Charles M Correa Theory of Design VI Semester
SUBMITTED BY:
AASHRAY ARORA RANU GAHARANA RITU MALHOTRA
SUPRERNA KUMARI VIKRANT PURI
LIFE Charles Correa (born in Hyderabad, India on September 1, 1930) is an Indian architect, planner, activist, theoretician and a fundamental figure in the world-wide panorama of the contemporary architecture. Education:• • • • • •
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1939-1946 - St Xavier’s High School 1946-1948 – St Xavier’s college, university of Bombay 1949-1953 – University of Machigan (B Arch) 1953-1955 – Massachusetts Institute of technology (M Arch) After which he established a private practice in Bombay in 1958. His works cover a wide range from Mahatma Gandhi Memorial at the Sabarmati Ashram to the awahar Kala Kendra in Jaipur and State Assembly for Madhya Pradesh. From 1970-1975, he was chief architect for Navi Mumbai.
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In 1980 Correa was awarded an honourary Docterate by the university of Machigan and in 1984 he received the gold medal of the Royal Institute of British Architects. In 1985, Prime Minister Rajiv Gandhi appointed him Chairman of the National Commission on Urbanisation. In 1987 he received the gold medal of Indian institute of Architects. He was awarded the RIBA Royal Gold Medal in 1984, the Aalto Medal, and the UIA Gold Medal in 1990.
Correa's work in India shows a careful development, understanding and adaptation of Modernism to a non-western culture. Correa's early works attempt to explore a local vernacular within a modern environment. Correa's land-use planning and community projects continually try to go beyond typical solutions to third world problems.
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Charles Correa was a man of architecture who believed that “UNLESS YOU BELIEVE IN WHAT YOU DO, IT BECOMES SO BORING.” Correa explored LOCAL VERNACULAR within modern environment. He strongly believed in the u se of OPEN- TO- SKY Spaces (verandahs, courtyards, terraces etc) His buildings were designed according to the climate of the place. Ex Tube Houses. 2
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One may find in his work SUBTLE LEVEL CHANGES having a certain essential character that simultaneously serve to articulate different living zones in a particular vivacious way. He believed in DISSAGREGATING cellular LIVING SPACES. Correa believed in using the SITE FEATURES
JEEVAN BHARATI Delhi 1975-86
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This office complex for the Life Insurance Corporation of India (LIC) is situated on the outer road of Connaught Circle. It acts as a pivot between the colonnades of Connaught Place and the new generation of highrise towers that now surround it. 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 highrise imagery of Delhi can be glimpsed. Under the space frame
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The two lower levels of the complex consist of shopping decks and restaurants, 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. •
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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, The rear facade, with slot leading through to Connaught Circle •
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i.e. gateway, defined by the portico-form.
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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
Looking across from the open green area in Connaught Place
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View from
the Jantar Mantar
The Knife-edged masonry pillar in the NW corner
View from Janpath
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KANCHANJUNGA APARTMENTS Bombay 1970-83 •
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In Bombay a building has to be oriented east-west to catch the prevailing sea-breezes, and to open up the best 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. Kanchanjunqa, an attempt to apply these principles to a high-rise building, is a condominium of 32 luxury apartments of four different types, varying from 3 to 6 bedrooms each. Overlooking the city from
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The interlock of these variations are expressed externally by the shear end walls that hold up the cantilevers. The tower has a proportion of 1:4 (being 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.)
Typical section, showing interlock of basic units 7
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Looking out towards the terrace from a living room: two against the line of defence against the sun and rain
Terrace gardens in the sky
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Four bedroom unit: entrance level Four bedroom unit: upper level Three bedroom unit: entrance level
Three bedroom unit: upper level
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Site plan
Repeating the basic interlock of 3 and 4 bedroom units generated facades that seemed like just so much yardage. Incorporating 5 and 6 bedroom units (created by adding an additional half-level to some apartments), enriched this basic pattern, giving the tower rhythm and energy, like a tree of Life.
Section showing the interlock of 3, 4, 5 and 6 bedroom units
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Portion of facade facing Bombay harbour to the east
On a terrace garden
Exterior surface cut away to open up the double-height terrace gardens at the corners
KOVALAM BEACH RESORT
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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 View from beach 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. o 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. o 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.
Every room with its own private sundeck
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View of Kovalam beach from terrace 67
Section through hotel
Inside a kudil
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Breakfast on a kudil sundeck
Section through detached units.
Every room has its own individual terrace for sunbathing and relaxing, counter-sunk into the stepped-back sections, so as to provide privacy for the guests
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Kudil Unit
Bamboo pavilion
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HOUSE AT KORAMANGALA Bangalore 1985-88 •
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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. o 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.
Courtyard with champa tree
Sentry watching doberman crossing courtyard very swiftly •
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These went through more than a dozen incarnations the only thing they all had in common was the courtyard in the centre. That never varied - and it allowed the rest to keep changing, right until the end. These successive rounds of decision-making have generated a complicated layering.
Entrance to dining room
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Roof plan
The living room, with stairs to upper bedroom and terrace
Ground floor plan
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BHARAT BHAVAN Bhopal 1975-81 •
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The site for this Art Centre is on a gently sloping hill overlooking the lake in Bhopal. The natural contours of the site have been used to create a series of terraced gardens and sunken courtyards - off which are located a number of cultural facilities, including a museum of Tribal Art, a library of Indian poetry (in all the 1 7 major languages), galleries for Contemporary Art, workshops for lithography and sculpture, and-a studio for an artist-in-residence.
View fron terrace gardens, looking across the lake
The museum of Tribal Art The 8000 sqm of Bharat Bhavan houses a fullfledged theatrical repertoire company and facilities for the performing arts, including the Antarang (indoor auditorium), and the Bhairang (openair amphitheatre), overlooking Courtyards andthe terrace gardens on the lake. slope of the hill Lighting and ventilation within the building are provided by top lights. The openings to the courtyards and terraces have two sets of shutters: the inner ones consisting of a combination of fixed glass and operable panels for light and ventilation; the outer ones consisting of large wooden doors, closed at night for security. The amphitheatre (Bhairang), overlookung the lake •
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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 Bhavan. Progressing through the terraced gardens and courtyards, one comes across exhibition spaces, workshops and dance theatres, in an easy and casual manner, making them accessible to the citizens of Bhopal. Every evening, whole families, on cycles and scooters, come to stroll around in the terrace gardens - and perhaps stay on to watch a p lay, or hear a concert.
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