Padma Shri Achyut Kanvinde

occupied unique position in the

history of contemporary Indian
architecture. He was an Indian
architect , teacher, writer and a
committed modernist as he
always desired to take Indian
architecture to be global and to
the height of international style.

GROUP MEMBERS:
KANIKA MAHESHWAR
HARSHIT KHANNA
ALANKRITA NEGI
DIVYA GOEL

INTRODUCTION
BORN- 1916
DIED : 6 DECEMBER 2002
EARLY LIFE AND EDUCATION:
HE WAS BORN IN 1916 IN KONKAN REGION OF MAHARASTRA.
HE FINISHED HIS BECHOLER IN ARCHITECTURE FROM SIR J.J.
SCHOOL OF ARTS (1935-1940).
LATER HE STUDIED DESIGN IN HAVARD UNIVERSITY UNDER
WALTER GROPIUS.

CAREER:
HE RETURN TO INDIA IN 1948 AND WORKED ON THE PLANNING
AND DESIGN OF SEVERAL LABORATORIES FOR THE COUNCIL OF
SCIENTIFIC AND INDUSTRIAL RESEARCH.
HE SET UP HIS PVT. FIRM WITH SHAUKAT RAI A CIVIL ENGEENEER
IN 1955.

TIMELINE OF HIS WORKS

SIR J.J COLLEGE OF ARTS

1935
1916

IIT KANPUR

1966

1945
HARVARD SCHOOL OF DESIGN

AWARDED PADMA SHREE

1976

1973
DOODHSAGAR DAIRY
,MEHSANA

National ScienceCentreISKCON Temple, East

of Kailash, Delhi
,New Delhi

1991

1998

1993
IIAs Babu Rao MhatreGreat Masters Award
from JK Industries
Gold Medal
Ltd.
1985

THEORY AND
PHILOSOPHY

DESIGN PHILOSPY
FUNCTIONALIST STYLE OF DESIGN
FUNCTIONALISM WAS AN APPROACH TO DESIGN AS PER THE CONCEPT THAT THE
SPACE AND FORM OF A BUILDING SHOULD EMERGE OUT OF THE LOGICAL
ARRANGEMENT OF SPACE INSIDE AND NOT FROM ANY PREDETERMINED IDEA LIKE
SYMMETRY.
FUNCTIONALIST BELIVED A BUILDING SHOULD ONLY HAVE FEATURES THAT WERE
FUNCTIONALLY NECESSARY AND NO NON-FUNCTIONAL DECORATION.
THEY LEAD TO HUMANE SPACE THAT IS SPACE WHERE YOU FELT WELCOME AND
COMFORTABLE.

LOGIC
LIGHTNESS
THEY OF
USED
LASTEST TECHNOLOGY AND INDUSTRIAL MATERIALS LIKE DOOR AND
THE
COMPLETE
WINDOWS
ANDFOCUS
RCC. ON THE MATERIALS TO BE USED IN CONSTRUCTION
KANVINDE ALWAYS TRY TO DEVELOP SUCH AN AESTHESTIC FOR A HAVEY MASS
CONSTRUCTION THAT LOOKS LIGHT.

NATIONAL INSURANCE
ACADEMY AT PUNE

RATIONALIST
KANVINDE REVEAL THE INTERNAL FUNCTIONAL IN A
BUILDING AS SEPARATE MASSES AND THEN ARRANGED
IN A WAYS THAT WERE FUNCTIONAL FROM INSIDE AND
ELEGANT FROM OUTSIDE
SENSE OF SPACE
HUMANESS IS ALL ABOUT SIZE AND SCALE,
KANVINDE ALWAYS TRIED TO BRING DOWN
BUILDINGS TO HUMANE SCALE AND A CONNECTION
TO THE BUILT HERITAGE IN A LOCALITY.
KANVIDE WAS AN ARCHITECT OF SECOND
GENERATION OF CONTEMPORARY INDIAN
ARCHITECTURE ( 1950 - 1980)
KANVIDE INTRODUCE MODERN ARCHITECTURE TO
HUMANE PATH AND
INNOVATIVELY BLEND TECHNOLOGY AND
AESTHETICS

IIT
KANPUR

NIBM

PHILOSOPHY
KANVINDE PLAYS WITH SPACE AND FORMS. HIS DESIGNS ARE
SLENDER, BALANCED, PROPORTIONATE, NEAT AND WELL
CRAFTED.
THE BUILDING IS IMPORTANT BUT MOST IMPORTANT IS THE
GATE OF THE USER. EXAMPLE IS ISKON TEMPLE.
HE GAVE MUCH MORE IMPORTANCE TO THE NATURAL LIGHT.
HE GAVE SUCH A FORM TO THE BUILDING THAT IT CAN SOLVE
THE PROBLEM OF VENTILATION AS WELL AS EXCESSIVE HEAT .
HE BELIEVED IN VERNACULAR ARCHITECTURE.
HE BELIEVED THAT THE IMAGE SHOULD BE SUCH THAT CAN
SET THE MOOD AND INTEREST FOR WHICH THE BUILDING
STANDS FOR.
BOTH INHERENT VALUES AND HISTORICAL INFLUENCES

HIS DESIGN CONCEPTS

AN ART CAN BE USED TO NOURISH THE SENSES. ART IS PURELY AN

AESTHETIC EXERCISE.
HE BELIEVED THAT A GRID OF COLUMNS FORMING A MATRIX GIVING
STRUCTURAL AND SPATIAL ASPECT WOULD TURN A DESIGN TO MORE
SOPHISTICATED AND FACETED.

STYLE OF ARCHITECTURE

HE TREATED HIS BUILDING WITH VASTUSHASTRA.

WERE
CONCEIVEDARCHITECTURE
IN A STRICT MODERNIST
VOCABULARY.
BUILDINGS
HE ALSO USED
VERNACULAR
IN FOREIGN.
HE USED CONCRETE FRAME STRUCTURE IN FILLED WITH BRICK PANELS AND
PLASTERED IN A FINE STONE GRIT FINISH.
HE MOSTLY USED THE LOCALLY AVAILABLE MATERIALS.
HIS WORKS ARE BASED ON MODERN ARCHITECTURE OF THE WEST, BUT AT
THE SAME TIME PRESERVES AND REINTERPRETS INDIAN TRADITION.
THE STRENGTH OF THE ARCHITECTS TIES TO INDIAN TRADITION AND THE
WAYS IN WHICH THE PRINCIPLES OF MODERNISM ARE EXPRESSED VARY
GREATLY.
THEIR WORK IS OBVIOUSLY CONTEMPORARY AND FUSES TRADITION WITH

EXPERIENCE UNDER CLAUDE BATLEY

CLAUDE BATLEY INTRODUCED KANVINDE TO THE WORLD
OFARCHITECTURE. THIS WAS THE PERIOD WHEN KANVINDE LEARNED TO
APPRECIATE THE VALUES OF INDIAN ARCHITECTURE. HE WAS FAMILIARIZED
WITH:
ITS ORIGINS
ARCHITECTURE BASED ON THE EXIGENCIES OF LOCAL CLIMATE, BUILDING
MATERIALS AND SOCIAL CONDITIONS
LITERATE FUSION OF WESTERN CLASSICAL ORDER WITH INDIAN BUILDING
TRADITIONS
CLIMATOLOGICAL PRINCIPLES
IN 1934, HE PUBLISHED A VOLUME OF MEASURED DRAWINGS OF
TRADITIONAL INDIAN BUILDING AND IN HIS LECTURES HE TRIED FOR AN
INFORMED KANVINDE REMEMBERS HIM AS "A VERY

IMPORTANT MAN IN SHAPING THE OUTLOOK OF MANY

ARCHITECTS OF MY GENERATION, ALSO OF THE EARLIER

EXPERIENCE UNDER WALTER GROPIUS

THE BAUHAUS STYLE STUDYING UNDER WALTER GROPIUS, KANVIND DEVELOPED AWHOLE
NEW OUTLOOK TOWARDS ARCHITECTURE.
HE WAS GREATLY INFLUENCED BY THE BAUHAUS STYLE, WHICH LATER ON WAS ADOPTED
IN HIS VARIOUS BUILDINGS.
KANVINDE WAS INITIALLY UNPREPARED FOR THE SPACE CONCEPTS TAUGHT IN GROPIUSS
SCHOOL.
HAVING STUDIED UNDERBATLEY, HE WAS NOT CONVERSANT WITH THE PROGRESSIVE
IMAGERY AND TECHNIQUES OF THE INTERNATIONAL STYLE.
BUT PROGRESSIVELY WHAT HE WAS MUCH AFFECTED BY WAS THE SOCIAL ORDER AND
THE VARIOUS BAUHAUS CHARACTERISTICS
THE OPTIMISM IMPLIED BY THE MODERNIST PARADIGM.
Brick

VISIBLE IN KANVINDE'S WORKS WOULD BE

ASYMMETRY

BLOCKY
CUBIC SHAPES
SMOOTH, FLAT PLAIN, UNDECORATED SURFACES
FLAT ROOFS
ADOPTION OF STEEL-FRAMED OR REINFORCED-CONCRETE POST-AND-SLAB.
KANVINDE PLAYED WITH SPACE AND FORM AND MUCH MORE IMPORTANCE TO
NATURAL LIGHT.
HE BELIEVED THAT THE RELATIONSHIPS OF THE PARTS AND MATERIALS OF THE

Cemen

EXAMPL
ES

DOODHSAGAR DAIRY , MEHSANA

 THE PRIMARY TASK WAS TO RESPOND TO FUNCTIONAL DEMANDS OF THE

DAIRY INTERIOR: THE NEED FOR EFFECTIVE LAYOUT AND OPTIMAL
VENTILATION WHICH FORMED THE CENTRAL IDEA OF THE DESIGN.
THE DOODHSAGAR DAIRY IS MONSTROUS, RAW, AND PROBABLY ONE OF
FIRST OUTBURSTS OF WHAT CAN BE CALLED KANVINDES
THE
TO EVACUATE THE HEAT GENERATED OUT OF
BRUTALISM. THE FORM IS VERY ROUGH, AND BLOCKY.
MILK CONDENSING AND SPRAY DRYING
EQUIPMENT, A SYSTEM OF VENTILATION DUCTS
LINKING ALL THE WORKING AREAS RUNS
Rhythmic Ventilation
AROUND THE PERIPHERY OF BOTH shafts
THE
Slit windows
BUILDINGS ELIMINATING THE INEFFECTIVE
EXHAUST
THE GRID FANS.
BASED SPATIAL ORGANISATION
AND SHAFTS, ALTHOUGH INTRINSIC TO
THE TECHNICAL PROCESS, ARE
ARTICULATED BY KANVINDE TO FORM A
Graphic Bands
RHYTHMIC COMPOSITIONREFLECTING A
LEVEL OF AUTONOMY IN EXPRESSION. THE
INTENTION OF MAKING A TRIUMPHANT

INDIAN INSTITUTE OF
TECHNOLOGY,
KANPU
R

I.I.T., KANPUR
IT IS ESTABLISHED IN 1959-66 AND IS LOCATED ON THE
OUTSKIRTS OF THE CITY OF KANPUR IN U.P..
THE IMPORTANT OBJECTIVE OF THE PROGRAM OF THIS
INSTITUTE WAS INTELLECTUAL AND CULTURAL STIMULATION.
THE BUILDING IS HARMONIOUS IN CHARACTER.
THE SITE IS FLAT WITH THE CANAL ON ONE SIDE AND
TRANSPORTATION ROUTE ON THE OTHER SIDE.
THE ACADEMIC COMPLEX IS LOCATED CENTRALLY AT THE SITE
AND FREE FROM TRAFFIC NOISE.
PEDESTRIAN AND VEHICULAR TRAFFIC ARE COMPLETELY
SEGREGATED.

The Bauhaus influence in Kanvindes style is

clearly visible in the buildings of IIT Kanpur.
cubic shapes
smooth, flat plain, undecorated surfaces
complete elimination of all mouldings and
ornament
flat roofs

Terrace
Research
Research
Conferenc Computer
e

Research

Computer
Terrace

Reveals the internal functions in a building as

separate masses.
Arranged in ways that were functional from
inside
and elegant from outside.
Kanvinde strongly believed that the elevation o
a structure should be defined by the functions
inside.

CONCEPT

THE PROGRAM OF THE INSTITUTION WAS PREPARED BASE ON DEPARTMENTAL

NEEDS. CONVENTIONAL TYPE OFBUILDINGS WERE DESIGNED AS ISOLATED
ISLANDS OFDEPARTMENTS.
TAKING INTO CONSIDERATION THE REALITY THAT RESEARCH WORK IN THE
PRESENT TIME IS A COLLABORATIVE WORK OF VARIED DISCIPLINES,
CURRICULUM OF STUDIES IS WORKED OUT, WITH THAT GOAL IN MIND.
THEREFORE, THE EFFORT IS TO CREATE A COMMON STREAM OF FRESH
INTAKE FOR ONE YEAR TO HELP STUDENTS CREATE UNDERSTANDING AND
APPRECIATION OF EACH OTHERS DISCIPLINE & DEPARTMENTS AND THEN TO
WORK INDEPENDENTLY IN THEIR RESPECTIVE SPECIALIZATION AT GRADUATE
LEVEL .
ACTIVITIES WHICH STUDENTS AND FACULTIES SHARE ARE SEMINARS AND
LECTURE HALL, LIBRARY, CAFETERIA ETC . THEREFORE, THESE HAVE BEEN
DESIGNED TO ENCOURAGE MEETING AND INTERACTION. WITH SUCH AN IDEA,
ALL ACTIVITIES ARE GROUPED AROUND .
LECTURE HALLS, LIBRARY AND FACULTY BUILDING WITH LABORATORIES AND
OTHER SPECIALIZED SERVICES, ORGANIZED AND PLANNED AS

 MOST OF THE BLOCKS ARE PLANNED BASED ON RESPECTIVE MODULES OF CERTAIN DIMENSION .
IN THIS PROJECT AN EFFORT IS MADE TO CREATE AN INTIMATE HUMAN ENVIRONMENT IN THE ENTIRE
COMPLEX .
HALLS OF RESIDENCE, FACULTY AND STAFF HOUSES AND COMMUNITY BUILDINGS SURROUND THE
CENTRAL ACADEMIC AREA TO PROVIDE FLEXIBILITY IN MOVEMENT AND COMMUNICATION.
THE RESIDENTIAL CAMPUS IS PLANNED AND LANDSCAPED WITH A HOPE FOR ENVIRONMENTAL
FREEDOM THE IIT KANPUR CAMPUS REFLECTS CULTURAL DIVERSITY OF INDIA.

 THE ACADEMIC COMPLEX COMPRISES A

LIBRARY , LECTURE HALLS , FACULTY
BUILDING , A COMPUTER CENTER,
WORKSHOPS AND AREA FOR CULTURAL
FACILITIES.
IT IS OPEN FORM WITH LINKING
CORRIDORS AND SPACE
PENETRATING
THROUGH , THUS PROVIDING
SHELTER
FROM THE EXTREMELY HOT SUN AND
ALSO ALLOW BREEZES.

Open form with linking

corridors

THE LIBRARY FORMS AN

IMPORTANT PART OF THE
WHOLE COMPLEX.
IT IS A FRAMED STRUCTURE
BASED ON GRID.
THE WHOLE BUILDING IS
BUILT IN R.C.C WITH A BRICK
FACADE.
THE WHOLE STRUCTURE
GIVES A VERY BEAUTIFUL
PLAY OF SHADE AND
SHADOW.

(Water creating
micro climatic
effect)

 ALL THESE BUILDING

COMPONENTS ARE INTERLINKED
BY DETACHED 2 LEVELED
CORRIDORS WHICH IS NOT ONLY
THE FACILITY FOR CROSSVENTILATION BUT ALSO ALLOW
FOR FUTURE GROWTH.
AN UNDERGROUND SERVICE
TUNNEL RUNS ALONG THESE
CORRIDORS.

Leveled

THE EXTERNAL
SURFACES, WHETHER
OF CONCRETE OR
BRICK ARE LEFT
EXPOSED TO
OBVIATE RECURRING
MAINTENANCE
COSTS AND TO
ENHANCE THE
AESTHETIC APPEAL .
THE STRUCTURAL
SYSTEM CONSIST OF

Faculty
block

Exposed
concrete

ISKCON TEMPLE AT NEW

DELHI

ISKCON TEMPLE
IT IS BUILT IN 1998 AND IT IS LOCATED IN
NEW DELHI.
THE PROJECT IS SITUATED ON A SLOPING
SITE AND COVERS AN AREA OF 3 ACRES
WITH THE SLOPE OF 8 METERS IN
RELATION TO ROAD LEVEL.
DEITY SPACES ARE LOCATED AT THE
HIGHEST LEVEL.
IT HAS ASSEMBLY HALL FOR 400 PEOPLE.
THE BUILDING WAS CONSTRUCTED OF
REINFORCED CONCRETE FRAME
STRUCTURE
AND CLAD WITH RED AND WHITE STONE
FINISH.

 SERVICES SPACES LIKE

KITCHEN, DINNING AREAS
FOR DEVOTEES, OFFICES
ARE LOCATED AT THE
LOWER LEVEL.
OTHER ACTIVITIES ARE :MULTIMEDIA
CULTURAL CENTER.
AUDITORIUM.
ANIMISTIC
PRESENTATION
MUSEUM.
DORMITORY FOR
DEVOTEES.

NEHRU SCIENCE CENTRE,

NEHRU SCIENCE
CENTRE IS SPREAD OVER 14 ACRES OF LAND.
MUMBAI
FUNCTION
THIS COMPLEX HOUSES; A VARIETY OF ACTIVITIES AND EXHIBITS INTENDED BY
THE CSIR (COUNCIL OF SCIENTIFIC AND INDUSTRIAL RESEARCH) TO POPULARIZE
SCIENCE AND TECHNOLOGY .
CHIEFLY, A CHILDREN'S MUSEUM WITH, DEMONSTRATION HALL AND FACILITIES
FOR EDUCATION, EXTENSION ACTIVITIES, A MUSEUM OF THE HISTORY OF SCIENCE,
A HALL OF INDUSTRY, AND AN OUTDOOR SCIENCE PARK .
THIS COMPLEX HAS DISCOVERY OF INDIA EXPOSITIONS, ART GALLERY,
AUDITORIUM AND EXHIBITION HALLS.

CONCEPT

THE COMPLEX IS WORKED OUT OF A SERIES OF REPETITIVE MULTIDIMENSIONAL MODULES, CREATING A

VARIATION OF SPACES WITH THE BUILDING IN A WAY THAT THE UNITS DO NOT CREATE MONOTONY OF SPACE, BUT
A QUALITY THAT CREATES SURPRISES AND STIRS THE MINDS OF VISITORS AS THE MOVE WITH THE COMPLEX.
VISITORS APPROACHING THE MUSEUM ENTER AT THE SECOND STOREY ATRIUM THROUGH A LANDSCAPED
APPROACH.
FROM THERE THEY CAN TAKE A ROUTE AND VISIT THE EXHIBIT AREAS BY NEGOTIATING ONE FLOOR.
AT THE LOWEST LEVEL, WHERE THE LECTURE HALL, THE LIBRARY AND THE CAFETERIA AREA ARE LOCATED FOR
LEISURE, HALF WAY THROUGH THE MOVEMENT FROM WHERE THE VISITOR SCAN RETURN BACK TO THE
ENTRANCE ATRIUM AREA AFTER COMPLETING THE TOUR.