HUMAN SETTLEMENT PLANNING

UNIT - 3

PLANNING CONCEPTS
CLARANCE STAIN PERRY’S NEIGHBOURHOOD UNIT
CLARANCE STAIN PERRY’S NEIGHBOURHOOD UNIT
CLARANCE STAIN PERRY’S NEIGHBOURHOOD UNIT
PRINCIPLES OF NEIGHBORHOOD UNIT

Unit of Urban Planning

Street System

Facilities

Population

Size and Density

Neighbourhood Walkways

Protective Strips
CLARANCE STAIN PERRY’S NEIGHBOURHOOD UNIT
The core principles of Perry's Neighbourhood Unit were organised around several
physical design ideals:

"Centre the school in the neighbourhood so that a child's walk to school was only about one-quarter of a mile and no
more than one half mile and could be achieved without crossing a major arterial street.

Size the neighbourhood to sufficiently support a school, between 5,000 to 9,000 residents, approximately 160 acres at a
density of ten units per acre.

Implement a wider use of the school facilities for neighbourhood meetings and activities, constructing a large play area
around the building for use by the entire community.

Place arterial streets along the perimeter so that they define and distinguish the "place" of the neighborhood and
by design eliminate unwanted through-traffic from the neighborhood. In this way, major arterials define the neighborhood,
rather than divide it through its heart.

Design internal streets using a hierarchy that easily distinguishes local streets from arterial streets, using curvilinear
street design for both safety and aesthetic purposes.

Streets, by design, would discourage unwanted through traffic and enhance the safety of pedestrians.

Restrict local shopping areas to the perimeter or perhaps to the main entrance of the neighborhood, thus
excluding nonlocal traffic destined for these commercial uses that might intrude on the neighborhood.

Dedicate at least 10 percent of the neighborhood land area to parks and open space, creating places for
play and community interaction" The neighbourhood unit was embraced for its community idealism, and many of the public
sectors in those countries which were exposed to the theorem have since adopted its purpose; of protecting and promoting
the public health and of considering the safety and welfare of citizens.
A cul-de-sac, dead end, closed, no through road or court ,is a street with only
one inlet/outlet.
CLARANCE STAIN PERRY’S NEIGHBOURHOOD UNIT

Basic principles :
• size : 5000 population ( 1 school), 160 acre (area for one unit neighborhood).

• Border : the function of main road around neighborhood unit is as a border .

• Free area : 10% provide as free area.

• Public facilities and institution : provide in the middle of neighborhood unit.

• Shops: to fulfill market purpose. the location is on the corner of four junction.

• Road network system: design as to prevent short road ( prevent from

across neighborhood unit). Hierarchy of road width is 132 feet, 100 ft, 66ft,
50 ft, and 40 ft.

• Density: rough density for this system is about 5 unit house for every acre.
LE CORBUSIER
 Charles-Édouard Jeanneret-Gris LE CORBUSIER
Name
Le Corbusier
Nationality Swiss / French
Birth date October 6, 1887(1887-10-06)
Birth place La Chaux-de-Fonds, Switzerland
Date of death August 27, 1965 (aged 77)
Place of death Roquebrune-Cap-Martin, France

•Le Corbusier was an architect, designer, urbanist, writer and also painter, who is
famous for his contributions to what now is called Modern architecture.
•His career spanned 8 decades, with his buildings constructed throughout central
Europe, India, Russia, and one each in North and South America. He was also an urban
planner, painter, sculptor, writer, and modern furniture designer.
•Died in the mediterranean
•Dad was watchmaker
•Grew up seeing the alps – adored cows right from his childhood (inspiration for
chandigarh secratariat)
•Self made architect
•Gave the world one of the STRONGEST proportioning systems.
•Minimalistic approach.
MODULAR THOERY
- Le Corbusier explicitly used the golden ratio in his Modular
system for the scale of architectural proportion.
- Le Corbusier based the system on human measurements,
Fibonacci numbers, and the double unit.
- He took Leonardo's suggestion of the golden ratio in human
proportions to an extreme: he sectioned his model human
body's height at the navel with the two sections in golden
ratio, then subdivided those sections in golden ratio at the
knees and throat; he used these golden ratio proportions in
the Modular system.
- Le Corbusier placed systems of harmony and proportion at
the centre of his design philosophy, and his faith in the
mathematical order of the universe was closely bound to the
golden section and the Fibonacci series

Le Corbusier's 1927 Villa Stein in Garches

exemplified the Modular system's application.
The villa's rectangular ground plan, elevation,
and inner structure closely approximate golden
rectangles.
VILLA SAVOYE
 Situated at Poissy, outside of Paris,
it is one of the most recognisable
architectural presentations of the
International Style.
 The Villa Savoye was designed as a
weekend country house and is
situated just outside of the small
village of Poissy in a meadow which
was originally surrounded by trees.
 The polychromatic interior contrasts
with the primarily white exterior.
 Vertical circulation is facilitated by
ramps as well as stairs.
 The house fell into ruin during World
War II but has since been restored
and is open for viewing.
•The house was emblematic of Le Corbusier work
in that it addressed “THE FIVE POINTS", his
basic tenets of a new aesthetic of architecture
constructed in reinforced concrete:
•The pilotis, or ground-level supporting columns,
elevate the building from the damp earth
allowing the garden to flow beneath.
•A flat roof terrace reclaims the area of the
building site for domestic purposes, including a
garden area.
•The free plan, made possible by the elimination
of load-bearing walls, consists of partitions
placed where they are needed without regard
for those on adjoining levels.
•Horizontal windows provide even illumination
and ventilation.
•The freely-designed facade, unconstrained by
load-bearing considerations, consists of a thin
skin of wall and windows.
 VILLA SAVOYE (1928 – 1931)

GROUND LEVEL PLAN UPPER LEVEL PLAN

•Austerely functional on the outside, its volume is supported by pilotis
above a large expanse of lawn.
•Direct access for cars, parked between the pilotis, beneath the house.
•Once through the glass wall, visitors have two access options – stairway
and ramp.
•In Le Corbusier‖s eyes, the stairway “separates” whereas the ramp
“links”.
•Ramp – stretches from the lawn to the sky, like a majestic “architectural
promenade”, extending from the entrance through the apartment on the
second floor to the roof terrace.
•The dwelling is arranged in the form of an “L” that cleanly separates the
public areas from the bedrooms.
•Two-thirds of the living room – patio.
•Access to the three bedroom – via corridors isolating the main bathroom.
PLANS, SECTIONS & ELEVATIONS
MILL OWNERS
ASSOCIATION
BUILDING
•The building is located on Ashram Road, in the
western part of the city, overlooking the river
Sabarmati in Ahmedabad.
•A ceremonial ramp makes for a grand approach
into a triple height entrance hall, open to the
wind.
•Arrival is on the first floor, where (as per the
original design) the executives‖ offices and
boardroom are located.
•The ground floor houses the work-spaces of
the clerks and a separate, single-story canteen
at the rear.
•On the second floor of the Mill Owners‖
Building, the lobby is treated as “an open space
defined by harsh, angular forms and the
auditorium as an enclosed space delineated by
soft, curvilinear forms …two contradictory
elements that both need the other in order to
exist.”
• On the third floor is a high, top-lit auditorium with
a roof canopy and a curved, enclosing wall, in addition
to a generous lobby.
•The east and west facades are in the form of sun
breakers or brise-soleil, one of Corbusier‖s many
formal inventions, which, while avoiding harsh sun,
permit visual connection and air movement. While the
brise-soleil act as free facades made of rough
shuttered concrete, the north and south sides, built
in rough brickwork, are almost unbroken.
•It‖s a brilliant display of classic Corbusier, highlighting clean lines, warm light
and bright spaces with hints of colour against the textured concrete.
mill owners association
ahmedabad

ramp and staircases

VIEWS OF THE BUILDING PREMISES
•The toilets are two interlocking curves with a
service shaft in between which grows up to the
terrace.
•Its form and scale contradicts its surrounding.
•Visual privacy is achieved by virtue of its form.
•Entries are on opposite sides of the curves.
•Ventilators are pulled out of the height and
emphasized.

•View to the Sabarmati.
•Subtle transition from the
built to unbuilt.
•Six shaped auditorium.
•Its naturally lit by skylights which
forms a gallery.
•Cladded by ply for better acoustics.

By way of explanation, Corbusier placed these

giant angled louvers on the west side of the
building in an attempt to capture the
prevailing wind, directing it through the Second floor entry
building and thereby increasing ventilation and door, with a large
keeping the place cool. pivoted orange door.
mill owners association
ahmedabad
mill owners association
ahmedabad
CHANDIGARH
•The idea of building Chandigarh was conceived soon after India's independence
chandigarh in 1947, when
the tragedy and chaos of Partition, and the loss of its historic capital Lahore, had crippled the
state of Punjab.
•A new city was needed to house innumerable refugees and to provide an administrative seat
for the newly formed government of re-defined Punjab.
•Chandigarh was regarded as a unique symbol of the progressive aspirations of the new
republic and the ideology of its struggle for independence.
•It aimed to provide a generous cultural and social infrastructure and equitable opportunities
for a dignified, healthy living even to the "poorest of the poor".
•The near vacuum of indigenous expertise needed to realize this dream prompted the search
for Western skill.
• Yet, conscious of the specificities of their situation, the search was narrowed to "...a good
modern architect who was not severely bound by an established style and who would be
capable of developing a new conception originating from the exigencies of the project itself and
suited to the Indian climate, available materials and the functions of the new capital.
•"The Chandigarh Project was, at first, assigned to the American planner Albert Mayer, with his
associate Matthew Nowicki working out architectural details. Le Corbusier's association with the
city was purely fortuitous, a result of Nowicki's sudden death .
•Corbusier continued to be associated with the city as the principal ―architectural and planning
advisor' for the till his death in1965.
Corbusier's plan of modern Chandigarh

•Taking over from Albert Mayer, Le Corbusier produced a plan for Chandigarh that
conformed to the modernist city planning principles, in terms of division of urban
functions, an anthropomorphic plan form, and a hierarchy of road and pedestrian
networks.
•This vision of Chandigarh, contained in the innumerable conceptual maps on the
drawing board together with notes and sketches had to be translated into brick and
mortar.
•Le Corbusier retained many of the seminal ideas of Mayer and Nowicki, like the basic
framework of the master plan and its components: The Capitol, City Centre, besides
the University, Industrial area, and linear parkland.
• Even the neighbourhood unit was retained as the basic module of planning. However,
the curving outline of Mayer and Nowicki was reorganized into a mesh of rectangles,
and the buildings were characterized by an "honesty of materials".
• Exposed brick and boulder stone masonry in its rough form produced unfinished
concrete surfaces, in geometrical structures. This became the architectural form
characteristic of Chandigarh, set amidst landscaped gardens and parks.
•
 Le Corbusier on site

•The initial plan had two phases: the first for a population of 150,000 and the second
taking the total population to 500,000. Le Corbusier divided the city into units called
"sectors", each representing a theoretically self-sufficient entity with space for living,
working and leisure.
•The sectors were linked to each other by a road and path network developed along
the line of the 7 Vs, or a hierarchy of seven types of circulation patterns. At the
highest point in this network was the V1, the highways connecting the city to others,
and at the lowest were the V7s, the streets leading to individual houses. Later a V8
was added: cycle and pedestrian paths.
•The city plan is laid down in a grid pattern. chandigarh
•The whole city has been divided into rectangular patterns, forming identical looking sectors,
each sector measures 800 m x 1200 m. The sectors were to act as self-sufficient
neighbourhoods, each wit
•h its own market, places of worship, schools and colleges - all within 10 minutes walking
distance from within the sector.
• The original two phases of the plan delineated sectors from 1 to 47, with the exception of
13 (Number 13 is considered unlucky).
•The Assembly, the secretariat and the high court, all located in Sector - 1 are the three
monumental buildings designed by Le Corbusier in which he showcased his architectural
genius to the maximum.
•The city was to be surrounded by a 16 kilometre wide greenbelt that was to ensure that
no development could take place in the immediate vicinity of the town, thus checking
suburbs and urban sprawl.
•While leaving the bulk of the city's architecture to other members of his team, Le
Corbusier took responsibility for the overall master plan of the city, and the design of
some of the major public buildings including the High Court, Assembly, Secretariat, the
Museum and Art Gallery, School of Art and the Lake Club.
Le Corbusier 's most prominent building, the Court House, consists of the High court, which
is literally higher than the other, eight lower courts. Most of the other housing was done
by Le Corbusier 's cousin Pierre Jeanerette.
•It continues to be an object of interest for architects, planners, historians and social
scientists.
 Open hand
•Open hand in Chandigarh, India is one of
the most significant monuments of the city.
•The credit for laying down its plan goes to
Le Corbusier.
•It is located in sector 1 in the Capitol
Complex.
•Chandigarh open hand monument has been
designed in the form of a giant hand made
from metal sheets that rotates like a
weathercock, indicating the direction of
wind.
•This giant hand is 14 metres high and
weighs around 50 tonnes.
•The significance of open hand is that it
conveys the social message of peace and
unity that is "open to give & open to
receive."
•Open hand is the city's official emblem.
 chandigarh
Corbusier’s works

secretariat
palace assembly

museum
high court
 high court

•This structure has a double roof, projecting over the

office block like a parasol or an inverted umbrella.
• This magnificent outward sweep of the upper roof is
symbolic of protection & justice to the people.
•The 3 vertical piers, rising 60 feet from the floor
and painted in bright colours from the grand entrance
of the building facade. On the rear walls of the court
rooms, hang the giant wooden tapestries.
•Classic example of cubism.
•Perfectly composed vertical and horizontal lines wit
solids and voids.
secretariat
•The Secretariat is the largest of these edifices
in the Capitol Complex. It is the headquarter of
both Punjab and Haryana governments.
• It is a huge multi-storied linear slab-like
structure, intended as a work place for 4000
people.
• The building is 254 meters long and 42 meters
high. It is composed of 8 storeys.
•The long line of rhythmic sun breakers is relieved
by introducing varied heights and projections,
together with a roof containing towers, funnels,
pavilions and a cafeteria jutting out like an art
object placed on a pedestal
•. In the hands of Corbusier, this basically
repetitive framework has been shaped into a work
of art.
•Built during 1953-59, it is shaped like an eight -
storey concrete slab, with its distinctive brise-
soleil ( louvered screen ) of deeply sculptured
two-storey porticos in the centre, housing the
offices of ministers.
• The cafeteria rests atop the terrace like an art
object, giving a spectacular view of the city .
 high court

•Access to the upper floors is

through a ramp sheltered by a
portico.
•The gradual climb reveals the vast
expanse and the coloured concrete
volumes of the bldg.
•The rooms are shielded by the sun
breakers from inside.
 assembly hall
•The most majestic entrance to the
assembly is reflected in a large
pool of water.
•The main entrance is fitted with a
door made of enamel steel ,a gift
from France to Punjab on which
many of Corbusier‖s motifs are
depicted.
•The circular auditorium is crowned
by a frustum which is said to
depict the horn of a cow.

Door designed and painted by

Corbusier.
UNITE D’HABITATION
ARCHITECT: LE CORBUSIER
LOCATION: MARSEILLES, FRANCE
YEAR OF
CONSTRUCTION: 1946-1952
BUILDING TYPE: MULTIFAMILY HOUSING
CONSTRUCTION
MATERIAL: CONCRETE
•Le Corbusier― s most influential late work
was his first significant postwar structure—
the UnitÈ d'Habitation in Marseilles of 1947-
52.

•The giant, twelve-story apartment block for

1.600 people is the late modern counterpart of
the mass housing schemes of the 1920s,
similarly built to alleviate a severe postwar
housing shortage.
• structurally it is simple: a rectilinear
ferroconcrete grid, into which are slotted pre
cast individual apartment units, like 'bottles
into a wine rack' as the architect put it.
•Through ingenious planning, twenty-three
different apartment configurations were
provided to accommodate single persons and
families as large as ten, nearly all with
double-height living rooms and the deep
balconies that form the major external
feature.”
•Inside, corridors run through the centre of the long
axis of every third floor of the building, with each
apartment lying on two levels, and stretching from one
side of the building to the other, with a balcony.
•In the block's planning, the architect drew on his
studies of early Soviet Communal houses such as the
Narkomfin Building.
•Appropriately, unlike many of the inferior system-built
blocks it inspired, which lack the original's generous
proportions, communal facilities and parkland setting,
the Unité is popular with its residents and is now
mainly occupied by middle-class professionals.
•The building is constructed in béton brut (rough-cast
concrete), as the hoped-for steel frame proved too
expensive in light of post-War shortages.
•The replacement material influenced the Brutalist
movement, and the building inspired several housing
complexes including the Alton West estate in
Roehampton, London and Park Hill in Sheffield.
•The Unité d'Habitation , literally, "Housing
Unity" or "Housing Unit) is the name of a
modernist residential housing design principle
developed by Le Corbusier (with the
collaboration of painter-architect NadirAfonso).
•Probably his most famous work, it proved
enormously influential and is often cited as
the initial inspiration of the Brutalist
architectural style and philosophy.
•The Marseille building comprises 337
apartments arranged over twelve stories, all
suspended on large piloti.
•The building also incorporates shops, sporting,
medical and educational facilities, and a hotel.
•The flat roof is designed as a communal
terrace with sculptural ventilation stacks and
a swimming pool.
PLAN, SECTIONS & ELEVATION OF UNITE D’HABITATION
 FURNITURE DESIGN BY LE CORBUSIER

Le Corbusier began experimenting with furniture design in 1928 after inviting the architect, Charlotte Perriand,
to join his studio. His cousin, Pierre Jeanneret, also collaborated on many of the designs.
LE CORBUSIER
 Charles-Édouard Jeanneret-Gris LE CORBUSIER
Name
Le Corbusier
Nationality Swiss / French
Birth date October 6, 1887(1887-10-06)
Birth place La Chaux-de-Fonds, Switzerland
Date of death August 27, 1965 (aged 77)
Place of death Roquebrune-Cap-Martin, France

•Le Corbusier was an architect, designer, urbanist, writer and also painter, who is
famous for his contributions to what now is called Modern architecture.
•His career spanned 8 decades, with his buildings constructed throughout central
Europe, India, Russia, and one each in North and South America. He was also an urban
planner, painter, sculptor, writer, and modern furniture designer.
•Died in the mediterranean
•Dad was watchmaker
•Grew up seeing the alps – adored cows right from his childhood (inspiration for
chandigarh secratariat)
•Self made architect
•Gave the world one of the STRONGEST proportioning systems.
•Minimalistic approach.
MODULAR THOERY
- Le Corbusier explicitly used the golden ratio in his Modular
system for the scale of architectural proportion.
- Le Corbusier based the system on human measurements,
Fibonacci numbers, and the double unit.
- He took Leonardo's suggestion of the golden ratio in human
proportions to an extreme: he sectioned his model human
body's height at the navel with the two sections in golden
ratio, then subdivided those sections in golden ratio at the
knees and throat; he used these golden ratio proportions in
the Modular system.
- Le Corbusier placed systems of harmony and proportion at
the centre of his design philosophy, and his faith in the
mathematical order of the universe was closely bound to the
golden section and the Fibonacci series

Le Corbusier's 1927 Villa Stein in Garches

exemplified the Modular system's application.
The villa's rectangular ground plan, elevation,
and inner structure closely approximate golden
rectangles.
VILLA SAVOYE
 Situated at Poissy, outside of Paris,
it is one of the most recognisable
architectural presentations of the
International Style.
 The Villa Savoye was designed as a
weekend country house and is
situated just outside of the small
village of Poissy in a meadow which
was originally surrounded by trees.
 The polychromatic interior contrasts
with the primarily white exterior.
 Vertical circulation is facilitated by
ramps as well as stairs.
 The house fell into ruin during World
War II but has since been restored
and is open for viewing.
•The house was emblematic of Le Corbusier
work in that it addressed “THE FIVE POINTS",
his basic tenets of a new aesthetic of
architecture constructed in reinforced concrete:
•The pilotis, or ground-level supporting
columns, elevate the building from the damp
earth allowing the garden to flow beneath.
•A flat roof terrace reclaims the area of the
building site for domestic purposes, including a
garden area.
•The free plan, made possible by the elimination
of load-bearing walls, consists of partitions
placed where they are needed without regard
for those on adjoining levels.
•Horizontal windows provide even illumination
and ventilation.
•The freely-designed facade, unconstrained by
load-bearing considerations, consists of a thin
skin of wall and windows.
 VILLA SAVOYE (1928 – 1931)

GROUND LEVEL PLAN UPPER LEVEL PLAN

•Austerely functional on the outside, its volume is supported by pilotis
above a large expanse of lawn.
•Direct access for cars, parked between the pilotis, beneath the house.
•Once through the glass wall, visitors have two access options – stairway
and ramp.
•In Le Corbusier‖s eyes, the stairway “separates” whereas the ramp
“links”.
•Ramp – stretches from the lawn to the sky, like a majestic “architectural
promenade”, extending from the entrance through the apartment on the
second floor to the roof terrace.
•The dwelling is arranged in the form of an “L” that cleanly separates the
public areas from the bedrooms.
•Two-thirds of the living room – patio.
•Access to the three bedroom – via corridors isolating the main bathroom.
PLANS, SECTIONS & ELEVATIONS
MILL OWNERS
ASSOCIATION
BUILDING
•The building is located on Ashram Road, in the
western part of the city, overlooking the river
Sabarmati in Ahmedabad.
•A ceremonial ramp makes for a grand approach
into a triple height entrance hall, open to the
wind.
•Arrival is on the first floor, where (as per the
original design) the executives‖ offices and
boardroom are located.
•The ground floor houses the work-spaces of
the clerks and a separate, single-story canteen
at the rear.
•On the second floor of the Mill Owners‖
Building, the lobby is treated as “an open space
defined by harsh, angular forms and the
auditorium as an enclosed space delineated by
soft, curvilinear forms …two contradictory
elements that both need the other in order to
exist.”
• On the third floor is a high, top-lit auditorium with
a roof canopy and a curved, enclosing wall, in addition
to a generous lobby.
•The east and west facades are in the form of sun
breakers or brise-soleil, one of Corbusier‖s many
formal inventions, which, while avoiding harsh sun,
permit visual connection and air movement. While the
brise-soleil act as free facades made of rough
shuttered concrete, the north and south sides, built
in rough brickwork, are almost unbroken.
•It‖s a brilliant display of classic Corbusier, highlighting clean lines, warm light
and bright spaces with hints of colour against the textured concrete.
mill owners association
ahmedabad

ramp and staircases

VIEWS OF THE BUILDING PREMISES
•The toilets are two interlocking curves with a
service shaft in between which grows up to the
terrace.
•Its form and scale contradicts its surrounding.
•Visual privacy is achieved by virtue of its form.
•Entries are on opposite sides of the curves.
•Ventilators are pulled out of the height and
emphasized.

•View to the Sabarmati.
•Subtle transition from the
built to unbuilt.
•Six shaped auditorium.
•Its naturally lit by skylights which
forms a gallery.
•Cladded by ply for better acoustics.

By way of explanation, Corbusier placed these

giant angled louvers on the west side of the
building in an attempt to capture the
prevailing wind, directing it through the Second floor entry
building and thereby increasing ventilation and door, with a large
keeping the place cool. pivoted orange door.
mill owners association
ahmedabad
mill owners association
ahmedabad
CHANDIGARH
•The idea of building Chandigarh was conceived soon after India's independence
chandigarh in 1947, when
the tragedy and chaos of Partition, and the loss of its historic capital Lahore, had crippled the
state of Punjab.
•A new city was needed to house innumerable refugees and to provide an administrative seat
for the newly formed government of re-defined Punjab.
•Chandigarh was regarded as a unique symbol of the progressive aspirations of the new
republic and the ideology of its struggle for independence.
•It aimed to provide a generous cultural and social infrastructure and equitable opportunities
for a dignified, healthy living even to the "poorest of the poor".
•The near vacuum of indigenous expertise needed to realize this dream prompted the search
for Western skill.
• Yet, conscious of the specificities of their situation, the search was narrowed to "...a good
modern architect who was not severely bound by an established style and who would be
capable of developing a new conception originating from the exigencies of the project itself and
suited to the Indian climate, available materials and the functions of the new capital.
•"The Chandigarh Project was, at first, assigned to the American planner Albert Mayer, with his
associate Matthew Nowicki working out architectural details. Le Corbusier's association with the
city was purely fortuitous, a result of Nowicki's sudden death .
•Corbusier continued to be associated with the city as the principal ―architectural and planning
advisor' for the till his death in1965.
Corbusier's plan of modern Chandigarh

•Taking over from Albert Mayer, Le Corbusier produced a plan for Chandigarh that
conformed to the modernist city planning principles, in terms of division of urban
functions, an anthropomorphic plan form, and a hierarchy of road and pedestrian
networks.
•This vision of Chandigarh, contained in the innumerable conceptual maps on the
drawing board together with notes and sketches had to be translated into brick and
mortar.
•Le Corbusier retained many of the seminal ideas of Mayer and Nowicki, like the basic
framework of the master plan and its components: The Capitol, City Centre, besides
the University, Industrial area, and linear parkland.
• Even the neighbourhood unit was retained as the basic module of planning. However,
the curving outline of Mayer and Nowicki was reorganized into a mesh of rectangles,
and the buildings were characterized by an "honesty of materials".
• Exposed brick and boulder stone masonry in its rough form produced unfinished
concrete surfaces, in geometrical structures. This became the architectural form
characteristic of Chandigarh, set amidst landscaped gardens and parks.
•
 Le Corbusier on site

•The initial plan had two phases: the first for a population of 150,000 and the second
taking the total population to 500,000. Le Corbusier divided the city into units called
"sectors", each representing a theoretically self-sufficient entity with space for living,
working and leisure.
•The sectors were linked to each other by a road and path network developed along
the line of the 7 Vs, or a hierarchy of seven types of circulation patterns. At the
highest point in this network was the V1, the highways connecting the city to others,
and at the lowest were the V7s, the streets leading to individual houses. Later a V8
was added: cycle and pedestrian paths.
•The city plan is laid down in a grid pattern. chandigarh
•The whole city has been divided into rectangular patterns, forming identical looking sectors,
each sector measures 800 m x 1200 m. The sectors were to act as self-sufficient
neighbourhoods, each wit
•h its own market, places of worship, schools and colleges - all within 10 minutes walking
distance from within the sector.
• The original two phases of the plan delineated sectors from 1 to 47, with the exception of
13 (Number 13 is considered unlucky).
•The Assembly, the secretariat and the high court, all located in Sector - 1 are the three
monumental buildings designed by Le Corbusier in which he showcased his architectural
genius to the maximum.
•The city was to be surrounded by a 16 kilometre wide greenbelt that was to ensure that
no development could take place in the immediate vicinity of the town, thus checking
suburbs and urban sprawl.
•While leaving the bulk of the city's architecture to other members of his team, Le
Corbusier took responsibility for the overall master plan of the city, and the design of
some of the major public buildings including the High Court, Assembly, Secretariat, the
Museum and Art Gallery, School of Art and the Lake Club.
Le Corbusier 's most prominent building, the Court House, consists of the High court, which
is literally higher than the other, eight lower courts. Most of the other housing was done
by Le Corbusier 's cousin Pierre Jeanerette.
•It continues to be an object of interest for architects, planners, historians and social
scientists.
 Open hand
•Open hand in Chandigarh, India is one of
the most significant monuments of the city.
•The credit for laying down its plan goes to
Le Corbusier.
•It is located in sector 1 in the Capitol
Complex.
•Chandigarh open hand monument has been
designed in the form of a giant hand made
from metal sheets that rotates like a
weathercock, indicating the direction of
wind.
•This giant hand is 14 metres high and
weighs around 50 tonnes.
•The significance of open hand is that it
conveys the social message of peace and
unity that is "open to give & open to
receive."
•Open hand is the city's official emblem.
 chandigarh
Corbusier’s works

secretariat
palace assembly

museum
high court
 high court

•This structure has a double roof, projecting over the

office block like a parasol or an inverted umbrella.
• This magnificent outward sweep of the upper roof is
symbolic of protection & justice to the people.
•The 3 vertical piers, rising 60 feet from the floor
and painted in bright colours from the grand entrance
of the building facade. On the rear walls of the court
rooms, hang the giant wooden tapestries.
•Classic example of cubism.
•Perfectly composed vertical and horizontal lines wit
solids and voids.
secretariat
•The Secretariat is the largest of these edifices
in the Capitol Complex. It is the headquarter of
both Punjab and Haryana governments.
• It is a huge multi-storied linear slab-like
structure, intended as a work place for 4000
people.
• The building is 254 meters long and 42 meters
high. It is composed of 8 storeys.
•The long line of rhythmic sun breakers is relieved
by introducing varied heights and projections,
together with a roof containing towers, funnels,
pavilions and a cafeteria jutting out like an art
object placed on a pedestal
•. In the hands of Corbusier, this basically
repetitive framework has been shaped into a work
of art.
•Built during 1953-59, it is shaped like an eight -
storey concrete slab, with its distinctive brise-
soleil ( louvered screen ) of deeply sculptured
two-storey porticos in the centre, housing the
offices of ministers.
• The cafeteria rests atop the terrace like an art
object, giving a spectacular view of the city .
 high court

•Access to the upper floors is

through a ramp sheltered by a
portico.
•The gradual climb reveals the vast
expanse and the coloured concrete
volumes of the bldg.
•The rooms are shielded by the sun
breakers from inside.
 assembly hall
•The most majestic entrance to the
assembly is reflected in a large
pool of water.
•The main entrance is fitted with a
door made of enamel steel ,a gift
from France to Punjab on which
many of Corbusier‖s motifs are
depicted.
•The circular auditorium is crowned
by a frustum which is said to
depict the horn of a cow.

Door designed and

painted by Corbusier.
UNITE D’HABITATION
ARCHITECT: LE CORBUSIER
LOCATION: MARSEILLES, FRANCE
YEAR OF
CONSTRUCTION: 1946-1952
BUILDING TYPE: MULTIFAMILY HOUSING
CONSTRUCTION
MATERIAL: CONCRETE
•Le Corbusier― s most influential late work
was his first significant postwar structure—
the UnitÈ d'Habitation in Marseilles of 1947-
52.

•The giant, twelve-story apartment block for

1.600 people is the late modern counterpart of
the mass housing schemes of the 1920s,
similarly built to alleviate a severe postwar
housing shortage.
• structurally it is simple: a rectilinear
ferroconcrete grid, into which are slotted pre
cast individual apartment units, like 'bottles
into a wine rack' as the architect put it.
•Through ingenious planning, twenty-three
different apartment configurations were
provided to accommodate single persons and
families as large as ten, nearly all with
double-height living rooms and the deep
balconies that form the major external
feature.”
•Inside, corridors run through the centre of the long
axis of every third floor of the building, with each
apartment lying on two levels, and stretching from one
side of the building to the other, with a balcony.
•In the block's planning, the architect drew on his
studies of early Soviet Communal houses such as the
Narkomfin Building.
•Appropriately, unlike many of the inferior system-built
blocks it inspired, which lack the original's generous
proportions, communal facilities and parkland setting,
the Unité is popular with its residents and is now
mainly occupied by middle-class professionals.
•The building is constructed in béton brut (rough-cast
concrete), as the hoped-for steel frame proved too
expensive in light of post-War shortages.
•The replacement material influenced the Brutalist
movement, and the building inspired several housing
complexes including the Alton West estate in
Roehampton, London and Park Hill in Sheffield.
•The Unité d'Habitation , literally, "Housing
Unity" or "Housing Unit) is the name of a
modernist residential housing design principle
developed by Le Corbusier (with the
collaboration of painter-architect NadirAfonso).
•Probably his most famous work, it proved
enormously influential and is often cited as
the initial inspiration of the Brutalist
architectural style and philosophy.
•The Marseille building comprises 337
apartments arranged over twelve stories, all
suspended on large piloti.
•The building also incorporates shops, sporting,
medical and educational facilities, and a hotel.
•The flat roof is designed as a communal
terrace with sculptural ventilation stacks and
a swimming pool.
PLAN, SECTIONS & ELEVATION OF UNITE D’HABITATION
 FURNITURE DESIGN BY LE CORBUSIER

Le Corbusier began experimenting with furniture design in 1928 after inviting the architect, Charlotte Perriand,
to join his studio. His cousin, Pierre Jeanneret, also collaborated on many of the designs.