Signature of Louis Kahn and Other Foreign Architects on Indian Cities
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Princely Palaces in New Delhi Datasheet
TITLE INFORMATION Tel: +1 212 645 1111 Email: [email protected] Web: https://www.accartbooks.com/us Princely Palaces In New Delhi Sumanta K Bhowmick ISBN 9789383098910 Publisher Niyogi Books Binding Hardback Territory USA & Canada Size 9.18 in x 10.39 in Pages 264 Pages Price $75.00 The first-ever comprehensive book on the princely palaces in New Delhi Documentation based on extensive archival research and interviews with royal families Text supported by priceless photographs obtained from the private collections of the princely states, National Archives of India, state archives and various other government and private bodies Rajas and maharajas from all over the British Indian Empire congregated in Delhi to attend the great Delhi Durbar of 1911. A new capital city was born New Delhi. Soon after, the princely states came up with elaborate palaces in the new Imperial capital Hyderabad House, Baroda House, Jaipur House, Bikaner House, Patiala House, to name a few. Why did the British government allot prime land to the princely states and how? How did the construction come up and under whose architectural design? Who occupied these palaces and what were the events held? What happened to these palatial buildings after the integration of the states with the Indian Republic? This book delineates the story behind the story, documenting history through archival research, interviews with royalty and unpublished photographs from royal private collections. Contents: Foreword; The Journey; Living with History; Hyderabad House- Guests of Honour; Baroda House - Butterfly on the Track; Bikaner House -Rajasthan Royals; Jaipur House -An Acre of Art; Patiala House -Chambers of Justice; Travancore House -Hathiwali Kothi; Darbhanga House - The 'Twain Shall Meet; The Other Palaces - Scattered Petals; Planning the Palaces -Thy Will be Done; List of Princely Palaces. -
Rashtrapati Bhavan and the Central Vista.Pdf
RASHTRAPATI BHAVAN and the Central Vista © Sondeep Shankar Delhi is not one city, but many. In the 3,000 years of its existence, the many deliberations, decided on two architects to design name ‘Delhi’ (or Dhillika, Dilli, Dehli,) has been applied to these many New Delhi. Edwin Landseer Lutyens, till then known mainly as an cities, all more or less adjoining each other in their physical boundary, architect of English country homes, was one. The other was Herbert some overlapping others. Invaders and newcomers to the throne, anxious Baker, the architect of the Union buildings at Pretoria. to leave imprints of their sovereign status, built citadels and settlements Lutyens’ vision was to plan a city on lines similar to other great here like Jahanpanah, Siri, Firozabad, Shahjahanabad … and, capitals of the world: Paris, Rome, and Washington DC. Broad, long eventually, New Delhi. In December 1911, the city hosted the Delhi avenues flanked by sprawling lawns, with impressive monuments Durbar (a grand assembly), to mark the coronation of King George V. punctuating the avenue, and the symbolic seat of power at the end— At the end of the Durbar on 12 December, 1911, King George made an this was what Lutyens aimed for, and he found the perfect geographical announcement that the capital of India was to be shifted from Calcutta location in the low Raisina Hill, west of Dinpanah (Purana Qila). to Delhi. There were many reasons behind this decision. Calcutta had Lutyens noticed that a straight line could connect Raisina Hill to become difficult to rule from, with the partition of Bengal and the Purana Qila (thus, symbolically, connecting the old with the new). -
Renzo Piano Designs a Reverent Addition to Louis Kahn's Kimbell
SEEMING INEVITABILITY: renzo piano designs a reverent addition to louis kahn’s kimbell 6 spring INEVITABILITY: Lef: Aerial view from northwest. Above: Piano Pavilion from east, 2014. Photos: Michel Denancé. by ronnie self Louis Kahn’s and Renzo Piano’s buildings for the Kimbell Art Museum in Fort Worth are mature projects realized by septuagenarian architects. They show a certain wis- dom that may come with age. As a practitioner, Louis Kahn is generally considered a late bloomer. His most respected works came relative- ly late in his career, and the Kimbell, which opened a year and a half before his death, is among his very best. Many of Kahn’s insights came through reflection in parallel to practice, and his pursuits to reconcile modern architec- ture with traditions of the past were realized within his own, individual designs. spring 7 Piano (along with Richard Rogers and Gianfranco Franchini) won the competition for the Centre Pompidou in Paris as a young architect piano’s main task was to respond appropriately only in his mid-30s. Piano sees himself as a “builder” and his insights come largely through experience. Aside from the more famboyant Cen- to kahn’s building, which he achieved through tre in the French capital, Piano was entrusted relatively early in his career with highly sensitive projects in such places as Malta, Rhodes, alignments in plan and elevation ... and Pompeii. He made studies for interventions to Palladio’s basilica in Vicenza. More recently he has been called upon to design additions to modern architectural monuments such as Marcel Breuer’s Whitney Mu- seum of American Art in New York and Le Corbusier’s chapel of Notre Dame du Haut in Ronchamp. -
ANNE TYNG: INHABITING GEOMETRY April 15 – June 18, 2011 GRAHAM FOUNDATION
ANNE TYNG: INHABITING GEOMETRY April 15 – June 18, 2011 GRAHAM FOUNDATION Anne Tyng, A Life Chronology By: Ingrid Schaffner, Senior Curator, Institute of Contemporary Art Philadelphia & William Whitaker, Curator and Collections Manager, The Architectural Archives, University of Pennsylvania All quotes: Anne Tyng. 1920 Bauer; classmates include Lawrence Halprin, Philip July 14: born in Jiangxi, China, to Ethel and Walworth Johnson, Eileen Pei, I.M. Pei, and William Wurster. Tyng, American Episcopal Missionaries. The fourth of five children, Tyng lives in China until 1934 with periodic furloughs in the United States. 1944 Graduates Harvard University, MA Architecture. In New York, works briefly in the offices of: Konrad Wachsmann; 1937 Van Doren, Nowland, and Schladermundt; Knoll Graduates St. Mary‘s School, Peekskill, New York. Returns Associates. to China for a family visit; continues to travel with her sister around the world via South Asia and Europe. 1945 Moves to Philadelphia to live with parents (having left as refugees of the Japanese invasion in 1939, they return to 1938 China in 1946). Employed by Stonorov and Kahn. The only Enrolls in Radcliffe College, majoring in fine arts. woman in an office of six, Tyng is involved in residential and city planning projects. 1941 1947 Takes classes at the Smith Graduate School of Architecture Joins Louis I. Kahn in his independent practice; initial and Landscape Architecture (a.k.a The Cambridge School), projects include the Weiss House (1947-50) and Genel the first women‘s school to offer architectural studies in House (1948-51), as well as the Radbill Building and the United States. -
A Biography of the American Architect Louis Kahn
Narrative Section of a Successful Application The attached document contains the grant narrative and selected portions of a previously funded grant application. It is not intended to serve as a model, but to give you a sense of how a successful application may be crafted. Every successful application is different, and each applicant is urged to prepare a proposal that reflects its unique project and aspirations. Prospective applicants should consult the Research Programs application guidelines at https://www.neh.gov/grants/research/public-scholar-program for instructions. Applicants are also strongly encouraged to consult with the NEH Division of Research Programs staff well before a grant deadline. Note: The attachment only contains the grant narrative and selected portions, not the entire funded application. In addition, certain portions may have been redacted to protect the privacy interests of an individual and/or to protect confidential commercial and financial information and/or to protect copyrighted materials. The application format has been changed since this application was submitted. You must follow the guidelines in the currently posted Notice of Funding Opportunity (see above link). Project Title: American Architect Louis Kahn (1901-1974): A Portrait in Light and Shadow Institution: Threepenny Review Project Director: Wendy Lesser Grant Program: Public Scholars 400 Seventh Street, S.W., Washington, D.C. 20506 P 202.606.8200 F 202.606.8204 E [email protected] www.neh.gov Significance and contribution My project will be the first full-length biography of the architect Louis Kahn, and the only book about him to be aimed at a wide general audience. -
'Joints Like Sculpture'- Louis Kahn's Richards Building and the "Precisionist Strain"
41 4 ARCHIPELAGOS: OUTPOSTS OF THE AMERICAS 'Joints like Sculpture'- Louis Kahn's Richards Building and the "Precisionist Strain" THOMAS LESLIE, AIA Iowa State University The recent opening of the Marshall D. Ile~ersArchixe at the P; ritirig in 1960. \ incent Scully described Louis kahn's design Universitj of Pennsllxania has provided a neu source of for tlie 4. Y.Richards Medical Laboratories at the I nix ersitj of photographs docurnentirig tlie building's unique construction. Pennsqlxania as a participant in the American '"Precisionist The parallel discover! bj the author of a prexiousl! unpubl- Strain.""' This short-lix ed formulation described for Scullj a ished manuscript bq the project's precast contractor sheds tendenc? in herican architecture toward 'puritj of shape. additional light on the project's multi-faceted concern for linearit! of detail. and. at times. compulsixe repetition of weaxing together function. performance and assembly. These elements." and included xlorlts as early as the 'taut. hollow documents support an explanation of the building's conception hoxes' of 17th century Ilassachusetts. the 'clear. sharplj as the -monumentalization of technique.' and the largel! separate geometric shapes* of the Lniversit! of \ irginia. and undocumented role of Iiahn as a building technologist oi the Louis Sullix an's "actixe staternentls] of human force."? \lore first order. Richards' direct influence on a generation of currentlj. the "icj. taut cubes' of SOVs banks and office technically inclined architects in the 1970s indicates that these buildings and the 'brittle planeb^ and *ruggedl! conceix ed' concrete of 1iahn"s building represented the continuation of nenl! axailable documents support the xieu of Kahn as a - A seminal figure in the dexelopment of the so-called 'hi-tech' this Puritan obsession ~ith'perfect. -
Four Freedoms Park Conservancy 2017 & 2018
Four Freedoms Park Conservancy 2017 & 2018 Four Freedoms Park Conservancy Board of Directors William J. vanden Heuvel, Founder & Chair Emeritus • Mrs. Franklin D. Roosevelt, Jr., Honorary Chair Barbara Shattuck Kohn, Chair • Sally Minard, Vice Chair • Alison M. von Klemperer, Secretary William R. Griffith, Treasurer • Clark Copelin • John S. Dyson • Barbara Georgescu • David Handler Donald B. Hilliker • Warren Hoge • Eduardo Jany • Jessica S. Lappin • Richard Lorenti • David A. Paterson James S. Polshek, Emeritus • Katrina vanden Heuvel • Chris Ward • William Whitaker, Ex Officio Four Freedoms Park Conservancy operates, maintains, and programs Franklin D. Roosevelt Four Freedoms State Park to the highest standard. As steward of this extraordinary civic space designed by Louis I. Kahn, the Conservancy advances President Roosevelt’s legacy and inspires, educates, and engages the public in the ideals of the Four Freedoms: freedom of speech and expression, freedom of worship, freedom from want, and freedom from fear. The Conservancy does this by: • safeguarding the memorial as a space for inspired use • fostering community and understanding • igniting conversation about human rights and freedoms today Connect with us and join the conversation: facebook.com/fdrfourfreedomspark | @4freedomspark | fdrfourfreedomspark.org New York State Office of Parks, Recreation and Historic Preservation, Rose Harvey, Commissioner Table of Contents A Message from Four Freedoms Park Conservancy Leadership 2 A Message from NY State Parks Commissioner Rose Harvey 3 Board Spotlight: Eduardo Jany 4 Park Visitorship 2013-2018: 1,000,000 & Counting 5 Planning for the Future: Preserving an Architectural 6 Masterpiece in the East River Inspiring the Next Generation Through FDR's Four Freedoms 8 Public Programs & Events at FDR Four Freedoms State Park 12 Four Freedoms Exemplars Lifetime Achievement Awards: 14 Honoring Tom Brokaw & William J. -
Jatio Sangsad Bhaban Or National Assembly Building and Sustainability
Journal of Engineering Science 11(2), 2020, 127-132 JES DOI: https://doi.org/10.3329/jes.v11i2.50904 an international Journal JATIO SANGSAD BHABAN OR NATIONAL ASSEMBLY BUILDING AND SUSTAINABILITY Bayezid Ismail Choudhury Department of Architecture, Khulna University of Engineering & Technology, Khulna -9203, Bangladesh Received: 01 November 2020 Accepted: 08 December 2020 ABSTRACT Designed by American architect, Louis I. Kahn, the Jatio Sangsad Bhaban (JSB) or National Assembly Building of Bangladesh is a world-renowned iconic building situated in Bangladesh. Louis I. Khan was commissioned to design the JSB during the period before the term ‘sustainable’ was coined. In sustainable term it has controversial standing due to its cost, social and participatory aspects. However, it still stands as one of the masterpieces that represent hope and aspiration of the people of Bangladesh. This paper intends to look at the JSB through the lens of ‘sustainability’ to ascertain the degree of sustainability it has or has not achieved considering three tenets of sustainability, namely environmental, social and economic. Keywords: Jatio Sangsad Bhaban; Louis I Kahn; Sustainability. 1. INTRODUCTION The JSB, or National Assembly Building of Bangladesh, is regarded as one of the significant buildings in the history of world architecture. It was designed by American architect, Louis I. Kahn, who was appointed in 1962 (Choudhury & Armstrong, 2012). The JSB was commissioned by military dictator, Ayub Khan, who’s prime motive was political, far from patronising iconic architecture. Ayub Khan’s intention was to please the people of East Pakistan (presently Bangladesh) who were unhappy due to political and economic suppression by West Pakistan (Choudhury & Bell, 2011). -
A City Carved of Stone an Architectural Treatise on Jerusalem’S Search for Monumentality Ari Lewkowitz
DRUM note: Images have been removed from this paper due to copyright restrictions A City Carved of Stone An Architectural Treatise on Jerusalem’s Search for Monumentality Ari Lewkowitz “To provide meaningful architecture is not to parody history but to articulate it” Daniel Libeskind Ari Lewkowitz JWST409L Professor Cooperman Capital cities, for their own sake and that of the greater nation, maintain a synergy of historical relevance and a future-seeking pragmatism through their architectural design. The city of Jerusalem is no exception. Imbued in its post-1967 development is a certain sympathy for the past in order to massage long-standing notions and images of Jerusalem as an “ideal” city, deserving of various levels of preservation. More precisely, there is a politicized agenda of ethno-nationalist pride in much of the city’s newly built structures directly manifested through the use of monumentality. In order to better understand monumentality, it is important to analyze the current status of monumental architecture and its respective role in ancient civilizations. As part of a larger manifesto on this particular topic, Sigfried Geidion, Jose Luis Sert, and Fernand Leger, pioneering modernist architectural critics from the first half of the 20th century, compiled a short list entitled, “9 Points of Monumentality.” In it, the authors claimed that monuments are “symbols for [man’s] ideals, for their aims, and for their actions…They have to satisfy the eternal demand of the people for translation of their collective force into symbols” (1943). This strikes upon a major component of this debate, that monumentalizing goes far beyond a singular person, regional place, or specific event, and attempts to capture a combined pathos of the community- however widespread that community wants to be defined. -
The Architecture of Democracy
TIF - The Architecture of Democracy PREM CHANDAVARKAR September 4, 2020 Central Vista, New Delhi: The North and South blocks of Rashtrapati Bhavan lit for Republic Day | Namchop (CC BY-SA 3.0) The imperial Central Vista in Delhi has been transformed since 1947 into a symbol of democratic India. But the proposed redevelopment will reduce public space, highlight the spectacle of government and seems to reflect the authoritarian turn in our democracy. The Government of India is proposing a radical reshaping of the architecture and landscape of New Delhi’s Central Vista: a precinct that is the geographical heart of India’s democracy containing Parliament, ministerial offices, the residence and office of the President of India, major cultural institutions, and a public landscape that is beloved to the residents of Delhi and citizens of India. Its design originally came into being in 1913-14 as a British creation meant to mark imperial power in India through a new capital city in Delhi. After Independence, its buildings and spaces have been appropriated by Indians. How was the original design meant to serve as a public symbol of imperial power and governance? In the seven plus decades since Independence, how has it been appropriated by Indians such that during those decades it has Page 1 www.TheIndiaForum.in September 4, 2020 become an integral part of the independent nation’s history, leading to the precinct and its major edifices receiving the highest listing of Grade-1 from the Heritage Conservation Committee, Delhi? And what light does the currently planned redevelopment throw on the direction that contemporary India’s governance is taking, especially in reference to its equation with the general public? To understand these questions in their full depth, we must examine the history of how city form has visually reflected political ideals of governance. -
Hurvat Hamidrash—The Ruin of the Oracle
11.949 City Visions: Past and Future Prof. Diane Davis and Prof. Larry Vale With the MIT Jerusalem 2050 Lecture Series: “Cities against Nationalism: Urbanism as Visionary Politics” Hurvat haMidrash—the Ruin of the Oracle The Hurvah Synagogue of Louis Kahn and the Semantics of Nationalism Eric Orozco 15 May 2004 Fig. 1 Hurvah Synagogue, first proposal. Louis I. Kahn, 1968. (Model reconstruction by Kent Larson). Fig. 2 Temple of Amon, Karnak, Egypt. Louis I. Kahn, 1951. Hurvat haMidrash—the Ruin of the Oracle The Hurvah Synagogue of Louis Kahn and the Semantics of Nationalism In the Pantheon of 20th century architects, Louis Kahn occupies a singular place. Although Kahn was not exactly the “mystic” seer that some claim he is, his personal mythical quest for the “origins” of architecture gives him the status of something like a divine personage or Biblical prophet among architects, says Alexander Gorlin. We often lump Mies, Corbu and Gropius in one breath, and may trace out in a good day their family trees through their Team X and Situationist scions and their prattling post-modern grandchildren. But somewhere standing alone in the margins is the Ezekiel figure of Kahn, straddling simultaneously the Beaux-Arts universe of the early 20th century, CIAM modernism, and Neolithic and Bronze Age architecture. When Kahn was a toddler, the legend goes, he was drawn to inspect the light of glowing coal, which flared up suddenly in his face and permanently scarred the features around his mouth. Devotees of Kahn love to recount that story. As Gorlin observes, “The incident recalls the passage from the Book of Isaiah (XI, 66) where ‘one of the angels, with a glowing stone in his hand, which he had taken with tongs from off the altar, touched my mouth with it to cleanse me of sin.’”1 Actually, a closer precedent occurs in a Jewish Agaddic tale that recounts a similar event in the life of Moses, who purportedly placed a glowing coal in his mouth as a babe so that it scorched his tongue and made him “halting in speech”. -
Brutalist Architecture 1 Brutalist Architecture
Brutalist architecture 1 Brutalist architecture Brutalist architecture is a style of architecture which flourished from the 1950s to the mid 1970s, spawned from the modernist architectural movement. Boston City Hall, part of Government Center, Boston, Massachusetts (Gerhardt Kallmann and N. Michael McKinnell, 1969). The structure illustrates typical (but not necessary) Brutalist characteristics such as top-heavy massing, the use of slender base supports, and the sculptural use of raw concrete. The term "brutalism" The British architects Alison and Peter Smithson coined the term in 1953, from the French béton brut, or "raw concrete", a phrase used by Le Corbusier to describe the poured board-marked concrete with which he constructed many of his post-World War II buildings. The term gained wide currency when the British architectural critic Reyner Banham used it in the title of his 1966 book, The New Brutalism: Ethic or Aesthetic?, to characterize a somewhat recently established cluster of architectural approaches, particularly in Europe.[1] The architectural style known as Brutalism and the architectural and urban theory known as New Brutalism may be regarded as two different movements, although the terms are often used interchangeably. The New Brutalism of the British members of Team 10, Alison and Peter Smithson, is more related to the theoretical reform of the CIAM (in architecture and urbanism) than to "béton brut". Reyner Banham formulated this difference in the title of his book: "The Trellick Tower, London, 1966-1972, designed by New Brutalism - Ethic or Aesthetic?" Ernő Goldfinger. It is Grade II* listed. Brutalist architecture 2 The Interior of the Phillips Exeter Academy Library, 1965-1971, by Louis Kahn.