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Jantar Mantar, Jaipur: monitorir.;, the sun and stars

The genesis of the Jawahar Kala Kendra

Jaipur city plan

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Curved Glass wall and water court in Guru, looking back towards the kund

-~ model of the Cosmos. From behind us the morning sun rises while ahead the full moon sets

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The external walls of the building (including th around the central kund) are clad in red Agra ¹ sandstone, topped by a coping of beige Dholpl stone - the same materials used for the Jantar

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Mantar Observatory, in the Red Fort at Agra, ar Fatehpur Sikri.

On these external surfaces, the presence of ea the planets is expressed by its traditional symb

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inlaid in white marble (embellished, where necessary, with polished black granite and mic, slate), recalliag again the precisely calibrated

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surfaces of the astronomical instruments at the Jantar Mantar Observatory.

Study for placing Tantrik drawing

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Jaincosmograph depicting the manifest world

Mangal Mahal with domed roof

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ihe first planet enters is Mangal (which corresponds to Jupiter). Since this planet represents Power (signified by the square symbol and the colour red), it was decided to house the Director and his administrative offices here. This planet becomes the entry point to the whole complex- so along the walls of the Mangal Mahal is an explanation of the Navgraha, and on the ceiling under the dome is painted a Jain cosmograph depicting all the rivers, mountains, animals and vegetation of the manifest world around us.

The dome in Mangal Mahal looking towards vehicular entrance

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KETU

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SHANI (SATURN)

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RAHU The nine planets

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GURU (JUPITER) colour Iridescent

quality: Devourer fRestorer function: Rajput Weaponry

colour: Lemon Yellow quality. Knowledge

function: Library

colour: MilkyWhite

quality: Heart function: Cafeteria

colour: Red

quality: Power

function: Administration

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SHUKRA (VENUS)

colaurV quality : Performing

If the nine planets is represented by a square, 30m, defined by red sandstone walls, 8m high.

Dgramme for the Arts Centre is disaggregated into )parate groupings, each corresponding to the myths Irticular planet: for instance the planet Guru (which lises Learning) houses the Library, the planet 'ra (the Moon, which denotes Pleasure), and so forth.

Iditional symbol of each planet is expressed in

! and stone inlay in the stone walls that surround it.

'ntral square, as specified in the ancient Vedic 1S,is a void: representing the Nothing - which is the Jurce of all Energy.

Rahu, the imaginary planet which represents the eclipse of the sun

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Traditional symbol of Rahu (inlaid in black granite, white marble and grey mica slate), depicting quite literally, the Sun being devoured by the Moon

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Chandra: the Moon t, looking towards entrance to the Planet Shani (i.e. Saturn)

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Detailsof red sandstone in kund steps

Kund, looking through square opening towards curvedgli Diagram showing layers of stone blocks forming kund steps

The exterior walls of each planet are covered in red sandstone.

- but the interiors are painted in the auspicious colours, emotions, and mythic imagery traditionally associated with that planet

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The imaginary planet Rahu, symbolising the solar eclipse. Hence the white anc black interlocking circles- and in the centre: the Axis of the Universe.

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Gandhi Smarak Sangrahalaya, Ahmedabad

E.C.I.L. Office, Hyderabad

IUCAA, Pune

Salvacao Church, Bombay

Belapur Housing, New Bombay

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Hindustan Lever Pavilion,

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Kanchanjunga, Bombay

EOO IN Centre, Bangalore

P. M. I., New York

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M.R.F. Headquarters, Madras

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All drawings at 1: 1234

Vidhan Bhavan, Bhopal

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1958

HANDLOOM PAVILION, 1958, Pragati Maidan, Delhi, for the All-India Handloom Board. This temporary pavilion designed and built in six months was the first completed work of the office. Brick and mud walls generate a square plan forming a simple multi-level box, through which visitors move in an easy and continuous flow. The roof of wood umbrellas, covered with hand loom cloth, suffused the internal space with an even light.

, :1 Ahmedabad, for the Sabarmati Ashral Sabarmati Ashram, the historic home0 memorial which functions as a centrE scholars - housing his letters, photogrE archival materials. (See pages 30-35)

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LALBHAI HOUSE, 1959-61, Ahr Hansa and Niranjan Lalbhai. A H house at Hansol along the Sabarmat large orchard garden.

CAMA HOTEL, 1958-59, Ahmedab Hotels. Two floors of hotel rooms flank a atrium, open at both ends; thewholevoll by stilts, above a large podium. A thire was added during construction. Ur number of changes have subsequenl (particularly at the entrance level) b without reference to the architect.

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TRATION BUILDING, 1958-60, Anand, for 'idyanagar University. The lower two floors

~dministrative offices and the top floor Jartmentsfor University guests. Because of -west orientation of the site, climate 1 is a major factor. This external walls are

as a combination of storage walls and kinds of closeable shutters: the wooden

!n directly to the outside and the glazed in axis at right angles to them. This allows ventilation through the open glazed panels Ie the wooden ones are closed to keep In.

Glass Shuner

Inside

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Detail of openings in external walls

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ound floor plan

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COSMOPOLIS APARTMENTS, (Unbuilt), 1958, Bombay, for the Cosmopolis Housing Society. The first incarnation of the concept which was later to become the Kanchanjunga Apartments.

FUTEHALLY HOUSE (Unbuilt), 1959, Bombay, for Rabiaand Sadiq Futehally.Asmall two-bedroom house on the side of Pali Hill is a variation of the design of the twin houses at Bhavnagar, using brick walls and terracotta tiled roofs.

HUMANITIES DEPARTMENT, 1959-60, Anand, for Vallabh Vidhyanagar University. This rural university is an experiment in education started by nationalists during the Independence struggle. The buildings are simple in construction and built departmentally. This Humanities Department has a square plan with a courtyard in tile centre. The peripheral walls are load-bearing.

In document Charles Correa (Page 182-200)