INDIAN ARCHITECT WORK

1. Indian Architects
Submitted by:
Asmita Manhar 191110208

2. Famous Architects
1.Charles Correa
Major works:
•Mahatma Gandhi Sangrahalaya
•Kala Academy
•Madhya Pradesh Legislative Assembly
2.Laurie Baker
Major works:
•Indian Coffee House, Thiruvananthapuram
•World Leprosy Mission
•CDS - Thiruvananthapuram
3.Sheila Sri Prakash
Major works:
•Madras Art House
•Mahindra World City
•Paranur Railway Station
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4.Brinda Somaya
Major works:
•St Thomas Cathedral
•Bhadli Village of Bhuj
•Nalanda International School
5.Raj Rewal
Major works:
•Parliament Library
•Asian Games Village
•Coal India Complex
6. Chitra Vishwanath
Major works:
•Yellow Train
•Hornbill House
•Ekalavya
7.Bijoy Jain
Major works:
•Utsav House
•Bamboo MP Pavilion
•Tara House, Mumbai
8.Anant Raje
Major works:
•Indian Institute of Forest Management, Bhopal
•Museum of Minerals
•MICA, Ahmedabad
9.Hafeez Contractor
Major works:
•23 Marina
•The Imperial
•DY Patil Stadium

3. 10.
Balkrishna Vithaldas
Doshi
Major works:
•IIM Bengaluru
•NIFT Delhi
•CEPT University

4. IIM BENGALURU
It is unlikely to speak of B. V Doshi, one of his finest inventions, without citing the Bangalore Indian Institute of
Management. IIM encouraged him to flourish his own ideology and to develop an Indian based contemporary
architecture. In designing a visually appealing building nonetheless meets all the design goals brilliantly, Doshi
skillfully combines his own goals with those of the client.
Philosophy
Doshi imagined the IIM campus as a distinctive traditional Indian architecture that would effortlessly adapt to the
local environment and circumstances. The idea was to represent the ethos, green and alive, of the town. The 54,000
sqm complex is situated on a 100-acre campus in the western hilly part of Bangalore City on Bannerghatta Road. By
connecting a network of corridors, courtyards, and external spaces, the renowned architect modeled it on the
medieval Mogul city of Fatehpur Sikri.
What makes the complex so different and special is that the gardens were picked up and set in B.V Doshi’s
courtyards. An unpredictable series of events that characterize the beautifully amorphous space inside the IIM
Bangalore campus is created by integrating the constructed space and the landscape with life.
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• IIM Bangalore can be understood as an analogue of the traditional Indian city complete with streets, squares,
steps, ledges, balconies, galleries and overhangs. Doshi referred to the complex as a “bazaar of education”.
• This delicate trellis vocabulary was combined with a wall system using rough blocks of local gray granite. Greenery
was a third material introducing a vital vegetal ornament. It might also be right to speak of light and shade as a texture
integral to the buildings’main ideas. As in his housing schemes and townships. Doshi tried to make the most out of the
confrontation of modern “construction” and the massiveness of local masonry.

6. Design Philosophy
The 54,000 sq mt IIMB complex, built on a 100-acre campus, is based on the design of the town of
Fatehpur Sikri, laid out by Akbar in the 16th century. The architect, B V Doshi, achieved this vision by
linking a network of corridors, courtyards and external spaces allowing for future extensions.
•Fatehpur Sikri’s courtyards and the gardens of Bangalore merged in B V Doshi’s mind’s eye. He picked
up the gardens and put them in the courtyards, and the vision for a ‘glocal’ campus was born. Instead of
courtyards that are dry and rigid, he made green corridors, which allow for academic exchanges to be
carried beyond the classroom.
•The design of IIMB reflects the architect’s perfect sense of scale, proportion and light.
•From the logo that portrays the rays of the rising sun to the design of the IIMB complex, light plays a
crucial role.
•The interplay of walls and openings, light and shadows, and solids and voids change the character of the
main building during different times of the day and during different seasons.
•The high corridors are sometimes open; sometimes partly covered with skylights and sometimes with
only pergolas to heighten the spatial experience.
•The width of the corridors is modulated to allow for casual seating.
•Access to classrooms and administrative offices is provided through these corridors.

7. •The design offers students and faculty the ability to see and feel nature even when inside the classroom.
•The central courtyard or the central pergola gives one the feeling of being in a place not unknown to one’s inner being.
•The courtyards and corridors are sensitive to the Indian context of community and environment. They are lessons in
rhythm and composition. They show that the interior must be relevant to the exterior, and that life, art and architecture can
co-exist.
•The IIMB campus was envisaged as a place to be inhabited, as a place to facilitate the course of human interaction.
•The design therefore conserves energy – human or mechanical, optimizes technologies, adopts innovative ways of
building and uses alternative materials.
•Three-storied hallways, open quadrangles with ample area for greenery, sunlight streaming in through pergolas,
geometrical roofs and a rough texture finish are the unique features of this ‘glocal’ design.
•IIMB’s design therefore symbolizes a deep understanding of the past and a comfortable relationship with the present.
The aim, said B V Doshi, was “to create an atmosphere where you don’t see divides and doors”.

15. thank you