The Taj Mahal is a mausoleum located in Agra, India, built by Mughal Emperor

Shah Jahan in memory of his favorite wife, Mumtaz Mahal.

Built in 1630 to 1653, the Taj Mahal (also "the Taj") is considered the finest
example of mughal architecture, a style that combines elements from Persian,
Ottoman, Indian, and Islamic architectural styles.
It was built by architect Ustad Ahmad Lahauri .This architectural wonder took
22 years to complete,which costs the mughal emperor thirty two million
rupees and also twenty thousand people were employed to work on this
magnificient piece of work.
The Taj Mahal can be divided into four distinct architectural sections:
The Taj Gateway: The massive red sandstone Taj Gateway was completed in
the year 1648 and stands 30 m high. The gateway is topped by small cupolas or
chhatris. Symbolic of the divide between the material and the spiritual, the
gateway is decorated in calligraphy with verses from holy Koran.
Charbagh - The Taj Garden: The beauty of the Taj Mahal is enhanced by the
garden laid out in the Persian Charbagh (four garden plan) style. The entire
area of the Taj complex is 580 m (1,902 ft) by300 m (984 ft), while the garden
alone makes up an area of 300 m (984 ft) by 300 m (984 ft).
Taj Mahal - Pietra Dura The Tomb: The tomb stands on its own marble plinth,
which rests on a red sandstone platform. Four tall pillars, 138 ft each, rise up
from the corners of the white marble plinth are topped with eight windowed
cupolas. Immediately below the dome is the tomb of Mumtaz Mahal which is
centrally lined with the main entrance. Besides Mumtaz Mahal's tomb is the
tomb of Shahjahan. The tomb of Shahjahan was not actually intended to be
there but Aurangzeb placed it there thus breaking the symmetry.
Pietra Dura: The crypt and the cenotaphs at the Taj carry pietra dura
decoration of a fabulous unexcelled elegance. As many as 35 different types of
precious stones have been used on a single bloom-turquoise, jade, agate,
coral, lapis Lazuli, onyx, bloodstone, cornelian, jasper, garnet and malachite
used to fashion blooms of fuchsias, lily, honeysuckle and more. Today, much is
left to the imagination of the visitors as most of the precious stones have been
plundered or destroyed in the years when Taj Mahal fell into insignificance
Interiors :- The inner chamber is an octagon with the design allowing for entry
from each face, although only the door facing the garden to the south is used.

The octagonal marble screen or jali which borders the cenotaphs is made from
eight marble panels which have been carved through with intricate pierce
work. The remaining surfaces have been inlaid in extremely delicate detail with
semi-precious stones forming twining vines, fruits and flowers.
Walter groupies
German-U.S. architect, designer and
educator. Gropius believed that all design should be approached
through a systematic study of the particular needs and problems
involved, taking into account modern construction materials and
techniques without reference to previous forms or styles.
Walter Gropius insisted that there should be no more architecture derived
from historical and traditional styles, but instead calling for a new definition of
this new period of architecture, independent from the past, as a prediction
towards the future. Gropius then infused his principles of modern architecture
into the school of architecture he founded, the Bauhaus. He highlighted the
approach of industry towards design, with the Bauhaus workshops
experimenting practical ideas and methods that embraced mass-production
which is quite new to the field at that time.
For Gropius, modern architecture is not an architectural style the likes of
Beaux-Art or Art-Nouveau it is rather creating and preserving the standards
of excellence, uniformed and universalized. Thus, Bauhaus do not in any way
relates or associates itself to any architectural style or group, so that the loop
of recurring historical styles will be evaded and modern architecture itself is
timeless, permanent that would not lose itself in the war with time.
Bauhaus
The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its
name, and the fact that its founder was an architect, the Bauhaus did not have
an architecture department during the first years of its existence. The Bauhaus
style became one of the most influential currents in Modernist architecture
and modern design.[1] The Bauhaus had a profound influence upon
subsequent developments in art, architecture, graphic design, interior design,
industrial design, and typography.
Bauhaus ("House of Building" or "Building School") a school in Germany that
combined crafts and the fine arts, and was famous for the approach to design
that it publicized and taught.
The school existed in three German cities
Weimar from 1919 to 1925,
Dessau from 1925 to 1932 and
Berlin from 1932 to 1933)
under three different architect-directors:
Walter Gropius from 1919 to 1927,
Hannes Meyer from 1927 to 1930
Ludwig Mies van der Rohe from 1930 to 1933
when the school was closed by the Nazi regime.
Gropius' extensive facilities for the Bauhaus at Dessau combine teaching,
student and faculty members' housing, an auditorium, and office spaces. The
pinwheel configuration when viewed from the air represents in form the
propellers of the airplanes manufactured in the Dessau area. This complex
embodies various technological and design oriented advancements including a
petchance for glazing, the creation of an architecture of transparency with the
supporting structure rising behind the facing skin. It was a radical structure
populated by progressive minds touting a unique group-oriented approach to
learning.
The important features of the building were:
Transparency
Interiors being done by students and teacher there.
Flat roofs to show movement.
no ornamentations
Glass faades were there to allow all day long light to come inside for
better work


Centre Georges Pompidou is A complex in the Beau Bourg area of the Ive
arrondissement of Paris , near les Halles and the Marais
Because of its location, the centre is known locally as Beaubourg. It is named
after Georges Pompidou, who was president of France from 1969 to 1974
It was designed in the style of high-tech architecture, using expressed and
exposed steel system. By the collaboration of Richard Rogers and Renzo Piano
It houses the Bibliothque Publique Dinformation, a vast public library,
THE MUSE NATIONAL DART MODERNE ,The Largest museum for
modern art in EUROPE,
And IRCAM, A Centre For Music And Acoustic Research

STRUCTURAL CONCEPT
The concept of the building is that of two principle main structural planes 50m
apart, which support a series of free span decks between them.

The superstructure is supported on a four storey reinforced concrete
substructure which incorporates all foundations for the steel frame above.

Following the competition in 1971, the building was designed and build in six
years, the main steel structure being erected in six months.
The main span lattice beams are fire protected by a minimal wrap and a top
cladding of stainless steel.
It is divided into 4 zones:-
1.THE FIVE LARGE OPEN PLAN FLOORS
Contains major activities, outdoor terraces and administrative departments.
On the top floor there are more general public activities which close late at
night, benefiting from the view and giving a constant life to the building i.e.
Restaurants, cinema, temporary exhibition
2.THE WEST 7M WIDE STRUCTURAL ZONE FACING TE SQUARE
It contains vertical and horizontal movement, exploiting a wonderful view of
Paris.
Escalators, lifts, escape stairs, glazed and open galleries or corridors, audio
visual screens, announcements, exhibitions etc. Are clipped on, animating and
continuing the activities of the square below.

3.THE EAST SIDE 7M WIDE STRUCTURAL ZONE FACING RUE DE RENARD
Contains all the mechanical services, goods lifts and stairs, with continuous
steel galleries for ease of maintenance and contain paint rooms, booting
towers.
All of the functional structural elements of the building were colour-coded:
green pipes are plumbing, blue ducts are for climate control, electrical wires
are encased in yellow, and circulation elements and devices for safety are red
Fire protection of the main columns of the superstructure is achieved by water
filling, each column being provided with an integral circulatory pump.
4.THE GEORGES POMPIDOU CENTER IN PARIS USED MANY CUSTOM
FABRICATED ELEMENTS TO CREATE THE STRUCTURE
A view of one gerberette as it attaches over the main exterior column,
connecting the primary truss system to the vertical support system and also
forming the end connection for the x bracing system along the faade
Humayun's tomb is the tomb of the Mughal Emperor Humayun. The tomb
was commissioned by Humayun's wife Hamida Banu Begum in 1562 AD, and
designed by Mirak Mirza Ghiyath, a Persian architect. It was the first garden
tomb on the Indian ubcontinent, and is located in Nizamuddin East, Delhi,
India, close to the Dina-panah citadel also known as Purana Qila (Old Fort),
that Humayun founded in 1533. It was also the first structure to use red
sandstone at such a scale. The tomb was declared a UNESCO world heritage
site in 1993. The site was chosen on the banks of Yamuna river, due to its
proximity to Nizamuddin Dargah, the mausoleum of the celebrated Sufi saint
of Delhi, Nizamuddin Auliya, who was much revered by the rulers of Delhi, and
whose residence, Chilla Nizamuddin Auliya lies
just north-east of the tomb.
The tomb of Humayun was built by the orders of Hamida Banu Begum,
Humayun's widow, and
begun in 1565, nine years after his death, and completed in 1572 AD at a cost
of 15 lakh rupees
(1.5 million) at the time.
The fortunes of the once famous Charbagh (Four-square) gardens, which
spread over 13
hectares surrounding the monument, changed repeatedly over the years after
its construction.
In 1860, the Mughal design of the garden was replanted to a more English
garden-style, with
circular beds replacing the fours central water pools on the axial pathways and
trees profusely
planted in flowerbeds. This fault was corrected in early 20th century mostly
when it was
declared as world heritage site.
The tomb built of rubble masonry and red sandstone, uses white marble as a
cladding material
and also for the flooring, lattice screens (jaalis), door frames, eaves (chhajja)
and for the main
dome.
It is essentially
square in design, though chamferred on the edges to appear octagonal, to
prepare ground for
the design of the interior structure.
The plinth made with rubble core has fifty-six cells all around, and houses over
100
gravestones. Plus, the entire base structure is on a raised platform, a few steps
high.
Inspired by Persian architecture; the tomb reaches a height of 47 m
and is 300 feet (91 m) wide, and was the first Indian building to use the
Persian double dome on a high neck drum, and measures 42.5 m, and
is topped by 6 m high brass finial ending in a crescent, common
in Timurid tombs.
The double or 'double-layered' dome, has its the outer layer which
supports the white marble exterior, while the inner part gives shape to
the cavernous interior volume.
As a contrast to the pure white exterior dome, rest of the building is
made up of red sandstone, with white and black marble and yellow
sandstone detailing, to relieve the monotony
It can be entered through an imposing entrance iwan (high arc) on the south,
which is slightly
recessed, while others sides are covered with intricate jaalis, stone lattice
work.
Humayun aligned on the north-south axis, as per Islamic tradition, where in
the head is placed
to the north, while the face is turned sideways towards Mecca.
Use marble and stone inlay ornamentation in numerous geometrical and
arabesque patterns,
seen all around the facade is an important legacy of the Indo-Islamic
architecture.
The main chamber carries the symbolic element, a mihrab design over the
central jaali,
facing Mecca in the West, here instead of the traditional Surah 24, An- Noor of
Quran which is
inscribed on the mihrabs, is just an outline allowing light to enter directly into
the chamber.
Humayuns tomb was also placed in centre of a 30-acre Char
Bagh Garden (Four Gardens), a Persian-style garden with
quadrilateral layout and was the first of its kind in the South
Asia region in such a scale. The highly geometrical and
enclosed Paradise garden is divided into four squares by paved
walkways (khiyabans) and two bisecting central water channels,
reflecting the four rivers that flow in jannat. Each of the four
square is further divided into smaller squares with pathways,
creating into 36 squares in all, a design typical of later Mughal
gardens.
The entire tomb and the garden is enclosed within high rubble walls on three
sides, the fourth
side was meant to be the river Yamuna, which has since shifted course away
from the structure.
The central walkways, terminate at two gates: a main one in the southern
wall(which was used
during Mughal era) and a smaller one in the western wall(which is used now).
Aligned at the centre on the eastern wall lies a baradari, a pavilion with
twelve doors, which is
a building or room with twelve doors designed to allow the free draught of air
through it, finally
on the northern wall lies a hammam, a bath chamber.
Gol Gumbaz or Gol Gumbadh, Kannada: is the mausoleum of Mohammed
Adil Shah, Sultan of Bijapur. The tomb, located in Bijapur, Karnataka in India,
was completed in 1656 by the architect Yaqut of Dabul. Although "impressively
simple in design", it is the "structural triumph of Deccan architecture
The structure is composed of a cube, 47.5 metres (156 ft) on each side, capped
by a dome 44 m (144 ft) in external diameter. "Eight intersecting arches
created by two rotated squares that create interlocking pendentives" support
the dome. At each of the four corners of the cube, is a dome-capped octagonal
tower seven stories high with a staircase inside.
[1]
The upper floor of each
opens on to a round gallery which surrounds the dome. Inside the mausoleum
hall, is a square podium with steps on each side. In the middle of the podium, a
cenotaph slab on the ground marks the actual grave below, "the only instance
of this practice" in the architecture of the Adil Shahi Dynasty. In the middle of
the north side, "a large semi-octagonal bay" protrudes out.
[1]
With an area of
1,700 m
2
(18,000 sq ft),
[2]
the mausoleum has one of the biggest single
chamber spaces in the world. Running around the inside of the dome is the
"Whispering Gallery" where even the softest sound can be heard on the other
side of the mausoleum due to the acoustics of the space.
[

VICTORIA TERMINOUS
Chhatrapati Shivaji Terminus -historic railway station in Mumbai.
Architect - Frederick William Steven
example of Gothic architecture in India, blended with themes deriving
from Indian traditional architecture.
It is crowned by a high central dome.
The dome is an octagonal ribbed structure with a colossal female figure
symbolizing Progress.
The interior has a series of large rooms with high ceilings.
Its C-shaped plan is symmetrical on an east-west axis. All the sides of the
building are given equal value in the design.
The side wings enclose the courtyard, which opens to the street. The
wings are anchored by turrets at each of their four corners, which
balance and frame the central dome.
The side wings enclose the courtyard, which opens to the street. The
wings are anchored by turrets at each of their four corners, which
balance and frame the central dome.
The main structure is built from blend of sandstone and limestone. high-
quality Italian marble was used for the key decorative elements.
The columns of the entrance gates are crowned by figures of a lion
(representing Great Britain) and a tiger (representing India).
Its walls were lined with glazed tiles .
Wood carving, ornamental iron and brass railings, the balustrades for
the grand staircases.
PRINCE OF WALES
Prince of wales musuem was designed by George Wittet
The building was designed to accommodate three independent musuem
buildings arranged in a symmetric c-shaped plan.
It was constructed in indo-sarcenic style with basalt and coorla stone
from local quarries.
The main elevation of building is three stories high capped by a large
dome.
The entrance portico has a traditional bengali form roof, with jali screens
inserted into arched openings
The upper two floors have large brackets that are repeated along the
length of the facade.
Features- protruding balconies,small domes,jain style interior
columns,marble inlaid floor(mughal), and reassemblage of elements
from maharashtrian style.
The Victoria Memorial (Victoria Memorial Hall) is a large marble building in
Kolkata (Calcutta), West Bengal, India which was built between 1906 and 1921.
It is dedicated to the memory of Queen Victoria (18191901) and is now a
museum and tourist destination under the auspices of the Ministry of
Culture.
[2]
The Memorial lies on the Maidan (grounds) by the bank of the
Hooghly river, near Jawaharlal Nehru road
In January 1901, on the death of Queen Victoria,
[5]
Lord Curzon, suggested the
creation of a fitting memorial. He proposed the construction of a grand
building with a museum and gardens.
[6]
Curzon said,
The Prince of Wales, later King George V, laid the foundation stone on 4
January 1906 and it was formally opened to the public in 1921.
[8]
In 1912,
before the Victoria Memorial was finished, King George V announced the
transfer of the capital of India from Calcutta to New Delhi.
[9]
Thus, the Victoria
Memorial was built in what would be a provincial city rather than a capital.
The Victoria Memorial's architect was William Emerson (18431924), president
of the Royal Institute of British Architects.
[11][12]
The design is in the Indo-
Saracenic revivalist style. This style uses a mixture of British and Mughal
elements as well as Venetian, Egyptian, Deccani and Islamic architectural
influences.
[13]
The building is 338 feet (103 m) by 228 feet (69 m) and rises to a
height of 184 feet (56 m). It is constructed of white Makrana marble.
[14]
The
gardens of the Victoria Memorial were designed by Lord Redesdale and David
Prain.



B.V. DOSHI
Balkrishna Vithaldas Doshi (born 26 August 1927) is an Indian architect,
[1]

considered an important figure of South Asian architecture and noted for his
contributions to the evolution of architectural discourse in India.
[2]
He is known
for his contributions to the architecture of Indian Institute of Management
Bangalore.
After having worked for four years between 1951-54 with Le Corbusier in Paris,
B. V. Doshi returned to Ahmedabad to supervise Le Corbusier's projects. His
studio, Vastu-Shilpa (environmental design), was established in 1955. Doshi
worked closely with Louis Kahn and Anant Raje, when Kahn designed the
campus of the Indian Institute of Management, Ahmedabad. In 1958 he was a
fellow at the Graham Foundation for Advanced Studies in the Fine Arts. He
then started the School of Architecture (S.A) in 1962.
Apart from his international fame as an architect, Dr. Doshi is equally known as
an educator and institution builder. He has been the first founder Director of
the School of Architecture, Ahmedabad (196272), first founder Director of the
School of Planning (197279), first founder Dean of the Centre for
Environmental Planning and Technology (197281), founder member of the
Visual Arts Centre, Ahmedabad and first founder Director of the Kanoria
Centre for Arts, Ahmedabad. Dr. Doshi has been instrumental in establishing
the nationally and internationally known research institute Vastu-Shilpa
Foundation for Studies and Research in Environmental Design. The institute
has done pioneering work in low cost housing and city planning.
As an academician, Dr. Doshi has been visiting the USA and Europe since 1958
and has held important chairs in American Universities.
Sangath ,which means moving together through participation in
Sanskrit,it is a village like enclave of distinct rectangular volumes aligned
along N- S axis inside a lush green location.
IIM AHMEDABAD
Designed to contain a complete space for training and education, the
plan of this large 54'000 m2 complex is based on the design of the town
of Fatephur Sikri, laid out by the emperor Akbar in the 16th century.
Achieved by adopting a network of corridors linking together all
volumes, courtyards, and external spaces, the project allows for future
extensions
These corridors are sometimes seem open, sometimes with o
nly pergolas
and sometimes partly covered with skylight. To further height
en the spatial experience, the width of the corridors was mo
dulated in many places to allow casual sitting, interaction or
moving forwards to once destination or more towards.

Access to classrooms and administrative offices was provided
through these links as well as to generate constant activity.
Owing to the varying rhythm of the solids and voids, i.e. wall and
opening, coupled with direct or indirect natural light, these links ch
ange in character during the different times of the day as well sea
sons and offer the students and the faculty, occasion to feel the p
resence of nature even while they are inside.
CEPT
The long side of the L shaped plan is exposed to the prevailing
winds.

A funnel shaped entrance under the south faade is designed to
direct the breeze through the building.

An open place with hardly any doors ,Doshis dictum for the
school of Architecture expresses the sense of freedom he seeks in
his design.

Recesses in elevation protect from sun; angled windows left in
maximum height.

Spaces created underneath are active multifunctional, designen for
sun protection and catching breeze.

Charles correa
Charles Mark Correa was born on September 1, 1930 in Secunderabad is a
noted Indian architect, urban planner and activist. An influential architect
credited for the creation of modern architecture in post-Independence India.
He is noted for his sensitivity to the needs of the urban poor and for his use of
traditional methods and materials.
He has been awarded the Padma Shri in 1972, and second highest civilian
honour, the Padma Vibhushan in 2006, given by Government of India. He was
also awarded the 1984 Royal Gold Medal for architecture, by the Royal
Institute of British Architects
In 1958 he established his own Bombay-based professional practice Charles
Correa is a major figure in contemporary architecture around the world. With
his extraordinary and inspiring designs, he has played a pivotal role in the
creation of architecture for post-Independence India. All of his work - from the
carefully detailed memorial Mahatma Memorial Museum at the Sabarmati
Ashram in Ahmadabad to Kanchenjunga Apartment tower in Mumbai, the
Jawahar Kala Kendra in Jaipur, the planning of Navi Mumbai, MIT'S Brain and
Cognitive Sciences Centre in Boston, and most recently, the Champalimad
Centre for the Unknown in Lisbon, places special emphasis on prevailing
resources, energy and climate as major determinants in the ordering of space
His first important project was "Mahatma Gandhi Sangrahalaya" (Mahatma
Gandhi Memorial) at Sabarmati Ashram

in Ahmadabad (1958-1963) then in 1967 he designed the Madhya Pradesh
Legislative Assembly in Bhopal.
CONCEPTS-
Blessings of the sky
Natural ventilation & light
Low cost housing
Free flow of volumes between interior & exterior.
WORKS-
GANDHI SMARAK SANGRAHALAYA
VIDHAN BHAVAN
KANCHANJUNGA APARTMENTS
BAY ISLAND HOTEL
INREMANTAL HOUSING AT BELAPUR
GANDHI SMARAK SANGRAHALAYA
Sabarmati ashram Ahmedabad (1958-1963)
Build for Mahatma Gandhi for homage & to propagate his ideas
& exhibition of letters, photographs & other documents which
trace the freedom movement by Gandhi ji.
Materials- stone floors, brick walls, wooden doors& louvered
windows, devoid of glass, tile roof & RCC channels for beams &
rainfall conduits.

Bombay- 1970 1983
32 luxury apartments, varying in size from 3-6 bedrooms each
from 180- 420 sq. m area.
Material- RCC
Planning
Square in plan 21x21 m & 85m height, width height proportion
of 1:4
continuous variation in internal spaces which are expressed in
the elevation formed by shear walls on the north & south faces
Small balconies overlook the private terrace spaces
Continuous cross ventilation throughout the year because of
orientation of the tower terrace garden cantilevered from the
building
skip stop elevators give axis to a jagged stack of split levels
units each of which rises & descends from the central cores to
double height verandas
along the east & west faces each apartment is protected by
verandas , bathrooms & terrace gardens
The taut minimalist volume of the exterior is interrupted by
cuts for terraces & verandas These mediate between the
exterior & interior, Expressing through their variety of colors &
profile, the spatial complexities of the dwellings that lie within.
Jawahar Kala Kendra
Also symolises the NINE Planets as Nav Graha
Museum was inspired from city planning of Jaipur.
Indian+ Modernism was the key : By making the southeast block to shift
for Entrance.


jawahar Kala Kendra (JKK) is a multi arts centre located in Jaipur in
India. It was built by Rajasthan government with the purpose of
preserving Rajasthani arts and crafts. The centre has been made in
eight blocks housing museums, one amphi theatre and the other
closed auditorium, library, arts display rooms, cafeteria, small hostel
and art-studio. It also houses two permanent art galleries and three
other galleries. and host its own theatre festival each year.
The construction of JKK building on the theme of nine planets adds
unique attributes to the institution. Each section of the building
resembles the characteristics of the respective planet. For instance,
the library is located in the Jupiter section, which attributes to
knowledge and wisdom. The Murals from Jain mythology, the charts
and paintings on the ceiling of the central dome play a considerable
role to attract the tourists and artists,
a.p. kanvinde
From 1916 to 2002.
Ar. A.P. Kanvinde belonged to the very small village of
Sindhudurg district in Maharashtra.
He was then sent by the government of India to study at
Harvard University.
There he worked under Walter Gropous and was influenced by
his thinking and teaching.
Kanvinde was also influenced by his father, who was portrait
and landscape painter.
His buildings were simple and he used to tell the students
ARCHITECTURE IS NOT A MUSEUM OF MATERIAL.
An art can be 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.
He treated his building with
VASTUSHASTRA.
He also used Vernacular Architecture in
foreign.
IIt, 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 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
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 shad and
shadow
IIT DELHI
I t is established in 1961.
Nehru University is adjoining at the southern edge.
The site is available near Qutab Minar Complex which is a
landmark place in the colorful history of Delhi.
The I nstitute campus is about 19 Km. away from the Delhi
Main Railway Station, 14 Km. from the New Delhi Railway
Station, 21 Km. from the I nter-State Bus Terminal and 10 Km
from Delhi Airport.
I t is well connected to the major city centers by open and wide
roads.
The campus area has been divided into four functional zones :
Residential zone for students.
Residential zone for the faculty and staff.
Academic zone for academic buildings and workshops.
Cultural-cum-social and recreational zone for students.
Each department is a separate entity with a courtyard.
The main academic building accommodates various teaching
and research activities.
Two outer residential zones are separated from the central
academic zone by canals and open areas.

MILK PROCESSING PLANT MEHSANA
The concept is broadly based on effective ventilation and
segregation of human and material movements
The milk receiving areas are located at a higher level and milk
tankers can ply on the roof above the processing block.
The building is in rcc frame with column spacing of 7 metres.
The facilities for workers are laid out at the lowest level.


Laurence Wilfred "Laurie" Baker was an award-winning
English architect, renowned for his initiatives in low-cost
housing. He CAME to India in 1945 in part as a missionary and
since then lived and worked in India for over 50 years. He
obtained Indian citizenship in 1989 and resided in
Thiruvananthapuram (Trivandrum), Kerala. In 1990, the
Government of India awarded him with THE PADMA SHRI,
the nation's fourth highest civilian award, in recognition of his
meritorious service in the field of architecture.

Throughout his practice, Baker became well known for
designing and building low cost, high quality homes, with a
great portion of his work suited to or built for lower-middle
to lower class clients. His buildings tend to emphasize
prolific - at times virtuosic - masonry construction, instilling
privacy and evoking history with brick jali walls, a
perforated brick screen which utilises natural air movement
to cool the home's interior and create intricate patterns of
light and shadow.

Another significant Baker feature is irregular, pyramid-like structures
on roofs, with one side left open and tilting into the wind. Curved
walls enter Baker's architectural vocabulary as a means to enclose
more volume at lower material cost than straight walls. Baker's
architectural method is one of improvisation, in which initial
drawings have only an idealistic link to the final construction, with
most of the accommodations and design choices being made on-site
by the architect himself
HIS WORKS:-
Centre for Development Studies Ulloor, Trivandrum, 1971
the most important project of bakers career. The significance of this
assignment had less to do with size and budget, than with the idea of
exhibiting a range of concepts applied to buildings of varying
functions, scale and dimensions.
An area of nine acres accommodates administrative offices, a com-
puter centre, an amphi-theatre, a library, classrooms, housing and
other components of an institutional design.
Loyola Chapel and Auditorium
Sreekarayam, 1971
The Loyola complex contains a high school and a post-graduate
complex, both sharing a common chapel and an auditorium. It was
here that Baker's skills of cost-reduction met their greatest
challenge, as it required a seating capacity of one thousand. In order
to increase the lateral strength of the high brick wall, without the
introduction of any steel or concrete, Baker devised a wide cavity
double-wall with cross-bracing brick.
Both the walls were pierced with a continuous floor-to-roof pattern
of jails, so that the chapel was adequately, though somewhat
mysteriously, lit-and ventilated. Despite its tall proportions, the
acoustics of the hall were remarkable-the exposed surfaces and the
open patterns of brickwork controlling the reverberations.