ASSIGNMENT ON CHARLES CHOREA

SUBMITTED BY: ACHIN YADAV ROLL NO- 10-BA-002

Design Philosophies of Charles Correa

Key to Correas design approach is his understanding of the unique cultural requirements and needs of his native country. He recognizes that living in an Asian city requires much more than the use of a small room. In a 1987 book focused on his work, Correa said, Such a cell is only one element in a whole system of spaces people need in order to live. He identifies this hierarchical system as consisting of four major elements: 1. Space needed by the family for private use, 2. Areas of intimate contact (e.g. the front doorstep where children play). 3. Neighbour hood spaces, like a water tap 4.Urban area open space used by the whole city.

Since nearly all Asian societies are located in warm climates, Correa stresses the importance of having open-to-sky spaces where families can entertain, cook, relax or sleep. In hot, humid places like Mumbai, these functions can be performed in a private open courtyard or terrace for 70% of the year. A balance must be struck between rooms and open spaces that will give the optimum housing pattern. Says Correa, to identify the spatial hierarchy (which varies with the cultural/climatic context) and understand the nature of these trade-offs is the first step towards providing economical housing.

 This is why many attempts at low-cost housing perceive it only as a simplistic question of trying to pile up as many dwelling units as possible on a given site, without any concern for the other spaces involved in the system. Correa gives careful attention to natural ventilation and comfortable accommodations in crowded living conditions.

Champalimaud Center by charles correa

VIDHAN BHAWAN, Bhopal

The Vidhan Bhavan is a huge building, covering an area of more than 32,000 sq. meters of built space. In point of fact viewed from any point of the compass the Vidhan Bhavan impresses by its light footedness and effervescence.

The whole building presents as extremely pleasing vision of powerful curves and straight vertical and horizontal lines. Whereas the building could have fallen into the trap of being merely monumental, its pristinely simple lines raise it to an altogether different plane

 The Vidhan Bhavan is divided into nine compartments of squares each enclosing in it a pattern of gardens within gardens. The five Central squares form hall and courtyards which are not only assemblage points but also house the various offices of the Vidhan Bhavan Secretariat and support services which a legislature need. The four corner squares are occupied by structures given over to specialized function. i.e. the Vidhan Sabha or Lower House, the Vidhan Parishad or upper House, the combined hall for joint session of both houses and any other nonLegislative function which might be organized by the Vidhan Bhavan and a cabinet room and the offices of the Chief Minister and other Ministers.

 Entry to the building is through three main gates or 'dwars', one for people at large through the kund, one for member of the legislature and minister and one for the Speaker of the House. There is also a smaller entrance for the Chief Minister and Ministers attending cabinet meetings.

 Location Function Contributed by Latheef

KANCHANJUNGA APARTMENTS, MUMBAI

Mumbai Housing Sahil

In Mumbai, a building has to be oriented east-west to catch prevailing sea breezes and to open up the best views of the city. Unfortunately, these are also the directions of the hot sun and the heavy monsoon rains. Kanchanjunga IS an attempt to apply these principles to a building, is a condominium of 32 luxury apartments of four different types, varying from 3 to 6 bedrooms each. The interlock of these variations are expressed externally by the shear end walls that hold up the cantilevers.

 Superficially, this 28-story tower, with its concrete construction and large areas of white panels, bears a strong resemblance to modern apartment buildings in the West. The tower has a proportion of 1:4 (21m square and 84m high). Its minimalist unbroken surfaces are cut away to open up the double-height terrace gardens at the corners, thus revealing (through the interlocking form and colour) some hint of the complex' spatial organisation of living spaces that lie within. Each apartment provided with a deep, two-story-high garden terrace that is oriented away from the sun so as to afford protection from the elements

Typical section showing basic units

Floor Plan s of kanchanjunga apartment

Gandhi Smarak Sangrahalaya, Ahemdabad

Spaces The site on the Sabarmati River bank is part of the larger ashram complex and is integrated into its gardens. Five interior rooms contain the collection of the museum. The rooms are enclosed by brick walls and wooden louvered screens. All five rooms are part of the 6m square module. Correas subtle changes of enclosure allow for variety in the modules lighting, temperature, and visual permeability. A square, uncovered shallow pool is located between the five rooms 1. Letters 2. Office 3. Meetings 4. Books 5. Photos and paintings

 Construction The museum uses a simple but delicately detailed post and beam structure. Load bearing brick columns support concrete channels, which are both support the wooden roof and direct rainwater. Boards are nailed underneath the joists and tiles are placed atop the joints. The foundation is concrete and is raised about a foot from the ground. The monumental and archetypal structure of the museum recalls the well-known work of Louis Kahn, who began two projects in the region shortly after Correas museum was built. Wooden doors, stone floors, ceramic tile roofs, and brick columns are the palette of the building.

Site plan Gandhi Smarak Sangrahalaya

Structure Gandhi Smarak Sangrahalaya