Charles Correa: Seeking new Identity of Indian Architecture through " Critical Regionalism "

1. Charles Correa:
Seeking new Identity of Indian
Architecture through
" Critical Regionalism "
By
Souvik das
001410201005
JADAVPUR UNIVERSITY

2. REGIONALISM
=
VERNACULAR
MODERNISM
=
TOTAL NEWNESS
How to be modern and
continue the tradition
???......

3. Liane Lefaivre,
a Canadian and an
Austrian, is o-
Professor of
Architectural
History and Theory
at the University of
Applied Art in
Vienna Austria
Alexander Tzonis
is a Greek born
architect,
researcher and
author. He has
made
contributions to
architectural
theory, history,
and design
The phrase "critical
regionalism" was
first used by the
architectural
theorists Alexander
Tzonis and Liane
Lefaivre in an essay
“ the grid and the
path way “

4. The main problem of critical regionalism is
to seek answers to the question of Paul
Ricour:
"How to be modern and to continue
the tradition, how to revive old
dormant civilization as part of
universal civilization.???“
• Culture and Civilization
• The Rise and Fall of the Avant-Garde
• Critical Regionalism and World Culture
• The Resistance of the Place-Form
• Culture versus Nature: Topography, Context,
Climate, Light and Tectonic Form
• The Visual versus the Tactile

5. • Critical Regionalism is an approach to
encounter the lack of placelessness and lack of
identity of International style, but also rejects
the ornamentation approach of Postmodernism.
• Critical Regionalism is not just to replicate
vernacular architecture or traditional
architecture but it seeks answer through
traditional or vernacular architecture in modern
context.
• Critical regionalism is not only regionalism but
it is an progressive approach to seek answers
from global and local language of architecture.
Critical Regionalism

6. CHARLES CORREA’S APPROACH
TO
CRITICAL REGIONALISM :
• Correa’s approach to site planning is unique, he
study the elements of site in depth and most of time
he is deriving the concept of project in response to
the site context. He uses access and approach to
building in a very interesting way and all is done
with intentionally.
• He uses the elements such as courtyards, louvers,
pergolas, local building materials, use of water
bodies etc to make climatic responsive design.
• Correa has deep understanding of cultural values,
mythological principles and also has understanding
of history of Indian Architecture.
• Correa uses the local building materials but at same
time he uses concrete steel and other new materials
too in same complex and he uses so wonderfully of
mixing of these materials that these building materials
become identity of building .

7. Design concept -
• The modular grid which is easy to repeat and can be
extended easily.(refers to modernism)
• causal meandering pattern of Indian village and
break the rigidity.
• Five Interior Rooms Contain The Collection Of The
Museum.
• All Five Rooms Are Part Of 6mt Square Module. Correa’s
Subtle Changes Of The Enclosure Allow For Variety In
The Module’s Lighting, Temperature’ And Visual
Permeability.
• A Square, Uncovered Shallow Pool Is Located Between
The Five Rooms.
GANDHI SMARAK SANGRAHALAYA, AHMEDABAD

8. CONSTRUCTION
• tiled roof, brick walls, stone floors and wooden doors.
• RCC channels which act as beams and as rainfall conduits
and which permit additional construction to be added in
future.
• No glass windows; light and ventilation being provided by
operable wooden louvers
• post and beam structure.
• load bearing brick columns support concrete channels, which are
both support the wooden roof and direct rainwater.
• the foundation is concrete and is raised about foot from the
ground.
• boards are nailed underneath the joist and tiles are placed
at top the joints.

9. Concept –
•The city plan is guided by
shilpa shahtra , the nine
square plan which represents
the 9 planets
•Due to the presence of hill
one of the square is
transposed to the east .
•Plan of this centre is also like
the plan of Jaipur ( navagraha
mandala )
JAHAR KALA KENDRA -

10. Response to climate –
•Small punctures on wall for ventilation
•Light shafts have step profile with
marble capping
•Smaller openings
•Light shafts at corner of each unit
•Central court bring in light and air .