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TitleAdolf LoosAlbert KahnAldo RossiAlvar AaltoAlvaro SizaAntonio GaudiCarlo ScarpaEliel SaarinenFrank Lloyd WrightFrank Owen GehryFumihiko MakiGottfried BoehmHenry Hobson Richardson
A beautifully landscaped residence - Presentation Transcript
1. A great building must begin with the unmeasured, must go through the measurable means when it is being designed and in end must be immeasurable. Louis Kahn. 2. JAGDALES BANGLOW MR.SHAHAJIIRAO JAGDALES BANGLOW AR PRAMOD CHAUGULE 3. JAGDALES BANGLOW Creation of green spaces, conserving them, and preventing their shrinkage definitely add to improvement of Urban Quality Of Life in a positive way. It helps to maintain the ecological balance by addition of green areas to new ones and creating many such breathing spaces. An Architect has a great ecological and social responsibility regarding all these degrading aspects of environment and to create an eco friendly design to improve the quality of urban life 4. JAGDALES BANGLOW 5. JAGDALES BANGLOW A blue clear watered swimming pool in the fore ground . Sprawl of green lawns Various planters seen in foreground 6. JAGDALES BANGLOW 7. The roofs are arranged symmetrically on both the sides of structures. 8. JAGDALES BANGLOW Framing of rear walls through a wooden pergola 9. Framing of rear walls through a wooden pergola small varieties of plants include ferns, crotons, verbenas, roses, magnolia, daffodils, lantana, jasmine, marigold and various others. 10. Back granite wall framed by pergolas 11.

12. Landscaping done on various levels Big trees include various beautiful palms, coconut, neem, silver oak,cassiasetc 13. Rock garden with planters 14. composition of natural rubble wall of red and black colour with concrete flower beds adjacent to compound wall 15. A stone pipe of 10 diameter runs at top of wall painted in brown colour 16. array of columns running all around 17. 18. 19. 20. The concept of minimalism is reflected in usage and placement of furniture pieces 21. o Synthesis of elements comprising the space as structure, services, ecology, materials used, the mass, the character of space and relation of forms creates best Architecture.

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Charles Ormond EamesChristopher WrenIeoh Ming PeiJames StirlingKenzoTangeKevin RocheLe CorbusierLouis Henry SullivanLouis Isadore KahnLudwig Mies van der RoheLuis BarraganMarcel BreuerMario BottaMichael GravesOscar NiemeyerPaolo SoleriRenzo PianoRichard MeierRobert VenturiTadao Ando

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facts about Louis Kahn

Louis Kahn
Quotes "Every time a student walks past a really urgent, expressive piece of architecture that belongs to his college, it can help reassure him that he does have that mind, does have that soul."; "Design is not making beauty, beauty emerges from selection, affinities, integration, love."; "Consider the momentous event in architecture when the wall parted and the column became."; "Architecture is the reaching out for the truth."; "A great building must begin with the unmeasurable, must go through measurable means when it is being designed and in the end must be unmeasurable." Freebase Primary MID "/m/0f1jy" Mario Botta: Light and Gravity: Architecture 1993-2003

The Cymbalista Synagogue and Jewish Heritage Center (Mario Botta)

Mario Botta : Architectural Poetics

Mario Botta

Mario Botta

Mario Botta
Many of Botta's projects have been single-family houses. For him, the single-family house includes the problems and the objectives of the entire discipline of architecture. Carrying on the ideas of Kahn, Mario Botta believes in the organization of the relationship between man and

nature and the distinctive characterization of man in relationship to his own environment. Mario Botta is keenly interested in history and in the study of man's habitat through time. Because the home has been the one constant through the evolution of history, Mario Botta feels this architectural type deserves both study and elaboration. It is not only individ-ual needs, but the collective requirements of societies that fascinate him. Another theme pervading his singlefamily houses is the search for the roots of a design and man's identity in a particular place. Cultural traditions are important throughout Mario Botta's projects, and his forms are derived from - but not copied from - "the environment as a testimony of history and memory". Mario Botta's house projects are numerous. A few of the more notable ones are the single-family houses in Switzerland at Stabio (1965-1967); Riva San Vitale (1972-1973); Ligornetto (19751976) with Martin Boesch; Pregassona (1979) with Rudy Hunziker; Massagno (1979-1981); Stabio (1980-1981); Viganello (1981-1982); Origlio (1982); and MorbioSuperiore (1982-1983).

From his houses of the early 1970s when projects were conceived as an agrarian metaphor with a linear, asymetrical structure, Mario Botta's designs have evolved to more formal partis where a central axis usually carries a stair to the north, a framed view to the south, and a carefully composed and structured skylight as a crown. His house forms are simple, elementary volumes where the exterior is independent from the interior. Internal planning is developed with a grid and suggests a layering of planes that introduce the carefully framed views and long vistas into the interior, reminiscent of the times before the Ticino landscape was consumed by a building boom. Other projects in Switzerland include many with fellow Ticino architects: the secondary school at MorbioInferiore with Emilio Bernegger, Rudy Hunziker, and Luca Tami (1972-1977); the library for the Capuchin monastery at Lugano (1976-1979); the craft center at Balerna (19771979) with Remo Leuzinger; and the Fribourg State Bank at Fribourg (1982).

BIOGRAPHY
. P. Arnell, "Mario Botta: Trans-Alpine Rationalist, " A.R. (June 1982) 2. Y. Futugawa, ed., G.A. Document 6, A.D.A EDITA, Tokyo, 1983, p.7 3. Y. Fugutawa, ed., G.A Houses 3, A.D.A EDITA, Tokyo, Japan, 1977, p.76. 4. C. Norbert-Schulz, "Kahn Heidegger and the Language of Architecture," Oppositions 18, The MIT Press, Cambridge, Mass., 1979, pp. 28-47. 5. M. Zardini, The Architecture of Mario Botta, Rizzoli, International Publications, Inc, New York, 1984, p.13 6. K. Frampton, "Botta's Paradigm," P. A. 65 (12), 82 (Dec. 1984).

7. R. Trevisiol, ed., Mario Botta: La Casa Rotonda, L'ErbaVoglio, Italy (Westbury NY; distribution rights for N.A. by Bellmark Book Co.), 1982, p. 85. 8. L. Dimitriv, "Transfigurer of Geometry," P. A. 65 (7), 54 (July 1982). General References K. Frampton, "Place Production and Architecture: Towards a Critical Theory of Building," in Modern Architecture: a Critical History, London, 1980, pp.

WHY LOUIS SHOULD CALLED AS OUR ARCHITECT

Architect Louis Kahn at the University of Pennsylvania in 1967. Photo by Eileen Christelow, courtesy of the Architectural Archives, University of Pennsylvania

Credit: Courtesy of the Architectural Ar It says something about the nature of our age that, because there's a movie about how he juggled three families, architect Louis Kahn is known more for the details of his life than his buildings. It says something about the nature of great architecture that the screwed-up particulars of Kahn's life don't really matter at all. Our best buildings are impervious to psychoanalytical secondguessing. What counts is the lasting result. "Kahn strove for a mix of the eternal and the circumstantial, something that has a timeless quality even if the building materials are cutting edge at that moment," said Robert McCarter, author of a new 5-pound, 512-page study of Kahn's work. "He was absolutely convinced that you hand buildings to the public realm when they are finished. They do not belong to you."

SOME PROJECTS OF LOUIS KAHN