ppt on design of architect habib rehman

1. SCHOOL OF ARCHITECTURE, DELHI TECHNICAL CAMPUS
SUBJECT NAME: HISTORY OF ARCHITECTURE
SUBJECT CODE: AP-323
ASSIGNMENT-1
(SESSION 2020-21 – B. ARCH 5TH SEMESTER)
NAME OF STUDENT: S. MOHAMMAD SALMAN NAQVI
FACULTY IN CHARGE: AR PREETI NAIR
ENROLLMENT NUMBER: 06718001619
BATCH: 2019-2024
COLLEGE NAME: SCHOOL OF ARCHITECTURE, DELHI TECHNICAL CAMPUS, GREATER NOIDA
UNIVERSITY: GURU GOBIND SINGH INDRAPRASTHA UNIVERSITY, NEW DELHI

2. INDIA HAD A GLORIOUS HISTORY IN TERMS OF ITS RICH ART AND ARCHITECTURE, STARTING FROM 3000
B.C. DURING THE BRITISH PERIOD FROM 1615- 1947, THE MAJOR CITIES OF DELHI, CALCUTTA, MUMBAI AND
CHENNAI WERE HIGHLIGHTED WITH RICH COLONIAL STYLES OF INDO-SARSENIC ARCHITECTURE. AFTER
INDEPENDENCE, THERE WAS A BOOM OF BUILDING ACTIVITIES AND THERE WERE CONFUSIONS AND
DEBATES ON THE STYLE OF ARCHITECTURE TO BE FOLLOWED– MODERNISM OR HISTORICISM. DIFFERENT
STYLES OF MODERNISM EVOLVED RAISING THE QUESTION OF IDENTITY IN POST INDEPENDENT
ARCHITECTURE.
ACHYUT KANVINDE
(1916-2002)
CHARLES CORREA
(1930-2015)
HABIB REHMAN
(1915-1995)

3. BIOGARPHY
WORK
DURING THE 1950S AND 1960S, THE NEHRU GOVERNMENT INVITED ARCHITECTS, AMONG WHICH HABIB RAHMAN, TO
DEVELOP NEW PUBLIC BUILDINGS BUILT IN THE SPIRIT OF THE INDEPENDENCE OF INDIA.
THE GANDHI GHAT IN 1949, THE NEW SECRETARIAT, THE DAK BHAWAN, THE RABINDRA BHAWAN, THE SARDAR PATEL
BHAWAN, W.H.O DELHI, THE NATIONAL ZOOLOGICAL PARK AND MUSEUMS OF ABUL KALAM AZAD, FAKHRUDDIN ALI
AHMED AND ZAKIR HUSSAIN
AWARDS
1955 PADMA SHRI
1974 PADMA BHUSHAN
1995 JK CEMENT ARCHITECT OF THE YEAR CHAIRMAN'S AWARD FOR LIFE ACHIEVEMENT
HABIB RAHMAN OBTAINED HIS BE IN 1939. IN CALCUTTA. HE STUDIED AT THE MIT AND
OBTAINED HIS M ARCH IN 1944 (THE FIRST INDIAN TO COMPLETE THIS PROGRAM). FROM
1944 TO 1946, HE WORKED AT THE ARCHITECTURE FIRMS OF LAWRENCE. B.
ANDERSON, WILLIAM WURSTER, WALTER GROPIUS, AND ELY JACQUES KAHN IN BOSTON.
HABIB RAHMAN RETURNED TO CALCUTTA DURING THE 1946 CALCUTTA RIOTS AND
BECAME THE SENIOR ARCHITECT OF THE GOVERNMENT OF WEST BENGAL FROM 1947
TO 1953. STARTING IN 1953, HABIB RAHMAN BECAME THE SENIOR ARCHITECT OF
THE CPWD IN NEW DELHI (AND BECAME CHIEF ARCHITECT IN 1970.

4. HABIB REHMAN INTRODUCED THE BAUHAUS STYLE IN THE INDIAN CONTEXT:-
BAUHAUS STYLE
EMPHASISED ON THE USE OF MODERN TECHNOLOGY AND MASS PRODUCTION TECHNIQUES AND MANUFECTURE HIGH
QUALITY AND CHAEAP GOODS WHICH COULD BE ACCESSIBLETO MANY.
❑ ABSENCE OF ORNAMENTATION
❑ IMPORTANCE OF FUNCTION
❑ RADICALLY SIMPLIFIED FORMS
❑ RATIONALITY AND FUNCTIONALITY
✓ FLAT ROOFS, SMOOTH FACADES, CUBIC SHAPES FAVOURING RIGHT ANGLES
✓ THE COLOURS USED ARE WHITE, GREY, BLACK, OR BEIGE-DULL COLORS WHICH SHOW THE LACK OF ORNAMENTATION
✓ OPEN FLOOR PLANS AND FUNCTIONAL FURNITURE
✓ USE OF STEEL FRAMES, FLAT SLAB, CONCRETE AS CONSTRUCTION MATERIAL
THE USE OF NEW INDIAN ARCHITECTURAL ELEMENTS
▪ JALIS
▪ CHAJJAS
▪ DOME
▪ OVERHANGING ROOF
▪ HORIZONTAL AND VERTICAL LOUVERS
NEW SECRITARIAT
KOLKATA
USE OF JALI
RABINDRA BHAWAN
MAZZAR OF
ZAKIR HUSSAIN
FLATS OF RK PURAM
DELHI

5. AIM OF PROJECTS
TO PROVIDE ACCOMODATION TO HOUSE THE ACTIVITIES OF THE 3 NATIONAL ACADEMIES
❖ THE LALIT KALA ACADEMY(PLASTIC ARTS)
❖ SAHITYA(LITERATURE AND PHILOSOPHY)
❖ SANGEET NATAK ACADEMY(PERFORMING ARTS)
SHAPE AND POSITIONING
OF THE WINGS FOLLOWS
THE SHAPE OF THE SITE
USE OF PURE GEOMETRY IN OVERALL
FORM OF THE BUILDING
(INTERCONNECTED STRUCTURE, FREE
OF BOX SHAPES AND THE BAUHAUS
FACTORY ASTHETICS)
THE BUILDING IS DIVIDED INTO THREE MAJOR BLOCKS
❖ ADMINISTRATIVE BUILDING(BIGGEST OF ALL, PROMINENT AMOUNT OF SPACE)
❖ EXHIBITION GALLERY
❖ THEATRE
VISION WAS TO MAKE A BOLD STATEMENT AND HOLD ITSELF ON THE HUGE SITE-THE MUONUMENTAL
SCALE OF THE BLOCK
❖ Y SHAPE IS CHOOSEN THOUGHTFULLY TO COVER THE MAXIMUM AREA ON THE SITE
❖ THE SHAPE OF THE BLOCK CREATES DIFFERENT SIZES OF POCKETS WHERE OTHER TWO BLOCKS ARE
PLACES
REHMAN BROKE HIS BUILDING INTO DIFFERENT BLOCKS TO CREATE A GALI LIKE GREETS-WHICH HE BORROWED FROM INDIAN
ARCHITECTURE
❖ REINTEPRETED FORM OF CHAJAJS IN CONTINOUS HORIZONTAL LOUVERS.
❖ ROWS OF CONTINOUS CHAJJAS, WHERE THE LOUVERED ROWS ARE PLACED ON
CANTILEVED BRACKETS
❖ COMPOSITE STRUCTURE OF THE BUILDING OF BRICK LOAD BEARING WALLS AND RCC
FRAMED STRUCTURE
❖ USE OF INDIAN ARCHITECTURAL ELEMENTS LIKE CHAJJAS, DOMES AND JALIS.

6. THE GOVT WANTED TO DEVELOP A RESIDENTIAL AREA FOR THEIR EMPLOYES THAT WOULD NOIT ONLY BE HIGH IN
DENSITY BUT IT WOULD ALSO HAVE THE APPROPRIATE ENVIRONMENT FOR QUALITY LIVING.
DOUBLE STORIED HOUSES OF RK PURAM
REHMAN’S DESIGN OF THE PROPOSED MULTI
STOREY HOUSING SOUTH ELEVATION
❖ SINCE THE DESIGNING OF THE RABINDRA BHAWAN, REHMAN HAD
SIGNIFICANT CHANGES IN HISWAY OF DESIGNING
❖ THE RECTANGULAR WING STILL SEPICTS HIS LOVE FOR PURE GEOMETRY
IN THE BUILDING FORM
❖ HE ALWAYS TRIED TO BREAK THIS SINGULAR FORM BY PROVIDING WING
SYSTEMS AND VARIED FACADES AND CORNER CONDITIONS THAT WOULD
CREATE THE PLAY OF MASS AND VOID UNLIKE THE FLAT FAÇADE OF THE
BAUHAUS BUILDING.
PLANNING
RCC FRAMEWORK WITH
BRICK FILLER WALLS
❖ GENERALLY REHMAN TRIED TO ORIENT THE BUILDING WINGS OR BLOCK PARALLEL
TO THE PLOT BOUNDARY TO PLACE IT APPROPRIATE ON SITE. BUT HERE RATHER THAN
FOLLOWING THE SAME PRINCIPLE, HE TILTED EACH OF THE APPARTMENTS IN
RELATION TO THE EXISTING ROAD.
❖ THE IDEA BEHINDSUCH ORIENTATION WAS MOST IMPORTANTLY CLIMATE AND ALSO
TO GIVE BEST POSSIBLE NON OBSTRUCTIVE VIEW TO THE MAXIMUM NUMBER OF
ROOMS IN EACH BLOCK
❖ ALSO WITH PROVIDING THE LARGE OPEN SPACES BETWEEN THE BLOCKS, A FEELING
OF OPENNESS WITH GOOD AIR AND LIGHT AND CONSIDERABLE PRIVATE FOR EACH
FLAT IS ESTABLISHED
ALTERNATIVELY
CANTILEVERED
BALCONIES
JAALI WORK
STAIRCASE
JAALI
APPARTMENT
JAALI
DETAIL ELEMENTS
❖ THE EXTERNAL WALLS OF THE APPARTMENT ARE PAINTED WITHOUT ANY
PLASTER UNDERNEAT. SO ONE CAN SEE THE JOINTS OF BRICK MASONRY ON THE
FACADES OF BUILDING. THE ALTERNATIVELY CANTILEVERED BALCONIES,
CONCRETE JAALI, PROJECTING CHAJJAS AND EXPOSED BRICK MASONARY, ALL
TOGETHER CREATES A HARMONIOUS COMBINATIONS OF THE ARCHITECTURAL
LANGUAGE THAT REHMAN HAS USED IN HIS DESIGN.