Raj Rewal


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Raj Rewal

  1. 1. [CHARU SHORI O5/04] [BINDU ANAND O5/08]
  2. 2. fL I F E JOURNEY  Raj rewal Born in 1934 in Hoshiarpur, Punjab ,India..  Creation of geometric systems and responding visual imageries are apparent in Raj rewal‟s architectural works.  He lived in Delhi and Shimla in 1939-1951.  He attended Harcourt butler higher secondary school.  In 1951-1954, he attended Delhi school of architecture‟ New Delhi.  His imaginative leaps are based on his foundational knowledge and experience.
  3. 3.  In 1955-1961 he moved to London and attended the architectural association school of architecture for one year.  He Completed his formal professional training at the Brixton school of building, London.  Raj Rewal worked as an assistant stage manager for several avante grade theatre productions in London .  He became an associate of the royal institute of British architects, London.  He was working in the offices of Michel Ecohard, in Paris ,in 1961-1962.  In 1962 he married with Helene.
  4. 4.  He returned to new Delhi in 1962 to set up his own architectural practice.  1963-72 taught at the Delhi school of architecture.  He opened a second office in Tehran, Iran, in 1974 .  He founded the architectural research cell with Ram Sharma in 1985.  In 1986 curator of the exhibition “Traditional Architecture in India” for the festival of India in Paris.
  5. 5. PROFESSIONAL PROFILE  He completed his professional education in Europe.  He recalls 3 enconters during those formative years which shaped his architectural ideology.  First he relates to his interest in structures, which was cultivated by his English education, craft tradition, during the review of his diploma projects.
  6. 6.  Second he worked as an assistant stage manager for several avante grade theatre productions in London .As a set designer he learnt that each dramatic work had it particular character which he intrepts as the rasa of the building.  Third he was working in the offices of Michel Eco hard, in Paris. In office he absorbed the principles of urban design and planning .  He also had an opportunity to work on the design of a space frame structure for a Museum in Kuwait.  Then he take the lead of structure system for the exhibition pavilions at Pragati Maidan, New Delhi.
  7. 7.  He convinced his European structural consultants to develop the unusual structural system for the Ismaili centre and the central public works dept. to undertake the construction of stone columns and ferro cement domes for the Parliament Library.  The only 2 other influences that he admits were important to his development as an architect were on his return to India.  On seeing the works of Le Corbusier.  Teaching history at the School of planning and Architecture ,New Delhi.  Corbusiers works convinced him that it was possible to be rational and employ modern means to build in India.
  8. 8.  Teaching history exposed him to the classical and vernacular traditions of bldg in India.  They seems to exemplify what Le Corbusier once said “What makes our dreams so daring is that they can be realised.
  9. 9. PHILOSOPHY  His bldg design include pure structural expressions, cubic volumes.  He also provide for honesty in expression.  They reflect a concern for climatic sensitivity.  Structure , material  Tectonic variation  Memory and geometry
  10. 10. MEMORY AND GEOMETRY  His architectural pursuit is centered on attempts to evolve a contemporary architecture rooted in traditional wisdom.  He has been influenced by the architecture of Le corbusier and louis khan.  Also influenced by the typologies of traditional bldg. and cities like Jaisalmer .
  11. 11.  Bldg on traces from the past he transforms them into the new.  In his work continuity and change consort one another in familiar terms.  The strategy thus allows a monumental quality to be imported in the projects.  In 1962, he created a hyperbolic paraboloid structure with newspapers plastered on board to articulate the skin.  The pattern for Bhikaji Cama pplace designed in 1965 is reminiscent of the organization of traditional urban settlements.  Much like traditional bazars he created designs modulated on a rhythm based on repetition of cubic forms.
  12. 12.  For the halls of nations and industries he drew lessons the Humayun‟s tomb.  In Nehru pavilion he draws parallels with stupas that enshrine sacred relics.  The Satish Gujral house and Rewal house like the „Havelis‟ in Rajasthan .  Spatial orientation, use of cavity walls make the designs responsive to the climate.  He derives lessons from different sources such the layering of wall patterns in tombs and trellises.
  14. 14. URBAN FABRIC  The forts of Jaisalmer and Jodhpur offer from high plateaux splendid overviews of the cities.  Settlement patterns are clearly visible and the texture of the city with its closely related solids and voids .  The densely packed bldg „breathe‟ through the courtyards at different levels .  Cool shadows and air currents are built into the grain of the city of Jaisalmer and are excellent demonstration of the achievement of low rise, high density development.  The sense of enclosure and continuity of movement is maintained throughout the cities.
  15. 15.  Raj rewal tried to evolve mass housing schemes based on similar criteria.  In the Asian games village and Sheikh sarai housing project , the peripheral roads are connected to parking squares.  The central spine of the layout is reserved for narrow ,shaded, pedestrian pathways .  The layout plans follow traditional methods of creating shade and cross ventilation.  The creation of the traditional narrow street, linking all the housing units, provides for intimate encounters between people and a sense of belonging to the neighbourhood square.
  17. 17. CLUSTERS  The joining together of several bldg which retain their identity yet from a cohesive cluster, is an enduring vernacular tradition within the Indian subcontinent.  The endless repetition of a single type of block or slab has proved a dreary (dull) solution.  The street facades of Jaisalmer exhibit a simple methodology , where each house owner bought readymade elements of carved stone balconies and doors, creating a rich street composition.  Traditional clusters surround a variety of open spaces with different functions around a unified pattern of movement.
  19. 19.  Raj rewal designed his housing schemes at Sheikh Sarai and the Institute of Immunology as a series of district clusters which are inter related.  The bldgs are unified by means of similar façade treatment, using sandstone grit render, the piercing of parapets, proportions of doors, deep set windows, and stone flanking walls for the courtyard.
  20. 20. COURTYARDS  The public courtyard accommodates a multiple of activities ranging from religious like marriage ceremonies to the celebration of secular festivals.  The interlocking courtyards at Fatehpur Sikri, to accommodate different functions creating a micro climate, free from dust, heat and sandstorms.  Courtyards are protected by external walls and verandahs or are defined by rooms, and act as a light and air wells in which cool night air is trapped.  Raj rewal designed courtyards with similar consideration in mind for a variety of housing and educational buildings eg. Institute of Immunology.
  21. 21. Fatehpur Sikri
  23. 23. GATEWAYS  Gateways were built in the cities to define particular zones.  Each Gateway is like the opening of a new chapter.  Gateways in the Asian Games village mark territory.
  25. 25. ROOF TERRACES  Roof terraces are an essential component of the lifestyle of north Indian cities.  They provide welcome outdoor space during the summer nights in the dry, hot climate when the interior rooms receive the heat absorbed .  Also provide an extension to living areas at upper levels during the sunny „winter‟ days when interior rooms can be cold.  Private roof terraces and courtyards are an integral design component of the housing for the institute of Immunology and Asian games village.
  28. 28. STREETS  The narrow shaded streets of Jaisalmer generate movement patterns full of fun, pleasure and surprise.  The plans for the Asian games village and Sheikh sarai are based on similar narrow shaded streets linking a variety of clusters.  The streets are broken up into small units, so there are pauses , points of rest and changing vistas.
  30. 30. AWARDS AND HONOURS  He has received among many other honours.  In 1989, he was awarded the gold medal by the Indian Institute of Architects.  The Robert Mathew award by the Commonwealth Association of architects.  In 1993 he was honored by the Mexican Association of Architects, london.  Raj Rewal is also the 1995 recipient of the JK Trusts Great Master‟s award.
  31. 31. RAJ REWAL’S WORKS Raj Rewal‟s works can be divided in the following parts:  RESIDENCES  Satish Gujral house, New Delhi  Sham Lal house, New Delhi  Rewal house, New Delhi  HOUSING  French Embassy Staff Quarters, New Delhi  Sheikh Sarai Housing Complex, New Delhi  Zakir Hussain Co-operative Housing, New Delhi  Asian Games Village, New Delhi
  32. 32.  EXHIBITION AND LARGE SPAN  Nehru Memorial Pavilion, New Delhi  Hall Of Nations and Hall Of Industries, New Delhi  Karnataka Pavilion, New Delhi  OFFICES  Bhikhaji Cama Bazaar, New Delhi  Engineers India House, New Delhi  State Trading Corporation, New Delhi  SCOPE Office Complex, New Delhi  RESEARCH &EDUCATION  National Institute Of Public Finances and Policy, New Delhi.  National Institute Of Immunology, New Delhi  French School and Cultural Centre, New Delhi  Central Institute Of Educational Technology, New Delhi
  33. 33. SATISH GUJRAL HOUSE, NEW DELHI, 1970  Designed for an artist, the Gujral house provided approximately 800sqm of living space also intended for the display of paintings and works of art.  The split level configuration of living room, mezzanine and basement spaces was based upon to previous houses in Delhi.  A central staircase connects various levels of the dwelling which have the difference in height of one and a half meters.  Certain interior spaces have direct access to outdoor gardens at differing levels; the
  34. 34. Exterior view
  35. 35. basement, for example, is one and a half meters from ground level and contains a workshop for ceramics joined to sunken open court.  Similarly the main living space at plus one and a half meters can be continued outwards on to the raised garden.  The Gujral house was constructed with exposed bricks, Moreover the concrete floor slabs and beams were left exposed;  Large pivoting doors of teak and glass separate the living areas and the garden.
  36. 36. Main entrance
  37. 37. SHAM LAL HOUSE, NEW DELHI, 1973  The Sham lal design placed an emphasis on blending the entrance hall, dining and living room spaces with the front garden as much as possible.  The large pivoting doors of glass and teak define the living room garden boundary and can be opened for social occasions.  The house was designed for a leading journalist and writer .  A double height space contains the entrance hall and stairs to the first floor.
  38. 38. View of double height entrance
  39. 39.  Three bedrooms and the upper floors have access to roof terraces.  A small basement under the dining room serves as library.  Construction is of reinforced concrete and brick with traditional materials such as kotah stone and teak for finishings.
  40. 40. REWAL HOUSE ,NEW DELHI  In 1973, He designed 2 independent house units, one for the architect and his family, the other for his parents.  He were designed in such a manner as to give both privacy and inter-relatedness to each other.  Communication between the two houses is through the kitchen yard, at the back,  While separate entrances and front gardens are provided across an extremely narrow frontage of only 5 meters for each.  Living, dining, kitchen and study areas are on the ground floor, yet the introduction of a small cellar under the dining room offered the possibility of a split-level and hence greater richness.
  41. 41.  Part of the living room is of double height, and is overlooked by mezzanine.  A small interior courtyard within the two units brings indirect light and good cross-ventilation to these spaces.  Large pivoting glass doors provide continuity between the living room and the garden outside.  The use of material is restricted to exposed brick externally and internally (painted white outside).  The ceilings and cantilevered stairs are of exposed concrete, softened by the texture left by wooden form work.  The flooring of kotah stone in brown and bronze achieves a certain continuity, carried through in the teak-framed doors and windows.
  42. 42.  The rewal house served as a prototype for his later large scale mass housing designs.
  43. 43.  A view downward into the living and dining area.
  44. 44. FRENCH EMBASSY STAFF QUARTERS, NEW DELHI,1967  The total area of each unit varies from 60-70 sq.m and comprises two reception room ,bathroom, wc, kitchen, verandah and private courtyard or roof terrace.  The spaces were arranged in order to enhance the relationship between kitchen, verandah and bedrooms for maximum utility.  Four principles concerns stand out-:  Courtyard is the focus of the plan  Natural ventilation is a key factor of determining the form of bldg.  Good natural lighting is important ,as is protection from the sun.  Privacy for each family unit has been ensured by walls upto 2m high around roof terraces and independent entrances and courtyards.
  45. 45. Exterior view
  46. 46. Sheikh Sarai Group Housing, New Delhi, 1972-82  The programme for 550 apartments was based on the norms in force for self-financed housing in south Delhi.  Six different types of units, ranging in area 70- 120sqm,were organized into two distinct clusters, three and four storeys in height.  Density is approximately 100 apartments per hectare.  An important aspect of this solution is the pattern of interrelated squares of an intimate scale that has been created.  While there is a clear demarcation between pedestrian and vehicular spaces within these, the movement of people within the enclosures has been closely aligned with the access points for vehicles on the periphery.
  47. 47.  The scale of the various squares has been adjusted to encourage and to serve different community activities.  All the units have been provided with a courtyard or roof top terrace, the wall or parapets of which have narrow slits (jalis) ensuring both privacy and good ventilation.  Although the structure is of reinforced concrete posts and beams, the walls are of brick infill covered with roughcast plaster.  This is customary for economical mass housing in the region, and allows for some modification b y the users.
  48. 48. ZAKIR HUSSAIN CO-OPERATIVE HOUSING,NEW DELHI,1979  This society commissioned the architect to design 210 apartments units for its members, the majority of whom are muslim.  The overall layout of the project and design of individual unit types were taken democratically.  Two 8 storey towers were included as a means of providing large units of 130-160 sq. metre.  There are 8 types flats in the towers.  The two towers form poles at either end of the long site.  Between them are 4 storey clusters of apartments around open areas for pedestrians or vehicles.
  49. 49.  These contain smaller apartments (50-100 sq.metres) of which there are 16 variations to meet the specific desires.  Begun in 1979, but completed in 1984.  A recurrent feature of rewal‟s large scale projects, namely a sense of traditional urban fabric in indian cities.  Has been introduced here through the creation of enclosures, covered passageways and individual terraces overlooking public spaces.  The exterior surface treatment of the low rise complex , which has a cement and pebble render, is different from the tower, which are of exposed concrete and grit.
  50. 50. ASIAN GAMES VILLAGE, NEW DELHI, 1980  In 1982 India hosted the Asian Olympic games in New Delhi.  The housing development was commissioned and built by the public authorities to accommodate for athletes.  It was forseen by the public client, the Delhi development authority(DDA), that the units would be sold off to private individuals once the games had finished.  It was least expensive construction which at the time, cost approx. 170 rupees a sq.foot.  The asiad village was built for 210 t0 280 rupees a sq.foot for a middle class population.
  51. 51.  A relatively wide variety of unit types, from individual houses (types A, B, C) to apartment type (E, F, G) and variations on the special arrangement of these, was conceived-in part, undoubtedly, to anticipate the needs of families with different social beck ground.  In all, there are some 510 housing units, comprising 200 individual town houses and 300 apartments in two-storey to four-storey „walk- ups‟ with an overall density of 50 units per hectare.  The combination of various dwelling types into an urban pattern of unusual diversity makes the asiad village quite remarkable.  The concept is based upon a sequence of open spaces linked by narrow, shaded pedestrian streets and containing both recreational and commercial activities.
  52. 52.  The passageways an lanes are consciously interrupted by units which span them overhead to produce „gateways‟ to identifiable groupings within the complex.  Vistas are constantly changing, although a continuity of movement is maintained throughout each series of enclosures.  An obvious source of inspiration for such narrow streets linking the housing units is the traditional street scale and pattern found in many indian cities, where narrow paths become spaces for encounters between people, and the open squares offer a sense of neighbourhood.  Peripheral roads are connected to cul-de-sac parking areas which in turn give access to individual garages or car porches attached to houses or apartment block.
  53. 53.  Vehicular and pedestrian movements is thereby segregated but closely interlinked for convenience: about 80% of the dwellings have access from both pedestrian enclosures as well as the parking areas  Centrally located within the Asiad village, but easily accessible from outside as well, was a dining complex for those participating in the games.  This now serves the local community as a recreational and commercial center
  55. 55. NEHRU MEMORIAL PAVILION,NEW DELHI 1971  The pavilion is designed to house exhibits on the life and times of former prime minister Jawaharlal Nehru, portions of which were assembled by the celebrated American designer Charles Fames.  The building is embedded in a grassy mound of earth.  The basic idea of the design comes from the earliest Buddhist stupas in Nepal which are earth mound containing relics of Buddha.  Plans of the building revel affinities with the yantras and hence reflect a Tantric perception of space.  The upper level for example is for circulation and based on the traditional parkarma, or circumblation around a central shrine, often a circler or an octagon which evokes a particular mood.
  56. 56.  The exhibition hall itself is arranged on two levels, with the upper level containing the audio visual rooms around the perimeter and a stepped roof in the center for exhibitions.  Four corner windows at the upper level allow ventilation for the lower spaces, while the stepped roof, in the form of a truncated pyramid, has glass bricks provided subdued natural light.  On the lower level, displays are conceived around four sections, with double height enclosures on the corners allowing space for large panels or objects .  These architectural spaces defining pattern of moment aim to produce a harmonious relationship between the visitor
  57. 57.  Concrete used for the structure has been left exposed both inside or outside , where the patterns from the wood shuttering remain evident and contribute a note of simplicity.  However kota stone for the flooring and teak for the doors and windows add a sense of elegance .  Outdoor spaces have not been neglected a no. of protected spaces have been created for gatherings and the grassy slopes are suitable recreational areas for children.
  58. 58. 1.Entrance 2. Audio visual 3.Exhibition space Section drawings of the pavilion 4.Covered walkway 5.Paved walkway 6.walkway
  59. 59. Exhibition space
  60. 60. A general view of the interiors
  61. 61. HALL OF NATIONS & HALL OF INDUSTRIES, NEW DELHI,1970  A limited competition was held in 1970 for the design of permanent exhibition spaces for the International Trade Fair 2 years later, & Raj rewal‟s proposal was selected.  The main pavilion of the hall of nations has a clear span of 78 m and a height vary from 3 m to 21m , thereby providing a vast capacity for items to be exhibited from books to bulldozers.  The hall of industries on the other hand is a combination of 4 smaller pavilions by ramps enclosing a central area for open air exhibits, utilities, toilets, and other services are located under the ramps.  Although each of the halls was initially conceived as a full pyramid the truncated form was adopted in order to avoid unnecessary constructions.
  62. 62. View of Hall of Nation
  63. 63.  The steel for this space frame construction was expensive in India.  As the result, it was built in the latter material.  Octahedra measuring 5m from joint to joint were employed as the basic 3D unit of the space frame , which rests on 8 points around the essentially square planned and allows 11m wide openings between the supports.  An effective system of environmental control inside the building was another outcome of the 3D structure , as solid triangular panels at regular intervals provided sun screens – a modern equivalent , according to some authors of the traditional jali in Indian architecture .
  64. 64. Structure detail
  65. 65. Interior of Hall of Nation
  66. 66. Overall view of the complex
  67. 67. Plan of the G.F of the complex
  68. 68. KARNATAKA PAVILION,NEW DELHI, 1984  The pavilion was designed as a permanent display area for the changing exhibits brought to New Delhi from the state of Karnataka.  The design uses elements and materials which symbolize this evolution from handicraft to modern technology .  A structural system of reinforced concrete posts and beams has been given a configuration of 3 juxtaposed triangles .
  69. 69.  Within the spaces created there is a mezzanine level.  An interplay between the triangular mezzanine and the roof structure, seen from below, provides a variety of points of view for the moving visitor.  The pavilion‟s facade is composed of sunbreakers, hand-made and richly patterned clay tiles .  The machine made elements of fibreglass for the roof.  The red of the tiles and the yellow painted door, sunbreakers, and railings enliven the image.
  70. 70. BHIKAJI CAMA BAZAAR, NEW DELHI, 1965  The complex offer an indication of the long time span needed for many projects to be built in India.  In 1965, the complex was the winning entry in the biggest competition ever organized by the government.  The scheme is for a district shopping centre on a prestigious 15 hectare site in New Delhi.  It involving 220,000 sq.m for offices ,a hotel, a cinema, a museum, an art gallery, an open air theatre, 300 shops , and parking for approximately 14,000 vehicles. 
  71. 71.  Designed as one continuous structure enclosing a series of courtyards varying in scale and function it was to consist of streets bridged over partially by the buildings.  This sequence of open spaces was intended to allow people to congregate on a raised podium .  The conception of enclosure is analogous to Indian bazaars and evocative of civic spaces at historic sites such as Fatehpur sikri and Kathmandu.  A continuous structure, comprising small bldg blocks of six-, nine-, and 12- storey units, provided an opportunity.  Complete segregation of pedestrian and vehicular flow was achieved by creating a pedestrian level at about 3 m above the ground.  Each bldg block can be approached directly by car or through the pedestrian podium.
  72. 72.  The vehicular flow into the site is controlled at 3 points on adjacent roads.  The circulation system is a self contained net effectively divided between short and long term parking.
  73. 73. ENGINEERS INDIA HOUSE, EW DELHI, 1978  It forms part of the commercial district centre at Bhikhaji bazaar, New Delhi.  He was awarded the first prize for this project.  It houses the administrative, design, financial, and public relation offices of a public sector.  The design has 4 cores on the corners, each containing lifts, staircases and services.  These cores forms major structural elements and, along with 4 central shear walls.  The office floor measuers 54x 24.6m.  The long spans and cantilevers expressed on the façade create the appropriate image for an engineering concern.
  74. 74.  The office floors are stepped creating overhangs on the south side, protecting the building from sun, and creating space for roof terraces on the north side.  It was also decided that the larger parameter of the building should face north south and use cores and floors overhangs to create micro climate.  The stepping of floors within the cores and extending different floors to the east and west ends of the building creates a zone of surface under shadows thus reducing temperatures.  EI house is entered by car directly from the road and has two levels of parking underneath.  The centeral part of the entrance is 10 m high and gives access to the mezzanine at 3 levels.
  75. 75.  The structure of the reinforced is exposed internally and the ribs on the roof slab form a ceiling pattern in corporating lighting panels and airconditioning ducts  Clads , sandstone 2.5 cm thick are used.  The lower 2 floors are used as public relation offices containing exhibition spaces and conference rooms  Building height is 52.5 m.  Total floor area is 18200 sq.m with a capacity for 1800 people.
  76. 76. State trading corporation  The state trading corporation , like rewal‟s scope building is typologically very different from other high rise offices of its time .  The STC design stands out as a result of its unique structure and surface treatment .  Vertical structure cores containing lifts and service support girders between alternate floors , and the whole is covered by beige and red sandstone panels  The perpendicular high rise blocks rise to different heights , the tallest being the one forming a junction of the lower two  A low 3 storey volume partially fills the space created by the L-shaped plan of adjoining towers
  77. 77.  The office floors have a 15 m span and since they are free of internal columns allow for a flexible partitioning system  The repetition of octagonal openings in the bridge like girders between the vertical cores creates ward the architect considers a modern equivalent of the traditional jalli , a screening device used throughout the subcontinent to protect interiors from the hard sunlight  Here it is the concrete‟s structural element which acts as a sun breaker in front of the windows across the façade rather than infill screens which are added on afterwards  Natural light also reaches display areas from skylights on the roof terraces  These feature together with the stone cladding contribute to the buildings unique expressive force as a sky scrapper
  78. 78. Scope office complex, New Delhi  At roof level the terraces, restaurants and observation desks have been created among the cooling towers and hidden machine rooms there is a rich articulation of form and spaces with boxes of hanging plants , concrete trellises for canvas covers over sundesk and passage ways were the employees can relax .  Each of the 8 interlocking pavilions has a central core, containing lifts, stairs, and a lavatory facilities from this core there is access to the offices and meeting rooms on each floor  Natural light reaches deep into the interior as a result of the recesses on the principle façade  the structural systems consists of 4 columns supporting a square in diagrid of structural slabs with 12 mts centers or 16 mts at the two upper most levels .
  79. 79. CENTRAL INSTITUTE OF EDUCATIONAL TECHNOLOGY, NEW DELHI, 1975  Raj rewal was given the challenge of designing for a new and relatively unique institutional programme at once again.  The CIET building is located on a campus which is devoted entirely to institutions which formulate infrastructure facilities for child development and education in India.  It forms part of a network of educational institutes located together in south Delhi near the National Park which surrounds the historic Qutub Minar.  The CIET is specifically concerned with modes of instructions, developing multimedia programs for use as educational tools.
  80. 80.  It contains 2 TV studios and 2 sound studios, along with production room and ancillary facilities.  It is also equipped with classrooms, seminar rooms and projection facilities, and will host teachers and broadcasting specialists who will collaborate in devising new teaching aids for use in school throughout the country.  The architect wanted to provide places that could function as open air, multi-purpose television studios.  The design is built around 2 interlinking courtyards, one near the entrances and the second around an existing tree.
  81. 81.  The larger courtyard has an open air stage and amphitheatre seating; it is enclosed at ground level by the main entrance hall, artists‟ rooms and canteen.  Open passageways link the library, audio-visual and adminstrative activities on the upper 3 levels.  The floor areas decrease as one moves upwards, and roof terraces overlooking the central courtyard and surrounding parks have been created.
  82. 82. Parliament Library,New Delhi  The Parliament library designed by Raj Rewal is a new addition to the majestic complex of imperial buildings in the former capital of british india.  It at once strikes the viewer as a monument representing the democratic aspiration of an independent india.  The building represents a wonderful interplay of open and enclosed space.  delightful the dense space of the adjoining Parliament house.  The composition of library complex is based on squaring of triangles,a move set to balance the circular composition of the parliament building.
  83. 83.  Light is the defining theme of this building,symbolically representing the spirit of wisdom,enlightment & democracy.  A large part of the structure of library is made of columns.  The site and the building is Located on a 10- acre (4-hectare) site, the library is nearly 590,000 square feet (55,000 square meters) in area.  The plan of the building is inspired by precolonial Indian architecture such as the magnificeTaj Mahal.  The main entrance of the library is directly linked to one of the parliament,it leads to an atrium covered with a circular roof,lightly placed above a steel ring,which allows muted light.
  84. 84. View of atrium
  85. 85.  Its roof structure is designed as a lattice of stainless steel members of octagonal forma with glazed infill square panels.  Circular stainless steel edge beam is raised above a ring of light and supported by columns clad with red sandstone. A view of the stainless steel structural tubes that make the dome. This dome also has a few square insulated glass panes for natural lighting
  86. 86. GAS TRAINING INSTITUTE, NOIDA  An institute by defination is “a society or organization for promotion of scientific educational or either public objects.”  This institute divided into different levels.  This institute spreads over an area of 17,300 sq.m.  The basic idea was to have a contrast of 3 materials ;concrete columns to support, white brick to infill, red sandstone as interactive jaalis and eventually the plants taking over.  The plan of the complex is very simple with a spatial arrangement of interlocked courtyards of different scales.
  87. 87.  The courtyard is the combination of the elaborate stone jaalis and the surrounding greenery.  The main courtyard accommodates open air seating.  It is linked to the auditorium with a seating capacity for 200 persons.  The open spaces are surrounded by verandahs for learning and informal discussion.  The ground floor consists of various activities like workshops, display, cafeteria and auditorium, integrated into a well knit complex by covered corridors facing the courtyards.  Apart from the main entry independent entries to the auditorium, hostel, and workshop.  The first floor includes a conference room, audio video and publication and recreation facilities.
  88. 88.  The second floor houses the library, seminar room and class rooms.  The stone and ferro-cement domes of the meeting rooms in the complex.
  89. 89.  The auditorium is a delight in itself. The lighting done with stone and steel as base and steel tubes to support it.  Kotastone panelling on the walls for acoustic treatment with vinartex as the finish in the auditorium .  The wall facing the stage uses cedar wood in place of kotastone strips as better sound absorption.
  90. 90. ISMAILI CENTRE IN LISBON,PORTUGAL  It is a permanent place where spaces for gathering of the Ismaili muslim community for social, cultural and economic development. DESIGN CONCEPTS  The design draws inspiration from Islamic philosophy and the vocabulary of design.  It is innovative in terms of contemporary construction technology.  It is influenced by the morphology of the courtyard concept eg. Fatehpur sikri of the paradise garden and Islamic patterns.  The public spaces of design like Jamatkhana, social hall and community facilities are grouped around separate courtyards on the ground floor.
  91. 91.  The first floor is reserved for educational, institutional and Agra khan foundation areas around smaller enclosures of courtyards.  The six courtyards and external spaces and landscaped with fountains, running water and appropriate foliage. GARDENS OF PARADISE  The designed is based on 3 interconnected enclosed gardens fulfilling a distinct function.  The entrance courtyard is courtyard is designed to welcome the visitor and is derived on the principle of „char bagh‟ with flowering plants and running water.  The jamatkhana courtyard is an extension of the prayer hall surrounded by a cloister and has an ambience of serenity.
  92. 92. The central courtyard ‘char bagh’ is dominated by fountains
  93. 93.  STONE STEEL LATTICE WORK  Pink granite is used in conjuction with steel as a structural material to echo the islamic patterns and forms an important features of the facades.  The stone is strong in compression in conjuction with steel which is strong in tension.  The lattice for the cloisters was composed of one layer of granite squares of 20 cm in combination with steel pipes of 10 cm.  Lisbon is a high earthquake zone and the glazed lattice was designed to support a structural span of 25 x 35m .  Its height is 10m.
  94. 94. Granite and steel lattice
  95. 95. Typical lattice shear wall
  96. 96. INTERNATIONAL CENTRE FOR GENETIC ENGINEERING, NEW DELHI  This complex provides high level of basic infrastructure facilities for development programmes.  It is located in the south eastern corner of the Jawahar lal Nehru University measures around 10 hectares.  The concept is based on provided distinct area comprising the labs, the administrative block and the animal house all linked in front with a water pool facing the sweeping park land.  The building is totally air conditioned , the water body functions as a spray pond.
  97. 97. Entrance view
  98. 98.  The administrative block is built around a small central courtyard and includes seminar rooms, canteen and an auditorium for 250 persons.  It has also a library and office areas distributed on the first and second floor.  The research lab are isolated in a separate wing on 3 floors.  The labs conceived as large halls with an intermediate floor between 2 levels which contains all the services and air conditioning ducts.  The access corridor in front of the labs has 3 clusters of scientists rooms which give way to the view of the national park.
  99. 99.  The building has a reinforced concrete frame structure infilled with brick walls and finally cladded with red and beige coloured sandstone
  100. 100. THANKS