544516194-Theory-of-Architecture-Module-IV-Calicut-Univ.pptx

THE0RY OF DESIGN
(B.Arch – Calicut University 2017)
MODULE IV (10 Hours)
DESIGN AND ANALYSIS
Introduction to modes of understanding architecture in totality in terms of the various aspects
studied in previous modules– understanding how case studies have used representational,
analytic and interpretational tools.
WORKSOF ARCHITECTS
Role of individual architects in the generation of architectural form, through study of
exemplary works, architectural inspirations, philosophies, ideologies and theories of
architects. (E.g. F L Wright, Le Corbusier, Charles Correa).

CRITICAL ANALYSIS OF AN
ARCHITECTURE PROJECT
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
2
PRILIMINARY
ANALYSIS:
A. Project Type
B. Project Location
C. Year Of
Construction
D. Architecture Style
E. Design Concept
F. Planning
SECONDARY
ANALYSIS:
A. Aesthetics & Psychological
Context
B. Character
C. Circulation
D. Experience
E. Expression
F. Function
G. Materials
H. Services
I. Structure
J. Uses
DESIGN AND ANALYSIS

CRITICAL ANALYSIS OF AN
ARCHITECTURE PROJECT
THEORY OF ARCHITECTURE |
PRESENTATION BY: AR. GEEVA
3
ELEMENTS OF ARCHITECTURE ANALYSIS:
Point, line, plane, form and space, shape, pattern, light, color, surface and texture with reference to the evolution of
architectural form and space.
FORM ANALYSIS:
Analysis of usage of geometric forms, sections and its derivatives. (Sphere, cube, pyramid, cylinder and cone)
SPATIAL CONFIGURATION ANALYSIS:
1.
2.
3.
4.
5.
Enclosure
Internal And External Spaces
Continuous Spaces And Spatial Relationships
Spatial Organization : Centralized, Linear, Radial Clustered, Grid –
built form
Open Space Relationships
ARCHITECTURE PRINCIPLES ANALYSIS:
Analysis of architectural principle used. ( Proportion, scale, balance, symmetry/asymmetry, rhythm, axis,
hierarchy, datum, unity, harmony, dominance, climax – Movement, Building approach and entrance, path
configuration and form, path space relationship, orientation. )

Design process and Analysis of building
Design process – integration of aesthetics and function
Understanding of formative ideas
Organization concepts
Spatial characteristics
Massing and circulation in design analysis of the following
buildings :
Falling water house
Guggenheim museum by F.l.wright
Villa savaoye
Chapel of Notre damn du haut by Lecorbusier

Integration of aesthetics and function

Formal analysis -formal analysis is the most
important because it can show us a thin line that
divides architecture from construction (or, the
construction industry), and it can also show us
architecture as an art. Analysis can be done by means
of diagram relationship of plan elevation and section
part and whole
 Functional analysis
 Structural analysis
ANALYSIS OF A BUILDING
We can analyze the architecture of a building in many different
ways. Let us name three main categories:

ANALYSIS CAN BE DONE BY MEANS OF
DIAGRAM
RELATIONSHIP OF PLAN ELEVATION AND
SECTION
 PART AND WHOLE

 STRUCTURE
 NATURAL LIGHT
 MASSING
 PLANTO SECTION OR ELEVATION
 CIRCULATIONTO USE-SPACE
 UNITTO WHOLE
 REPETITIVETO UNIQUE
 SYMMETRY AND BALANCE
 GEOMETRY
 ADDITIVE AND SUBTRACTIVE
 HIERARCHY
 SUMMARY OFTHE ABOVE CULMINATING INTHE PARTI

Barcelona Pavilion floor plan on the right compared to a
line and plane painting on the left
Barcelona Pavilion
Traditionally architects like Leon Battista Alberti
considered the column as the “Principal Ornament
In AllArchitecture.”
The modernist MiesVan Der Rohe introduced a
game of juxtaposition between the functions of a
column and a wall.
The columns read as load bearing elements while
the wall displays its freedom from which the column
and wall appear identical in nature and purpose.

 AVEHICLE FOR RENDERING FORM AND SPACE
 PERCEPTION OF MASS IS AFFECTED BYTHESE ASPECTS
OF NATURAL LIGHT:
o LOCATIONS OF ENTRY – SIZE, SHAPE & FREQUENCY
OF OPENING
o MANNER OF ENTRY – MODIFICATIONS BEFORE,
DURING & AFTER ENTRY
o QUANTITY
o QUALITY – Direct or Indirect – Resulting From Filtering,
Screening & Reflecting
o SURFACE MATERIAL – TEXTURE & COLOR
 INTERIOR LIGHTING MAY BE A CONSEQUENCEOF
ELEVATIONAND SECTION DESIGN.
 CAN REINFORCETHE OTHER DESIGNCRITERIA SUCHAS
STRUCTUTRE,GEOMETRY, REPETITION, HEIARCHY, ETC.
Naf Architect & Design
MecenatArt Museum

 MASSING CONSTITUTESTHE PERCEPTUALLY DOMINANTTHREE-
DIMENSIONALCONFIGURATION OFA BUILDING.
 CANNOT BE EQUATEDTO A SILHOUTTEOR ELEVATION.
 GENERALLYA CONSEQUENCEOF DESIGNING.
 AT TIMES IT CAN RESULT FROM DECISIONS OF ISSUES OTHERTHAN
THETHREE-DIMENSIONALCONFIGURATION.
 COULD BEVIEWED IN
RELATIONTO CONCEPT
OF:
o CONTEXT
o COLLECTIONOF UNITS
o PATTERNOF UNITS
o SINGLEAND MUTLIPLE
MASSES
o PRIMARYAND
SECONDARY ELEMENTS
 HAS THE POTENTIALTO:
o DEFINEAND
ARTICULATE EXTERIOR
SPACE
o ACCOMMODATE SITE
o IDENTIFY ENTRANCE
o EXPRESSCIRCULATION
o PROVIDE EMPHASISTO
THE BUILDING
Zaha HadidArchitects
Nuragic & ContemporaryArt Museum,Cagliari, Italy
Jurgen Meyer architects - Duplicasa

 SIMULATETHE HORIZONTAL &VERTICAL
CONFIGURATIONSOF BUILDINGS
 PLAN BEINGTHE DEVICETO ORGANIZEACTIVITIES –
IT ISA MAJOR FORMGENERATOR.
 ELEVATION & SECTIONARE MORE CLOSELY
ASSOCIATEDWITH PERCEPTION –THEY SIMULATE
FRONTALVIEWS OFTHE BUILDING.
 THESE 2D DIAGRAMS HAVEVOLUMETRIC
IMPLICATIONS – ANY LINE INTHEM HASATHIRD
DIMENSION.
 THEY SHAREA RECIPROCAL RELATIONSHIP – THEY
ARE MUTUALLY DEPENDENT.
 IIT IS POSSIBLE FOR
THE PLANTO
RELATEDTOTHE
SECTION OR
ELEVATIONAT A
NUMBEROF
SCALES:
o A ROOM
o A PART
o ORTHEWHOLE
BUILDING
 PLAN, SECTION OR
ELEVATION CAN
INFLUENCETHE
CONFIGURATIONOF
THE OTHERS
THROUGHTHE
CONCEPTSOF:
o EQUALITY
o SIMILARITY
o PROPORTION
o DIFFERENCEOR
OPPOSITION
KNE studio
ROPE pavilion
PLAN
SECTION ELEVATION

 USE-SPACE – STATIC
COMPONENT – RELATINGTO
FUNCTION
 CIRCULATION – DYNAMIC
COMPONENT – ARTICULATES
THE USE-SPACE
 CIRCULATIONCAN BE WITHIN A
USE-SPACEOR EXCLUSIVE.
 CIRCULATION MAY ESTABLISH
LOCATIONSOF:
o ENTRY
o TERMINUS
o CENTER
o & IMPORTANCE
 USE-SPACECAN BE FREE AS IN AN OPEN
PLAN OR DISCRETE AS IN CLOSED
SPACES.
 MAJOR USE-SPACES MAY BE RELATED
THROUGH PATTERNS SUGGETING
ORGANIZATIONSWHICH MAY BE:
o CNETRALIZED
o LINEAR
o CLUSTERED
 THE CONFIGURATION OF CIRCULATION
AFFECTSTHE USE-SPACE &VICE-VERSA.

 ARCHITECTURE IS CONSIDEREDAS UNITS
COMPOSEDTO CREATE A WHOLE.
 A UNIT IS AN IDENTIFIED ENTITY WHICH IS PART
OF A BUILDING.
 A BUILDING MAY BE A SINGLE UNIT OR AN
AGGREGATION OFUNITS.
 UNITS MAY BE:
o SPATIALOR FORMAL ENTITIES
CORRESPONDINGTO USE-SPACES.
o STRUCTURALCOMPONENTS
o MASSING
o VOLUME
o OR COMBINATIONS OFTHEABOVE
 CRITERIATO BE CONSIDERED IN ANALYSIS:
o NATURE
o IDENTITY
o EXPRESSION
o REALTIONSHIPOF UNITSTO EACH-OTHER &
TOTHEWHOLE.
 THEIR RELATIONSHIPCAN BE EMPHASIZED BY :
o STRUCTURE
o GEOMETRY
o MASSING
Frank Gehry,Winton Guest House, Minnesota

 REPETITIVE ELEMENTS ARETHOSETHAT
HAVECOMMONATTRIBUTES – HENCE
CAN BE CATEGORIZEDASA CLASSOR
KIND.
 UNIQUE IMPLIESTHE DIFFERENCE
WITHINA CLASS OR KIND.
 THESE CAN APPLYTO SPATIAL OR
FORMAL COMPONENTS.
 THE CLASS DISTINCTIONS CAN BE MADE
BASED ON ATTRIBUTES LIKE:
o SIZE
o ORIENTATION
o LOCATION
o SHAPE
o CONFIGURATION
o COLOR
o MATERIAL
o &TEXTURE
 REPETITIVE & UNIQ UE ELEMENTS
OCCUR IN NUMEROUSWAYS AND
SEVERAL SCALESWITHIN BUILDINGS
Frank Gehry, Guggenheim Museum, Bilbao, Spain

 BALANCE REFERSTO PERCEPTUAL OR CONCEPTUAL
EQUILIBRIUM – SYMMETRY ISA SPECIALTYPE OF
BALANCE.
 BALANCE OF COMPONENTS REQUIRESTHATA
RELATIONSHIP BETWEENTHEM EXISTS AND AN
IMPLIED LINE OF BALANCE CAN BE IDENTIFIED.
 TO ACHEIVE BALANCETHE BASIC RELATIONSHIP
BETWEENTWO ELEMENTS MUST BE DETERMINED –
SOME ELEMENTOFA BUILDING MUST BE EQUIVALENT IN
ATANGIBLEWAYTOANOTHER PARTOFTHE BUILDING.
 CONCEPTUAL BALANCE CAN OCCURWHEN A
COMPONENT IS GIVENADDITIONALVALUE OR
MEANING.
 SYMMETRY EXISTSWHENTHE SAME UNIT OCCURSON
BOTH SIDES OFTHE BALANCE LINE.
 IN ARCHITECTURETHIS CAN OCCURAS:
o REFLECTED
o ROTATED
o TRANSLATED
 BALANCE & SYMMETRY CAN OCCURATTHE BUILDING,
COMPONENTOR ROOM LEVEL.
 AT DIFFERENT SCALES DISTINCTIONCAN BE MADE
BETWEEN LOCAL & OVERALL SYMMETRY OR BALANCE.
Santiago Calatrava, L'Hemisfèric, City of Arts & Sciences,Valencia
Gerit Reitveld, Schroder House, Utrecht

 IT ISTHE SINGLE MOST COMMON
CHARACTERISTIC IN BUILDINGS.
 MAY REFERTO BOTH PLANE &
SOLID GEOMETRY DETERMINING
BUILT FORM.
 GRIDSARE GENERATED FROM
REPETITION OF BASIC
GEOMETRIESTHROUGH:
o MULTIPLICATION
o COMBINATION
o SUBDIVISION
o MANIPULATION
 CAN BE USED ATVARIOUS SPATIAL OR FORMAL LEVELS INCLUDING:
o SIMPLE GEOMETRIC SHAPES
o VARIED FORM LANGUAGES
o SYSTEMS OF PROPORTION
o COMPLEX FORMS GENERATED BY INTRICATE MANIPULATION OF
GEOMETRIES.
 ANALYSIS OF GEOMETRY CAN FOCUSONASPECTS SUCHAS:
o SIZE, LOCATION, SHAPE, FORM, PROPORTION
o CHANGES IN GEOMETRIES AND FORM LANGUAGES RESULTING FROM
VARIATAIONS IN BASIC GEOMETRIC CONFIGURATIONS.
o GRIDSTO BE CHECKED FOR FREQUENCY, CONFIGURATION, COMPLEXITY,
CONSISTENCY &VARIATION. Ashton Raggatt McDougall,
Storey hall, Melbourne
Walter Netsch, Cadet Chapel, Colorado

DEVELOPED FROMTHE PROCESS OF ADDDING
AGGREGATING OR SUBTRACTING BUILT FORM.
SUBTRACTIVECOMPOSITIONS RENDERTHE
WHOLE AS DOMINANT –THE BUILDING IS A
RECOGNIZABLEWHOLE FROMWHICH PIECES
HAVE BEEN SUBTRACTED.
ADDITIVE COMPOSITIONS RENDER PARTS OFTHE
BUILDINGAS DOMINANT – BUILDING ISAN
AGGREGATIONOF IDENTIFIABLEUNITSOR PARTS.

 IT ISTHE PHYSICAL MANIFESTATION OFTHE RANK ORDERING OF A SPECIFIC
ATTRIBUTE OR MANY ATTRIBUTES IN A BUILDING.
 THIS DEPENDS ONTHE ASSIGNMENT OF RELATIVEVALUETOTHE
CHARACTERISTICS BASED ONTHE UNDERSTANDING OF QUALITATIVE
DIFFERENCE WITHIN A PROGRESSION.
 HIERARCHY CAN IMPLY AN ORDERED CHANGE FROM ONE CONDITION TO
ANOTHER SUCH AS:
o MAJOR-MINOR
o OPEN-CLOSED
o SIMPLE-COMPLEX
o PUBLIC-PRIVATE
o SACRED-PROFANE
o SERVED-SERVANT
o INDIVIDUAL-GROUP
 IN FORMAL ANALYSIS, HIERARCHY CAN BE EXPLORED WITH REFERENCETO
DOMINANCE / IMPORTANCE WITHINTHE BUILT FORM.
 IMPORTANCE CAN BE GUAGED BY QUALITY, RICHNESS, DETAIL, ORNAMENT
& SPECIAL MATERIALS.

 A PARTI ISTHE RESULT OF WORKINGTHROUGH
CONCEPT AND DIAGRAM AND ISTHE BASIC
SCHEME OF AN ARCHITECTURAL DESIGN.
 A PARTI DIAGRAM CAN DESCRIBE MASSING,
ENTRANCE, SPATIAL HIERARCHY…AND MANY
OTHER CONCERNS
 AN IDEAL PARTI IS WHOLLY INCLUSIVE –THAT IT
INFORMS EVERY ASPECT OF A BUILDING
 THE PARTI IS NOT NECESSARILYTHE END RESULT
OF CONCEPT AND DIAGRAM, BUT IT IS AN
EXTRACTION OF INFORMATION FROMTHETWO
THAT RELATESTHE DESIGNTO:
o CIRCULATION
o ORGANIZATION
o STRUCTURE
o HIERARCHY
o SITE
o AND FORM.
 A PARTI IS USED AT SEVERAL STAGESTOTEST
IDEAS BEFORE MUCHTIME AND EFFORT IS PUT
INTOTHAT CONCEPT.

 THE PARTI IS NOT NECESSARILYTHE END RESULT OF CONCEPT AND DIAGRAM, BUT IT IS
AN EXTRACTION OF INFORMATION FROMTHETWOTHAT RELATESTHE DESIGNTO:
o CIRCULATION
o ORGANIZATION
o STRUCTURE
o HIERARCHY
o SITE
o AND FORM.

Notre damn due haut chapel is one of
lecorbusier’s most original , least
controversial and widely admired
building.
The building is the relief from the
severity and logic and the international
style , though if confirms with the
system of proportional dimensions (
modulor )
The building demonstrated that the
most rational of architects could design ,
a building that is essentially personal
and poetic , a work of sculpture in
concrete which springs from faith nor
reason.
Notre damn due haut chapel

 In the words of the architect ‘ I sought to create a place of silence ,
of prayer , peace and inner joy. An experimental form probably
Inspired by the landscape.
 One can read in the forms the dual function he wanted to give the
building
 a small chapel for prayer / meditation.
 place of worship – vast crowd of pilgrims
 The idea of deep grotto for the small chapel – by effects of soft ,
round masses that surround the observer and give reassurance.
 Though the firm in no way correspond to that of a traditional
roman church , it had the same sacred atmosphere , bulky volumes
, thick walls , deep splays and semi darkness. Thus it exhibits
implicit bond with the past.

ANALYTICAL DIAGRAMS FOR RONCHAMP CATHEDRAL, FRANCE – LE CORBUSIER

1. Technical information
- site DESIGN AND ANALYSIS
plan
- plans, sections, elevations
- interior and exterior perspectives
2. Personal interpretation
- schematic diagrams of plans / sections / elevations that explain:
 relation with the site
 geometries that govern the project
 relations between volumes
 main and secondary axis
 main and secondary volumes
 vertical and horizontal circulations
 light
 composition of facades
 materials and relation between materials
 relation between various components of the program
 proportions
 relation between mass
and void (volume and
surface)
 grids
 structure
 layers
 access
 Relation between spaces
in section
 Scale
 Symmetry
 Balance
 axis

• Pilotis – The columns take the load &
allow the walls to be placed anywhere
resulting in Free façade.
• Windows – The continuous strip of
horizontal windows permit maximum
day lighting & connect with the
exterior view.
• Façade – is detached from the column
line which gives lot of freedom to the
architect when configuring elevation.
• Floor plan – is free flowing and not
hindered by structural elements such
as columns and beams.
• Roof - level or the terrace is designed
for recreation activities & have semi
sheltered area for partying activities.

The room
dimensions are
according to the
Modular system of
proportions devised
by Le Corbusier.

The inter relationship between the
different floor plans is shown. There is a
ramp and staircase which connect the
lower main living zone with the upper
terrace zone. It contains semi circular
walls that enclose the solarium & the
terrace garden.

Presentation on Architect
Charles Correa
5

Introduction
Ar. Charles Correa by Asmita, Barsha, Bindu
Prabal. January 2016
6
Born in 1930, Charles Correa grew up in the city of
Secunderabad in the Indian state of AndhraPradesh
University of Bombay, followed by the University of Michigan
and then MIT Massachusetts
Awarded with prestigious: The Padma Vibhushan, the
Australian Decoration for Science and Art, and theRoyal
Gold Medal
Leading architect for urban growth centres and founder of the
Urban Design Research Institute in Bombay, his work uses a
combination of traditional and modern features in order to
create cutting-edge designs.
Correa has written essays and theoretical works focusing on
the differing aspects of architecture and urban planning

Ideas, Principles and
Philosophies
Architecture is not abstraction.... it should work.
Prabal. January 2016 61
Architecture is a three-legged stool: climate, technology
and culture. Together they generate the building.
“We do not know if architecture can be taught — but we
know it can be learnt,” “For learning is a process that
depends on us ourselves, and our attitude of mind.”
“History is a profound repository of space and time. It is
the abstract principles we discover in history that we
imbibe and learn from.”

Ideas, Principles and
Philosophies
 Instrumentality, Identity, Pluralism, Income generation, Equity,
Disaggregation.
Use of Vastu Shastra
Centre has to be empty...Brahman
The empty space kind of gives a sense of orientation
Fig. Conceptual plan of Jawahar Kala
Kendra by Ar. Charles Correa based
on Mandala of 9 planetary systems:
architecture as a Metaphor

MP VIDHAN SABHA
‘Vidhan Bhavan is a public building which
should say something very powerful
about democracy, It is a building which
has got to down with the idea of
governing yourself. It has to express the
role it has to play and tell people that this
is your city, this is your state and you
must participate in it, It must not be low-
key. It should have a presence.’
-Charles Correa

MP VIDHAN SABHA
Deep understanding of the Vedic principles
Won prestigious AGA KHAN award for this in 1999

MP VIDHAN SABHA

MP VIDHAN SABHA
Fig. Ariel view, model and elevation of
MP Vidhan Sabha by Ar. Charles
Correa Ar. Charles Correa by Asmita, Barsha, Bindu

MP VIDHAN SABHA

 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 is as a circle, so it could have an auto nous 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.
MP VIDHAN SABHA

 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 The Vidhan
Sabha , The Vidhan
Parishad, Central library,
and Combined hall.
MP VIDHAN SABHA
 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
 While moving along verandah and overlooking courtyards and
gardens – as in traditional architecture of India.

MP VIDHAN SABHA
The whole building presents as extremely pleasing vision of
powerful curves and straight vertical and horizontal lines.

Correa has used open to sky courtyards and a
labyrinthine pattern of pathways to organize the
complex requirements of administrative and
legislative functions.
MP VIDHAN SABHA

 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 is very much in the tradition of the harmonic order
found in the traditional architecture of Islam.
MP VIDHAN SABHA

BRITISH COUNCIL
• Year : 1987 – 1992
• Location : Delhi
• Materials : walls - red sandstone , sculptures
–
black rock quarried from Mahabalipuram.
• It is the headquarters of their office in India.
• Houses a library , an auditorium and
an art gallery too.
• Correa’s challenge - to express the three
basic
cultural identities that have shaped
contemporary
India.
• These elements are arranged in a series
of layers – represents the historic interfaces
that have existed between India and Britain.
• He created a series of three courtyards
representing the three cosmic focal points
that stand for the world centre in Hindu,
Muslim and European cultures.

ogress
BRITISH COUNCIL DELHI
The first node at the farthest end of
the
axis : mundi of Hinduism
A spiral symbolizing bindu:energy
center of the cosmos
The central node : It is the main
courtyard
derived from the Islamic ‘Char Bagh’
The third is the European icon : inlaid
in
marble and granite.
Represents ‘Age of Reason’
including mythical values of science and
pr

On the main facade is Howard
Hodgkin’s mural, made of
white makrana marble inlaid
with black cuddapah stone.
The black stone design is
representing the shadow cast
by a giant banyan tree waving
in the wind.

Fig. Photographs showing the openness of British Council
Delhi as designed by Ar. Charles Correa

QUICK DESCRIPTION
Champalimaud Centre for the
Unknown is a research institute based
in Lisbon focused in biomedical
science particularly in the fields of
cancer research and neuroscience.
The centre was named for the late
Portuguese businessman and
benefactor Antonio Champalimaud
CHAMPALIMAUD CENTRE FOR THE UNKNOWN

CHIEF ARCHITECT’s Words:
“What makes me most proud about this
project is that it is NOT a Museum of
Modern Art. On the contrary, it uses the
highest levels of contemporary science
and medicine to help people grappling
with real problems; cancer, brain
damage and going blind. And to house
these cutting-edge activities, we tried to
create a piece of architecture.
Architecture as Sculpture. Architecture
as Beauty. Beauty as therapy.”
-Ar. Charles Correa

Fig. Using the site itself as a source of 80

The project is divided into three key
elements –
A.The research and healthcare
building
B. The conference centre building
C. An open to air amphitheatre

Fig. The Centre 82

Furthermore, the centre comprises-
• The Complex
• Laboratories
• Champalimaud Clinical Centre
• Auditorium
• Exhibition Centre
• Darwin's Cafe
• Cafeteria
• Gardens
• Public Area

CHARACTERS
It has a
curved stone
form with
circular cut-
ways.
It features a
Glass Bridge
designed by
Schlaich
Bergermann
and Partner—
Klaus Straub

CHARACTERS
The path rises at a
gentle slope that
obscures the ocean
view until the end,
where two concrete
monoliths frame a view
to a pool of water and
the Atlantic beyond.
Glass walls on all four
floors face a large
indoor-outdoor sunken
garden—Correa likens
it to a Brazilian rain
forest—defined on its
south edge by a curved
stone wall and topped
by a pergola.

Other Works
Gandhi Smarak Sangrahalya
Museum, Ahmedabad (1958-63)
“Heritage does not mean that you
make a cartoon version of the past.”
Ar. Charles Correa by Asmita, Barsha,
Bindu, Prabal. January 2016 39
Fig. Left: View of Gandhi Smarak
Sangrahalaya
Right: Plan and Elevation of the
Museum

544516194-Theory-of-Architecture-Module-IV-Calicut-Univ.pptx

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