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Charleschorrea

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  • 1. CHARLES CORREA Charles Correa is an Indian architect and urban planner, particularly noted for his sensitivity to the needs of the urban poor and for his use of traditional methods and materials
  • 2. •Born into a middle-class Catholic family in Bombay •Became fascinated with the principles of design as a child •At Michigan two professors who influenced him the most -Walter Salders and Buckminister Fuller. •Kevin lynch , then in the process of developing his themes for image of the city triggered Correa’s interest in urban issues •‘India of those days was a different place, it was a brand-new country, there was so much hope; India stimulated me.’ •Education 1946-1948 1955 1953-1955 inter-science. St. Xavier's college, university of Bombay1949B.Arch., University of Michigan. M.Arch., Massachusetts institute of technology. •Professional Experience 1955-1958 19581964-1965 1969-1971 1971-1975 1975-1976 1975-1983 1985 partner with G.M. BHUTA associates to date in private practice. prepared master plan proposing twin city across the harbor from Bombay. invited by the govt. of Peru chief architect to CIDCO consultant to UN secretory-general for HABITAT Chairman Housing Urban Renewal & Ecology Board chairman dharavavi planning commision
  • 3. PRINCIPLES •FEW CARDINAL PRINCIPLES IN HIS VAST BODY OF WORK; •INCREMENTALITY •PLURALISM •PARTICIPATION •INCOME GENERATION •EQUITY •OPEN-TO-SKY SPACE •DISAGGREGATION. Ballarpur housing being the one project where he has literally used these principals CORREA'S WORK IN INDIA SHOWS A CAREFUL DEVELOPMENT , UNDERSTANDING AND ADAPTATION OF MODERNISM TO A NON-WESTERN CULTURE. CORREA'S EARLY WORKS ATTEMPT TO EXPLORE A LOCAL VERNACULAR WITHIN A MODERN ENVIRONMENT. CORREA'S LAND-USE PLANNING AND COMMUNITY PROJECTS CONTINUALLY TRY TO GO BEYOND TYPICAL SOLUTIONS TO THIRD WORLD PROBLEMS. Basic concept behind his designs : He combines vernacular and modern concepts to create designs that support the cultural identity of a place and community and eventually lead to sustainable architecture.
  • 4. MP VIDHAN SABHA •The new Vidhan Sabha houses the many diverse functions crucial to a functioning democracy . •The plan is a pattern of gardens within gardens , divided into 9 squares . •The five central ones are halls and courtyards , while the 4 corner positions are occupied by specialized functions. •The Vidhan Sabha , the Vidhan Parishad, central library, and combined hall .It also contains a host of other facilities : offices, cabinet rooms, cafeterias , common rooms for security staff etc. •According to the requirements there are 3 main entrances- for public,VP’s, MLA’s . These 3 main streams separated from each other experience the complex internal space of the building while moving along verandah and overlooking courtyards and gardens–as in traditional architecture of India. DEEP UNDERSTANDING OF THE VEDIC PRINCIPLES
  • 5. SECTION FLOOR PLAN ROOF PLAN PARTIAL MODEL VIEW OF THE PUBLIC ENTRANCE , CENTRAL COURT AND VIDHAN SABHA
  • 6. ELEVATION The building is located in the centre of bhopal. Since the main access road is not axial , but swings towards the site in a rather casual manner , the plan of the building developed as a circle, so it could have an autonous unity and presence, regardless of the direction from which it is approached. References of this circular form are–parliament building in New Delhi, Buddhist stupa near Sanchi.
  • 7. The whole building presents as extremely pleasing vision of powerful curves and straight vertical and horizontal lines. Whereas the building could have fallen into the trap of being merely monumental, its pristinely simple lines raise it to an altogether different plane. This is the genius of Charles Correa Correa has used open to sky courtyards and a labyrinthine pattern of pathways to organise the complex requirements of adminstrative and legislative functions. The whole composition is enclosed by a wall that defines its exterior form like a circular inner city- a model of the city of Baghdad. This approach has generated an interesting roofs cape and skylines, too often missing in contemporary architecture, the use of gateways and domes and a tower to develop the imagery of this landmark complex is very much in the tradition of the harmonic order found in the traditional architecture of Islam
  • 8. KANCHENJUNGA APARTMENTS THE BUILDING HAD TO BE ORIENTED EAST–WEST TO CAPTURE PREVAILING SEA BREEZE AND VIEWS TO THE CITY. •But also the orientation for hot sun and heavy rains •Solution in old bungalows–wrapping a protective layer of verandahs around the main living areas •Kanchanjunga an attempt to apply these principles to a high-rise building •This building has 32 different apartments with 4 types of flats varying from 3 to 6 bedrooms. •Interlocking of these variations expressed externally by shear end walls that holdup the cantilevers •Minimalist surfaces cut away to open up double-height terrace gardens at the corners •Complex spatial organization of living spaces Superficially, this 28-story tower, with its concrete construction and large areas of white panels, bears a strong resemblance to modern apartment buildings in the West Tower’s proportion 1:4 (21 sqm and 84 m high)
  • 9. •Garden terraces actually a modern interpretation of a feature of the traditional Indian bungalow: the verandah •Each apartment provided with a deep, two-story-high garden terrace that is oriented away from the sun so as to afford protection from the elements
  • 10. GANDHI SMARAK SANGRAHALAYA Material used: •Tiled roof •Brick wall •Stone floor • Wooden floor •Light and ventilation by operable wooden louvers These elements combine to form a pattern of tiled roofs which are grouped in casual meandering pattern, creating a pathway along which the visitors progresses towards the centrality of the water court PHILOSOPHY: •Successfully shows the life of Gandhi ji •Minimalist architecture •Material honesty •Contemporary architecture •Glow of spaces GANDHI ASHRAM WATER COURT AT CENTRE
  • 11. SECTION ROOF PLAN SITE PLAN WATER COURT AT CENTRE SECTION
  • 12. IN HIS DESIGNS, WHICH RANGE FROM LOW-INCOME, HIGH DENSITY HOUSING TO ENTIRE TOWNSHIPS, HE PAYS SPECIAL ATTENTION TO AIR VENTILATION AND TO PROVIDE HUMANE LIVING ENVIRONMENTS. IN INDIA, THE URBAN POPULATION IS INCREASING TWICE AS FAST AS IN ITS RURAL AREAS. HE TAKES ON THIS CHALLENGE AND DESIGNS HOMES, BOTH FOR LOW AND HIGH INCOMES . BUT EVEN WHILE DESIGNING SMALL SPACES WITHIN THIS HIGH DENSITY ENVIRONMENT, HE INCORPORATES A HIGH LEVEL OF PRIVACY AND ALSO SHAPES AND CONTRIBUTES TO THE COMMUNITY LIFE WITHIN AN APARTMENT BUILDING.
  • 13. The street-like organization of this low-rise high density housing development (160 units on a 0.8 hectare site) reflects a return to vernacular form sources that became popular in Indian housing efforts of the 1970s. • This parti (referred to as the big idea) derives specifically from the climatologically rationale of the narrow overhung streets in desert towns such as Jaisalmer. Literal quotation of traditional form or details has been avoided. • The unusually refined exposed brick and concrete construction reflects the architect's prevailing commitment to the Modernist idiom. • The internal streetscape is interpreted as a shady garden, informally landscaped with trees and water to enhance humidity. It is terraced to fit the topographic profile of the site.
  • 14. •This irregular contour is echoed in the staggered rows of housing that frame the space and in the terraced set-backs of the external elevations. •Living units are two storeyed maisonettes, 3 metres wide and 15 metres long, each clearly expressed in the articulated mass of the building. •Lower units are accessible at grade from the internal street; upper units are reached by common stairs. These units open out onto private roof terraces framed by a giant concrete pergola that serves as a cornice to the composition. •This characteristic device is somewhat vestigial in Correa's application of it here. It accentuates the jagged breakdown of the building's surfaces rather than forming an effective, continuous parasol. ACCESS STAIRS AND ENTRANCE BALCONIES OVERLOOKING INTERIOR COURT EXTERIOR VIEW
  • 15. LEGENDS 1. 2. 3. 4. 5. BEDROOM LIVING KITCHEN HUMIDIFICATION ZONE COMMUNITY SPACE VIEW OF ONE UNIT (3D VIEW) ROAD VIEW -3 MT WIDE ROAD

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