FOREIGN ARCHITECT-AR.

NORMAN
FOSTER

TITLE-INDIAN ARCHITECT
AR. NORMAN FOSTER
SUBJECT- CONTEMPORARY ARCHITECTURE (SEMINAR)

INDEX-
 TITLE
 BIOGRAPHY
 DESIGN PHILOSOHY
 AWARDS AND ACHIEVEMENTS
 TYPOLOGY OF THE PROJECTS
 EXPLAINING THE PROJECTS IN DETAILS
 CONCLUSION

• BIOGRAPHY
• NAME OF THE ARCHITECT NORMAN FOSTER
• NORMAN FOSTER WAS BORN IN MANCHESTER, ENGLAND IN 1935.

1 INDIAN ARCHITECT
 • HE WENT TO PRIVATE SCHOOL AND GRAMMAR SCHOOL BUT LEFT
EARLY TO EARN A LIVING.
• HE ENTERED MANCHESTER UNIVERSITY SCHOOL OF
ARCHITECTURE AND CITY PLANNING WHEN HE WAS 21 (1956)
AND GRADUATED IN 1961.
• LATER HE GOT A FELLOWSHIP AT YALE SCHOOL OF ARCHITECTURE,
AND COMPLETED HIS MASTERS
• HE IS ONE OF THE MOST HIGH TECH ARCHITECTS OF PRESENT TIME.
• FOSTER ASSOCIATES (NOW KNOWN AS FOSTER AND PARTNERS)
WAS FOUNDED IN 1967 AND NOW HAS OFFICES IN LONDON, BERLIN,
AND SINGAPORE, WITH OVER 500 EMPLOYEES WORLDWIDE.
• HE IS ONE OF BRITAIN'S MOST PROLIFIC ARCHITECTS OF HIS
GENERATION IN 1999 HE WAS AWARDED THE PRITZKER
ARCHITECTURE PRIZE (NOBEL PRIZE OF ARCHITECTURE)

THE BEST ARCHITECTURE COFTES FROFT A SYNTHESIS OF ALL THE

ELEFTENTS THAT SEPARATELY COMPRISE A BUILDING…” - FOSTER

‘SIR NORMAN FOSTER’S BUILDINGS HAVE DYNAMIC APPEARANCE

AND YET VERY ENVIRONMENTALLY AWARE.’

DESIGN PHILOSOPHY

2 INDIAN ARCHITECT
 • THE STRUCTURE THAT HOLDS IT UP;
• THE SERVICES THAT ALLOW IT TO WORK;
• THE ECOLOGY OF THE BUILDING –
-NATURALLY VENTILATED, WHETHER YOU CAN OPEN THE
WINDOWS, THE QUALITY OF LIGHT;
• THE MATERIALS USED, THEIR MASS OR THEIR LIGHTNESS;
• THE CHARACTER OF THE SPACES;
• THE RELATIONSHIP OF THE BUILDINGS TO THE SKYLINE OR
STREETSCAPE;
• THE WAY IN WHICH THE BUILDING SIGNALS ITS PRESENCE IN THE
CITY OR THE COUNTRYSIDE.
• “THE QUALITY OF OUR SURROUNDINGS HAS A DIRECT INFLUENCE
ON THE QUALITY OF OUR LIVES”.
• HE BELIEVES THAT “ARCHITECTURE IS GENERATED BY THE NEEDS
OF PEOPLE, BOTH MATERIAL AND SPIRITUAL”.
• THE PROCESS OF ‘REINVENTION’ DISTINGUISHES ALL OF HIS WORK –
PAST AND PRESENT – AND RESTS ON A DUTY TO DESIGN WELL AND
TO DESIGN RESPONSIBLY – WHETHER THAT IS AT THE SCALE OF AN
AIRPORT OR A DOOR HANDLE.
• HE ANTICIPATED TRENDS LIKE ENERGY CONSERVATION AND
ECOLOGICAL IMPACTS, PIONEERING DESIGN SOLUTIONS THAT USE
TOTALLY RENEWABLE SOURCES OF ENERGY AND OFFER DRAMATIC
REDUCTIONS IN CO2 EMISSIONS. ENVIRONMENTAL AWARENESS IS
AN INTEGRAL PART OF HIS DESIGN AS IT EVOLVES TO MEET THE
CHALLENGES OF THE NEXT FORTY YEARS
• WANTS HIS BUILDINGS TO BE ENVIRONMENTALLY FRIENDLY BUT AT
THE SAME TIME BE PLEASING PLACES FOR PEOPLE TO BE IN AND
LOOK AT.

3 INDIAN ARCHITECT
 • TAKE FULL ADVANTAGE OF THE LATEST TECHNOLOGY, SEARCHING
FOR GREAT ENERGY EFFICIENCY, EXCELLENT INTEGRATION WITH
THE ENVIRONMENT.
• WELL KNOWN FOR TURNING THE FORMS OF BUILDINGS INTO
• WORKS OF ART.

AWARDS AND ACHIEVEMENTS:

 WAS AWARDED THE PRITZKER ARCHITECTURE PRIZE IN 1999.
 IN 2009 FOSTER WAS AWARDED THE PRINCE OF ASTURIAS AWARD
IN THE ARTS CATEGORY.
IN 1994, HE RECEIVED THE AIA GOLD MEDALJ K CEMENTS ARCHITECT
OF THE YEAR AWARD-2008

DESIGN ELEMENTS…
DESIGNS ARE ENVIRONMENTALLY FRIENDLY.
HIS DESIGN PROCESS INCLUDES WAYS TO REDUCE ELEMENTS THAT
ARE HARMFUL TO THE ENVIRONMENT SUCH AS CARBON DIOXIDE
EMISSIONS, GREENHOUSE GASES AND FUEL CONSUMPTION.
HIGH-TECH:
USING HIGH-TECH EQUIPMENT ANDPUSHING THE EDGE OF
STRUCTURAL ENGINEERING, HE IS ABLE TO PUSH THE EDGE OF
ARCHITECTURAL DESIGNING. HIGH-TECH BUILDINGS ARE MORE
FLEXIBLE, AND THUS MORE DISTINCTIVE. A HIGH-TECH BUILDING, IS
ALSO ENERGY EFFICIENT

LIGHT:
• THROUGH HARNESSING AND COLLECTION OF LIGHT,
INDIVIDUALS FEEL CLOSE TO NATURE.

4 INDIAN ARCHITECT
 • CONSIDERATION OF LIGHT AND ITS EFFECTS ON THE
STRUCTURE
• STRENGTH OF SIZE
• CURVED LINES
• OPEN PLANNED
• USE OF NATURAL LIGHT
• WIDE RANGE OF BUILDING MATERIAL
• ATTENTION TO DETAIL
Hearst Tower
• FLEXIBLE SPACE
• GREEN POWER: WIND AND SOLAR
• ENERGY SAVING MEASURES
• IMPROVE INDOOR AIR QUALITY
• WATER CONSERVATION
• RENEWAL BUILDING MATERIAL
CLYDE AUDITORIUM

 SOME OF HIS BUILDINGS ARE:

1. LONDON CITY HALL(2002)
2. ST.RIECHSTAG
THE MARY AXE AMERICAN AIR MUSEUM
3. REICHSTAG BUILDING SAINSBURY CENTRE FOR VISUAL ARTS UK
(1978)
CONTRIBUTIONS
4.: THE SAGE GATESHEAD ENGLAND(1997–2004)
5. HEARST TOWER, NEW YORK CITY (JUNE 2006)

5 INDIAN ARCHITECT
 PROJECT-1 LONDON CITY HALL(2002)

 DESIGNED BY FOSTER AND PARTNERS, ONE OF BRITAIN’S

LEADING ARCHITECTS.
 DESIGN WAS CREATED
 DESIGN BRIEF WASWITH THE HIGHEST
TO CREATE A BUILDING FOR THE GREAT
DEMANDS OF ENERGY
LONDON EFFICIENCY
THAT WOULD IN MIND.
BECOME A NEW LANDMARK FOR THE
 NOTEDCAPITAL.
FOR ITS UNIQUELY BULBOUS DESIGN
THAT STANDS OUT AMID THE MORE
CONCEPT
CONSERVATIVE BACKDROP OF THE RIVER
THAMES' SOUTH BANK.
 THESLICES
 THE BUILDING’S FORM IS
OF POTATO DERIVED
WAS THE FROM A
SPHERE,
KEY WHICH
CONCEPTHAS APPROXIMATELY
FOR THE CITY 25 PER
CENT LESS SURFACE AREA THAN A CUBE OF
THE SAME VOLUME.
 BULBOUS NATURE OF THE BUILDING HELPS TO
REDUCE ITS OUTER SURFACE AREA AND
THEREBY REQUIRE LESS ENERGY TO HEAT.

DESIGN INSPIRATION?

DESIGN AND CONSTRUCTION

6 INDIAN ARCHITECT
 SECTION OF CITY HALL

 ITS FORM - A DISTORTED GLASS SPHERE,IS

JUSTIFIED IN TERMS OF TWO SORTS OF
FUNCTION:
1. ENVIRONMENTAL: REDUCING THE TOTAL
GLASS SURFACE AREA OF THE BUILDING.
2. DEMOCRATIC:WITH THE WHOLE BUILDING
DESIGNED AROUND A MAGNIFICENT INTERIOR
RAMP DOWN WHICH THE PEOPLE CAN
FORM ANALYSIS SYMBOLICALLY WALK ABOVE THE DEBATING
CHAMBER OF THEIR ELECTED
REPRESENTATIVES.

7 INDIAN ARCHITECT
THE CHAMBER THE SPIRAL RAMP

MATERIALS

 STEEL,GLASS AND CONCRETE AS BUILDING ELEMENTS.

 CONSTRUCTED USING OVER 4 TONNES OF STEEL AND 13,100
SQUARE METRES OF CONCRETE.

8 INDIAN ARCHITECT
 SUSTAINABILITY APPROACH

 DURING CONSTRUCTION, TWO LARGE PIPES WERE INSTALLED

THAT TAPPED INTO THE WATER TABLE OF THE RIVER THAMES.
THESE PIPES CIRCULATE COLD WATER FROM THESE PIPES
THROUGHOUT THE BUILDING DURING THE SUMMER MONTHS AS
A COOLING DEVICE. THIS HAS GREATLY LESSENED THE ENERGY
IMPACT OF THE BUILDING.
 THE WATER EXTRACTED IS ALSO USED IN TOILETS.
 IN ORDER TO REDUCE THE BUILDING’S ELECTRICAL
CONSUMPTION FURTHER, IN 2007 SOLAR PANELS ARE BEING
INSTALLED ON THE ROOF OF THE BUILDING, TO ALLOW CITY
HALL TO GENERATE ITS OWN SOLAR POWER.

 30 ST MARY AXE, BETTER

KNOWN AS THE GHERKIN
BECAUSE IS FLOOR PLAN
RESEMBLED A SLICED PICKLE.
 FLEXIBLE AND
ENVIRONMENTALLY SOUND
OFFICE SPACE IN LONDON.
 LONDON’S FIRST ECOLOGICAL
PROJECT 2 THE
GREEN TALLGHERKIN
BUILDING.
 IT IS THE SECOND HIGHEST
BUILDING IN THE CITY OF
LONDON.
INTRODUCTION
 THE SITE OF THE 30 ST MARY
AXE BUILDING LIES AT THE
HEART OF THE CITY’S
 FLOORS: 40 FLOORS
9 INDIAN ARCHITECT
HEIGHT: 179.8 METERS
 ESTIMATED ACTUA AREA :
~500,000 SQ. FT.
  ARCHITECTURAL STYLES: SUSTAINABLE ARCHITECTURE,
HIGH-TECH ARCHITECTURE, POSTMODERN
ARCHITECTURE, NEO-FUTURISM
 EACH FLOOR IS CIRCULAR AND COMPRISES AN OUTER
RING WITH EQUALLY SPACED RADIAL BEAMS
 BUILDING TYPE: COMMERCIAL HIGH-RISE
 30 ST MARY AXE IS SITUATED ON A SITE OF 1.4 ACRES.
 COMPLETION DATE: SEPTEMBER 2003
 CLIENT: SWISS RE REINSURANCE COMPANY

 THE BUILDING HAS BECOME AN ICONIC SYMBOL OF LONDON

AND IS ONE OF THE CITY'S MOST WIDELY RECOGNIZED
EXAMPLES OF MODERN ARCHITECTURE.
 THE BUILDING USES ENERGY-SAVING METHODS WHICH
ALLOW IT TO USE HALF THE POWER A SIMILAR TOWER
WOULD TYPICALLY CONSUME.

10 INDIAN ARCHITECT
  GAPS IN EACH FLOOR CREATE SIX SHAFTS THAT SERVE AS A
NATURAL VENTILATION SYSTEM FOR THE ENTIRE BUILDING
EVEN THOUGH REQUIRED FIREBREAKS ON EVERY SIXTH
FLOOR INTERRUPT THE "CHIMNEY.“
 THE SHAFTS CREATE A GIANT DOUBLE GLAZING EFFECT; AIR
IS SANDWICHED BETWEEN TWO LAYERS OF GLAZING AND
INSULATES THE OFFICE SPACE INSIDE.
 ARCHITECTS PROMOTE DOUBLE GLAZING IN RESIDENTIAL
HOUSES TO AVOID THE INEFFICIENT CONVECTION OF HEAT,
BUT THE TOWER EXPLOITS THIS EFFECT.
 THE SHAFTS PULL WARM AIR OUT OF THE BUILDING DURING
THE SUMMER AND WARM THE BUILDING IN THE WINTER
USING PASSIVE SOLAR HEATING. THE SHAFTS ALSO ALLOW
SUNLIGHT TO PASS THROUGH THE BUILDING, MAKING THE
WORK ENVIRONMENT MORE PLEASING, AND KEEPING THE
LIGHTING COSTS DOWN.

CONCEPT

 THE SHAPE
NORMAN OFINSPIRED
WAS THE TOWER IS INFLUENCED
BY THE DESIGN OF
BY THE PHYSICAL
AIRCRAFTS ANDENVIRONMENT
THE WAYOF THE
THAT
CITY. THE SMOOTH
STREAMLINED FLOWINTERACTED
BODIES OF WIND WITH
AROUND
WIND. THE BUILDING WAS ONE OF THE
MAIN CONSIDERATIONS.

11 INDIAN ARCHITECT
INDIAN ARCHITECT-AR. RAHUL
MEHROTRA

12 INDIAN ARCHITECT
TITLE-INDIAN ARCHITECT
AR. RAHUL MEHROTRA
SUBJECT- CONTEMPORARY ARCHITECTURE (SEMINAR)
GUIDED BY: HOD.PROF.AR.KULDEEP BHATIA
PROF.AR.GAURI CHATUPALE
PROF.AR.SNEHIL EDLABADKAR

INDEX-
 TITLE
 BIOGRAPHY
 DESIGN PHILOSOHY
 AWARDS AND ACHIEVEMENTS
 TYPOLOGY OF THE PROJECTS
 EXPLAINING THE PROJECTS IN DETAILS
• CONCLUSION

BIOGRAPHY

Introduction

• NAME OF THE ARCHITECT RAHUL MEHROTRA

13 INDIAN ARCHITECT
 • WORK SPAN (FOUNDED IN 1990 AS RAHUL MEHROTRA
ASSOCIATES) OF MUMBAI, INDIA.
• PLACE OF WORK INDIA
• DESIGN IDEOLOGY “ARCHITECTURE IS NOT THE SOLE
MEANS BY WHICH THE CITY DEFINES AND REPRESENTS
ITSELF.”

PRINCIPAL OF ARCHITECTURE FIRM RMA ARCHITECTS

(FOUNDED IN 1990 AS RAHUL MEHROTRA ASSOCIATES) OF
MUMBAI, INDIA
PROFESSOR OF URBAN DESIGN AND PLANNING AND
CHAIR OF THE DEPARTMENT OF URBAN PLANNING AND DESIGN AT
THE HARVARD GRADUATE SCHOOL OF DESIGN (GSD) IN
CAMBRIDGE, MASS., USA.
HAS DESIGNED PROJECTS THAT RANGE FROM
RECYCLING URBAN LAND AND MASTER PLANNING IN MUMBAI TO
THE DESIGN OF ART SPACES, BOUTIQUES, WEEKEND HOUSES,
FACTORIES, SOCIAL INSTITUTES AND OFFICE BUILDINGS ACROSS
INDIA – THEREBY ENGAGING DIVERSE ISSUES, MULTIPLE
CONSTITUENCIES AND VARYING SCALES: FROM INTERIOR
DESIGN AND ARCHITECTURE TO URBAN DESIGN, CONSERVATION
AND PLANNING

14 INDIAN ARCHITECT
PHILOSOPHY

ARCHITECTURE IS THE
PHYSICAL MANIFESTATION OF A
SOCIETY’S ASPIRATIONS IN THE
BROADER SENSE.’

UNLIKE MANY OTHER PARTS OF THE WORLD, WE DON’T

HAVE RESTRICTIONS ON THE FORMS OR COLOURS OF OUR
BUILDINGS. DRIVING DOWN A ROAD IN ANY INDIAN TOWN, YOU’LL
SEE ALL BUILDINGS DIFFERENT, HAVING AN IDENTITY OF ITS OWN,
EACH STANDING FOR SOMETHING TOTALLY DIFFERENT. AND THIS
IS A REFLECTION OF OUR SOCIETY- SECULAR AND DEMOCRATIC.
HE BELIEVES THAT ARCHITECTURE IS POTENT ENOUGH TO
BE A DEADLY TOOL THAT CREATES BOUNDARIES, OR
THRESHOLDS BETWEEN COMMUNITIES. HIS DESIGNS,
THEREFORE ATTEMPT TO VISUALLY ELIMINATE THE THRESHOLD

“GOOD ARCHITECTURAL PRACTICE IS ONE

THAT ACTS RESPONSIBLY FOR IT
BROADER ENVIRONMENT AND IS SENSITIVE TO
THE FABRIC AND GRAIN OF A CITY…”
.

15 INDIAN ARCHITECT
 WHAT IS POST MODERNISM ABOUT?

THE AIMS OF POSTMODERNISM, INCLUDING

SOLVING THE PROBLEMS OF MODERNISM,
COMMUNICATING MEANINGS WITH AMBIGUITY,
AND SENSITIVITY FOR THE BUILDING’S
CONTEXT
POSTMODERNISM, WITH ITS SENSITIVITY
TO THE BUILDING’S CONTEXT, DID
NOT EXCLUDE THE NEEDS OF HUMANS
FROM THE BUILDING.

ALSO BEEN DESCRIBED AS NEO-ECLECTIC,

WHERE REFERENCE AND ORNAMENT
HAVE RETURNED TO THE FACADE, REPLACING
THE UNORNAMENTED MODERN STYLES.

SEEKS TO FOCUS ON THE NEEDS

AND DESIRES OF THE PRESENT
GENERATION IN TERMS OF
COMFORT AND DESIGN.

COMBINING NEW IDEAS WITH

TRADITIONAL FORMS,
POSTMODERNIST BUILDINGS MAY
STARTLE, SURPRISE, AND EVEN
AMUSE.

16 INDIAN ARCHITECT
 PROJECT 1
TWO BAY HOUSE, ALIBAUG, INDIA

SITUATED ON A PLATEAU AT THE FOOTHILLS OF THE WESTERN

GHATS, THE HOUSE IS DIAGRAMMATICALLY SEPARATED INTO
TWO BAYS ON THE BASIS OF PRIVACY LEVELS OF THE
PROGRAMS, ONE FOR THE BEDROOMS, THE OTHER FOR SUPPORT
SPACES

SITE PLAN

A GRAVEL FORECOURT WELCOMES INHABITANTS, LEADING

TOWARDS A GARDEN OF RAISED LINEAR PLANTERS AND
ELEVATED PATIO.
THE RESIDENCE IS DIVIDED INTO TWO BAYS, PLACING THE
PRIVATE AND COMMON SPACES ON OPPOSING SIDES OF THE
SITE. A LAP POOL SPANS THE LENGTH, CREATING A DISTINCT
SEPARATION OF ZONES

17 INDIAN ARCHITECT
TUCKED AWAY JUST OFF OF THE MID-LANDING OF THE ENTRY
STEPS, AN ELEVATED PATIO ACCESSIBLE FROM THE KITCHEN
WALL ALLOWS THE RESIDENTS TO RECEIVE VISITORS OUTSIDE OF
THE HOUSE, WITH AN IMPRESSIVE VISTA WEST TO THE
MOUNTAINS BEYOND

A LAP POOL SEPARATES THE TWO ZONES, THUS CREATING

PHYSICAL SEPARATION YET MAINTAINING A VISUAL CONNECTION.
THE POOL ALSO FACILITATES THE COOLING OF THE HOUSE —
EACH BAY IS ONE ROOM THICK, AND THUS THE BREEZES THAT
FLOW THROUGH THE HOUSE ARE HUMIDIFIED AS THEY BLOW
ACROSS THE WATER.

SECTIO

SECTION AA

PLAN

18 INDIAN ARCHITECT
 SECTION BB
SECTION AA

A STONE BASE AND ROOF CANOPY

ARE GIVEN VISUAL SEPARATION
ENHANCING THE TECTONIC
READING

RAISED LINEAR PLANTING ELEMENTS

EXTEND THE BROAD HORIZONTAL LINES
OF THE BUILDING INTO THE
LANDSCAPE.

REFLECTIONS AND
SUBTLE MATERIAL HUES
THAT REFLECT THE
CHANGING LIGHT IN THE
SPACE BETWEEN THE
BAYS
(RIGHT) LIGHT AND
MATERIAL SENSIBILITIES
REVEALE

THROUGHOUT THE
MATERIALS USED IN THE
HOUSE, BASALT STONE
FOR THE PLINTH AND A
CLAY TILED ROOF,
RESONATE WITH THE
BUILDING TRADITIONS
19 INDIAN ARCHITECT OF THE RURAL
LANDSCAPE IN WHICH IT
IS SET.
 PROJECT HATHIGAON, JAIPUR, RAJASTHAN

u RAHUL MEHROTRA’S FIRM RMA

WON A COMPETITION ORGANIZED
BY THE RAJASTHAN
GOVERNMENT FOR A HOUSING
PROJECT FOR MAHOUTS, THE
HINDI TERM FOR ELEPHANT
RIDERS.
u THE DESIGN STRATEGY IS BASED
ON THE NEED TO IMPROVE AN
AREA DEVASTATED BY
INDISCRIMINATE EXPLOITATION OF
SAND QUARRIES, CAPITALIZING
ON THE POTENTIAL OFFERED BY
THE ARTIFICIAL OROGRAPHY
CREATED BY QUARRYING. THE
QUARRIES THUS BECOME
RESERVOIRS TO COLLECT
RAINWATER.

THE ELEPHANTS ARE HOUSED IN GARAGE-LIKE ROOMS WITH EXITS

ON THE OUTER, NON- COURTYARD-FACING, SIDES OF THE
BUILDINGS.
FAMILIES COOK AND EAT MEALS OUTSIDE, AND CHILDREN CAN
PLAY AWAY FROM THE ELEPHANTS.

20 INDIAN ARCHITECT
THE DWELLINGS ARE SMALL—200 SQUARE FEET—AND ARRANGED IN SETS
OF FOUR, WRAPPED AROUND COMMUNAL COURTYARDS.
THE HOUSING UNITS ARE ORGANIZED IN CLUSTERS AND SITUATED ON
PORTIONS OF THE SITE THAT ARE NOT USED FOR THE LANDSCAPE
REGENERATION.

PLANS

COURTYARDS AND PAVILIONS SUPPLEMENT THE OTHERWISE SMALL SPACES

THAT ARE ALLOCATED IN THE
BUDGET FOR THE ESSENTIALLY LOW-INCOME HOUSING PROJECT.
THE COURTYARD BECOMES PART OF THE LIVING SPACE. ALL THE HOUSES
HAVE ELECTRICITY AND RUNNING WATER.

VIEW
21 INDIAN ARCHITECT
SIMPLE BUILDING TECHNIQUES AND
COMMON MATERIALS AVAILABLE ON
SITE.

THE DISTRIBUTION OF THE PLAN AND

VOLUMES OF THE BUILT SPACES
PROVIDES AN EFFECTIVE RESPONSE
TO THE NEED FOR A HIGH LEVEL OF
NATURAL
VENTILATION AND PASSIVE COOLING.

LESS CONCERNED WITH CONTROLLING ALL DETAILS; INSTEAD, HE IS

FASCINATED BY THE WAY THE RESIDENTS’ CONTRIBUTIONS BECOME
PART OF THE FINAL PRODUCT

‘OUR COUNTRY CERTAINLY SHOULD

NOT UNTHINKINGLY ADOPT WESTERN
IDEALS WHEN IT COMES TO AN
ARCHITECTURE COMPETITION AND
INSTEAD LOOK FOR LOCAL
SOLUTIONS. WE DON’T NEED YOUR
GLASS BUILDINGS AND YOUR ECO
LABELS IN INDIA.’

- RAHUL MEHROTRA

-
MEHR

22 INDIAN ARCHITECT
CONCLUSION

 ENVIRONMENTALLY AWARE IN DESIGNS AND CREATES

ECOLOGICALLSENSITIVE BUILDINGS.
 HE USES LINES TO FORM ORGANIC SHAPES. SKELETON OF THE
OUTSIDE OF THE BUILDING IS VISIBLE TO THE EYE RATHER THAN
HIDING IT .
 MANY SPACES INSIDE ARE ENCLOSED IN GLASS AND ALMOST CAUSE
YOU TO FEEL AS THOUGH YOU ARE OUTSIDE.
 PUTS A LOT OF THOUGHT INTO- HOW HIS DESIGNS WILL MAKE US
FEEL ONCE YOU’RE INTERACTING WITH THEM THROUGH THE USE
OF DIFFERENT MATERIALS AND THE SPACE OF AN AREA
 MANY OF HIS DESIGNS HAVE BEEN NAMED AS A“LANDMARK

23 INDIAN ARCHITECT