raj rewal

Raj Rewal…THE Mozart of critical regionalism

SUBMITTED BY:- ANKUSH 13603 ARCHIT 13613

One of the India's best-known architects, Raj Rewal is recognized internationally for buildings that respond sensitivity to the complex demands of rapid urbanization, climate and culture. In a country that is both developing and industrialized, whose architectural inheritance is ancient and recent and whose society is conservative and pluralist.

Rewal's work combines sophisticated technology and a sense of history and context, imparted not only by design but by local material such as ochre and rose sandstone, evoking the great Mogul monuments.

Raj Rewal An Introduction...

Born: 1934 Educated in Delhi and London. Rewal worked in Michel Ecochards's office in

Paris before starting his practice in New Delhi. He has received among many other honours,

the Gold Medal from Indian Institute of Architects and the Robert Mathew Award from the Commonwealth Associations of Architects.

Raj Rewal Associates is based in Delhi and has been in practice for the last 35 years. The architectural firm has been acclaimed for its housing projects and urban design and public buildings.


His humanist approach to architecture responds to the complexities of rapid urbanisation, the demands of climate, cultural traditions, and building crafts and technologies.

His built works comprise a wide range of building types, including the Nehru Pavilion, the Scope office complex, the Central Institute of Educational Technology, the World Bank building, the National Institute of Immunology, the Parliament Library, and the Asian Games Village, all located in New Delhi


WORKING LIFE

HE WORKED AS AN ARCHIECTURAL ASST. IN VARIOUS PRACTICES IN LONDON & THEATRE SCENERY DESIGNER IN THE EVENINGS.

HE BECAME ASSOCIATE OF THE ROYAL INSTITUTE OF BRITISH ARCHITECTS (RIBA)

1961-1962 : WORKED IN THE OFFICES OF MICHEL ECOCHARD, ARCHITECT,PARIS

1962 : RETURNED TO NEW DELHI TO SET UP HIS OWN ARCHITECTURAL PRACTICE.

1963-1972 : TAUGHT AT DELHI SCHOOL OF ARCHITECTURE. 1974 : OPENED A SECOND OFFICE IN TEHRAN,IRAN 1985 : FOUNDED THE ARCHITECTURAL RESEACH CELL WITH RAM

SHARMA 1986 : CRATOR OF EXHIBITION “TRADITIONAL ARCHITECTURE IN

INDIA” FOR THE FESTIVAL OF INDIA IN PARIS

PROFESSIONAL PROFILE & ACHIEVEMENT

• He completed his professional education in Europe.• He met with 3 encounters which shaped his architectural ideology. • He developed his ideology and followed it for the rest of his life.• First encounter, he relates to his interest in structures during which he

developed during the review of his diploma projects.• Second one accounts on his working experience that he gained while he

was working as an assistant manager for several Avante Grade theatre productions in London. As a set designer for the drama shows, he learnt that each dramatic work had a particular character which he interpreted as the rasa of the building.

• Third encounter, he worked with Michel Ecohard in Paris, before beginning his own architectural practice. In this office, he learned the principles of Urban design and Planning.

INFLUENCES

THE “ROLE MODELS” FOR RAJ REWAL ARE :-

1. LE CORBUSIER2. CHARLES CHORREA3. LOUIS I. KAHN

INFLUENTIAL PLACES:

1. RAJASTHAN2. OLD TOWNS3. TADITINAL HAVELI HOUSE4. ANCIENT BUILDINGS5. MODERN BUILDINGS AS WELL6. WESTERN THEORIES OF URBAN PLANNING &

BUILDING TECHNOLOGY

“Tradition should not be approached for its underlying order, not for its superficial effects, it should be rethought in terms that are right for the possibilities and limitations of the present social order”…Raj Rewal

…

PHILOSOPHY

Rewal’s designs have some things in common with those of his contemporaries Charles Correa, Balkrishna V Doshiand Achyut Kanvinde— such as broken-up forms, open courtyards and sociable living or working environments. But Rewal’s work has its own range and grammar. Unlike the other architects, and like Joseph Allen Stein also in New Delhi, Rewal has built largely in one place and climate — Delhi, and hot, dry north India.

PHILOSOPHY

PHILOSOPHY• ARCHITECTURAL THEORY - BUILDINGS SHOULD RESPOND TO COMPLEX DEMANDS OF RAPID URBANISATION, CLIMATE & CULTURE.

• CONCEPT - BASE OF DESIGNING HOUSING IS TRADITIONAL ARCHITECTURE OF INDIA AND A DUAL CONCERN FOR A BUILDING’S EXPRESSIVENESS BY MEANS OF INCORPORATING HISTORICAL PRECEDENTS INTO URBAN DESIGN.

WINDOW OPENINGS CONSTITUTE A MODERN INTERPRETATION OF CARVED

JALIS IN ANCIENT BUILDINGS

MORPHOLOGY OF OLD TOWNS INTO A CONTEMPORARY EQUIVALENT.

(SHEIKH SARAI MASS HOUSING COMPLEX)

An approach to architecture in the 80’s that countered PLACELESSNESS and LACK OF MEANING

CRITICAL REGIONALISM

Raj Rewal emphasized on topography, light and climate rather than scenography

Critical regionalism seeks architectural traditions deeply rooted in local condition that results in intelligent and appropriate architecture

• Raj Rewal has some things in common with his contemporaries such as BV Doshi, Achyut Kanvinde- broken up forms, open courtyards, sociable living and working environments.

• He has dealt largely with areas of similar climate such as Delhi and Jaipur, which are hot and dry .

• The main problem of critical regionalism is to seek answers to the question of Paul Ricour: "How to be modern and to continue the tradition, how to revive an old dormant civilization as part of universal civilization."

FEATURES

• CLUSTERING OF BUILDINGS (ASIAN GAMES VILLAGE)

• COURTYARDS PROVIDING PUBLIC SPACE WITHIN THE BUILDING.

(ASIAN GAMES VILLAGE)

• SCATTER OF TERRACES PERMITTING YET ANOTHER SET OF

ACTIVITIES ( SHEIKH SARAI HOUSING)

FEATURES• STREETS : NARROW, SHADED ,

BROKEN UP INTO SMALL UNITS CREATING PAUSES, POINTS OF

REST & CHANGING (SHEIKH SARAI)

• GATEWAYS : ALLOW FOR A CHANGE & CONTAIN A CONTUNITY, BRIDGES

FORMED BY LINKING 2 NEIGHBOURING HOUSES (ASIAN GAMES VILLAGE)

MATERIALS• SANDSTONE - GIVES TRADITIONAL YET MODERN LOOK

• CONCRETE- HOUSING • BRICK CLADDING-

RESIDENCE

• Rewal has helped transform

a modernism learnt from the West, quietly, into its very opposite. The continuities with Modernism in his best work balance some relatively radical departures from Modernist dogma. Rewal has developed a distinctive grammar of his own.

• This grammar reflects two apparently opposed value systems: the traditional one of the hot and dry parts of India, with its taste for pattern and ornament, and the Western Modernist one of abstract expression. Rewal has been able to combine the possibilities that each one offers with the least discord.

This reflects a concern for climatic sensitivity and energy efficiency.He is pained to see developers investing in glass. “Glass is for colder climates. Its transparency is nullified in hot weather as you have to cover it with heavy curtains. As you shut the door to nature, the cost of air conditioning goes up substantially.”

GRAMMAR OF HIS FORMS

Rewal’s grammar uses some of the principles of traditional architecture in Rajasthan — upper floors project outwards to shade lower walls, jalis cut glare or improve a façade. He uses the same material — sandstone — often, but as cladding for RCC (reinforced cement concrete) and masonry structures rather than structural work. In effect, Rewal reinterprets traditional stone architecture in modern brick and RCC.

British High Commission Housing-New DelhiEngineers Indian House, New Delhi

GRAMMAR OF HIS FORMS

“Breathing life and feelings into buildings, rasa of architecture

comes alive most resoundingly in eminent architect Raj Rewal’s

works”

HIS WORKS 1. PARLIAMENT LIBRARY 2. HALL OF NATIONS 3. ASIAD GAMES VILLAGE 4. VAI CAMPUS

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2

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Parliament Library, New Delhi

PROJECT DETAILS

Client: Lok Sabha Secretariat, GOI Architect: Raj Rewal Associates, New Delhi Structural Engineer: CPWD, GOI Contractor: L&T Ltd., ECC Construction

Division Built Area: 60’460 m² Cost: INR 270 crore Design 1993 - 1994 Completed 2003

PHILOSOPHY

Le Corbusier Inspired. Inspired by the Rasa theory.

Raj Rewal believes that contemporary architecture should take advantage of all the most advanced technologies that modernity has to offer. However this does not stop him from taking from traditional everything that can hold value.

History

1921 small library constructed in Central Legislative Assembly

Parliament building an appendage as earlier Viceroys house was the authority center

Design Requirements

The Library was expected to be ‘apt for the 21st century’ while also complementing the majestic heritage from the British.

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Not only to serve as repository of books, legislative debates and parliamentary papers but also to provide up-to-date and storehouse of knowledge on which members of parliament could draw.

How were the architects chosen?

A limited competition for the new addition to India’s Parliament was organised by the government in 1989

The winner, announced in 1991, was the renowned architect Raj Rewal, author of many prominent works throughout India

Functional requirements

Library functions – a main reading; AV library, research and computer divisions; conservation laboratory; archival roomParliamentary functions – the Bureau of Parliamentary Studies and Training (BPST), Library Committee Room, Parliament Museum; Media, press briefing roomMeeting halls - 1,100-seat auditorium

Parliament

NeoColonial Indian Architecture Designed by Edwin Lutyens and Herbert Baker in

the first half of the 20th century, the city plan includes India Gate (War Memorial), Rajpath (parade route), and the Rashtrapati Bhavan

SURROUNDINGS

Adinath Temple, Ranakpur

ARCHITECTURAL INFLUENCES

Architectural influences• Adinath Temple, Ranakpur• Mandalas

• Datia Palace, MP

• Adinath Temple, Ranakpur

• Mandalas

Architectural influences



• Mandalas

• Taj Mahal




• Mandalas

• Taj Mahal• FINALLY


FEATURES• A VARIETY OF DOMES CONSTRUCTED OF LIGHT

WEIGHT FIBRE SHEET,STRUCTURAL GLASS&GLASS BRICKS ADMIT FILTERED LIGHT TO THE SPACES BELOW.

• BALANCE BETWEEN LIGHT WT. ELEGANCE OF HIGH TECH DOMES &THE RED WHITE SANDSTONE USED ON WALLS &FLOORS

THE FOCAL CENTRE- SPECTACULAR .INVOLVES A COMPOSITE ARRANGEMENT OF 4 PETALS USING SUN REFLECTING GLASS ,STAINLESS STEEL TIED TOGETHER WITH DELICATE TENSION RODS.

FEATURES

• 4 STOREY HIGH ATRIUM GETS LIGHT EVEN INTO THE BASEMENT THAT STORE NEARLY 3 MILLION BOOKS IN COMPACT SYSTEM

CEILING &CANTILEVER STAIRS –EXPOSED CONCRETE,SOFTEN BY TEXTURED LEFT BY WOODEN FORM WORK̀

FLOOR- KOTA STONE IN BROWN&BRONZE CARRIED THROUGH A TEAK FRAMED DOOR

• LANDSCAPE - GRASS EMBAKEMENTS HAVE BEEN PROVIDED ABOVE COMPLEMENTING THE DENCE SPACE OF ADJOINING PARLIAMENT HOUSE.

• COURTYARDS ARE PROVIDEDOR DIRECT LIGHT &VENTILATION

• MATERIAL –SANDSTONE,CONCRETE,JALIS

FEATURES

The sub-structure of the Library makes use of innovative foundation systems based on diaphragm walls that go to a depth of 14 metres below ground.

STRUCTRE

The structure of standard floors is a reinforced concrete frame system with coffered concrete slabs, supported by circular reinforced concrete columns

Structures

There are five types of structural lattice, each designed to carry a cluster of shallow bubble domes made of lightweight concrete. Spanning five metres each (less in the auditorium), these domes are precast shell structures in fibro-cement, termed ‘fibre-reinforced concrete’ (FRC)

Structures

Columns are mostly concrete, except for the detached steel columns around the building’s periphery. The basic infill materials are brick and glass brick

Structural lattices are essentially made of tubular elements, with a combination of steel tubes, solid and hollow steel castings. Volumetric space lattices on larger spaces have high tensile bars in addition

Materials

The ingredients of the FRC shell domes, all precast on site, include steel fibres, cement,aggregate, reinforced steel, micro-silica fumes, blast furnace slag, super plasticiser and water

The glass dome over the Focal Centre is made of stainless steel pipes of different diameter and curvatures.

Materials

PLANNING

• PlannIng

Each courtyard symbolizes one aspect of the Indian constitution

• One is an amphitheater, symbolizing freedom of expression.

• Another courtyard has a pool of water symbolizing equality.

• A tree forms the focal point of the third courtyard, representing social justice

South-west courtyard with amphitheatre, surfaces clad in red and white sandstone.

HALL OF NATIONS Pragati Maidan, New Delhi

The Permanent Exhibition Complex is designed to form the focus of 130 acres of Exhibition ground designed by Raj Rewal in New Delhi. The design was evolved to meet the constraints of time, availability of materials and labour, but above all, to reflect symbolically and technologically, India's intermediate technology in the 25th year of its independence. The depth of the structural system was utilized as a Sun breaker and conceived of in terms of the traditional 'jali', a geometrical pattern of perforation that serves to obstruct directs rays of the harsh Sun while permitting air circulation.The main pavilion of the Hall of Nations has a clear span of 78 metres and a height varying from three metres to 21 metres, thereby providing a vast capacity for items to be exhibited, from books to bulldozers.

Located on Mathura Road, next to Purana Qila, Pragati maidan(130 acres of extensive ground), is rated as the “Finest Exhibition Complex” in Asia. Besides the 15 giant exhibition halls, there is 10,000 square meters of open area for trade related exhibitions

LOCATION:

• Exhibition space• To reflect symbolically & technologically India’s important place in the modern, industrializing community of nations.

BUILDING TYPE: EXHIBITIONYEAR: 1972LAND: 130 Acres

The main pavilion has a clear span of 78 metres and a height varying from three metres to 21 metres, thereby providing a vast capacity for items to be exhibited,

PLAN

SITE PLAN

HALL OF NATIONS

A limited competition was held in 1970 for the design of permanent exhibition spaces for the International Trade Fair 2 years later, & Raj Rewal‟s proposal was selected. The main pavilion of the hall of nations has a clear span of 78 m and a height vary from 3 m to 21m , thereby providing a vast capacity for items to be exhibited from books to bulldozers. The hall of industries is a combination of 4 smaller pavilions by ramps enclosing a central area for open air exhibits, utilities, toilets, and other services are located under the ramps. Although each of the halls was initially conceived as a full pyramid the truncated form was adopted in order to avoid unnecessary constructions.

HALL OF NATIONS

Octahedra measuring 5m from joint to joint were employed as the basic 3D unit of the space frame , which rests on 8 points around the essentially square planned and allows 11m wide openingsbetween the supports. An effective system of environmental control inside the building was another outcome of the 3D structure , as solid triangular panels at regular intervals provided sun screens – a modernequivalent , according to some authors of the traditional jali in Indian architecture .

HALL OF NATIONS

ASIAN GAMES VILLAGE, NEW DELHI, 1980

VIEW OF A SECTOR

Concept is based on sequence of open spaces linked by narrow, shaded pedestrian streets and containing both residential and commercial activities

An obvious source of inspiration for such narrow streets linking the housing units is the traditional street scale pattern found in many indian cities , where narrow paths become spaces for encounters between people, the open squares offer a sense of neighbourhood

Vehicular movement

Green area

A cluster in asian games village –the basic unit of four appartments is designed in such a way that it can be linked with cantilevers on ends and partly on fronts to create a variety of interlinking spaces.

ASIAN GAMES VILLAGE

VAI CAMPUS ROHTAK

• LOCATION

• DATE

• BUILDING TYPE

• CONSTRUCTION METHOD

• MATERIAL

ROHTAK, HARYANA

2013

INSTITUTIONAL

BRICK AND RCC CONSTRUCTIONWITH EXTENCIVE USE OF RED & WHITE SAND STONE CLADING ON BOTH IN EXTERIOR AND IN INTERIOR

MOSTLY RED & WHITE SAND STONE

VIA CAMPUS

• SUVPA IS AN INTEGRATED CAMPUS OF FOUR DIFFERENT DEPARTMENTS

• CAMPUS IS DIVIDED INTO 6 DIFF. BLOCKS1. DEPT. OF ARCHITECTURE 2. DEPT. OF FINE ARTS3. DEPT. OF FILM & TV4. DEPT. OF FASHION DESIGN5. ADMINISTRATION BLOCK6. AUDITORIUM

• ALL THE BLOCKS ARE ORRIENTED IN SAME DIRECTION ACCORDING TO THE SUNPATH

• FOUR DEPT. BUILDINGS HAVE A CENTRAL COURTYARD INFLUENCED FROM THE RAJASTHANI ARCHITECTURE

• EXTENCIVE USE OF RED SANDSTONE GIVE THE BUILDING A FEEL OF RAJASTHANI ARCHUTECTURE

• CIRCULAR COLLUMNS ARE USED INSTEAD OF SQUARE COLLUMNS THAT ARE HIGHLIGHTED WITH DIFF. MATERIAL AND ADD TO THE ASTHETICS VALUE OF THE CAMPUS,

• INTERIOR AND EXTERIOR OF STUDIOS & CLASS ROOMS ARE GIVEN VERY MUCH ATTENTION BY USING COFFERED CEILING AND SOUND ABSORBING TREATEMENTS ON THE WALLS

• USE OF CLOISTERS IN SINGLY LOADED CORRIDORS INSPIRED FROM RAJASTHANI ARCHITECTURE

• THE DESIGN OF THE AUDITORIUM IS BASED ON THE CONCEPT OF SUN DIAL

• THE AUDITORIUM BUILDING IS DIVIDED INTO TWO PARTS.

• THE LOWER PART IS THE AUDITORIUM WHERE AS THE UPPER PART IS A LIBRARY.

• THE AMPHITEATRE IS LOCATED NEAR THE FINE ARTS DEPARTMENT.

• FIBRE GLASS ROOFING IS DONE IN THE APHITHEATURE

• THE ROOFING IS SIMILAR TO THAT OF PARLIAMENT LIBRARY.

• SAND STONE IS INNOVATIVELY USED FOR MAKING SIGN BOARDS IN THE CAMPUS.

• THE AUDITORIUM , CAFETERIA , AMINISTRATION BUILDING AND THE AMPHITHEATURE BUILDING ARE CLADDED WITH WHITE SAND STONE.

• WHEREAS THE ACADEMIC BLOCKS ARE CLADDED WITH RED SANDSTONE.

Our ANALYSIS...

Rewal has tried to express a new sense of vocabulary that fuses urbanism and architecture. He has tried to define a grammar based on twentieth century technology that will achieve the richness, variety, climatic sensitivity, scale and geometrical discipline that he has perceived in great urban complexes of the past such as Jaisalmer and Jaipur.

Raj Rewals synthesis blends old and new, international and regional, but does not lapse into pasctiche.

Particular attention has been paid to ways in which the building forms can temper the unremitting harshness of the climate. On the external perimeter, the upper floors overhang to create deep shadows. Throughout, windows are deeply recessed to shield the interior from the sun glare and give the building an almost sculptural articulation.

Most of his buildings are contemporary buildings expressing a liveliness, a boldness and technical research whose real material is neither steel, nor stone nor concrete, but light and history. A secular light, which has been much worked on, but without transforming it into something sacred.

He Masterfully takes advantage of the irregularities of the site, the dwellings, with walkways, courtyards and terraces offer a harmonious physical entity for living and working.

He not only relates the building to its immediate very difficult physical and historical context, but to deeper strains of Indian culture and history. And he has married these to modern technology and functional analysis.

Discovering the past, and reinventing the future. The fusion of both that’s were he fits into.

Our ANALYSIS...

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