The document discusses the evolution of architecture in India post-independence, highlighting the identity crisis faced by architects between modernism and historical styles. Key figures like Le Corbusier, who designed Chandigarh, are examined alongside significant architectural movements and buildings from different periods, including Mughal and colonial influences. The document also details notable structures such as the Chandigarh High Court, emphasizing its design, functional layout, and aesthetic elements.

1. NAME:- ABHISHEK DATTATRAY MOHALKAR
CLASS:- S. Y B.ARCH ROLL NO:- 2019109
YEAR:-2020-21 TERM:- IV
POST
LIBERALIZATION ARCHITECTURE
IN INDIA
HISTORY OF ARCHITECTURE-IV

2. HISTORY OF ARCHITECTURE-IV
NAME:- ABHISHEK DATTATRAY MOHALKAR
CLASS:- S. Y B.ARCH ROLL NO:- 2019109
YEAR:-2020-21 TERM:- IV
POST LIBERALIZATION ARCHITECTURE
INTRODUCTION OF POST
LIBERALIZATION ARCHITECTURE :-
INDIAN ARCHITECTS BEFORE INDEPENDENCE WERE WORKING UNDER THE
BRITISH ARCHITECTS. AFTER THE BRITISH LEFT INDIA IN 1947, INDIAN
ARCHITECTURE WAS IN CHAOS.PERHAPS, THERE WAS AN IDENTITY
CRISIS, A DILEMMA WHETHER TO ADHERE TO HISTORICAL PRECEDENTSOR
MOVE FORWARD WITH TIMES USING NEW IDEAS, IMAGES AND
TECHNIQUES. WHILE IN OTHER FIELDS LIKE ART, MUSIC AND CULTURE,
THE DISTINCT INDIAN IMPRINT WAS MORE ENHANCED IN THE POST-
INDEPENDENCE PERIOD; NO SUCH THING WAS DISCERNIBLE IN THE CASE
OF ARCHITECTURE. JAWAHAR LAL NEHRU THE FIRST PRIME MINISTER OF
INDIA, HAD CALLED FOR AN OPEN ARCHITECTURAL COMPETITION FOR THE
DESIGN OF ASHOKA HOTEL IN 1956, WHICH WAS WON BY B.E. DOCTOR,
AN ARCHITECT FROM BOMBAY. USING TECHNOLOGY TO CREATE LARGE
PILLAR – LESS SPACES, DOCTOR CREATED FAÇADE THAT BORROWED
FROM ISLAMIC, HINDU, BRITISH AND MODERN ARCHITECTURE.HE INVITED
LE CORBUSIER TO DESIGN THE CAPITAL OF THE STATE PUNJAB,
CHANDIGARH. LE CORBUSIER DESIGNED THE LEGISLATIVE ASSEMBLY,
SECRETARIAT AND HIGH COURT.
CHANDIGARH BECAME A POWERFUL SYMBOL OF NEW INDIA AND INSPIRED
THE ARCHITECTS AND THE PUBLIC FOR A FORWARD LOOKING MODERN
ARCHITECTURE IN THE POST-INDEPENDENCE PERIOD.
ARCHITECTURAL HISTORY OF
INDIA:-
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-
SARCENIC 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 IDENTITYIN POST INDEPENDENT ARCHITECTURE.
THE INDUS VALLEY
CIVILIZATION
3000-1700 BC
THE INDUS VALLEY CIVILIZATION DATES TO 3000-1700 BC WITH TOWNS OF
MOHENJODAROAND HARAPPA WITH A GOOD TOWN PLANNING SYSTEM AND AN
ELABORATE DRAINAGE SYSTEM (BRICK LINED DRAINAGE ON ALL THE STREET SIDES).
POST MAHAJANPADA
PERIOD
600-200 AD
THIS PERIOD ARCHITECTURE RANGES FROM BUDDHIST STUPA, VIHARAS,
TEMPLES (BRICK AND WOOD), ROCK CUT ARCHITECTURE, AJANTA AND
ELLORA, STEP WELLS, ETC
MIDDLE AGES 200-1500 AD
THE MIDDLE AGES ARCHITECTURE SPEAKS OF SCULPTURED TEMPLES BOTH
SOUTH INDIA TEMPLES AND NORTH INDIA TEMPLES. THE SOUTH INDIA
TEMPLESHAD A SQUARE CHAMBERED SANCTUARY TOPPED BY A THREE SPIRE
WITH AN ATTACHED PILLARED MANDAPA AS INBRIHADESWARA TEMPLE, WHILE
THE NORTH INDIA TEMPLES HAD ELABORATED SPIRES, BEAUTIFUL
SCULPTURES, DELICATE CARVINGS, GOPURAMS AND COURTYARDS AS IN
KAILASA TEMPLE, KHAJURAHO TEMPLE, KONARK TEMPLE
MUGHAL ARCHITECTURE 1500-1615 AD
THE MUGHAL ARCHITECTURE HIGHLIGHTS THE MUGHAL TOMBS OF
SANDSTONE AND MARBLE WHICH RECIPROCATE THE PERSIAN INFLUENCE AS IN
RED FORT, FATEHPURSIKRI, TAJ MAHAL, ETC
COLONIALISIM- INDO
SARCENIC
ARCHITECTURE
1615-1974 AD
INDO-SARCENIC ARCHITECTURE CHARACTERIZES ALL INSTITUTIONAL
BUILDINGS BUILT IN THIS PERIOD.DOMES, OVERHANGING EAVES, POINTED OR
CUSPED ARCHES, VAULTED ROOFS, DOMED CHATTRIS WITH FINIALS, TOWERS
OR MINARETS, HAREM WINDOWS, OPEN ARCADING, ETC. SIR EDWIN LUTYENS,
BRITISH ARCHITECT DESIGNED THE PARLIAMENT, SECRETARIAT, AND THE
WHOLE CAPITAL OF NEW DELHI. THESE BUILDINGSDRAW ELEMENTS FROM
NATIVE INDO-ISLAMIC AND INDIAN ARCHITECTURE AND COMBINED IT WITH THE
GOTHIC REVIVAL AND NEO-CLASSICAL STYLES FAVOURED IN VICTORIAN
BRITAIN.LAVISH COLONNADES, RECTANGULAR WINDOWS, PEDIMENTS FOR
WINDOWS, CLASSICAL PORTICO, RUSTIFICATION ON THE PLASTER, WERE SOME
CHARACTERS

3. NAME:- ABHISHEK DATTATRAY MOHALKAR
CLASS:- S. Y B.ARCH ROLL NO:- 2019109
YEAR:-2020-21 TERM:- IV
POST LIBERALIZATION ARCHITECTURE
HISTORY OF ARCHITECTURE-IV
ARCHITECTS AND THEIR STRUCTURES :-
AR. LE CORBUSIER
INDIAN ARCHITECTURE WITNESSED A REVOLUTION WHEN THE
PUNJAB GOVERNMENT ENGAGED LE CORBUSIER TO DESIGN
THE NEW CITY OF CHANDIGARH. BUILT IN THREE STAGES,
CORBUSIER DIVIDED THE CITY INTO THREE SECTIONS. THE
‘HEAD’ CONSISTED OF POLITICAL, BUREAUCRATIC AND
JUDICIAL RESIDENTIAL COMPLEXES IN THE HEART OF THE
CITY. THE ‘BODY’ HOUSED THE UNIVERSITY AND THE
RESIDENTIAL COMPLEXES IN THE HEART OF THE CITY. THE
'FEET' CONSISTED OF INDUSTRIAL SECTORS AND THE
RAILWAY STATION. APART FROM THE INITIAL LAYOUT OF THE
CITY, CORBUSIER ALSO DESIGNED SEVERAL BUILDINGS IN
CHANDIGARH. THE HIGH COURT BUILDING HAS A SLOPING
ROOF, SUPPORTED BY CONCRETE WALLS, WHICH ALLOW AIR
TO PASS THROUGH THEM. THE ASSEMBLY IS A SQUARISH
STRUCTURE TOPPED WITH A HUGE INDUSTRIAL CHIMNEY
WHILE THE SECRETARIAT IS MADE UP OF HUNDREDS OF
ROOMS WITH AN AIRY EXTERIOR.
AR. RAJ REWAL
THE ASIAN VILLAGE IN NEW DELHI, DESIGNED BY RAJ REWELL
AND BUILT AS A COLOSSAL COMPLEX WITH MORE THAN 800
RESIDENTIAL UNITS, LANDSCAPED COURTS, STREETS,
RESTAURANTS AND SHOPS, ALL CATERING TO SPORTS
PERSONS WHO HAD ASSEMBLED FOR 1982 ASIAN GAMES,
IS ONE OF THE ARCHITECTURAL LANDMARKS OF MODERN
INDIA.
AR. B. V. DOSHI
TAKING INSPIRATION FROM LE CORBUSIER'S CREATIVITY, A
YOUNG INDIAN ARCHITECT B V DOSHI DESIGNED THE
INSTITUTE OF INDOIOGY IN AHMEDABAD. DOSHI'S
CONTEMPORARY, DESIGNED THE HINDUSTAN LEVER
PAVILION FOR THE INDIA INTERNATIONAL TRADE FAIR IN
1961. THE PAVILION WAS AN EXPOSED CONCRETE
STRUCTURE RESEMBLING A CRUMPLED PACKING CASE
MADE OF CONCRETE WITH A ZIGZAG RAMP TO WALK
ALONG.
AR. CHARLES CORREA
CORREA ALSO DESIGNED THE GANDHI SANGHRALAYA IN
AHMEDABAD AS A TRIBUTE TO MAHATMA GANDHI.
CHARLEAS CORREA ALSO DESIGNED LIC BHAVAN
DELHI.AND MANY MORE PROJECTS.

4. NAME:- ABHISHEK DATTATRAY MOHALKAR
CLASS:- S. Y B.ARCH ROLL NO:- 2019109
YEAR:-2020-21 TERM:- IV
POST LIBERALIZATION ARCHITECTURE
HISTORY OF ARCHITECTURE-IV
CASE STUDY:- HIGH COURT CHANDIGARH
LOCATION:- CHANDIGARH, PUNJAB, INDIA
ARCHITECT:- LE CORBUSIER
OPENED:- 15 AUG 1956
TYPOLOGY:- GOVERNMENT BUILDING
FUNCTION:- THE HIGH COURT WAS THE FIRST STRUCTURE TO
BE BUILT IN CAPITOL COMPLEX. CORBUSIER ENVISAGED THE
BUILDING AS VAULTED STRUCTURE, MONOUMENTAL IN SCALE
SET AGAINST THE BACKDROP OF SHIVALIK HILLS.
PLANNING
• THE BUILDING HAS AN I SHAPED PLAN AND EIGHT DOUBLE HIGHT
COURTRROMS ANDD A TRIPPPLE HEIGHT COURT ON THE GROUND
FLOOR WITH OFFICES ABOVE EACH COURT.
• THE COURTROOMS ARE IDENTICALLY EXPRESSED ON THE MAIN
FAÇADE AND ARE SEPERATED FROM THE HIH COURT BY A GREAT
ENTRANCE PORTICO.
• IT CONTAIS A ROW OF EIGHT COURT ROOMS ON GROUND FLOOR
LEVEL AND A MAIN COURTROOM SEPERATED FROM THE OTHERS BY A
LARGE ENTRANCE HALL. A RESTAURANT, ALIBRARY AND OTHER SIDE
ROOMS ARE ACCOMMODATED IN REAR, LOWER PART OF THE
BUILDING.
• THE SIGNIFICANCE OF THE HIGH COURT IS UNDERSCORED BY ITS
ISOLATION FROM THE REST BY A GIANT MENT FORLAWYERS AND
JUDGES.
• EACH COURTROOM IS INDIVIDUALLY ASSESSABLE TO THE PUBLIC
FROM OUTSIDE.
• ON THE SOUTH EASTERN SIDE IS A PUBLICENTRANCE AND A CAR PAR
AT A LOWER LEVEL.
• IN CONTRAST WITH THE DEEP WALLS THERE IS A BARRIER : THE RAMP
AS A TRANSVERSE PEDESTRIAN ACCESS ELEMENT IT IS A DIVIDING
ELEMENT WITHIN THE DEPTHS OF SPACE, REFERRING FUNCTIONALL IT
TO ACCESS LEVEL OF COURTROOMS AND FINALLY IT IS SIMPLY A
FREE STANDING SCULPTURE.
• THE CONTINUITY OF THE SURFACE OF THE ESPLANDED WITH THE
ENTRANCE PORTICO ON NORTH WESTERN SIDE SUSTAINS THE UNITY
OF THE EXTERNAL AND INTERNAL SPACES.
• THE FLOOR OF THE ENTRANCE AREA IS FINISHED WITH STONE WHICH
IS SET IN ROWS OF VARYING WIDTHS.

5. NAME:- ABHISHEK DATTATRAY MOHALKAR
CLASS:- S. Y B.ARCH ROLL NO:- 2019109
YEAR:-2020-21 TERM:- IV
POST LIBERALIZATION ARCHITECTURE
HISTORY OF ARCHITECTURE-IV
ELEVATION
• AN EMPHATIC COLOR SCHEME HAS BEEN USED TO ENHANCE
VISUAL DELIGHT OF THE BUILDING ACROSS THE PLAZA THREE
PYLONS OF PORTICO RISING 18.3M FROM GROUND EXPRESS
THE MAJESTY OF LOW. THEY ARE CEMENTED RENDERED AND
PAINTED GREEN YELLOW AND PINKISH RED RESPECTIVELY.
• THE FLANKING WALLS ARE PAINTED BLACK. THE PREDOMINANT
CHARACTER OF THE BUILDING IS CREATED BY A DOUBLE EFFECT
THE FIRST INPRESSION IS OF A DOMINANT BOX FRAME,
ESTABLISHING A RECTANGULAR BLOCK AS A FIGURE.
• 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
WITH SLOPES TOWARDS THE CENTRE IN THE FORM OF A ROW
OF ARCHES.
• THE BUILDING RISES DIRECTLY FROM THE EARTH, THE MAIN
FAÇADE DEFINED BY FULL HEIGHT CONCRETE BRISE SOLEIL AND
THE ARCH FORMS RESTRICTED TO THE UNDERSIDE OF THE
PARASOL ROOF.
• THE PARASOL ROOF WHICH SLOPES TOWARDS THE CENTRE
PROVIDES A TROUGH FROM WHICH RAIN WATER GUSHES OUT
THROUGH HEAVY SPOUTS AT EITHER ENDS. THE SPACE
BETWEEN UPPER AND LOWER ROOFS IS LEFT OPEN TO ALLOW
FREE MOVEMENT OF AIR, COOLING THE INTERIORS
CONSIDERABLY.
• THE ORIENTATION OF THE HIGH COURT IS SUCH THAT THE MAIN
FAÇADE FACES NORTHWEST, AND THUS DOES NOT RECEIVE
DIRECTSUNLIGHT UNTIL LATE IN THE DAY, LONG AFTER THE
HOURS DURING WHICH THE COURT IS NORMALLY IN SESSION.
THE LIGHT WHICH ENTERS THE COURT ROOMS DURING THE
MORNING AND EARLY AFTERNOON IS ESSENTIALLY REFLECTED
GLARE WHICH IS DIFFUSED BY SUN BRAKERS AND ALSO BY
CURTAINS WITHIN THE CHAMBER.

6. NAME:- ABHISHEK DATTATRAY MOHALKAR
CLASS:- S. Y B.ARCH ROLL NO:- 2019109
YEAR:-2020-21 TERM:- IV
POST LIBERALIZATION ARCHITECTURE
HISTORY OF ARCHITECTURE-IV
INTERIOR
• BECAUSE THE EXPOSED CONCRETE SURFACE INSIDE THE COURT
ROOMS PRODUCED A PROBLEM IN ACOUSTICS, IT WAS FOUND
NECESSECARY TO INTRODUCE A SOUND ABSORPTIVE SURFACE
AND THE SOLUTION WAS THE CREATION OF A SERIES OF A
LARGE TAPESTRIES TO COVER THE INTERIOR WALSS BEHIND THE
JUDGE BENCHS.
• ON THE OTHER HAND, A TAPESTRY IS LIKE A WALL MADE OF
WOOL WHICH CAN BE REMOVED, ROLLED TOGETHER, AND
TAKEN AWAY TO BE HUNG ON ANOTHER WALL THAT’S WHY
CALLED THEM “MURALNOMAD”.
• THE TAPESTRIES ALSO SERVED THE PURPOSE OF
SATISFACTORY ACOUSTICS. IT WAS A GOOD OCCASION TO
BLEND THE ARCHITECTURE OF ARMED CONCRETE (A SOUNDING
MATERIAL) WITH THE CRAFT OF WOOL( A SUBSTANCE THAT
ABSORB SOUND).
• THOUGH THESE TAPESTRIES WERE CREATED FOR ACOUSTIC
REFINING, YET THEY ENHANCE THE QUALITY OF SPACES WITH
THEIR POLYCHROME TONES AND THE INTELLECTUAL PRESENCE
AND POETRY OF CERTAIN SYMBOLS.
LIGHTING
• THE MAIN FAÇADE OF THE HIGH COURT IS ORIENTED TOWARDS
NORTH WEST, IT THEREFORE DOES NOT RECEIVE DIRECT SUNLIGHT
UNTIL LATE IN DAY. LONG AFTER THE HOURS DURING WHICH THE HIGH
COURT IS NORMALLY IN SESSION.
• THE LIGHT WHICH ENTERS THE COURT ROOMS DURING THE MORNING
AND EARLY AFTERNOON IS ESSENTIALLY REFLECTED GLARE WHICH IS
DIFFUSED BY SUN BRAKERS AND ALSO BY CURTAINS WITHIN THE
CHAMBER.
• MOREVER BECAUSE OF THE OPEN CHARACTER OF THE STAIRWAYS
RAMPS AND CORRIDORS: PEOPLES CANNO MOVE AROUND THE
BUILDING DURING THE RAINY SEASONS WITHOUT GETTING
DRENCHED. NEVERTHLESS, IT IS A BUILDING WITH ONE OF THE MOST
BEAUTIFUL FAÇADES, WITH AN EXCEPTIONALLY INVITING AND
ALLURING.
GEOMETRY
• THE FOLLOWING ANALYSIS SHOWS THAT CORBUSIER DESIGNED THE
GROUND PLAN ON THE BASIS OF ORDERING PRINCIPLES THAT REFER
SYMBOLICALLY TO TRANSCENDEENTAL CONNECTIONS.
• THE INFLUENCE OF THE INSIGHTS GAINED FROM THE MODULAR
ABOUT GOLDEN SECTION AS RESULT OF LINKING SINGLE AND DOUBLE
SQUARES AS IN THE SITE PLAN.
• THE ENTRANCE HALL TO THE HIGH COURT CONSIST OF DOUBLE
SQUARE OF A DEFINED SIZE. THIS IS THE DETERMININNG INITIAL
FIGURE FOR THE ANALYSIS OF GEOMETRY AND SCALE.

7. NAME:- ABHISHEK DATTATRAY MOHALKAR
CLASS:- S. Y B.ARCH ROLL NO:- 2019109
YEAR:-2020-21 TERM:- IV
POST LIBERALIZATION ARCHITECTURE
HISTORY OF ARCHITECTURE-IV
PHOTOGRAPHS
REFRENCES
www.highcourtpunjab/architecture.com
www.archdaily.com
www.slideshare.net
www.jetir.com