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1. Architect
Charles Mark
Correa
"The reasons that buildings might
look more human is that I feel
architecture is sculpture,but it is
sculpture used by human beings"
Submitted by
Vibhuti Sharma (20bar009)
Ananya Prashar (20bar022)

2. ABOUT
Born in Hyderabad in 1930.
Studied at the University of Michigan and MIT
established a private practice in Bombay in 1958.
Work in India-development, understanding and adaptation
of modernism to a non-western culture.
Attempt to explore a local vernacular within a modern
environment.
Emphasis on prevailing resources, energy, and climate as
major determinants in the ordering of space,
'Open to sky space' general theme in his architecture.
Awards: 1972-Padma Shri, 2006-Padma Vibhushan
Charles Mark Correa (1 September
1930 – 16 June 2015)

3. Principles of Charles
Correa
-His work is the physical manifestation of the idea
of Indian nationhood, modernity and progress.
-His vision sits at the nexus defining the
contemporary Indian sensibility and it articulates a
new Indian identity with a language that has a
global resonance.
-He is someone who has that rare capacity to give
physical form to something as intangible as
'culture' or 'society' - and his work is therefore
critical: aesthetically, sociologically; and culturally.
-His style was also focused on reintroducing
outdoor spaces and terraces.

4. Modernism (analytical approach,
new material, structure), simple
forms.
(RIBA) presents the first major UK
exhibition showcasing the work of
Correa
Jawahar Kala Kendra
Clean, streamlined forms, a neutral color palette, and strong
geometric shapes.
His vision- defining the contemporary Indian style to articulate a
new Indian identity with a language that has a global resonance.

5. HIS DIFFERENT PROJECTS

6. Gandhi Smarak Sangrah-Alaya
at Sabarmati Ashram,
Ahmedabad
Critical Regionalism is an approach to meet the lack of placelessness and lack of identity of
international style , but is in respect to the climate, social and cultural influences., but also
rejects the ornamentation approach of Postmodernism.
He has designed Gandhi Smarak Sangrah Alaya at Sabarmati
Ashram, Ahmedabad (1958-63) and this project has given
new identity to Indian Architecture through mixing of
vernacular or traditional architecture along with modernism
later called “Critical Regionalism”
He transforms these vernacular and traditional elements into new
vocabulary of his own.

7. GANDHI SMARAK SANGRAHALAYA,
AHMEDABAD (1958-63)
An excellent example of combining the Hindu architectural/cosmological idea of
isotropy (uniform properties) and Modernist functional planning.
Concept of
isotropy (similar
to fractals)
A modular grid is
adopted for planning.
(Modular architecture -
use of systems made of
separate repetitive
elements (standard
units), which are similar
in size, shape and
functional nature.)
These can be linked up
to each other, be
replaced or added.
The initial construction con­
sisted of 51 modular units. Some of the units are enclosed by walls; the exhibition spaces so created counterpointed by
areas for rest where the visitor can sit. It was inaugurated by Jawaharlal Nehru in 1963 since then units have been added to, extending the existing
pattern. (Relating to a modular approach of critical regionalism)
Design
philosophies

8. Contributing to a certain visual quiet.
Design
philosophies
Use Of Symbolism and Visual Metaphors
Idealized version of Indian Village
Five distinctly functional programs such as letters, books, photographs
and painting, meetings and offices, combining the same modular grid in
asymmetrical manner.
The plan is therefore derived from the setting of village house (Banni
region, Kutch district of Gujarat.)
Indian village, central to the
Gandhian imagination.
The structures surrounding a
water court.
Geometric lines, unobstructed
spaces in between and the
reflection on water
The courtyards, water body and the pathways are placed in very random
order to give a feeling of Indian village.
Using the modular grid refers to modernism but somehow also breaking
the pattern/rigidity of the modular grid to vernacular architecture .
Modular units 6 metres x 6 metres of reinforced cement concrete
connecting spaces, both open and covered, allowing for eventual
expansion.
Water court is slight bigger having four grid

9. Corridors and courtyards in smarak
The concept of modularity can be also seen in stone flooring, brick walls,
wooden doors and louvered windows.
The scales of courtyards are very human, and the height of courtyard is
very less representing the Gandhi's Philosophy
Gandhi was very much interested in rural development, so the
courtyards are placed in a organic way to create feeling of village.
The three courts are of the same size having two grids.

10. GANDHI SMARAK SANGRAHALAYA,
AHMEDABAD (1958-63)
Design
philosophies
TRANSITION OF SPACES
By providing courtyards and the different
-open spaces into the design to create this transition of space from open space to semi open and the closed
spaces.
This transition helps the natural light and ventilation reach the maximum it can into the structure and create
interesting and interactive places which usually are the common live spaces.
Planning of open and semi open spaces provide the
maximum day light and wind to enter the
structure.
Relationship between closed and
open spaces. Materials
Materials in its true form and exposed.The openness of the structure creates lightness and transparency.
Bricks, roof tiles, concrete, wood and all the materials are in the exposed form. To express Gandhi's philosophy
.

11. Consideration for incremental nature of a living institution allowing for
eventual expansion.
Embodying the spirit of swadeshi, (Gandhi’s philosophy of self-reliance and
self-sufficiency.)
The architecture is characterized by use of traditional building materials like
brick columns, stone floors, and tiled roofs personifying simplicity.
Architectural Interpretation of
Gandhi's ideas and philosophies.
Out of the many buildings built in
memory of Mahatma Gandhiji,
there is one such building that
has truly incorporated his values
and philosophies in the most
sympathetic way possible.
A traditional space in a contemporary environment.

12. The entrance to the museum as we would imagine it to be HUGE and MONUMENTAL is rather humble.
The building is “MODEST” but not “MONUMENTAL” and truly adheres to the values of Gandhi.
To interpret the Philosophies, Ideas & Thoughts of such a great leader that preached simplicity into a
Thought Process
built form.
Plan being modular had units scooped out to introduce courts and water
body which act as “PAUSE SPACES” where the eye can rest.
Spaces are semi open for people to freely move and contemplate in the
space.
Brick piers go deep, tied by a plinth
beam which was raised slightly above
the ground to give the building a
floating effect which also adds up to
the aesthetics in elevation.
H-SHAPED brick piers supported by a
grid of RCC beams preforming a dual
function of structure as well as
waterspouts roofed with Mangalore
tiles wooden boards from the inner
fascia.
Structure features

13. Breaking conventional Column- incorporating
niches and also to breaks solidity to create a
depth in elevation.
Structural features
The wooden battened doors and the operable wooden louvered windows create interesting
play of Shade & Shadow and also a play a major role in the aesthetics of the building.
The RCC Plinth beam
Columns enclosed with wooden operable
louvers.
Beam acting as water channel.
Contemporary ways to suit the building’s functionality as well as the
aesthetics.

14. The addition of Courts and Water Body help in keeping
keep the microclimate cool.
Open pavilion like typology instead of a solid built form
allows the wind to flow easily in the hot and dry climate
of Ahmedabad and also wisely responds to the
Sabarmati Riverfront below.
Climatic Response of the Museum
Footfall increases to a great extent.
Breaking of conventional museum typology rather creating open
and semi open spaces.
Response to museum as ‘dead spaces’ idea

15. Great Architectural Critic Kenneth Frampton went on
to say that it remains one of the most compelling
NATIONAL MONUMENTS erected anywhere in this
century.

16. VIDHAN BHAWAN( State Assembly) ,BHOPAL
(1983-1993)
Deconstructivism is a movement of postmodern architecture which appeared in the 1980s.
It gives the impression of the fragmentation of the constructed building, commonly
characterised by an absence of obvious harmony, continuity, or symmetry.
Contemporary architecture is the movement where modern styles blend, sharing various
features. No single style is dominant.
Completed in 1996 for the Government of
Madhya Pradesh.
designed on the principles of the ancient
Navgraha Mandal.
use of philosophy of De-constructivism
enclosed by a circular wall, “city within a city”.
approach that generated an interesting set of
roofs, domes and walkways that give rise to a
harmonious profile, sometimes absent in
contemporary architecture.

17. FORM FROM SITE CONTEXT
Circular form due to site context so that the building could be seen
from all sides, on one part of the site there is a sudden drop so the
building will be visible from all lower parts of city.
While the circular form recalls Correa’s interest in the
mandala, here it primarily reflects Indian cultural and
historical references, including the Parliament Building
in New Delhi and the ancient Buddhist stupa in nearby
Sanchi.
ELEVATIONS
The Bhopal city has uneven elevation and has
small hills within its boundaries. The site is in
almost center of capital complex and
situated at the highest point of Arera Hill
overlooking the city of Bhopal. The site is
access through a road which is not straight
but got turn on the point of site itself.

18. Design principles of
ancient Navgraha
mandal.
This planning principles describe that
one big square is divided into nine
square , the big square is universe and
the nine division are nine planets of this
universe
The five central squares forms halls
and courtyard and other four square
on the corners are occupied by
specialized functions
This reflects architect Charles Correa’s
concern for humanist values in the seat of
governmental authority as he organized
the large government facility with a series
of courtyards and pathway as urban spaces
that welcome public participation.
use

19. Incorporating
Critical
Regionalism

20. Courtyard
stepped one ( inspired by the
kund )
covered and lit by a domed
skylight,
partially open and partially
covered
use of concept of binary operation
in spatial arrangement by
providing types of courtyards:
CLIMATE RESPONSIVE ?
Appropriate use of courtyards
in hot humid subtropical
climate of Bhopal
The courtyard as passive design
device works as a modifier of the
microclimate and acts as a heat
sink and cold air storage

21. The blocking has been done very
differently; use of all elements to
show their own identity without
thinking of whole.
Blocking
use of philosophy of De-constructivism (impression of fragmentation
of the constructed building)
East elevation
West elevation
Lower House (Vidhan Sabha)
Upper House (Vidhan Parishad)
Combined Hall
has a large entrance that resembles
the door of the Stupa of Sanchi.
Its roof has been designed as an
inclined framework covered with a
slab of 150cm thickness.
Its roof has been designed as a
deformed slab (hyperbola cum
parabola slab).

22. the art form are so well
integrated in the built form that
these painting never look like
painting but depicts story of this
state’s rich culture
Paintings
Painting of a an attacking tiger
representing dominance as a Tiger
State
Magnificent tribal wall paintings on
the entrance by Late Shri Jangad
Singh Shyam
Paintings of different bird species over
courtyard walls glorifying the
biodiversity of the state
inspired by le Corbusier, Charles Correa used
abstract paintings , random openings in
facade and used primary color borders to
highlight deconstructivism of his building.
Inspiration
use of red sandstone , hand made
ceramic tiles

23. “… 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)

24. Kanchanjunga Apartments, Cumballa Hill, South Mumbai.
Influence of vernacular
architecture responds to the
changing conditions of climate
and urbanization.
Response to the present culture,
the escalating urbanization, and
the climatic conditions for the
region.
The east-west axis providing good
vistas.
Added benefit of receiving all the
sea breezes.
The axis also entertains harsh
afternoon sun and monsoon rains.
Critically designing (traits for upper
level within the community) with
limitations in mind.
Architect: Charles Correa
Location: Bombay, India (upscale suburban setting)
Completed in 1983.
Building Typology (high rise): Skyscraper multi-family housing
Construction System: Concrete
Floors: 32
The Problem
Configuration facing east and west

25. Also, the double-height terrace differs from interior and exterior spaces. Connects the user with views of the city out of the living
area bedrooms and terraces.
Deriving inspiration from old bungalows
Protective layer of verandas around the main living areas.
Buffer zone into a garden, thriving on the problem.
Ingenious cellular planning (interlocking of four different apartment typologies)
Small variations in levels on the floor (garden verandah suspended in the air.)
Correa interlocked four different apartment units.
These subtle shifts enable Correa to effectively shield these
high-rise units from the effects of both the sun and monsoon
rains. This was largely achieved by providing the tower with
relatively deep, garden verandas.
Solution
The Planning
There are two apartments on each floor with split-
level dwellings.
The apartments vary from 180 to 420 square
meters with bedrooms ranging from 3 to 6.

26. Interlocking of four
different apartment units
The Solution
Traditional vernacular style through the experience of a bungalow and modern style in terms of its
exterior, structure (concrete construction) and form.
Verandahs garden terraces (modern interpretation of a feature of the traditional Indian
bungalow: the veranda)
A fusion of the opposites that pioneer sustainable design harmonizing with native environment
controls.
STYLE

27. The Structure and Construction
32-story reinforced concrete structure cantilevering 6.3 meters for the open terraces
The central core addresses the lateral loads and (elevators and staircases)
Sip method of construction (to formulate the cantilevered terraces)
Floors connecting the facade with the structural core.
A tube-in-tube system
adding to the stability of
the whole tower.
Interlocking of four units which
reveal themselves through sheer
end walls to support the
cantilevered teraces.
Smaller displacements of level were critical
as they differentiated between the external
earth filled terraces and the internal
elevated living volumes.
Large openings and terrace gardens provide
transparency.

28. A unique apartment with four kinds of flats ranging from 3 to 6 bedrooms.
Shear end walls holding the cantilevered terrace while visually connecting the floors.
The base of the tower is 21 square meters and height is 84 meters which
The double-height terraces are oriented against the sun to protect each apartment
Large openings and terrace gardens provide transparency.
The Takeaway Features of Kanchanjunga Apartments
makes it a proportion of 1:4.
unit.
Overall, the techniques and concepts to address problems and opportunities
provided by the context were relatively new. The building still stands today and is
visiting by countless architecture enthusiasts. Inhabitants also enjoy the lifestyle in
the tower that merges two different worlds of styles that were the personality of
the architect itself.

29. JAWAHAR KALA KENDRA, JAIPUR
(1986 -1991)
CRITICAL REGIONALISM: sense of place > meaningful space making and contextuality that is
region culture and space specific design
introvert planning to create an environment of
its own.
has a perfect example of contextualizing the
ancient principles of architecture (Vastu vidya) in
the modern era.
cohesion in its planning, building material,
spaces, colors, and symbols that reflects the
identity of Jaipur but at the same time it also
gives the national identity.
critical regionalism

30. Correa again used the concept of navagraha
but more contextual because he is modifying
similar to the jaipur city plan in which one
square is displaced due to hills .
This Navgrah concept with its energy values
their favorable colour, quality and the
favourable functionality to the each planet
with square kept in mind while designing and
allocation of spaces.
GRID IRON PATTERN OF JAIPUR
CITY
CONCEPT FROM VASTU PURUSH MANDALA
FUNCTION DISTRIBUTION AS PER VASTU
MASS VOID
FORM FROM CONTEXT,
CONCEPT AND PROGRAM

31. Linearity of the space
FEATURES
levels create transitional spaces and
allow for further interaction
Different levels
Chaupar like space
created providing
multiple directions for
users to explore
Open spaces
Open to sky spaces in
the form of courtyards
to experience the space
through movement in
space-time
Ventilation
cafeteria
museum
lok kala kendar
multiple openings
to create pleasant
atmosphere near
sitting area due to
cross ventilation

32. FEATURES
COLOR DOMINANCE OVER THE SPACE
DOME- PAUSE AND ROTATE
SENSE OF MYSTERY BY SMALL OPENINGS ELEMENTS TOWARDS CRITICAL REGIONALISM
ORNAMENTATION- LOCAL MATERIALS ROOF COVER- MS PIPES- LIGHT AND SHADOW
JALI- VENTURI EFFECT
DIFFERENT AUDITORIUM DIFFERENT
EXPERIENCE
SIMILARITY IN ELEMENTS

33. takeaway
By using small
elements we can
effortlessly create a
built environment that
reflects the traditional
as well as modern
elements together in a
much-unified way
which can be climate
responsive as well.

34. Jawahar Kala Kendra an art and cultural
centre in the memory of late Prime Minister
Jawaharlal Nehru, who firmly believed in
rediscovering India's past while opening
doors to a brand new future.
"It is a fact: every culture cannot sustain
and absorb the shock of modern
civilisation.
There is the paradox; how to become
modern and to return to sources; how to
revive an old, dormant civilisation and take
part in universal civilisation."

35. CONCLUSION
Charles Correa was not following the philosophy of “critical regionalism “at a conscious level but at a subconscious level, he
was naturally inclined towards the ancient, vernacular, and traditional architecture from the very beginning but at the
same time, he also understand the present context of buildings, the present needs, and aspiration of people. Vidhan
Bhawan is based on the ancient planning of Navgraha mandal but the functions of the buildings are so well fitted into nine
squares that one never feels that it is ancient but looks a modern idea.
. In Gandhi Smarak Sangrahalaya, he beautifully created village-like atmosphere through a series of courtyards, building
materials like bricks, etc but at the same time he had used the modular grid in the plan as well as in façade reflecting a very
rational and modern approach.A climatic responsive design in the vocabulary of aesthetics Reverence to cultural values,
and mythological principles and also have an understanding of the history of Indian Architecture. Mixing of different
materials in the sense that building materials become the identity of the building. A fusion of the opposites that pioneer
sustainable design harmonizing with native environment controls.

36. www.archdaily.com/151844/ad-classics-kanchanjunga-apartments-charles-correa
//archestudy.com/kanchanjunga-apartments/
https://images.adsttc.com/media/images/5193/c344/b3fc/4b37/4100/00e0/large
_jpg/Kachanjunga_3.jpg?1368638266
REFERENCES
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