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indistinguishable continuum. "We live in countries of great cultural

heritage," he says, "countries which wear their past as easily as a

woman drapes her sari"5. Thus India for Correa is like the

Mediterranean was for Le Corbusier; the source of a spiritualsustenance that is as universal in its implications as it is deeply

rooted in the geo-physical conditions and mores of a particular

place. Like other Indian intellectuals of his generation, Correa will

find inspirational depth in the mythic and cosmological beliefs of the

past. In this way he has been able to elaborate partis that were

initially somewhat schematic into works of poetic consequence.

In opposition to the stylistic superficiality of Post Modern

pastiche, Correa postulates three separate levels at which the

environment may be conceptualized and perceived today;'first, as

an everyday pragmatic given, second, as a domain where

fashionable imagery of one kind or other will inevitably be present

and, third, as an all but invisible cultural sub-stratum that rises, from

time to time into the architectural unconscious of a particular region.

Correa argues that this triadic interplay is further modified by the

way architecture evolves over time through the dynamic interaction

of climate, technology, and the emerging aspirations of the society.

Thus of the forces shaping architecture in the modernizing Third

World Correa writes:

". . . at the deep structure level, climatic conditions, culture

and its expression, its rites and ritual. In itself, climate is the

source of myth: thus the metaphysical quantities attributed to

open-to-sky space in the cultures of India and Mexico are

concomitants of the warm climate in which they exist: just as

the films of Ingmar Bergman would be inconceivable without

the dark brooding Swedish winter.

"The fourth force acting on Architecture is Technology. No

other art feels its influence so decisively. . . the prevailing

technology changes every few decades. And each time this

happens, architecture must re-inven

mythic images and values on which

These two extremely succinct paragra

the full scope of Correa's activities over ththe fact that changes in the technique of b

dramatic in India than in other parts of the

towards explaining the apparent ease with

able to reinterpret and reintegrate the pas

body of work.

References:

1. Charles Correa: "The New Landscape," Boop.46.

2. Ibid, p. 38.3. Museum Quarterly, UNESCO Review, No. 14. Dr.Jyotindra Jain: "Metaphor of an Indian S

Delhi,Vol. VIII, N:5, Sept-Oct 1991,p. 39-435. "Charles Correa," Concept Media, Singapor6. MASS,Journal of the University of New Mex

p.4-5.



THE BLESSINGS OF THE SKY

Charles Correa



Throughout human history, the sky has carried a profound and

sacred meaning. Man intuitively perceived it'as the abode of the

Supernatural. Hence to climb a path to the top of the hill, where the

Gods dwell, is a paradigm of such mythic power that it has been

central to the beliefs of almost every society, since the beginning of

time.

Thus the great Hindu temples of South India are not just a

collection of shrines and gopurams, but a movement through the

open-to-sky pathways that lie between them. Such a path is the

essence of our experience - it represents a sacred journey, a

pradakhshina, a pilgrimage. And this sense of the sky extends to the

architectonic vocabulary as well: as witness the walls around

Rajasthan palaces and Moghul forts, crowned with patterns that

interlock builtform with sky - and the wonderfully evocative ~is

(umbrellas) along the roofscape, capturing fragments~,?f the infinite

heavens above.

Rajasthani chattris

In India, the sky has profoundly affec

builtform, and to open space. For in a wa

to be in the late evenings and in the early

under the open sky. Such spaces have a

variations: one steps out of a room. . . int

thence on to a terrace. . . from which one

courtyard, perhaps shaded by a tree. . .

overhead..61.eachQ1oment, subJI§ c.hang

and ambient-.ail:.gepeJ:ateJe..elings within

'"central to our beings. Hence to us i~ A'sT-- -has never been the Little Red Schoolhouse

the guru sitting under the tree. True Enligachievedwithintheclosedbox of a room

outdoors, under the open sky.

These open-to-sky spaces have very

well. To the poor in their cramped dwelling

courtyard represent an additional room, u

during the course of a day: for cooking, f

sleeping at night, and so forth. And for th

the income spectrum, the lawn is as prec

Thus in traditional villages and towns all o

sky spaces are an essential element in th1

Examine, for instance, the village of Bann



TheLord Buddha at Borabudhur

Guru under the tree

House in Banni village

houses consist of a series of circular huts around a central

courtyard. Each hut has a specialised function: one for visitors,

another for storing grain, a third for sleeping, and so forth. The family

moves from one hut to the next, depending on their need, the time of

day, etc, in a nomadic pattern of astonishing style and natural

sophistication.

Then again, consider the Moghul Emperors in their magnificent

Red Forts at Agra and Delhi, living in a similarp?ly-centric typolog~i:

On the roof terraces of these forts, we find truly elegant patterns of

free-standing pavilions, placed in immaculate gardens, inlaid with

fountains and channels of running water. As in the village of Banni,

these pavilions are differentiated as to use: the Diwan-I-Am for

receiving visitors, the Moti Masjid for prayerS, the hamams for

bathing, and so forth. lGiven the cold winters of North India and the annihilating heat of

its summers, how did the Moghuls manage to live in such a

disaggregated pattern of pavilions? The answillJie~[n the sunken

sourtyardE,-.WbiGl:i give.accesS-tG-aJowBLleyeLof rQQJJ1s.Jn the early

morning of the summer months, a velvet shamiana (canopy) is

~tretched over the rim of the c.2.ldrtyards-,JrapQing the cold overnight

air in the lower level of.rooms. This is where the Moghul Emperor

'Spends~his da;.in th;even~n§L ~ami.§.n;js removed, ~ndthe

Em~er~~ ~d his co~r:!..~:::.~eup on to th~ g,a!:ge~and pavilions of

The Red Fort at Agra

AQ~ ~ Diagrammatic section of Red Fort

0

Gandhi Smarak Sangrahalaya .

the terrace level. In the cold but sunny winters, this pattern is-.'" - -"'- .. ~, -. -. - ---_.

reversible: the terrace gardens Qi3Lngused during t~_eday, and t

10w!~~~;I~~rn~-~t night. The result is a brilliant re-inventio~the desert tents of Central Asia from whence the Moghu1scame

These Moghuls generated a life-style as royal as Versailles .. but

with truly aristocratic finesse, their palaces are built on the. scale

tennis court, not a parking lot. "-

The typologies revealed in these examples are astonishing:

flexible and incremental, achieving great spatial richness through

minimalist means. They exercise a seminal influence on many of

projects in these pages - starting with one of the earliest, the

Gandhi Smarak Sangrahalaya (1958-63) at the Sabarmati Ashram

Ahmedabad. This memorial to the Mahatma is a museum and

research centre where scholars come to study his letters, books

photographs. These aLe.housed in a disaggregated plan connec--r- - - ----by covered and open areas - a pattern which not only allows for~- --'-- -

mc:re flexible .growth but also gives to tFi~ users-_areas ~-visu?1 q

~e the-eye can rest and the mind meditate.~ .. -



Instruction,Enlightenme-n

Salvacao Church v

Jama Masjid, Delhi

Another example is the Salvacao Church (1974-77) in Bombay

which speculates on what church typology might have been if

Christianity had not been headquartered in Europe, but had stayed

in Asia - where it originated, Yet another is the Sen Farmhouse

(1972, unbuilt) outside Calcutta which has four caves (living, .

sleeping, cooking and washing) placed around a~QQI2.:fo~courtyard; at different times of the day, this courtyard can be used in

conjunction with any particular cave, depending on the activity. The

same principle also generates the Patwardhan Houses (1967-69) in

Poona, where the sleeping and cooking functions are housed in

square masonry boxes, grouped in.a pattern which creates breeze-

ways for the living areas.

These typologies were further developed into a pattern which

might be termed the In..§.ide-OutSock. An example is the project for

a mud Farmhouse for Mrs. Indira Gandhi (1972, unbuilt) - a concept

which re-surfaces again in the Kapur Guesthouse (1978, unbuilt) to

accommodate participants in a high-powered think-tank discussing

India's future. Here the main arena is a square courtyard made of

earth, defined by a high mud wall - with the rooms for each of the

visitors as appendages on the other side of this wall. Each suite of

rooms has a door opening on to the courtyard, in the centre of which

the discussions take place - surely a configuration which should

serve to wonderfully focus the mind! What is crucial here are not the

formless rooms that lie on the other side of the wall, but the clarity of

the central core - hence the analogy of the sock turned inside-out.

Kapur Think Tank

This concept has also generated the Mu

(1985, unbuilt) Bhopal, wh5're the system of

defined by a continuous masonry wall, and t

galleries are built separately and incrementall

it. This typology of the inside-out sock can a

with the constantly fluctuating budgets and t

economy like India's, since the basic archite

wall - is completed in the first instance. It pla

emphasis on open-to-sky space - as do the

like the Jama Masjid in Delhi, which is really

courtyard with enough builtform around the

feel one is within a piece of architecture.

COURTYARDS & TERRA

Open-to-sky space is also of vital impor

where it can make a decisive difference betw

claustrophobia - particularly so for the lowes

in reasonably dense housing, individual terra

each family can be provided - as in the Jeev

(1969-72) in Borivli and Bangalore (1972-74),

ho.using (1971-72) for the Gujarat Housing B



Low-income housing,

Gujarat Housing Board

~..I)t,

~ - \d

Kanchan

, \ /

-0:,c'/ \

'~'<~~i

Rallis Apartments

Coloni

Jeevan Bima Nagar, Borivili

Such open-to-sky spaces not only improve living conditions, blJt--- - - -- -- - . - - - -. -

~ cEil also hia'ieCQDsigeCableeconomievalue-in a de..veloping

~conomy like India, ,where families augment their income by keeping

chickens, or goats (or even a buffalo!). Usually such activities are

not encouraged in company-owned townships, but the Malabar

Cements Corporation township (1978-82) was an exception. All the

families, including those at first floor levels, connect directly to a

small piece of land for their exclusive use.These principles are viable also in the high-rise buildings of

Bombay, where the issue is compounded by the hot humid climate.

An east-west orientation c~che...§ ttt~ prevailing bre;s~ and al1so

the best views in the city,. but it also exposes the building to the

blistering sun and the monS.OOnrains. The old colonial bungalows-- ~

solved this problem intelligently by locating the main living areas in

the centre, protected by a continuous verandah running along the

periphery - a concept used in the Sonmarg Apartments (1962), the

Rallis Apartment~ and later in the DCM Apartments, where a belt of

verandahs, studies and bathrooms forms a protective zone around

the main living areas.

Another variation that this buffer zone

verandahintoa garden- preferablyof do

genesis of the Cosmopolis Apartments (19

and later of the Boyce Houses (1962, unbu

the opportunity to actually construct this c

(1970-83), a condominium of luxury apartm

the large terrace-garden in the corner form

whole apartment. Double-height terrace g

for each family in Tara Group Housing (19

complex of maisonettes in Delhi. Here the

~~ht pergola, since sleeping under the nig

,-custom in the hot dry climate of North Indi



Planning for Bombay

Ulwe.. The CBD of New Bombay

URBANIZATION

Such open-to-sky spaces are of course of crucial importance to

the poorest inhabitants: the squatters. For the great wave of distress

migration that is engulfing our cities in the Third World poses not just

the issue of poverty (in actual fact of course, rural poverty is worse);

it is really the brutal and de-humanizing patterns that this poverty

take.son in the urban context. Obviously there is an appalling

mismatch between the way our cities have been built and the way

we use them today. For a whole family forced to live in a small

all-purpose room, open-to-sky space is truly essential for all the

activities for which they cannot find place indoors.

Hence the Squatter-Housing (1973, unbuilt) in Bombay, in which

4 units are clustered together under one roof in a pattern which

t~ Jenerates such a continuum (ranging from the most private to themost public) of open spaces. This was further developed in the

incremental housing at Belapur, New Bombay (1983-86). Here the

housing units are closely packed (at a density, including open

spaces and schools, of 500 persons per hectare). Yet each unit is

separate, so that it can grow, quite independently of its neighbours.

Though the housing typologies provided here cover the entire range

of income groups, the plot sizes differ only marginally - thus

introducing the principle of Equity (an issue of the greatest political

significanceto the Third World) - as well as other equally crucial

principles, such as: people's participation, income ger"ieration,

identity, pluralism, and so forth.

Be)a

Squatter Housing

Because such patterns of low-rise h

dense (particularly in Third World cities w

is extremely high), the overall land neede

increase very much. In any case, since o

city's land is devoted to housing, even d

necessitates only a marginal increase in

but it can make a decisive difference to

particularly of the poorest.

How do we increase the supply of u

Planning for Bombay, outlines some poss

restructuring the city. Also discussed is t

(1990), the Central Business District of N

establish affordable housing typologies

the entire spectrum of our urban populati

In short: by opening up the supply of urb

as a Resource - a principle of fundament

centres.



\ \

-~

Resting Writing

Eating Patio

Tube House

Parekh House

Windscoop houses, Sind

I

j

Ramkrishna House

Hindustan Lever Pavilion

tHE MACHINE FOR LIVING

Another equally critical parameter: Energy. In this century,

architects have depended more and more on the mechanical

engineer to provide light and air within the building. But in India, we

cannot afford to squander resources in this manner - which is of

course actually an advantage, for it means that the buildingjtself

must, through its very form, create the "controls" which the user, . ~ " .'

needs. Such a!:espon~e necessita!et~ much more than just sun-

angles and louvres; it must involve the section, the plan, the shape,

in short, the very heart of the buildin~.

Thus the-wonderfully inventive wind-scoop houses of Iran, or th~

Alhambra in Granada - where the courtyards and water pools are

not just arbitrary ornamental decorations, but crucial passive-energy

devices, serving to make this exquisite palace at least 10 degrees

cooler than the surrounding countryside. In such examples indeed,the challenges of a difficult climate have triggered off architectural

responses that are not wilful and trivial, but are generated deep

in the wellspring of the human imagination. Consider that

fundamental typology: the house around a courtyard. To cross a

desert and enter even the humblest such abode is a pleasure

beyond mere photogenic image-making. Architecture as a

Correa House

mechanism for dealing with the elements (truly, a machine for

living!) - this is the great challenge and opportunity of the

. developing world.

In this, the old architecture - especially the vernacular - has

much to teach us, as it always develops a typology of fundament

sense. For instance, in the hot dry climate of North India, most

houses are narrow units with common party walls. The two long

sides have no heat input, all ventilation and light enters from the

short ends and via interior courts. An interesting variation of this

pattern can be used to develop a section which modulates

temperatures through convection currents: as the h~eatedair risemoves along the sloping surface of the ceiling, slipping out throu

a vent at the top, thus drawing in new air from the lower level to---replace it. This principle, first developed in the Tube House

(1961-62) also forms the basis for the Hindustan Lever Pavilion

(1961) and the Ramkrishna House (1962-64).

The idea progresses further in Cablenagar (1967, unbuilt), a

township near Kota, Rajasthan, fbr which we devel9P'ed two

pyramidal sections, Summer and Winter, to be used at different

times of the day and seasons of the year. The Summer section (

the daytime) entraps and humidifies the dry air, thus cooling it; t

Winter Section (for early morning, and at night) opens up to the

above. These formed the basis of the Parekh House (1966-68) athe Correa House (1968, unbuilt). In order t6 "open-up" the narro

spaces usually generated between the parallel walls of row-hous

we developed for the Gujarat Housing Board (1961, unbuilt)

interlocking units which create varying dimensions - internal

dimensions - an idea later expanded in the Previ Project (1969-in Lima, Peru. .



Administration Offices,

Val/abh Vidyanagar

ECIL Offices, Hyderabad

MRF Headquarters, Madras

WORK SPACES

Are these concepts relevant to other building typologies, as for

instance, work spaces? Earlier attempts to deal with solar prorction

involved various forms of brise-soleil- as in the Administratio~

Offices (1958-60) for Vallabh Vidyanagar University at Anand. One

soon discovered that this kind of concrete louvre, while'providing

powerful visual imagery for the builtform, can be counter-productive.

The concrete heats up during the long hot day and then acts as an

enormous radiator in the evening, rendering the rooms unbearable.

So the ECIL Offices (1965-68) in Hyderabad, tries to develop a

workspace in which the very pattern of the builtform itse~ cremes a

sp~ rnigo-climate. Through this and other similar efforts,gradually a kit-of-parts came into existence: the section which

facilitates convection currents,. the internal zone of micro-climate, the

stepped terraces, the pergola roof. Variations of this kit-of-parts

were used in the MPSC Office Building (1980-92) in Bhopal and the

LlC Centre (1975-86) in Delhi. Other examples are the MRF

Headquarters in Madras (1987-92), the Nuclear-Power Corporation

in Bombay (1988, unbuilt) and the LlC Centre (1988-92) in Port

Louis, Mauritius, where the pergola .pecomes a huge urban gesture,

protecting the builtform within and at the same time creating a

much-needed sense of public space in the very heart't)f a

crowded city.

S

P

Ba

LEISURE

Another marvellously inventive example

the Padmanabhapuram Palace in Trivandrum

building in India. Here, in the hot and humid

India where cross-ventilation is essential, we

sec~on where the pyramidal form of the plint

slope of the tiled roof above - th~ minimisingenclosing walls to keep out the sun and rain.

pavilion, one'sJl0e of vi~onis deflected_sharp

\1.I!.~s-arouQ9. (a cool fresh green, blissfully thThis principle formed the genesis of the

(Andamans, 1979-82) and the Dona Sylvia B

1988-91). The inner spaces in both these pro

by enclosing walls but by very large sloping

sloping tiled roofs have been part of the indig

most of South-India - in fact, in most of South

occur throughout these projects, from the Sa

(1959, unbuilt) in Bombay, the Mascarenhas

Bangalore, and the Kovalam Beach Resort (1

to the L&T Township (1982-88) at Awarpur an

Mandovi riv r at Verem (1982-89).



Services

Indip Pavilion, Osaka

The Acropolis at Athens

THE RITUALISTIC PATHWAY

Padmanabhapuram is important because it is the key to

typologies (and to architectural syntax) quite different from those

developed in the cold climates of Europe and North America -

where life must be protected throughout the long winter by a

sealable weather-resistant box. Thus though the wealthy English

travelers visiting the Parthenon in the 17th and 18th Centuries must

have been profoundly moved by the sacred pathway up to the top of

the Acropolis, they soon realised that the only thing they could really

take back and re-cycle within the hostile environment in which they

li~edWerethe marble columns and pediments - which were rapidly

turned into surface tattooing (mere wallpaper!) to decorate the

outside of the sealed boxes they had to build.

Now a box generates a very simplistic architectural equation.

One is either inside this box - or outside it. The transition from one

condition to the other is through a precise and clearly defined

boundary: the~.9oUnsid.e allcLoutside co-exist as opposites,

in a s~duali1y. How very different from the pluralistic and subtle'"

variations of air and light conditions generated by the open-to-sky

spaces we have been discussing! The old architecture of the warm

climates of this globe - from the acropolis of Athens to the pyramids

of Teotihuacan to the temples of Kyoto were generated by an

Handloom Pavilion, De

understanding of the subtleties and ambiguities of such spaces.

irony is that the very same cultures, which produced the original

typologies, are now happily importing the closed box model

(complete with wallpaper) from the "advanced" countries of the

north, to fill up their towns and cities - from Athens to Singar?°reTokyo to Sao Paulo.

Fortunately, in India one cannot build a closed box (unless

can also afford the air-conditioning that will make it haqitable). T

this issue was intuitively addressed head-on, righttrom the first

~roject undertaken, the Handloom Pavilion (1958) in Delhi. Thou

generated by a precise and disciplined plan of sixteen squares,

actually creates a highly ambiguous space, neither quite covered

nor quite uncovered, containing a series of platforms in an

ascending - and then descending - spiral. At some distance ab

is a "sky" of hand loom cloth, separated from the peripheral walls

a gap all around. So also the K,asturba Gandhi Samadhi (1962-6

Poona, where the memorial consists of a gently descending path

defined by a series of parallel brick walls, on a shifting axis,

c;Jlminating in the Samadhi itself. .Other variations on this theme of pedestrian path, shifting ax

and low-key builtform are the Gandhi Darshan (1968-69) in Delh

and the India Pavilion (1969, unbuilt) at Osaka, Japan. Here the

pathway is extended to also cover the roof surfaces. Architectura

the form is a kind of "non-building", given scale principally by

the flights of external stairs (echoing the bathing ghats of

Benares).



",:~--.:;1

Gandhi Darshan at Rajghat

~

" F

l'

DarbarCrafts

"4~

. ~.~/

r

.",.-'!

Village TempleCrafts Crafts

National Crafts Museum, Delhi

Bharat Bhavan, Bhopal

This processional unfolding of spaces, some enclosed, some

open-to-sky, is also further developed in Bharat Bhavan (1975-81),

Bhopal - which is a re-interpretation of the old Pleasure Gardens

/ which are still the most popular spot for Indian families in the cool

hours of sunset and in the early dawn, In the JNIDB in Hyderabad

(1986-91), the pathway moves like a river through the building,

connecting the teaching areas to the Library and Faculty Offices,

and up to the hostel rooms on the sloping site, while in the National

Crafts Museum (1975-85), it becomes a continuous pedestrian spine

running through the heart of the museum - a metaphor for the Indian

street, taking the visitor from village to temple to palace,

In the British Council Headquarters and Library in Delhi

(1987-92), this pathway becomes a formal axis, running down the

centre of the site, from the entrance gate right up to the rear

boundary, Along it are located three mythic paradigms that have

generated the history of this sub-continent, recalling the historic

interfaces that have existed between India and England over the

centuries, The large square cut-outs on the street facade not only

encase the Hodgkin mural like a proscenium but also, from within

the building, act as, "urban windows" framing views of the city

outside - a visual and gesture that recalls the double-height terraces

Corb and Mies at t

Urb

Cidade de Goa

of Kanchanjunga, suspended high above Bo

"urban windows" framing the city, Another, ex

building in the Alameda Park project in Mexico

uses these urban windows (floating just above

historic park) to recall th~ great tradition of pu

METAPHORS

The relationship of architecture to the oth

In the Hotel Cidade de Goa (1978-82) at Dona

murals and sculpture are used not just to prov

traditions and events, but really to bring back

spatial tensions generated by the builtform, T

the Kala Akademi (1973-83) in Panaji, These

Goa, use elements from the kit-of-parts develo

with abstractcolour and realistic images, sett

between builtform and virtual imagery - a com

can adds layers of metaphorical and metaphy

architecture,



Vidhan Bhavan

Vastu-purush-manda/as

Such dimensions are an essential part of the old architecture we

see around us. These buildLngs possess not only an extraordinary

beauty of proportion, mate"rials, etc., but they also project, with

astonishing force, polemic ideas about Qurselves and our

relationship with the Non-manifest World. Strange indeed that since

the beginning of time, Man has always used the most inert of

materials, like brick and stone, steel and concrete, to express theinvisibilia that so passionately move him. Today our architecture is

banal - partly because our contemporary existence is so, but also

perhaps because we do not seek to express anything profound (or

deeply felt) about ourselves, or the society in which we live.

The next few projects are really but faltering steps in that

direction, metaphors for ounelationship to something outside (and

beyond) ourselves. The first is the Vidhan Bhavan (1980 - to date), a

highly complex interlock of pathways, builtform and open-to-sky

spaces for the new State Assembly of the Government of Madhya

Pradesh. It is a citadel of democracy - built in a circular form

determined b its location on to of a hill in the centre of Bho al

New Baga/kat

by its proximity to the Buddhist Stupa at S

of the Parliament in New Delhi.

The second is the town of New Bagalk

Karnataka. Here the principles of equity, a

etc., (discussed in the section on Ulwe) ar

overall urban form which has deeper cultu

Srirangam - the ancient temple town on th

set of concentric rectangles, in the form of

-depicting the non-Manifest World.

The third is the IN Centre for AdvancedBangalore (1990-94), the new campus for

Science. Here the centre of the site is occu

scientists' laboratories, seminar rooms and

other side of the stone wall encircling this

new rishis!) crossing through the stone wa

open-to-sky space in the grove of trees, re

withdrawal of the ancient sages into the fo

and enlightenment.

Metaphysical aspects of the sky are a

two examples:'the Jawahar Kala Kendra (

IUCAA 1988-93) in Pune. These two ro e



- ---. .1

.~.

~.

.......

Navgraha: the symbols and colours of the nine planets

in form and function (one is an art centre, the other an academic

institution), are not so dissimilar after all. Both seek to project.

Architecture as a Model of the Cosmos - each expressing a

transcendental reality, beyond the pragmatic requirements of the

programme that caused them to be built. In this sense, they are

quite symmetrical.

The first, the Jawahar Kala Kendra in Jaipur, is double-coded

(like the plan of Jaipur city itself), a contemporary construct based

on an ancient perception of the non-Manifest World, as expressed in

the vastu-purush-mandalas - those sacred Vedic diagrams that

have been of seminal importance to Hindu, Buddhist and Jain

architecture over many many centuries.The second, IUCAA (the Inter-University Centre for Astronomy

and Astrophysics) at Pune, seeks to express a totally different mind-

set, viz., our own 20th century notions of the Expanding Universe in

which we live - an understanding generated by the extraordinary

scientists (Einstein, Rutherford, Hoyle, and others) who in making

the Universe comprehensible, have helped generate our own

contemporary sensibilities.

The Cosmos - as it was comprehended thousands of years ago

and as it is perceived today. These two projects seem to be based

on two very different mind-sets. . . or are they? For astonishingly,

Galaxy in an Expanding Universe

the central paradigms through which the a

mandalas (with their emphasis on the cent

so different from contemporary scientists'

Holes of Outer Space. Is this mere coincide

more fundamental explanation? After all, b

generated from the same human mind. .

centuries, has not changed. And just as th

pleasurable qualities of open-to-sky space

seem to have remained undiminished, so

mythic qualities as well.

Perhaps the reason is not so hard to f

and done, is the source of light-

which is stimuli acting on our senses. And across i

the sun - the origin of Life itself! . . . Sma

has always perceived the sky above to be

and that down all these many millennia, it

extraordinary power on us and on the arch



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This memorial museum is erected.in the Sabarmati Ashram

where Mahatma Gandhi resided from 1917 to 1930, and from

which he started on his historic Salt March to Dandi. Built in homage

to the Mahatma, and to propagate his ideas, it houses letters,

photographs, and other documents which trace the freedom

movement launched by GaC1.dhiji.

The materials used in the construction are similar to the other

buildings in the ashram: tiled roofs, brick walls, stone floors and

wooden dqors. The only additions are the RCC channels which act

as beams and as rainfall conduits - and which permit additional

conWuction to be added in future. No glass windows are used

anywhere in the building; light and ventilation being provided by

operable wooden louvres.

These elements combine to form a pattern of tiled roofs, in a

typology analogous to the villages so central to Gandhiji's thinking.

They are grouped in a casual meandering pattern, creating a

pathway along which the visitor progresses towards the centrality of

the water court.

The last possessions of Mah

PrayerPlatform

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Section showing channels for carrying rainwater, and for adding new units, Since the collection will, by itsvery nature, be augmented from time to time, theSangrahalaya is a "living"structure which can grow

and modulate, Recently, some more units were added,

extending the pattern, This process will continue, as

more photographs, letters and other documents arecollected - each generation of Indiansmaking itscontribution, and paying its homage, to the Mahatma,

The tiled roofs, supported on brick piers, 6 m on

centre, are layered for heat control, Wooden boarding fixed to the bottom of the joists (which run parallel to

the slope of the roof), is covered with waterproofingand then finished silver-white to reflect back incident

heat. Along the top of the joists, lightweight battenssupport roof-tiles - thus creating between the two

layers of the sandwich an airgap (which providesinsulation from solar radiation).

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"I do not want my house to be walled on all sides and

my windows to be stuffed. I want the cultures of all the lands to be blown about my house as freely as

possible. But I refuse to be blown off my feet by any of them."

- Mahatma Gandhi



NATIONAL CRAFTS MUSEUM

Delhi

1975-90

This Crafts Museum, casual and accepting of the artisan's

vernacular, is organised around a central pathway, going from

village to temple to palace, a metaphor for the Indian street - in fact,

for India herself, where all these different kinds of crafts have always

co-existed down the centuries. Walking alongthis spine, one

catches glimpses of the principal exhibits that lie on either side

(the Village Court. Darbar Court, etc.). One can visit any particularexhibit, or alternately, progress through all the various sections in a

continuous sequence.

Towards the end of the sequence, the exhibits get larger and

include fragments of actual buildings - since the crafts of India nave

always been an essential element of her architecture. Finally, one

exits via the roof terraces - which form an amphitheatre for folk

dances, as well as an open-air display for large terracotta horses

and other handicrafts.

There are more than 25,000 items of folk and tribal arts, crafts

and textiles in the permanent collection. Less than half of the total

floor area of 5500 sq. metres is open to the public; the rest of the

collection is stored in special areas for the use of the very finest

craftsmen who are selected from allover India to come and study

these archives. In this manner, a potter from Bengal has the

opportunity to examine at first hand the best work of his counterparts

in Kerala, at the other end of the country, or for that matter, what his

own forebears in Bengal had produced two or three hundred years

previously. This is a perspective which has hitherto never been

available to traditional Indian craftsmen.

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As the Director of the Museum, Or. Jyotindra Jain has stated: "We call it a museum because it has

been dubbed so for a long time, but in reality it

does not behave like one, and while hesitating to assume a conventional nature and role, it asks

many questions of itse/~ eventually emerging as an

institution that strives for identity, but in no hurry to find a slotted definition of itself.

'The core collection of the Crafts Museum was put

together to serve as reference material for the craftsmen who are increasingly losing touch with their own traditions in terms of materials,

techniques, designs and aesthetics of their arts and crafts due to the sudden changes caused by

modern industrialisation. Thus, it was primarily addressed to the craftsmen who have now been

brought into a close and integral relationship with the Museum.

"As the traditional social, economic and cultural

institutions rapidly disintegrate, 7tis difficult for the craftsmen to be able to support themselves by

selling their products regionally. Their visits to the

Museum provide them opportunities to meet their new urban patrons. Such patronage is necessary,

for the level and potential skill of the millions of

craftsmen and handloom weavers in the country is so formidable that if lost, even thousands of formal technical institutions and universities will not be

able to resurrect it at the cost of unlimited money,

over many centuries.

"Over the last decade, this Museum has been

altered time and again - it is being continuously

improvised. It has an unconcluded air about it in

the sense that it does not appear to be 'finished'so as to make a pretty picture postcard. It is a flexible

building in the same sense as an Indian village street would be flexible - affable, accommodative,informal and active. "

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BRARAT BRA VAN

Bhopal1975-81

The site for this Art Centre is on a gently sloping hill overlooking

the lake in Bhopal. The natural contour2...Qilhe sJte b.?v~J2.een-used

to createa seriesof terracedgardensand sunkencour~ds - off- -- - - - - - - -,- .which are located a number of cultural facilities, including a museum

of Tribal Art, a library of Indian poetry (in all the 17 major

languages), galleries for Contemporary Art, workshops for

lithography and sculpture, and a studio for an artist-in-residence, In

addition, the 8000 sqm of Bharat Bhavan houses a full-fledged

theatrical repertoire company and facilities for the performing arts, ,

including the Antarang (indoor auditorium), and the Bhairang (open-

air amphitheatre), overlooking the lake,

Lighting and ventilation within the building are provided by top

lightS(from the concrete sheli's-and from slots along the terrace-

parapets), In addition, the openings to the courtyards and terraces

have two sets of shutters: the inner ones consisting of ? combination

of fixed glass and operable panels for light and ventilation; the outer

ones consisting of large wooden doors, closed at night for security,

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The open-to-sky pathway is structured around

three courtyards - from which one enters the

various facilities. This feeling of open space is an essential part of the experience of visiting Bharat

'11liavan. Progressing through the terraced gardens and courtyards, one comes Rem"" A)(hibitiofJ.

spaces, workshops- and dance theatres, in an easy

and casual manner, maKingmem accesST5lefOfhe -ctrtzmJErof Bhopal. -

Every evening, whole families, on cycles and scooters, come to stroll around in the terrace

gardens - and perhaps stay on to watch a play,or hear a concert.

The Bhairang with a performance in progress

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IN CENTRE FOR ADVANCED SCIENTIFIC RESEARCH

Bangalore

1990-94

Since time immemori91, holy men and sc~olars inlllcJl?hgW,e

renounced the world and gone to live a life of contemplation in

forests and high mountains.

This age-old pattern was adopted as a metaphor for g~nerating

the layout of this new campus, an extension of the Indian Institute of

Science (the oldest and still the premier Institute of Fundamental

Research in India), which has been created to provide research

fa~ilities and living accommodation for distinguished visiting

scientists and scholars. The traditional renunciation of the world by

the rishi (holy man) is here symbolised by a long curving wall, built

of granite blocks, which encircles a forest in the centre of the site.

The various facilities provided (research laboratories, lecture halls,

library, residential accommodation, etc.) are on the other side of the

wall- so that during the course of their studies and research, the

scientists (truly the new rishis!) can step through the perforated

granite wall, into the forest for wisdom and enlightenment.

A service road skirts the outer boundary of the site, providing

access to the various facilities. In a second phase, an additional set

of research laboratories has been added, connected to the znain

building by a,Buckminster Fuller dome, celeb~ating the "Bucky Balls''" '

which constitute the structure of carbon atoms,- a geometry

intuitively conceptualised by one who must surely be among the

greatest rishis of our 20th century.

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Walking past the Hostel entrance, with the Library ahead

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wall,madeu of blocks of re ranite, uarried locall , throu h which one ste s into the orest. . .



JNIDB

Hyderabad

1986-91

This Institute is set up to train senior managers from banks in

India and South Asia, who come in for various types of courses from

two weeks to a full year. One of the key objectives of the programme

therefore is that informal interaction and discussion among

management trainees and faculty members should be encouraged

by the very pattern and layout of the built form itself.

Hence the complex system of interdependent spaces,

organised around a series of landscaped courtyards, so as to -

provide the humidified micro-climate necessary in the hot-dry

climate of Hyderabad - and very evident in its traditional

architecture. The sequence of these courtyards connects the

auditorium to the teaching rooms, and thence on to the faculty

offices. Along a cross axis, another sequence leads one up through

the gently ascending levels of the sloping site, past the lounges and

dining hall to the residential rooms, which are laid out around

. smaller courtyards. In the centre of the entire complex is the kund,

whose stone steps echo the boulder-strewn landscape of

Hyderabad, creating a focus in the centre of the complex - an ideal

place for casual conversations, as also for concerts and more

formal occasions.

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To generate interaction between management

and faculty, there are two important spatial seq

- the firstleads fromthe public zones (the tearooms, auditorium, etc) to the privacy of the inhostel rooms. The second continues on from t

individual rooms out into the surrounding land

Both sequences have been carefully layered,

create a series of zones, ranging from the mosto the most private. Thus starting with the

monumentality of the entrance hall, the spaces

gradually more casual, so as to encourage theinformal interaction so essential to the programFrom the residential rooms out towards the ext

landscape, there is an analogous pattern of laeach room has a small sit-out porch, which in relates to the cluster of other such porches,allJ

on terrace gardens, from which one can go ousurrounding landscape.

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residence (located at the corner), this provides accommodation for three cahouses, fromthe maintenance staff to

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KALA AKAD EMI

Panaji, Goa

1973-83

Located on a site along the Mandovi river in the capital of Goa,

this Centre for the Performing Arts provides 10,500 sqm of facilities

for visiting artistes and troupes of performers from other cities in

India and abroad, as well as for local Konkani and Marathi theatre

groups and" musicians who travel around many villages and towns

of Goa - and who constitute a vigorous and essential part of itscultural traditions.

The facilities provided are several: they include a 1000-seat .

auditorium, a 2000-seat open-air amphitheatre, a special "black box"

for experimental productions, and so forth. There are also schools of

Indian Classical Dance, and Indian and European Classical Music,

as well as an Exhibition Gallery for Painting and Sculpture. In

addition, accommodation has been provided for visiting troupes of

artistes and musicians.

. The site, which faces the historic Mandovi river, is on the

Campal, a wide tree-lined road running through an old residential

area of Panaji. Thus the builtform is low-key and unobtrusive - the

main 'event" along the road being the large pergola-covered foyer

for the auditorium and the amphitheatre. As will be seen from the

plan, this space leads one toward the casuarina trees along the

riverfront, so that the building in fact acts as a large breezeway,

connecting the Campal to the Mandovi river.

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central foyer: a breezeway that connects the main entrance to the fylandovi river

he top left corner of the mural, the stair

tinuing straight is real - the one turning to

right, an illusion. At the lower right hand Corbusier and Mies van der Rohe come around

corner, to make the world - and Goa, alas!

ever the same again.

The 1O00-seat auditorium has to

wide range of conditions, rangingand plays, through sitar and sarowestern orchestras. These variat

acoustical conditions are broughmanipulating areas of absorbent

the walls and ceilings of the audi

mechanics of these changes are

apparent to the audience, since are placed outside a box whose

of materials which are acousticallbut visually opaque. On the wallthis inner box is painted the illus

Goan theatre, complete with balcwith typical locals, drawn by the artist Mario Miranda. To decrease

reverberation time in the auditoriu

are pulled behind the figures in

supplemented by other drapes t(unseen) above the false "ceiling

When the show starts, the house

gradually, with the illuminated figbalconies fading last of all. At thprocess is reversed. However, a

performance, just before the bal

come on, spot-lights illuminate (

seconds) the ceiling behind the

this surface is painted fragments jungles of Goa; an experience to

audience that all they have witneillusion - certainly the play, perha

own lives - and that the only thin

sure of is that one day this too w jungle will reclaim its own.



oriuminterior - a visual construct of acoustically transparent materials

ousticalume

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KOVALAM BEACH RESORT

Kerala

1969-74

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The purpose of this project, commissioned by the Government

of India, was to initiate one of India's most spectacular (but relatively

unknown) beaches as a major beach resort area. Thus the facilities

specified in the programme (accommodation for over 300 guests,

centres for yoga and ayurvedic massage, water sports, and so forth)

had to be deployed in a manner which would create a critical mass

for each activity - and at the same time open up several strategic

points on the site so as to increase future growth options. The

master plan therefore does not concentrate all the facilities in one

area, but generates a larger number of potential growth points, thus

allowing a more flexible response to future demands.

The guest rooms come in three configurations. Firstly, on the

edge of the beach, hidden under the palm trees, are the kudils -

individual suites for longer stays, with their own cooking facilities,

etc. Overlooking the beach is the main hotel with 100 guest rooms.Here, in order to preserve the natural beauty of the site, the facilities

are all built into the hill slopes - every room getting its own private

sundeck. In between the kudils and the hotel there are clusters of

"detached units", offering about the same facilities as the kudils but

at slightly higher densities. Throughout the project, the construction

is in traditional vernacular of Kerala: viz, white plastered walls with

red tiled roofs; other pavilions consist of light bamboo chhatris with

coir matting on the floor and local Kerala handicrafts.

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the water all around, Covered verandahs, also

made of padauk, connect the guest rooms to the

central public areas in casual, meandering patterns,

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CIDADE DE GOA

Dona Paula, Goa

1978-82

Goa, one of .the oldest trading centres along the west coast of

India and for 450 years part of Portugal, is a land of rivers and hills

and stunning palm-fringed beaches. Because Goa's economy has

always been traditionally land-based, the population of seven

million is evenly distributed - one lives in a place because one

either owns land there or is a tenant-farmer working there. Thus

Goa has no single dominant city, but a balanced polycentric

system of villages and towns - the largest of which has less than

100,000 inhabitants.

This hotel, a few minutes drive from Panaji, is built on a sloping

site which descends down to a beach on the Zuari river. During

the process of design, the hotel began to emerge as a sort of

expressionistic hill town - so the search commenced for a name

which would describe it . . . surely there was a mythical city which

the Portuguese had yearned for, in vain? . . . . an EI Dorado?

But alas, historians could find nothing. (Are Portuguese perhaps

less metaphysical than Spanish?) Finally a phrase surfaced:

"Cidade de Goa" . . . the original name for Panaji, Goa's capital

town. City of Goa. . a marvellously evocative phrase. . a city,

which is at times a city abstracted, and then again a city"of virtual

imagery, and finally a city of real dwellings and balconies and

terraces.

The main road is up on the barren ridge of a rocky plateau.

One passes beneath the entrance arch and descends down the

long driveway into a lu,sh green valley, to arrive. . . in a plaza,

surrounded by key symbols and signs which connote: CITY.

Some of these images are the artifacts of a stage set, others the

trompe de l'oeil of the cinema poster artist. These facades are

layers, one passes through. . . . a highly fragmented,

kaleidoscopic series of visual sensations and architectural spaces.

What is real? The object? Or the image? Or the image of the image

of the image? Awakening sub-conscious responses in the

memory. . . the bitter-sweet saudade of nostalgia. . l ike the

fados of the Alfama, a sardonic art.

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ancient trading conn

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90Site plan, showing activity spine from swimming pool to beach



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.



Views along the activity

leading towards the bea

And below, looking back

towards the hotel from Cavelossim beach.

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MRF HEADQUARTERS

Madras

1987-92

Madras is a low-rise city, with a quiet and relaxed life-style.

These new headquarters for MRF, the leading tyre manufacturer in

India, gently follows the curve of the road to create a series of

terraced gardens, recalling the waves on the seashore of the Marina

along the waterfront in Madras.

Rejecting the notion of a high-rise tower to convey the

commercial pre-eminence of the client, this design generates

monumentality though a single free-standing column rising to

support the large pergola that floats above the terraces, protecting

them from the sun. Within the building, the various levels of the

offices open out onto a central atrium, linked through a casual

pattern of connecting stairs, creating a focus for the building - and a

wonderfully casual way to walk from one department to another, or

to exit and go home at the end of the working day. At the roof

terrace level, one emerges on to a large garden, with the trees and

buildings of Madras all around.

Location plan

,94

~

From Greames Road

,...".



,



0 0

Canteen

0

To basement parking

Ground floor plan

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The pergola: the gesture of protection

6

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longtheMadras waterfront

deelevation

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Walls in atrium, recalling the curved surfaces of the

main facade facing Greames road The entrance lobby: floors and furniture of granite and leather



Views of atrium from the upper level, with the skylight reflected in the granite floor

o.tj:> ~ '\,-".; , . I

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Health club

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fterrace

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101



jEEV AN BHARATI

Delhi

1975-86

This office complex for the Life Insurance Corporation of India

(LlC) is situated on the outer road of Connaught Circle, and acts as

a pivot between the colonnades of Connaught Place and the new

generation of high-rise towers that now surround it. !hus the

building is both proscenium and backdrop: a twelve-storey

stage-set whose faceted glass surfaces reflect the buildings and

trees around Connaught Place, and beyond which the new high-rise

imagery of Delhi can be glimpsed.

The two lower levels of the complex consist of shopping decks

and restaurants, while the upper levels of offices are located in two

separate wings, generating a total built-up area of 63,000 square

metres. Connecting the two wings, is a great pergola, 98 metres

long, supported at either end by masonry piers and in the middle by

a single column. A city proposal for an elevated pedestrian

walkways (if ever constructed) will pass between the two blocks,

allowing pedestrians to traverse the building as a great darwaza, i.e.

gateway, defined by the portico-form.

102 From Connaught Outer Circle



The red sandstone of the piers wraps around the rear

facade, culminating in the twin elevator towers which

frame the slot for the pedestrian bridge. On this side of the building, the windows are deeply recessed into the

masonry so as to protect them from the heat of the Delhi sun.

Exterior clad in red sandstone

The rear facade, with slot leading through to Connaught Circle

104



ss from the open green area in Connaught Place

~0-'ii;-0

Bus Terminal

Connaught Outer Circle Road

0 5 10 20m 6J""' ''---" J

Site plan

10ti



The knife-edged masonry pillar in the NW corner

View from the Jantar Mantar

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107



/ \

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.~\'II\\ PERMANENT MISSION OF INDIA TO THE U.N.~\ \ '~4.

New York

1985-1992 ct'

~' ,,~... I"\ .',,~.,.

Entrance on 43rd Sf.

The site, just down the road from the UN Headqu

York, consists of two Manhattan city-blocks connectin

streets, forming a narrow strip of land 60 metres lon

of 12 metres along 43rd 81. and a mere 6.3 metres

Into this crevice had to be inlaid a complex program

the Permanent Mission of India and an Exhibition Ga

access from 44th 81.) located in the four levels of th

surmounted by a tower with residential accommodat

different categories of staff, ranging from the securit

(15.5 sq. metres each) to the Dy. Consul. General (2

trIplex apartment with terrace gardens, at the top of

This wide range of apartment sizes were all accomm

same envelope (a tower 14 metres wide and 15.5 m

wrapped in a taut metal-panelled skin. The larger a

top are interlocking duplexes - somewhat like the K

Apartments in Bombay (1969-83), but with the doub

glass-enclosed (so as to remain useable in the Nort

winters).

c'iiD'""

1m

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Second Avenue

Site plan

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The building fits together like a jigsaw puzzle, not only because of the mix of offices and residences,

but also because Government of India regulations

specified very precise areas for each apartment,down to the last square metre, for the many differentcategoriesof staff - andthesecould neither be increased (because of objections from the Ministry of Finance) nor decreased (because of

vigorous opposition from the PMI staff).

From 44th St.

Councillor 1 & 2

43rd St. Main En!

00

80800

DDuplexes for ~

Councillors

First Secretaries

Councillor 1

Security andCaretaker

44th St.

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section through site First Secretary

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ance door on 43rd St., which

wide by 6 metres high, opens

s (two upper and two lower).door on 43rd St. (leading

apartments in the tower) and door to the Exhibition Gallery

s made in India of wood and

ional Rajasthani craftsmen.



Maquette of Husain sculpture

Apart from the many works of art within the PMI, the

eminent Indian artist, M. F. Husain, was specially commissioned to create two pieces The first is a large mural in memory of Mahatma Gandhi which

covers the surrounding walls of the main lobby.The other, yet to be installed, is a sculpture for the double-height terrace over the main entrance on

43rd St, which pccording to Husain depicts the 7

mythic horses of the Mahabharata, bursting forth

from the Chakra (wheel) - seen in the Emperor Ashoka's Column, the Official Seal of the Government of India.

The double-height terrace over the main entrance

on 43rd St., with opening for Husain sculpture



"-.~...

"



Starting with the lower three floors of the podium

(clad in reddish-brown granite from South India),the tower rises to 27 floors, "evaporating" at the top into a cube of pergola-covered terraces - like traditional towers in the hill-towns of Yemen.

Looking towards the east river and the UN headquarters "



The North facade

from 44th SI.



L.I.C. CENTRE

Mauritius

1988-92

Mauritius is an Island of Paradise in the Indian Ocean, off the

coast of Africa. It has an evenly-distributed poly-centric pattern of

human settlements, not unlike Goa. The capital is Port Louis, and

this office complex is situated at the intersection of two important

streets in the crowded centre of the city. While the boundaries of the

site are defined by the pergola above and its large supporting

column, the building itself steps back in terraces, opening up

precious space at this very busy street intersection - a ges!.Ur~ -

which creates an urban lanai, filled witJ:1 the-exetic fJora-of-Mauritius. ,--- -

Apart from the main entrance to the office floors, the programme

called for two other important entrances, each one have its own

identity.Thefirst is forthe officeof theConsulGeneralof India- to

be entered from a doorway directly off the main driveway, with the

Ashoka Column (symbol of the Government of India) directly above.

Thesecondis for the Life InsuranceCorporationof India- whichis

on the first floor and reached via the bridge which stretches out to

the pavement in front.

~oSte planr

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116



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Entrances facing President Kennedy Avenue

Longitudinal section through the site

Office

Office

Office

Office

LlC Office

Consulate



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First floor plan



Terraces overlooking President Kennedy Avenue

Stairs and bridge leading to entrance of LlC headquarters at first floor Pergola over main entranCE



A terrace along the North facade

nings along the eastern and western faces

uilding are relatively low-key, but along the de, double-height terraces provide

ular views of Port Louis harbour, Along the estern boundary of the site is a arcade

rovides protection for pedestrians moving the bus terminal (a block away to the

d the city centre,

The North facade, facing the harbour

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From the highway along the northern boundary of the site 121



ALAMED A PARK PRO }ECT

Mexico City

1994 -to date

This office building is part of a new development by Reichmann

International in the heart of Mexico City, on a site which was largely

destroyed in the earthquake of 1985. Within the context of a Master

Plan developed by the noted Mexican architect Riq:!rdo Legoretta,

the design of the buildings have been entrusted to several inter-

national architects (Caesar Pelli, Aldo Rossi, Fumihiko Maki, etc).

This projeCt is a low-rise building, located along the front of the

site, facing the historic Alameda Park. It has the proportions of a

cube-

the lower two fl.oors of the building contain shops which pluginto the shopping arcade along the rear of the site. The upper floors

j U l

are for offices, with the top three having Executive Suite

on to terraces with marvellous views of the city through

"urban windows" at the top of the building.

From Alameda Park, these openings, floating just a

level of the trees, will frame the multi-faceted mural, pai

great Mexican tradition of public art, so vividly exemplifi

work of Deigo Riveira and Orazco. The external walls ar

black volcanic rock used in many of Mexico City's oldes

with the mullions of the square windows in a glossy reddmetallic finish.

Jl j l

Avenida Juarez

ALAMEDA PARK

Site plan

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Art as an integral part of the public realm - in the great tradition of Mexico

125



KAN CHANjUN GA APARTMENTS

Bombay

1970-83

In Bombay a building has to be ~te~ east-west to catchJbe

QIevajling sea:b[eezes, and to open up the l2est views in the city:

the Arabian Sea on one side and the harbour on the other. But these

unfortunately are also the directions of the hot sun and the heavy

monsoon rains. The old bungalows solved these problems by

wrapping a protective layer of verandahs around the main living

areas, thus providing the occupants with two lines of defence

against the elements. .

Kanchanjunga, an attempt to apply these principles to a high-

rise building, is a condominium of 32 luxury apartments of four

different types, varying from ~.::.to6 bedrooms each. The interjock ofthese variations are expressed externally by the shear end walls

that hold up the cantilevers. The tower has a:proportion of 1:4 (being / 7

21 metres square and 84 metres high). Its minimalist unbroken

surfaces are cut away to open up the double-height terrace gardens

at the corners, thus revealing (through the interlocking form and

colour) some hint of the complex spatial organisation of living

spaces that lie within the tower.

.'..

Overlooking the city from a garden-terrace

Typical sect/on, showing interlock of basic units



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owards the terrace from a living room: two

nce against the sun and rain

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in the sky



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128

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epeating the basic interlock of 3 and 4

droom units generated facades that

emed like just so much yardage,

corporating 5 and 6 bedroom units (created

adding an additional half-level to some

artments), enriched this basic pattern,

ving the tower rhythm and energy, like a ee of Life,

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SONMARG APARTMENTS

Bombay

1961-66

This is an early attempt to deal with the context and climate of

Bombay. In order to create two lines of defence against the rain

and sun, a belt of auxiliary spaces (verandahs, studies, dressing

rooms, etc) is arranged to form a zone of protection around the main

living areas.

The apartment is on two levels with a difference of 75 cm

between the living room and the main bedrooms. Since there are

only two apartments per floor, each unit is open on three sides,

creating through-ventilation and a subtle ambience of cross-light.

Over three decades of occupation by the same family, the

apartment illustrated has had to deal with many different changes in

the ages and the space requirements of its users - and this is where

the cordon of auxiliary spaces along the western and eastern faces

have proved extraordinarily responsive and flexible, combining with

the main rooms to deal with a large number of spill-over activities in

an easy and economical manner.

Shadow on bamboo chik The living room, looking towards protection zc

132



133



A diwan in the living room, with photograph of the Gandhi Smarak Sangrahalaya

Plan showing protective zone along eastern and western

~~0

The main facade facing Napean Sea road



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~ookingacross fromprotective zone in frontof livingroom, towards master bedroom



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Connecting zones of protection: the door (with the

faux Matise) opens to connect the Living Room tothe Guest Room.



jving room, with protective zone along western perimeter

/'

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Protection for the Master bedroom



HOUSE AT KORAMANGALA

Bangalore

1985-88

The traditional courtyard houses of South India represent a

typology much older, and really quite different, from that of the

bungalows built by the British - which is usually a long shed (with

the Living and Dining rooms down the centre and the Bedrooms on

either side), wrapped around with continuous verandahs. The

result: rooms which are large and generous, but sadly lacking in

light and cross-ventilation.

In contrast, the traditional old Hindu houses in Tamil Nadu and

Goa are usually organised around a small central courtyard, with a

tree or tulsi plant in the middle. One enters through the front door,

intentionally placed off-centre on the main facade, and then moves

along a shifting axis to arrive at the courtyard which acts as a central

focus, bringing wonderful bounce-light and ventilation to the rooms

that surround it. How infinitely more delightful to the somewhat dark

and predictable spaces of the colonial bungalow!

Constructionon this housewasstarted in1986- unfortunately,

before user requirements were sorted out. Thus during

construction, the house kept changing - really quite fundamental

changes in the number of rooms, in their sizes, in their relationship

to each other. These went through more than a dozen incarnations

- the only thing they all had in common was the courtyard in the

centre. Thatnevervaried- and it allowedtherestto keep

changing, right until the end.

These successive rounds of decision-making have generated a

complicated layering - an ambiguity which would probably have

been impossible to achieve in a design conceived and executed

through a single round of decision-making (however complex the

designer's intentions), but which has come about as a natural

fall-out of a process involving consecutive rounds of decisions

(each hopefully the last!) like the subtle ambience of an old town

which has grown organically with time.

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ring-yang interlock of house and s

around courtyard



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Bamboo chiks around the courtyard

The Burma teakwood doors, taken from

a turn-of-the-century bungalow that the family use to live in, incorporate the traditional symbol of the tortoise

(appearing in various sizes, depending on the width ofthe door). These doors

have been hand painted by the architect to celebrate their new incarnation.

Studio garden, with granite blocks



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:entrywatchingdoberman crossing courtyard very swiftly



VILLAS AT VEREM

Goa

1982-89

Thirty-eight houses located on a beautiful piece of land along

the Mandovi river, across from the city of Panaji. Because of the

elongated nature of the site, which runs between road and river

bank, it was possible to string out these houses so that all of them

get a river view, with still enough land left over to create a shared

garden along the river front.

Most of the house-owners are Bombay families who want to

have a second home in Goa. In this sense these are holiday homes,

though they can also function as permanent year-round houses(and in fact do so for a few resident families). There are two basic

house-types, with an equal mix of 2 and 3 bedroom size~. On the

river front, the elevations vary, so that families have a certain

amount of individual identity, and the view of the clusters from the

river has diversity. Simple changes in the floor levels within the

houses help define specific areas, while preserving openness and

cross-ventilation.

Construction is of brick bearing walls, finished in stucco and

painted white, with a mezzanine floor of RCC, surmounted by a roof

of wooden rafters and clay tiles.

Shared back-garden, along the banks of the Mandavi river

Typical three-bedroom house

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lock of four houses with hinge in centre

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Upper level plans

The basic unit in the Site Plan is a b- and this block can become either

depending on the angle of the "pivotwo bedrooms, placed one over the

centre. This pivot increases the capcentral units to 3 bedrooms each, wremain as 2-bedroom units. Thenuasubtle movements in the shapes of

concave to convex and back again,

plan, giving a certain individuality to

(which, as in the case of the beach is further augmented through the us

balconies, porches, etc).

Vera'

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Mandavi river

down to river franI "---' ~ ~

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erior of living room in house at eastern end of site, looking from atrium across to river bank at right

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The house at the eastern end of the site is a holiday home for the architect. The living and dining areas are wrapped around an atrium - which is protected by a jaffrey, covered with bouganvilla. This allows

the Living and Dining rooms to be free of any protective grills, for even when the wooden shutters

- of these openings are closed, the rooms continue

to be cross-ventilated through this atrium (which acts as a lung for the whole house).

Looking towards the river, from the living room



II

Upper flap, partly open

The living room, looking towards three-flap opening facing the river

From the living room one steps

overlooking the river, through a

flaps. The lowest flap acts like tdutch door, while on the upper

scene of the river and landscap

when the flaps are closed, the rpart of the house; and when the

present a somewhat unreal cou

scerJery.



All three flaps closed

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All three flaps open



INCREMENTAL HOUSING AT BELAPUR

Belapur, New Bombay

1983-86

This project, located on six hectares of land about 2 km from the

city centre of New Bombay, attempts to demonstrate how high

densities (500 persons per hectare, including open spaces, schools,

etc) can be easily achieved within the context of a low-rise typology.

The site plan is generated by a hierarchy of community spaces,

starting with a small shared courtyard 8m x 8m around which seven

houses are grouped. Each of these houses is on its own piece of

land, so that the families can have the crucial advantage of open-to-

sky spaces (to augment the covered areas). Furthermore, they do

not share any party-walls with their neighbours - which makes these

houses truly incremental, since each family can extend their ownhouse independently:

These houses cover almost the entire social spectrum from

squatter families to the upper income brackets - yet, in order to

maintain the fundamental principle of Equity, the sites themselves

vary in size only marginally (from 45 sqm to 70 sqm). The form and

plans of these houses are very simple, so that they can be built and

extended by traditional masons and craftsmen - thus generating

employment in the Bazaar Sector of the urban economy (i.e., exactly

where they are needed for the new urban migrants).

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A cluster of seven houses, arrangec

Looking out to shared courtyard



The house sites are arranged in pairs - so as to save on plumbing and sanitation costs. The main structure

of each house has small but mandatory set-backs on two adjacent sides - and can abut the boundary on the other two. Windows are allowed only on those walls which are set back and on the main facade which

faces the community space in the centre. This pattern ensures that each house will be free-standing with

respect to its neighbour, and hence can grow

independently.

Road

Site plan Road ' ''---', ,

0 5 10 20m EBN

Buildable to this

boundary edge

Water supplyand drainage

Shared service lines

Plan of seven houses around

the courtyard

Type A units



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construction of tundertaken by l

active participatio

In time these ocof colours and sthrough their life

Arriving at a cluster

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The low-rise houses are "malleable'; adapting easily to the lifestyles of the inhabitants



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Type B..

A general view, with low lying hills surrounding New Bombay

/

Type D .

/

Section'~ Type D Elevation: Type E

ometr ic drawings of house types, covering wide range of income groups

Section: Type B

' '~ ~a 135m

TypeE



TITAN TOWNSHIP

Bangalore

1992 -to date

The client, one of the most successful and enlightened industrial

units in"India, wished to set up housing for their workers - not in the

form of an isolated company town (with the privileged ghetto

mentality that it usually breeds), but as an integral part of the new

urbanisation taking place outside the small town of Hosur, near

Bangalore.

Thus the roads serving these 1500 houses are an integral part

of the new urban fabric in that ~rea and the green areas created by

Titan are accessible to the public at large. Furthermore, many of the

sites and houses are being sold to outsiders (that is, to other than

Titan employees) so that there is a natural mix of populatibn, right

from the start. Then again, in order to generate the pluralistic

ambience which is such an essential characteristic of organic

growth, it was decided to entrust the design of the houses to four

different architects. After collaborating on the Master Plan, each of

the four architects then made a set of preliminary house designs -

and then met together to evolve a shared vocabulary of materials

and architectural language. This in turn has been evolved into a set

of Design Controls for the houses, so that other architects and

owners can also participate in the development of tM town.

In such a context, how does one establish a certain modicum of

order - and thus hopefully avoid the chaos seen in so much of the

Indian urban environment? To begin with, a Master Plan was

developed which, within the existing pattern of municipal roads,

inlaid a series of square modules of varying sizes that incorporate

shared back-gardens for the houses, to establish the images of the

new town. The left-over edges of the site were then sealed off with

rows of individual plots for sale to those owners who wish to build

independent houses.

The basic square modules are 48 metres by 48 metres - and

these are combined to form clusters of 2,4,8 or 16 modules. The

roads servicing these modules are kept to very short cul-de-sacs,

so they can carry an unusually high level of service infrastructure

(underground electric lines, cable television, etc) and yet make itsuch infrastructure affordable in the Indian economic context. In

these modules, each house is directly connected to the public roads

at one end and to the community back-garden at the other. Outsider

access to these back-gardens is possible only at certain gate-way.

entrances - at which are located public amenities (kindergartens,

community centres, etc) to provide easy and informal control.

Types of Clusters ,

.,

4 modules,100m x 100m'\.,

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16 modules, 212m x 212m



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At the main entrance to Sector V, facing the open

principal maidan (green area), are located the community facilities: the Club, a restaurant and a

small shopping centre - which form a large

gateway controlling entry to the back-garden. The

other entrances to this back-garden, located at the

other cardinal points of the compass, also have community facilities (a kindergarten school, a

health clinic, etc) to provide info/mal monitoring at these points of access.



NEW BAGALKOT

Kamataka

1985 -to date

The system of dams now under construction in Karnataka will

raise the level of the Ghataprabha river, submerging part of the

existing town of Bagalkot under water. Hence the Government of

Karnataka's decision to develop New Bagalkot, presently under

construction about 10 km further along the National Highway. This

new town being developed for a population of 100,000 persons, will

not only house the displaced inhabitants from the existing town, but

is also expected to become the major new growth centre in the

region, attracting the distress migration which is otherwise

gravitating to other already overcrowded cities like Bangalore and

Hubli.This assignment provided the opportunity to try and apply some

of the same principles discussed in the planning of Ulwe

(Affordability, Replicability, etc) to a small town, far more typical of

urban growth in India, using an approach that generates flexible

street patterns analogous to the existing town of Bagalkot - as also

to most traditional Indian towns that have grown naturally and

organically over a period of time. Furthermore, as will be seen, in

this approach, the composition of any particular sector does not

have to be pre-determined by the planners, but can be decided

from time to time, as the town grows, depending on actual demand.

180Existing street patterns in

old town of 8agalkot

N

01~050m EB

n,

Existing houses in old 8agalkot

A vigorous, functional - and very beautiful! vernacular

Proposed Plot Sizes (in sqrn)

PROPOSED

% of Plot Siz

Type households (in rn)

8x9

8 x12

12 x9

16 x9

12 x 1

15 x 24

20 x 24

Total 100 100.0

Proposed plot sizes, based on income profile and Government subsidies

.Assuming a bu

EXISTING

Floor Area %of

(in sqrn) households

0-10 12

10-25 38

25-50 30

50-75 11

75-100 4

100+ 5

A 12

B 38

C 30

D 11

E 4

F 4.5

G 0.5



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of all, based on social and cultural patterns, as

as the existing income profile and housing plot

s in the existing town of Bagalkot, a schedule was

ked out of area requirements forthe different me groups, These plots were laid out in small assemblies termed "Modules" and "Strips" - which

d then be fitted together to form Sectors ofm x 280 m. As will be seen from the Sector plans,

ng the access roads and pathways of the various

-assemblies (by omitting a few sites) allows a

-scale mix of different income groups - thus

iding the cruel segregation of income groups and

ses found in most "planned" Indian towns

luding Chandigarh),

18m wide main road

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ctor,showing fine-grained mix of different income groups 0 10 30 50 m

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The Demonstration Sector (presently under construction) incorporates typical houses for various

sized plots and income groups. Each house isarranged so that the main living spaces focused

around a private courtyard for the exclusive use

of the family

Living & Dining

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SURYA KUND

Delhi

1986

The traditional kunds, generally located next to temples, are

rectangular water ponds where the faithful come for ritual

purification before entering the temple to worship, The sides of these

kunds consist of geometric patterns of steps, surrounding this body

of water, During the monsoon, the water in the kund is full; when the

hot weather sets in and the water level recedes, more and more

steps get uncovered - but the relationship of the devotees to the

water stays constant, allowing them to perform the same sacred

rituals along a new layer of steps,

The form of these kunds is derived from the vastu-purush-

mandalas, those ancient Vedic diagrams which con'ceived of

Architecture as a Model of the Cosmos, Like many other aspects of

India,-these diagrams are both ancient and contemporary, both

pragmatic and metaphysical. Like the thali (the flat circular plate

used for eating), their physical form seems timeless.

The Surya Kund, a re-incarnation of these traditional kunds, was

built for a futurologist who lives on a solar energy farm in Delhi

("Surya" in Sanskrit for the Sun), and who hosts think-tanks on

various social and political issues concerning India, In that sense it

is a tank where one comes to think - and hopefully purify! - oneself.

Like its prototypes, the orientation of the Surya Kund has been

precisely determinecj by the cardinal directions of the compass.

Section

186

0 Axonometric

From the garden

===::I0 1



the Surya Kund

e peripheral walls, defining the central space,

e to the participants of the think-tank a clearly marcated arena for discussion, one which

ves to marvellously focus the mind. In the ntre, symbolising the bindu (the Source of all ergy) is the Shri Yantra - the most sacred of all ntras.

Think-tank in session



BRITISH COUNCIL

Delhi

1987-92

This new building for the British Council houses a number of

diverse functions, including a Library, an Auditorium, an Art gallery.

and the Headquarters of their offices in India.

These elements are arranged in a series of layers, recalling the

historic interfaces that have existed between India and Britain over

the last several centuries. From the main entrance gate, one moves

down the main axis which extends right up to the rear garden wall.

The three nodal points along this axis are structured around three

axes mundi, each recalling one of the principle belief systems that

exist in the Indian sub-continent. At the farthest Wd is the axis

mundi of Hinduism, a spiral symbolising Bindu - the energy centre-- ---of the Cosmos. The next nodal point, located in the main courtyard,

is centred around another mythic image: the traditional Islamic Char

Bagh, i.e. Garden of Paradise. The third nodal point alo~

is a£uropean icon, inlaid in marble and granite, used to represent

the Age of Reason, including the mythic values of Science and-- - - - -Progress.

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The 3 axes mundi are placed along the length of the site, connecting the

entrance gate to the rear boundary at the other end.



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Shiva, from whose hair sprang the sacred Ganga river - sculpture by Stephen Cox

.'7

0 0 0

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ing

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Longitudinal section through the site

190



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ce

The walls around the Char Bagh are clad in red

Agra sandstone. The head of Shiva and the Bindu at the farthest end of the axis are

sculpted in the black rock quarried near the sacred site of Mahaba/ipuram.

Detail of rear courtyard



At the entrance garden, encompassing all these

many layers, is a mural by Howard Hodgkin, made of white Makhrana marble inlaid with black

Kuddapah stone. Symbolising the shadows of a

tree, Hodgkin's work is a metaphorical image as

sheltering and pluralistic as India herself. Apropos

of this the critic John Russell has written: "What looks like a flat pattern turns into a force of life that

seems to question our very right to be there. Those

floppy, elephant-eared black leaves come around the corner as an amalgam of all the vegetable

growths that stand for torment and ecstasy in

Mughal decoration. . . Without Correa, Hodgkin would have had-to topple over into sculpture to get the use of the third dimension. Without Hodgkin,

Correa's building would have looked like an

espalier for which someone had forgotten the trees. The building does not prop up the art. Nor

does the art infiltrate the building. The two are one and indivisible. "



VIDHAN BHAVAN, STATE ASSEMBLY

Bhopal1980-to date

The new State Assembly for the Government of Madhya

Pradesh is under construction in the capital city of Bhopal. Many

factors determined its form: its site on the crest of a hill; the old

Muslim monuments nearby; as well as of course, the famous

Buddhist Stupa at Sanchi, just 50 kms. from the city.

The plan is a series of gardens within gardens. The

administrative offices are used to define a pattern of nine

compartments. The five central ones are halls and courtyards

(creating a micro-climate of shade and running water), with the four

corners occupied by the specialised functions: the Vidhan Parishad

(Upper House), the Vidhan Sabha (Lower House), the Combined

Hall, and the Library.

Since the administrative offices constitute the bulk of the floor

area, they form a decisive part of the architectural experience. Thus

in any Assembly building, the placing of these offices, and the

manner of reaching them, is of considerable importance. In

government buildings constructed in India during the last century,

this circulation was usually along verandahs from which one got a

view of surrounding gardens: hence having to wait to meet a

government official was a reasonably pleasant experience. In most

contemporary buildings, however, this circulation takes the form of

double-loaded corridors - which create quite intolerable conditions

for the visitor.

In this Vidhan Bhavan, the movement patterns within the

building have been carefully studied, so as to form diverse - and

pleasurable! - architectural sequences. The circulation is always

along the edge of the courtyards, so that light and fresh air are

Jillars near Sanchi

Legislators'Entrance

CombinedHall

Roof plan Public Entrance

assured. For security reasons, the public has to be separ

the Assembly Members and other VIPs; hence they enter

the main courtyard on the west, and after passing through

check point, climb ramps to reach the viewing galleries o

the three main halls. On the way to their galleries, they pr

along bridges and ramps (winding around the "Subbhas"

ritual circumambulatory paths around the Sanchi Stupa),

progressions which allow all the various users to experien

principal spaces - and dimensions - of this complex.

. - -.. "....

Stupa at Sanchi Hamam at Imamnagar



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Ground floor plan:

gardens within gardens

Overleaf: part plan of low

199



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IUCAA

Pune

1988-92

A Model of the Cosmos. . . this was what Architecture, since the

beginning of time, has sought to represent. Is it possible to express

our own contemporary notions of what the Universe is about? The

Inter-University Centre for Astronomy and Astrophysics, located on

the campus of Pune University, is such an attempt. The site consists

of three contiguous pieces of land, with two campus roads passing

between them. One arrives down a road between two swerving

black walls of local basalt stone, surmounted by courses of a

deeper black Kuddapah stone, topped finally by a glossy black

polished granite (which reflects the sky and clouds above). Black on

black on black: the visual structure of Outer Space.

These black walls draw one into the entrance, between two

columns of exposed concrete which de-materialise at the top into a

soft blue. Ahead and to the right, lies the kund - here transformed

into a metaphor for our Expanding Universe. The~tones along the

edges fly apart with centrifugal energy, setting up the diagonals that

connect to the other facilities in the centre of the camp':!§.Jhe---Computer Centre to the Northwest, the Hostel to the southeast and

to the~siting Facu y ousing that lies beyond..~



-he central kund

-instein in the rain

Around the kund itself are located the four major

elements of the Institute: the Library. the Faculty---- offices, the Lecture Halls and the Student FAr.iliti$s.

The larger-than-life figures within the kund

represent four extraordinary scientists: Aryabhata

(who, more than ten centuries ago, established that

our planet was round), Newton (sitting under a tree,

looking at the fallen apple), Galileo (gesturing up to the dome of Heaven) and Einstein (time in his

pocket-watch, contemplating the relativity of

space).

The landscaping models an image of a black hole seen through a radio-telescope

The Expa



Granite blocks



/

1. Entrance

2. Kund3. Black Hole

4. Roche Lobes

5. Serpenski's Gasket

6. Faculty Offices7. Lecture Halls

8. Computer Centre9. Library

10. Dining11. Dome

12. Student Hostel

13. Guest Apartments

14. Exhibition Gallery15. Auditorium16. Science Park

17. Samrat Yantra

13

Site plan: across the road to the east, a 500-seat Auditorium, Art Gallery and Science Park

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;ourt

pheral black wall, revealing portion of the Computer Court Verandah around the Computer Court



ult's Pendulum in the faculty offices

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important that the surface of the main domemessage as crucial to the.scientific values of

ntury as the Jain cosmograph is to the ancient notions of the Cosmos (as depicted, for

ce, in the dome of Mangal Mahal at the

ar Kala Kendra in Jaipur). Since one of the

undamental qualities of Science is precision,ronomers at IUCAA, using a map of the night

the day that the project broke ground,ed the precise position, size and relative

ness of the stars by placing small pieces of

which let through specks of intense daylight,rs in the night sky) in the form work of the

before the concrete was cast.

stone pattern on floor below dome is of

nt Ayurvedic origin, linking the seasons

he rashis (constellations).



81,

II~~

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The Serpenski Triangle modelled in the landscape of the courtyard in the centre of the hostel

The configuration of rooms and circulation is based no

conventional dormitory typologies but on the Oxford an

Cambridge system of student accommodation, where 2

rooms are accessed directly off a staircase, 3 or 4 storhigh - thus giving to each cluster of 10 rooms or so,aseparate identity.

Here this typology is adapted for a ground and one upstorey structure. The circulation at the lower level is aro

central courtyard with seating provided in alcoves placintervals along the periphery. Each pair of rooms sharebathroom and verandah.

From this level, stairs lead directly to the upper storey,

the circulation switches to the outer periphery of the bu(facing the garden) so as to reach a limited access cor

serving 8 to 12 rooms for Faculty, with attached private

baths. Here each pair of rooms share a private balconyoverlooking the central courtyard.

Hostel's upper level plan

Bathroom (shared by 2 students) ~A...

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To the west are row-houses for the Staff and

Faculty, grouped around courtyards. All thevarious categories provide a generous share of

terraces, porches and courtyards for each family

(/

Axonometric.of type IV houses

Double height pockets in type IVhouses

rd of type V houses 215



~fra

II

II ~

The Samrat Yantra: for measuring the Sun's orbit - constructed in black masonry, polished granite and steel

,

Detail of window in Director

monitoring entrance

Steps to top of Samrat Yantra



The external wall of black basalt,

surmounted by black Kuddapah stone, crowned by polished black

granite - black on black on black,the colour of outer space

217



jAWAHAR KALA KENDRA

]aipur1986-92

The ruler Maharaja Jai Singh who built the fabled pink city of

Jaipur was moved by two seemingly conflicting sets of mythic ideas

and images. On the one hand there were the oldest myths of the

Navgraha mandala (i.e. the mandala of the nine planets, which

scholars believe was the origin of the city plan of Jaipur - with one of

the planets moved to the opposite corner in order to avoid an

existing hill). Jai Singh was also a profound believer in the newest

myths of Science and Progress (as witness the Jantar Mantar, the

astronomical instruments he constructed to measure, with the

greatest possible accuracy, the movement of sun and stars across

the skies).

Thus the city of Jaipur, double-coded like Jai Singh himself, is

truly extraordinary: the clarity of its main arteries, the positioning of

the principal buildings, the efficiency of the water management

system, the sure grasp of underlying socio-economic patterns and,

above all, its startling relevance to us today of the transformation

between past and future, between the material and metaphysical

worlds, between the macro and micro scales, that Maharaja

Jai Singh sought to synthesise.

In these respects, he seems analogous to another man, born

more than two centuries later: Pandit Jawaharlal Nehru, India's first

Prime Minister. Guiding the new nation in its first decades after

Independence, Nehru also wanted to look backwards and forwards

in one decisive gesture:j.e.=dls..CDlLedogJodia.'.s_past-whilst

~multa!leouslY Jrwenting-a new-future.

Thus this Arts Centre, dedicated to Nehru, is really a metaphor

for both men - and for Jaipur itself. Like them, and like the city, it is

double-coded: a contemporary building based on an archaic notion

of the Cosmos: the very same ~9!ah§U!lalldala, with one of the,squares moved aside, so as to provide a point of entry, and to recall

the gesture that created the original plan for Jaipur.

.

ODDODDODDNavgrahaMandala

Genesis of Jaipur

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Jantar Mantar, Jaipur: monitorir.;, the sun and stars

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Jaipur city plan

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Curved Glass wall and water court in Guru, looking back towards the kund



~ model of the Cosmos. From behind us the morning sun rises while ahead the full moon sets

.~~

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The external walls of the building (including

around the central kund) are clad in red Ag

sandstone, topped by a coping of beige D

stone - the same materials used for the JaMantar Observatory, in the Red Fort at Agr

Fatehpur Sikri.

On these external surfaces, the presence o

the planets is expressed by its traditional sinlaid in white marble (embellished, where

necessary, with polished black granite and

slate), recalliag again the precisely calibrasurfaces of the astronomical instruments a

Jantar Mantar Observatory.

Study for placing Tantrik drawing



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Jain cosmograph depicting the manifest world

Mangal Mahal with domed roof

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first planet enters is Mangal (which corresponds to

er). Since this planet represents Power (signified e square symbol and the colour red), it was

ded to house the Director and his administrative

es here. This planet becomes the entry point to the

lecomplex - so along the walls of the Mangal al is an explanation of the Navgraha, and on the

g under the dome is painted a Jain cosmograph cting all the rivers, mountains, animals and

tation of the manifest world around us.

The dome in Mangal Mahal

looking towards vehicular entrance

[



~KETU

~SHANI (SATURN)

~RAHU

The nine planets

lQJGURU (JUPITER)

colour Iridescentquality: Devourer f Restorer

function: Rajput Weaponry

colour: Lemon Yellow

quality. Knowledgefunction: Library

colour: Milky White

quality: Heartfunction: Cafeteria

colour: Red

quality: Powerfunction: Administration

~SHUKRA (VENUS)

colaurV

qualit: Performin



he nine planets is represented by a square,0m, defined by red sandstone walls, 8m high.

gramme for the Arts Centre is disaggregated into

arate groupings, each corresponding to the myths ticular planet: for instance the planet Guru (which

es Learning) houses the Library, the planet

a (the Moon, which denotes Pleasure), and so forth.itional symbol of each planet is expressed in

and stone inlay in the stone walls that surround it.

tral square, as specified in the ancient Vedic S,is a void: representing the Nothing - which is the urce of all Energy.

Rahu, the imaginary planet which represents the eclipsethe sun

29562231

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Traditional symbol of Rahu (inlaid in black granite, white marble and gr

mica slate), depicting quite literally, the Sun being devoured by the Mo

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Chandra: the Moon looking towards entrance to the Planet Shani (i.e. Saturn)

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Details of red sandstone in kund steps

Kund, looking through square opening towards curved

Diagram showing layers of stone blocks forming kund steps



he exterior walls of each planet are covered in red sandstone.

but the interiors are painted in the auspicious colours,

motions, and mythic imagery traditionally associated with that

anet

-a a La -- - u - U - --0 --



I,



The imaginary planet Rahu, symbolising the solar eclipse. Hence the white anc black interlocking circles - and in the centre: the Axis of the Universe.



\. \

andhi Smarak Sangrahalaya, Ahmedabad

E.C.I.L. Office, Hydera

IUCAA, Pune

Salvacao Church, Bombay

Belapur Housing, New Bombay ZWE

Hindustan L

~.~,

~



~Kanchanjunga, Bombay

EOO

IN Centre, Bangalore

P. M. I., New York

Mexico

,.\

M.R.F. Headquarters, Madras

20 40 60m

l drawings at 1: 1234

Vidhan Bhavan, Bhopal

c



1958

HANDLOOM PAVILION, 1958, Pragati Maidan,

Delhi, for the All-India Handloom Board. This

temporary pavilion designed and built in six months

was the first completed work of the office. Brick and

mud walls generate a square plan forming a simple

multi-level box, through which visitors move in an

easy and continuous flow. The roof of wood

umbrellas, covered with handloom cloth, suffused

the internal space with an even light.

Elevation

236

Wood frame

Handloom

& A!kathln

arth fill

' '~,0 2 10m

GANDHI SMARAK SANG

Ahmedabad, for the Sabarm

Sabarmati Ashram, the hist

memorial which functions

scholars - housing his letter

archival materials. (See pag

I

I I ..

LALBHAI HOUSE, 195

Hansa and Niranjan Lahouse at Hansol along the

large orchard garden.

CAMA HOTEL, 1958-59,

Hotels. Two floors of hotel ro

atrium, open at both ends; th

by stilts, above a large podi

was added during constru

number of changes have s

(particularly at the entranc

without reference to the arch

Section

III -11_-..UII .... -,.-. ..fli!iJ y:J



ON BUILDING, 1958-60, Anand, for

agar University. The lower two floors

istrative offices and the top floor

entsfor University guests. Because of

orientation of the site, climate

major factor. This external walls are

combination of storage walls and

of closeable shutters: the woodenectly to the outside and the glazed

s at right angles to them. This allows

ationthrough the open glazed panels

wooden ones are closed to keep

Glass Shuner

Inside

I 3800$

Detail of openings in external walls

--~Jl=DT_~rI

loor plan

~~ zW0 2 5 10m W

COSMOPOLIS APARTMENTS, (Unbuilt), 1958

Bombay, for the Cosmopolis Housing Society. The fir

incarnation of the concept which was later to becom

the Kanchanjunga Apartments.

Section Elevation

1959

I

I<If

FUTEHALLY HOUSE (Unbuilt), 1959, Bombay, f

Rabiaand Sadiq Futehally.Asmall two-bedroom hou

on the side of Pali Hill is a variation of the design oft

twin houses at Bhavnagar, using brick walls aterracotta tiled roofs.

HUMANITIES DEPARTMENT, 1959-60, Anand,

Vallabh Vidhyanagar University.This rural university

an experiment in education started by nationali

during the Independence struggle. The buildings a

simple in construction and built departmentally. T

Humanities Department has a square plan with

courtyard in tile centre. The peripheral walls are loa

bearing.



SEN HOUSE, 1959-61, Calcutta, for Chini and

Sanjoy Sen. A large multi-levelled house, with terrace

gardens, opening onto a private garden.

CRICKET STADIUM & SPORTS COMPLEX,

1959-66, Ahmedabad, for the Ahmedabad Municipal

Corporation. The programme, which called for a

stadium to seat 35,000 people, an extensive club

house and swimming pool, tennis courts and

badminton courts, etc., has only been partially

completed due to lack of funds.

Elevation

238

TWIN HOUSES, 1959-60, Bhavnagar, Gujarat, for

Mr. & Mrs. Mohamud Merchant. These twin houses

were designed for a large joint-family headed by

two brothers. Each house is an ascending spiral of

spaces; one house turns clockwise and the other

anti-clockwise. Their plans based on a grid of

9 squares of 4.5 metres x 4.5 metres each, allow

the rooms to interlock around the central square

(housing the circulation) which acts as a flue,setting up convection currents through the rooms.

The cantilevered balconies of the bedrooms

emphasise the ascending spiral of the interior

spaces, as also the direction of the contrapuntal

"twist" of each house. And although their plans are

generically the same, the two houses are not identical

- -the areas and position of the varied functions

having been adjusted to suit the special require-

ments of each brother's immediate family.

.

,1Sf<

i81



M PLANT, 1959-63, Bhabha Atomic

Centre, Bombay, for the Department of

ergy. This plant for processing plutonium,

a unique effort by Indian scientists in the

mic Energy

NG HOUSE (Unbuilt) 1960, Ahmedabad,

ma and Anil Hutheesing. A variation on thehouse with the 3 bays in each direction

a tartan grid of 5 unequal ones, so that

tion in the centre moves casually and

round a garden.

Kitchen

GUN HOUSE, 1960-62, Ahmedabad, for the

Ahmedabad Rifle Association. The Ahmedabad Rifle

Association needed a building to house their offices

and showroom. Since their requirements were small

and their initial funds limited, they wanted a plan

which would provide direct access to independent

rentable offices, and which could be added to

later on. Thus the building consists of 2 separate

blocks each 12 metres x 12 metres. The floor slabs

are diagrids, supported by 4 columns placed at the

middle of each external wall, augmented by diagonalbraces to the corners. This creates an internal office

space free of obstruction. The central slot between

the two blocks is used for circulation and toilets.

'"

,-120r,

r 6mON f

~-

dPi--

r !"

..

..'

-

~l!' W~.._-

Plan

Q ~3mN

jF

--

OJ

II oLiving

OJ

Dining

00 0

c:=J11 ....

y L:/ c==!J

cOil \ Kitchen

rT1

dn LJ01



1961

TUBE HOUSING, 1961-62, Ahmedabad, for the

Gujarat Housing Board. Also known as the "tube"

house, this was first prize winner in an all-India

competition for low-cost housing. Though the

programme specified walk-up apartments, these

row-houses proviGJedthe same density - and larger

living space per family. Each unit is shaped so thatthe hot air rises and escapes from the top-,-settingup a convection currents of natural ventilation.

Inside the units there are almost no doors; privacy

being created by the various levels themselves,

and security by the pergola-grid over the internal

courtyard.

.,///'

240

Section

,--, 0, ,0 135m

II

LOW-INCOME HOUSIN

Ahmedabad, for the Gujarat

of the restrictive parallel w

row house, the width of ea

internal relationship of spac

unit has an internalcourtya

Plan

AMTS WORKSHOP, 1961

Ahmedabad Municipal Tran

workshop and bus yard fo

covering 10 acres in the h

involved the development o

the design ofthe buildings. In

the administrative offices aroverlooking the two acres o

thus providing direct supervi

of RCC folded plates, allow

ventilation.



LEVER PAVILION, 1961, Delhi, for

ver Ltd. The Industrial fairs held annually

ded an extraordinary opportunity for

experiment. This is a variation of the

om Pavilion. The circulation pattern is

e form has metamorphosed due to the

ow site, and because of the structural

random-folded RCC plates, gunited in-

ampsand platformsbelow-and creating

s"which setup convection currents of air

actured, scaleless spaces.

..

ion

SONMARG APARTMENTS, 1961-66, Bombay,

the Sonmarg Housing Society. This design is an ea

version of the Rallis apartments, wherein veranda

studies, etc., form a zone of protection around the m

living spaces. (See pages 132-137)

. LABORATORY & PROCESSING PLANT, 1960-

Bombay, for Suhrid Geigy Pvt. Ltd. The laboratory

a flexible system of services for supplying gas, wand electricity at each table. Behind it is the work a

roofed over by an RCC plate structure.

1962

SEN-RALEIGH POLYTECHNIC, 1962-64, Asan

for the Asansol Education Society. A training ce

consisting of workshops and class-rooms, the spa

organised around a large atrium, so as to encou

through-ventilation.

II



RAMKRISHNA HOUSE, Ahmedabad, 1962-64 for

Mr. & Mrs. Ramkrishna Harivallabhdas. This large

residence, built for one of Ahmedabad's millowners,

is based on the spatial and climatic concepts

developed in the Tube House and the Hindustan

Lever Pavilion. The plan sets up a series of parallel

bearing walls, punctuated by interior courts and

"cannon", climaxing in the living room which opens

out onto the main garden to the south. The house isset at the northern end of the site so as to maximise

the size of this garden and to enhance the spatial

sequence of getting there.

COu

Section

Service court.

~

I"'

.'

.,

.

,

.";,.. ,,

'

".'.

EB

Plan ~ ~ ' '0 2 5 10m

242

KASTURBAGANDHISAMADHI

the Gandhi Smarak Nidhi.

Mahatma Gandhi, was unde

when she died in 1944. This

the spot where she was cre

e dg e o f the Aga Khan G

consists of a gently desc

shifting axis, open-to-sky, d

parallel brick walls, culminatin

At several points along the p

to levels from which the s

is viewed. The podium crea

houses a modest museum de

.u 111 ~Section

SubtcmneanM

<>[



DARWAZA CENTRE (Unbuilt), 1962,

bad, for the Ahmedabad Municipal Transport

s. A major bus interchange for the city, with

ng and offices above. A complex interlock of

types of vehicular and pedestrian flows. The

nts, shops and other commercial aCtivities are

s which connect directly (via over-bridges) to

c garden across the road. -

J BUS TERMINAL, 1962-63, Ahmedabad, for

medabadMunicipal Transport Services.A large

olic paraboloid umbrella forms the bus stop,

which is located a canteen for the public and

and maintenance workshops for the AMTS.

ANGPURA BUS TERMINAL, 1962-63,

abad, for the Ahmedabad Municipal

ort Services. Offices and canteen combinedus station.

AVENUE HOUSE, 1962-64, Calcutta, for Nilu

bhijit Sen. Re-modelling of an old mansion,

ng addition of some new bedrooms and a new

erandahs on the south, facing the garden.

HAllY HOUSE, 1962-64, Bombay, for Zeenat

bu Futehally. A three-bedroom house on the

of Pali Hill. Has since been demolished and

ed by a multi-storeyed apartment building.

BOYCE HOUSES, (Unbuilt), 1962-63, Poona, for

Dr. & Mrs. Boyce: Second generation incarnations of

the Cosmospolis concept. Variations of the basic

theme are used to form different prototypes,assembled here as a cluster of town houses.

1963

CATERING INSTITUTE, 1963-67, Bombay, for the

Ministry of Food, Government of India. Built on a

restricted city site, this project integrates the teaching

and residential facilities into one building, arranged in

the form of a stepped section. The terraces are

accessible from the indoor teaching areas, student

lounges, etc., adding considerably to the kindof casual

open-to-sky space highly usuable inthe warm climate

of Bombay: a theme later elaborated in the SNDT

campus at Juhu.

THAKORE HOUSE, (Unbuilt), 1963, BomMr. & Mrs. R.Thakore. A 3-bedroom housea

facing the sea at Juhu Beach.

Roof garden

raStudy IU

itchen\U

Carpark -..

SectionI '

BATTERY PLANT, 1963-66, Hyderabad,

Carbide (India). A manufacturing plant, togadministrative offices and staff canteen.

SHUKLA HOUSE, (Unbuilt), 1963, Ahmed

Mr. & Mrs. S. Shukla. A small two-bedro

with open terraces on the upper floor.

Plan ~'0f'3



1964

PLANNING FOR BOMBAY, (1964). The con-

ceptualisation, along with colleagues Shiresh Patel

and Pravina Desai, of a new strategy for restructuring

the city of Bombay by opening up the mainland

directlyacrossthe harbour- in an areawheremany

key location decisions had already been takenregarding the provision of new docks, a major

industrial belt, the highway system to the rest of the

state, and so forth. In 1970, after the idea had

gathered sufficient support, the State Government

accepted the plan, notified the 22,000 hectares for

acquisition and set up CIDCO (the City and Industrial

Development Corporation) to design and develop

the new urban centres, to be called New Bombay.

(See pages164-171)

0 5 10 20 km

MASCARENHAS HOUSE, 1964-65, Bangalore, for

Dr. & Mrs. G. Mascarenhas. The long slope of the

tiled roof closes off this three-bedroom hous.e from

the road and opens it to the main garden at the rear.

1965

DUTTA HOUSE, 1965-66, Hauz Khas, Delhi, for

Admiral and Mrs. Dutta. A large muti-Ievel private

residence, with terrace gardens.

?LlLl

ECIL OFFICE COMPLEX, 1965-68, Hyderabad for

Dr. Vikram Sarabhai. The client wanted a workspace

which, through its very form, generates a controlled

micro-climate, obviating the necessity for air-

conditioning. The brief specified a programme that

was incremental- hencethe modularunits,which

are indented into a cruciform so as to bring more

daylight to the workspaces. To minimise heat input,

the units are sealed along the east;. on the west(which enjoys a panoramic view of the surrounding

landscape) shade is provided by the large roof

overhang- consistingpartlyof a slattedpergolaandpartly of a thin membrane of water which reflects the

incident heat of sunlight back into the sky.

Pergola overhangto shield building

"

Plan

Offices

Section.



RIAN SYSTEM, (Unbuilt), 1966, Bombay, for

ay Municipal Corporation. A scheme to allow

ns to walk (above vehicular traffic) straight

e commuter trains arriving at Churchgate

the offices around Flora Fountain.

GROUP HOUSING, (Unbuilt), 1966-67,

, Bombay, for the Punjab Co-operative

Society. The Scheme consisted of 60 row-

of 2 and 3 bedrooms each) around a central

ty space.

S HOUSE, 1967-68, Poona, for Commander

H. Menezes. A tiled-roof two storey house,

xible grouping of internal spaces, so as to

e in several different ways by a family with

children.

RA HOUSE, 1967-68, Bombay, for Mr. &

erreira.A four bedroom house with provisions

ionalunits on the upper floors for the children

y grow up.

RDHAN HOUSES, 1967-69, Poona, for

Mrs. J. H. Patwardhan. Two two-bedroom

sharing a third bedroom. The living rooms

rally placed so as to act as breeze-waysventilation.

CABLENAGAR TOWNSHIP (Unbuilt), 1967, Kota,

Rajasthan for Oriental Power Cables Ltd. Thick roofs

are slow to heat up, but once they do, they continue

to radiate heat back into the house all through the

night. A better way is to minimise the amount of

incident sunlightfalling on the roof surface- by a

light porous membrane, like a pergola. By raisingthis membrane, the roof can act as a sheltered

terrace. Furthermore, the profile of the internal

volumes can be adjusted so as to generate

convection currents (as in the Tube and Ramkrishna

houses).

Units of varying categories were developed for this

township, using the local sand-stone throughout: in

3-metre long slabs for the floors (spanning the

width of the house), cut into rectangular blocks for

the walls, and as strips for the pergolas (which

were contiguous over the housing clusters).

HOUSE TYPE G

Section

Plan

HOUSE TYPE 0

\

0

'~ . j

.

" .

'

.

'

...

>

.

" I~I ~c ..,.Conventional

~_W'(i' ~

~_. -3Lwith Sun-roof

by raising Sun-roof

Vol ume a dj uste d for

creating convection currents

HOUSE TYPE F

Plan

Service street

Typical cluster layout ~

;;---J;;:~~o m gPlan

~

' '~ 0 2



PAREKH HOUSE, 1967-68, Ahmedabad, for Mr. &

Mrs. Dilip Parekh. From the housing types developed

for Cablenagar, came two pyramidal sections: One,

termed the Summer Section (to be used in the

daytime) protects the interior from the heat, the other,

termed the Winter Section (to be used in the early

mornings and the evenings) opens up the terraces

to the sky.

Since this site faced east-west, this house consists of

3 bays: with the Summer Section sandwiched inbetween the Winter Section on one side and a Service

Bay (for circulation, kitchen and toilets) on the other.

The bearing walls, made of brick, express directly the

climatic concepts which underlie the design.

Winter Section

Summer Section

Garden

Ground floor plan

~~~omzEB

246

SNDT UNIVERSITY CAM

Bombay, for the 8mt Nathiba

Women's University. A multi-

one continuous structure. T

along one perimeter, the Art

common facilities placed ce

lowest level are located the l

economical system of flexibOn the next level are classroo

surmounted in turn by social fa

levels consist of hostel rooms

In section, the levels step ba

cascading terraces - and

circulation in the lowest t

laboratories, classroomsand

top-lighting and through v

SCIEN

Section

1968

GANDHI DARSHAN, 1968-69

Gandhi Darshan Centenary. consists of 4 pavilions each c

aspects of the teachings of M

amorphous "non-building", str

path moving along a shifting

courtyards. The brief involve

Plan for the four integrated

architectural drawings for two



d corridors. Students start in these

in the morning, and move upwards

complex during the course of the day,

e hostel rooms on the upper floors at

ARTS

60r,18m

L_I

HAWKERS PAVEMENTS (Unbuilt), 1968, Bombay,

for the Bombay Municipal Corporation. A proposal to

modify the profile of some of the main sidewalks in

Bombay.

In the crowded centres of Indian cities, pavements

are used intensively: during the day they are

crowded with hawkers so that pedestrians are

forced onto the road, blocking the traffic lanes. Asevening falls, the hawkers gather their possessions

and go home- to be replacedby peopleunfoldingtheir beddings for a night's rest.

These night people are not pavement dwellers (who

are another group altogether), but mostly domestic

servants and office boys who have to share a room

in their places of work where they keep their

belongings and use city pavements for sleeping. This

allows them to economise on their living expenses.

Furthermore on hot sultry nights, sleeping outdoors is

a more attractive proposition than the crowded

airless room: that they have to do so under

unhygienic conditions with the public walking right

amongst (and over) them is truly reprehensible.This project in 1968 recommended to the Bombay

Municipal Corporation an experimental modification in

one of the city's principal streets (Dadabhai Naoroji

Road) in order to deal with both the hawkers during

the day and the sleepers at night. What was proposed

was a line of platforms 2 metres wide and 0.6 metre

high, with water taps placed at approximatelyintervals of 30 metres.

During the day these platforms would be used by

the hawkers- thus clearingthe pavementsand the

arcades for pedestrians. (The platform would also

act as a safety barrier between pedestrians and

vehicular traffic.) In the evening, at about sunset, the

taps would be turned on and the platforms washedclean by municipal sweepers. They would then

provide convenient otlas (platforms) for people to

sleep - out of the path of any pedestrianswalking

home at night.

Today:

3m 319m

Proposed platforms:

Daily 9am to lpm:

Night 9pm to lam:

+---;2m3m 15m



CORREA HOUSE (Unbuilt), 1968, Ahmedabad, for

the architect. On this long narrow site, the summer and

winter sections of the Parekh house are placed not side

by side, but consecutively, in one linear interlock.

IJ

Plan and sectionN

3{) n fO\ 9m U

1969

KOVALAM BEACH RESORT, 1969-74, Kovalam,

Kerala, for the Ministry of Tourism, Govt. of India.

Development of one of India's most beautiful

beaches, using the local vocabulary of plastered

brick walls and tiled roofs. (See pages 66-69)

JEEVANBIMANAGARTOWNSHIP,1969-72,Borivili,

Bombay, as Consultantto the Architecture Department

of the Life Insurance Corporation of India.

Housing for 16,000 persons on a 24 hectare site in a

suburb of Bombay. The units, which range in size

from one room to five, generate a number of

typologies (from row-houses to walk-up apartments),

all using multiples of the same structural module.

The construction (up to 5 storeys high) is of

reinforced brick bearing-walls, minimising the use

of concrete and steel. In certain cases, the units step

back so as to provide open terraces for the occupants.

All units have direct access to a central green area of

over 20 acres which forms the heart of the project.

INDIA PAVILION (Unbuilt), 1969, Osaka, Japan, for

the Government of India. This project is a further

development of the themes of the Handloom and

Hindustan Lever Pavilions. Here the maze is

extended to cover the roof-surfaces as well - so that

one enters and goes into, through, and over and out

of a large puzzle-box.

The architectural form is deliberately low-key, a

"non-building" given scale principally by the flights

of stairs (echoing the bathing ghats of the holy

rivers of India) and the effigy of the mythologicaldemon Ravana.

~

L~~. /( ;z

/\ 5'" / ! ~/\ / / /

Section

(>



OUSING, 1969-73, Lima, Peru, for the UN

Government of Peru. Thirteen international

were invited to submit designs in a limited

on for a prototypical housing complex of 1500

Each house had to be incremental, capable of

dating up to 10 persons (including grand-

its, 3 metres wide, broaden \0 6 metres at the

n an interlocking pattern which orients them

E (climatalogically the optimal orientation for

ll units have vehicular access from one end

ch connecting to the community spine at the

a small cluster of a dozen units were built of

e 13 entries, The common-wall between units

ified into a zig-zag (to make it more earth-

sistant) in which are located service elements

stairs and toilets.

~-'-

I~-

~

--- . .,-.. 6-$§i hI -. "-""

N!I -

~'

General ';"i'an ~7ang camm;;;;?; spi~~u

~~~om 0~

Plan of units as built

o~~~om 0~

1970

KANCHANJUNGA APARTMENTS, 1

Bombay, for T.V, Patel Pvt Ltd. The c

originated for the Cosmopolis Apartments

finally built some twelve year" after being d

(See pages 126-131)

....

=-~

~

. ..

HEREDIA HOUSE, 1970-73, Chembur, BoMr. & Mrs. C. Heredia. This three-bedroom

a gently sloping site in Chembur, a s

Bombay, uses tiled roofs and brick bearing

Section

Plan

~~m EBN



1971

DCM APARTMENTS, (Unbuilt), 1971, Delhi, for the

DCM Ltd. The third incarnation of the theme of major

and minor living spaces which can be combined

through sliding doors in various configurations. (A

concept which was first developed for Sonmarg

Apartments, and later for the Rallis Apartments).

LJ

LJ

Plan "--'~~

0 1 35m

LOW-INCOME HOUSING, 1971-72, Ahmedabad, for

the Gujarat Housing Board. A high density housing

project, providing accommodation for 5,000 people

in an area of 4.9 hectares. Five different types of

designs were developed, each providing the range

of 1, 2, and 3 units required by the programme. This

gives a variety of configurations, varying from

incremental housing on small individual sites, to

two-storey walk-ups with open-to-sky terraces.

_MW

1972

ERANGAL BEACH RESORT (Un built), 1972,

Bombay, for the Department of Tourism, Government

of Maharashtra. Development of a beach near

Mandwa, just North of Bombay, as an internationaltourist centre.

SEN FARMHOUSE (Unbuilt), 1972,Calcutta, for Nilu

and Abhijit Sen. A weekend house for a Calcutta

family: 4 caves (for sleeping, cooking" etc.) around

a multi-purpose pergola-covered central space.

MOZUMDAR HOUSE, 1972-74, Delhi, for Riten

Mozumdar. This house on a 200 square metres site for

one of India's leading textile and graphic designers,

combines a studio/workshop and residence.

BIMANAGAR TOWNSHIP, 19

Consultant to the Architecture

Life Insurance Corporation of

15,000 persons, where every

open-to-sky space, (either a g

pattern of living conducive

life-style of Bangalore.

1973

SQUATTER HOUSING (Unb

for CIDCO (City and Indu

Corporation). The basic mod

units (under a pyramidal roof)

a hierarchy of spaces. An ide

the Belapur housing (1983-85)

Site plan

Plan



PARTMENTS (Unbuilt), 1973, Bombay,Brothers. Another version of the idea of

nes-of-defence" theory first explored in

arg Apartments and then in the DCMs.

17~9JJ

FICE (Unbuilt), 1973, Bangalore, for the

State Electricity Board. Five decks of

ound a central atrium on a corner site,

mportant traffic junction in the city.

NO

ADEMI,1973-83, Panaji, Goa, for the Kala

A performing arts centre, together with

d music schools, along the Mandovi river

See pages 62-65)

1974

COCHIN WATERFRONT (Unbuilt), 1974, Cochin,

Kerala, for the Government of Kerala. Development

along the waterfront to create housing and shopping

facilit ies as well as amphitheatre and public

promenades.

-BACKBAYWATERFRONT(Unbuilt), 1974,Bombay,

for the Save Bombay Committee. The purpose of

this project was to put a stop to the continuingreclamation of land at Nariman Point and Cuffe

Parade, an activity which was adding considerably

to the already enormous pressure at the southern end

of Bombay - and generating enormous political

corruption in the process. The perimeter of landalready reclaimed will be sealed off by a belt of

community facilities and promenades along the

waterfront. The Government of Maharashtra has

officially accepted this scheme - but has still to follow

through with its implementation!

, ~ ~

Site plan

STRUCTURAL PLAN FOR BANGALORE

implemented), 1974, for the Governme

Karnataka. This project conceptualised a strat

using Bangalore's enormous growth rate to s

centre of gravity north of the existing city ce

theold Cantonment- whichis fast beingdes

This was to be done in a series of consecutive

each of which uses existing infrastructure (e.g.

utilised railway lines) to gradually develop aT-shcity structure with the new commercial centre

intersection of the two arms of the T.

VISVESVARAYA CENTRE, 1974-80, Bangalo

Consultant to the Architecture Department

Life Insurance Corporation of India. This co

provides over 20,000 square metres of offices,

and parking. Instead of air-conditioning, adva

is taken of the strong wind currents that swirl

the towers to provide controlled air-circulation

the office areas.

/sliding glass

Operable loufor air contro



SALVACAO CHURCH, 1974-77, Bombay, for the

Archdiocese of Bombay. This church consists of a

series of interlinked spaces, some covered, and

others open-to-sky. The shell roofs are ventilated

at the top, thus setting up continuous convection

currents of air. The areas are functionally

differentiated, in an analogue of Christ's life. First

the years E)f preparation; secondly the years of

public life; and finally, the death and resurrection.

The skylight in the baptistry is by the notedIndian artist M. F. Husain.

Plan

;;--i,~~om ~0

{f] /~~ /, \ -j I

~h

I ~/~~/ ~y- (.>L /'- --.\;" ./-~..:-

\~\ ~;:l'~~ ~V~"--~--~\~ ~~ ~\" 0 '~'", \\"

\' ,\.\\ \ ~~~~""-

'-"I"....

252

1975

CRAFTS MUSEUM, 1975

Authority of India. Handicr

India organised along ape

village to temple to palac

herself. (See pages 36-41)

BHARAT BHAVAN, 1

Government of Madhya p

museum, and performing

on a hillslope, overlookin

pages 42-45)

JEEVAN BHARATI, 1975

to the Architecture Departm

Corporation of India. The

proscenium between the o

Circle and the many new h

(See pages 102-107)



OUP HOUSING, 1975-78, Delhi, for the

perativeSociety. Over 160 two- and three-

maisonettes stacked in two decks, with the

s stepped back so as to form a pergola-

rrace for each family. This configurationa central area which allows the units to

ch other against the hot dry climate of

a (a centuries-old energy-saving pattern)

reates a central community area which is

ed with trees and running water, so as to

nd cool the dry winds.

edroom units cover 84 sq.m and are 3 m

high and 15 m long. The three-bedroom

30 sq.m and interlock in an L-shape - so

se one bay width on one level, and twoe other.

(?/ ~0 5 1 0 20 m

Section ' '~ '---"0 2 5 10 m

1976

WALLENBERG CENTRE (Unbuilt), 1976, Mad

the Western India Match Company. A training

consisting of low-rise tiled roofed buildings

courtyards.

N

I~)['

Site plan

SHIMOGA CAMPUS (Un built), 1976, Karnata

Mysore University. The campus on the top of a

beautiful region of Karnataka, famed for its thic

forests, was designed to use the contextua

vocabulary of white plastered walls and tiled ro

STEEL TOWNSHIP, 1976-77, Misurata, Liby

. the Steel Authority, Government of Libya. The

plan for this towns hip o f 50,00 0 pe rs on s

developed in collaboration with M.N. Dastur who were the prime consultants for the develo

of the steel plant. Ten sectors of approximately

persons each were generated, in successive s

along the arterial roads which run at the northe

southern boundaries of the site. Along the ce

each sector is a spine of public open spaces

contain the schools and neighbourhood mosqu

belt of sand dunes across the middle of the s

been preserved for ecological balance.



1977

PALAYAM SHOPPING CENTRE (Incomplete),

1977, Trivandrum, for the Trivandrum Development

Authority. A large shopping-cum-office complex in

the centre of the city, involving both urban renewaland new construction,

1978

CIDADE DE GOA, 1978-82, Dona Paula, Goa, for

Formento Hotels and Resorts Pvt. Ltd, A 1O0-room

resort on a beach near Panaji, which seeks (among

other things) to create a metaphor of Goa's history.

(See pages 76-85)

CYCLONE-VICTIMS HOUSING, 1978-79, Guntur

Andhra Pradesh, for the Government of Andhra

Pradesh. Housing for homeless families after the 1978

cyclone, The houses are incremental, the government

providing only a single cyclone-proof room of stone

walls, with the inhabitants adding on extra rooms in

mud, bamboo and country tile,

L~

=0

O

="",,

~,...I

: 'I

r e I .L-~ ~ L~~<i

E]ri,J;J ~" ' " ~

o?~ V - -,-' -'JC-:;:c;'".r--r I I ',":

~ I ' ,

I I 10f,':'

c::J 13m , -,:.

0

D ;PI.:';!

{,~:-:.~~.- - +J}i@

~

Plan

254

MALABAR CEMENTS TOWNSHIP, 1978-82, Kerala,

for Malabar Cements Ltd, A town of 400 housing

units on a wooded site at Walayar lake. The client

was keen on developing the township in a pattern

which would encourage secondary income

generation for each family (unusual in a company-

owned town). Hence each family (including those on

the upper floor) has open to sky-space, both in the

form of terraces as well as small kitchen gardens(where they can supplement the family income by

keeping chickens or a goat, or even a buffalo - as is

commonly done in Kerala),

~-~

I

I \

I

I

I

III

IIII

II

IIII \

_I

~

Kitchen garden

Kitchen garden

Plan, type 'A' houses ~ ~' '0 1 35m

A Workers

village

Market

A. Workersvillage

Site plan

(

I~

"P':'



HINK TANK (Unbuilt), 1978, Delhi, for

d Jagdish Kapur. Based on an idea

eveloped as a week-end house for Prime

dira Gandhi, this small guest house on a

de Delhi, was meant to accommodate

s of an annual Think Tank focussing onre.

arena is a square courtY9rd made ofned by a mud-wall - with the rooms for

cipant as appendages on the other side

all. Every morning, each participant

rom his doorway to meet in the centre of

ard for the deliberations. /

)~(~

AKAM RESORT (Unbuilt), 1979,

am, Kerala, for the Kerala Tourism

ent Corporation. The site is a hundred

nd, just south of Cochin. Originally a

plantation it was to be developed as a

rist centre with facilities for boat trips

etranquil scenic backwaters of Kerala.

Y CENTRE (Unbuilt), 1979, Taif, Saudi

r the Saudi Real Estate Company. This

nt involved preparing urban-form studies

w city centre at Taif, which is to consist ofsquare metres of office, residential,

and parking facilities. At the lower two

ocated a souk for shoppers; the upper

are used as community spaces by the

units which ring the project; the whole

onforming a continuous pedestrian spine inslamictradition.

BAY ISLAND RESORT, 1979-82, Port Blair,

Andaman Island, for Bay Island Hotels Pvt. Ltd. A

resort hotel on the side of a hill overlooking the

entrance to Port Blair harbour. (See pages 70-75)

1980

PALM AVENUE OFFICES (Unbuilt), 1980, Calcutta,

for Sen-Raleigh Ltd. A small office building on a very

restricted site. The front profile of the building rotates

downward so as to provide turning radius for thedriveway.

BARAPANI RESORT DEVELOPMENT, 1980-84,

Barapani, Meghalaya, for the Department of Tourism,

Government of Meghalaya. A development

consisting of 50 tourist cottages and a restaurant onLake Umiam.

VIDHAN BHAVAN, 1980 - to date, Bhopal,

Government of Madhya Pradesh. The new

Assembly located on the crest of a hill, in the

of the city. (See pages 198-205)

BD CENTRE (Unbuilt), 1980, Madras, for

Express Newspapers Pvt. Ltd. Shopping, hand offices on a 10 hectare site iCithe ce

Madras. The new development is around the

of the site, leaving the centre to form a n

plaza around the historic old building whicto house the Madras Club.

CALVETTY GROUP HOUSING (Unbuilt),

Cochin, for Forbes Cambell Ltd. Cluster hou

85 units on a beautiful site over-looking the ento Cochin harbour.

~



MPSC OFFICES, 1980-92, Bhopal, for the Madhya

Pradesh State Corporation. A further development of

some of the architectural concepts initiated in the ECIL

offices in Hyderabad, this complex is for a similar hot-

dry climate. It is designed to accommodate twelve

independent State Government Corporation in four

separate buildings which architecturally form a single

mass, focussing round a courtyard, with a fountain at its

centre. This courtyard is covered by a pergola at rooflevel, which not only protects the internal facades from

the sun, but also ties the complex together visually.

Much of the lighting ofthe office spaces ISfrom windows

overlooking this central space; the external surfaces

are either blank masonry, or double-walls with deep-

set windows. The six-storey high blocks each have

their own vertical circulation; at various pOints on the

upper levels they are interconnected by bridges. The

driveway swings into the complex, passing under the

overhead bridges - a classic pattern found in historic

sectors of Bhopal city.Axonometric

0 0 Courtyard

Section~,

0 5 10 20m

256

1981

BEACH HOUSES (Unbu

Mr. G. Khandwala. 10wee

across the harbour from B

of the classic- andsimpsuited for beach houses.

mezzanine deck (bedroom,

can be locked up when

house after the weekend.

]" -----------I

I

I

I

0I 'r--(~I I I

I )--""" / '0

IIII 0 L-_____------Plan

COMPUTER CENTRE (Un

for Tata Elxsi Pvt Ltd. Assem

levels, with work space for t

on the terrace levels.

1982

SHAH HOUSE, 1982-85, Juh

Rajesh Shah. Five separate d

designed for the members

(each with their own gardens



WNSHIP, 1982-85, Awarpur, for Larsen &

ew dwelling units, club house, schools

istration building added onto an existing

Q9'---' ~ ~0 10 30 50 m

and plan I ' ,' " ' " ~O~t

OUSES, 1982-89, Verem, Goa, for Alcon

e Company. A linear cluster of 32 houses

along the Mandovi river useable both as

omes as well as year-round residences.

s 144-151)

BVB CENTRE (Unbuilt), 1982, New York, for the

Bharatiya Vidya Bhavan. A new cultural centre for

the Indian community in Queens, with facilities for

language, dance and music schools clustered

around an internal street ascending diagonally

across the building towards two corner mirrors whichreflect it all back.

1983

CUNNINGHAM CRESCENT (Unbuilt), 1983,

Bangalore, for a group of friend s. On the s ite

(measuring 1,900 square metres in a quiet residential

area) seven houses radiate fanwise from the entry

courtyard. The precise visual dimensions of each of

the ground and one storey unit s i s di ff icul t to

comprehend - because of the complexity of the

spatial configuration.

~~~

Section and plan

, , I ' , , , 30(,, N ' 9m

u

GYMKHANABAR, 1983, Bombay, for Bombay

Gymkhana Ltd. Remodelling of an existing room to

recreate a historic moment in Indian sports: the 14

sixers hit by C.K. Nayudu in the first India-Englandcricket match held in 1932.

BELAPUR LOW-INCOME HOUSING, 19

Belapur, New Bombay, for CIDCO (City

Industrial Development Corporation). A lo

high-density housing sector in New Bombay

pages 152-157)

MIXED INCOME HOUSING (Unbuilt), 1983, I

for the Indore Development Authority. A develop

consisting of 290 units of ten different

grouped in clusters, around a central maidan.

1984

CANTONEMENT CHURCH, 1984-87, rune,

Archdiocese of rune The roof of the original c

built over a hundered years ago. collapsed

thunderstorm. Keeping the outer walls intact.

RCC roof was inlaid, with a large central vault but

by half-vaults on either side. The cylindrical "ca

Intersect the main vaults to create exquisitely s

ellipsoids of light.

Section

.I

.. I



ACC TOWNSHIP, 1984, Wadi for the Associated

Cement Companies Ltd. In 1984 the Associated

Cement Companies (ACC) commissioned two types

of housing to be incorporated into an existing

company township.

The units designed are strung along the periphery

of the sites, rather like a necklace. In both instances

there is a progression from the exterior to the interior

of the site; from the public and vehicular accessdomain, to the private internal space of the house

itself, to a semi-private 'patio or court, to the large

central communal space.

The first type of units - Type B - consist of 368 flats,

each with an area of 48 square metres. These three

structures are arranged in a highly formal manner to

form a series of interconnected units, courtyards and

gardens. The units decrease on the upper levels to

form terraces overlooking the central space.

The second type - the larger Type J units - are

approximately 65 square metres each. These consist

of 45 courtyard houses, ventilated by internal patios,

arranged in tightly-knit clusters. Each two-storey

unit has a barsati room on the upper terrace level.

Ground floor plan: Type 'B' unit L.J~ ' '

0 1 35m

~iteplan: Type 'J'Units'---J~' ' M~0 10 30 50m'<Y

A necklace cluster of Type 'B' units

.J~-

£~1r~~ 0 ~

C:~LjlSite plan: Type 'B' units

c:FI:= M ~020 50 100m'<Y

Cluster plan: '--'~ ' '

0 2 5 10 m

Typical elevation: Type 'J' units

258

1985

BAGALKOT TOWNSHIP, 1

Karnataka, for the Govern

township for the 50,000 p

placed by the rising waters

(See pages 180-185)

PERMANENT MISSION O

RESIDENCES, 1985, New of India. Offices and reside

the Permanent Mission of In

(See pages 108-115)

HOUSE AT KORAMANGAL

for the architect. A residenc

and one upper floor, around

pages 138-143)



EOLOGY MUSEUM (Unbuilt), 1985, Bhopal,

Government of Madhya Pradesh. An

nt collection of sculpture and architecture,

partly indoors and partly in open-to-sky

ds. This is really a variation of the "inside-out

with the main ordering element (the high

all) and the first set of museum galleries built

itial phase, and the rest of the galleries (all lit

rtyards and overhead top-lights) to be

cted in subsequent phases, as requirements

ds become more clearly defined.

Elevational sketch showing "zone between the two systems".

Sectional sketch showing "zone between the two systems".

for lighting of interior spaces

Plan

' .. . '

. '.

.('~..,~

:~0}

oL-r--;~o m 0{~

1986

JAWAHAR KALA KENDRA, 1986-92, Jaipu

Government of Rajasthan. A double-coded

based on the navgraha (nine square) manda

was the original basis for the planning of th

city of Jaipur. (See pages 218-232)

SURYA KUND, 1986, Delhi, Urmila and

Kapur. A further development of the Ka

Tank built out of brick with mud plaster. (S

186-187)

JAWAHARLAL NEHRU INSTITUT

DEVELOPMENT BANKING, 1986-91, H

for the Industrial and Development Bankin

India. A Management Training Institute

management from South Asian banks. (S

52-61)



""

E;J.

'"

HUDCO COURTYARD HOUSING (Unbuilt), 1986,

Jodhpur, for the Housing & Urban Development

Corporation. Using the basic design principles for

the units at Belapur, the units are grouped around a

hierarchy of open spaces. The houses cater to four

income categories, from lower to mid-level income

families. There are, however, only two basic plot

sizes. Each unit is independent from its fleighbour

which allows for incrementality and upgrading as

families become upwardly mobile.

The construction materials are those that are readily

available. Local stone is used in a centuries-old

traditional manner, for both the load-bearing walls

and the roof slabs, similar to the Cablenagar

Township at Kota.

The units themselves are massed in single and

double storey blocks. The house designs of the two

to four room (excluding service spaces) units remain

simple and are influenced by their Rajasthani context

in terms of arrangement and construction materials.

Because of the hot dry climate, the units are directly

built around enclosed courtyards -- quite different

from Belapur where the units are freestanding and

allow for through-ventilation so essential in the hot

wet climate of Bombay.

D~uSection

L_r--', ,0 135m

Typical plans

~ "C/\

0'--;'0 3~Om \.V

260

1987

MRF HEADQUARTERS, 1987

Ltd. The new Headquarters fo

business houses. (See pages

BRITISH COUNCIL, 1987-92,

High Commission, Delhi. Th

Library and other facilities. (S

1988

LlC CENTRE,MAURITIUS

the heart of the businessdistr



ADQUARTERS (Unbuilt), 1988, Bangalore

dustanMachine ToolCompany. A horizontal

plex, with terraced gardens, set on a site

trees in the 'garden city' Bangalore.

~ ----.

Ib=

1\[JJ,f"~

Planc::FI::::= z EB0510 20m-

~.; -' CQ

ADQUARTERS, (Unbuilt), 1988, Bombay,

clear PowerCorporation of India, is a further

ent of the HMT Headquarters. This large

o be situated on a spectacular site in the

ergy Establishment at Trombay, is really aration of several autonomous units - hence

f the building: a number of inter-connected

h a circulatory ramp (a true pradakshina!)

round a courtyard in the centre. Adjacent

offices share top-lit atriums (which can be

with sliding glass panels).

~/~

~~-

CorporateFinance

CorporatePersonnel

RampCanteen

Library

Section

ProjeqtlGroups

ProjecjtlGroups

L-J ~ ' '0 2 5 10m

DONA SYLVIA, 1988-91, Cavelossim Beach,

beach resort on one of the most beautiful beac

the south of Goa. (See pages 86-93)

INTER.UNIVERSITY CENTRE FOR ASTRO

& ASTROPHYSICS, 1988-93, Pune.A resea

teaching institution which seeks to project a

of the Cosmos - as we understand it todaypages 206-217)

1989

STAFF HOUSING, 1989 - to date, Hyderab

CCMB (Centre for Cellular and Molecular B

Over 150 housing units of various categori

sizes, organised around terraced gardens

hillside facing the lake.

THE MALANKARA ORTHODOX SY

CHURCH, 1989 - to date, Parumala. A new

at the shrine of the principal saint of the M

Churchof Kerala- a Churchwith its ownrites and rituals, founded by S1.Thomas the A

and older than the Church of Rome.

Section

cF't0 2



1990

JNC at IISc, 1990-94. Bangalore, for the Indian

Instituteof Science. The house of the President of the

JNC, along with offices, conference facilities and a

small guest house for visiting scientists is situated in

the old campus of IISc, in a grove of very beautiful old

gulmohur trees, is organised around three inter-

connecting courtyards. One arrives in the largestcourtyard in the centre, where located the office of

the President together with conference facilities and

supporting staff. To the left is the courtyard around

which are grouped guest rooms for visiting

scientists, and to the right is the courtyard aroundwhich are various rooms and activities of the

President's house.

GUESTHOUSE

r~' . > "',.

'\ \

L.J, ;' '0 2 5 10 m EBz

Plan

262

JAWAHARLAL NEHRU

Bangalore, For the Indian

Bangalore, A new campus for

work and living facilities, (See

TATA ELXSI,1990-93, Ban

creating software and hardwa

firm, is in Bangalore - the faste

and c6mputer centre of India

Valley", The complex of sl

structured around internal cou

kind of laid-back ambience

cantonment seems to share w

1991

ULWE: The CBD of NEW BO

for CIDCO (The City and I

Corporation), The Developme

controls and the building of p

1000 families (at all income

runs from the waterfront aloNew Bombay up into the footh

172-179)

TITANTOWNSHIP,1991- to

Master Plan for a new compan

to be in-laid into an existing n

and services, (See pages 158

1992

MADGAON STATION, 1992

Konkan Railway Authority, The

new Konkan Railway is locate

from the existing station so

urban growth, away from the

!

--- ' \---~: \\

$' ' :,:

010\ ,-..j

~~~o m :v' :



PUS, 1992 - to date, Madras,for the

Management Excellence. This Institute

enior management, provides teaching

living a9commodation for 120 trainees

separate(but parallel) programmes. The

ex is organised behind the polished

e wall that runs parallel to the road,

e facilities from the dust and noise of thehfareon which it is located.

)

N

ffiVelachery road ~ ~ '---'

0 5 10 20 m

~

I~J~{~~~~~l~~jb::~'~Y;~~~:)~Z~' .

1994

PORT PROMOTION CENTRE, 1993 - to

ba y, for the Tex ti le Committee ,

of India, to house research

and textile exhibition areas.

GREEN EARTH FARMHOUSES, 1994 - to date,

Rewas,' for Ratanlal Parasrampuria. A large

integrated development on 200 hectares across the

harbour from Bombay.---

.. COTTON CORPORATION, 1994 - to date, New

Bombay, for the Cotton Corporation of India.This office

building, set on the waterfront in New Bombay,

continues the theme of the earlier office buildings

and generates its form from the same kit of parts.

1'- I

. .

r .. r . "1

. I .. r " , . . . ". t ..f. 811r e... '" .. II'

t!!. ... ~-""~I

tr i t-~I... ...

'. l'!y.~ IJ

PARK DEVELOPMENT, 1993 - to date,

for Reichman Corporation. This office

pa rt o f a Mas te r Pla n de ve lo pe d by

oretta for the rebuilding of this historic

xico City. (See pages 122-125)

.L

COCHIN BACK-WATERS, 1994 - to date, Venn

Cochin, for Shogun Developers. A large hou

complex of housing units on three islandsCochin's back-waters.

CAHAYA, 1994- to date, Kuala Lumpur, Malaysi

EN Realty Sdn Bhd. These luxuriously large houaround a new golf course being developed in

hills around Kuala Lumpur, are part of 300 ho

being designed by 12 international architects.

1995

TVS FINANCE, 1995 - to date, Madras. A H

quarters for one of India's oldest and most succes

financial businesses in the centre of the city.

. CITY MUSEUM, BMRDA, 1995 - to date, Bom

for BMRDA (the Bombay Metropolitan Regi

Development Authority). 10,000 sqm of mus

galleries together with 10,000 sqm of office space

across-subsidy to financethe museumand itsactivi

located at the centre ofthe new FinancialCentre b

developed by BMRDA in the Bandra-Kurla Comp

GOBHA, HOUSE, 1995-todate, Golwad, Maharash

A house, studio, pavilion and ziggurat for the n

Indian artist, Mehlli Gobhai, set in a chikkoo

orchard, about 150 km north of Bombay.

CAPITAL COMPLEX, 1995 - to date, Itanagar, fo

Government of Arunachal Pradesh. This new Ca

Complex (consisting of the State Assembly,

Government Secretariat and the High Court) is loc

on the ridge of a hill in Itanagar - the main tow

Arunachal Pradesh, a Himalayan State on the edg

Tibet, in the north-eastern corner of India.

1996

MAHINDRA RESEARCH CENTRE, 1996, Bom

for Mahindra and Mahindra Ltd. A major new

facility for one of India's leading automobile and

manufacturing companies, set in a densely woo

area on the edge of Borivili National Park.

GOPALPUR STEEL TOWN, 1996, Bihar, for TI

(the Tata Iron and Steel Company, Ltd).

township for the new 10-million ton steel plant b

planned by India's pioneering steel comp

attempts to create for its inhabitants the plur

and urbanity associated with larger towns and c

while providing them access to new inform

technologiesnot yet availabletotheirurbancounterelsewhere in India.



BIODATA

Charles Correa born in Secunderabi'Ld,Jodla,

---on-1sfSeptember t93u. ---EDUCATION

1939 - 1946

St. Xavier's High School, Bombay

1946 - 1948

~~er),~lle3~ U~sity of Bombay1949 - 1953 ~ ~~,::;/

University of Michigan (B.Arch)~---

1953 -1955

Massachusetts Institute of Technology (M.Arch)

PROFESSIONAL AFFILIATIONS

1964 - to date

Fellow, Indian Institute of Architects

1974 - to date

Council of Architecture, India

1979 - to date

Honorary Fellow, American Institute of Architects

1992 - to date

Honorary Fellow, Royal Institute of British Architects

PROFESSIONAL EXPERIENCE

1958 - to date

In private practice in Bombay.

1964 - 1965

Prepared alternate Master Plan (with Pravin Mehta

and Shirish Patel) proposing twin city of NewBombay.

1969-1971

Invited by the Government of Peru and the UN to

design PREVllow-cost housing project in Lima.

1971 - 1974

Chief Architect to CIDCO (Government of

Maharashtra) for development of New Bombay.

1975 - 1976

Consultant to U.N. Secretary-General for HABITAT.

1975 - 1989

Board of Directors, CIDCO (New Bombay).

1975 - 1978

Consulting Architect, Government of Karnataka.

1975 - 1983

Chairman,

Housing Urban Renewal & Ecology Board, BombayMetropolitan Regional Development Authority(BMRDA).

1975 - 1994

Executive Committee, BMRDA.

1985-1988

Chairman,National Commission on Urbanisation,Government of India.

264

AWARDS AND HONOURS

1972

Presented the Padma Shri, by the President of India.

1974

Featured in TIME magazine in cover story on NewLeadership (150 persons from around the world).

1979

Honorary Fellow, American Institute of Architects.

1980

Honorary Doctorate, University of Michigan.

1984

Presented Royal Gold Medal for Architecture of theRIBA at Hampton Court by H.R.H. Prince Charles.

Sir Robert Matthew Prize, International Union ofArchitects (U.IA).

1985

Member, Academie d' Architecture Francais, Paris,France.

1986

Chicago Architecture Award, American Institute ofArchitects.

1987

Gold Medal, Indian Institute of Architects.

International Academy of Architecture, Sofia,Bulgaria.

1990

Gold Medal, UIA (International Union of.Architects).

Honorary Fellow, United Architects of thePhilippines.

1991

Master Architect Award, JK Industries, India.

1992

Honorary Fellow, Finnish Institute of Architect.

1993

Honorary Fellow, Royal Institute of British Architects.

Honorary Foreign Fellow, American Academy of Artsand Sciences.

1994

Presented with the Praemium Imperiale of the JapanArt A"od";oo by H.I.H.Pd", M""h;to H;t'

~h"'

,

i

.

.

.

~

.

. '

,

'

BIO-DATA included in '.' / WHO'S WHO, A & C Black, London '{ I . /

_/'-.-

WHO'S WHO IN INDIA, The Timesof India, Bombay

CONTEMPORARYARCHITECTS,St. James Press,London

WHO'S WHO IN AMERICA, Marquis,New Providence, N.J.

WHO'S WHO IN THE WORLD, Marquis, NewProvidence, N.J,

INTERNATIONALWHO'S WHO, EuropaPublications, London.

BOARD MEMBERSHIPS, COM

1975- 1978Member, Bangalore Urban Arts

1975-1984

Western Board, Reserve Bank

1975 - 1989

Board of Directors, CIDCO (New

1976

Jury Member, Pahalavi NationaIran.

1977.1986

Member, Steering Committee,Architecture.

1980 - 1984

Member, Urban Conservation C

Hyderabad Urban Development

1981-1988

Member, Board of Advisors, M

1982 - 1985

Member,

Economic and Planning AdvisorChief Minister, Government of

1983

Founder Member, Indian Nation

Cultural Heritage (/NTACH).

1984

Founder Member,

Trust for Urban Design Researc

1984 - 1986

Chairman, Committee for "VISTArchitecture of India".

1988 - 1991

Master Jury Member,

Aga Khan Award for Architectur

1989

Jury Member, Kuwait Pearls Co

Real Estate Company.

1990

Master Jury, Aga Khan Award

1991

Jury Member,

Samarkand Competition, Uzbe

1993Jury Member,National Landmark for State of

1993

Jury Member,

Juma AI-Majid Centre for Cultur

1994

Jury Member,

AlA / Otis Housing Competition,

1992 - to date

Jury Member,Pritzker Prize for Architecture.



LIOGRAPHY

S PUBLISHED (in Books)

ldings in the Commonwealth, Edited by J. M.s, Architectural Press, London, 1961

chitecture, Volume 3, Edited by John Donat,

Vista Limited, London), 1966

Environment by Balwant Singh Saini, Angus'

ertson, Sydney, 1973

Correa: Form follows Climate (Pidgeon

sual), London, 1980

ture in the Seventies, by Udo Kultermann,

tural Press, London, 1980

en der Dritten Welt, by Udo Kultermann,

) Buchverlag Koln, 1980

Correa: Mimar, Singapore, 1983

in Conflict: Edited by Chris Johnsonw Book Co. Ltd.), Sydney, 1985

Architecture, by William R. Curtis, Phaidon

ondon, 1987

Correa, by Hasan-Uddin Khan, Mimar,

re, Butterworth, London & New York

d Edition), 1987

porary Architecture, St. James Press,

and London, 1987

ry of Architecture, by Sir Banister

19th Edition, Butterworths, London, 1987

\ \

.

e in conference room

.\~

The office in 1980

After the Masters, by Vikram Bhatt & Peter Scriver,

Mapin, Ahmedabad, 1990

100 Contemporary Architects: Drawings & Sketches,

by Bill Lacey, Thames and Hudson, London, 1991

Architecture of SARC Nations, by Razia Grover and

S.K. Das, Media Transasia (I), Delhi, 1991

Modern Architecture: A Critical History, by Kenneth

Frampton, Thames & Hudson, London, 1992

Contemporary Architecture in Asia, KIRA, Seoul,1994

Indian Modern, by Herbert Ypma, Phaidon Press,

London, 1995

The Dictionary of Art, Edited by Jane Shoaf Turner,

Macmillan Publishers, London, 1995

Crosscurrents - Fifty-one World Architects, Edited by

Masayuki Fuchigami, Tokyo, 1995

The Architecture of the Jumping Universe, by

Charles Jencks, Academy Editions, London, 1995

The Tropical Asian House, by Robert Powell, Select

Books, Singapore, 1996

WORKS PUBLISHED (in Journals)

1958 ."Housing atTrombay", Design, Bombay - Aug.,pp. 8-9.

1959

"Object on View", by Michael Brawne,Architectural Review, London - Nov., p. 246:

1960

"India & Pakistan", by John Writer, Architectural Design, London-April, pp.156-157

"Hindustan Lever Pavilion", Architectural Review,

London - July, pp. 57.

"Cama Hotel, Ahmedabad", Design, Delhi - Sept.,

cover and pp. 32-35.

1961

"Indian Pavilion", Architectural Forum, New York-

Jan., p. 132.

"Twin Houses", Indian Institute of Architects Journal,

Bombay-April, pp. 14-15. .

"The Michigan Influence in Architecture", Bo

by R. B. Lytle, Michigan Alumnus, Ann Arbor

p.53

1962

"Concrete", by Peter Blake, Architectural Fo

New York - Sept., p. 78.

1963

"Gandhi Smarak Sangrahalaya", Indian Insti

Architects Journal, Bombay - April, pp. 26-3

1964

"Indian Revisions", Architectural Review,Lo

April, pp. 235-236.

1965

"Gun House", Architectural Review, London

pp. 59-60. /

1966

"Three in Ahmedabad", Indian Instituteof A

Journal, Bombay - July, pp. 15-21.

1968

"Correa", Architecture Aujourd'hui, Paris - O25 & 32-37.

1970

"Un Appartement a Bombay", by Pompon

Bailhache, La Maison De Marie-Claire, Paris

March, pp. 88-89.

"Previ Project", Architectural Design, Londo

p.198.

1971

"INDIA", Architectural Review, London - De

349, 352-353, 365, 369.

1972

"Correa and Kanvinde", Architectural Revie

London - August, p. 123.

1973

"Defeating the Climate", by Peter Blake, Su

Telegraph Magazine, London - Sept., pp. 8

1974

"Apartments", Architecture Plus, New York -

p.26.

1976

"Experience Indienne", Techniques & ArchParis- Dec., pp. 124-129.



1977

"Quarttro Lavori di Correa", L'Architectura, Rome-

March, pp. 640-646.

1978

"Correa", Art & Architecture, Tehran - April, pp. 50-59.

1979

"Crafts Museum", by S. Baxi, Museum, London-

April, pp. 374-377.

1980

"Report from India: Current work of Correa", by

H. Smith, Architectural Record, New York - July, pp.88-89.

"Contemporary Asian Architecture", Process

Architecture - 20, Tokyo - Nov., pp. 94-118.

1981

"Using the Past to Invent the Future", Spazio e

Societa, Milano - Dee, pp. 56-63."Architectura- QualeFuturo",Casabella - 474/475,

Milan-Dec,p.91.

1982

"Faked Facades", by Susan Stephens, Skyline,

New York - July, p. 24.

"Cidade de Goa", by Brian Brace Taylor, Mimar,

Singapore - July, cover and pp. 44-49.

"Open the Box", by Jim Murphy, Progressive

Architecture, New York-Oct., pp.100-104.

"Cidadede Goa",InsideOutside,Bombay- Oct.,cover and pp. 14-21.

1983

"Cidade de Goa", by Shalini Ramgopal, Namaste,March, pp. 34-38.

"Bay Islands", Namaste, March, pp. 13-16.

"Mediterranean Metaphors", by Mildred Schmertz,

Architectural Record, New York - April, pp. 154-159.

"Kanchanjunga Apartments", Architect, Melbourne-Dec., pp. 12-13.

1984

"Cidade de Goa" A+U, Tokyo-June, pp. 100-107.

"Architecture", Journal of American Institute of

Architects, Washington D.C - Sept., pp. 158-159.

Bamboo scaffolding

Entrance to office

1985

"A Style for the Year 2001 ", Japan Architect / A+U,

Tokyo - Summer, pp. 84-88.

"Belapur Housing", Mimar, Singapore - July,pp. 34-40.

"Charles Correa: Inspirations Indiennes", Techniques

& Architecture, Paris - August, pp. 106-117.

"Correa Courts", by Peter Davey, Architectural

Review, London - Oct., pp. 32-35.

"Edificio residenziale a tone a Bombay", by

Constanza M. Pierdominici, Cementa, Rome - Oct.,pp.642-651.

1986

"Vidhan Bhavan, Bhopal, Madhya Pradesh", IIA

Journal, Bombay-July, Vol. 51, pp. 11-15.

1987

"Kala Akademi", Mimar, Singapore - March,pp. 27-31.

"Climate as Context", by Mildred Schmertz,

Architectural Record, New York - August, pp. 114-119.

"Variations and Traditions", The Architectural

Review,London- Aug,pp.56-58.

1988

"L'lnde Intemporelle", Techniques & Architecture,

Paris - Feb., pp. 86-97.

"A Gallery of Art", by Nandini Kapur, Inside Outside,

Bombay - August, cover & pp. 94-1011990

"Charles Correa", by Peter Serenyi, Space, Seoul-

April, pp. 122-128

"Charles Correa", Alam AI Bena, Cairo - April, issue114, pp. 15-16.

"Charles Correa", by Waag Hu, World Architecture

Review,Shenzhen- June,pp. 32-33,68-72.

1991

"EI valor de 10sagrado", by Jorge Glusberg,

EI Cronista, Arquitectura & Diseno, Buenos Aires -

Sept.,pp.1-3,8.

"Charles Correa", by Satish Grov

Design, Delhi - Sept., pp. 15-45

"Charles Correa's Architecture" Indian Architect & Builder, Bompp. 20-26.

"Jawahar Kala Kendra", Architec

London, Nov., pp. 92-96

"Espacos para a India", by Carlo

Armando, Arqitectura Urbanisma

Dee, pp. 44-51.

1992

"The House Around a Temple Tr

Iyer, Interiors India, Bombay - A

"Mystic Labyrinth", The Architect

London, Jan., pp. 20-26.

"Una arquitectura abierta alcieloGlusberg, EI Cronista, Arquitectu

Buenos Aires - Feb., pp. 1 & 8.

"Squaring the Circle", Architectur

York- March, pp. 98-105.

"Musee a Jaipur, Inde", Techniq

Paris - April, pp. 24-31.

"Destiny & Design", by Jahanara

Fountainhead, Bombay - May, p

"Better Council", by MinaSinghBombay - July, pp. 14-22.

"Jawahar Kala Kendra", Interior pp.94-105

"Jawahar Kala Kendra", SpazioFirenze - Oct-Dee, pp. 114-121

"Life Insurance Corporation", Ar

Delhi - Nov-Dec, pp. 10-37

1993

"Architektur im modernen Indien

Architekt, BOA, Berlin - Feb, pp

"Charles Correa: Ein Museum" b

Der Architekt, BOA, Berlin - Feb

"Public Sector Mass Housing", b

Design Ideas, Bombay - April, c

"Jawahar Kala Kendra", Progres

New York - April, pp. 86-87.

"Indian Mission", by Peter Slatin

N.Y. Chapter - June, cover and

"JNIDB", by Mina Singh, Inside

Sep.,pp.14-21.

"Many Villages make a Hotel", b

Inside Outside, Bombay - Dec.,

1994

"Charles Correa", A+U Vol. 94:0cover and pp. 9-77.

"IUCAA", by Dr. Jayant Narlikar,

Weston Creek, Australia - May/J



: The Works of Charles Correa", Special

oach, Tokyo - Summer, cover and pp.

", by Chintamani Bhagat, Indian

Builder, Bombay - Aug., Cover and pp.

stronomia e Astrofiscia", Arbitaire 332,

aireSegesta, Milano-Sept., pp. 180-181.

rea", World Architecture Review 95:01,

e,Shenzhen- Jan.

acy" by Robert Powell, The Architectural.

don - Aug., pp. 52-55.

WSI REPORTSON CORREA

Housing", by Eunice De Souza, Times

mbay- May.

nterview), by Dom Moraes, New York zine, New York - Oct. 11.

ay", Architectural Review, London - Dec.

Gogate, Building Practice, Bombay -

tter" University News, University of

Australia- Aug.

owded City", by Lewis M. Simons,

Post, U.S.A - April 14.

Architect" by Geoffrey Payne, Building don - Jun 21, p. 12.

rrea: Self-Help City" GSD News, Harvard

chool of Design, Cambridge - Nov.

ombay- August.

han owning", Jericho, Vancouver-

ho helped to shape cities", by Ursula

n & Environment,New York - Spring,

he Top", by Bubli Mathur, Bombay ombay - August 22.

: It's not what they want, it's what they

obert Bond, Surveyor, London - July 31,

by Lynda Ralph-Knight, in "Building ndon - July 25.

a new Lifestyle", Interview of the

ySunilSethi,IndiaToday,Delhi- Aug.

"New Bombay - A Dream takes Shape", by Ranji

Bakshi, Bombay Magazine, Bombay - Aug. 22.

1982

"Charles Correa: Housing the Third World", by

Annette Gartland, Building Design, London - Aug. 6,

pp. 2 & 3.

"AsianArchitecture",Asiaweek,HongKong- Sept.

3, Cover story, pp. 26-38.

1983

"The Spaces which Lie Beyond", by StephenGames, The Listener, London - June 23.

1984

"Royal Gold for Correa", by Rahul Singh, Indian Express,Bombay- Jan. 11.

"Gold Medal for Charles Correa", by Neal Morris inBuilding Design, London - Jan. 13, p. 3

"A Profile of Correa", by Peter Murray, RIBA Journal,

London - Feb., pp. 21-23.

"L'lndiano Torna Vinatore", by Bruno levi,

L'Expresso, Roma - Mar. 11, p. 99.

"Royal Gold Medal for Architecture: Charles Correa",

RIBAJournal,London- May,pp. 16-17

"Indian Gold", by Dennis Sharp, Building Design,Vol.246,#7344,London- May,p. 34.

"Medal for a Man with Faith", by Stephen Gardiner,

The Observer, London - June 3.

"A Sealed Box - An Open Mind", by Jennifer

Carlson, in Michigan Alumnus, Ann Arbor - Sept.

1985

"Reaching for the Sky", by Sunil Sethi, India Today,

Jan 15, pp 43-45.

"A Passage to India", by Jan Burney, Building

Design, Vol. #722, London - Jan.18, p. 2.

"Correa Prospects: RIBA Annual Discourse", by

MichaelBrawne,ArchitectsJournal,London- Ja

23, pp. 26-27.

"Conversation with Charles Correa", by Ruslan

Khalid, Majallah Akitek, Kuala Lumpur - March.

"Arkkitehturri ja Perinteen Sisaistaminen - CharlesCorrea haastateltavana", by K. Broner, Arkkitehti,

Helsinki- June-July.

"Charles Correa, Jyvaskylanlntialaisvieras - Koyh

maan modernisti", by P. Holmila, Uusi Suomi,

Finland - Aug. 15.

"The Master Builder", by David Davidar, Gentlem

Bombay- October.

"Charles Correa - Historical Symbols and

. Problems", by S. Merzhanov, Za Rubzhom, Mosc- Nov.

"Charles Correa - A Design for Living", by Malvi

Sanghvi, Imprint, Bombay - Dec.

1986"Charles Correa: Seeking the Boundaries of a

Vision", by Yogi Aggarwal, Bombay Magazine,

Bombay - Apr. 22.

"Charles Correa", in Jienchu - Cross-currents in

Architectural Studies, Hong Kong - pp. 50-53.

"Architecture & Construction", by Jorge Glusberg

La Prensa, Buenos Aires - July 28.

"Architect with a Third World Vision" by Tong Su

Chee, Business Times, Singapore - Aug. 28.

1987

"Vistara - The Architecture of India", in

Architecture+Design, Delhi - Jan.-Feb., pp. 52-5

"Charles Correa - A View from the Chowk with aBanyan Tree", by A. Chauhan, IIA Journal, Bomb

- June.

Handmade buildings: Vidhan Bhavan, Bhopal (under construction)---



"Charles Correa: La arquitectura complementa da

con la puitura", by Jorge Glusberg, LaPrensa,

Buenos Aires - July 28.

"Charles Correa: Un arquitecto para la mayoria", byRosaMontero, EL Pais, Madrid, Spain - Sept. 6.

"An Interview with Charles Correa", by Sarayu Ahuja,

Indian Architect & Builder, Bombay - Oct.

"Charles Correa - The Fate of Man and Architecture

in the East", by H. Khan, Mimar, Singapore - Dec,

pp. 60-63.

1988

Techniques & Architecture, Paris - Mar, pp. 86-97.

Malayalam Manorama, Centenary Year, Trivandrum

- March, p.126.

"The Sky Line - Corbu", by Brendan Gill, TheNew Yorker, New York - May 9.

"Myth - Creation - The New Landscape",

Architectural Journal, China - May, pp. 31-36.

"A City Where Stark Contrast Is King", by Steven R.

Weisman, The Washington Post, Jul. 23, p. 4.

1989

"Towards a landscape for the future", a conversation

with Alan Twigg, The Independent, Bombay-

Nov.12,p.3.

1990

"Bombay - City of Superlatives", by Pranay Gupte,PAN AM Clipper Magazine, Nov., p. 28.

1991

"Metaphor of an Indian Street", by Dr. Jyotindra Jain,

Architecture and Design, Delhi - Vol. VIII, No.5,Sept.-Oct., pp. 39-43.

1992

"Bold Break with Tradition", by Catherine Ormell,

Independent, London - April 22.

"Working with passion and power", by Gayatri Sinha,

Hindu, Madras - April 26, p. XII.

"Profile: Charles Correa", by Madhu Jain, India

Today, Delhi - May 15, pp. 100-101.

"The British Council Division", Britain Today, New

Delhi - Nov., pp. 12-14.

268

1993

"The Seven Wonders", by E. Jayashree Kurup,

Saturday Times, Delhi - June 5, p. 2.

"A Synthesis of Modern and Traditional Aims", by

Eric Parry, Nov.

"Seeking the Spirit", by Clare Melhuish, Building

Design, London - Nov. 26, p. 16.

"An Essay", by Kenneth Frampton, in Catalogue for

Exhibition" The Ritualistic Pathway", The Architectural

Association, London.

"Arboreal Architecture", by Howard Hodgkin, Design

Quarterly, Winter, pp. 14-15.

1994

"Charles Correa's work on display", Statesman,Delhi - Feb. 10.

"Exploring Infinite Spaces", by Sum ita Thapar,

Pioneer, Delhi - Feb. 14, p. 13.

"The Journey of an Architect", Economic Times,Delhi - Feb. 16.

"Opening up spaces for life", by the Design Team,

Economic Times, Bombay - Feb. 17, p. 6.

"In the Mind of the Architect", by Shanta Ghokale,

Sunday Review, Bombay - Feb. 20, p. 5.

"Architect's New Cosmic Idiom", by Sushma

Chadha, National Herald, Delhi - Feb. 24, p. 5

"Space Explorer", by Ranjona Banerji, Sunday

Midday, Bombay - March 13, pp. XII & XIII.

"Charles Correa's Five Jewels", by D. G. Nadkarni,

LoksattaChaturang,Bombay- April9, p. 1.

"Space, Time and Correa", by Adil Jussawala,

Afternoon, Bombay - April 29, p. 11.

"The Ritualistic Pathway - Five Projects by Charles

Correa", by Peter Carl & Eric Parry, AA Files: 27,

The Architectural Association, London - Summer,

pp.67-74.

"Child of Bombay", by Graham Vickers, World

Architecture, London - Issue #27, pp. 76-78.

"PEOPLE: Japan Cites 5 Winners for Arts

Achievements", International Herald Tribune, June

17, p. 24.

"Correa's Home-truths", by Shanta Gokhale, The

Telegraph, Calcutta - June 24, Section II, p. 1.

"Asians must not ricochet off the West", by Vibhuti

Patel, The Independent, Bombay - June 29, p. 7.

"Encounter", by Shabana Minwalla, Sunday Times,

Bombay- July,p. 4.

"Correa Wins Praemium Imperiale", Progressive

Architecture, New York - July, p. 19.

"The World of Charles Correa", by Asit Chandmal,

Times of India, Bombay - Nov. 1, p. 6.

"Poetry in Concrete", by Ajantha Sen Poovaiah,

Debonair, Bombay - Dec., pp. 20-22.

1995

"Man of the Year", by Ervell E. M

Panaji - Jan. Cover Story, cover

"Incrediblel A building becomes

Panch alee Thakur, Delhi Times

"Charles Correa, Architect par

Louella Lobo Prabhu, Insight, M

pp. 4-5.

"Charles Correa and the Recov

Peter Carl in the Catalogue for

MA, Tokyo - April, pp 10-30.

"First Person, Last Word". Interv

Tripathi, Asia, Inc, Hong Kong -

"Dear Darling Cosmos", by Bre

Yorker, New York - June 19, p.

"On the Vanguard of the Contem

Scene", by Riichi Miyake, Praem

Japan Art Association, Tokyo, p

INTERVIEWS (Radio I Televisi

1972

ABC TV, "New Bombay" - Marc

1976

PBS TV, "Vancouver SymposiumAndrew Stern.

1983

BBC Radio 3, "Sun and Shadow

Stephen Games.

BBC Radio 3, "Skyscraper" - O

1984

Doordarshan, "Open-to-Sky Sp

Dharkar.1986

Doordarshan, "Beyond Tomorro

Mar 26, by R.K. Mishra.

1987

Doordarshan, "Vistara: The Arc

Nov., by Anil Dharkar.

1994

THE LATE SHOW, BBC, Londo

Bernadette O'Brien.

1995

The Human Face of the Urban

Socratic Dialogue, The World B

D.C., moderated by Charles O

BOOKS BY CORREA

The New Landscape: The Boo

Bombay, 1985.

HoBBIN NeN3AX: MockBa CT

The New Landscape: ButterwoNew York, 1989.

ESSAYS BY CORREA

1959

"Architectural Expression", Lal

Delhi, Seminar on Architecture



n Chandigarh", Architectural Review,

e, pp. 404-412.

The Architect and the Community,

ational Centre, Delhi, pp. 47-50.

of Architecture", Conspectus, Delhi.

r Bombay", Marg, Bombay - April, pp.

Seminar, Delhi - March, pp. 25-32.

ntrol", Architectural Design, London -

448-451.

A Tourist Destination Area", Indian

Town Planners Journal, Bombay -

pp. 52-55.

e and Priorities", The Architecturalndon- December,pp. 329-331.

Urban Growth", Architectural Design,

ndon- December,pp. 433-434.

City", Seminar,Delhi - February,

Age of Architecture", The Illustrated

ndia, Bombay, 17, pg. 31.

Organization of MetropolitanAreas" - UN E/ YM/I11/9, Stockholm - September 26, 1973.

sport" - Seminar, Delhi - Feb, pp. 21-30.

bay: The Self Help City", Architectural

. 44, London - January, pp. 48-51.

Which Makes Itself", Lotus, Milan - June,1.

ution", Times of India Annual, Bombay,

tta", Times of India, Bombay - April 27,

Exhibition at Gallery MA, Tokyo 1995

1976

"Space as a Resource", Ekistics, Athens - Jan, pp.33-38.

"GoaPlanningand Conservation"- Design,Delhi,pp.33-37.

1977

"The New Landscape", Habitat, London.

"Functional and Spatial Planning", Housing Science,Vol.1, London, pp. 273-292.

1980

"Urban Strategies", Habitat International, Vol. 5,

Nos. 3/4, London, pp. 447-455

"Urban Housing in the Third World: The role of the

Architect", Open House, London, Vol. 6, pp. 31-35.

"Urban Strategies for Third World Countries",Spazio e Societa, 15/16, Milano, pp. 44-55.

1982

"Architecture in a Warm Climate", Mimar, Singapore-July-September, pp. 31-35.

1983

"Chandigarh: The View from Benares", Le Corbusier Archive, Vol. XXII, Garland Publishing, New York,pp.9-14.

"A Place in the Sun", Royal Society of Arts Journal,

Vol. 131, London, May, pp.328-340.

"Of Frogs,well-done",IndiaMagazine,Delhi- May1983, pp. 6-7.

"A Place in the Sun", Places, M.IT Press,

Massachusetts- Fall,pp. 40-49."Conflict", Architect, Vol. 7, Melbourne - December,

pp.10-11.

1984

"Consciousness II", Seminar, Delhi - Jan, pp. 293-296. .

"Chandigarh", Ninety Years On edited by CharlotteEllis, Architects' Journal, Vol. 179, London - June 27,

pp.47-112.

1985

"The New Landscape", Transactions of The Royal

Institute of British Architects, London, pp. 60-67.

1986

"VISTARA .. The Architecture of India ", essay in

Catalogue for the Festival of India, Bombay (198

Moscow, Leningrad and Tashkent (1987)

1987

"An Essay for JAE", Journal of Architectural

Education, Jubilee issue, Vol. 40:2, New York, p

1988

"Rajasthan and the Realm of the Sacred", ApprTokyo - Autumn, p. 12.

1989

"The Public, the Private, and the Sacred", Daed

Journal of the American Academy of Arts andSciences, Cambridge, Mass - Fall,pp. 53-114

"Museum Architecture", Museum, UNESCO, Pa

pp. 223-229.1992

"Learning from Marine Drive", Sunday Times of

India, Bombay - Feb. 16, p. 12.

"Regionalism in Architecture", MASS, Journal o

University of New Mexico, Vol. IX, Spring, pp. 4

1993

"Tropical Coastal City: The Spare Part and the

Machine", China Architecture and Building Pres

Haikou, Hainan.

'Vistas ", 1989 Award Book edited by James St

Aga Khan Award for Architecture.

1994

"Models of the Cosmos", A+U, No. 280, Jan., p12-13.

KEYNOTE ADDRESSES I LECTURES

1973

United Nations Symposium on Population Resoand Environment, Stockholm- Nov.

1974

Sir Bannister Fletcher Memorial Lectures, Unive

of London - May.

1976

Keynote address, The Maharashtra State Wom

Council, Bombay - April.



Member of Barbara Ward's "Vancouver

Symposium", United Nations Conference on Human

Settlements, Vancouver, Canada - June.

1983

The Cubitt Lecture, the Royal Society of Arts, London-Jan.

Keynote address, "Conflict", Royal Australian

Institute of Architects, Sydney - June.

Keynote address, Aga Khan Award for Architecture,

Kuala Lumpur, Malaysia - July.

1984

Th R t tt L t T A & M U i it

1993

Keynote address, Tropical Coastal Cities, Haiku,China- Apr

Keynote address, TED 4, Conference, Kobe, Japan-Apr

Academie D'Architectrure, Paris - Nov.

1994

Annual Convention, Sri Lanka Institute of Architects,Colombo- Feb.

Keynote address, The Human Face of Ecological

Development, World Bank, Washington D.C. - Sept

S i P i I i l K iJ

1986

VISTARA,Nehru Centre, Bo

1987

Festival of India: Moscow, L

1989

Festival of India: TheSetagJapan.

1991

Festival of India: Berlin Cul

Germany.

1992

World Architecture ExpositiNara Japan

charles correa

Documents