Contemporary indian planners !


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Contemporary indian planners !

  2. 2. CHARLES CORREA  Architect , Planner, activist and theoretician , Charles Correa is one of the few contemporary architects of India and urban planner known for adapting Modernist tenets to local climates and building styles.  Correa has adapted the language of modern architecture to create low cost, yet humane habitats that are easily constructed from traditional materials.  Correa was influenced by Le Corbusier’s use of striking concrete forms.  Pioneer to work in urban issues and low cost shelter C O N T E M P O R A R Y I N D I A N P L A N N E R S HIS philosophy  Key to Correa’s design approach is his understanding of the unique cultural requirements and needs of his native country.  The basic philosophy of Charles Correa in planning the buildings, the architect has tried to give long corridors and wide arches, which provide shades and ventilation.  He has successfully expressed his philosophy combining with regional traditions within a modern environment  In all of his urban planning commissions, Correa avoided high-rise housing solutions, focusing instead on low-rise solutions that, in combination with common spaces and facilities, emphasized the human scale and created a sense of community.  The buildings of Charles Correa are responsive to the environment , especially to the climate.  Open to sky space pervasive theme in his architecture INTRODUCTION
  3. 3. HIS WORKS  The site plan is generated by a hierarchy of community spaces, starting with a small shared courtyard 8m x 8m around which seven houses are grouped.  Each of these houses is on its own piece of land, so that the families can have the crucial advantage of open to sky spaces.  This project, located on six hectares of land about 2 km from the city centre of New Bombay, attempts to demonstrate how high densities (500 persons per hectare, including open spaces, schools , etc) can be easily achieved within the context of a low-rise typology  Furthermore they do not share any party walls with their neighbours which makes these houses truly incremental, since each family can extend their own house independently. C O N T E M P O R A R Y I N D I A N P L A N N E R S  These houses cover almost the entire social spectrum from squatter families to the upper income brackets – yet , in order to maintain the fundamental principle of Equity , the sites themselves vary in size only marginally (from 45 sqm to 70 sqm).  The form and plants of these houses are very simple so that they can be built and extended by traditional masons and craftsmen – thus generating employment in the Bazaar Sector of the urban economy (i.e., exactly where they are needed for the new urban migrants.)
  4. 4.  The system of dams under construction in Karnataka will raise the level of the Ghataprabha river, submerging part of the existing town of Bagalkot under water . Hence the government of Karnataka decided to develop New Bagalkot town. C O N T E M P O R A R Y I N D I A N P L A N N E R S  This assignment provided the opportunity to try and apply some of the same principles discussed in the planning of Ulwe (Affordability, Reliability , etc) to a small town, using an approach that generates flexible street patterns analogous to the existing town of Bagalkot.  The plan of new township provides adequate and reasonable resettlement for the Project Displaced Families (PDF’s) on the one hand and also allows sufficient scope for further development of the town for additional population on the other hand (including immigrants, industries, business and so on). Typical modules  Thus the new Bagalkot town is envisaged both as a modern town and as a Rehabilitation center.  This new town is being developed for a population of 100,000 persons and presently under construction  As per his plan the entire submergence portion of Bagalkot Town was proposed to be resettled in an area of 1200 acres.  One unit is divided in to 49 Sectors of approximately 20 acres each. About 300 acres of additional land is used for roads and other civic amenities. Out of the 49 sectors 42 are earmarked for residential purpose.  Remaining sectors comprise of parks, Hospitals, Stadium, Educational Institutions and Government offices etc. HIS WORKS
  5. 5. The central business district of new Bombay consists of three interconnected nodes with waghavli lake in the center. the southernmost of these three nodes ,ulwe has an area of 1580 hectares. On this land the development plan envisages a population of about 350000 people with an estimated work force of just over 140,000 persons .our assignment involved three tasks of preparing the master plan the urban design controls and demonstration housing for 1000 families . the project seeks to address the crucial issues of affordability and equity with crucial emphasis on mass transport, coherent urban form , and housing patterns which use space as resource C O N T E M P O R A R Y I N D I A N P L A N N E R SHIS WORKS
  6. 6. B.V. DOSHI  A teacher, a speaker, an architect— Balkrishna Doshi is a man who has worn several hats. Along with a handful of pioneers, he is responsible for bringing modern architecture to India.  Over the years Doshi has created architecture that relies on a sensitive adoption and refinement of modern architecture within an Indian context.  The relevancy of his environmental and urban concerns make him unique as both a thinker and teacher.  Architectural scale and massing, as well as a clear sense of space and community mark most of his work. C O N T E M P O R A R Y I N D I A N P L A N N E R S HIS philosophy  According to him Architecture of a building is conceived not as a container of specific activities but as a place to be inhabited, as a place to facilitate the course of human environment The building profile will have natural light + air +movement + access elements against the sky to express the cosmic relationship.  The building base will gradually widen towards the ground through platforms, terraces, and steps.  The external finish of the building will express one homogenous mass but will have adequate details/textures/ surface modulations.  The main arrival to the building will be at a higher or raised level- with provision for a lower entry to express duality.  Casting of shadows, breaking of mass, rhythms in the structure, solids, voids, will be the mode of expression. INTRODUCTION
  7. 7. Doshi has categorized 8 principles in traditional architecture which he believes would greatly enrich contemporary practice. 1. Doshi belief in the ‘Mythical Sense’ of space often evident in traditional architecture which is not simply confined to open or closed areas. According to him space can be modified according to the desire of the perceiver and is never static. 2. The structural and formal systems that Doshi has adopted led him to assimilate the 2nd principle of Vaastu (environment)-Purusha (energy) Mandala (astrology) to ensure minimum standards of health and hygiene in each project . 3. Transformation of Energy between the building and people using the space for functional use. The Energy takes place between the walls, columns and space of the building. The natural energy produces through sun radiations or natural elements, surroundings, species around it etc 4. Doshi has persisted a deep belief in importance of ‘Human Institutions’, just as Louis-i-Kahn did before him. This belief, is amplified by his own deep cultural experience and popular evolution of new institutions. 5. A more specific principle is to follow ‘flexible rather than rigid approach to the structure’. This is how transformation of space from the mere static container ; to a place where people actually feel a psychic interchange is best achieved 6. The idea of flexibility leads him to a principle, of incorporating “”. He believes that it can only be accommodated by mixture of structural systems. Symbolically charged space symbolism must be designed as receptacle for human activity. 7. Doshi also advocates “Amorphous rather than finite forms” ; used with multiple structural systems so that ‘experience with them may be loose meandering and multiple’. For e.g.- Aranya low cost housing, Indore. 8. As an eighth and final principle, doshi seeks “Timelessness” in his architecture much as Louis khan did when describing his quality in historical precedents as' open endedness’. PRINCIPLES C O N T E M P O R A R Y I N D I A N P L A N N E R S
  8. 8. HIS WORKS  The response is achieved by adopting a system of major corridors for movement along which activity areas are disposed.  The functional and physical attributes of the design are related to the local traditions of pavilion – like spaces, courtyards, and ample provision for plantation.  To further heighten the spatial experience, the width of the corridors was modulated in many places to allow casual sitting.  Access to classrooms and administrative offices was provided through these links as well as to generate constant activity. C O N T E M P O R A R Y I N D I A N P L A N N E R S  Owing to the varying rhythm of the solids and voids, i.e. wall and opening, coupled with direct or indirect natural light, these links change in character during the different times of the day as well seasons and offer the students and the faculty, occasion to feel the presence of nature even while they are inside.  By creating such an environment the activities pursued within the building become enriched because they become one with the larger, total world.  What makes the building interesting is that the links appear and disappear, giving a sense of being and not being. In the mornings and evenings, the sun’s golden rays are reflected in the glazed windows, and the long corridors with main central court surrounded by classroom walls “give a feeling of being in a place not unknown to ones inner being.”
  9. 9. C O N T E M P O R A R Y I N D I A N P L A N N E R S  In the initial stages volumetric space requirements were determined . This generated the spatial as well as the structural dimensions of the complex. Then the building – site relationship was established.  It was felt essential that form, light and space should be integrated . And so a design combining functional , climatic and technological considerations was evolved. The approach walkway gradually becomes steps for gathering and through a series of platforms culminates at the terrace where the upper level entrance is situated.  Tying the low base and the high roof vaults evokes in an Indian mind a sense of seeing the proportions of the deity’s face with the crown and the tall shikara of a temple with its low base.  The sunken floor level at the lower entrance summons the experience of entering the ancient caves. The articulated edges of the vaults and other surfaces accessible from the low terraces generates a firm relationship with the ground like that found in a Buddhist stupa.  In order to create a built form to match the dynamic concept of “Sangath”, it appeared that equally dynamic articulating methods had to be discovered to give another dimension to the traditional spaces and to generate experiences of the unexpected and the ambiguous.  Finally to bring the individual into focus , it was decided to underplay the overall scales of the built form Sangath has two entrances, one at le vel + 1.8 m and the other at – 1.m. Both finally reach the same place, but through different paths. HIS WORKS