Notes For History PART 1

HISTORY OF ARCHITECTURE AND
CULTURE VI
For B.Arch III Year, Sec –A
©Copyrighted Lecture Notes ( Sharmila Jagadisan) Page 1

Content:
Jane Jacobs, CIAM and Team 10, Robert Venturi and Michael Graves
Short Answers
1. What is Brutalism?
Brutalism idea introduced by Le Corbusier originally relating to the use of unfinished, bare
concrete and taken up by the Smithson’s (Alison and Peter Smithson) and others in Great
Britain. Brutalism stands for architecture that is truthful about its materials and where
nothing is covered up, so that functional relationships are directly visible.
Brutalist buildings usually are formed with striking repetitive angular geometries, and,
where concrete is used, often revealing the texture of the wooden forms used for the in-situ
casting. Although concrete is the material most widely associated with Brutalist architecture,
not all Brutalist buildings are formed from concrete. Instead, a building may achieve its
Brutalist quality through a rough, blocky appearance, and the expression of its structural
materials, forms, and (in some cases) services on its exterior. For example, many of Alison
and Peter Smithson's private houses are built from brick. Brutalist building materials also
include brick, glass, steel, rough-hewn stone, and gabion (also known as trapion).
Another common theme in Brutalist designs is the exposure of the building's functions—
ranging from their structure and services to their human use—in the exterior of the building.

Jane Jacobs
Biography Jane Jacobs-Butzner was born on 4 May 1916 in Scranton, a mining town in the
American state Pennsylvania. Here the family Butzner had a family doctor practice. After
graduating from high school, where she claims she was bored and secretly read other books
during the class, she became a voluntary journalist with the local newspaper. After one and a
half years Jacobs spreads her wings and moves from provincial Scranton to cosmopolitan
New York.
Since it was a depression time in New York, Jacobs accepts all kinds of jobs, varying from
journalist to secretary. In the periods in which she is unemployed, she takes long walks
through New York and observes the hustle and bustle of the city. While working for the
Office of War Information, Jane met her husband, the architect Robert Hyde Jacobs and
after marriage they settled in Greenwich Village (a New York neighborhood) and raised their
three children there.
Interest in Urban Planning and Development
Jacobs writes for the magazine Architectural Forum, where she applies herself more to
urban development and planning. Then she finds out how little the city councilors’ tendency
to plan corresponds to the reality of city life.
Robert Moses, chief adviser to La Guardia of New York at that time, drove a New Deal
funded policy in which small-scale and lively neighbourhoods were to be replaced by
megalomaniac projects like business centres, motorways and skyscrapers. Even Jane’s own
neighbourhood was threatened by this urban monotony, and Jacobs had had enough so she
started to write in opposition to the Moses ideology. Under her supervision demonstrations
and neighbourhood protests were held against what she calls the “Federal Bulldozer”-
approach. Jacobs was arrested twice while doing this. The active attitude of Jacobs is also
clear from her protests against the Vietnam War, which she enforced by permanently
moving to Toronto in Canada, with her family, after 30 years in New York.
Lists of Books
Concerning chronology and themes, Jacobs’ work can roughly be divided into two parts.
From the 1960s to the middle of the 1980s From 1990’s Jacobs developed an interest in
Jacobs mainly wrote about the problems of philosophical and social themes. She occupied
cities and their role in the economy and society. herself with penetrating the fundamental values
She developed her ideas on this in three books in economy and society. The lists of books
which each have the word “cities” in the title. The written during 1990’s to 2004:
lists of books are as follows:
The Nature of Economies (1998)
The Death and Life of Great American
Cities (1961) Dark Age Ahead (2004)

The Economy of Cities (1969) and Systems of Survival (1992)
Cities and the Wealth of Nations (1984). Her work consists of in total seven books and
a number of notes varying from short
The Question of Separatism(1980) magazine articles to send-in letters to
newspapers
Jane’s Philosophy
In 1961, her first work appeared as The Death and Life of Great American Cities. The book
caused a shock in the world of urban planning and Jacobs’ name was immediately
established.
“The city has something to offer to everyone, since it is created by everyone”, is one of her
famous sayings. This vision is in sharp contrast to the megaproject ideal of many city
planners and councillors from her New York period, like Le Corbusier and Moses.
Principles:
• Territoriality - the ability of users of space to take control of and manage that space
• Surveillance - Maximise surveillance of the public environment
• Crowding out crime - activity increases surveillance and reduces criminal
opportunities.
• Access, Movement and Sightlines- Provide safe movement, good connections
and access
• Activity- Maximise activity in public places
• Ownership - Clearly define private and public space responsibilities
• Management and Maintenance- Manage public space to ensure that it is
attractive and well used
•
According Jane Jacobs,
1. Urban development could not be planned behind a drawing table. For her a city was not
something abstract.
2. From the title of her first book The Death and Life of Great American Cities (1961) it
becomes clear that she preferred to use a biological metaphor: the city is like a living being
that is born, grows, matures, decays and can revive. The elements of the city—the people,
streets, parks, neighbourhoods, the government, the economy—cannot exist without one
another and are just like the organs of the human body connected with each other.
3. She says streets play an important role: they are the lifeblood where urban dwellers meet
each other and where trade and commercial activities take place. The street is the de´cor of
a “sidewalk ballet”, according to Jacobs, which determines the security, social cohesion and
economic development of cities. From this perspective, even taking out the garbage or
having a talk with a passer-by is a deed of dramatic expression. These every day acts make a
city into a vital city. Streets should have the following characteristics
 Strangers as a source of safety - interaction on the street, at the bus stops

or in shops. This is how people get the feeling of belonging to a community and
also its safe.
 “Eyes on the street” - If there are enough “eyes on the street”, she claimed,
crime is not given a chance and the collective feeling of security increases.She
wrote of how the watchful eyes of unrelated adults -- shopkeepers, housewives
and the like -- not only helped keep children safe but also helped socialize the
many children playing there
 Open and permeable environments
 Mixed Use Space - more than one primary use (at least two);
 Residence – Short Blocks - lots of streets and turning corners, which short
blocks make possible;
 Walkability
 Mixed Economic Space different ages and conditions of buildings with
varying economic yield potential;
 24 Hour Use- The variety in functions, buildings and people also plays an
important role in maintaining the social cohesion.
 Serendipitous Use (like informal shops during festival)
For a good performance of the urban play, the streets needs to meet four conditions.
 Firstly, neighbourhoods should have several functions, so that there are people on the
streets at all hours of the day. If in a neighbourhood there is only activity at night, or
in the morning—like in many business or commuter areas—activities like hotel and
catering, culture and retail trade hardly get the chance to blossom.
 In neighbourhoods with a mix of functions, however, throughout the day these

facilities are needed, which in itself starts a process of reinforcement. Secondly,
Jacobs believed that a city benefits from short building blocks and an intricate street
structure. Pedestrians must have the possibility to go round, take a different route
sometimes, and thereby discover something new.
 Thirdly, there should be enough variation in the residential area: buildings that differ
in age, level of maintenance and function contribute to a varied and colourful city
image.
 Lastly, Jacobs propagated a high degree of concentration of people in one place. She
supported compact city neighbourhoods where different kinds of households and
individuals (families, elderly, entrepreneurs, artists, migrants, students) live together.
. In such a busy and diverse neighbourhood the local supermarket, the kebab shop
and the chain store can coexist without problems.

In 2004 Dark Age Ahead appeared, a book in which Jacobs warned contemporary
society against the dangers of unbridled progressive thinking. In this books Jacobs dealt
with the nature of fundamental cultural values and their social-economic meaning. It is
mainly focused on North American current affairs, five fundamental institutions are
identified:
the family, higher education, the independence of science, the tax system and the self-
governing by professional groups. She worried that the societal pillars are deteriorating now,
especially in the US. In this context she pointed out recent developments like the increased
number of divorces, the fight for students among educational institutions and these
institutions aiming for mass production than imparting knowledge, the waning tax morale
and the accounting scandals. Jacobs feared that if this trend continues, than “societal
dementia” would occur. The future generations should be aware of the deep rooted and
binding character of the society and cultural values. She says “Explore many things, but keep
the good thing”.
Jacob’s considered to be a critical thinker. Her unsystematic way of working, her books are a
pleasure to read: by means of connecting anecdotes, numbers, historical examples and
personal experiences, she automatically ends up at a general insight. In her books about
cities, this way of reporting leads to “urban montage”: the reader has the idea of going along
with Jacobs and a camera around the city and recording city life here and there.
Policy-makers who want to dedicate themselves to increasing city diversity can learn a lot
from Jacobs. More and more municipalities in Europe use—whether or not consciously—her
ideas successfully. For example, in the Dutch cities of Breda and Haarlem, investments have
been made in living above shops, not just to realize more houses, but also to create “eyes on
the street” and “social capital”. Another example is the restructuring policy of former heavy
industry areas like Sheffield (UK) and Essen in the German Ruhr area. Here, factory,
industry and port areas are not simply destroyed; instead, adaptive reuse of these buildings
occurs more and more as multi-company buildings, museums or living space.

A hierarchy of spaces allows neighbors to interact in different ways. Multiple connections
make for stronger community.

Robert Venturi
Robert Charles Venturi, (born June 25, 1925) is an American

architect. He was considered to be a Father of Post modernism.
Venturi and his wife and partner, Dennis Scott Brown helped to
shape the way that architects, planners, and students experience
and think about architecture and the American built environment.
Robert was awarded the Pritzker Prize in Architecture in
1991. He is also known for coining the maxim "Less is a
bore," a postmodern antidote. Their firm called VSBA (Robert
Venturi, Scott Brown Associates (VSBA) is a Philadelphia firm). He was a summa cum
laude graduate of Princeton University. In 1950, three years after graduating, he received his
Master of Fine Arts, also from Princeton. Venturi eventually went on to work with some of
the great architects of the day, including Louis Kahn and Eero Saarinen.
Together with his wife and partner, Denise Scott Brown, he helped to shape the way that
architects, planners, and students experience and think about architecture and the

American built environment. Their buildings, planning, theoretical writings, and teaching
have contributed to the expansion of discourse about architecture.
Books of Venturi
1. Complexity and Contradiction in Architecture (1966; Venturi)
2. Learning from Las Vegas (1972; Venturi, Scott Brown, and Steven Izenour), have
profoundly influenced architectural thought. Venturi attempted to untangle what he
perceived as flaws in architectural thinking when he coauthored Learning from Las
Vegas (1977). This book was his self-described brilliant study of the Las Vegas Strip
(Louise, 1971, p. B7). Here he acknowledged that, despite the supposed defects within
the Strip, such as the sporadic placement of buildings and parking lots, the Strip was
here to stay. Las Vegas helped Venturi learn to look at an existing landscape and then
go from there, accepting what he was given. The architectural community was
appalled by this notion. Many felt that major boulevards across the country, including
the Las Vegas Strip, were inherently flawed and had to be completely altered
Venturi’s Philosophy
 Venturi discovered that successful architecture did employ symbolism that was
native to a particular area. He was referring to a society’s vernacular, the
common techniques, styles, and traditions that could be used for constructing
a building in a specific As a result, he was cited as “the first major American
[architect] to give impetus to vernacular styles” through his writings of the 1960s.
 Symbolism: Venturi believed that middle-class Americans preferred homes “that

[were] nostalgic echoes of the past, rather than those
dwellings that [were] ‘pure’ and austere statements of
orthodox Modernism”. While Venturi conceded that his
buildings were never thought of as monuments, and
they were more successful because everyday people
could relate to them in a much more personal way.
Simply put, Venturi believed that “good
architecture is regional architecture”

Fig above shows the characteristics of American Arts and Crafts Bungalows –
Exposed Rafter, Stone Chimneys, Extended eaves, Ruggle shingle siding and
wooden brackets.
 Venturi had no intention of creating a signature style. Unlike many architects of the 1970s,
and even in the following decades, he was not out to make a name for himself. Venturi
stated that he and his firm “don’t try to do a signature... that can be a real egotistical
thing”.
 He emphasized an architecture which promotes richness over simplicity”. Regardless of their

lack of recognition ( because he had only few projects to show case his grand vision), some of
Venturi’s proudest achievements were “houses that look[ed] like houses.” He wanted to create fire
stations that looked like fire stations and hospitals that looked like hospitals.
 Venturi incorporated history and relevant, yet simple, ornamentation into his designs. He formed a
type of hybrid architecture, incorporating bits and pieces of the past with bits and pieces of the
present, to produce a different result each time. “I like elements that are hybrid rather than ‘pure,’”
Venturi commented, “compromising rather than ‘clean,’ distorted rather than ‘straightforward’... I
am for the messy vitality over obvious unity”
 . His symbolism came from influences such as local materials, local building traditions, climate,
and the overall building site (Giovanni, 1983, p. B3). These elements came together in his mind to
create a unique hybrid architecture, one that many people came to call Postmodernism. saying “that
we perceive buildings not only with our eyes but also with our memory”.

Vanna Venturi House
Venturi designed and built the house for his mother between 1962 and 1964 and this
house became known as the first example of Postmodern
architecture.

Approaching the Vanna Venturi house, one can detect the symbolic imagery of shelter
through its exterior with its wide symmetrical gable like a classical pediment, which in this
case is split, and the chimney poking out in an exaggerated manner from the back.
The main entrance is in the center, creating a sense of symmetry that both is and is not there
due to the placement of the windows. These windows are located based on function in the
interior. For instance, there is a Modernist ribbon window for the kitchen and square
windows serving the bedroom and bathroom on the other side of the front facade.
The interior is centered around the fireplace, the hearth of the home. The fireplace is void,
the stair is solid and both vertical elements contort in shape to make room for the other.

Upon entering there is the main living space. Also located on the first floor due to a request
from Venturi's mother are the kitchen and the bedroom. The second floor contains another
bedroom, storage space, and a terrace. The stairs rises up at an awkward angle.
In order to create more contradiction and complexity, Venturi experimented with scale.
Inside the house certain elements are "too big," such as the size of the fireplace and the
height of the mantel compared to the size of the room.
Doors are wide and low in height, especially in contrast to the grandness of the entrance
space. Venturi also minimized circulation space in the design of the house, so that it
consisted of large distinct rooms with minimum subdivisions between them.
ROBERT VENTURI
The Episcopal Academy was founded in Philadelphia in 1795 acquired land to relocate both
campuses (FROM DEVON AND MERION) to a single parcel in Newtown Square -- 123
acres of woods, wetlands, and former farmland.
The focus of this “school village” will be a new Chapel, which will considered to be an iconic
campus landmark -- immediately identifiable and symbolic of the new campus, yet also a
well-used and highly-functional school facility.
Its distinctive form is composed of many layers -- of masonry walls and soaring clerestories.
The spaces between these layers allow circulation and light. The impressive and gently
monumental scale of the building is softened by striped patterns at pedestrian-level.
Inside, the Chapel’s fan-shaped plan allows worshipers to face each other as well as the altar,
nurturing a sense of togetherness and community.

The interior is lit by means of 2 levels of clerestory windows and from the interstices
between over-lapping layers of walls, which allow indirect light to create aura.
The Chapel will serve as an important facet of life at Episcopal Academy. Upper and middle
school students attend Chapel three days a week, lower school students attend once a week.
ROBERT VENTURI Episcopal Academy Church
MICHAEL GRAVES

Michael Graves: The Architect
Michael Graves who have taken postmodernism beyond the surface application of color and
texture and created a new attitude toward architecture and design. He attempts to jar
people's memory of historic architectural forms by using the form and renewing it through a
reinterpretation. Graves does more than simply apply historic imagery to his facades. He
takes the decoration one step farther and turns its shape into an integral part of the design
process.
Philosophy
 His forms attract the architectural community with their interaction of shape, color,
and spacial transition. The buildings are successful with the non-architectural world
in that they are unusual and appear to be designed with the user in mind.
 The development of this theme is the key to communication and mutual

participation , if it is clear, then all who interact with the building and its functions
will be aware of the symbolism. If the theme is too abstract, then people do not
understand the purpose of the decoration, and a feeling of alienation results.
 The figure of a keystone has become a trademark image of Michael Graves' work.
Because the keystone as an architectural element has stood out as symbolically
throughout architectural history because of its prominent location marking the
entrance of a portal in a wall.
 According to Graves, the structure is also intended to be read anthropomorphically
Portland Building
Michael Graves' Portland Building , Oregon, completed in 1982.
According to Graves, the building facade symbolizes a large arch with garland-like ribbons
as a symbol of welcome and to herald the celebration of Portlandia, the city's Lady of
Commerce on the seal of Portland. It was a large civic structure designed for everyday
workers – a cheerful and monumental tribute to the daily functioning of city government.
The Portlandia sculpture sits on a teal platform above the entrance to the Portland Building.
The fifteen-storey building is divided into classical tripartite sections: that of the
base, the middle or shaft, and the cornice or capital. As was typical with early skyscrapers,
the building becomes an analogy for a column.
According to Graves, the structure is also intended to be read anthropomorphically.

The base is also the feet, the middle section the body, though the head was lost due to a tight
budget. The 'head' of the original design included a series of temples in a roof garden setting
that would have completed the body as well as the column analogy.
Divisions are highlighted by a dark granite substructure for the base and a light colored
facing on the 'body' section dotted with small rectangular windows. This portion of the
building is divided in the middle with a seven-storey reflective glass window with two
pilasters in front.

The pilasters have projecting capitals, and are surmounted by a four story flat keystone.
These classical elements were meant to be a metaphor for the function of the
building: the middle floors of governmental offices were to support two floors of
rentable commercial offices at the top of the building.
On one side of the building is a mall and central business district of Portland, on the
opposite side is a large park. There is, however, no entrance on the park side of the building,
making it a one-way transition.
The metaphor of the arch, keystone, and garlands received both criticism and
praise locally and nationally, from lay people and architects alike. Praised as the first
post-modem high-rise structure it was also criticized as merely fanciful wrapping of a
modernist building.
According to the people who use the building, the public space of the lobby, despite
Graves' colorful murals which decorate the walls, is "dark, dingy , doesn't welcome
visitors and has been compared to the inside of a swimming pool.
Graves became a prolific product designer, creating the hugely successful 9093 kettle for
design brand Alessi, which was a best-seller for 15 years and recently marked its anniversary
with a new whistle design.

DENVER CENTRAL LIBRARY, MICHAEL GRAVES

POST MODERN ARCHITECTURE
 Postmodern architecture began as an international style the first examples of which

are generally cited as being from the 1950s, but did not become a style until the late
1970s and continues to influence present-day architecture.
 Postmodernity in architecture is said to be heralded by the return of "wit, ornament

and reference" to architecture in response to the formalism of the International Style
of modernism.
 Architects became bored with their restrictive rules of modernism which dictated
form follows function and allowed no decoration.
 Modernism is rooted in minimal and true use of material as well as absence of

ornament, while postmodernism is a rejection of strict rules set by the early
modernists and seeks meaning and expression in the use of building techniques,
forms, and stylistic references.
 Modernism In Modernism, the traditional column (as a design feature) was treated as
a cylindrical pipe form, replaced by other technological means such as cantilevers, or
masked completely by curtain wall façades. The revival of the column in post modern
was an aesthetic, rather than a technological, necessity.
 Postmodernism in architecture was realized during the last parts of the sixties.
However, it was only during the eighties that it was able to establish a solid anchor
and gained fame.
 Postmodernist architecture shares the same principles as modernism but what makes
it different is that this style uses a lot of cylindrical forms and even playful and
whimsical silhouettes instead of straight lines and regular geometric shapes.
 Part of the inspiration of the postmodern style came from Roman and Greek
influences which are clearly seen in building designs where columns are brought back
to existence

Characteristics of Post Modernism
• Postmodern Architecture rejects the notion of “pure” or “perfect” detail, instead it

draws from: all methods, materials, forms, & colors available to architects.
• Moves away from the neutral white colours seen in modernism.
• Took past components of different styles and melded them together to create new
means of design. It is known for the re-emergence of surface ornament, reference to
its surrounding buildings, and historical references.
• It was a time of revival of traditional elements and techniques. Post modernists did
not believe to ignore past architecture but looked to it in order to learn from it. You
will begin to see classical designs such as pillars, torches, arches, and domes used in
new, almost humorous ways, just to send a message to the modernist people. It
favoured personal preferences and variety over objective truths and principles.
Modernism vs. Post Modernism
 Postmodernism Vs. Modernism Postmodern architecture-was an international style

that was first cited in the 1950s, but did not become a movement until the late
1970s.
 It began as a response to the perceived blandness of the Modern Movement, which
focused primarily on: perfection harmony of form and function dismissal of
unnecessary ornaments not looking to any past historical references or methods of
construction Modernism did not account for the desire of beauty! They focused on
functionalism and economical building This meant that ornaments were stripped
away, and as a result buildings came to have a stark, rational appearance.
 Postmodernists felt the buildings of modern architecture failed to meet the human
need of comfort for both: the body and the eye !

CIAM
Modernism first emerged in the early twentieth century, and by the 1920s, the prominent
figures of the movement – Le Corbusier, Walter Gropius, and Ludwig Mies van der
Rohe - had established their reputations. (If any example is required u can write Villa
Savoye by Corbusier as an example of modern architecture)
The Congrès Internationeaux d’Architecture Moderne (International Congress of Modern
Architecture) or CIAM was an organization, which played a very important ideological role
in the evolution of European Architecture from 1928-1956. It viewed architecture as an
economic and political tool that could be used to improve the world through the design of
buildings and through urban planning. In 1934 during the fourth CIAM congress, which
produced the “Athens Charter”, Le Corbusier introduced four elements: Living, Working
Recreation and Transportation. He claimed that the problems of the cities could be resolved
by strict functional segregation of these four elements.
History of the evolution of CIAM
Even though the concepts of the Modern Architecture originally developed in the 18th
century the last evolution of this movement culminated in the first half of the 20 th century
under the name of the International. International style gave new prominence to the
expression of structure, the lightening of mass, and the enclosure of dynamic spaces.
Important examples include the Bauhaus at Dessau, Germany, by Walter Gropius (1919–25)
and the Villa Savoye by Le Corbusier (1928-29).
During this period the architects ignored the 19th century preoccupation with style and they
shifted their focus towards Organization, Methods and Technology. In the 1920’s this urge
can be seen in the work of Walter Gropius and Le Corbusier and this ultimately resulted in
the formation of CIAM - The Congrès Internationeaux d’Architecture Moderne (The
International Congress for Modern Architecture) in 1929. Basically the CIAM was led by the
professional architects. Fig below explains the themes discussed in CIAM 1-3. These
meetings do not seem to have any influence on ekistics because of their emphasis on
architecture.
S.N CIAM Themes discussed

o Meetings
1 La Sarraz 1928: The purpose of CIAM 1 was to lay down the aims and
CIAM 1 statutes of this organization and formulating general
principles such as:
a) To give expression to the contemporary
architectural problem.
b) To represent the modern architectural idea.
c) To bring the idea into technical. Economic and
social circles
d) To see that the problem of architecture is
recognized.

2 Frankfurt 1929: The theme discussed in this congress was “Dwellings for
the lower income group”. It was in search for dwelling
CIAM 2 types that would assemble most economically a maximum
of acquisitions, both tangible and technical, from which
the home, that vital shelter of the family, might benefit.
3 Brussels 1930: The CIAM 2 theme was extended to a town planning scale
and Walter Gropius questioned the existing relationship
CIAM 3 between flats, buildings, neighborhood units and towns.
During the congress they realized that the problem was
no longer that of the family cell itself, but that of the
group; it was no longer a question of the individual lot but
that of the development.
As noted above the earlier CIAM Congresses (from 1 to 3) showed more emphasis on the
issues at the scale of architecture. These congresses discussed housing in relation to modern
technology and housing development, which naturally brought them to the conclusion that
these subjects were part of the larger complexes - the city and the urban regions.
After the Frankfurt Congress of 1929 CIAM members recognized that the study of modern
architectural problems led to those of town planning and they realized that no clear line of
separation could be drawn between the two. Subsequently all the meetings dealt with the
issues of both architecture as well as town planning and the outcome of their discussions
came in the form of documents to develop modern or "rational" solutions to architectural
and town planning problems. For nearly 30 years CIAM members discussed the
fundamental questions of the problems of urban living space and the sense of belonging. It
was particularly set up to understand and recognize the crisis of the city and to take actions.
The documents it produced, and the conclusions it reached, had a major influence on
professional thinking about the shape of cities and towns the world over.
CIAM Meetings Themes discussed
The theme for The CIAM 4 congress provided an opportunity for

CIAM 4 (1933) members to share their experiences and refine their
was “The theories.
Functional City”
and the meeting Thirty-three cities were analyzed in common visual
took place in a language - symbols, graphics, colors and scales were the
cruise ship (SS same for all plans.
Patris II), which
To gain a proper understanding descriptive texts were
sailed from
unified which permitted comparative study. CIAM 4 took
Marseilles to
as its background how the 19th century cities were chaotic
Athens and they
and unpleasant due to increased automation and large-
produced the
scale industries.
document entitled
“The Athens The mechanization of transport and speed resulted traffic
Charter”. congestion, confusion and jeopardize inhabitant’s hygiene
in the urban context.
From the discussion CIAM 4 concluded that in order to re-
shape the cities and to propose some solutions to urban
problems, the Athens Charter developed the idea of “zoned
cities”. Earlier in this chapter we have already discussed
some of the points extracted from the Athens Charter, 1973
Le Corbusier emphasized that the base of CIAM’s
judgments must be ‘dwelling’, the first hierarchy of four
functions:
- Dwelling
- Work
- Amusement (later it changed to Recreation)
- Circulation
b. On both the spiritual and material plane the city
should assure individual liberty and the benefits of
collective action.
c. All urban arrangements should be based on human
scale.
d. Dwelling should be considered as the central
element of urban organization.
CIAM 5, 1937, This was the last CIAM Congress held in Paris before the
Paris war, which would cut off its activity for a decade. A slight
modification to the Charter was made otherwise nothing of
significance occurred.
CIAM 6- This is the postwar CIAM Congress. This CIAM concerned

Bridgwater 1947 about the “ Common Man in Modern Architecture”. The
theme was “To work for the creation of a physical
environment that will satisfy man’s emotional and material
needs and stimulate his spiritual growth.” Most of the
enthusiasm came from the CIAM ideas of creating a better
place through physical intervention. The ideological level of
Bridgewater was clearly not a complete success.
CIAM 7 Bergamo The Themes have been divided into Planning and
Italy 1949 Aesthetics. Even though the theme was on “The Settlement
of Architecture” but the main interest was on the grid of Le
Corbusier.
CIAM 8 Here the focus was the civic center “Core”- in other words it
Hoddesdon, was called as the Heart of the City- the element, which
England makes a community its heart of the nucleus. The core was
viewed largely as the image of the built space, a place where
the sense of community is physically expressed. Some of
the points discussed in the Core are as follows:
 The Core should be designed to enable people to

meet one another to exchange ideas.
 It is essential that all mechanized traffic will be
forbidden to enter the core, which must remain the
domain of the pedestrian.
 The human scale should pervade all the constituent
elements of the core.
CIAM 9, Aix-en- At this conference the Smithsons questioned the
Provence, 1953 continuing validity of the Athens Charter and proposed a
new “Hierarchy of Association”. Other themes were:
 The need of Gaiety in the habitat.

 Necessary degrees of privacy.
CIAM was handed over to the younger generation and the
above themes were carried over to CIAM 10 by Team 10.

IMPORTANT CONCLUSIONS FROM ATHENS CHARTER
The first hierarchy of four functions:
- Dwelling or housing
- Work
- Amusement (later it changed to Recreation)
- Circulation
Regarding Open space (Recreation) it was concluded that
Regarding work

Regarding Traffic
Team 10 - There were many valid reasons for the emergence of Team 10 out of CIAM. In
the mid 1950’s a group of young architects criticized the methods and definitions developed
by CIAM. Team 10 is an exponent of CIAM and it was centered on architects such as:
Aldo van Eyck (1918-1999) and Jaap Bakema (1914-1981) - Netherlands
Alison Smithson (1928-1993) and Peter Smithson (1923-2003) – England
Giancarlo De Carlo (1919-2005) and Nathan Ernesto Rogers (1909-1969) - Italy
Partners Shadrach Woods (1923-1973), Georges Candilis (1913-95), Alexis-Josic (b.1921) -
France
José Coderch (1913-1984) - Spain
Rolf Gutmann (1926-2002) – Switzerland (Avermaete, 2005, p-18):
The establishment of Team 10 started from their “internal critique” which revealed the
inadequacy and limitations intrinsic to the modern movement’s founding principles. Their
criticism was that CIAM lacked attention to specific cultural, climatologically and
typological elements in its analysis. And they sensed that the one- sided rational and
functional approach, which predominated CIAM would result in human alienation from
their everyday habitat. As the younger generation they posed some important questions of
identity and human association in the built environment. They also had a common feeling
of distrust towards the bureaucratic set-up of the old CIAM organization, within which they
refused to continue. Their main intention was to rejuvenate CIAM, but instead the
generation battle started to dominate in their debates, triggered the older generation to
hand over the responsibility of CIAM organization to the younger generation.
This loose association of architects was popularly known as Team 10. They not only
instigated changes in CIAM. They were also in charge of the organization of the tenth CIAM
in Dubrovnik (Yugoslavia, 1956). After the congress in Dubrovnik in 1956, CIAM began to
falter and by 1959 the legendary organization came to an end at a final Congress in Otterlo.
This independent Team 10 group with a partly changed composition subsequently started
holding its own meetings for many years, without declaring a formal new organization.
Team Comments on Athens Charter and their philosophy
1. Team 10 commented that, even though the concept of zoning plan in the Athens
Charter encouraged the Modernist (e.g. Le Corbusier) to design an area full of high,
widely spaced apartment blocks separated from one another by large areas of
landscaped green belt, ultimately this vision would lead to sterile cities devoid of
community spirit and to individual isolation.
2. They felt that Le Corbusier’s development would change neighbours into strangers
and alienate people from one another, because he emphasized the need for space and
speed, and not the social “utopia” that Team 10 had in their mind. Finally they
concluded Le Corbusier’s vision was “a Humane poetic, disciplined machine
environment for the machine society”
3. The method of analysis of Team 10 was therefore based on human association rather
than functional organization.
4. The Team 10 on the other hand, was aiming to attain social quality, rather than
material quantity or aesthetic abstract. The younger generation had not explicitly
stated that they were against the functional city (Athens Charter) for its universalizing
approach but they proposed a planning methodology that would address physical,
social, historical, geographical, occupational, climatic character of the settlement In
CIAM 9 the Team 10 members formulated one of their theme as “the need for gaiety
in the habitat” expressing a high degree of identity to individual.

CHANDIGARH BY LE CORBUSIER
History
The birth of the city of Chandigarh was conceived immediately after India‘s Independence in
1947. With the division of a nation into India and Pakistan, this was also the day of division
of State of Punjab (Punj+Aab) named so for being the land of five rivers being
divided into two states. Pakistan was ceded the larger western part, including the Punjabi
capital of Lahore, leaving the Indian (East) Punjab without an administrative, commercial,
or cultural capital.
It was decided to build a new Capital city called Chandigarh about 240 kms. north of New
Delhi on a gently sloping terrain with foothills of the Himalayas the Shivalik range of the
North and two Seasonal rivulets flowing on its two sides approximately 7-8 kms apart. The
geographical location of the city is 30 degree 50' N latitude and 76 degree 48' longitude and
it lies at an altitude varying from 304.8 to 365.76 meters above sea level.
It was hoped that a grand new capital would become a symbol of modernity, heal the
wounded pride of Indian Punjabis, and house thousands of Hindu and Sikh refugees from
Pakistan.
Pandit Jawaharlal Nehru, laid down the founding principles of the new city when he said
“Let this be a new town, symbolic of freedom of India unfettered by the
traditions of the past….. an expressions of the nation’s faith in the future”.
Le Corbusier produced a plan for Chandigarh that confirmed to the modern city planning
principles, and a hierarchy of road and pedestrian networks. Divided the city into units
called 'sectors', each representing a theoretically self-sufficient entity with space for living
Selection of Site
To select a suitable site, the Govt. of Punjab appointed a Committee in 1948 under the
Chairmanship of P.L Verma, Chief Engineer to assess and evaluate the existing towns in the
State for setting up the proposed capital of Punjab. However, none was found suitable on
the basis of several reasons, such as military vulnerability, shortage of drinking water,
inaccessibility, inability to cope influx of large number of refugees etc. The present site was
selected in 1948 taking into account various attributes :
Central location in the state,

Proximity to the national capital
Availability of sufficient water supply, fertile of soil, gradient of land for natural drainage
Beautiful site with the panorama of blue hills as backdrop & moderate climate.
The area was a flat, gently sloping plain of agricultural land dotted with groves of mango
trees which marked the sites of 24 villages or hamlets -- one of which was named

Chandigarh on account of its temple dedicated to the goddess.
The general ground level of the site ranges from 305 to 366 meters with a 1 per cent grade
giving adequate drainage. To the northeast are the foothills of the Himalayas -- the
Shivalik Range -- rising abruptly to about 1524 meters and a dramatic natural backdrop.
One seasonal stream, the Patiali ki Rao, lies on the western side of the city and another,
the Sukhna Choe, on the eastern side. A third, smaller seasonal stream flows through the
very center of Chandigarh. The area along this stream bed has been turned into a series of
public gardens called the Leisure Valley.
Planners
Maxwell Fry and Jane Drew

Le Corbusier Pierre Jeaneret
• In the late 1940's very few Indian architects were professionally trained in town
planning so it was necessary to look abroad for a man to carry out the Chandigarh
scheme.
• The search led to the USA and Albert Mayer. Graduate of the MIT and founder
of the large New York architectural firm of Mayer, Whittlesey and Glass.
• Albert Mayer and Mathew Novicki evolved a fan shaped Master Plan of super block.
• The super block was designed as a self –sufficient neighborhood units placed along
the curvilinear roads and comprised of cluster type housing ( curvilinear
roads was the main idea of Novicki) , markets and centrally located open
spaces. Fan shaped plan of Novicki was based on English garden movement, Green
belt towns together with Los Angeles suburbs, Baldwin Hills, super blocks. It lacked
originality though functionally efficient. Nowicki offered “the leaf plan”, also blending
modern architectural solution with Indian way of life.
• Novicki was tragically killed in an air accident and Mayer decided to discontinue.
Thereafter, the work was assigned to a team of architects led by Charles Eduard
Jeanneret better known as Le Corbusier in 1951.

Then the Chandigarh project was handed over to Le Corbusier who was assisted by three
senior architects, Maxwell Fry, his wife Jane B Drew and Corbusier’s cousin, Pierre
Jeanneret.
The Master Plan was developed by Le Corbusier who also designed the Capital Complex and
established the architectural control & design of the main building of the city. The design of
housing for Govt. employees, schools, shopping centers, hospitals were disturbed among the
three senior architects.
Maxwell Fry and Jane B. Drew worked for about three years on the project and then left due
to their engagements elsewhere.
Pierre Jeanneret who ultimately became the Chief Architect and Town Planning Adviser to
Govt. of Punjab returned to Switzerland in 1965.
M.N. Sharma took over from Pierre Jeanneret as the first Indian Chief Architect of the
Project and after the reorganization of the State of Punjab in 1966 and the establishment of
Union Territory, Chandigarh.
Connectivity
Chandigarh is very well connected

to the state of Punjab, Haryana,
and Himachal Pradesh.
The city is directly connected to

Delhi by National highway 22,
which connects it with Shimla too.
NH 21 and NH 64 connect
Chandigarh with the state of
Punjab.
Finally in March, 1948, the Government of Punjab in consultation with the Government of
India, approved a 114.59 sq. km tract of land at the foot of the Shivalik Hills in Ropar district
as the site of the new capital. An existing village gave its name (Chandi - Goddess of Power +
garh - fortress) to the new city. The location of Chandigarh is about 240 kms. north of New
Delhi on a gently sloping terrain with foothills of the Himalayas the Shivalik range of the
North.
Le Corbusier produced a plan for Chandigarh that confirmed to the modern city planning
principles, and a hierarchy of road and pedestrian networks. Divided the city into units

called 'sectors', each representing a theoretically self-sufficient entity with space for living,
working and leisure.
SECTOR- THE BASIS PLANNING UNIT
The primary module of city’s design is a Sector, a neighborhood unit of size 800 meters x
1200 meters. Each sector 1.25km × .81km. Chandigarh boasts a modern infrastructure,
open spaces, greenery, cleanliness, and a relatively low population density.
Divided into 46 rectangular sectors, numbered 1-12 and 14-47 (13 was deemed unlucky),
most sectors have an area of nearly 250 acres and a housing capacity of about 10,000 TO
15,000 people.
It is a self-sufficient unit having shops, school, health centers and places of recreations and
worship. Population of a sector varies between 3000 and 35,000 depending upon the sizes
of plots and the topography of the area. The Northern sector has more density than southern
sectors. Designed to be self-contained in civic amenities, the sectors are separated from each
other by broad streets for the city's fast-moving arterial traffic. In the northeast is the
artificial Lake Sukhna, a major recreational spot of the city.

• Every sector is introvert in character and permits only 4 vehicular entries into its
interior.
• The shopping street of each sector is linked to the shopping street of the adjoining
sectors thus forming one long, continuous ribbon like shopping street. The central
green of each Sector also stretches to the green of the next sector
• The bus stand is in the center of the city (sector 17). By Train: Chandigarh is linked
with its principal gateway city, Delhi. Chandigarh railway station is 8km from the city
center in sector 17. Other important and long distance trains are also connected from
various parts of the country.
The Master Plan of Chandigarh

Le Corbusier conceived the master plan of Chandigarh as analogous to human body, with
a clearly defined head (the Capitol Complex, Sector 1), heart (the city Centre, Sector 17),
lungs (the leisure valley, innumerable open spaces and sector greens), the intellect(the
cultural and educational institutions), the circulatory system (the network of roads, the 7 Vs)
and the viscera (the industrial Area). The concept of the city is based on four major
functions: living, working, care of the body and spirit and circulation.
Residential sector constitute the living part whereas the Capitol Complex, city centre,
Educational Zone (Post Graduate Institute, Punjab Engineering College, Punjab University)
and the Industrial Area constitute the working part. The Leisure Vally, Gardens, Sector
Greens and Open Courtyards etc. are for the care of body and spirit. The circulation system
comprises of 7 different types of roads known as 7 Vs Later on a pathways for cyclists
called V8 were added to this circulation system.
The Capital complex comprises three architectural masterpieces, the Secretariat, the High
Court and the Legislative Assembly, separated by large piazzas. In the heart of the Capital
Complex stands the giant metallic sculpture of the Open Hand, the official emblem of
Chandigarh, signifying the city’s credo of “Open to give, Open to receive”.
The city centre (Sector 17) is the heart of Chandigarh’s activities. It comprises the Inter-
State Bus Terminus, Parade Ground, District Courts, etc. on one hand, and vast business
and shopping centre on the other. The 4-storey concrete buildings house banks and offices
above and showrooms/shops at the ground level with wide pedestrian concourses.
The Neelam piazza in the center has fountains with light and water features. Sector 34 is
another newly developed commercial sector. At least three blocks in Sector 34 are proposed
to have 10 storey buildings to have offices, multiplexes and hotels. As per the new proposal
each building will have its own style and will not conform to the grey look.
An 8 Kms long linear-park, known as the Leisure Valley, runs through the city from its
north eastern tip to its south-western end. The Rose Garden, Bougainvillea Garden, Shanti
Kunj, Fitness Track, Topiary Park, Terrace Garden, Hibiscus Garden, Garden of Fragrance,
Garden of Annuals, Garden of Herbs & Shrubs, Champa Park, Botanical Garden, etc. all
form a part of this green belt in the city, combining modernity with ecology.
The concept of the city is based on four major functions:
• LIVING, WORKING, CARE OF THE BODY AND SPIRIT AND CIRCULATION.
• Residential sector constitute the living part
The Capitol Complex, city centre, Educational Zone (Post Graduate Institute, Punjab
Engineering College, Punjab University) and the Industrial Area constitute the working part.
The Leisure Valley, Gardens, Sector Greens and Open Courtyards etc. are for the care of
body and spirit.
The circulation system comprises of 7 different types of roads known as 7 Vs. Later on a
pathways for cyclists called V8 were added to this circulation system.
Type o f Roads and its functions
V-1 Roads connecting Chandigarh with other cities like Ambala, Kharar and Shimla. They
have dual carriageway, good tree plantation and distinctive central verge lighting. The
Madhya Marg and Dakshin Marg are two roads, which merge into V-1s leading the Kalka
and Ambala, respectively.
V-2 They are the major avenues of Chandigarh, with important institutional and commercial
functions running alongside. In Chandigarh they are identifiable as ‘Marg’, Madhya
Marg,Dakshin Marg, Jan Marg, Himalaya Marg, Uttar Marg and Purv Marg are important
examples.
V-3 They are the corridor- streets for fast moving vehicular traffic. A sector is surrounded
either by V-2 of V-3 roads.
V –4 Roads bisecting the Sector with shopping complex located along their southern edge.
V –5 Roads meandering through the sector giving access to its inner lands.
V –6 Roads coming off of the V-5s and leading to the residential houses.
V-7 They are intended for pedestrian movement and run through the middle of the sector in
the green areas.

Chandigarh was planned for a population of half-a-million. In Phase I, 36 sq kms of land
was acquired by the city administration for construction of 30 sectors.
Land for seventeen additional sectors (Sector 31 to 47) was acquired and developed during
the second phase to cater for a population of 3,50,000.
The predominance of apartments in the second phase provide for higher population
dimension. However, Chandigarh has now grown beyond its planned capacity. Hence,
development in the third phase has started in sectors 48 and beyond. By 2021 the
population of Chandigarh is projected to be around 19.5 lakhs (at current rate of growth),
which is approx. four times the planned capacity of the city.

BHUBANESWAR
Existing density
Bhubaneswar planned as a new town after the independence of India, is the state capital of
Odisha and a major city in Eastern India. Popularly known as the “Temple city” of India.
Growing as an Important center for education, commerce and Industries.
Form the “Golden Triangle” of tourism with Puri and Konark.
The city of Bhubaneswar has its importance as a:

· Historical city- The city has a long history, which dates back to the period of great
Mauryan emperor Ashok.
· City with heritage sites- The old city is featured by conglomeration of temples,
monuments, mandaps, heritage ponds etc. ex. Lingaraja temple, Raja Rani temple etc.
· Tourist city - Bhubaneswar forms the apex of ‘Golden Triangle’ with Puri and Konark at
the other two ends.
· Administrative- With the shifting of the capital in 1948, a number of administrative
offices started coming up. A number of offices and institutions like the Secretariat, the
Regional Research Laboratory, the Orissa University of Agriculture and Technology, the
Government Press, the Institute of Physics and other departments came up.
History of Bhubaneswar
Historically Bhubaneswar has been influenced by three important regions in its growth
Saivism: Buddhism (by King Ashoka) and Jainsim ( during the Kharvela’s regime). The city
has assimilated these cultures and earned its name as “ Secular City”. It is believed around
5000 temples were once located in Bhubanewar. Even today hundreds of temples that still

stand majestically as mute witnesses to its glorious past; one can study the chronological
development of temple architecture from the start of the 7th century AD to its culmination in
13th century AD. The area was ruled by several dynasties such as Guptas, Mauryas, Suryas,
Kesari’s, Maratha’s etc.
Bhubaneswar’ is the short form of ‘Tribhubaneswar’ which means the God of Universe
(Lord Siva) and was adopted for convenience to pronounce. Tribhubaneswar itself changed
from ‘Tosali’ after the construction of ‘Lingaraj’ temple during the supreme period of
Saivism in Orissa. The ancient name of Bhubaneswar was “Ekamra kanan” (a mango
forest).
Bhubanewar Planning principles
The site is one of the Original neighbourhood Units of the master plan
for Bhubaneswar New Town, designed by Sir Otto H.Koenigsberger
in 1954.
Koenigsberger – (German based architect) state architect and town

planner of Mysore was invited by Harekrushna Mahtab for preparation
of the master plan of the new capital city. The attempt of the concept
was to transform the traditional India into a modern welfare state. The
Architect Visualization was of a Horizontal plan in consideration with
Budget and the general characteristics of the living style.
Neighborhood concept : - “group of houses, large enough to afford major urban

amenities like schools, dispensaries, shopping centers, entertainment, public
libraries, etc. but at the same time small enough to keep all these amenities in
convenient walking distances for the inhabitants and to preserve the main
advantage of rural life: the immediate neighborhood to the open country.”
In a neighbourhood unit, every child had to live within one-quarter or one-third of a mile
from school. Every housewife had to live within half a mile from the civic centre, where she
could do her shopping and also visit medical facilities. Home and workplace distance that
could be conveniently covered was by using a bicycle or a cycle-rickshaw.
Koenigsberger’s overall design for Bhubaneswar was based on the simple device of one main
traffic artery to which the neighborhood units are attached like the branch of tree. The
Neighborhood units are connected to the main artery with the main center or centers of
business and professional life. Capitol Complex or the Central group of public buildings is
the unifying focus.
Six units were designed at first place and public utilities like market, hospital, fire station
were distributed in each unit. Unit-1 is the first of the six units, which caters to the daily

market, first public bank and police station along with different types of quarters for the
government employees.
During the last three decades the population of Bhubaneswar has increased at a faster rate.
According to the Census of 2011 its population is 8.38 lakhs. To enlarge its areas and
enhance its population up to 10 lakhs so as to make it a metropolitan city according to the
norms of Government of India.

The guidelines suggested by Koenigsberger have not been followed in the present-day
planning. Today, the city faces urbanisation with a high population growth. The overall
width of the road in many areas does not have any relation with the height of the building.
Avenue trees, storm water drainage, services and footpaths have not been given importance.
Redevelopment in the particular area has not followed the Koenigsberger’s design
principles. Since the designed area is in the heart of the city and due to the increasing
pressure on land, there are demands for re-densification of the residential area by increasing
the floor area ratio (FAR).
The Bhubaneswar New Town Zone designed by Koenigsberger would have intensive
development with administrative function, capital function, institutions, commercial
complex, housing of all kinds, urban parkway system, sports complex, art and cultural
activities, etc. In this zone, the existing density of 24 DU/acre (2001) is assumed to go up to
50 DU/acre. Adequate attention should be paid to transportation network and parking
facility while increasing the density in the existing developed area.

20th century urbanism concepts
METABOLISM
In the 1960, many cities around the world witnessed an unprecedented economic growth
and urban expansion, which created unusual pressure on architects to find appropriate
solutions to the problem of overpopulation. Architects and urban planners were looking for
creating mega-structures and utopian solutions than could accommodate the needs of the
housing sector. In the early 1960, a group of young Japanese architects were occupied by the
idea of creating a new structural system, where parts of the building can be added or
removed according to the continual changing needs of the people. These architects
succeeded in initiating a new movement in architecture called ‘Metabolism’.
Metabolism in architecture first appeared in the Tokyo World Conference of Design in 1960.
The renowned, Kenzo Tange and number of other architects, including, Kiyonori Kikutake,
Kisho Kurokawa, and Fumihiko Maki, announced their concept of the new architectural
approach and the proposal for a new Urbanism.
here is a strong metaphorical relationship between the development of architecture and the
metabolism of the human body. This relationship represented the foundation on which the
Metabolists based their new theory. Metabolism can be defined as the sum of the physical
and chemical changes and processes that take place in the human body in order to break
down the food, generate energy and create complex molecules for human’s cell growth. Of
course, this cell growth would help the human body to function normally, grow healthy and
sustain itself. Metaphorically, Metabolists believed that contemporary architecture should
be changeable to meet the rapidly changing requirements, as well as reflect the human
dynamic reality. However, similar to the changes that take place in the human body,
buildings should be mechanized in almost a biological way in order to continue in the
present and be adapted to the rapidly growing and developed technology in the future.
There are number of features that characterize the Metabolism movement such as:
1. Large scale structures capable of growing organically in different direction (vertically and
horizontally).
2. The design of the buildings do not follow the modernists’ views of ‘Form follows
Function’, but allow the spaces and forms to be adapted to changeable function in the future.
3. Adaptable plug-in mega-structures, which express the progress in building technology.
There are many famous architectural works that express the Metabolists’ concepts
including, the floating city in the sea, Kiyonari Kikutake's Marine City, tower city, ocean city,
the wall city, the agricultural city and the 'Helix City' by Kisho Kurokawa, as well as his
Nakagin Capsule Tower.
The most expressive project of metabolists’ work is the Nakagin Capsule Tower in Tokyo
(1972), designed by the renowned Kisho Kurokawa. The building consists of 13 floors and

contains about 140 individual flats, each in a pre-formed capsule. The main concept of the
project was to allow the capsule unites to be plugged into or removed from the main
structure, so the form of the building is a changeable. The capsules are prefabricated and
equipped with the necessary services including furniture. The capsules are left and adjusted
around the main core of the building to create irregular form, which evolve according to the
needs of the people.
Kiyonori Kikutake's Marine City (1968)
Nakagin Capsule Tower, Tokyo, 1972, by Kisho Kurokawa.

The module was created with the purpose of housing commuting
businessmen that worked in central Tokyo during the week. The whole design was a
prototype of sustainable architecture, with recycle ability, as all capsules were prefabricated
and each module could be plugged in to the central core and replaced or exchanged when

necessaryeach unit was about 10m2, and included all the necessary amenities for modest
temporaryliving – a toilet, a shower, a bed, a desk, a refrigerator, a storage place, a TV.
Metabolists envisioned the cities of the future as flexible and expandable structures
thatremind the process of growing organisms.
The building most precisely represents the Metabolist theory. “The philosophy of metabolic
design is based on exchangeability, modular buildings, prefabricated parts and capsules. The
units move, change or expand according to the needs of the individual, thereby creating
organic growth.

Notes For History PART 1

Загружено:

Сведения о документе

Оригинальное название

Авторское право

Доступные форматы

Поделиться этим документом

Поделиться или встроить документ

Параметры публикации

Этот документ был вам полезен?

Это неприемлемый материал?

Авторское право:

Доступные форматы

Notes For History PART 1

Загружено:

Авторское право:

Доступные форматы

HISTORY OF ARCHITECTURE AND

©Copyrighted Lecture Notes ( Sharmila Jagadisan) Page 1

©Copyrighted Lecture Notes ( Sharmila Jagadisan) Page 2

Interest in Urban Planning and Development

©Copyrighted Lecture Notes ( Sharmila Jagadisan) Page 3

According Jane Jacobs,

 Strangers as a source of safety - interaction on the street, at the bus stops

 In neighbourhoods with a mix of functions, however, throughout the day these

©Copyrighted Lecture Notes ( Sharmila Jagadisan) Page 5

©Copyrighted Lecture Notes ( Sharmila Jagadisan) Page 6

©Copyrighted Lecture Notes ( Sharmila Jagadisan) Page 7

Robert Charles Venturi, (born June 25, 1925) is an American

©Copyrighted Lecture Notes ( Sharmila Jagadisan) Page 8

1. Complexity and Contradiction in Architecture (1966; Venturi)

 Symbolism: Venturi believed that middle-class Americans preferred homes “that

©Copyrighted Lecture Notes ( Sharmila Jagadisan) Page 9

 He emphasized an architecture which promotes richness over simplicity”. Regardless of their

©Copyrighted Lecture Notes ( Sharmila Jagadisan) Page 10

©Copyrighted Lecture Notes ( Sharmila Jagadisan) Page 11

©Copyrighted Lecture Notes ( Sharmila Jagadisan) Page 12

©Copyrighted Lecture Notes ( Sharmila Jagadisan) Page 13

ROBERT VENTURI Episcopal Academy Church

©Copyrighted Lecture Notes ( Sharmila Jagadisan) Page 14

 The development of this theme is the key to communication and mutual

Michael Graves' Portland Building , Oregon, completed in 1982.

According to Graves, the structure is also intended to be read anthropomorphically.

©Copyrighted Lecture Notes ( Sharmila Jagadisan) Page 16

©Copyrighted Lecture Notes ( Sharmila Jagadisan) Page 17

©Copyrighted Lecture Notes ( Sharmila Jagadisan) Page 18

 Postmodern architecture began as an international style the first examples of which

 Postmodernity in architecture is said to be heralded by the return of "wit, ornament

 Modernism is rooted in minimal and true use of material as well as absence of

©Copyrighted Lecture Notes ( Sharmila Jagadisan) Page 21

• Postmodern Architecture rejects the notion of “pure” or “perfect” detail, instead it

Modernism vs. Post Modernism

 Postmodernism Vs. Modernism Postmodern architecture-was an international style

©Copyrighted Lecture Notes ( Sharmila Jagadisan) Page 23

S.N CIAM Themes discussed

©Copyrighted Lecture Notes ( Sharmila Jagadisan) Page 25

CIAM Meetings Themes discussed

The theme for The CIAM 4 congress provided an opportunity for

CIAM 6- This is the postwar CIAM Congress. This CIAM concerned

 The Core should be designed to enable people to

 The need of Gaiety in the habitat.

©Copyrighted Lecture Notes ( Sharmila Jagadisan) Page 28

Regarding Open space (Recreation) it was concluded that

©Copyrighted Lecture Notes ( Sharmila Jagadisan) Page 29

©Copyrighted Lecture Notes ( Sharmila Jagadisan) Page 31

Central location in the state,

©Copyrighted Lecture Notes ( Sharmila Jagadisan) Page 32

Maxwell Fry and Jane Drew

©Copyrighted Lecture Notes ( Sharmila Jagadisan) Page 33

Chandigarh is very well connected

The city is directly connected to

©Copyrighted Lecture Notes ( Sharmila Jagadisan) Page 34

SECTOR- THE BASIS PLANNING UNIT

©Copyrighted Lecture Notes ( Sharmila Jagadisan) Page 35

The Master Plan of Chandigarh

The concept of the city is based on four major functions:

• LIVING, WORKING, CARE OF THE BODY AND SPIRIT AND CIRCULATION.

• Residential sector constitute the living part

Type o f Roads and its functions

©Copyrighted Lecture Notes ( Sharmila Jagadisan) Page 37