One of the India's best-known architects, Raj Rewal is recognized internationally for buildings that respond sensitivity to the complex demands of rapid urbanization, climate and culture. In a country that is both developing and industrialized, whose architectural inheritance is ancient and recent and whose society is conservative and pluralist, Rewal's work combines sophisticated technology and a sense of history and context, imparted not only by design but by local material such as ochre and rose sandstone, evoking the great Mogul monuments.

1. RAJ
REWAL

2. LIFE JOURNY
LIFE JOURNEY
Raj Rewal born in 1934 in Hoshiarpur 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”
His imaginative leaps are based on his foundational
knowledge and experience.

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. He returned to new Delhi in 1962 to set up his own
architectural practice.
In 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 he was the curator of the exhibition“Traditional
Architecture in India” for the festival of India in
Paris.

5. PROFESSIONAL PROFILE
He completed his professional education in
Europe.
He recalls 3 encounters 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. Second he worked as an assistant stage for
manager several avante grade theatre productions
in London. As a set designer he learnt that each
dramatic work had its particular character which he
interprets as the rasa of the building.
Third he was working in the offices of Michel
Ecohard, 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 took the lead of the structural systems for
the exhibition pavilions at Pragati Maidan, New
Delhi.

7. He convinced his European structural consultants
to develop the unusual structural systems for the
Ismaili centre and the central public works
department 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 impliment modern means
to build in India.

8. Teaching history exposed him to the classical and
vernacular traditions of building in India.
They seem to exemplify what Le Corbusier once
said “What makes our dreams so daring is that they
can be realised”.

9. 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 architectural style
of Le Corbusier and Louis khan.
Also influenced by the typologies of traditional
buildings and cities like Jaisalmer

10. 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

11. For the HALL OF NATIONS and industries he
drew lessons from the Humayun’s tomb.
In Nehru pavilion he draws parallels with
stupas that enshrine sacred relics.
The Satish Gujral house and Rewal house
resembles 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.

12. FEATUERS OF HIS DESIGN
 URBAN FABRIC
 CLUSTERS
 STREETS
 GATEWAYS
 INNER COURTYARDS
 ROOF GARDENS

13. 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 building 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

14. 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.

15. ASIAN GAMES VILLAGE

16. 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.

17. 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 buildings 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

18. JAISALMER NATIONAL
INSTITUTE IMMUNOLOGY

19. 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. 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

22. ASIAN GAMES VILLAGE

23. 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

24. ROOF TERRACES IN ASIAN GAMES VILLAGE

25. 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.

26. ASIAN GAMES VILLAGE
STREETS IN

27. 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.

28. 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

29.  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

30. SATISH
GUJRAL
HOUSE, NEW
DELHI,

31. 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

32. 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
Certain interior spaces have direct access to
outdoor gardens at differing levels

33. Main entrance

34. PLAN

35. SHYAM LAL HOUSE, NEW DELHI,
1973
The Shyam 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.

36. 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.

37. View of double height
entrance

38. REWAL HOUSE ,NEW DELHI
In 1973, he designed 2 independent house units,
one for the architect and his family, the other for his
parents.
It was 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.

39. 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

40. The rewal house served as a prototype for his
later large scale mass housing designs

41. A view
downward
into the
living and
dining area

42. 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.

43. 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 by
the users.

48. 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 the 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 to 280 rupees
a sq.feet for a middle class population.

49.  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 „walkups‟
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.

50. The passage and 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.

51. 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

52. HALL OF NATIONS & HALL OF
INDUSTRIES, NEW DELHI,1970

53. HALL OF NATIONS , 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 Rewals 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.

54. 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 .

55. Structure detail

56. Interior of Hall of Nation

57. Overall view of the complex