Charles-Edouard Jeanneret, better known as Le Corbusier, was a pioneering Swiss-French architect, designer, painter, urban planner, writer, and one of the pioneers of what is now called modern architecture. Some of his most notable works included the Villa Savoye in Paris, the city of Chandigarh in India, and the Unite d'Habitation in Marseille, France. He was influential in establishing the International Style of architecture and is widely regarded as one of the most influential architects of the 20th century.

3.  NAME:- Charles-Edouard Jeanneret
( WAS BETTER KNOWN AS LE CORBUSIER)
 BORN:- October 6 , 1887
 BIRTH PLACE:- La Chaux-De Fonds,
Switzerland
 DIED :- August 27 , 1965

4.  Charles-Edouard Jeanneret-Gris, better known as
Le Corbusier was Born on (October 6, 1887 –
August 27, 1965).His birth sign was libra.
 He was an architect, designer, painter, urban
planner, writer, and one of the pioneers of what is
now called modern architecture.
 He was born in Switzerland and became a French
citizen in 1930.
 In his architecture, he chiefly built with steel and
reinforced concrete and worked with elemental
geometric forms.

5.  While returning in 1929 from South America to
Europe, Le Corbusier met entertainer and
actress Josephine Baker .Le Corbusier made
several sketches of Baker.
 Soon after his return to France, Le Corbusier
married Yvonne Gallis, a dressmaker and
fashion model. She died in 1957.
 Le Corbusier also had a long extramarital affair
with Swedish-American heiress .

6.  He was attracted to the visual arts and studied at the Art
School in Paris.
 His architecture teacher in the Art School was the
architect René Chapallaz, who had a large influence on Le
Corbusier's earliest house designs.
 In 1906 he made his first trip outside of Switzerland, going
to Italy in search of employment.

7.  In 1906 he made his first trip outside of Switzerland,
going to Italy in search of employment.
 At around 1907, he travelled to Paris, where he found
work in the office of Auguste Perret, the French
pioneer of reinforced concrete.
 In 1908, he studied architecture in Vienna with Josef
Hoffmann.
 Between October 1910 and March 1911, he worked
near Berlin for the renowned architect Peter Behrens,
where he may have met Ludwig Mies van der
Rohe and Walter Gropius .

8.  He was the pioneer of modernism in architecture
and laid foundation to what is known as Bauhaus
movement or international style.
 He is known for innovation in urban planning and
his solutions for low income housing.
 During his lifetime he had projects in Russia, India
and Europe and two are in the USA too.
 He formed the five points of architecture which
were the guiding principles for many architects.

11.  "You employ stone, wood, and concrete, and with
these materials you build houses and palaces: that is
construction. Ingenuity is at work. But suddenly you
touch my heart, you do me good. I am happy and I say:
'This is beautiful.’
 "Architecture is the masterly, correct, and magnificent
play of masses brought together in light."
 "Space and light and order. Those are the things that
men need just as much as they need bread or a place
to sleep."
 "The house is a machine for living in.
 "It is a question of building which is at the root of the
social unrest of today: architecture or revolution

12.  Against his doctor's orders, on August 27, 1965, Le
Corbusier went for a swim in the Mediterranean
Sea at, France. His body was found by bathers. It
was assumed that he may have suffered a heart
attack. His death rites took place at the courtyard
of the Louvre Palace on September 1, 1965.He was
buried alongside his wife in the grave he had
designated at Roquebrune.
 Le Corbusier death had a strong impact on the
cultural and political world.

13.  No matter how open and green, cities should be frankly
urban, urban surroundings are to be definitely
contrasting with rural surroundings.
 Densities are in themselves not a problem.
 Slum exits because of the failure to provide the proper
surroundings for high density living.
 Le Corbusier was one of a Prolific Thinker. In terms
of a thinker Le Corbusier can be best described as a
person coming to grips with the Machine Age. His
Revolutionary Work was primarily concerned with
the existence of man within the NEW AGE OF THE
INDUSTRIAL ECONOMY.

14.  Le Corbusier explicitly used the golden ratio in his
modular system for the scale of architectural
proportions.
 The modular is an anthropometric scale of
proportions devised by him.
 It is based on the height of an English man with his
arm raised.

15.  A six-foot (about 183-centimeter) man, somewhat resembling
the familiar logo of the “Michelin man,” with his arm upraised
(to a height of 226 cm; 7’5”), was inserted into a square . The
ratio of the height of the man (183 cm; 6’) to the height of his
navel (at the mid-point of 113 cm; 3’8.5”) was taken precisely
in a Golden Ratio.
 The total height (from the feet to the raised arm) was also
divided in a Golden ratio (into 140cm and 86 cm) at the level of
the wrist of a downward-hanging arm. The two ratios (113/70)
and (140/86) were further subdivided into smaller dimensions
according to the Fibonacci series
 The Modular consists of two scales , The Red Scale and The
Blue Scale`. The Dimensions of the Blue Scale are double of
the Red and the divisions of each scale are based on the Ø
(phi) ratio, the ratio of growth in all living things and the basis
of the GOLDEN SECTION. Thus the Modular is not only an
instrument of Architectural Proportion but also a means of
ensuring that the buildings designed using it are of Human
Scale.

16.  The unit length in any scale is of importance. Le
Corbusier ‘s Modular is based on the Human Figure and
on traditional inch/foot which is itself based on the
Human Figure. These modules were used very
successfully in the design of Furniture as well as
buildings and anthropometric measurements should be
used in furniture design.
 Yet another demonstration of the efficacy of traditional
wisdom, Metric Measurement may be a new idea but
because an idea is new does not mean it is an
improvement. It must be shown beyond reasonable
doubt that it is better than the old ways and we are still
waiting for the pushers of this system to state their case.
 The purpose of the Modular was to "maintain the human
scale everywhere". The entire building "United'" was
based on the Modular proportioning system.
 The same proportion is to be seen in his modern flats

18.  PILOTIS :- (raise the building off the
ground) to let nature move under the
building footprint.
 FREE PLAN:- (allowing the internal
partitions) this also allowed the division
of rooms to be placed at minimums with
minimal wall thickness.
 FREE FACADE :- (partly based on free
plan, this allowed the windows to be
formed independently of the wall
structure) it also allowed lighting to
rooms to be controlled , increasing the
lighting and removing the possibility of
dark spaces.

19.  LONG HORIZONTAL
WINDOW :- (also known as the
window wall) this allowed for
large amounts of light to be
driven into the living areas of
dwelling, creating sunny places
in winter, the removal of dark
cluttered spaces.
 ROOF GARDEN :-(replacing
displaced nature) letting
maximum light and air enter the
recreation spaces of the residents.
the person on the new roof
garden is soaking in the sun,
which is seen as the healthy and
right thing to do.

20. Basic material he generally
used in his design was:-
 Concrete
 Glass
 Steel
Among all of these his main
emphasis was on concrete.

21.  VILLA SAVOYE,PARIS (1928-31)
 CHANDIGARH
 UNITE D’HABITATION, AT MARSEILLE,FRANCE
(1945-52)
 CHAPEL NOTRE-DAME-DU-HAUT,FRANCE
(1950-1955)

24. THE BUILDING CONSISTS
OF
a) Ground floor having a
car shed ,lobby and 2
rooms.
b) First floor having a
saloon, bedrooms,
kitchen and open terrace.
c) Terrace consisting of
partition walls open from
top.
• It is considered one of the
purist villas built by Le
Corbusier where all his
principles are magnificiently
brought in.

25.  It consist of arrival
sequence designed
for car: the glass
enclosure for its
turning radius, the
vertical mullions to
emphasize its speed,
the placement of
column opposite to
door.

26.  The long and continuous glazing hardly creates a barrier
between interior and exterior.

27.  The interior has rooms well
linked with each other and has
hardly any barriers between
them.
 It has spiral staircase and
rampart reaching up to second
floor, yet another feature of
corbusian architecture.
 Consists mainly a lobby and two
rooms in this floor.

28. GROUND FLOOR
INTERIOR VIEW

29. OPEN TERRACE
KITCHEN
RAMPART
bathroom
BEDROOM
BEDROOM
B. room
PUBLIC
AREA /saloon
FIRST FLOOR PLAN

30.  The rooms are oriented
for sun and view-saloon to
northwest, terrace to
south, accommodations to
west and kitchen to east.
 The most magnificent part
is the hanging garden in
between which creates
great sense of openness
and creates a
microclimate in an area ,
yet another typical feature
of corbusian architecture.

31.  The public area is consists
of long horizontal window
on one side and terrace
garden on opposite.
 Hence it almost
disintegrates distinction
between inside and out,
creating a free facade,
another typical feature of
Corbusian’s architecture.

32. Interior view of
public area
View of public area
from east

34.  SINCE PUNJAB EAS DIVIDED INTO TWO PARTS, THE
CAPITAL WAS LEFT IN PAKISTAN THERE FORE PUNJAB IN
INDIA REQUIRED NEW CAPITAL
 LE CORBUSIER WAS APPROACHED BY PUNJAB
GOVERNMENT AND THE PRIME MINISTER OF INDIA
 CHANDIGARH IS A BOLD EXPERIMENT IN MODERN CIVIC
DESIGN
 CHANDIGARH HAS PROVOKED FRESH THINKING AND IN
FACT SHOWN NEW WAY OF LIFE
 MAXWELL FRY, JANE DREW AND PIERRE JEANNERET WERE
ALSO INVOLVED IN THE TEAM OF ARCHITECTS
 WHEN LE CORBUSIER ASSUMED CONTROL OF THE
CHANDIGARH PROJECT IN 1951, HOWEVER THE DESIGN OF
THE CITY HAD ALREADY BEEN DEVISED BY THE NEW YORK
FIRM OF MAYER, WHITTLESEY, AND GLASS WHO RECEIVED
A CONTRACT FOR THE MASTER PLAN OF CHANDIGARH IN
1950

35.  MAYER WAS THE FIRST ONE TO GET THE CHANDIGARH
PROJECT
 MATTHEW NOWICKI WAS INVITED TO JOIN THE STAFF
ASSEMBLED TO PLAN CHANDIGARH.HIS DITIES WERE
TO TAKE THE FORM OF ARCHITECTURAL CONTROL.
 MAYER STATED THAT HE WAS TRYING TO CREATE
SOMETHING”THAT REALLY APPLIES TO WHAT WE HAVE
TALKED ABOUT MUCH BUT WHICH HAS BEEN AT BEST
DONE IN A LIMITED WAY IN RADBUBN,THE GREENBELT
TOWNS AND BALDWIN HILLS.
 THE BASIC AIM,STATED MAYER,WAS A BEAUTIFUL CITY.
 THE MASTER PLAN WHICH ALBERT MAYER PRODUCED
FOR CHANDIGARH ASSUMES A FAN-SHAPED
OUTLINE,SPREADING GENTLY TO FILL THE FILE THE
SITE BETWEEN THE TWO RIVER BEDS.

37.  IN 1951 IT WAS GIVEN TO LE CORBUSIER
 IN CHANDIGARH LE CORBUSIER SYTEM OF SELF
SUPPORTING NEIGHBORHOOD UNIT KNOWN AS A SECTOR
HAS WORKED VERY WELL
 SECTOR WHICH IS INTROVERTED IN CHARACTER
COMMUNICATES ONLY AT 4 JUNCTIONS WITH THE
ADJOINING NEIGHBOURHOOD UNITS
 ALL THE HOUSES OPEN UP INSIDE
 GRID PLANNING IS DONE
 CHANDIGARH PLANNING WAS DONE IN AN MANNER THAT
EVERYTHING WAS EASILY CLEAR ABOUT THE ROUTES AND
SECTORS
 7 V’S ROAD SYSTEM IS USED
 THE ROADS ARE CLASSIFIED AS V1 ,V2 ,V3………V7
 V1 CONNECTS CHANDIGARH TO OTHER CITIES

39.  THE DISCIPLINE OF MONEY
 LE CORBUISER ONCE REMARKED THAT”INDIA HASTHE TREASURES
OF A PROUD CULTURE,BUT HER COFFERS ARE EMPTY.” AND
THROUGHOUT THE PROJECT THE DESIRE FOR GRANDNESS WAS
HAMPERED BY THE NEED FOR STRICT ECONOMY.
 IN WORKING UP HIS DESIGNS,LE CORBUISER CONSULTED THE
PROGRAM FOR EACH BUILDING AS GIVEN IN THE BUDGET AND THEN
PREPARED THE INITIAL PROJECT.
 THE DISCIPLINE OF TECHNOLOGY
 AVAILABLE IN QUANTITY,HOWEVER,WAS GOOD CLAY STONE AND
SAND,AND,ABOVE ALL’HUMAN LABOUR.
 THE MATERIALS OF WHICH CHANDIGARH HAS BEN CONSTRUCTED
ARE ROUGH CONCRETE IN THE CAPITOL COMPLEX AND THE CENTRAL
BUSINESS DISTRICT AND FOR MOST OF THE CITY,ESPECIALLY IN
HOUSING,LOCALLY PRODUCED BRICK.
 THE DISCIPLINE OF CLIMATE
 BESIDES THE ADMINISTRATIVE AND FINANCIAL REGULATONS THERE
WAS A LAW OF THE SUN IN INDIA.
 THE ARCHITECTURAL PROBLEM CONSISTS;FIRST TO MAKE
SHADE,SECOND TO MAKE A CURRENT OF AIR[TO VENTILATE],THIRD
TO CONTROL HYDRAULICS.

40.  AT PRESENT THERE ARE 30 SECTORS IN CHANDIGARH,OF
WHICH 24 ARE RESIDENTIAL.
 THE SECTORS AT THE UPPER EDGE OF THE CITY ARE OF
ABBREVIATED SIZE.
 IN ALL TYPE OF HOUSING ,PARTLY BECAUSE OF THE
GLAZING EXPENSE,PARTLY TO KEEP OUT SUN.
 AS THE MOST ECONOMICAL AND READILY AVAILABLE
MATERIAL FOR BUILDING AT CHANDIGARH WAS LOCALLY
MADE BRICK.
 THIS BECAME THE MATERIAL OF CONSTRUCTION.
 THE FLAT ROOF WAS EMPLOYED THROUGH OUT IN
CHANDIGARH HOUSING BECAUSE OF ITS USEFULNESS AS
A SLEEPING AREA
 70% OF THE BUILDING WOULD BE PRIVATE IN ALL THE
SECTORS.
 RESIDENTIAL PLOTS RANGING IN DIMENSIONS FROM 75 SQ.
YARDS TO 5000 SQ YARDS.

41.  THE AREA OF THE GREATEST SYMBOLIC SIGNIFICANCE IN
CHANDIGARH WAS THE CAPITOL COMPLEX , WHICH IN ITS
FINAL FORM WAS BASED ON THE DESIGN OF A GRAET
CROSS AXIS
 THE MOST IMPORTANT GROUP OF THE BUILDINGS
CONSTITUTING THE CAPITOL- RIGHT, THE PARLIAMENT,
LEFT,IN THE BACKGROUND, THE SECRETARIAT
 IN THE FOREGROUND, THE POOL OF THE PALACE OF
JUSTICE
 THE ARTIFICIAL HILLS IN THE FRONT OF THE SECRETARIAT
HAVE NOT BEEN CREATED AND LAID OUT IN ACCORDANCE
WITH COEBUSIER;S CONCEPTIONS
 ALTHOUGH THE SCENE IS HARMONIUS IN EFFECT, THERE
ARE STILL MISSING THE BUILDINGS THAT BELONG HERE
,SUCH AS , FOR INSTANCE, THE TOWERS OF SHADOWS

42. SECRETARIAT
ASSEMBLY
HIGH COURT
GOVERNOR,S PALACE
OPEN HAND

43.  HERE THE SECRETARIAT BUILDING IS TREATED AS A
HORIZONTAL PLATFORM LIKE THE PLAIN OF CHANDIGARH
ITSELF,CARRYING ON ITS ROOF THE PROVINCIAL
ASSEMBLY HALL RISING IN A PARABOLIC ARCH, A FORM
ECHOING THE DISTANT HILLS
 AS A RESPONSE TO THE SUN, THE CAPITOL COMPLEX CAN
BE INTERPERATED AS AN INTERLACED ARRAY OF SUN
BREAKERS
 INSPIRATION FROM L,UNITE
 IT LIES IN THE FOOT OF SHIVALIK HILLSJUST NEXT TO
ARTIFICIAL LAKE
 GOVERNOR,S PALACE WAS SUPPOSED TO BE IN THE SITE
BUT THE IDEA WAS ABANDONED
 THE CAPITOL AREA WAS DESIGNED AS THE GREAT
PEDISTRIAN PLAZA WITH MOTOR TRAFFIC SEPARATED
INTO SUNKEN TRENCHES LEADING TO PARKING AREAS
 ALTHOUGH THE SITE IS VERY BIG,IT IS NOT DESIGNED WITH
ALLOWENCE FOR EXPANSION

45.  THE FIRST DESIGN FOR THE SECRETARIAT PRESENTS THE
BUILDING AS A TALL THIN SLAB CARRYING A SURFACE
BRISE SOLEIL DIVIDED BY A CENTRAL HORIZONTAL BAND
 THE DESIGN WHICH WAS ACCEPTED ESTABLISHED THE
BUILDING FORN AS A LONG ,HORIZONTAL CONCRETE SLAB
 THE SECRETARIAT, THE LONGEST BUILDING IN
CHANDIGARH, 254M LONG,AND 42M HIGHFORMS THE
ADMINSTRATIVE CENTER,WITH MINISTERAL OFFICES
GROUPED IN THE CENTER AND OFFICES FOR EMPLOYEES
ARRANGED ON EITHER SIDE
 THE BUILDING WAS COMPLETED IN 1958
 THE BUILDING IS COMPOSED OF SIX EIGHT STOREY
BLOCKS SEPARETED BY EXPANSION JOINTS
 THE CENTRAL PAVILION, BLOCK 4, CONTAINS THE OFFICES
OF THE MINISTERS

46. FREE FACADE
RAMP ENCLOCURE
ROUGH CONCRETE
FINISH
SQUARE WINDOWS
PROJECTED PORTICOS
SMALL ENTRANCE
BIG ENTRANCE

47.  THE ROUGH CONCRETE AGAIN INTERPOSES IN THE
FENESTRATION OF THE TWO MAIN FACADES ; MORE THAN
2000 UNITS OF UNIQUE DESIGN
 APPRAOCH TO THE BUILDING IS THROUGH ROADWAYS
BELOW GROUND LEVEL TO A LARGE PARKING AREA IN
FRONT OF THE CENTRAL BLOCK, AND A FLOOR IS LEFT
OPEN AT THIS LEVEL TO FORM AN ENTRANCE HALL
 BLOCK 1 AND 2 RISES DIRECTLY FROM THE GROUND
 BLOCK 3,4 AND PART OF 5 FACE ON THE EXCAVATED AREA
OF THE PARKING LOT AND HAVE THE LOWER STOREY
OPEN BETWEEN PILOTIS
 FOR THE REST PART OF BLOCK 5 AND WHOLE OF 6 THE
LEVEL GOES TILL PLAZA HEIGHT, AND LOWER PORTION OF
THESE BLOCKS ARE LEFT OPEN TO A HEIGHT OF TWO
STORYES
 THE TOP OF THE BUILDING IS DEVELOPED AS A ROOF
GARDEN CONTAINING THE SERVICE BLOCKS AND
CAFETERIA FOR EMPLOYEES

49.  THE PLASTIC EMPHASIS IS
GIVEN TO THE BUILDING BY
FREE STANDING EXTERIOR
RAMPS ENCLOSED IN
ROUGH CONCRETE WALLS
 FOR SUPPLEMENTARY
COMMUNICATION WITHIN
THE BUILDING , EACH OF SIX
BLOCKS IS EQUIPPED WITH
INTERIOR STAIRWAYS AND
LIMITED ELEVATOR SERVICE
 HORIZONTAL CIRCULATION
IS BY MEANS OF A CENTRAL
CORRIDORS
 FOR MINISTER’S BLOCK THE
BAY SIZE IS INCREASED AND
THE COLUMN IS THICKENED
HT OF 2
STOREYS
LEFT OPEN
COLUMNS SUPPORTING
1 ½ BLOCK

51.  THE HIGH COURT FORMED A PART AS “ A GRAT ARCHITECTURAL
VENTURE USING VERY POOR MATERIALS AND A LABOUR
FORCEQUITE UNUSED TO MODERN BUILDING TECHNIQUES
 AN ENTIRE STUCTURE HAS RESULTED IN THE USE OF DOUBLE
ROOF
 THE UPPER ROOF CANTILEVERED OUT OF THE OFFICE BLOCK IN
THE MANNER OF PARASOL SHADING THE LOWER ROOF
 THE SPACE BETWEEN THE TWO ROOFS IS LEFT OPEN TO ENABLE
CURRENTS OF AIR TO MOVE BETWEEN THE FLAT ROOF OF THE
OFFICE BLOCK AND THE UNDERSIDE OF THE PARASOL ROOF
WHICH SLOPES TOWARDS CENTER IN THE FORM OF ROWS OF
ARCHES
 IN THE PLAN THE BUILDING TOOK THE FORM OF ABBREVIATED L –
SHAPED WITH LONG FAÇADE FACING THE CAPITOL PLAZA TO
CONTAIN COURT ROOMS
 THE BUILDING IS A RECTILINEAR FRAME WITHIN WHICH THE
INTERIOR FUNCTIONS ARE DEFINED
 THE EIGHT COURT ROOMS ARE IDENTICALLY EXPRESSED ON THE
MAIN FAÇADE AND SEPARETED FROM THE LARGER HIGH COURT
BY A MONUMENTAL COLUMNED ENTRANCE RISING THE HEIGHT

52.  THE EIGHT COURT ROOMS ARE IDENTICALLY EXPRESSED
ON THE MAIN FAÇADE AND SEPARETED FROM THE LARGER
HIGH COURT BY A MONUMENTAL COLUMNED ENTRANCE
RISING THE HEIGHT OF THE BUILDING.
 BUILDING RISES DIRECTLY FROM THE EARTH .
 THE MAIN FAÇADE IS DEFINED BY A FULL HEIGHT
CONCRETE BRISE SOLEIL .
 THE ARCH FORM IS RESTRICTED TO THE UNDERSIDE OF
THE PARASOL ROOF .
 IT IS THE VISUAL DRAMA OF THE PIERS RISING SIXTY FEET
FROM THE GROUND TO MEET THE HEAVY OUTWARD
THRUST OF THE ROOF WHICH CREATES THE FOCAL
EMPHASIS OF THE PRESENT PLAN .
 ON THE MAIN FAÇADE THE DEEP FIXED CONCRETE BRISE
SOLEIL GIVES A STRONG AND SCALELESS PATTERN TO THE
BUILDING.
 IT IS THE CONCRETE SCREEN WHICH GIVES THE MAIN
FAÇADE ITS OVER ALL UNITY.

53.  BEHIND THE BRISE SOLEIL , THE WINDOWS OF THE COURT
ROOMS ARE OF FIXED GLASS, BUT BETWEEN ARE NARROW
VERTICAL SPACES CONTAINING SHUTTERS WHICH OPEN
AND CLOSE ON HINGES .
 IT IS NOTED THAT THE ORIENTATION OF THE HIGH COURT IS
SUCH THAT THE MAIN FAÇADE FACES NORTH WEST , AND
THIS DOES NOT RECEIVE DIRECT SUNLIGHT .
 THE ROUGH CONCRETE OF THE BUILDING IS TREATED IN
VARIETY OF MANNERS FOR MUCH OF THE SURFACE
INCLUDING THE UNDERSIDE OF THE PARASOL ROOF AND
THE EXTERIOR SIDE WALLS , THE MASS OF SHEET METAL
CHARACTERIZE THE SURFACE .
 IN PORTIONS OF THE INTERIOR AND ON THE RAMPS ,
WOODEN BOARDS HAVE BEEN INSERTED WITH IN THE
METAL FORMS TO GIVE THE CONCRETE SURFACE THE
IMPRESS OF THEIR JOINTED PATTERN, WHILE OTHER
SURFACES, INCLUDING THOSE OF MASSIVE ENTRANCE
PIERS ARE FINISHED WITH GUNNITE CEMENT .

54. COLOURED MASSIVE
PILLARS
PARASOL ROOF
FORMING
ARCHES
DOUBLE ROOF
GAP LEFT BETWEEN
TWO ROOFS
FULL HT ENTRANCE

55. REAR VIEW
ROUGH CONCRETE FINISHED RAMP
DOUBLE ROOF
APPROACHED THROUGH ROADS

56.  THE ENTRANCE LOBBY IS PAVED WITH WHITISH FLAG
STONE SET IN THE ROWS OF VARYING WIDTHS
 NEW SCHEME FOR PAINTING THE COLUMNS AND PORTICO
WALLS IN BRIGHT CONTRASTING COLOURS
 THE INSIDE WALL TO THE LEFT OF THE PIERS WAS TO BE
BLACK
 THE ADJACENT PILLAR PAINTED GREEN
 THE CENTER PIER WOULD BE YELLOW
 THE RIGHT HAND PILLAR IS RED
 AND THE REMAINING PORTICO WALL IS PRIMARY BLUE
 THE GRAET ENTRANCE HALL OF THE HIGH COURT IS ALSO
BEEN FOUND IN LACKING PROTECTION DURING THE
MONSOON SEASON
 THE NARROW CURVING RAMP AT THE END OF THE
ENTRANCE HALL,WHICH FORMS THE MAIN VERTICAL
CIRCULATION IS EXPOSED
 THE HORIZONTAL CIRCULATION, CONSISTING OF POEN
CORRIDORS ON THR REAR FACADE ,IS ALSO
INEFFECTIVELY SHELTERED

58.  THE ASSEMBLY WAS CONCEIVED AS A RECTILINEAR
STRUCTURE
 IT IS SQUARE IN PLAN WITH A MONUMENTAL PORTICO
FACING THE MAIN PLAZA
 ON THE LATERAL FACADES BOTH THE PORTICO AND THE
OFFICE BLOCK WOULD BE DEFINED BY SOLID END WALLS
 THE LARGE CHAMBER IS IN HYPERBOLIC FORM OF THE
COOLING TOWER WITH AN AVERAGE THICKNESS OF 15 CMS
 THE SMALL COUNCIL CHAMBER ARE IN RECTILINEAR
FRAME
 THE UPPER PORTION OF THE TOWER IS EXTENDING ABOVE
THE ROOF LINE
 AN ASSEMBLY CHAMBER IS 128 FT IN DIAMETER AT ITS
BASE AND RISES TO 124 FT AT ITS HIGHEST POINT
 THIS TOWER WAS DESIGNED TO INSURE THE NATURAL

59.  OF ALL BUILDINGS OF THE
CAPITOL COMPLEX , THE
ASSEMBLY IS THE MOST
INTRICATE IN PLAN
 SEPARATE CIRCULATION
ACCOMMODATION OF ALL
GROUPS IS PROVIDED
 EMPLOYING A SYSTEM OF
INDIVIDUAL ENTRANCES,
STAIRWAYS, LIFTS AND
RAMP A COMPLETE
SEGREGATION OF
MEMBERS IS PROVIDED
 THER ARE TWO SEPARATE
GALLERIES FOR MEN AND
WOMEN IN COUNCIL
CHAMBER
INTERIOR
VIEW OF A
CHAMBER
MUSHROOM
COLUMN
SUPPORTIN
G ROOF

61.  THE CITY CENTER CONSISTS
OF DIFFERENT SQUARES
TIED TOGETHER BY BROAD
AVENUES.
 AT THE PRESENT
TIME,WHEN THIS CENTER IS
STILL DEVOID OF ANY SORT
OF VEGETATION,THE
UNSHADED OPEN AREAS
CAN BE QUITE
UNPLEASANT.
 THIS SECTOR-17 IS
VIRTUALLY
UNINHABITED,BUT IT IS
ENLIVENED DURING THE
DAYTIME BY THE MANY
SHOPS,BAZARS,

62.  THERE IS DOUBT THAT AT
PRESENT THE CITY CENTER
STILL LOOKS LIKE AN
EXPERIMENT .
 THE URBAN CIRCULATION HERE
IS IN SHARP CONTRAST TO THE
‘ORIENTAL’ BAZAAR
STREETS,THE NARROW ALLEYS
FUL OF NOISE AND PLUNGED IN
SHADOW .
 OF ALL THE CITIES OF INDIA ,
ONLY CHANDIGARH CAN CLAIM
TO BE AN ABSOLUTELY MODERN
TOWN , ”UNTOUCHED BY THE
TRADITION OF THE PAST,” AS
JAWAHARLAL NEHRU SO APTLY
REMARKED .
 THE EXECUTION OF THE
BUILDINGS FOR THE CITY
CENTRE WAS ASSIGNED TO
DIFFERENT ARCHITECTS.
PIERRE JEANNERET
CONSCIENTIOUSLY

63.  THE CLUB HOUSE-
NORTH OF THE CAPITOL
NO ADDITIONAL
STRUCTURES WERE TO
BE ERECTED,IN ORDER
NOT TO IMPEDE THE
VIEW OF THE HIMALAYA.
 THIS WAS AN EXPRESS
CONDITION LAID DOWN
BY LE CORBUSIER.
 THE CLUB HOUSE WAS
HOWEVER NECESSITY.
 LE CORBUSIER
DESIGNED A COMPLEX
LYING 3METERS
BENEATH ROAD
LEVEL,SO THAT THE
HOUSE IS SCARSELY
VISIBLE FROM THE
PROMENADE.

64.  THE CAUSEWAY- CHANDIGARH IS
SURROUNDED BY THE RIVERS
PATIALI AND MANIMAJRA, WHICH
CARRY WATER ONLY DURING THE
MONSOON SEASON.
 THE REINFORCED CONCRETE
CONSTRUCTION IS SIMPLE AND
PLAIN, AND ITS SEVERE LINES
HARMONIZE ENTIRELY WITH THE
NATURAL SETTING.
 AT ALL OTHER TIMES OF THE
YEAR THEY ARE DRY.
 DURING THE HOT MONTHS OF MAY
AND JUNE, ENORMOUS AMOUNTS
OF DUST USED TO BLOW INTO
THE CITY.
 TREES AND SHRUBS WERE
PLANTED AS A PROTECTIVE ZONE
ALONG THESE RIVERS, SO THAT
THE CITY IS NOW FREE OF THE
INCONVENIENCE OF THIS FLYING
SAND.
 ONE OF THESE RIVERS HAS BEEN
DAMMED.
 IN 1955 THE WATER BOULEVARD
WAS EXTENDED IN THE SHAPE OF
A CAUSEWAY, OR DAM, THE
RETAINING WALL BEING MORE
THAN

65.  20 METERS HIGH AND 4 KILOMETERS LONG.
 THIS DAM,WITH ITS WIDTH ON TOP OF 24METERS, THUS
YIELDED A PROMENADE.
 THE ARTIFICIAL LAKE CREATED BEHIND THE DAM HAS
MODIFIED THE CLIMATE OF THE CITY.

67.  The marseille block was
first built unite d’habitation
by corbusier.
 First is was the commercial
street, then eventually filled
with various professional
offices, shops and services

68.  The planning has been done in such a way
that there are alternate corridor and non
corridor floors.
 Each block consists of one part of non
corridor floor and half part of corridor floor.

69.  There are 3 staircases and 4
lifts running from outside
lobby connecting different
floors.
 The quality of interior
streetscape is intentionally
dark.
 The darkness is relieved with
various portals (grand
entries).

70.  The sculptural part
of roof garden
shows rather a
mythical
Nature of the
designer.
 Various forms
casted from rcc are
clubbed together.

71.  It consists of nursery school at top
 It also has gymnasium and club at this level.

72.  Prefabricated apartments were
inserted into the whole block.
 The apartment perimeter is a wood
box of plywood sheathing and pine
framing insulated with fiber glass, and
finished with gypsum board , oak
panels and linoleum flooring.

74.  The chapel
when
completed
shocked the
architectural
world.
 Those who
revered (deep
honor) Le
Corbusier as a
champion of
reason saw the
freedom of
Chappel as an
expressionist.

75.  Le corbusier said
It was pleasure here to
allow free play to the
resources of modular,
keeping a corner at one’s
eye on the game to avoid
blunders
 He challenged the
modular everywhere .He
defy the visitor to give
different dimensions of
different parts of building.

76.  The great source of inspiration
other than modular was the
landscape.
 Giving the response to site
conditions, he acknowledged
the dominant role of hillside
from first.
 The plan is four curved lines,
an “acoustical” response to
the four horizons viewed from
the hilltop.
 The plan shows how the
curved walls simultaneously
gather and open to landscape,
far beyond the building
boundary and beyond the
boundary of optical
experience.

77.  Le corbusier likened the
roof form to crab shell
found on long island
beaches .
 In the dim chapel,the roof
swells up, the floor dips
down, and the western
wall ripples as if space
was somehow fluid.

78. INTER PENETRATION
OF NATURAL LIGHT