•Joseph Allen Stine

•B. V. Doshi
•Uttam Chand Jain

Submitted by:
Amisha Jangra 0906006
Tikam Singh 0906036
Regional means of a particular region.

REGIONAL DIVERSITY
Diversity means varieties.
Regional diversity is an architecture belonging to place and people

India has many regions diversified in topography , climate, social

customs and lifestyle needs…

This states India as a regionally diversified nation architecturally.

Different styles can be followed according to different climatic

conditions, cultures and social needs. Use of locally available
materials is also one of the part of style . But contemporary
Indian architecture is the base line.
In this frame designing according to region, according to people
(who are users).

OR it is the basic difference in the building types in different

regions as per the climatic condition, the culture of a
particular region, the interests of the people, etc.
 SOCIAL
TOPOGRAPHY CLIMATE CUSTOMS NEEDS

AN ARCHITECTS EQUATION TO SHAPE MODERN INDIA FOR

INDIANS...
SHER-I-KASHMIR CONFERENCE CENTRE
SRINAGAR, NORTH INDIA
Agni jata, Auroville - South India
Mumbai and Goa:

Clay tiles, Bricks,

Thatched roof, bamboo,
coconut palm.
Huts of Orissa…
Entrepreneurship Development Institute of India
Ahmadabad, India
Pioneers of diverse India…
•Joseph Allen Stine
•B. V. Doshi
•Uttam Chand Jain
Born: in nebraska in omaha on april 10, 1912.
Country of Origin: United States
Died: at the age of 89 in raleigh, north

JOSEPH ALLEN STINE

carolina,
on october 6 2001, was a major icon, quiet and
self-effacing.

His architectural education began at the

University of Illinois during the mid 1930’s,
where on completion of his undergraduate
course he was awarded, the Medal of the
Society de Architects Francais as an outstanding
student.

Joseph Allen stein was the first foreign architect who remained in
India as a citizen, who thought India like his own country and as an
architect, he wanted to contribute in the reconstruction of newly
independent India and make an dream India of Pt. Nehru.
Triveni Kala Sangam (1957)…
 Triveni (Kala Sangam) is my
favorite,'' declared Stein
about the project that
allowed him considerable
freedom to experiment.”
 founded in 1952 as an
academy of dance, music
and painting with the aim
of reintroducing traditional
forms of expressions in to
Indian life.
 another example of stein’s
garden approach to the
building. Each of the
functional units of the
complex, its theatre,
classrooms, studios and
galleries is individually
articulated in the building
massing.
• Architect: Joseph Allen Stein
• Location:
The centre is situated
on a small plot of
about one acre at
Tansen Marg near Mandi
House

•Capacity: 250 people

SITE PLAN
 Zoning

The ground floor has the public area

like lounge, exhibition halls, library ,
conference rooms, etc.
On the first and the second floor
are work studios where students are
taught.
On the third floors are the living
areas.
GROUND FLOOR PLAN
 Space characterstics

Enclosure achieved by surrounding

the space with low height structures
which relate to human height and
make the user comfortable.
Focus has been made towards the
stage and thus the user faces away
from the higher building and so does SECTION THROUGH THE STAGE
not feel the height. WHICH IS THE MAIN FOCAL POINT
 Low height structures
Sectional view of the court
around the oat.

The oat acts as the main focal point around which

builtforms exist.
 Architectural elements
Extensive areas of jaalis and planting boxes arranged
into vertical gardens are prominent elements at the
Triveni.
The jaali panel create a cool space of filtered light in
the classroom buildings
Corridor.
Pergolas with
planters over the
garden theatre and
the restaurant

Jaalis and planters in

Large fenestrations in
the external facade
the stairwell with
planters let sun light
and air
 Finishes/surface articulation
The colours of the façade are of light grey concrete and
have grit finish on the walls.
The textures are rough and rugged.
Lack of bright colours is soothing as the abundant
greenery adds brightness

CONCRETE BANDS
ENHANCES THE
VERTICALITY OFTHE
CURVED WALLS OF THE
GALLERY
PRECAST CONCRETE JAALIS
HELP IN MAINTAINING
VISUAL LINKAGES.

Material
•The building is composed of a clad rcc framed structure
with several infill material indigenious jaali panels,
concrete blocks and plastered finish on most elevation,
rough cut stone facing on gallery facade, concrete
planters and concrete clad with gray chips for the
pergolas
  Opposite the gallery
is a covered space
opening on to an
outdoor garden
theatre which is the
heart of the complex.
It has an expressed
structure where jalis
were used as infill
panels.

 Flowering bougainvillea on the

pergola fronting, the gallery
forms a backdrop for the
programs and make the space a
garden oasis away from the
heavily trafficked intersection
outside.
 Entrance foyer
The entrance to the
auditorium is through a
foyer which is also used as a
display cum exhibition area
during any perfomance

The auditorium has one

entry and one exit point
The entrance foyer is
provided with series of down
lights to ensure proper
lighting during exhibitions.

Main entry door to the

auditorium.

Finish: timber finished with

commercial plyboard and
painted.
 Auditorium
The auditorium is designed to
accommodate 200 people .
It has a direct entry from the
road as well a connection from
the lounge.
Stage:
The wooden flooring helps in
sound absorption.
There are spot lights and
profile lights for the
perfomers.
The projection room is
Seating: located at the rear end of
The seats of the the auditorium.
auditorium are covered
with rexin.
There are two aisles
situated at both the
sides.
  Acoustic treatment of the floor,
walls and ceiling wall

Wooden panels were provided to

absorb sound

Glasswool with a protective layer

of cloth is provided behind the
wooden panels for better sound
absorption

F
l
o
o
In the backstage r
area a combination In the seating area carpets
of carpet and area laid over a layer of
wooden flooring jute which is pasted on
exists. wooden planks.
 Ceiling
There is no false ceiling and
hence the exposed beam forms
a grid of 4mx2m on the ceiling
making space for lights and
smoke detectors.
Perforated boards are provided
on the spaces between the
ceiling.
Lights
A series of profile as well as spot
lights are located focussing on
the stage.
Down lights are provided over
the seating area.
Coloured lights are also
provided over the stage area.
  Air conditioning
•Wooden grills under the
stage for air conditioning for
the front rows
•Vertical grills are also
provided on the stage for the
perfomers
•Ac ducts are provided in the
green room area as well.

AC GRILL

 Green room
SMOKE DETECTOR
•False ceiling is provided in
the green room area which is
in the basement.
•Smoke detectors and down
lights are provided at regular
interval of 1m .
CEILING LIGHT
 India Habitat Center

Variant’s Name -India habitat Center

Location - lodhi road, Delhi, India
Architect/Planner -Joseph Allen Stein
Client - India habitat centre
Date - 1988-1993
Building Types -Institutional, conference
learning centre,arts gallery
Building Usage -Exhibition, film club, conference
 Develop an integrated physical environment in
which various professions and institutions that is
NGO’S dealing with different facets of habitat and
habitat related environmental issues would
function, interact and attempt to resolve habitat
related problems in a coordinated manner to
increase their effectiveness.
Site plan
Indian Habitat Centre has been
constructed for various activities
apart for commercial purposes. It is a
centre for cultural, economic and
social activities. Dramas, plays are
also organized at the centre.

There is banquet hall and party lawn

and also a Restaurant. Basically, it is
open for public use also.

 The Habitat Centre would be a

home not only to those offices and
research organizations but in order to
facilitate their interaction, the centre
provides a range of facilities like
conference venues, exhibition halls,
Open air theatre is made in the
seminar rooms, restaurants and
greenery to make this highly formal
performance venues for cultural space an interactive and informal
activities. space
 PLANNING

The height of the building

is around 30m.

The India Habitat Centre is organized as a series of four to seven

blocks around linked, shaded courtyards, protected from both the
excesses of tropical sunshine and the motor traffic of the
adjacent heavily-trafficked intersection.
 The centre groups a significant number of plots together, so
that requirements such as food service, car parking, and meeting
facilities can be solved mutually, and at less expense than
possible by individual constructions.
  MATERIALS

The attention to the finishes is

high at IHC
 Carefully conceived paving
patterns in the courtyards
Variegated brick coursing in the
building’s vertical piers which
are accented by tile facing to
the rain water channels, vertical
garden elements, and the area
below the extended brow which
caps the complex’s ascending
forms.
When stones were not available
for the india habitat centre, he
went to the kilns to order lakhori
bricks and mughal bricks.
Wooden joists
Design concept of IHC

The entire facade is cladded with red

bricks which give a majestic look to the
structure.

Vertical and
Horizontal ribbon
windows have
been used with a
special glass that
restricts the entry
of sunlight.

“Incorporating local materials and

architectural elements into the modern
structural vocabulary”
 ATRIUM

The atrium of the structure is beautifully

designed with various landscape feature such as
sculptures, green areas in the centres resulting
in the formation of a roundabout in the atrium.
The atrium is rectangular in shape and is
divided into three parts. The middle one is left
open whereas there is landscaped roundabout
formation on its either sides.

“Integrating built form with landscape as a total environmental

concept.”
  LANDSCAPING
Green space in the atrium

The creation of a green and

healthy environment forms the
backbone of the complex.
This contributes to the urban
level functions and also
creates a healthy and pleasant
environment for the working
employees.
 P

In outer area near the

main road green grass is
well maintained and
trees are grown which
create a natural
environment.
 Construction Technique

Massive Steel girders have been used

for the construction purpose. The
entire office block rests on the steel
girders without any support of the
columns in between the longitudinal
plan.
Most of the horizontal ribbon windows
have slots for plantation purpose which
add to the beauty of the entire
complex
There is an open courtyard in IHC, over which a steel structure is
made to have light and ventilation as well as comfortable shade
from sunlight.
 Shading Devices
The reflectors are installed
above the building to
provide shade and prevent
sun from entering into the
building. The reflectors are
aligned at an angle which
reflect back 70% of the
sunlight and change their
angle during winter to allow
sunlight to fall on the
windows
There are
stretched cloth
pieces which give
shade. Blue
coloured
Reflectors at an
angle - Shading
Devices
 BUILDING THE INDIA HABITAT CENTRE

The India Habitat Centre is on an

essentially urban site, and conceived .
of something of a prototype with a
relatively conventional and
repeatable type of construction.
Here reinforced concrete frame with
an infill of concrete block, and brick
cladding has been used.

Creating a small scale

environment of IHC…
 Convention centre
India Habitat Centre, New Delhi is home
to the country's most comprehensive
Convention Centre along with a club with
58 rooms, a health spa, six restaurants
and several performance venues for
cultural and entertainment programmes,
Habitat World, serves over 4000 meals
everyday, making it India's largest
foodservice and entertainment facility.
The Convention Centre can host 20 functions
simultaneously with most Halls equipped with state-of-
the-art equipment; 7 beautifully landscaped outdoor
facilities, a 424 seat Auditorium and a business centre
fitted with all modern business aids complete the
offering.
 The venue is ideal for conferences, seminars,
banquets, exhibitions, board meetings, press
interactions, corporate presentations, workshops,
parties, film screenings, presentations, theatre and
cultural performances of all kinds
Grand
parking

20000 four
wheelers can
be
accommodated
in the double
basement of
huge parking.
 Stein Auditorium…
Stein auditorium
have an
auditorium, a
convention hall,
underground,
seminar hall.

In exterior of
auditorium brick
work is used
with sculptures
and brick jalis.
Born: 1927, Pune, India
Education: JJ School of Art, Mumbai
Apprentice to Le Corbusier, Paris
Associate to Louis I Kahn, Ahmedabad

Academic Positions:
•Founder Director, Vastu Shilpa Foundation for Studies
and Research in Environmental Design, Ahmedabad
•Founder Director and Distinguished Professor, School of
Architecture and School of Planning, Ahmedabad
•Founder Director, Kanoria Centre for Arts, Ahmedabad
•Paul Philippe Cret Professor of Architecture, University
of Pennsylvania

B. V. DOSHI
•Since 1960, Visiting Professor, Universities in USA and
Europe
•Honourable Fellow, American Institute of Architects
•Fellow, Indian Institute of Architects
•Member, Master Jury, Aga Khan Award for Architecture
•UNESCO/USA International Committee for Education of Architects
•1998, Awards Steering Committee, Aga Khan Award for
Architecture
•Hon Member, Mexican Academy of Architects
•Member, National Urban Planning and Design Competition
•Keynote Speaker at Several National and International Seminars and
Conferences
 The fame that Balkrishna Doshi enjoys in Indiais not universal,
but Sangath is the best-known of all his work internationally.
 Sangath, which means 'moving together through participation' in
Sanskrit, is a village-like enclave of distinct rectangular volumes
aligned along a north-south axis inside a lush green compound on
the outskirts of Ahmedabad.
 The participation it is intended to foster transcends the
production of architecture and is described by the inherent as
'the encouragement of activities in the fine and technological
arts'.
 Doshi encourages fine-arts exhibitions and has provided space for
craft workshops.
 The name of his firm, the Vastu-Shilpa Foundation, is Sanskrit
for 'design of the environment'.
Site plan ,Sangath
 The central court and amphitheatre at Sangath
conveys that primal impression and is used for
lectures and discussions under the green canopy that
surrounds and shades it.
 Water running through a wide trough spills off the
roof in a waterfall just behind the amphitheatre
seating, contributing to the elemental framework
completed by the material used to build the office.
 The first two ranks of rectilinear forms of Sangath
on the west are dug into the earth as physical
Protection against the severe summer heat.
 The ranks rise up toward the east as the deck
does, just at the angled mid-line created by the
waterfall.
In shady gardens.
terracotta Pots
link rustic materials
and the built form.
Traditional and
modern forms are
harmoniously
combined.
 The Gufa, which is a collaborative effort, between Doshi and the
Indian artist M. F. Husain; began as an art gallery for the exhibition
of the artist's work.
The Gufa, which is a collaborative effort,between Doshi and the
Indian artist M. F. Husain, Began as an art gallery for the
exhibition of the artist's work. It undeniably represents an
anomaly in Doshi's oeuvre, a natural and free expressionistic
essay that differs completely from the rigorous order evident in
Doshi's previous work. This dramatic departure cannot be
entirely explained by the artist's influence, but rather marks a
sea-change in Doshi's work in general, also marked by the
'stories‘ or narratives that now accompany each new project.

The traditional heritage of these narratives echoes the deeper

historical resonance of the projects themselves.
The references for the Gufa are elemental and Primeval: the
cave, the circle, the mountain, the breast, and historical
precedents in India itself which emerge from these universal
prototypes, the Buddhist stupa (memorial) and its appearance
in the cave monasteries of Karli and Ajanta in particular.
The stupa, as the primary reference, has a dual significance as
both the tomb of Buddha and the symbol of the pursuit of
knowledge, one of his 'four noble truths'.
 PROJECT DETAILS
Hussain –Doshi Gufa
CEPT Campus, Navarangpura, Ahmedabad 380009 India
Client: M.F.Hussain.
Principal Architect:Balkrishna Doshi , M/s Stein Doshi & Bhalla
Project Associate:S.L.Shah, Vishnu Joshi, v.v. Ranga Rao,
Lise Trottier
Structural Consultant:Vishnu Joshi
Structure form Consultant:Ravindra Vasavada
Contractors: Western India Engineers, Ahmedabad
Extraordinary yet natural
forms express Doshi’s
exploration of deeper
cultural associations.
Glazed ceramic mosaic
reflects glare and heat.
The domes conceal an
underground network of
caves, which were designed
as a combined gallery and
residence for the artist
M.F.Husain.
Sectional drawings
Site Area, 1000 m2
Built-up Area, 280 m2
Project Cost , Rs. 1.8 million (1993)
Glazed ceramic mosaic reflects glare and heat
The columns, even though occurring at random and
of varied thickness, some at an inclination, appear
like the trees in a thick forest.
Architect Uttam Chand Jain

Born in 1934 in Malwara, Rajasthan, and

Mumbai Based architect Uttam Jain., He
completed his advanced studies in urban planning
from the National University of Tucuman,
Argentina, South America. With a career that
spans 40-odd years, Uttam Jain is responsible
for many notable buildings in India. From the
Jodhpur University in 1969 and the Indira
Gandhi Institute of Development Research in
1985 to the recently completed 'Landmark'
building for the Silver Group.
Designed by UTTAM C JAIN IN 1968-79
section

He used locally available

materials, predominantly
yellow sandstone, were
extensively used to
economise the cost. To make
buildings responsive to the
local culture, climate, people
and materials, the design
principles were derived from
both traditional Indian
architecture, and modernism.
UTILISATION OF LOCAL STONE: STEPPED
SECTIONS AND SMALL MODULES
 The Universal Harmony Hall, Mount Abu, Rajasthan:
For meditation,
yoga, cultural
programs,
conventions etc.
The earth color on
the internal walls,
rough texture of
the plaster in
vertical planes, sand
colored seats and
the blue false ceiling
describes its
geometry from
clouds, with
concealed lighting,
provide an
appropriate mood
for spiritual
development.
The inner and outer walls are curvilinear.
Local stone is used that gives a hand crafted look to
the structure that sits majestically in its
mountainous surroundings.
 CITY HALL, JAIPUR

The seat of the city's mayor and the municipal organization is the
first and the most significant structure of the city. Hence the
City Hall acquires top position in the hierarchy of city structures.
The City Hall for the Municipal Council, 'Jaipur, takes its design
clues from the rich architectural heritage of Jaipur. The references
are taken from' the four major historical landmark. Buildings which
are a crucial part of Jaipur's identity: Jantar Mantar: Its
seductive geometrical shapes and forms .Hava Mahal: The most
visible building which is not a building but a paper-thin street
facade. Sarga-Sooli: The vertical tower that dominates the skyline
of the cityscape within the walled area . Tripolia Gate: Though
Jaipur has many points of arrival named after the intercity
linkage. Tripolia Gate, with three openings in the city wall is most
celebrated.

The podium of the City Hall is inspired by the platform of Jantar

Mantar.
This creates a street facade, making the City Hall's
presence felt on the Jaipur-Tonk road. The Sarga Sooli is
represented by the vertical tower housing the special
staircase leading to the Council Hall from the Councel-lor's
lounge on the ground floor. The eastern side, through
which pedestrians will arrive into the building complex, has
three punctures echoing the image of the Tripolia Gate
;Jaipur is a pink city, renowned for the exclusiveness of
the pink stone used in its urban fabric. It was, therefore,
considered logical that to make connections between the
City Hall Building and Jaipur, the surface and texture of
the City Hall should be of the same as pink stone.
View of the model: