Skidmore
Owings & Merrill have built a number of the world's tallest buildings.

DIGITAL INNOVATION:
• Early leader in CAD
• In 1980, they created architectural engineering system, which is array of BIM.

6. PARTNERSHIP:

Mustafa Abadan, William Baker, Thomas Behr, Keith Boswell, Carrie Byles, Larry Chien, Leo
Chow, Brant Coletta, Chris Cooper, Paul Danna, Michael Duncan, Scott Duncan, Laura
Edelman, Xuan Fu, T.J. Gottstein, Gary Haney, Craig Hartman, Kent Jackson, Colin Koop,
Kenneth Lewis, Mark Sarkisian, Adam Semele, Jonathan Stein, and Douglas Voigt.

7.AWARDS:
1962 and 1996- architectural firm award
2009- 13+ r and b award from architectural magazine
UNIT I – Eames-Charles and Ray

1.1 Introduction to Eames

1.2 Works During World War II
1.3 Famous Works
1.4 Eames House
1.1 Introduction to Eames
▪ Charles and Ray Eames are the best Known For their contributions to architecture, furniture
design, industrial design and manufacturing, and photographic arts.

▪ In 1930, Charles started his own architectural firm. He began extending his design ideas
beyond architecture.
▪ Charles and Ray got married in 1941 and moved to California where they continued to work
on furniture designs with molding plywood

1.2 Works during world war II

• 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 Eames’ molded plywood furniture.

• Their molded plywood chair was called “the chair of the century” by the influential
architectural critic Esther McCoy.

• Their design and innovative use of materials made the House mecca for architects and
designers from both near and far. It is the most important post war residences anywhere in
the world

1.3 Famous works

▪ Organic Chair
▪ Chair of the century- LCW
▪ DCM Molded Plywood Chair

▪ Walnut Dining Chair

▪ Lounge Chair with Ottoman

▪ Entenza House

▪ St. Mary’s Paragould, Arkansas

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1.4 Eames House
▪ Designed By: Eero Saarinen, Charles Eames
and Ray Eames.
▪ The House was designed for Charles and
Ray to serve as both their house and studio.
▪ Originally known as Case Study House No. 8,
the Eames House was such a spatially
pleasant modern residence.
▪ Designing the house to focus on the use of
new materials and technologies developed
during World War II.
▪ The house is situated on a 3-acre site on top of cliff that overlooks the Pacific
Ocean.
▪ The site is a 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.
▪ The two boxes serve two different functions. One is for the residence itself and the
other is a studio.
▪ The importance given to light in the design, with the exterior arranged in the way,
can be connected to Japanese influence.
▪ The house was built large standard components, such as the windows which
measure a standard width of 3-feet 4-inches.
▪ 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
into each room through each day.
▪ 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.

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Page 3 of 3
UNIT I – MODERN ARCHITECTURE-SPREAD AND LATER DIRECTION

1.1 Introduction to I.M. PEI

1.2 Style and Method
1.3 Design and Criticism

1.1 Introduction to I.M. PEI

▪ Ioeh Ming Pei (April 26, 1917 – May 16, 2019) was a Chinese-American architect. Raised in
Shanghai, Pei drew inspiration at an early age from the garden villas at Suzhou, the traditional
retreat of the scholar-gentry to which his family belonged.
▪ In his retirement, he worked as an architectural consultant primarily from his sons'
architectural firm Pei Partnership Architects.
▪ He was a modernist who, unlike others, largely avoided lapel-grabbing gestures.

1.2 Style and Method

▪ Pei's style was described as thoroughly modernist, with significant cubist themes. He was
known for combining traditional architectural principles with progressive designs based on
simple geometric patterns—circles, squares, and triangles are common elements of his work
in both plan and elevation.
▪ As one critic wrote: "Pei has been aptly described as combining a classical sense of form with
a contemporary mastery of method."
▪ At the same time, Pei himself rejected simple dichotomies of architectural trends. He once
said: "The talk about modernism versus post-modernism is unimportant.”

1.3 Design and Criticism

Design:
o The Louvre Pyramid is one of I.M. Pei's most famous and iconic works.
o It is located in the courtyard of the Louvre Museum in Paris, France, and serves as the main
entrance to the museum. The pyramid consists of a steel frame with a glass exterior, and
measures approximately 70 feet high and 115 feet wide.
o It features a series of triangular and diamond-shaped panes of glass that create a striking
visual effect and allow natural light to filter into the museum's underground galleries.
o The pyramid's design reflects Pei's signature Modernist style, which emphasizes simplicity,
clean lines, and the use of new materials and technologies.

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o Pei believed that the pyramid's form would symbolize the merging of ancient and modern
civilizations, and that it would serve as a timeless and enduring addition to the Louvre.
Criticism:
o Aesthetics: Some critics argue that the pyramid clashes with the historic architecture of the
Louvre Museum, and that its modernist design is too jarring and out of place.
o Functionality: The pyramid has also been criticized for its functionality. Some visitors have
complained that it is difficult to navigate and that the lines can be long and disorganized.
Additionally, the pyramid's design has been criticized for not providing enough space for
ticketing and security, which can cause congestion and delays.
o Cultural symbolism: The pyramid has been criticized for its perceived lack of cultural
symbolism. Some have argued that its modernist design does not reflect the history and
culture of France, and that it is more reflective of Pei's own signature style.

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UNIT I –MODERN ARCHITECTURE AND POST INDEPENDENCE INDIA

1.1 Post Independence architecture in India

1.2 Approaches of architectural expressions in india
1.3 Identity of Post independence India in modernism
1.4 Indian Modernism
1.1 Post Independence architecture in India
• The field of architecture in india has undergone significant changes since independence
• Indian architects before Independence were working under the British architects.
• After the British left India in 1947, Indian architecture was in chaos.Perhaps, there was an
identity crisis, a dilemma whether to adhere to historical precedentsor move forward with
times using new ideas, images and techniques.
• While in other fields like art, music and culture, the distinct Indian imprint was more
enhanced in the post-Independence period; no such thing was discernible in the case of
architecture.
• Jawaharlal Nehru, the first Prime minister of India had a far vision for the betterment and
development of art and architecture in India. He invited Le Corbusier to design the capital of
the state Punjab, Chandigarh.
• Le Corbusier designed the Legislative Assembly, Secretariat and High Court.
• Chandigarh became a powerful symbol of New India and inspired the architects and the
public for a forward looking Modern Architecture in the Post-Independence period.

1.2 Approaches of architectural expressions in india

Five distinct approaches of architectural expressions in India were identified during the Post-
Independence period. They are
• 1. Plastic or geometric forms exploiting the potential of concrete used to express distinct
and bold forms, volumes and shapes growing out of functional needs.
• 2. New language of exposed brick and concrete
• 3. Bold and aggressive articulation of structural elements- an expression of Brutalism like
Kenzo Tange, James Sterling, Moshe Safdie
• 4. Sensitive approach to harmonizing with the micro environment that is reminiscent of the
best traditions of F.L.Wright and Richard Neutra
• 5. Regionalism – an amalgamation of modernism with traditional experience of town
planning, neighbourhood clustering, harmonize with nature, climate control and using local
materials

1.3 Identity of Post Independence India in Modernism

• Although we see a major metamorphosis of architecture ever since 1950 towards
modernism, inspired by the renowned International architects Le Corbusier and Louis Kahn,
the identity of Indian architecture is not pure modernism.
• Most of the successful Indian architects including Charles Correa, Raj Rewal and B.V.Doshi
blended vernacular elements into modernism giving it a rich flavor that demarcates the
identity of Indian architecture. They used deep overhangs, courtyards, shading devices,
pergolas, jaali screens to create an aesthetically appealing climate responsive design.
 • Charles Correa has a deep understanding of cultural values, mythological spaces and
historical architecture of India. He emphatically blended the Navagraha mandalas in two of
his projects where the traditional elements cannot be separated from modernism.
• Raj Rewal was very fluent in using vernacular elements of Jaisalmer town in most of his
projects, incorporating the hierarchy of social spaces, street patterns, urban fabric, abstract
chhatris, locally available materials.
• The magnificence of spaces in the projects of B. V. Doshi, especially IIM, Bangalore adds a
sensational aroma to Indian modernism which includes the play of light and shade, covered,
semi-covered and open quadrangles, and integration of landscape in to the buildings.

1.4 Indian Modernism

• Indian Modernism is not just about form, function, materials, structure but it adds another
fourth dimension which is the feel of fresh air and nature inside the aesthetically profound
spaces.
• Indian modernism is not just architecture of the rich but of the poor with intricate cultural
details assimilated like Aranya housing by B.V. Doshi and Belapur housing by Charles Correa.
• Indian architecture is a fine mix of modernism with traditional insights identified as Critical
Regionalism, having a more functional and rational approach to design which is the main
language of modernism while incorporating the social spaces, regional vocabulary,
economical possibilities, climate responsive, integration of architecture with landscape,
energy efficiency and using locally available materials, which gives a strong identity to Indian
Modernism architecture.
UNIT I -India National Building, Institutions & PWD Architecture

1.1 Introduction
1.2 Goal
1.3 Le Corbusier (Chandigarh)
1.4 Indian Institute of Management, Ahemedabad
1.5 Public Works Department (PWD) Buildings

1.1 Introduction
▪ There was a significant increase in the construction of institutional building, & the PWD
played a crucial role in designing and constructing these buildings

▪ Jawaharlal Nehru was the one to take the initiative of betterment and development of art
and architecture in India
▪ A new era of architect began when Architect Le Corbusier (1887 –1965) was invited to
design the capital of Punjab state, Chandigarh

▪ Focus on the develop of institutional Architecture & public works projects , with aim of build
a new India that was modern ,progressive ,and reflective of the country’s cultural heritage
▪ Government invested in construction of several education, healthcare & administrative
institutions buildings

▪ Many institutional buildings of this era reflected the blend of modern architecture and
traditionl Indian architecture elements and creating sustainable and functional building

1.2 Goal
▪ The focus was on creating functional efficient, & affordable building that could
accommodate the needs of the rapidly growing population
▪ Post independence institutional architecture in India Reflects the country’s cultural identity,
aspiration, and vision for future, these buildings serve as Symbols of India’s progress
▪ Villages to be self dependent, illiterate people and economic and social transformation
▪ Local material and local skill, cost effective architecture
▪ Newly independent country, required new infrastructure
▪ Urbanization demanded creation of new cities and town
▪ Committed to building a nation that would be free from evils of colonialism, poverty, &
inequality
1.3 Le Corbusier (Chandigarh)
▪ The city has had far-reaching impact, ushering in a modern idiom of
architecture and city planning all over India and has become a symbol
of planned urbanism. Buildings are cubical form, geometrically
subdivided with emphasis on proportion, scale and detail.
o Grid System, Open spaces, Brutalist Architecture, Modular Design,
Sun shading devices, Landscaping, Interaction of nature

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 ▪ Le Corbusier designed the Legislative Assembly, Secretariat and High Court for the state
Punjab, Chandigarh. Chandigarh became a symbol of New India

Palace of the Assembly 1951

o The program features a circular assembly chamber, a forum for
conversation and transactions, and stair-free circulation
o Le Corbusier's five points of architecture can be found within the design from its open
plan to the view of the Himalayan landscape.
Secretariat, Chandigarh 1952
o The whole structure is constructed in Béton brut (rough-cast
concrete) with Corbusier's signature 'brise-soleils' façade
o is the largest of Corbusier’s three completed administrative buildings. The massive,
horizontal complex is comprised of 8 stories of rough-cast concrete.

1.4 Indian Institute of Management, Ahemedabad ( Louis Kahn)

▪ It features exposed brickwork, concrete slabs
▪ and sun-shading devices
▪ all designed to withstand the harsh Indian climate.
▪ The building has won numerous awards and is considered a
landmark of modern Indian architecture. Use of local vernacular materials
▪ Concrete has been restricted to floor slabs, foundations and ties for arches.
▪ Brick arches have been used for wider spans.
▪ Blend of Modern Architecture and Indian tradition

1.5 Public Works Department (PWD) Buildings

▪ Some of the most famous PWD buildings in India include:
▪ IIT, Kanpur-in 1959 – 1963 design by Achyut Purushottam Kanvinde in a modernist style.

▪ National Gallery of Modern Art, Delhi - in 1954 The building by architect Arthur Blomfield

▪ Bharat Bhavan, Bhopal - Designed by Charles Correa, this multi-arts complex is a

celebration of Indian art, culture, and heritage.

▪ N.H. L. Medical College Ahmedabad 1965-72 Suryakant Patel

▪ National Institute of Design, Ahmedabad - Designed by Gautam Sarabhai

▪ tata institute of social sciences bombay 1951-54 Durga Bajpai

▪ TAGORE THEATRE Chandigarh 1959-61 Aditya Prakash

▪ SRI RAM CENTRE Chandigarh ,New Delhi 1966-72 Shivnath Prasad

▪ RABINDRA BHAVAN New Delhi 1959-61 Habib Rahman

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UNIT I - Chandigarh

1.1 Introduction to Chandigarh

1.2 Post-independence Chandigarh planning
1.3 Chandigarh planning
1.4 Chandigarh planning – Capital Complex
1.5 Corbusier in India - Chandigarh
1.1 Introduction to Chandigarh
▪ Chandigarh, the dream city of India's first Prime Minister, Sh. Jawahar Lal Nehru, was
planned by the famous French architect Le Corbusier.

▪ Picturesquely located at the foothills of Shivalik’s, it is known as one of the best experiments
in urban planning and modern architecture in the twentieth century in India.
▪ Chandigarh was designed in 1950 as Punjab's new state capital following partition.
▪ Le Corbusier was tapped to design the metropolis, employing a grid street pattern,
European-style boulevards, and raw concrete buildings – a distillation of ideas formed
across his lifetime.

1.2 Pre-independence Chandigarh planning

Chandigarh
▪ Urban After the partition of India, Pakistan became the capital of West Punjab and the search
was for the new capital of East Punjab
▪ Various locations were identified and discarded for shortage of water, poor accessibility,
and defense vulnerability.
Site Specification
▪ Successful streets, Present site is in Sub- Mountain region.
▪ 260 kms of North Delhi.
▪ Central location to the state.
▪ Proximity to National capital.
▪ Plentiful water and natural drainage.
▪ Shivalik Hills as background.
▪ Had a great potential for imaginative Landscape and offered magnificent view.
1.3 Chandigarh planning
▪ Planning of Chandigarh – Le Corbusier
o Chandigarh: Chandigarh is one of the most significant urban planning experiments of the
20th century.
o It is the only one of the numerous urban planning schemes of Le Corbusier, famous
French architect-planner, to have actually been executed
o The city had far-reaching impact.
o It is famous for its landscaping as for its architectural ambience.

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 o Most of the building are in pure, cubical form, geometrically subdivided with emphasis
on proportion, scale and detail.

Fan-shaped Master plan proposed Grid-Iron Master plan proposed by

by Albert Mayer Le Corbusier
o Extreme climate situations – to make shade and ventilation.
o He introduced several major changes in Mayer-Nowicki plan.
o Horizontal planning.
o Garden city.
o Phase I – 30 self-supporting units, 3641 hectares 150,000 people.
o Phase II – 17 sectors, 2428 hectares, 350,000 people.
▪ Corbusier’s Master plan
o Taking over from Albert Mayer, Le Corbusier produced a plan for Chandigarh that
conformed to modernist city planning.
o Le Corbusier make the plan more organic master plan
▪ Biological Analogy
o He replaced these with a rectangular grid based on the metaphor of a human body.
o He placed the capital complex at the top resembling the head, the intellectual base,
reflecting his (and Nehru’s) conviction that government should rule a city as the head
rules the body.
o The industrial and educational belts on either side of the city symbolized the limbs.
o The city center with commercial buildings, shopping, and offices represented the
Heart.
▪ Roads
o The hierarchy of roads separated pedestrian and vehicular traffic into 7 different road
types, known as the system of 7 Vs.
o These were based on his designs for the Radiant city – the ideal city of an omnipotent
Western machine-age civilization promoting a decongested city center, filled with
sun, space, and greenery.
▪ Sectors
o Each sector is 800m x 1200m, enclosed by roads allocated to fast mechanized
transport and sealed to direct access from the house.
o A green strip oriented along the sector in the direction of the mountains.
▪ Other areas of special Architectural interest

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 o Harmonized and unified construction of buildings is aimed at, absolute architectural
and zoning control should remain operative.
o City center: The central plaza in sector 17 was designed as ‘’Pedestrian’s paradise’’.
No vehicular traffic will be permitted in the plaza.
o Industrial area: Only such industry as is provided by electricity would be permitted in
the Industrial area, so that atmosphere is save
o The lake: The lake is a gift of the creators of the Chandigarh to the citizens to be at
one with the lake and its environments and its tranquility shall be guaranteed by
banning noises.
o Material: Concrete, bricks, and stone, shall be maintained in all building constructed
or to be constructed.
1.4 Chandigarh planning – Capital 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.

▪ 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.

1.5 Corbusier in India - Chandigarh

▪ Palace of the assembly
o Le Corbusier's five points of architecture can be found within the design from its open

plan to the view of the Himalayan landscape.

o The program features a circular assembly chamber, a forum for conversation and
transactions, and stair-free circulation.
o 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 Himalayas.

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 o Intersecting that open space, is the circular assembly chamber that is contradictory in
form to producing good acoustics.

▪ Secretariat, Chandigarh

o The Secretariat building is the largest edifice in the Capitol Complex and is the
headquarters of both the Punjab and Haryana governments.
o 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.
o Design goal: to revolutionize the modern office building.
o The various projections, recesses, circulation elements, and multi-level interior spaces act
as sunbreaks ('brise-soleils') to mitigate solar gain.

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UNIT I - MODERN ARCHITECTURE – SPREAD AND LATER DIRECTIONS

1.1 Outline of evolution of the architectural profession in India, influences on

architects.
1.1 Outline of evolution of the architectural profession in India, influences on architects
The architectural profession in India has undergone significant evolution over the years,
with changes in societal needs, economic conditions, and technological advancements.
Here is a brief outline of the evolution of the architectural profession in India and its
influence on architects:
1. Pre-Independence Era (before 1947): During this period, architectural styles were
heavily influenced by the British colonial rule. Architects were mostly British, and their
work reflected the colonial style of architecture. However, some Indian architects like Sir
JJ School of Architecture graduates were also working and developing the field.
2. Post-Independence Era (1947-1980): After India gained independence, architects
started incorporating local traditions and culture into their designs. Many new
architectural institutions were established, and the number of Indian architects increased.
This era also saw the development of modernist architecture, with architects like Le
Corbusier and Louis Kahn influencing the Indian architecture scene.
3. Liberalization Era (1980-2000): During this period, economic liberalization brought
about rapid urbanization and industrialization in India, leading to a surge in demand for
architectural services. Architects started incorporating new materials and construction
techniques in their designs, and there was a greater focus on sustainable architecture.
4. Contemporary Era (2000-present): In recent years, there has been a greater emphasis
on green architecture and sustainable design. Many Indian architects have gained
international recognition, and there has been a rise in the use of technology in
architecture, with the introduction of BIM and other software tools.
The evolution of the architectural profession in India has influenced architects in many
ways. Architects are now more aware of the importance of incorporating local traditions
and sustainable design in their work. They have access to advanced technology and
software tools, enabling them to create more complex and efficient designs. There is also
a greater demand for architects who are knowledgeable in sustainable and green
architecture. Overall, the architectural profession in India continues to evolve, reflecting
changes in societal needs and technological advancements.

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Unit – 1 : Modern Architecture (Achyut kanvinde)

1.1 Introduction
1.2 Design concepts
1.3 Philosophy of Design
1.4 Doodhsagar Dairy, Gujarat

1.1 Introduction.
• Achyut Kanvinde was an Indian architect who worked in functionalist approaches with elements
of Brutalist architecture.
• He was a pioneer of Modern Architecture. His designs experimented with simple
geometrical shapes that imbibed fluidity, giving the building a voice.
• Kanvinde played with space and forms.
• He received the Padma Shri in 1974.

➢ His projects:
• IIT, Kanpur
• Doodhsagar Dairy Complex, Gujarat
• Iskcon Temple, New Delhi
• Nehru Science Centre, Mumbai
• Irma Campus, Delhi
• National Science Centre, Delhi.

1.2 Design Concepts

1. Functionalism – Buildings were conceived with utmost priority given to its functions as well
as social values of the designed space. His practice rejected symmetry.

2. Modern architecture and Brutalism – His buildings were characterized by minimalist

construction that showcased raw building materials as well as structural elements. He
believed it was a visual expression of the building and opposed hiding it.

3. Regionalism – His buildings were influenced by the local climate, social conditions, and
locally available materials.

1.3 Philosophy of Design

• Played with space and form. His designs are slender, balanced, proportionate, neat and
well crafted.
• The porch and staircase were given emphasis in his buildings.
• Natural light was given utmost priority. The form of the building solved the problem of
ventilation as well as excessive heat through covered verandahs, walkways and
staircases.
• He believed in Vernacular Architecture.

1.4 Doodhsagar Dairy, Gujarat

• Doodhsagar Dairy of National Dairy Development Board built in 1973.
• One of the large
• st Milk processing unit in gujarat.

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 • Style of Architecture – Brutalism.
➢ Design features :

o Monstrous and raw

o The form is very rough and solid
o Cold character
o Fortress like structure
o One of the first outburst of kanvinde’s brutalism

• 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.

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UNIT I – HABIB RAHMAN

1.1 Habib Rahman

1.2 Rahman’s principles of design
1.3 Bauhaus Architecture
1.4 The Architecture of Independent India.
1.1 Habib Rahman :
• Habib Rahman (1915 – 1995) was an Indian architect who worked on the Delhi Zoological
Park, Gandhi Ghat, and Rabindra Bhavan in New Delhi.

• Architect Habib Rahman was an absolute visionary who brought modernism to India with an
ideology that was embedded in every one of the structures, evoking a sense of authenticity
and boldness that dictated the surrounding spaces. The Bauhaus style of architecture, one
that originated from Germany after World War I, was introduced to India via the works of
Habib Rahman. His buildings kept every passerby riveted with the picture of a developing
new India that still had the genesis of its culture and tradition.

1.2 Rahman’s principles of design :

• Brought in Bauhaus Style of Architecture in India. Emphasized on modern
technology and mass production techniques and materials to design and
manufacture high quality and cheap goods that are accessible to many.
• Flat roofs, smooth facades, cubic shapes favoring right angles
• White, grey, black and beige were the colors used primarily.
• Use of steel frames, flat slab, concrete as construction material.
• Lack of Ornamentation.
• Open floor plans with functional placement of furniture.
• Used Indian Architecture elements like chajjas; jali; dome, horizontal and vertical
louvres; and overhanging roofs.
1.3 Bauhaus Architecture :
• Architect Habib Rahman, being a student of Walter Gropius at MIT, brought the
Bauhaus style of architecture to an independent India. This visionary architect
started his professional studies with a degree in Mechanical Engineering and
completed his further studies in Architecture from MIT, making him the first
Indian to have completed his education at an American University. By 1946 he
had worked and learned under the guidance of several legendary mentors like
Walter Gropius and Lawrence B Anderson. He returned to India with this
exceptional new style, revolutionizing architecture and design with flair in a
country that had just fought its battle for independence.

• Architect Habib Rahman’s design principles were composed of a philosophy that

resonated with the Bauhaus style of architecture. With an emphasis on
modernism, the concept also aimed at creating high-quality, high-value goods
that were cost-effective and accessible to all. Building design saw its

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 transformation with the introduction of flat roofs, smooth facades, cubic shapes
that favored right angles, and exceptional grid structural design. The color palette
used white, grey, black, and beige as primary colors and construction techniques
and materials using steel frames, flat slabs and concrete saw a first in this new
age era of modernism in India.

1.4 The Architecture of Independent India :

• Habib Rahman: The Architect of Independent India, a book written by S.M Akhtar chronicles
the pivotal role that Architect Habib Rahman played in shaping the modern architecture of
New Delhi. In his book, the author highlights the journey of transition of India from a newly
independent state to a strong republic, reflected through his architectural practice. It
celebrates the renowned architect and his memorable moments created through a life
devoted to innovative and meaningful design.

• Architect Habib Rahman, after his return to an independent India in 1947 designed 80 projects
as a rookie architect and was then commissioned to construct his first memorial project in
West Bengal, The Gandhi Ghat. This memorial, created in 1948, was inaugurated by Jawaharlal
Nehru. Nehru saw Rahman as the architect who would hold a crucial role in shaping the
architecture in India. He arranged for Rahman to be transferred to the Central Public Works
Department in Delhi in 1953.

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UNIT I - MODERN ARCHITECTURE – SPREAD AND LATER DIRECTIONS

Le Corbusier

1.1 Introduction- Le Corbusier

1.2 Ideas
1.3 Famous works
1.4 Unite’ d” habitation
1.5 Villa Savoye

1.6 Notre-Dame-du-Haut
1.1 Introduction -Le Corbusier
▪ He’s a Swiss- French architect
▪ He was an architect, designer, painter, urban planner, writer, and one of the pioneers of
Modern architecture

▪ ARCHITECTURE STYLE-He chiefly built with steel and reinforced concrete and worked with
elemental geometric forms

▪ Contribution to Architecture
o He was the pioneer of modernism in architecture and laid foundation to wat is known as
Bauhaus movement or international style

o He us known for innovation in urban planning & his solutions for low income housing

o He designed projects in Russia, India& Europe, two in USA too

o Formed five points of architecture which were the guiding principles for many architects

1.2 Ideas
▪ FIVE POINTS IN ARCHITECTURE –
o Pilotis-replacement of supporting walls by a grid of reinforced concrete columns that bears
the structural load is the basis of the new aesthetic
o The free designing of the ground plan

o The free design of the facade

o The horizontal window, which cuts the faced along its entire length, lights rooms equally
o Roof gardens on a flat roof can serve a domestic purpose while providing essential
protection to the concrete roof
▪ Modulor

o The graphic representation of the modulor, a stylized human figure with one arm raised,
stands next to two vertical measurements

o Attempts to discover mathematical proportions in the human body

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 ▪ Open hand – is a recurring motif in his architecture-a sign for him of “peace and
reconciliation. It is open to give and open to receive

▪ Furniture-” Chairs as architecture, sofas are bourgeois”

1.3 Famous works

▪ Unité d'habitation
▪ Villa Savoye
▪ Chandigarh Capitol Complex

▪ Notre-Dame-du-Haut
▪ Carpenter Center for the Visual Arts

▪ National Museum of Western Art

▪ Mill owner’s association

▪ Palace of justice

1.4 Unité d'habitation

▪ Unité d'Habitation is a residential building located in France and The building is a prime
example of Le Corbusier's concept of the "vertical garden city".

▪ It was designed as a self-contained

community, with apartments, shops, restaurants,
and recreational facilities all housed within the same
structure.

▪ The building's design is characterized by its

modular construction, with each apartment unit
consisting of a series of identical modules that can be
combined in various configurations.

▪ The building's façade features a series of brise-soleil (sun breakers) that provide shade and
privacy for the residents while also creating a striking visual pattern.

▪ Unité d'Habitation was intended to be a prototype for a new type of housing that could be
replicated in cities around the world. While only a few similar buildings were actually
constructed, the building's influence on modern architecture can still be seen today.

▪ Today, Unité d'Habitation is recognized as one of Le Corbusier's most important works, and is
a UNESCO World Heritage Site.

1.5 Villa Savoye

▪ Villa Savoye is a prime example of modernist

architecture

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 ▪ The villa was designed as a weekend retreat for the Savoye family, and was intended to be a
machine for living, as Le Corbusier famously described it.
▪ The design of the villa is characterized by clean lines, an open floor plan, and a focus on
function over form. The building's shape is based on the principles of the Golden Ratio, and
the use of concrete and steel is a nod to modern industrial materials.
▪ The villa's rooftop garden, which provides a panoramic view of the surrounding countryside,
is one of its most distinctive features. The garden was designed as an outdoor living space that
could be used for socializing, relaxation, and recreation.
▪ Villa Savoye is also significant for its use of the Five Points of a New Architecture, a set of
design principles developed by Le Corbusier that became a cornerstone of modernist
architecture. These principles include the use of pilotis (columns) to elevate the building, an
open floor plan, and a façade free of load-bearing walls.
▪ Today, Villa Savoye is a UNESCO World Heritage Site. Its enduring popularity and influence on
modern architecture demonstrate Le Corbusier's lasting impact on the field.
1.6 Notre-Dame-du-Haut

▪ Notre-Dame-du-Haut is a chapel located in France.

▪ The chapel's design is characterized by its unconventional forms, including the use of curved
walls and a series of sculptural elements that appear to rise organically from the ground.
▪ The chapel's roof is a complex series of concrete shells that filter natural light into the interior
space. This creates a dramatic interplay of light and shadow that changes throughout the day.
▪ The interior of the chapel is simple and austere, with white walls and minimal decoration. The
focal point is the altar, which is illuminated by a circular opening in the roof.
▪ Notre-Dame-du-Haut is considered one of Le Corbusier's most innovative and experimental
works. It defies conventional architectural styles and pushes the boundaries of what was
thought possible with concrete construction.
▪ Today, Notre-Dame-du-Haut is a popular pilgrimage site and a UNESCO World Heritage Site.

Page 3 of 3
UNIT I -EERO SAAARINEN

1.1 Louis Kahn

1.2 Philosophy
1.3 The Kimbell Art Museum
1.1 Louis Kahn
• Louis Kahn:
Louis Kahn was an American architect known for his distinctive modernist style, which
emphasized geometric forms, natural materials, and light.

• Architectural Style:
Louis Kahn’s architectural style was characterized by a balance of simplicity, elegance, and
functionality, and his influence can be seen in the work of many architects who followed
him.
• Works:
o Salk Institute
o The Kimbell Art Museum
o National Assembly Building.

1.2 Philosophy

o He believed that architecture should be responsive to the needs of society and that
architects had a responsibility to create buildings that were accessible, functional, and
meaningful.
o His focus on the power of light and space to evoke emotion and create meaning continues
to influence architects and designers today.

1.3 The Kimbell Art Museum

• Introduction:
Location: The Kimbell Art Museum is located in Fort Worth, Texas.
Opened in 1972, One of the most significant works of architecture of the 20th century.
• Design Concept:
Incorporating natural light into the space is not only aesthetically pleasing but also serves a
functional purpose in enhancing the museum experience for visitors. It is a testament to the
importance of thoughtful design in creating a space that is both beautiful and functional.
• Zoning:
The building is divided into three zones:
Central gallery zone,
Entrance zone,
Service zone.

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 This strategy creates a clear circulation path for visitors and staff, while also minimizing noise
and energy use. The central gallery zone is the focal point of the building, with the entrance
and service zones on either side to support and enhance the visit experience.
• Floor Plans:

Overview: The Kimbell Art Museum is a Two-level building with a total floor area of
approximately 120,000 square feet.

Ground Level: Features an education center, lobby, a library, and a large, multi-purpose
auditorium. The auditorium is located below the central courtyard and is accessible via grand
staircase from the central foyer, other public spaces such as restrooms and coatrooms.

Ground Level: Central Foyer, European Galleries, Asian Galleries, The Egyptian Gallery,
Museum Shop, Portico, Light court provide natural light.
• Interior design:
It features balance, symmetry, and natural light.
The galleries have a linear layout, with warm-colored walls made of travertine
stone.
Custom-made furniture, fixtures and fittings complement the overall design, creating a
visually stunning and intellectually engaging space.
• Exterior design:

It features a simple and elegant façade made of concrete and glass. the use of light and
shadow.
create a sense of rhythm and texture.
The design allows natural light into the museum’s interior and provides visitors with views
of the surrounding landscape.
• Building Materials:
Its primarily made of reinforced concrete. The concrete is paired with travertine marble
panels that serve as the exterior cladding of the building.
The travertine was carefully selected to match the color and texture of the surrounding
landscape. The museum is filled with natural light from skylights and clerestory windows,
which creates a sense of serenity and contemplation.
The building’s materials were chosen for their durability, timeless beauty, and ability to.
enhance the visitor’s experience of the art within
• Conclusion:
Is an architectural masterpiece renowned for its innovative use of natural light and
materials. It understates elegance and simplicity of design make it icon of 20th-century
architecture and a revered cultural institution.

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ANANT RAJE- “LOUIS KHAN OF INDIA”

TABLE OF CONTENT:
1. Introduction
2. Architectural principle
3. Design concept
4. Design philosophy
5. Achievements
6. His works
7. IIFM
8. IIM
9. Wholesale market
10. Why Raje is called as “Louis Khan of India”

1.INTRODUCTION:
ANANT DAMODAR RAJE, is an Indian architect.

2. ARCHITECTURAL PRINCIPLE:

• Use of bold material and clean geometry shapes and forms

• Blend of exterior to interior
• Play of texture in exterior
• Attended to issue of lighting and ventilation
• To Raje, light doesn’t merely have significance of function. In his work, light takes the
form of plan and the choice of material, where gradation of light is seen and used for
different purpose.

3. DESIGN CONCEPT:

• Integration between, purpose and experience, building and landscape, part and
whole, sense of repose
• understanding of elements of building, law of construction, thus result in ordering
presence
• materiality and sensitivity of light
• soft and quality

4. DESIGN PHILOSOPHY:

• collaboration of culture and spiritual well being

• aimed at honesty and simplicity
• integration of man, the space around him and the elements that make up the space.
 5. ACHIEVEMENTS:

• distinguished professor award

• Indian institute of architects (IIA)
• Babura Mhatre gold medal
• Master award for lifetime contribution

6. HIS WORKS:

MANEGEMENT
DEVELOPMET
CENTER,IIM,

INDIAN
INSTITUTE OF DEVELOPMENT
FOREST AUTHORITY
MANEGEMENT HEADQUATERS
BHOPAL

GALBABHAI INDIAN
FARMER STATISTICAL
INSTITUTE, MAJOR WORKS INSTITUTE,
GUJARAT NEW DELHI

7. IIFM- INDIAN INSTITUTE OF FOREST MANEGEMENT:

• Location: Bhopal, India

• Type: educational building
• Usage: training building
• Site: 63-acre site, lies in contour land with 50 in level difference from main road
• Material: load bearing stone masonry and RCC
• Design:
Passive shading technique of recessed window
Clad with kotah stone and slate gives deep contrast to blueish green to purple
hues
Orientation is towards the view of southern lake, which gave way to use the
prevailing winds
8.MANEGEMENT DEVELOPMENT CENTER, IIM

• Location: Ahmedabad
• Type: education and research institute
• Material: baked bricks
• This independent block has it own hostel, dining and admin
• Free flowing c plan with basement enclosing courtyard at center

9. A.F.C.O WHOLESALE MARKET,

• Location: Mumbai
• The plan segregates the pedestrian and vehicular flow inside the complex
• Material: concrete with column grid of 9.14m by 13.1m
• Houses several elements
- Trading cell and admin
- Auction hall with slope roof for rainwater harvesting
 - Three banks within the shell roof

10: WHY RAJE IS CALLED AS” LOUIS KHAN OF INDIA”:

• It was Louis Kahn who had profound influence on Anant Raje.

• Raje first met Kahn when the latter was asked to design IIM Ahmedabad
building. After six months of becoming acquainted with Kahn, Raje was
invited by the former to work in his office in Philadelphia.
• After a decade long association with khan, Raje imbibed in him Kahn’s
philosophy of architecture, sense of order, appreciation of light, handling of
materials especially brick and concrete, climate control. Kahn’s influence on
Raje is evident in many of his works like the Management Development
Centre and the Ravi Mathai Centre in IIM campus.

• So, there is nothing wrong if Raje is considered as Louis Kahn of India

because he richly deserves that nomenclature.
UNIT I - TOPIC NAME

1.1 Introduction to Urban Design

1.2 Scope and Objectives of Urban Design as a discipline
1.3 Components of Urban Space and their interdependencies
1.4 Aspects of Urban Space and Articulation
1.5 Outline of Issues

1.1 Introduction to Charles Correa

▪ Charles Correa was an Indian architect and urban planner, known for his modernist and
brutalist structures.

▪ Correa's early architecture focused on regionalism and the use of natural materials.

▪ Correa was educated in Bombay and London, where he was inspired by modernist works
such as Le Corbusier's.
▪ Correa's early collaborations and projects included the High Court Building in Ahmedabad
and the Mahatma Gandhi Memorial.
▪ Correa was an admirer of Le Corbusier, and his works had a significant influence on Correa's
early architecture.

1.2 Early Projects

• High Court Building

o Correa's High Court Building was notable for its use of natural light, linear planning, and
spaciousness.

• Mahatma Gandhi Memorial

o The Mahatma Gandhi Memorial was designed with a sloping roof, echoing traditional
Indian architectural styles

• Kanchanjunga Apartments
o The Kanchanjunga Apartments were notable for their efficient use of space, and their
focus on communal living.
1.3 Design Aesthetics and Regionalism
▪ Correa's early works featured the use of natural light and materials, such as wood and stone.
▪ Correa favored linear planning, which allowed for more flexible and open spaces.

▪ Correa's buildings were also designed to maximize the use of space, creating an efficient and
functional design.

▪ Correa used local materials, such as wood and stone, to create an aesthetic that was rooted
in regionalism.

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 ▪ Correa's works also sought to preserve the local culture, by drawing inspiration from
traditional Indian architecture.

▪ Correa was also inspired by India's history, incorporating elements such as sloping roofs into
his works.

1.4 Impact, Critiques and Reflection

▪ Correa's early works had a significant impact on Indian architecture, inspiring a generation
of architects.

▪ Correa's works also had an influence on international architecture, with his designs being
adopted in other parts of the world.
▪ Correa's early works also had a lasting influence on his later works, as many of his ideas
and concepts were re-used in later projects.

▪ Correa's early works were well-received, with critics praising his focus on regionalism and
efficient use of space.

▪ However, some critics have argued that Correa's works lacked creativity, as he often re-
used the same ideas and concepts.
▪ Correa's early works continue to be studied and admired and are seen as having a
significant influence on modern architecture.
▪ Through a focus on regionalism, natural light, and efficient use of space, Correa's early
works had a lasting influence on Indian architecture.

▪ Correa's early architecture continues to inspire modern architects and is seen as an

important part of India's architectural history.

1.5 Kanchanjunga Apartment

▪ The building is located in the city of Mumbai, India.

▪ It is located near the Gateway of India and Marine Drive.

▪ The building consists of two towers with four wings each, connected by a central core.

▪ It is an iconic residential building that stands out among the other buildings in the city.

▪ Structural Design: The building is designed to be earthquake-resistant with its reinforced

concrete frame.

▪ Facade Design: The building features a curved facade that allows for natural light and
ventilation.

▪ Interior Design: The interior features a mix of modern and traditional Indian design
elements.

▪ Common Areas: The building includes a swimming pool, gym, and other common areas.

▪ Apartment Features: The apartments feature high ceilings, spacious balconies, and natural
lighting.

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▪ Recreational Facilities: A variety of recreational facilities are available to residents, such as a
basketball court and a playground.

▪ Energy Efficiency: The building features energy-efficient lighting and appliances.

▪ Sustainable Materials: It is constructed with sustainable materials such as bamboo, clay, and
recycled wood.

▪ Water Conservation: The building uses rainwater harvesting and water recycling systems.

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UNIT I – MODERN ARCHITECTURE-SPREAD AND LATER DIRECTION

1.1 Introduction to B. V. DOSHI

1.2 Architectural Style
1.3 Design Aspects

1.1 Introduction to B. V. DOSHI

▪ Balkrishna Vithaldas Doshi (born 26 August 1927) is an Indian Architect, who is considered an
important figure of South Asian architecture and noted for his unfathomable contributions to
the evolution of architectural discourse in India.
▪ He is known for his contribution to the architecture of Indian Institute of Management
Bangalore.
▪ B. V. Doshi’s work has evolved over the years and moved beyond the modernist principles
that he was initially trained in.

1.2 Architectural Style

▪ Dosh’s architectural style is characterized by a blend of modern and traditional elements.
▪ His buildings often incorporate traditional Indian architectural elements such as jalis
(perforated screens), chajjas (sunshades), and courtyards, while also incorporating modern
materials and technologies.
▪ His design prioritize human experience and social context, incorporating natural light,
ventilation, and green spaces to create buildings that are both functional and beautiful.
▪ One of Doshi's most famous works is the Indian Institute of Management Bangalore, which
features a series of interconnected buildings arranged around a central courtyard.
▪ The buildings incorporate a variety of materials, including exposed brick, concrete, and
stone, and feature deep overhanging roofs and shaded outdoor spaces.

INDIAN INSTITUTE OF MANAGEMENT - BANGALORE

1.3 Design Aspects

1. Sustainability: Doshi's designs often incorporate environmentally friendly features

such as natural ventilation, rainwater harvesting, and green roofs. He is known for
his sustainable approach to architecture, which is rooted in his belief that buildings
should have a minimal impact on the environment.
2. Functionality: Doshi's designs prioritize the functionality of spaces and aim to create
buildings that are well-suited to their intended purpose. He believes that buildings

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 should serve the needs of their occupants and be adaptable to changing needs over
time.
3. Human Experience: Doshi's designs prioritize the human experience of spaces,
emphasizing the importance of natural light, ventilation, and green spaces. He
believes that buildings should be designed to promote well-being and enhance the
quality of life of their occupants.
4. Integration with Context: Doshi's designs incorporate the local context and culture,
drawing inspiration from traditional Indian architecture. His buildings often
incorporate traditional elements such as jalis (perforated screens), chajjas
(sunshades), and courtyards, while also incorporating modern materials and
technologies.
5. Aesthetics: Doshi's designs are characterized by a harmonious balance of form and
function, with a focus on simplicity and elegance. He believes that buildings should
be aesthetically pleasing while also being functional and sustainable.

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