Architect Joseph Allen Stein's design philosophy and his famous works

1. JOSEPH
ALLEN
STEIN
Submitted
By:
Sonali Debnath
TAR1501034
B.Arch
3rd yr. 6th sem.

2. ABOUT THE ARCHITECT
 Joseph Stein, (10 April 1912 – 6 October 2001) was an
American architect and a major figure in the establishment of
a regional modern architecture in the San Francisco Bay area
in the 1940s and 1950s during the early days of the
environmental design movement.
 In 1952 he moved to India. He is noted for designing several
important buildings in India, most notably in Lodhi Estate in
Central Delhi, nicknamed "Steinabad" after him, and where
today the 'Joseph Stein Lane', is the only road in Delhi named
after an architect.
 The Government of India awarded him the fourth highest
civilian award of Padma Shri in 1992.
 Stein, an architect and urban planner, was trained in
California, but produced the bulk of his remarkable oeuvre of
buildings in India.
 Known for his sensitivity to form and climate, his architecture
has inspired an entire generation of architectural practices.

3. DESIGN PHILOSOPHY
 Stein created an oasis in Delhi where he shifted in 1955 to start practice,
emphasizing the importance of tangible harmony of buildings in nature.
 He brought grace in modern architecture by the settings of nature in which
he created them.
 The series of major works for cultural, humanitarian, and environmental
institutions Stein designed in New Delhi maintain his continual striving
towards a humble, refined form in a garden setting, enriched materially by
the adaptation of the traditional north Indian jali and the inclusion of local
building stone.
 Stein was one of the first architects working in India after independence to
use traditional elements in a modern building.
 His development of the jali and several other shading devices dramatically
filter light and create a quality of repose in the spaces they shade from the
fierce north Indian sun.
 Each of his projects in and around Delhi were conceived of in order to offer
relief from the intense climate and created a new urban grammar of form
making.
 He integrated buildings with the idea of vertical gardens - a prototype for
bringing living beauty to crowded urban settings.

8. WORKS OF JOSEPH ALLEN
STEIN
•India International Centre (IIC)
•Kashmir Conference Centre (KCC)
•Triveni Kala Sangam
•Ford Foundation
•Kennedy House, AMU
•American Embassy School
•Indian Habitat Centre

9. INDIA INTERNATIONAL CENTRE
(IIC):
 It was formed in 1962 by the Rockefeller
foundation to promote understanding and
amity among human communities through
exchange of knowledge and mutual
appreciation for each other's cultures.

10. View of IIC, Delhi

11. Site & Surroundings
 Located in the lodi estate which is a large garden dotted with
number of lodi conquerors‟ tombs of 15th century.
 Stein designed the centre with the objective that it be an
appropriate modern addition to the garden landscape,
expressing the techniques and more informed attitudes of the
20th century.
 Siting and development is based on a varying sequence of
indoor spaces and outdoor spaces.
 The courtyards and outdoor spaces are part of traditional
architecture of Delhi.
 They also assume specific functions & aspect in this complex
and are modified.
 Placement of the main blocks is such that the lounge and
dining room overlook towards the lodi tomb.

13. Climate
 Addressing to the composite climatic conditions, both blocks are oriented
north south.
 Traditional hindu and muslim forms of architecture are adopted to fight
against harsh sun.
 Stein looked at jali for filtered light and sense of enclosure and view of the
outdoors.
 They are generally carved out in stone and wood and are modified here to
ceramic & concrete.
 Jali of traditional delhi blue tiles are used to echo the colour of tiles of lodi
tombs .
 This element became one of the characteristic elements of stein's
architecture in india.
 Sun shading devices as overhangs in the form of verandas, porticoes, roof
top pavilions and overhead sunscreens in the form of flowering plants
grown over a network of wires are all result of consideration of climate as
context.
 Deep balconies are provided with aluminium louvers to shade them.

15. Design, Form and Scale
 In an attitude to seek the character of the solution in the nature of
the problem, J.A.Stein has clearly opposed imposing of
preconceived form.
 In generating the form with respect to the function, he carefully
analyzed and selected the forms that are clear and efficient in
structure and appropriate in establishing a relationship with the
social and physical context.
 This search has resulted into a simple direct architectural
vocabulary.
 Like in traditional Indian architecture, the whole complex is arranged
around two courts.
 Jai Rattan Bhalla opines this as the true analysis of Indian life.
 This depicts the consideration of user's culture in design.
 Scale of the IIC is purposefully kept low in order to give due
importance to the surrounding tombs of Lodi dynasty.
 Height of the building is kept below the base of the domes of nearby
tombs.

17. Material and Structure
 IIC has exposed concrete structural frame with local materials as
infilling material.
 The influence for use of rugged stone walls was from that of Lodi
tombs.
 While exposed concrete structure is indicative of „modern‟, local
stone walls represent „traditional‟.
 Precast concrete and floor elements are used and they vary with
each space and function.
 Though modern technique of precast coffered roof and floor
elements are incorporated, the bearing walls are with local stones.
 A shallow six sided dome over the auditorium in the form of precast
„Y‟ shaped concrete elements are both „modern‟ in technique and
„traditional‟ in form.
 Precast vault roofs over the rooms recall the traditional jack arch
roofs and vault roofs of north India.

18. Plan of IIC, Delhi

19. Landscape
 A large water pond is created towards the
north-west is to cool down the hot loo.
 A small fountain near the east side entry is
more for visual enjoyment.
 Lawn areas in the courts cater well to the
specified functions for both summer and winter
climate for evening and day use respectively.
 Large open spaces around the complex dotted
with trees merge well with neighbouring Lodi
garden as intended by the designer.

20. KASHMIR CONFERENCE
CENTRE (KCC)
 It was established in 1984 as conference
centre catering of international standards for
1000 visitor.
 Having 600 capacity indoor auditorium &
several flexible meeting halls each
accommodating 250 persons and smaller
meeting, conference and exhibition areas a
hotel within the centre campus has 325 rooms
with all other facilities.

21. View of KCC, Kashmir

22. Site & Surroundings
 KCC was to be constructed in valley of Kashmir is near Dal lake.
 Famous 17th cent Nishat and Shalimar gardens in Mughal style are near the crescent of the lake.
 Having beautiful water front and Pari Mahal palace of Jahangir at far of distance, scenic views of
mountains all around were special to J.A.Stein.
 As the Mughal gardens and lake themselves showed a deteriorating condition, the placement of
such huge complex near lake was also a threat to the natural conditions of valley.
 In order to maintain the beauty of the lake, an adjacent water front was selected for siting of the
complex.
 The main idea was to minimize the presence of such huge complex within valley which
because of its size would dominate the surrounding if located at higher level.
 As J.A.Stein says the effort has been to create a building and garden that would merge into the
surrounding, add focus upon the lovely scene and in the process bring sympathetic attention to
gravely threatened place of natural beauty.
 Accordingly the design integrates building, garden & lake into an entity so that the visitors
should be able to experience special mode of nature that makes a visit to the Kashmir so
memorable.
 Stein was much influenced by the Shalimar & Nishat gardens of 17th century that KCC and
Gardens both cascade down towards the lake in a similar way.
 The complex is placed such a way that it has entry from both land and water.
 The view of complex in covered with poplar & willow trees of local variety and it is possible to see
it only from certain positions, thus providing a minimal impact on the valley scene.

23. Plan of KCC, Kashmir

24. Design, Form and Scale
 Whole design was developed on two axes 90˚ to each other.
 The first axis passes from entrance towards the terrace gardens
and lake, through the entrance foyer.
 Second axis leads in one direction from guest rooms to conference
facilities and guest rooms.
 They are so arranged that they have view of lake, mountain and
palace.
 The first axis of the complex divides the building into two major
units.
 To the right of land side entry is the auditorium, meeting rooms and
all related areas where as the left side is totally dedicated for guest
rooms.
 Garden designed towards the water front side goes in line with
Mughal garden in a symmetrical manner, but the complex does not
sit symmetrically.
 Standing between the Pari Mahal palace and the village, the
complex has come out as mix of two in a modest scale.

25. Climate
 The complex is oriented in north-south
direction along the main axis.
 Responding to the climatic conditions, the
KCC has large windows to admit maximum
sunlight.
 Roofs for the guest rooms are in traditional
form with slopes.
 The conference section is having large spans
and is provided with partial slope roofs.
 Local traditional building techniques are
adapted to combat with severe climatic
conditions.

26. Material & Structure
 KCC is having exposed concrete structure with precast
concrete blocks & exposed green aggregate panels as in
filling material.
 Blue grey slate roof tiles are provided to the sloping roofs to
match the color of surrounding natural terrain.
 This was an attempt to merge the KCC in to the surrounding
natural terrain.
 Auditorium and guest room roof profile was developed
somewhat in the line of mountain profile.
 Indoor wood work for interior and acoustical treatment, make
use of local wood in typical Kashmir style.
 Periodic incidents of earthquake have been taken into
account and whole complex is separated into individual
blocks.

27. Landscape
 Landscape of KCC is mainly influenced by
Shalimar and Nishat gardens and is planned in
similar Mughal style.
 The sloping land towards the water body is
intelligently
 utilized to give terraced gardens which cater to the
needs of outdoor activities of conference.
 It also acts as beautiful foreground to the KCC
while mountains provide background.
 It is planned with fountains and rose gardens.
 Local variety trees are used to cover certain views
of KCC to limit its dominant view from all sides of
valley.

28. TRIVENI KALA SANGAM
 The Triveni Kala Sangam is a cultural and
architectural landmark in the city of Delhi.
 Designed by Joseph Allen Stein in 1957 in the
part of Lutyens’ New Delhi dedicated to
cultural activities, it remains as one of the
icons of post-independence architecture in the
city.

30. Design, Form And Scale
 The existing building can be read almost as a campus
of individual blocks, each specifically designed for a
purpose that is reflected in the nature of their
respective elevations.
 A four-storey classroom block is joined by a wall-less
entry foyer to the art gallery and the open air
auditorium.
 A three storey extension to the north was built in 1977,
which accommodates additional classrooms, artists’
residences and a 200 seat auditorium.
 Despite being built to Mr. Stein’s fastidious attention to
quality, the building has started showing its age, both
by being non-compliant to new safety norms and by
general deterioration under the ravages of the climate,
where temperatures swing by almost 50ºc through the
year.

32. Material And Structure
 In 2013, AKDA began the process of upgrading the building, first to
comply with more stringent fire-safety regulations and then to
preserve the building’s façade, including the signature screen, or
jaali.
 The physical manifestation of this process is an external metal stair,
providing an additional egress point from the auditorium.
 Fabricated entirely from steel, with minimal vertical supports, the
stair is attached to the side of the building on a largely blank façade.
 Rendered in bright orange, the addition enlivens the sculpture court
into which it descends.
 Rather than attempt something that would blend in with the
subdued character of the building, the stair was designed to be a
departure from the old, retaining the spirit of what Stein sought, as
opposed to the physicality.
 Part of the larger plan to upgrade the building includes internal
improvements to the auditorium and the classroom block.

35. FORD FOUNDATION
 Purpose : Agriculture, Disadvantaged communities,
Environment, Forestry, Health, Human Rights, Law, Local
Administration, Media, Micro-enterprises, Population, Poverty,
Water, Women’s issues.
 Aims/Objectives/Mission : The Ford Foundation is a private,
non-profit, philanthropic organisation dedicated to
international peace and advancement of human welfare.
 The foundation works primarily through providing support for
applied research, training, experimentation, advocacy and
developmental efforts that are innovative and promise
significant advances in its fields of interest.
 The Foundation’s goals are to strengthen democratic values,
reduce poverty and injustice, promote international co-
operation and advance human achievement.

38. KENNEDY HOUSE, A.M.U.
 The Cultural Education Centre is dedicated to
serve the development and enhancement of
cultural and educational activities within the
campus and in reach of the community.

41. AMERICAN EMBASSY
SCHOOL
 The American Embassy School (AES) is located
in the heart of the diplomatic community of New
Delhi.
 AES serves Pre-Kindergarten through Grade 12
students from the United States and other nations.
 Covering more than 12 acres, AES is more than a
school.
 It is a true community center for the expat
population in Delhi.
 the people, places and programs that make it
such a special place to learn, work, and live.

43. Facilities
 The school includes two libraries, one
swimming pool (plus a diving pool and toddler
pool), a physical education center, computer
labs, playgrounds, tennis courts, soccer
pitches, and a performing arts center
(including a full sized theater).
 The school campus is spread over almost 13
acres.

46. INDIAN HABITAT CENTRE
 Several leading corporate entities like the energy
and resources institute (TERI),housing & urban
development corporation ltd.(HUDCO),national
housing bank(NHB),international labor
organization (ILO) etc.. House the Indian habitat
centre.
 India habitat centre is conceived to provide a
physical environment which would serve as a
catalyst for synergic relationship between
individuals and institutions working in diverse
habitat related areas and therefore, maximize the
total effectiveness.

47. VIEWS

48. Design Review
 Sunlight streams into the complex creating beautiful patterns on the
textured surface with the time of the day
 The spaces are quiet except for the sounds of the gurgling fountains
that relieves the surroundings with the heat.
 The ventilation shafts are well design providing sunlight to the
basement.
 Well designed drainage system eliminates use of rainwater pipes
and adds to the beauty of the structure
 Built up area 97000 sqm
 Site 9acres
 5 main building blocks
 Parking of 1000 cars
 Convention block is divided into two structures– auditorium and
convention center

50. SHELLS
 Stein along with structural engineer Vishnu
Joshi explored a variety of shell forms,
significant for their purity of form and inventive
conservation of materials, as modestly scaled
structures integrated with the landscape.

54. CONCLUSION
 On realizing the deficiencies of modern architecture in addressing
the public or in communicating with them, contextual architecture
is found to be a solution.
 This understanding of context as either physical or non physical,
has led to the formation of architecture that are distinct in nature.
 Joseph Allen Stein's works show that when nature is taken as
„context‟ the architecture can still be modern and also traditional.
 Having historic monuments and gardens in the vicinity, his
architecture shows continuity and respect to them.
 The quintessential characteristics of the surrounding architecture
and environment are addressed and adapted in his solutions and
are at varied levels.
 While trying to understand the context in the design studios,
architecture student community need to look at such examples and
J.A. Stein’s works show us the direction.