Unit-Iv: History of Architechture - Vi

HISTORY OF ARCHITECHTURE - VI
UNIT- IV
CRITICAL REGIONALISM
MIDAS AR.K.MEENA
CRITICAL REGIONALISM
An approach to architecture that strives to counter the placelessness and lack of meaning
in Modern Architecture by using contextual forces to give a sense of place and meaning.
• The term critical regionalism was first used by Alexander Tzonis and Liane Lefaivre
and later more famously and pretentiously by Kenneth Frampton in "Towards a
Critical Regionalism:
Six points of an architecture of resistance.
• According to Frampton, critical regionalism should adopt modern architecture
critically for its universal progressive qualities but at the same time should value
responses particular to the context.
• Emphasis should be on topography, climate, light, tectonic form rather than
scenography and the tactile sense rather than the visual.
• As put forth by Tzonis and Lefaivre, critical regionalism need not directly draw from
the context, rather elements can be stripped of their context and used in strange
rather than familiar ways.
• Critical regionalism is different from regionalism which tries to achieve a one-to-one
correspondence with vernacular architecture in a conscious way without
consciously partaking in the universal.
• Sometimes Regionalism goes back to just Conservatism and resorts to blind use
of vernacular.
• But Critical Regionalism seeks architectural traditions that are deeply rooted in the
local conditions.
• This results in a highly intelligent and appropriate architecture.
➢ Sustaining the kind of authentic culture in the future will depend on our
capacity to generate vital form of regional culture with appropriating alien
influences at the level of both culture and civilisation.
➢ Self conscious synthesis between universal civilization and world culture .
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➢ Rational, modular, natural and economic, partly prefabricated concrete outer

shell(i.e universal civilisation).
➢ Versus the specially designed ‘uneconomic’ , organic , reinforced concrete

shell of the interior,Signifying with its manipulation of light sacred space and
‘multiple cross-cultural references ‘ Chinese pagoda roof(i.e. world culture).
Important points:
➢ Critical regionalism has to be understood as marginal practice.
➢ Buildings are not free standing objects but should influence the site itself-
➢ Critical regionalism emphasized on the territory to be established by the

structure rather than the importance of the free standing structure.
➢ This place form relationship was important which the physical boundary.
➢ Critical regionalism favours tectonic architecture- a building exercise with

materials and spaces rather than just outer or the façade details.
Critical regionalism opposes ‘universal civilization’-
➢ This was to optimize the use of air-conditioning,mechanical and artificial

lighting solutions and encourage the natural systems.
➢ Emphasizes on the tactile and the visual or the sensory part of

architecture.
➢ Opposed to the sentiments of vernacular architecture.
➢ Critical regionalism exists in a small notable sector which have escaped the
‘universal civilization’
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Architects
➢ Balakrishna V Doshi,
➢ Charles Correa
Rajrewal- Pursued rigorously different ‘authentic’ re-inventions in the Indian architectural

practices.
Tado Ando - Japan evolved a distinctly Japanese sense of place in his architecture.
Hassan Fathy – Egypt re – invented Earth architecture in the middle east.
Geoffery Bawa – Sri Lanka- among the pioneers who perfected the art of returning to roots
and part taking in the universl at the same time.
Often cited as a ‘traditionalist’ or ‘vernacularist’, Bawa’s works has been unfortunately
perceived as ‘responding to context’ and therefore significant only t the extent of
understanding the relevance of the context.
LUIS BARRAGAN
➢ Tactile sense and approach – Finest houses assume the topographic form.
Earth bound architecture.
➢ An architecture of enclosures , fountains, and water courses – an

architecture laid into the volcanic rock and lush vegetation.
➢ Translation of Islamic architecture in design.

Opposition – invasion of privacy
➢ Criticism – erosion of nature in works of the post war civilization show his
ideology in critical regionalism.
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➢ Moved away from the syntax -international style

Work commited to abstract form which characterized work of art at that time.
➢ Abstract planes set into the landscape as in the intense gardens for
resistance and in his freeway monument – Satellite city towers.
➢ Luis Barragan house – This is a fine example of Barragan’s values translated

into architecture .
➢ Concepts of serenity , silence ,solitude and joy are all integral and
expressed in his own abstract method.
RAIMUND ABRAHAM
➢ Abraham had always stressed on the place creation and the topographic
aspects of the built form.
➢ The house with 3 walls and the house with flower walls are typhical examples
of his works which insist on tectonic form and for the materiality of the
building.
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MARIO BOTTA
➢ Italian Neo Rationalist methodology
➢ 2 critical traits of Botta “Building the site”
➢ Loss of the historical city can only be compensated for by “cities in

miniature” Interpret as a micro urban realm As a cultural compensation for
the loss of civic life in chicago.
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CRITICAL REGIONALISM WITH APPROPRIATE TECHNOLOGY
➢ Kaedi hospital, Africa
➢ Appropriateness
➢ Use of locally available materials, and local labour.

Aims
➢ To be affordable and efficient in using low – cost techniques of construction

that would be of economical and practical benefit for the population and use of
local materials and skills.
Menara Mesiniaga,kl
➢ Multiple layers of climatic control devices on the exterior skin and a series of
gardens at different levels.
➢ Drawing from the modern architecture of similar programs , and yet being
sensitive to local climate issues with innovative responses helps this building
achieve relevance and appropriateness in the given context.
➢ Designing tall buildings in tropical climate.
➢ The success of the design is therefore the use of appropriate technology,

which is innovative and relevant in addressing the issue.
➢ The façade is important in an urban context, whether it be an apartment

building like Gaudi’s Casa Batlo or the beautiful Hafsia quarters in Tunis,
Tunisia.
➢ Both these are buildings uniquely respond to regional questions with regard to
their architecture.
➢ The Hafsia Quarter is a fine example of using the local influence of the
architecture, climate.
➢ Surroundings and culture to create successful urban communities.
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➢ Gordon Bunshaft for SOM, designed two commercial office towers in two
distinctly different regions of the world – the 1952 Laver House in
Manhattan and the 1982 National Commercial Bank In Jeddah.
➢ The former became a symbol for the skyscraper
➢ The National Commercial Bank project incorporated the age old idea of
Saudi courtyard houses and interpreted the idea of Saudi courtyard
houses and interpreted the ideas of shading from harsh weather.
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LAURIE BAKER
➢ laurie baker, an architect from birmingham, now settled in

thiruvananthapuram, has effectively combined traditional techniques with
indigenous innovations and has managed to bring down the cost of
construction by half.
➢ His techniques not only use cheaper materials but also eliminate
redundant details from the design.
➢ concrete is rarely used.
➢ mangalore tiles are used for the roof which makes it light and inexpensive.
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• his approach and simple principles to low cost housing are gandhian, which can be
adopted by every builder ,the following are the main stay of design and
construction of his houses.
• planning of space – lesser walls, multiple uses of space, short spans of roof,
agglomeration of building services, flexibility in growth.
• local building material – bricks, tiles, lime, surkhi, timber, thatch, stone, palm, mud.
• bricks and jalis – play of light and shade, unidirectional vision.
• unplastered walls.
• lintels and arches.
➢ attention to details.
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• Baker’s works include, private residences, some institutional buildings, like ‘center
for development studies’, kerala. he is very active in the works of all the building
centers working in kerala as well as in the other parts of country.
• rather it was his initial effort to promote the low cost housing in india , where
housing is a big problem.
• His techniques not only use cheaper materials but also eliminate unnecessary
details from the design. concrete is sparingly used.
• mangalore tiles are used for the roof which makes it light and inexpensive.
• his projects for low cost buildings include
1. center for development studies – trivandrum
2.'the hamlet', laurie baker's home thiruvananthapuram
• Laurie baker’s ‘masterpiece,’ the centre for development studies in kerala, is a
10 acre campus at a cost of rs15 lakhs, demonstrated the effectiveness of his plan
the institute includes a research institute.
➢ A graduate school dedicated to utilizing the study of economics to help the poor.
MAIN FEATURES OF THIS BUILDING:

• He designed the buildings at the centre to practically cool them.
• He renders jalis , a perforated wooden screen found in traditional indian
architecture, in brick;
• The open grillwork allows cool breezes to waft into the interior while filtering
harsh, direct sunlight.
• some buildings include a series of small courtyards containing shallow pools in
the center, whose evaporation helps cool the air.
• Paying close attention to the existing site as he began to design the project,
baker left as many coconut palm trees in place as possible to cast cooling shade
onto the campus.
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• the computer centre at the centre for development studies, Thiruvananthapuram.

here baker evolved an innovative system of curved double walls to save on cost
and to conserve the energy.
• In evaluating the campus for the centre, baker planned roads along the lower, while
footpaths were routed along naturally occurring elevated areas; following the natural
topography helps to limit erosion and despoilment of the environment.
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➢ Brick walls were left un plastered and brick corbelling was used rather
than more expensive concrete lintels.
➢ With his mastery over his medium, baker creates a variety of textures and
patterns by simple manipulation of the way in which bricks are placed in the
wall.
➢ The architecture of this academic complex was conceived as a demonstration

of economically responsible building practices.
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BAKER’S HOUSE “THE HAMLET”
➢ Baker’s own residence is called ‘the hamlet’.
➢ it has been built in thiruvananthapuram, built on a steeply sloping and rocky

hillside that hardly had any vegetation when baker started constructing.
➢ baker has truly adopted his motto to “make low-costery a habit and a way
of life” by reusing everything, from brick to glass bottles, as building
materials.
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➢ one of the other signature elements of his design includes the use of circular
walls, which use far less brick than rectangular walls.
➢ In addition, when he does use concrete for a roof, he embeds chipped or

broken terra cotta roofing tiles into the mixture.
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➢ These tiles, which normally would be thrown away, contribute to the strength
of the roof, allow less of the expensive concrete to be used, and reduce the
structural load of the building.
➢ He used broken tiles for the outer paved area of his garden.
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• He made an extensive use of timber in his house, like in the living room of house,
the detailing in wood and mud bricks are wonderful.
• The living room, an integration of new building and salvaged timber from traditional
buildings that were being demolished.
• Baker's innovative use of discarded bottles, inset in the walls giving a very good
effect of light and creating an illusion of stained glass.
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TADO ANDO
• Born in osaka,japan
• Reading and Travelling
• 1970 – tado ando architect and associates
• “critical regionalism”
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CHURCH OF LIGHT
Architecture + human nature.
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ROW HOUSE/AZUMA HOUSE

Introduction
➢ Azuma House in Sumiyoshi, also known as Row House, was one of the first
works of self-taught architect, Tadao Ando.
➢ He divided in three a space devoted to daily life, composed of an austere

geometry, with the insertion of an abstract space dedicated to the play of
wind and light.
➢ His objective, he says, was to challenge the inertia that has invaded our
everyday lives.
➢ Ando, who sees himself as a fighter-architect, developed a series of brave

proposals for small houses.
➢ Among them, Azuma House in Sumiyoshi is his proudest achievement: a

fortress from an architect who developed his skills through repeated ‘combat
tests’.
➢ It’s also a house in which the distinguishing features of his later works are
already evident.
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➢ For it, he received an award from the Japanese Association of Architecture

in 1976.
Location
➢ Located in Sumiyoshi, a district in central Osaka, Japan, replacing one of the

traditional wooden-built houses of the area.
➢ It is situated in the middle of three previously-built terraced houses.
➢ Azuma House is found in the “shitumachi” (lower city) of Osaka. In the

middle of this working class neighbourhood full of the noises of daily life, the
house stands like a silent wall.
➢ Although the area in which it has been placed is not one of the most chaotic
areas of the city, there is an obvious contrast between this “concrete box”
and the surrounding environment
➢ Known as the district of the “Deep south” of Osaka, this area is where Ando
began his career as an architect.
➢ Since the end of the 1960’s until the beginning of the 1970’s, the architect
immersed himself in the fight to create ample living spaces in narrow
spaces.
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➢ It was a fight to establish his identity as an architect while struggling with

complex components: tradition and modernity; the desires and limited
budgets of his clients;
➢ the demands of daily life;
➢ and the demands of aesthetics in a city which still maintained a strong

Asian tradition.
Concept
➢ Azuma House developed a theme of design, but also a social theme.
➢ Tadao Ando presented a cement box in the middle of a row of dilapidated

wooden houses, of which there are masses in the central areas of Osaka, and
created a highly self-sufficient living space within that box.
➢ Built between dividing walls, the house sits within a plot of 57.3m² with a
total constructed floor-space of 64.7m², divided into three equally sized
sections: two spaces and a patio.
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➢ It is a concrete box which occupies the entire plot.
➢ The building, moving towards its centre in terms of its organisation of space,
is divided into 3 spaces and centres on an uncovered patio.
➢ In winter with the cold and the rain, or in the heat of summer, home-dwellers
would have to go outside, as they have to cross the uncovered patio to
access the kitchen and bathroom, feeling the wind or the rain on your face or
being able to gaze out at toward the sky.
➢ The open patio is an “oasis” within the hustle and bustle of the city; a place
in touch with nature within the house, which allows the entry of light, air,
rain, cold or heat, to watch the clouds go by or gaze at the sun; a window
which allows you to co habit with nature.
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Spaces
➢ The austere façade, whose only decoration is the appearance of the exposed
concrete (a detail which would become a signature of Ando’s works) presents
us with an axially symmetrical composition with an entrance in its centre.
➢ There are only two rectangular forms used by the architect in its elevation:
the general outline of the building and the entranceway.
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➢ The totality of the austere space has been divided longitudinally in three parts:
two interior, closed spaces of equal size which contain the living area,
kitchen and bathroom on the lower floor and bedroom and study on the
upper floor, at once separated and united by the open-air patio.
➢ This three-way partition is applied to the building as a whole and echoes the
long-short-long pattern of the façade, that is: wall-entranceway-wall.
The patio and nature
➢ The factor which makes this patio so unique is that there is no way to cross
to either side of the house without going outside; without coming into contact
with nature.
➢ Before anyone who sees this as an inconvenience rather than a benefit of this
space, Tadao Ando defends his design with these words:
➢ Crossing over the entranceway, you turn to the right to access the living room,
from the living room to the patio where you turn again to reach the staircase
which takes you to the upper floor or go straight ahead to arrive at the kitchen
and bathroom.
➢ A complex circulatory layout transforms a simple geometry into a rich spatial

experience. This progression is a technique to transform, through experience,
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a cold geometric form into a living space, and is fundamental to Ando’s

architecture.
➢ The architect’s treatment of nature within the city is another factor which
distinguishes his work.
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➢ On the ground floor are situated the living room, kitchen and bathroom,
separated by the external patio which is the focal point of family life, and the
stairs which lead to the upper floor.
➢ At the top of the stairs, you are faced with a bedroom and study, joined by a
corridor. The central, uncovered space is the only source of natural light in the
whole house.
➢ The patio, which acts as the axis of daily life of the house separates the living
room, at one extreme of the ground floor, from the kitchen-diner and
bathroom, situated at the other extreme.
➢ On the upper floor, the studio faces the main bedroom, which is located on
the other side of the central courtyard and reached by a corridor.
➢ The building presents a blind façade to the street.
➢ The presence of a door suggests the use of this box.
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Materials
➢ The material used in this construction has a psychological effect on the

observer, precisely because the absence of decoration invites an
extraordinary empathy.
➢ The exposed reinforced concrete used for this house is presented as the only
ornamental structural element, both in the exterior covering and the interior
walls, accompanied by some glass walls which look onto the patio and some
wood finishes.
Bedrooms
➢ In each bedroom there are four surfaces of exposed concrete.
➢ One of these is the floor slab which, although covered in wood as insulation,
permits the conduction of thermal energy through the other four walls and the
ceiling.
➢ The fourth wall is a pane of floor-to-ceiling glass, with a door also made of
glass and metal frames.
Patio
➢ The open patio, surrounded by walls of concrete, glass and slate, reflects the
natural light and creates complex shadows.
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Courtyard
➢ Constantly exposed to the sun, the concrete and stone slabs receive heat
energy from the sun’s direct radiation, diffused sky radiation, and any rays
reflected off of surrounding buildings.
➢ They cannot easily conduct or release this energy and stores it throughout the
day, gradually increasing in temperature.
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The
Interior_
➢ In each room there are four surfaces of exposed concrete.
➢ Although the floors are covered with wood slats providing insulation between the foot
and slab, there is still conduction of heat energy through the walls.
➢ Bearing in mind the house’s small scale, there is likely considerable contact with the
building envelope which prompts measurable heat loss from the human body –
comfortable during warm seasons, frustrating during cold..
➢ A significant temperature difference across this barrier will cause a convection

current that will easily circulate warm air into a cooler courtyard, and vice versa,
causing fluctuations in the room’s temperature.
➢ In addition, without any apertures to penetrate, radiation waves reflect off of the
house’s exterior facade or are absorbed by it.
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• The courtyard, made of concrete, glass and slate, reflects incident light and causes
complex shadows.
GEOFFRY BAWA
➢ Born in 1919
➢ Educated at Royal College and Middle Temple, London and became a

Lawyer.
➢ Studied architecture in Architectural Association, London in 1956.
➢ In 1957, at the age of 38 , returned to Sri Lanka qualified as an architect to

take over Reid's practice.
➢ A building can only be understood by moving around and through it and by

experiencing the modulation and feel the spaces one moves through- from the
outside into verandah, than rooms, passages, courtyards.
➢ Architecture cannot be totally explained but must be experienced.
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PHILOSOPHY
•Highly personal in his approach, evoking the pleasures of the senses that go hand
in hand with the climate, landscape, and culture of ancient Ceylon(Present day
Sri Lanka).
•Brings together an appreciation of the Western humanist tradition in architecture

with needs and lifestyles of his own country.
•The principal force behind tropical modernism.
philosophy
1.respected the site and context
2.buildings had a play of light and shade.
3.flow of spaces
4.fused vernacular architecture with the modern concepts to satiate the needs of the
urban population
5.used salvaged artifacts
6. roof forms as elements
7. waterbody –an essential part of bawa’s architecture
THE GARDEN LUNUGANGA
At beginning
A small rubber plantation consisting of a house and 25 acres of land. •A low hill planted with
rubber and fruit trees and coconut palms with rice fields.
Now:
➢ The Italian inspired garden with spectacular views over lakes and tropical
jungle • The original bungalow survive within its cocoon of added verandas ,
courtyards and loggias.
➢ Juts out into a brackish lagoon lying off the estuary of the Bentota River.
Planofthehouse&gardenin1985
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PLANTATION HOUSE
➢ A collection of courtyards, verandahs and loggias create a haven of peace

and inspiration.
➢ Suites are individual and beautifully decorated to provide a relaxing and

memorable environment.
➢ Set at the edge of a cinnamon plantation
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➢ high on the hill overlooking the lake to the south thus giving the privacy.
STUDIO
➢ Sectional elevation of the house South facade of the house Drawing room
➢ Exterior view of entrance to foyer Exterior view through oversized door-

frames reinforced and supported by central columns
In 1948, a young man dreamt of making a garden.
Today the garden is in its prime but, after the passage of over fifty monsoons, the
young man has grown old.
As he sits in his wheelchair on the terrace and watches the sun setting across the
lake it may be that he reflects on his achievement.
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substantial tree grow within house "houses are inseparable from trees” Open-to-sky
bathroom with a tree “we have traditionally lived outdoors” Furnished in natural
timber, simple white fabric, sturdy wrougt iron lighting fittings. “A HOUSE IS A
GARDEN”
This is not a garden of colorful flowers , neat borders and curling fountains –
1. it is a civilized wilderness
2. An assemblage of tropical plants of different scale and texture
3. a composition of green on green an ever changing play of light and shade
5. a succession of hidden surprises and vistas
6. a landscape of memories and ideas
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RUHUNU UNIVERSITY, MANTARA
bawa’s design deployed over fifty separate pavilions linked by a system of covered
loggias on a predominantly orthogonal grid and used a limited vocabulary of forms
and materials borrowed from the porto-sinhalese building traditions of the late
medieval period, but it exploited the changing topography of the site to create an ever
varying sequence of courts and verandahs, vistas and closures.
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the result was a modern campus, vast in size but human in scale. design of the
university
•Bawa placed the vice chancellor's lodge and a guest house on the western hill and
flooded the intervening valley to create a buffer between the road and the main campus.
➢ wrapped the buildings of the science faculty around the northern hill and those
of the arts faculty around the southern hill, using the depression between
them for the library and other central facilities. massing central valley with
library
> buildings were planned orthogonally on a north- south grid but were allowed to 'run
with site'.
➢ natural features such as rocky outcrops were incorporated into the bases of
buildings or became focal features of the open spaces. \
➢ The limited architectural vocabulary clearly derives from porto- sinhalese

traditions Exterior view showing terraces and juxtaposition of buildings with
each other and landscape
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• pavilions, varying in scale and extent, are connected by covered links and
separated by an ever-changing succession of garden courts.
• everywhere there are places to pause and consider, to sit and contemplate, to
gather and discuss.
➢ the main routes either cut uncompromisingly across the contours or meander
horizontally along them.
➢ Exterior view from street level showing use of stone and concrete in façade
buildings are aligned carefully to minimize solar intrusion and mitigate the
effects of the south-west monsoon.
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➢ Few of the spaces are air- conditioned and the buildings rely for the most part
on natural ventilation.
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33RD LANE HOUSE, COLOMBO
Variant Names Geoffrey Bawa's House Street Address 33rd lane, Bagatelle Road
Location Colombo, Sri Lanka Architect/Planner Geoffrey Bawa
Date 1960-1998 Building
Type Residential Building
Usage Private residence
Keywords Adaptive re-use; courtyard house
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•The house in 33rd Lane is an essay in architectural bricolage.
Elements salvaged from old buildings in Sri Lanka and South India were artfully
incorporated into the evolving composition.
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•1958 Bawa bought the third house in a row of four small houses.
•He converted it into a pied-à-terre (lodging for occasional use) with living room,
bedroom, tiny kitchen and room for a servant.
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•After some time he bought the fourth and this was colonized to serve as dining
room and second living room.
•Ten years later the remaining bungalows were acquired and added into the
composition and the first in the row was converted into a four-storey tower.
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•Over a period of forty years the houses were subjected to continual change.
•Although the plan form of the whole might at each stage have been thought to be
simply the result of an arbitrary process of stripping away and adding, any accidental
or picturesque quality has always been tempered by a strong sense of order and
composition.
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• It was here that Bawa developed his interest in architectural bricolage.
The final result is an introspective labyrinth of rooms and garden courts which
together create the illusion of limitless space.
Words like inside and outside lose all meaning: here are rooms without roofs and
roofs without walls, all connected by a complex matrix of axes and internal vistas.
HASSAN FATHY
• Hassan Fathy was born in Egypt in 1899.
He established a private practice in Cairo where he also worked as professor of Fine

Arts and Head of the Architectural School, at the University of Cairo.
• An Egyptian architect who devoted himself to housing the poor in developing

nations.
• Fathy worked to create an indigenous environment at a minimal cost ,to improve

the economy and the standard of living in rural areas.
• Fathy utilized ancient design methods and materials. He integrated a knowledge of

the rural Egyptian economic situation with a wide knowledge of ancient architectural
and town design techniques.
• He trained local inhabitants to make their own materials and build their own
buildings.
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• Climatic conditions, public health considerations, and ancient crafts kills also
affected his design decisions.
Based on the structural massing of ancient buildings, Fathy incorporated dense brick
walls and traditional courtyard forms to provide passive cooling.
• His work was considered to be ahead of his time as they were not always
welcomed by the government bureaucrats neither were they to the tastes of poor
Egyptians peasants who longed for the "luxury" of the concrete city buildings.
➢ Fathys buildings were distressingly inexpensive.
➢ This was seen as a back draw.
NEW GOURNA
• New Gourna Project is one of his best known housing projects. This is due to the
international popularity of his book, "Architecture for the poor" published originally
in French, 20 years after the beginning of the project, in which he explained his vision
for the village.
This book details his thoughts, processes, dealings with the politics involved, and his
theories behind the forms.
• The idea was launched by the Egyptian department of Antiquities in 1946 to build a
new town near Luxor to relocate the inhabitants of the Gourna Village.
• Building Type: multifamily housing, village
• Construction System: mud brick and adobe
• Climate: hot, arid
• Context: rural village
• Style: Modern
• His designs depended on natural ventilation, orientation and local materials,

traditional construction methods and energy- conservation techniques. He went
through detailed studies of temperature and wind patterns.
➢ Hassan Fathy did not believe that the locals should be housed in similar
homes.
➢ Each had different needs, tastes and comforts apart from the number living in
the house.
➢ Fathy worked with the villagers to tailor his designs to their needs with
Fathy included an open air theatre, a school, a "Suq" (market) and a Mosque,
famous for the unusual shape of its minaret.
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➢ He also built himself a house in the same spirit of the village, using the same
materials .
OPEN THEATRE
• The "Gourna Village experiment" was not just an architectural experiment.
➢ To Hassan Fathy it was more like the development of a town on a cultural,

social level following the regional traditions.
➢ Relating to the people and knowing their needs while asking them to
participate in the construction of their town was a major part of the project.
➢ The village was never completed.
➢ The locals did start moving into their new homes, but eventually they did not
settle down.
➢ The reluctance of the people to cooperate in the design and building of the
village was mistakenly understood as a sure sign of the in appropriateness
the project.
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➢ Normally, the people resented the change and took every opportunity possible
to sabotage their new village in order to stay where they were and to continue
their own secret ancient trading.
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➢ All what remains today of New Gourna is the mosque, market, a couple of
houses and Hassan Fathys.
➢ Even the school was demolished and rebuilt in modern materials. As for the
rest of the houses, most of them were rebuilt in a more "suitable" way
according to the peoples taste
➢ In 1967, he had another trial similar to Gourna called the village of Bariz in
Kharga. It didnt prove to be a better success from the previous because of
funding problems.
Hamed Said Studio
➢ The Hamid Said house in the al-Marg neighborhood of Cairo represents an

important project in the collection because it is the first documented
application of mud brick construction, and is still standing.
➢ The first phase, which was built in 1942, was simply a studio and sleeping
space for the artist and his wife, incorporating a large vaulted loggia as an
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open exterior sitting area from which to appreciate the seemingly endless
green palm grove surrounding the property.
➢ The construction of the house coincided with a climate of concern among

Egypts intellectual community at that time about the detrimental effects of
industrialization on the traditional cultures of the world and the need for a
search for Egyptian origins in the face of the threat.
➢ The second phase, which followed four years later, was equally sensitive in
accommodating the environment, having been organized in such a way as to
avoid several large trees on the site.
➢ A characteristically variegated and top-lit gallery of a type that was

continuously refined by Fathy in subsequent designs serves as a transitional
element between the first and second phases of the house, yielding framed
views into a central courtyard which is the clients reward for allowing the trees
to remain.
The Nile Festival Village Project
• The Nile Festival Village Project was intended to be sited on the Tarh el-Bahr Island
in the middle of the river near Luxor.
• Moving through three distinct permutations during a six-year period, each of the
schemes are dependent upon a central docking area for the boats needed to bring
visitors to the island.
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The first of these, dated May 1976, divides the landing areas between the islands
northern and southern shores ,with a series of pedestrian ways progressing at right
angles toward the tightly clustered bungalows at the centre of the complex.
• A second scheme, done in August of 1977, reverses this arrangement by

concentrating all boat arrivals at one main quay on the southern shore and puts the
major guest facilities, such as reception, theatres, restaurants, banks, swimming
pools and a crafts khan, in a band spanning the entire width of the island.
These public facilities, in turn, displace the guest bungalows to the outside edges of
the village, in what seems to be a more logical arrangement.
• A third and final design, done in March of 1982, refines this approach even further
by greatly accentuating the interlocking of land and water at the main landing.
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The final result of this dramatic design decision is to make the entrance from the boat
to the reception area even more ceremonial.
For some inexplicable reason the contours of the island have changed in the third
design, possibly due to the erosion of the shoreline in the intervening years, and in
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the interim, the need for easier access from perimeter bungalows into the central
area has altered the distribution of the units once again.
LUIS BARRAGAN
March 9, 1902
Born
Guadalajara, Jalisco, Mexico
November 22, 1988 (aged 86)

Died
Mexico City, Mexico
Nationality Mexican
Occupation Architect
Awards Pritzker Prize
One of Mexico's greatest architects, Luis Ramiro Barragán Morfín revolutionized modern
architecture in the country with his use of bright colors reminiscent of the traditional
architecture of Mexico, and with works such as his
Casa Barragán
the Chapel of the Capuchinas,
the Torres de Satélite,
"Los Clubes" (Cuadra San Cristobal and Fuente de los Amantes), and the Casa Gilardi,
Born in Guadalajara, Mexico, Luis Barragán was a formally trained engineer and self-
trained architect.
He is known for his emphasis on color, light, shadow, form and texture. In 1980 he received
the profession’s highest honor – the Pritzker Prize.
Wall thickness, color, scale, solar dynamic, spaces built with a subtle metaphor immersed
around the meaning of life, seem to be elements found throughout all of Luis Barragán's
architecture.
Elements of an enduring legacy, away from the ephemeral world of fashion, textiles and
haute couture; however, it’s the search for the heightening of the senses, present in the
architecture of Barragán, that inspired designers to put the name of the architect on catwalks
and the world of apparel.
Transcending his architecture to a particular line of design, major names in the

clothing industry have used the mystical language of Barragán.
A language in which fashion manages to live a furtive beauty in geometry, color, texture, but
especially a totally emotional search.
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Introduction
In the streets of Mexico City, in a narrow elongated area of 10×36 meters, three walls and a
mediator to the front line municipal, Barragán, its 80 years of age and after almost 10 years
of inactivity, makes its last work, perhaps the most paradigmatic of all.
Location
The house is located within the Federal District of Mexico, in a village called Tacubaya,
which is well known and has mutated throughout the years,
Barragán accepted the job two conditions attracted by the project:
the huge Jacaranda tree that should be kept in the sun and pool requested by the owner as
part of the program.
In fact the house is so close to the street and strengthens it.
Concept
The man has always sought to protect themselves from anxiety and fear.
He tried to promote living spaces in your mind the serenity…”
since, as also found by others to explain how generous: and help to build a dam.
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➢ Reflected in his works around the baggage of modern concepts and also the
dialogue with the environment is fantastic.
➢ The colors, textures, compositional elements are a product of Mexican

culture. Certainly the influence of painters such as Diego Rivera and Frida
Kalho, among others, in his works, but particularly in this house.
➢ “In my work as architect, the colors and the lights have always been one of
fundamental importance.
➢ In this work, Mr Gilardi, colors play an important role.
➢ The patio is purple color, very vibrant. the dining room with a pool deck.
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➢ Suddenly, the pond comes a pink wall that cuts off the water and almost
reaches the ceiling.
➢ The wall gives way to space, he does magic, creates some tension.
➢ From the roof a linternilla light bathes the wall, and emphasizes their role.
➢ The pink color of the wall as the blue surrounding space were taken from a
famous painting by Chucho Reyes.
➢ It is a rooster, then went magenta and turquoise. “Chucho Reyes had an

excellent eye for color.
➢ He dedicated his life to the beautiful things. :the pool wall or column is a rose
that does not hold anything.
It is a piece of color in the water for pleasure, to bring light to the area and improve their
overall ”
Flow and Privacy
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➢ There are several sample floor plans online, “It’s zoned for different levels of
privacy,”. “After the entry and the service areas, one traverses a corridor leading to
first-floor areas for dining entertaining.” Ascending the stairs brings us to a deeper
level of privacy, to which perhaps not all guests are invited
➢ The flow is restricted in several ways – intentionally.
➢ There’s no access to the first-floor courtyard from any of the front areas, not even a
window. The only access is from the dining area in the rear.
➢ This forces people to traverse through a passage, a golden-yellow light-filled corridor,

in order to enter the first-floor courtyard area.
➢ The maid’s room has a window and access to a separate “patio del servicio”.
➢ There appears to be a wall separating it from the main courtyard.
➢ So there is visual privacy but not auditory privacy
Spaces
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➢ Ordered on an axis along the ground, that slides with a small urban impact on
the outside and intimate inside.
➢ The small but powerful volume rose defends the street and poured the
interior, decomposing into the small courtyard formed by both the front volume
(services, dormitories) and the rear (dining-room-pool) both linked by a
corridor magic.
➢ Anything set around a courtyard to a beautiful tree, which should be

respected as a condition to the owner, which highlights their branches or
flowers senior monastic paintings.
➢ The provision in plant gradually discovers cracks through filters light and silence.
➢ A world of sensations: single entry, the hallway is broad, stairs without railings and is
levitated by the effect of daylight, we have an exciting runner invaded the soft yellow
light that is filtered by a series of vertical openings with glasses onix color, at the end
of which a door leads to an austere space that contains only a small stretch of water,
a rustic dining table, chairs and a sideboard, while a disturbing red wall and
➢ skylight bathes the subject pool the rest is all light.
> This pool-dining-being, the center of the house, becomes a magical area where the soil is
broken into a silent passage between the solid and liquid, because the dining-be installed
along the water, and pink wall, which plunges into it, it vibrates with the geometries produced
by the changing daylight that is transforming the area throughout the day.
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➢ With few references to the outside world, the house displays on the inside to
be enjoyed by attractive housing, affirming its introspective nature.
➢ The environments look to the enclosure interior through large glass surfaces.
➢ The tree has its space, but not an actor, but a complement to the whole
scenario which is in solar vacuum.
Structure
➢ As a homeowner between party opted for a traditional structure of bearing

walls, with the local grid, subdivided according to proportion of each
environment.
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➢ Load-bearing walls are cut into the main facade of moderate openings to the
street.
➢ A subtraction in the second floor creates a terrace bounded by high walls

that protects the street environments that are located there.
Materials
➢ The house is built entirely in brick covered on all exterior stucco finish with a
texture that is typical of the Mexican labor.
➢ The interior painted, have a much smoother texture so that the light took over
the place without shadows roughness.
➢ In this way, nearly blinding brightness is achieved for example in the main hall
where they are located a few cracks with onix glass shade.
The Torres de Satélite
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"Satélite Towers" are located in Ciudad Satélite (Formerly known as "Elite"), an exclusive
high class zone, in the northern part of Naucalpan, Mexico (totally opposite to the
impoverished southern zones like Tlalpan, Xochimilco and rural communities).
➢ One of the country's first urban sculptures of great dimensions, had its
planning started in 1957 with the ideas of renowned Mexican architect Luis
Barragán, painter Jesús Reyes Ferreira and sculpturer Mathias Goeritz.
➢ The project was originally planned to be composed of seven towers, with the
tallest one reaching a height of 200 meters (about 650 feet), but a budget
reduction forced the design to be composed of only five towers, with the
tallest measuring 52 meters (170 feet) and the shortest 30 meters (98 feet).
➢ These towers were conceived from the beginning to be a symbol of Ciudad
Satélite; a confident affirmation of Mexico’s future after a successful and
stable development during the years of the Second World War, which lead the
nation, in two decades, to become one of the countries with most growth at
the time, the so-called Mexican miracle.
➢ These towers were conceived from the beginning to be a symbol of Ciudad
Satélite; a confident affirmation of Mexico’s future after a successful and
stable development during the years of the Second World War, which lead the
nation, in two decades, to become one of the countries with most growth at
the time, the so-called Mexican miracle.
SIZA
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Siza Vieira in 2012
Álvaro Joaquim de Melo Siza Vieira

Born 25 June 1933 (age 84)
Matosinhos, Portugal
Nationality Portuguese
Alma mater University of Porto
Occupation Architect
Pritzker Prize (1992), Royal Gold

Medal (2009), UIA Gold Medal (2011),
Awards
Golden Lion for lifetime achievement
(2012)
➢ Álvaro Siza, born in Matosinhos
near Porto, Portugal, is one of the
most highly regarded architects of Buildings Faculty of Architecture, Porto
his generation, with his

architectural style often being
described as both “poetic
modernism” and “critical regionalism”.
Iberê Camargo Foundation Architects
➢ The new building of the Iberê Camargo Foundation is sited in a narrow plot, nearby
the Guaíba River.
➢ The museum is mainly defined by its vertical volume where the exhibition rooms are
located, from which are raised suspended, undulating arms in white concrete.
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This is the first project by Portuguese architect Álvaro Siza built in Brazilian territory and
was honoured by the Venice Architecture Biennale with the Golden Lion award in 2
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➢ A large exhibit of work by the painter Iberê Camargo, displayed in the building’s
nine art galleries, marks Porto Alegre’s inauguration of the first project by
Portuguese architect Álvaro Siza in Brazil.
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➢ The Portuguese architect Álvaro Siza returned to Porto Alegre on the beginning of
this year for one of his final visits to his first building designed in Brazil, which will
house more than half a century’s output of paintings, drawings, gouaches and
prints by Iberê Camargo, who is considered to be one of Brazil’s most important
artists of the 20th century.
➢ The architect was in the state capital to concern himself in the final details of the
project, such as the development and production of the building’s furnishings, which
he has also designed.
➢ The Portuguese architect is meticulous about every detail of the building, believing
that harmony is fundamental in a work.
➢ “Although each detail is important, the governing feature is the totality.
➢ Equilibrium is the underlying quality for architecture,”
➢ The new Iberê Camargo Foundation headquarters opens in the end of may and is
intended to preserve the collection of more than four thousand works by the master
of Brazilian expressionism and to be a major center for discussion, research and
exhibition of modern and contemporary art, placing Porto Alegre and Brazil on the
route of the world’s major centers of culture.
➢ In 2002, The project won the biggest international architecture prize – The Golden
Lion Award – at the 2003 Venice Architecture Biennial.
➢ The maquette toured to the main state capitals in Brazil, together with a touring
exhibition of Iberê’s work in 2003 -2004.
➢ It has also been to the Milan Triennale at the Museum of Fine Art in Bordeaux,
and is included in a touring exhibition of Álvaro Siza’s work which is traveling the
world.
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Unit-Iv: History of Architechture - Vi

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HISTORY OF ARCHITECHTURE - VI

➢ Self conscious synthesis between universal civilization and world culture .

➢ Rational, modular, natural and economic, partly prefabricated concrete outer

➢ Versus the specially designed ‘uneconomic’ , organic , reinforced concrete

➢ Critical regionalism has to be understood as marginal practice.

➢ Critical regionalism emphasized on the territory to be established by the

➢ Critical regionalism favours tectonic architecture- a building exercise with

Critical regionalism opposes ‘universal civilization’-

➢ This was to optimize the use of air-conditioning,mechanical and artificial

➢ Emphasizes on the tactile and the visual or the sensory part of

➢ Opposed to the sentiments of vernacular architecture.

Rajrewal- Pursued rigorously different ‘authentic’ re-inventions in the Indian architectural

➢ An architecture of enclosures , fountains, and water courses – an

➢ Translation of Islamic architecture in design.

➢ Moved away from the syntax -international style

➢ Luis Barragan house – This is a fine example of Barragan’s values translated

➢ Italian Neo Rationalist methodology

➢ 2 critical traits of Botta “Building the site”

➢ Loss of the historical city can only be compensated for by “cities in

CRITICAL REGIONALISM WITH APPROPRIATE TECHNOLOGY

➢ Kaedi hospital, Africa

➢ Use of locally available materials, and local labour.

➢ To be affordable and efficient in using low – cost techniques of construction

➢ Designing tall buildings in tropical climate.

➢ The success of the design is therefore the use of appropriate technology,

➢ The façade is important in an urban context, whether it be an apartment

➢ Surroundings and culture to create successful urban communities.

➢ The former became a symbol for the skyscraper

➢ laurie baker, an architect from birmingham, now settled in

➢ concrete is rarely used.

MAIN FEATURES OF THIS BUILDING:

• the computer centre at the centre for development studies, Thiruvananthapuram.

➢ The architecture of this academic complex was conceived as a demonstration

BAKER’S HOUSE “THE HAMLET”

➢ Baker’s own residence is called ‘the hamlet’.

➢ it has been built in thiruvananthapuram, built on a steeply sloping and rocky

➢ In addition, when he does use concrete for a roof, he embeds chipped or

ROW HOUSE/AZUMA HOUSE

➢ He divided in three a space devoted to daily life, composed of an austere

➢ Ando, who sees himself as a fighter-architect, developed a series of brave

➢ Among them, Azuma House in Sumiyoshi is his proudest achievement: a

➢ For it, he received an award from the Japanese Association of Architecture

➢ Located in Sumiyoshi, a district in central Osaka, Japan, replacing one of the

➢ It is situated in the middle of three previously-built terraced houses.

➢ Azuma House is found in the “shitumachi” (lower city) of Osaka. In the

➢ It was a fight to establish his identity as an architect while struggling with

➢ the demands of daily life;

➢ and the demands of aesthetics in a city which still maintained a strong

➢ Azuma House developed a theme of design, but also a social theme.

➢ Tadao Ando presented a cement box in the middle of a row of dilapidated

➢ It is a concrete box which occupies the entire plot.

The patio and nature

➢ A complex circulatory layout transforms a simple geometry into a rich spatial

a cold geometric form into a living space, and is fundamental to Ando’s

➢ The building presents a blind façade to the street.

➢ The presence of a door suggests the use of this box.

➢ The material used in this construction has a psychological effect on the

➢ In each bedroom there are four surfaces of exposed concrete.

➢ In each room there are four surfaces of exposed concrete.

➢ A significant temperature difference across this barrier will cause a convection

➢ Educated at Royal College and Middle Temple, London and became a

➢ Studied architecture in Architectural Association, London in 1956.