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THE STREET
AUTHOR : SHAILEE GOGARI
ROLL NO : AR-20-013
CLASS : 2ND YEAR B.ARCH
BATCH : 08
Image 1 : The STREET - ARCHITECTS : SANJAY PURI ARCHITECTS
- LOCATION : MATHURA, UTTAR PRADESH, INDIA
- BUILT UP AREA : 211000 sq. ft.
- YEAR : 2017
“I think it’s really adventuresome and has a great energy for student life.” —Dirk Denison
The Street, designed by Sanjay Puri Architects ia a 800-unit student housing complex on the campus of GLA University. The designers took advantage of a wedge-shaped site between repetitive blocks to create a complex of radially aligned four-story-tall structures informed by the more organic organization and expression of traditional Indian cities.
IMAGE 2 The orientation of the buildings is done with a view of generating large north-facing gardens overlooking a vast playground towards the north. Each hostel room is punctuated with a wedge-shaped, north-facing bay window on the outside and ventilators towards the internal corridor facilitating both cross ventilation and light throughout the year. These buildings create small break out spaces at each bending point allowing natural light into the internal circulation spaces.
IMAGE 3 : COLORED BLOCKS Each block is differently colored along with the internal face of the bay windows of the hostel in bright colors to create an identity. The organic layout characterizes each space within the site and color accentuates different blocks.
IMAGE 4 The Street is contextual to the climate and the orientation of the site, thus creating varied experiences and changing perceptions of space in each part of the 6-acre site.
BIBILOGRAPHY :
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METROPOLITAN CATHEDRAL OF BRASILIA,BRAZIL.
The Cathedral of Brasília is the Roman Catholic cathedral serving Brasília, Brazil, and serves as the seat of the Archdiocese of Brasília. It was designed by Brazilian architect Oscar Niemeyer and projected by Brazilian structural engineer Joaquim Cardozo, and was completed and dedicated on May 31, 1970.
WHO BUILT THE STRCUTURE— OSCAR NIEMEYER
Brasília, city, federal capital of Brazil, Because of its unique city plan and architecture, as well as its unprecedented role in the development of the Brazilian interior, the city was designated a UNESCO World Heritage site in 1987. Area Federal District, 2,240 square miles (5,802 square km).
A 12 meter wide, 40 cm deep reflecting Pool surrounds the cathedral roof. Visitors pass through this dark tunnel to enter into a bright cathedral.
The cathedral’s bell tower houses four bells that were donated by Spain. Height: 20meters.
Structure can accommodate 4000 People at a time. Height of the structure 70m. Base diameter 42m. Details of the glass windows include The shades of blue, white and brown. These pieces of glasses are fixed Between the steel columns, into 30m high triangles that run across 10m.
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THE RED FORT
BASIC INFO The Red Fort or Lal Qila is a historic fort in Old Delhi, Delhi in India that served as the main residence of the Mughal Emperors. Emperor Shah Jahan commissioned construction of the Red Fort on 12 May 1638, when he decided to shift his capital from Agra to Delhi. Originally red and white, its design is credited to architect Ustad Ahmad Lahori, who also constructed the Taj Mahal. The fort represents the peak in Mughal architecture under Shah Jahan, and combines Persianate palace architecture with Indian traditions.
The construction of this fort started in 1638 that was completed in 1648. The fort was referred as ‘Qila-i-Mubarak’ (blessed fort), as it served as the royal family’s residence. After construction, many enhancements were done to the fort by the Emperor Shah Jahan, Aurangzeb, and later Mughal rulers. Critical modifications were performed on the site after the First War of Independence in 1857 during the British Rule.
Since its construction, the fort was occupied Shah Jahan after whom the Sikhs in 1783 occupied the Diwan-i-Aam, a famous site in the complex. Before 1857, the premises of Delhi Red Fort were the resident of around 3,000 people.
The fort was designated as the capital of the Mughals until 1857, when the British government in India expelled the Mughal emperor Bahadur Shah Zafar.
ARCHITECTURE The layout of the Red Fort retains the traces of the Salimgarh Fort built adjacent in 1546. The outline and aesthetics of the fort symbolizes Mughal creativity, which was famous during the Emperor Shah Jahan’s period.
The Red Fort highlights the high-level artwork and ornamental work. The artwork is a mix of Persian, European, and Indian styles, which led to growth of unique, rich Shahjahani pattern. Red Fort is one of the national monuments of India, which beholds an elongated time of Indian history, architectural intellect, and fine sculpting. Even prior to the recognition of Indian monument of national heritage, plans were created to preserve the fort.
The walls of the fort are evenly decorated by heavy stringcourses. There are two major gates associated with these walls namely, the Delhi and the Lahore gates. The Lahore Gate represents the main entrance and is a way to a long bazaar street named the Chatta Chowk. The Chatta Chowk takes you to a large open space that passes the large north-South Street. The southernmost tip of this street is the Delhi Gate.
SOME OF THE IMPORTANT BUILDINGS IN FORT
Diwan-i-Aam Is the huge pavilion for public royal spectators with a flamboyant throne-balcony (jharokha) reserved for the emperor? The site’s columns are decorated with gold and a gold and silver paling drew a line of demarcation between the throne and the viewers.
Diwan-I-Khas It is a pavilion dressed in full marble, the pillars polished with floral sculpting, and the inlay work decorated with semi-precious stones.
Nahr-i-Behisht Behind the emperor’s throne, are the beautiful imperial private apartments that comprise of a row of pavilions on a raised platform across the eastern boundary of the fort. These pavilions are linked through a water channel that is known as the Nahr-i-Behisht or the Stream of Paradise running in the middle of each of them. In the Koran, a couplet about the palace says, “If there is a paradise on the Earth, it is here and only here”. The layout of the palace is planned considering the Islamic models, but each of the pavilions does exhibit the Mughal architectural style. This palace complex is regarded as one of the ideal prototypes of the Mughal artwork.
Zenanas and Rang Mahal These are two southernmost pavilions of the palace. The Zenanas is known as the women’s quarters, the Mumtaz Mahal and now it is converted into a museum. The larger and rich Rang Mahal is popular since ages for its ceiling covered with the gold and the pool made up of marble where water comes from the Nahr-i-Behisht.
Moti Masjid This Pearl Mosque is situated to the west of the hammam. The mosque is a small, three-domed architectural religious monument carved out of white marble with a three-domed screen stepping downwards to the courtyard.
Hayat Bakhsh Bagh This is a large formal garden known as the Life-bestowing Garden to the north of the mosque. This garden cuts through the two equally divided channels of water. One more piece of work can be seen at the middle of the pool, which is the place of confluence of the two channels.
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THE SHARD , LONDON
AUTHOR :- CHAITANYA SINGH
Address: 32 London Bridge St, London SE1 9SG, United Kingdom
Height: 310 m
Floors: 87
Construction started: 16 March 2009
Owners: Qatari Diar Real Estate Investment Company, Sellar Property Group
Architectural styles: Modern architecture, Neo-futurism
Opened: 1 February 2013
BASIC INFO ABOUT THE SHARD
The Shard, also referred to as the Shard of Glass,[ Shard London Bridge[ and formerly London Bridge Tower, is a 72-storey skyscraper, designed by the Italian architect Renzo Piano, in Southwark, London, that forms part of the Shard Quarter development. Standing 309.6 metres (1,016 feet) high, the Shard is the tallest building in the United Kingdom, and the seventh-tallest building in Europe. It is also the second-tallest free-standing structure in the United Kingdom, after the concrete tower of the Emley Moor transmitting station. It replaced Southwark Towers, a 24-storey office block built on the site in 1975.
The Shard’s construction began in March 2009; it was topped out on 30 March 2012[ and inaugurated on 5 July 2012. Practical completion was achieved in November 2012. The tower’s privately operated observation deck, The View from The Shard , was opened to the public on 1 February 2013. The glass-clad pyramidal tower has 72 habitable floors, with a viewing gallery and open-air observation deck on the 72nd floor, at a height of 244 metres (801 ft). The Shard was developed by Seller Property Group on behalf of LBQ Ltd and is jointly owned by Seller Property (5%) and the State of Qatar (95%). The Shard is managed by Real Estate Management (UK) Limited on behalf of the owners
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ARCHITECTURAL INSPIRATION
Renzo Piano, the project’s architect, designed The Shard as a spire-like sculpture emerging from the River Thames . He was inspired by the railway lines next to the site, the London spires depicted by the 18th-century Venetian painter Canaletto, and the masts of sailing ships. Piano’s design met criticism from English Heritage, who claimed the building would be “a shard of glass through the heart of historic London”, giving the building its name, The Shard. Piano considered the slender, spire-like form of the tower a positive addition to the London skyline, recalling the church steeples featured in historic engravings of the city, and believed that its presence would be far more delicate than opponents of the project alleged. He proposed a sophisticated use of glazing , with expressive façades of angled glass panes intended to reflect sunlight and the sky above, so that the appearance of the building will change according to the weather and seasons. The building features 11,000 panes of glass, with a total surface area of 602,779 square feet (56,000.0 m2) equivalent to the area of almost eight Wembley football pitches.
THE SHARD DOMINATING THE CITY OF LONDON , CAPTURED FROM HILLS POPULAR REFERENCES IN CULTURE
· The Shard appears in the 2012 short film The Snowman and The Snowdog and its tie-in computer game.
· The Shard has a significant role in the 2013 Doctor Who episode “The Bells of Saint John” as the headquarters of the episode’s antagonist, the Great Intelligence. The Doctor vertically rode an anti-gravity motorbike on the face of the building and through a window to reach the Great Intelligence’s headquarters.
· The Shard appears in the climactic scene of the 2019 film Spider-Man: Far From Home. It is Nick Fury & Maria Hill lookout while the final battle takes place between Spider-Man and Mysterio on Tower Bridge.
· The Pokémon Duraludon and its Gigantamax form from Pokémon Sword and Shield are based on The Shard.
· The Shard appears in the 2020 video game Watch Dogs: Legion, referred to chiefly as ‘Nexus Tower’.
REFERENCE – IN SPIDERMAN FAAR FROM HOME ALL ABOUT THE SHARD
The Shard comprises a 26-floor office complex, occupied by 32 companies across ten business sectors, three restaurants – Aqua Shard, Oblix, and Hutong, the five-star Shangri-La Hotels and Resorts, ten residential apartments and the UK’s highest viewing gallery, The View from The Shard.
In February 2013, The Sunday Times reported that the developers of The Shard were in negotiations to secure the first tenants of the building’s 26 floors of office space. At the time, potential tenants included financial restructuring specialists Duff & Phelps, private equity firm Hatton Corporation and the South Hook Liquefied Natural Gas Company.
The Shard’s fourth, fifth and sixth floors host the HCA (Hospital Corporations of America), part of London Bridge Hospital. The Shard’s 31st, 32nd and 33rd floors host three restaurants: Oblix, Hutong and Aqua Shard. The building’s Shangri-La Hotel occupies floors 34–52.The hotel was initially expected to open by the end of 2013, but its opening was ultimately delayed to 6 May 2014. In March 2014, Mathys & Squire became the first law firm to take tenancy in the building In May 2014, the Foresight Group, an investment firm, moved its head UK office into The Shard on the 17th floor. In June 2015, Warwick Business School opened its new base in The Shard, occupying the same floor and was officially opened by the mayor of London, Boris Johnson. It houses a 100-seat lecture theatre and a smaller one at 60 seats, plus eight seminar rooms and an IT lab, offering postgraduate and executive education.
AQUA SHARD 
INTERIOR OF SHANGRI-LA SO OVERALL I HAVE ABSOLUTELY NO WORDS TO DESCRIBE THE BEAUTY , THE CREATION THAT THE ARCHITECT RENZO PIANO MADE. THE DISTINCT LOCATION ITSELF, THE VIEWS , THE GLAZED WINDOWS THAT REFLECT LIGHT ACCORDING TO WEATHER OUTSIDE . HOW CAN WE FORGET THE BEAUTIFUL AMMENTIES AND SERVICES INSIDE THE BUILDING . A TRUE MARVEL STANDING UPHIGH DEFINING ITS ORIGINAL CONCEPT ‘ VERTICAL CITY .
REFERECE
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NATURE LOVER AR. FRANK LLOYD WRIGHT (1867-1959)
FRANK LLOYD WRIGHT Let us know some interesting facts about the journey of F.L. Wright. The great architect Frank Lloyd Wright was born on June 8, 1867, in the town of Richland Center, Wisconsin. He was a writer and an architect, an abundantly
creative master of American architecture. Wright’s projects during this period followed two basic models.His first independent commission, the Winslow House, combined Sullivan ornamentation with the emphasis on simple
geometry and horizontal lines. Between 1900 and 1901, Frank Lloyd Wright completed four houses which have since been identified as the onset of the “Prairie Style”. Wright spent almost three years (1920-1922) living in Japan
during the construction of the Imperial Hotel. Though most famous as an architect, Wright was an active dealer in Japanese art, primarily ukiyo-e woodblock prints. He frequently served as both architect and art dealer to the same clients; he designed a home, then provided the art to fill it.Wright had some 4 special styles they are 1 -Prairie Style. Such type of houses often have a combination of these features: One or two-stories with one-story projections, low-pitched roofs with broad, overhanging eaves, strong horizontal lines etc. 2- TEXT BLOCK STYLE-. The blocks are then stacked to build walls. Some of the famous Wright’s textile block houses are: Ennis House, Millard House etc. 3- Usonian style The “Usonian Homes” are typically small, single-story dwellings without a garage or much storage. They are often L-shaped to fit around a garden terrace on unusual and inexpensive sites. 4- Organic style- The basic principle of this design is to put human life, nature and the built7 environment on the same level and built a sustainable where all components support one another and thrive as a result.
FALLING WATERS,PENNYSLAVANIA.
• Established in 1939.
• Architectural style : Organic , Modern,
Japanese.
• Partly built on water fall.Frank Lloyd Wright designed an extraordinary house known as Falling water that redefined the relationship between man, architecture, and nature. Wright revolved the design of the house around the fireplace, the hearth of the home which he considered to be the gathering place for the family. Here a rock cuts into the fireplace, physically bringing in the waterfall into the house. He also brings notice to this concept by dramatically extending the chimney . Falling water consists of two parts: The main house of the clients which was built between 1936-1938, and the guest room which was completed in 1939.
The ceilings of the rooms are low, reaching only up to 6’4″ in some places, in order to direct the eye horizontally to look outside.
The beauty of these spaces is found in their extensions towards nature.
Wright believed that architecture must not only sit comfortably within its natural landscape, replicate its forms, and use its materials and reveal the dormant qualities hidden within its setting. Falling water accordingly grows from the site’s rocky landscape. Its concrete terraces float above the falls, drawing attention to the water while respecting its space.
FALLING WATER 
TYPICAL FLOOR PLAN 
ELEVATIONS 
FALLING WATER INTERIOR Conclusion
What I have understood from Frank Lord Wright is Wright believed in creating environments that were both functional and humane, focused not only on a building’s appearance but how it would connect with and enrich the lives of those inside it. Moreover, at its core, his organic design philosophy states that architecture holds a relationship with its time and place.
Houses like Falling water blend beautifully into their natural surroundings, both drawing inspiration from and contributing to the setting. Frank Lloyd Wright’s architecture showcases materials like wood and stone. Frank Lloyd Wright’s designs held many similar elements found in Art Deco. Frank Lloyd Wright’s stained glass windows, which combined abstract form and nature’s geometric patterns, are some of his most widely known designs. In many of his home designs, Wright combined elements of nature with an Art Deco style.
AUTHOR- GANESH KHANDARE
AR-20-022
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‘la fabrica’ by architect Ricardo Bofill’s
sky view of LA FABRICA la fabrica’ is a 3,100 m2 cement factory located near Barcelona, Spain, designed by architect Ricardo Bofill’s studio and home. the factory, which was first built in the post-world war I era, is an architectural timeline of transformative vernacular architecture, the complex, providing a beautiful and varied series of spaces spanning from brutalist to surrealist with an industrial flavour, underwent a series of processes that converted the existing structure into a studio, gallery, garden, and home- a re-purposed city. an abandoned factory slowly covered by vegetation. they have created many series of gardens within the premises, rooftop oases, and vegetative nodes that would slowly change the structure overtime to blur the line between nature and building
surrounding vegetation Each element from structure has given new use while still demonstrating its unique structural style. To create a clear visual connection between the various parts of gallery spaces walls are removed from primary factory space. The repurposed space houses everything from offices to libraries to the firm’s exhibition room, known reverentially as “The Cathedral.” Bofill himself resides within the factory. The grounds outside are carpeted by grass; eucalyptus, palm, olive, and plum trees grow in abundance. Climbing plants scale the various structures. Various forms and shapes became visible, paired with the most different styles of architecture. The factory was designed with mixed architecture style
- Surrealism in stairs leading to nowhere and elements hanging over voids, as well as visually powerful spaces of weird proportions
- Abstraction in the pure volumes, at times revealing themselves broken and raw;
- Brutalism in the crude, concrete materiality of the place.
dramatic effect in dinning area They have also kept a few elements from the old structure, for example, the cement filtration unit which is conical in shape which they have kept untouched, and the dining table is placed under it which gives it a dramatic effect. they have also used wooden structures which were already existed in factory for interiors The industrial settlement originally consisted of 30 monumental siloes,( siloes are generally where cement is stored and have cylindrical foam ). many underground tunnels, and various large rooms for machinery. The architect has carefully selected which part to keep and which part to destroy to mold this existing structure.
well staircase in selos . After the selection process, the 8 remaining siloes was filled with cement and debris, which became offices, a model’s laboratory, archives, a library, a projections room, and a gigantic space known as “The Cathedral”, used for exhibitions, concerts, and a whole range of cultural functions linked to the professional activities of the architect. the silo’s stairwells were slightly re-designed and painted, with new skylights that flood the dramatic space with natural light that diminishes with its depth they have also constructed gothic arch in siloes for ventilation. A variety of indoor and outdoor relaxation spots can be found throughout the property
3D view of structure This initial phase of redevelopment took more than one year and a half to come to completion but started revealing the beauty concealed inside the factory. The architect has redesigned the structure in such a way like a sculpturer made sculpture single block of a single block of model
ANISH BHIM SHINDE
AR-20-063
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THE RAJASTHANI SCHOOL
Sejal G Sable
Ar-20-054
THE RAJASTHAN SCHOOL
The Rajasthani school PROJECT NARRATIVE
The school is located along the main road to allow access to people from neighbouring area.
SITE CHARACTERITICS
Planned on a gently sloping site in Rajasthan, this school building is designed in response to the climate of its location. The average temperature through the extended summers is over 45 ºC and the temperature cools only for 3 months from December to February.
ARCHITECT SANJAY PURI Sanjay strongly believes that every project should be designed contextually evolving spaces that are perceived in new ways. Each design takes from the climate and integrates sustainability in cohesive way. This ideology is reflected in the extensive work done by his firm in every project since its inception.
Sanjay Puri graduated from the Academy of Architecture, Mumbai in 1988.
He worked with Architect Hafeez Contractor throughout the five years of education and was made an Associate of the firm in 1988 upon graduation. He continued to work there for 4 years more as a Senior Associate prior to commencing Sanjay Puri Architects.
DESIGN CONCEPT
Classrooms, facilities and administrative areas are organically arranged along the existing contours to minimize land cutting with indoor ‘streets’ linking them.
The concept was evolved from the small village of rajasthan. The architect was inspired by the placements of houses in the villages and the orientation, the way circulation take place in the village inspired him to plan the layout. After analysing and understanding the whole concept he improvised his observations into modern architecture.
Aerial view 
Front view This organic character is imbibed from the layouts of nearby villages to the site. The site is not located in a city and surrounded by only low rise development in a predominantly rural area. This also necessitated that the planning be done in low rise structure in keeping with the neighborhood.
Each part of the school is oriented towards the north opening into large sheltered semi enclosed transitional spaces. This is a very important aspect for reducing heat gain. The sun is always in the southern hemisphere in the location of this site.
The southern side is completely devoid of openings with corridors that are naturally ventilated through traditional screen walls with openings facing the east and the west. These traditional screens are imbibed from the architectural heritage of the location where yet century old buildings exist with stone screens that create shade and increase the air flow, cooling the air as it passes through.
zoning Each of the educational levels is created as an individual entity with its own closed, semi enclosed and open spaces with the open spaces being linked throughout the school. The open spaces also serve as playing areas just beyond each classroom in addition to the large playground and sports facilities provided.
The school design imbibes the traditional courtyard planning reminiscent of ancient Indian architecture to provide cooler spaces internally. The organic sifting of individual blocks too is desired from the traditional architecture of the region. Designed in response to the hot desert climate, the spaces within desire north light, are naturally cross ventilated and built in local materials along existing land levels to create a sustainable built environment.
Construction systems
Local sandstone is proposed for the walls along with an exposed concrete structural frame with both materials being available on the site itself. The design façade also has beautiful jaali work done which creates a kind of pattern on the floor at particular hours of the day, childrens find it interesting and creates excitement among them. He has designed the full project so functional as well as perfect space for children to learn new things.
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Pittsburgh Plate Glass Company by Philip Johnson.
Author: Jainam Sukhadiya
Roll No: AR-20-065
“Architecture is the art of how to waste space”
-Philip Johnson
Philip Johnson About Architect:-
Philip Cortelyou Johnson (July 8, 1906 – January 25, 2005) was an American architect best known for his works of modern and postmodern architecture. In 1930, Johnson joined the architecture department of the Museum of Modern Art in New York. There he arranged for American visits by Walter Gropius and Le Corbusier, and negotiated the first American commission for Mies van der Rohe, when he fled Nazi Germany. In 1932, he organized the first exhibition on Modern architecture at the Museum of Modern Art. In 1978, he was awarded an American Institute of Architects Gold Medal and in 1979 the first Pritzker Architecture Prize.
Pittsburgh Plate Glass.(PPG) About Structure:-
The design of PPG Place, by Philip Johnson, melds the notion of the modern corporate tower with a neo-gothic monument. Clad in almost a million square feet of glass manufactured by the anchor tenant PPG industries, the architects ingeniously rethought accepted practices in curtain wall design to create “the crown jewel in Pittsburgh’s skyline.” The 1.57 million square foot complex was one in a series of high profile corporate projects completed during Johnson’s controversial foray into postmodernism. Commissioned by PPG Industries, formerly the Pittsburgh Plate Glass Company, the headquarters occupies a 5.5 acre site in the central business district and was part of an urban revitalization effort after the demise of the steel industry.
Section PPG Place is a cluster of 6 volumes: a 40 story tower, a 14 story volume, and four 6 story buildings. The composition of lower volumes negotiates the verticality of the main tower and the lower surrounding context, yet all buildings are materially integrated and organized around a central plaza. The buildings house office space, retail shops, restaurants, and a publicly accessible wintergarden.
The buildings are recognized by their 231 glass spires, with the largest one 82 feet (25 m) tall. Also notable are the surfaces of reflective insulating glass, that served to advertise the project’s founder. The buildings contain over one million square feet of PPG’s Solarban 550 Twindow – 19,750 pieces. The primary building, One PPG Place, is a 40-story tower, with PPG Industries occupying half of the space. The complex also contains a 14-story building, and four 6-story structures.
Philip Johnson, “at once the elder statesman and the enfant terrible of American architecture,” was an influential educator, critic and architect throughout the six decades of his career. Frequent trips to Europe to see important artworks during his child established an early appreciation for history, which was particularly influential on his designs around the time of PPG Place. A prolific 20th century architect, his career and design approach embodied his chosen philosophical mantra that “the only constant is change.” From a staunch modernist, to a playful postmodern designer, to a deconstructivist form maker, Johnson continually reinvented himself.
The design of the building not only made it distinct, but created high energy-efficiency. Heat in the summer is reflected away from the building by the glass, while in winter infrared heat is reflected and contained within the building. The surface walls feature a barrier construction that effectively separates the interior walls from the exterior. The building also collects heat from computer equipment and recycles it throughout the structure.
Interior 
Plan The negative space left by the buildings defines an ample plaza paved with various colors of granite. A pink granite obelisk accentuates the formality of the plaza. Arcades line the perimeter of the plaza and are home to shops and restaurants. The wintergarden is located at grade to the west of the main tower.
Entrance The lobby of One PPG is a 50-foot (15 m)-high entrance that features red glass. The building has 21 elevators, each with walls constructed of clear glass panels enclosing fractured glass. In total, the complex cost $200 million.
Conclusion:-
The buildings at PPG Place are like no others in the world. The six-building complex combines Gothic architecture with modern materials and the urban skyscraper with a fairytale castle.
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ARCHITECTURAL THEORY
AARTI PUROHIT
AR-20-046
Barcelona is known for its iconic architecture. These structures are the reason why millions of tourists throng the city every year. One of these buildings is Casa Batllo, located in the center of the city and designed by the revered Catalan genius, Antoni Gaudí.
The attention to detail with which Gaudi designed the structure is evident throughout. At first glance, it would seem as if the facade of Casa Batllo has been made out of skulls and bones. In reality, the skulls are the balconies while the bones are the supporting pillars. Antoni Gaudi used the colors and shapes found in marine life to design the building and not a single straight line can be found on the facade. Gaudi also worked on the interiors and the carpentry of Casa Batllo. When you visit this gorgeous building, you see the beautiful interiors of the home with several elements inspired by the Mediterranean sea. The beautiful facade, stunning interiors, and the history of the restoration of the house through the years make it a must-visit place in Barcelona
Antoni Gaudi was known for his ability to bring together design and functionality. His work can be identified as Modernisme or Art Nouveau.Casa Batllo, in particular, has a skeletal organic quality, achieved by avoiding straight lines. The ground floor is categorized by its irregular oval windows and flowing sculpted stonework. The facade, made using a technique called trencadis, is a dialogue of color and light. It resembles the waves of a calm sea.
You will find inspiration from nature in all other aspects of the house. Take, for example, the wooden railing that evokes the backbone of a large cetacean, or even the terrace that resembles a dragon’s back, thanks to the use of colored tiles that have a metallic sheen, allowing it to look like scales.
Façade-Gaudi used marine life as inspiration for the facade and added sculptures, decontextualized objects, recycled materials, etc. to give it a unique design. 
The Terrace It has hence been popularly dubbed as the dragon’s back.
The main focus of the terrace is the four crooked chimney stacks that have been added to prevent backdraughts. With the help of Catalan modernism, the terrace design by Gaudi is both beautiful and functional
Patio of LightsHe used tiles of varying blue tones as decorative elements to uniformly distribute the light in the room. This is also why the upper windows are smaller and slowly increase in size as you descent to allow light in.
The lower windows feature slits for ventilation control. There is also a wooden lift car installed in the center of the patio of lights, which is still in use.
Noble floor-important features of the floor are the large oak doors with organic shapes made from stained glass and the wavy ceiling that represents the strength of the sea. 
The Entrance Hall
With skylights resembling turtle shells, vaulted walls, and an impressive wooden staircase, the hall feels like an underwater world.
FIREWORK SPACE-INSPIRED BY MUSHROOM -
MODERN ART IN A CAVE – AMDAVAD NI GUFA
LOCATION
ARCHITECT AND AN ARTIST
BALKRISHNA VITHALDAS DOSHI , VASTU SHILPA CONSULTANTS
PROJECT TYPES
YEAR COMPLETED
B.V DOSHI ” Design is nothing but a humble understanding of materials , a natural instinct for solutions and respect for nature “
Amdavad Ni Gufa was not a commissioned project, for the idea was born when renowned painter and sculptor Maqbool Fida Husain approached Doshi when seeking a site for an art gallery. They had been friends for many years, and they often met to discuss their different pursuits.
Doshi wanted the Gufa (Gujarati for “cave”) to reflect his 35 years of experience and mark a new phase in his career, but Husain’s free-spirited attitude posed something of a challenge. While working on the Gufa’s design, they began to question fundamental architectural concepts, including the meanings of function, space, structure, form, and technology.
This was a period in Doshi’s life when he wrote stories and fabricated myths defining the narrative of his design decisions. These myths and stories became his guides and gave a rational explanation to his imaginary world. Gufa is an example of this marriage of the imaginary with the real manifesting in the form of an underground art gallery.
ABOUT THE STRUCTURE :
“Invented as an art gallery, Amdavad Ni Gufa transforms into a biological and social cultural center with a rare combination of computer-aided design, the use of movable ferro-cement molds and the craftsmanship of local craftsmen who use waste. became.”
“The shape and space of Gufa enlivens the mystery of light and memory. The challenge between the artist and the architect causes unexpected things. Finding something unusual is a function in structure and shape. It meant asking the basic question of what space and technology mean. “
Porcelain mosaic tiles cover the tortoise shell-inspired ceiling that conceals the undulating cave-like rooms below, reflecting sunlight and reducing heat.
The shells are comprised of cement-covered reinforcing bars and mesh. The mosaic pieces are then laid on top of the compacted vermiculite.
There is an art exhibition gallery space which is available on rent to artists to exhibit their artworks. It is one of the most frequently visited art gallery in the city. Art exhibitions of artists from around the country as well as international artists happen at the exhibition gallery weekly.
Gufa (literally, “cave”) refers to an underground, poorly illuminated, and unfathomable area. Its fluid area, which has now transformed into a natural Girbhagriha, or “golden womb,” is where one can learn about past lives and reincarnations. Such unexpected events make one wonder, “Who am I?” What is my origin storey? What time is it, exactly? How much time do we have, and who has it? However, when one explores further, like in a yogic trance, these issues become unimportant. The past, present, and future are merged into a continuous continuum in the gufa. Time sits motionless in that area since there is no beginning or end.
The snout-like projections on domes’ exterior surfaces were designed to let natural light in while creating a variety of patterns in the interiors throughout the day. Because the gallery’s walls are curved, the paintings were shown in a nearby gallery. Husain’s work is actually painted on the walls and ceiling of this underground museum.
The Gallery’s entrance is a few steps down and hidden behind a tiny brick wall. A glass wall opposite the entryway, decorated featuring Hussain’s work, allows for natural light.
PAINTINGS BY M.F HUSSAIN ON WALLS AND CEILING OF THE GALLERY
The architect was inspired by the Buddhist and Jain caves at Ajanta Ellora and the artist by the Palaeolithic cave art.
The tortoise-shell-inspired domed ceiling is covered in tiny white mosaic tiles. The legendary serpent is represented by the black mosaic tile pattern on the shells.
The overall design is a mysterious interplay of crossing circles and ellipses in plan, as well as curved walls and undulating columns. They limit human sight-lines beyond the circle or ellipse in which they are standing, forcing people to concentrate on the artwork surrounding them and thereby aiding in a greater comprehension of it. The Gufa resembles a girbhagruha, an underground and unfathomable area where one searches deep and connects to the divine, in this instance through divine art. The interiors generate a sense of timelessness by fusing past and present. When someone enters the area, he entirely surrenders to the two companions’ undulating dancing.
The Gufa reflects the influence of Le Corbusier, Doshi’s teacher, as well as influences from the ancient Buddhist caves of Ajanta and Elora. Tortoise shells and soap bubbles are used to represent the notion.
The Gufa effectively demonstrates the fusion of the two respected Indians’ abilities and perspectives. For Doshi, the cave represents a personal quasi-spiritual realm, but for Hussain, it represents the evolution of human lifestyle from caves to today’s lavishly spoiled surroundings, as shown in his art forms.
A particular juxtaposition of artwork and architecture, underground, and sky, historical and present day the cave succeeds to be an atmospheric and interesting area that appeals to the senses. It denies the prototype of a gallery area and creates a brand new definition of itself. Buried spaces, earth mounds, raised volumes and China mosaic end renders the architectural electricity conscious, in an in any other case harsh warm dry climate. Enigmatic in its spatial enjoy the shape of Gufa is a right away translation of climatic and constructional duties and an abstraction of personals fancies.
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