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RIMT COLLEGE OF ARCHITECTURESIRHIND SIDE

MANDI GOBINDGARH

AR.LE CORBUSIER

AR.LE CORBUSIER

INTRODUCTION :-

NAME:- Charles-Edouard Jeanneret ( WAS BETTER KNOWN AS LE

CORBUSIER)

BORN:- October 6 , 1887 BIRTH PLACE:- La Chaux-De Fonds, Switzerland DIED :- August 27 , 1965

Charles-Edouard Jeanneret-Gris, better known as Le Corbusier was Born on (October 6, 1887 – August 27, 1965).His birth sign was libra.

He was an architect, designer, painter, urban planner, writer, and one of the pioneers of what is now called modern architecture.

He was born in Switzerland and became a French citizen in 1930.

In his architecture, he chiefly built with steel and reinforced concrete and worked with elemental geometric forms.

PERSONAL LIFE

While returning in 1929 from South America to Europe, Le Corbusier met entertainer and actress Josephine Baker .Le Corbusier made several sketches of Baker.

Soon after his return to France, Le Corbusier married Yvonne Gallis, a dressmaker and fashion model. She died in 1957.

Le Corbusier also had a long extramarital affair with Swedish-American heiress .

EARLY LIFE AND EDUCATION

He was attracted to the visual arts and studied at the Art School in Paris.

His architecture teacher in the Art School was the architect René Chapallaz, who had a large influence on Le Corbusier's earliest house designs.

In 1906 he made his first trip outside of Switzerland, going to Italy in search of employment.

In 1906 he made his first trip outside of Switzerland, going to Italy in search of employment.

At around 1907, he travelled to Paris, where he found work in the office of Auguste Perret, the French pioneer of reinforced concrete.

In 1908, he studied architecture in Vienna with Josef Hoffmann.

Between October 1910 and March 1911, he worked near Berlin for the renowned architect Peter Behrens, where he may have met Ludwig Mies van der Rohe and Walter Gropius .

CONTRIBUTION TO ARCHITECTURE

He was the pioneer of modernism in architecture and laid foundation to what is known as Bauhaus movement or international style.

He is known for innovation in urban planning and his solutions for low income housing.

During his lifetime he had projects in Russia, India and Europe and two are in the USA too.

He formed the five points of architecture which were the guiding principles for many architects.

PAINTING

PAINTING

QUOTATIONS "You employ stone, wood, and concrete, and

with these materials you build houses and palaces: that is construction. Ingenuity is at work. But suddenly you touch my heart, you do me good. I am happy and I say: 'This is beautiful.’

"Architecture is the masterly, correct, and magnificent play of masses brought together in light."

"Space and light and order. Those are the things that men need just as much as they need bread or a place to sleep."

"The house is a machine for living in. "It is a question of building which is at the

root of the social unrest of today: architecture or revolution

DEATH Against his doctor's orders, on August 27,

1965, Le Corbusier went for a swim in the Mediterranean Sea at, France. His body was found by bathers. It was assumed that he may have suffered a heart attack. His death rites took place at the courtyard of the Louvre Palace on September 1, 1965.He was buried alongside his wife in the grave he had designated at Roquebrune.

Le Corbusier death had a strong impact on the cultural and political world.

URBAN PHILOSOPHY No matter how open and green, cities should be

frankly urban, urban surroundings are to be definitely contrasting with rural surroundings.

Densities are in themselves not a problem. Slum exits because of the failure to provide the

proper surroundings for high density living. Le Corbusier was one of a Prolific Thinker. In

terms of a thinker Le Corbusier can be best described as a person coming to grips with the Machine Age. His Revolutionary Work was primarily concerned with the existence of man within the NEW AGE OF THE INDUSTRIAL ECONOMY.

LE CORBUSIER:-THE MODULAR Le Corbusier explicitly used the golden ratio in

his modular system for the scale of architectural proportions.

The modular is an anthropometric scale of proportions devised by him.

It is based on the height of an English man with his arm raised.

A six-foot (about 183-centimeter) man, somewhat resembling the familiar logo of the “Michelin man,” with his arm upraised (to a height of 226 cm; 7’5”), was inserted into a square . The ratio of the height of the man (183 cm; 6’) to the height of his navel (at the mid-point of 113 cm; 3’8.5”) was taken precisely in a Golden Ratio.

 The total height (from the feet to the raised arm) was also divided in a Golden ratio (into 140cm and 86 cm) at the level of the wrist of a downward-hanging arm.  The two ratios (113/70) and (140/86) were further subdivided into smaller dimensions according to the Fibonacci series

The Modular consists of two scales , The Red Scale and The Blue Scale`. The Dimensions of the Blue Scale are double of the Red and the divisions of each scale are based on the Ø (phi) ratio, the ratio of growth in all living things and the basis of the GOLDEN SECTION. Thus the Modular is not only an instrument of Architectural Proportion but also a means of ensuring that the buildings designed using it are of Human Scale.

The unit length in any scale is of importance. Le Corbusier ‘s Modular is based on the Human Figure and on traditional inch/foot which is itself based on the Human Figure. These modules were used very successfully in the design of Furniture as well as buildings and anthropometric measurements should be used in furniture design.

Yet another demonstration of the efficacy of traditional wisdom, Metric Measurement may be a new idea but because an idea is new does not mean it is an improvement. It must be shown beyond reasonable doubt that it is better than the old ways and we are still waiting for the pushers of this system to state their case.

The purpose of the Modular was to "maintain the human scale everywhere". The entire building "United'" was based on the Modular proportioning system.

The same proportion is to be seen in his modern flats  

CONCEPT PILOTIS :- (raise the building off

the ground) to let nature move under the building footprint.

FREE PLAN:- (allowing the internal partitions) this also allowed the division of rooms to be placed at minimums with minimal wall thickness.

FREE FACADE :- (partly based on free plan, this allowed the windows to be formed independently of the wall structure) it also allowed lighting to rooms to be controlled , increasing the lighting and removing the possibility of dark spaces.

LONG HORIZONTAL WINDOW :- (also known as the window wall) this allowed for large amounts of light to be driven into the living areas of dwelling, creating sunny places in winter, the removal of dark cluttered spaces.

ROOF GARDEN :-(replacing displaced nature) letting maximum light and air enter the recreation spaces of the residents. the person on the new roof garden is soaking in the sun, which is seen as the healthy and right thing to do.

BASIC MATERIALS Basic material he generally

used in his design was:-

Concrete

Glass

Steel

Among all of these his main emphasis was on concrete.

FAMOUS PROJECTS :- VILLA SAVOYE,PARIS (1928-31)

CHANDIGARH

UNITE D’HABITATION, AT MARSEILLE,FRANCE (1945-52)

CHAPEL NOTRE-DAME-DU-HAUT,FRANCE (1950-1955)

VILLA SAVOYE

THE BUILDING CONSISTS OF

a) Ground floor having a car shed ,lobby and 2 rooms.

b) First floor having a saloon, bedrooms, kitchen and open terrace.

c) Terrace consisting of partition walls open from top.

• It is considered one of the purist villas built by Le Corbusier where all his principles are magnificiently brought in.

Ground floor

It consist of arrival sequence designed for car: the glass enclosure for its turning radius, the vertical mullions to emphasize its speed, the placement of column opposite to door.

The long and continuous glazing hardly creates a barrier between interior and exterior.

The interior has rooms well linked with each other and has hardly any barriers between them.

It has spiral staircase and rampart reaching up to second floor, yet another feature of corbusian architecture.

Consists mainly a lobby and two rooms in this floor.

GROUND FLOORINTERIOR VIEW

OPEN TERRACE

KITCHEN

RAMPART

bathroom

BEDROOM

BEDROOM

B. room

PUBLIC AREA /saloon

FIRST FLOOR PLAN

The rooms are oriented for sun and view-saloon to northwest, terrace to south, accommodations to west and kitchen to east.

The most magnificent part is the hanging garden in between which creates great sense of openness and creates a microclimate in an area , yet another typical feature of corbusian architecture.

The public area is consists of long horizontal window on one side and terrace garden on opposite.

Hence it almost disintegrates distinction between inside and out, creating a free facade, another typical feature of Corbusian’s architecture.

Interior view of public area

View of public area from east

CHANDIGARH

INTRODUCTION SINCE PUNJAB EAS DIVIDED INTO TWO PARTS, THE

CAPITAL WAS LEFT IN PAKISTAN THERE FORE PUNJAB IN INDIA REQUIRED NEW CAPITAL

LE CORBUSIER WAS APPROACHED BY PUNJAB GOVERNMENT AND THE PRIME MINISTER OF INDIA

CHANDIGARH IS A BOLD EXPERIMENT IN MODERN CIVIC DESIGN

CHANDIGARH HAS PROVOKED FRESH THINKING AND IN FACT SHOWN NEW WAY OF LIFE

MAXWELL FRY, JANE DREW AND PIERRE JEANNERET WERE ALSO INVOLVED IN THE TEAM OF ARCHITECTS

WHEN LE CORBUSIER ASSUMED CONTROL OF THE CHANDIGARH PROJECT IN 1951, HOWEVER THE DESIGN OF THE CITY HAD ALREADY BEEN DEVISED BY THE NEW YORK FIRM OF MAYER, WHITTLESEY, AND GLASS WHO RECEIVED A CONTRACT FOR THE MASTER PLAN OF CHANDIGARH IN 1950

ALBERT MAYER THE MASTER PLAN

MAYER WAS THE FIRST ONE TO GET THE CHANDIGARH PROJECT

MATTHEW NOWICKI WAS INVITED TO JOIN THE STAFF ASSEMBLED TO PLAN CHANDIGARH.HIS DITIES WERE TO TAKE THE FORM OF ARCHITECTURAL CONTROL.

MAYER STATED THAT HE WAS TRYING TO CREATE SOMETHING”THAT REALLY APPLIES TO WHAT WE HAVE TALKED ABOUT MUCH BUT WHICH HAS BEEN AT BEST DONE IN A LIMITED WAY IN RADBUBN,THE GREENBELT TOWNS AND BALDWIN HILLS.

THE BASIC AIM,STATED MAYER,WAS A BEAUTIFUL CITY.

THE MASTER PLAN WHICH ALBERT MAYER PRODUCED FOR CHANDIGARH ASSUMES A FAN-SHAPED OUTLINE,SPREADING GENTLY TO FILL THE FILE THE SITE BETWEEN THE TWO RIVER BEDS.

MASTER PLAN IN 1951 IT WAS GIVEN TO LE CORBUSIER IN CHANDIGARH LE CORBUSIER SYTEM OF SELF

SUPPORTING NEIGHBORHOOD UNIT KNOWN AS A SECTOR HAS WORKED VERY WELL

SECTOR WHICH IS INTROVERTED IN CHARACTER COMMUNICATES ONLY AT 4 JUNCTIONS WITH THE ADJOINING NEIGHBOURHOOD UNITS

ALL THE HOUSES OPEN UP INSIDE GRID PLANNING IS DONE CHANDIGARH PLANNING WAS DONE IN AN MANNER

THAT EVERYTHING WAS EASILY CLEAR ABOUT THE ROUTES AND SECTORS

7 V’S ROAD SYSTEM IS USED THE ROADS ARE CLASSIFIED AS V1 ,V2 ,V3………V7 V1 CONNECTS CHANDIGARH TO OTHER CITIES

PLAN OF THE CITY

THREE DISCIPLINES THE DISCIPLINE OF MONEY LE CORBUISER ONCE REMARKED THAT”INDIA HASTHE

TREASURES OF A PROUD CULTURE,BUT HER COFFERS ARE EMPTY.” AND THROUGHOUT THE PROJECT THE DESIRE FOR GRANDNESS WAS HAMPERED BY THE NEED FOR STRICT ECONOMY.

IN WORKING UP HIS DESIGNS,LE CORBUISER CONSULTED THE PROGRAM FOR EACH BUILDING AS GIVEN IN THE BUDGET AND THEN PREPARED THE INITIAL PROJECT.

THE DISCIPLINE OF TECHNOLOGY AVAILABLE IN QUANTITY,HOWEVER,WAS GOOD CLAY STONE

AND SAND,AND,ABOVE ALL’HUMAN LABOUR. THE MATERIALS OF WHICH CHANDIGARH HAS BEN

CONSTRUCTED ARE ROUGH CONCRETE IN THE CAPITOL COMPLEX AND THE CENTRAL BUSINESS DISTRICT AND FOR MOST OF THE CITY,ESPECIALLY IN HOUSING,LOCALLY PRODUCED BRICK.

THE DISCIPLINE OF CLIMATE BESIDES THE ADMINISTRATIVE AND FINANCIAL REGULATONS

THERE WAS A LAW OF THE SUN IN INDIA. THE ARCHITECTURAL PROBLEM CONSISTS;FIRST TO MAKE

SHADE,SECOND TO MAKE A CURRENT OF AIR[TO VENTILATE],THIRD TO CONTROL HYDRAULICS.

THE SECTOR AT PRESENT THERE ARE 30 SECTORS IN

CHANDIGARH,OF WHICH 24 ARE RESIDENTIAL. THE SECTORS AT THE UPPER EDGE OF THE CITY ARE

OF ABBREVIATED SIZE. IN ALL TYPE OF HOUSING ,PARTLY BECAUSE OF THE

GLAZING EXPENSE,PARTLY TO KEEP OUT SUN. AS THE MOST ECONOMICAL AND READILY AVAILABLE

MATERIAL FOR BUILDING AT CHANDIGARH WAS LOCALLY MADE BRICK.

THIS BECAME THE MATERIAL OF CONSTRUCTION. THE FLAT ROOF WAS EMPLOYED THROUGH OUT IN

CHANDIGARH HOUSING BECAUSE OF ITS USEFULNESS AS A SLEEPING AREA

70% OF THE BUILDING WOULD BE PRIVATE IN ALL THE SECTORS.

RESIDENTIAL PLOTS RANGING IN DIMENSIONS FROM 75 SQ. YARDS TO 5000 SQ YARDS.

THE CAPITOL COMPLEX THE AREA OF THE GREATEST SYMBOLIC

SIGNIFICANCE IN CHANDIGARH WAS THE CAPITOL COMPLEX , WHICH IN ITS FINAL FORM WAS BASED ON THE DESIGN OF A GRAET CROSS AXIS

THE MOST IMPORTANT GROUP OF THE BUILDINGS CONSTITUTING THE CAPITOL- RIGHT, THE PARLIAMENT, LEFT,IN THE BACKGROUND, THE SECRETARIAT

IN THE FOREGROUND, THE POOL OF THE PALACE OF JUSTICE

THE ARTIFICIAL HILLS IN THE FRONT OF THE SECRETARIAT HAVE NOT BEEN CREATED AND LAID OUT IN ACCORDANCE WITH COEBUSIER;S CONCEPTIONS

ALTHOUGH THE SCENE IS HARMONIUS IN EFFECT, THERE ARE STILL MISSING THE BUILDINGS THAT BELONG HERE ,SUCH AS , FOR INSTANCE, THE TOWERS OF SHADOWS

SITE PLAN

SECRETARIAT

ASSEMBLY

HIGH COURT

GOVERNOR,S PALACE

OPEN HAND

HERE THE SECRETARIAT BUILDING IS TREATED AS A HORIZONTAL PLATFORM LIKE THE PLAIN OF CHANDIGARH ITSELF,CARRYING ON ITS ROOF THE PROVINCIAL ASSEMBLY HALL RISING IN A PARABOLIC ARCH, A FORM ECHOING THE DISTANT HILLS

AS A RESPONSE TO THE SUN, THE CAPITOL COMPLEX CAN BE INTERPERATED AS AN INTERLACED ARRAY OF SUN BREAKERS

INSPIRATION FROM L,UNITE IT LIES IN THE FOOT OF SHIVALIK HILLSJUST NEXT TO

ARTIFICIAL LAKE GOVERNOR,S PALACE WAS SUPPOSED TO BE IN THE

SITE BUT THE IDEA WAS ABANDONED THE CAPITOL AREA WAS DESIGNED AS THE GREAT

PEDISTRIAN PLAZA WITH MOTOR TRAFFIC SEPARATED INTO SUNKEN TRENCHES LEADING TO PARKING AREAS

ALTHOUGH THE SITE IS VERY BIG,IT IS NOT DESIGNED WITH ALLOWENCE FOR EXPANSION

THE SECRETARIAT,1958

THE SECRETARIAT THE FIRST DESIGN FOR THE SECRETARIAT PRESENTS

THE BUILDING AS A TALL THIN SLAB CARRYING A SURFACE BRISE SOLEIL DIVIDED BY A CENTRAL HORIZONTAL BAND

THE DESIGN WHICH WAS ACCEPTED ESTABLISHED THE BUILDING FORN AS A LONG ,HORIZONTAL CONCRETE SLAB

THE SECRETARIAT, THE LONGEST BUILDING IN CHANDIGARH, 254M LONG,AND 42M HIGHFORMS THE ADMINSTRATIVE CENTER,WITH MINISTERAL OFFICES GROUPED IN THE CENTER AND OFFICES FOR EMPLOYEES ARRANGED ON EITHER SIDE

THE BUILDING WAS COMPLETED IN 1958 THE BUILDING IS COMPOSED OF SIX EIGHT STOREY

BLOCKS SEPARETED BY EXPANSION JOINTS THE CENTRAL PAVILION, BLOCK 4, CONTAINS THE

OFFICES OF THE MINISTERS

FREE FACADE

RAMP ENCLOCURE

ROUGH CONCRETE FINISH

SQUARE WINDOWS

PROJECTED PORTICOS

SMALL ENTRANCE

BIG ENTRANCE

THE ROUGH CONCRETE AGAIN INTERPOSES IN THE FENESTRATION OF THE TWO MAIN FACADES ; MORE THAN 2000 UNITS OF UNIQUE DESIGN

APPRAOCH TO THE BUILDING IS THROUGH ROADWAYS BELOW GROUND LEVEL TO A LARGE PARKING AREA IN FRONT OF THE CENTRAL BLOCK, AND A FLOOR IS LEFT OPEN AT THIS LEVEL TO FORM AN ENTRANCE HALL

BLOCK 1 AND 2 RISES DIRECTLY FROM THE GROUND BLOCK 3,4 AND PART OF 5 FACE ON THE EXCAVATED

AREA OF THE PARKING LOT AND HAVE THE LOWER STOREY OPEN BETWEEN PILOTIS

FOR THE REST PART OF BLOCK 5 AND WHOLE OF 6 THE LEVEL GOES TILL PLAZA HEIGHT, AND LOWER PORTION OF THESE BLOCKS ARE LEFT OPEN TO A HEIGHT OF TWO STORYES

THE TOP OF THE BUILDING IS DEVELOPED AS A ROOF GARDEN CONTAINING THE SERVICE BLOCKS AND CAFETERIA FOR EMPLOYEES

THE PLASTIC EMPHASIS IS GIVEN TO THE BUILDING BY FREE STANDING EXTERIOR RAMPS ENCLOSED IN ROUGH CONCRETE WALLS

FOR SUPPLEMENTARY COMMUNICATION WITHIN THE BUILDING , EACH OF SIX BLOCKS IS EQUIPPED WITH INTERIOR STAIRWAYS AND LIMITED ELEVATOR SERVICE

HORIZONTAL CIRCULATION IS BY MEANS OF A CENTRAL CORRIDORS

FOR MINISTER’S BLOCK THE BAY SIZE IS INCREASED AND THE COLUMN IS THICKENED

HT OF 2 STOREYS LEFT OPEN

COLUMNS SUPPORTING 1 ½ BLOCK

THE HIGH COURT

THE HIGH COURT THE HIGH COURT FORMED A PART AS “ A GRAT

ARCHITECTURAL VENTURE USING VERY POOR MATERIALS AND A LABOUR FORCEQUITE UNUSED TO MODERN BUILDING TECHNIQUES

AN ENTIRE STUCTURE HAS RESULTED IN THE USE OF DOUBLE ROOF

THE UPPER ROOF CANTILEVERED OUT OF THE OFFICE BLOCK IN THE MANNER OF PARASOL SHADING THE LOWER ROOF

THE SPACE BETWEEN THE TWO ROOFS IS LEFT OPEN TO ENABLE CURRENTS OF AIR TO MOVE BETWEEN THE FLAT ROOF OF THE OFFICE BLOCK AND THE UNDERSIDE OF THE PARASOL ROOF WHICH SLOPES TOWARDS CENTER IN THE FORM OF ROWS OF ARCHES

IN THE PLAN THE BUILDING TOOK THE FORM OF ABBREVIATED L – SHAPED WITH LONG FAÇADE FACING THE CAPITOL PLAZA TO CONTAIN COURT ROOMS

THE BUILDING IS A RECTILINEAR FRAME WITHIN WHICH THE INTERIOR FUNCTIONS ARE DEFINED

THE EIGHT COURT ROOMS ARE IDENTICALLY EXPRESSED ON THE MAIN FAÇADE AND SEPARETED FROM THE LARGER HIGH COURT BY A MONUMENTAL COLUMNED ENTRANCE RISING THE HEIGHT OF THE BUILDING

THE EIGHT COURT ROOMS ARE IDENTICALLY EXPRESSED ON THE MAIN FAÇADE AND SEPARETED FROM THE LARGER HIGH COURT BY A MONUMENTAL COLUMNED ENTRANCE RISING THE HEIGHT OF THE BUILDING.

BUILDING RISES DIRECTLY FROM THE EARTH . THE MAIN FAÇADE IS DEFINED BY A FULL HEIGHT

CONCRETE BRISE SOLEIL . THE ARCH FORM IS RESTRICTED TO THE UNDERSIDE

OF THE PARASOL ROOF . IT IS THE VISUAL DRAMA OF THE PIERS RISING SIXTY

FEET FROM THE GROUND TO MEET THE HEAVY OUTWARD THRUST OF THE ROOF WHICH CREATES THE FOCAL EMPHASIS OF THE PRESENT PLAN .

ON THE MAIN FAÇADE THE DEEP FIXED CONCRETE BRISE SOLEIL GIVES A STRONG AND SCALELESS PATTERN TO THE BUILDING.

IT IS THE CONCRETE SCREEN WHICH GIVES THE MAIN FAÇADE ITS OVER ALL UNITY.

BEHIND THE BRISE SOLEIL , THE WINDOWS OF THE COURT ROOMS ARE OF FIXED GLASS, BUT BETWEEN ARE NARROW VERTICAL SPACES CONTAINING SHUTTERS WHICH OPEN AND CLOSE ON HINGES .

IT IS NOTED THAT THE ORIENTATION OF THE HIGH COURT IS SUCH THAT THE MAIN FAÇADE FACES NORTH WEST , AND THIS DOES NOT RECEIVE DIRECT SUNLIGHT .

THE ROUGH CONCRETE OF THE BUILDING IS TREATED IN VARIETY OF MANNERS FOR MUCH OF THE SURFACE INCLUDING THE UNDERSIDE OF THE PARASOL ROOF AND THE EXTERIOR SIDE WALLS , THE MASS OF SHEET METAL CHARACTERIZE THE SURFACE .

IN PORTIONS OF THE INTERIOR AND ON THE RAMPS , WOODEN BOARDS HAVE BEEN INSERTED WITH IN THE METAL FORMS TO GIVE THE CONCRETE SURFACE THE IMPRESS OF THEIR JOINTED PATTERN, WHILE OTHER SURFACES, INCLUDING THOSE OF MASSIVE ENTRANCE PIERS ARE FINISHED WITH GUNNITE CEMENT .

COLOURED MASSIVE PILLARS

PARASOL ROOF FORMING ARCHES

DOUBLE ROOF GAP LEFT BETWEEN TWO ROOFS

FULL HT ENTRANCE

ARCHITECTURAL FEATURES

REAR VIEW

ROUGH CONCRETE FINISHED RAMP

DOUBLE ROOF

APPROACHED THROUGH ROADS

THE ENTRANCE LOBBY IS PAVED WITH WHITISH FLAG STONE SET IN THE ROWS OF VARYING WIDTHS

NEW SCHEME FOR PAINTING THE COLUMNS AND PORTICO WALLS IN BRIGHT CONTRASTING COLOURS

THE INSIDE WALL TO THE LEFT OF THE PIERS WAS TO BE BLACK

THE ADJACENT PILLAR PAINTED GREEN THE CENTER PIER WOULD BE YELLOW THE RIGHT HAND PILLAR IS RED AND THE REMAINING PORTICO WALL IS PRIMARY

BLUE THE GRAET ENTRANCE HALL OF THE HIGH COURT IS

ALSO BEEN FOUND IN LACKING PROTECTION DURING THE MONSOON SEASON

THE NARROW CURVING RAMP AT THE END OF THE ENTRANCE HALL,WHICH FORMS THE MAIN VERTICAL CIRCULATION IS EXPOSED

THE HORIZONTAL CIRCULATION, CONSISTING OF POEN CORRIDORS ON THR REAR FACADE ,IS ALSO INEFFECTIVELY SHELTERED

THE ASSEMBLY HALL

THE ASSEMBLY HALL THE ASSEMBLY WAS CONCEIVED AS A RECTILINEAR

STRUCTURE IT IS SQUARE IN PLAN WITH A MONUMENTAL

PORTICO FACING THE MAIN PLAZA ON THE LATERAL FACADES BOTH THE PORTICO AND

THE OFFICE BLOCK WOULD BE DEFINED BY SOLID END WALLS

THE LARGE CHAMBER IS IN HYPERBOLIC FORM OF THE COOLING TOWER WITH AN AVERAGE THICKNESS OF 15 CMS

THE SMALL COUNCIL CHAMBER ARE IN RECTILINEAR FRAME

THE UPPER PORTION OF THE TOWER IS EXTENDING ABOVE THE ROOF LINE

AN ASSEMBLY CHAMBER IS 128 FT IN DIAMETER AT ITS BASE AND RISES TO 124 FT AT ITS HIGHEST POINT

THIS TOWER WAS DESIGNED TO INSURE THE NATURAL LIGHT, VENTILATION AND PROPER ACOUSTICS

OF ALL BUILDINGS OF THE CAPITOL COMPLEX , THE ASSEMBLY IS THE MOST INTRICATE IN PLAN

SEPARATE CIRCULATION ACCOMMODATION OF ALL GROUPS IS PROVIDED

EMPLOYING A SYSTEM OF INDIVIDUAL ENTRANCES, STAIRWAYS, LIFTS AND RAMP A COMPLETE SEGREGATION OF MEMBERS IS PROVIDED

THER ARE TWO SEPARATE GALLERIES FOR MEN AND WOMEN IN COUNCIL CHAMBER

INTERIOR VIEW OF A CHAMBER

MUSHROOM COLUMN SUPPORTING ROOF

SECTOR-17,CHANDIGARH

THE CITY CENTER CONSISTS OF DIFFERENT SQUARES TIED TOGETHER BY BROAD AVENUES.

AT THE PRESENT TIME,WHEN THIS CENTER IS STILL DEVOID OF ANY SORT OF VEGETATION,THE UNSHADED OPEN AREAS CAN BE QUITE UNPLEASANT.

THIS SECTOR-17 IS VIRTUALLY UNINHABITED,BUT IT IS ENLIVENED DURING THE DAYTIME BY THE MANY SHOPS,BAZARS, RESTAURANT,CAFES,BANKS AND DEPARTMENT STORES.

THERE IS DOUBT THAT AT PRESENT THE CITY CENTER STILL LOOKS LIKE AN EXPERIMENT .

THE URBAN CIRCULATION HERE IS IN SHARP CONTRAST TO THE ‘ORIENTAL’ BAZAAR STREETS,THE NARROW ALLEYS FUL OF NOISE AND PLUNGED IN SHADOW .

OF ALL THE CITIES OF INDIA , ONLY CHANDIGARH CAN CLAIM TO BE AN ABSOLUTELY MODERN TOWN , ”UNTOUCHED BY THE TRADITION OF THE PAST,” AS JAWAHARLAL NEHRU SO APTLY REMARKED .

THE EXECUTION OF THE BUILDINGS FOR THE CITY CENTRE WAS ASSIGNED TO DIFFERENT ARCHITECTS. PIERRE JEANNERET CONSCIENTIOUSLY SUPERVISED AND ORGANIZED THE SCHEMES DETERMINED BY LECORBUSIER.

SUKHNA LAKE, CHANDIGARH THE CLUB HOUSE-

NORTH OF THE CAPITOL NO ADDITIONAL STRUCTURES WERE TO BE ERECTED,IN ORDER NOT TO IMPEDE THE VIEW OF THE HIMALAYA.

THIS WAS AN EXPRESS CONDITION LAID DOWN BY LE CORBUSIER.

THE CLUB HOUSE WAS HOWEVER NECESSITY.

LE CORBUSIER DESIGNED A COMPLEX LYING 3METERS BENEATH ROAD LEVEL,SO THAT THE HOUSE IS SCARSELY VISIBLE FROM THE PROMENADE.

THE CAUSEWAY- CHANDIGARH IS SURROUNDED BY THE RIVERS PATIALI AND MANIMAJRA, WHICH CARRY WATER ONLY DURING THE MONSOON SEASON.

THE REINFORCED CONCRETE CONSTRUCTION IS SIMPLE AND PLAIN, AND ITS SEVERE LINES HARMONIZE ENTIRELY WITH THE NATURAL SETTING.

AT ALL OTHER TIMES OF THE YEAR THEY ARE DRY.

DURING THE HOT MONTHS OF MAY AND JUNE, ENORMOUS AMOUNTS OF DUST USED TO BLOW INTO THE CITY.

TREES AND SHRUBS WERE PLANTED AS A PROTECTIVE ZONE ALONG THESE RIVERS, SO THAT THE CITY IS NOW FREE OF THE INCONVENIENCE OF THIS FLYING SAND.

ONE OF THESE RIVERS HAS BEEN DAMMED.

IN 1955 THE WATER BOULEVARD WAS EXTENDED IN THE SHAPE OF A CAUSEWAY, OR DAM, THE RETAINING WALL BEING MORE THAN

20 METERS HIGH AND 4 KILOMETERS LONG. THIS DAM,WITH ITS WIDTH ON TOP OF 24METERS,

THUS YIELDED A PROMENADE. THE ARTIFICIAL LAKE CREATED BEHIND THE DAM HAS

MODIFIED THE CLIMATE OF THE CITY.

UNITE D’HABITATION AT MARSEILLE

The marseille block was first built unite d’habitation by corbusier.

First is was the commercial street, then eventually filled with various professional offices, shops and services

The planning has been done in such a way that there are alternate corridor and non corridor floors.

Each block consists of one part of non corridor floor and half part of corridor floor.

There are 3 staircases and 4 lifts running from outside lobby connecting different floors.

The quality of interior streetscape is intentionally dark.

The darkness is relieved with various portals (grand entries).

ROOF

The sculptural part of roof garden shows rather a mythical

Nature of the designer.

Various forms casted from rcc are clubbed together.

It consists of nursery school at top It also has gymnasium and club at this

level.

STRUCTURE Prefabricated apartments were

inserted into the whole block.

The apartment perimeter is a wood box of plywood sheathing and pine framing insulated with fiber glass, and finished with gypsum board , oak panels and linoleum flooring.

Chapelle-northe-dame-du-haut

The chapel when completed shocked the architectural world.

Those who revered (deep honor) Le Corbusier as a champion of reason saw the freedom of Chappel as an expressionist.

Le corbusier said It was pleasure here

to allow free play to the resources of modular, keeping a corner at one’s eye on the game to avoid blunders

He challenged the modular everywhere .He defy the visitor to give different dimensions of different parts of building.

The great source of inspiration other than modular was the landscape.

Giving the response to site conditions, he acknowledged the dominant role of hillside from first.

The plan is four curved lines, an “acoustical” response to the four horizons viewed from the hilltop.

The plan shows how the curved walls simultaneously gather and open to landscape, far beyond the building boundary and beyond the boundary of optical experience.

Le corbusier likened the roof form to crab shell found on long island beaches .

In the dim chapel,the roof swells up, the floor dips down, and the western wall ripples as if space was somehow fluid.

INTER PENETRATION OF NATURAL LIGHT

THANK YOU

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