Rob Krier x Mysore: Urban Space Through a Classical Lens
Krier’s Key Ideas in a Nutshell:
In Elements of the Concept of Urban Space, Rob Krier presents a formal and geometric approach to urban design,
drawing from traditional European cities. He classifies and studies urban spaces (squares, streets, courtyards) as
three-dimensional volumes, not just leftover voids between buildings.
He argues that:
• Urban space is architectural — it should be designed like a room, with defined edges.
• Cities should have a clear spatial structure based on form, proportion, enclosure, and human scale.
• Typology and hierarchy of open spaces (like plazas, avenues, alleys) help organize urban life.
How These Ideas Relate to Mysore:
1. Enclosed Public Spaces – Traditional Mysore Urban Squares
Krier: Urban squares should have clear boundaries formed by surrounding buildings — like open-air rooms.
In Mysore:
• KR Circle, Chikka Gadiyara (Dufferin Clock Tower), and the space around Town Hall are prime examples. These
act like traditional European piazzas — edged by colonial buildings, markets, and important civic institutions.
• The Palace foreground is another classic urban space — formal, symmetrical, and axial.
Takeaway: Mysore’s core reflects Krier’s spatial logic — a city structured around defined civic nodes rather than
ambiguous open areas.
2. Typology of Streets – Linear Urban Elements
Krier: Streets are not just for movement but are spatial sequences with rhythm, scale, and enclosure.
In Mysore:
• Sayyaji Rao Road functions as a processional and commercial spine — it's axially aligned, with consistent
building edges, and crowned by major landmarks.
• Nazarbad and Chamundipuram streets show variations in width, street walls, and setback, yet maintain
continuity through architectural rhythm.
Takeaway: Mysore’s main boulevards and heritage streets follow formal urban typologies, enhancing legibility and
spatial experience.
3. Courtyards and Semi-Private Spaces – Inside Traditional Homes and Temples
Krier: Courtyards and internal voids are key spatial typologies — they offer intimacy and layering between private and
public realms.
In Mysore:
• Traditional Agraharas, Wadas, and temple complexes (e.g., near Lakshmipuram) have central courtyards,
verandas, and thresholds that blur inside and outside.
• The Jaganmohan Palace and Mysore Palace also employ courtyards and axiality in a formal, hierarchical
manner.
Takeaway: Mysore preserves courtyard urbanism, echoing Krier’s value of layered, transitional spaces.
4. Axiality and Symmetry – Royal Planning Principles
Krier: Classical urbanism emphasizes symmetry, axis, and monumentality for civic coherence.
In Mysore:
• Mysore Palace, its approach roads, gardens, and radial city structure display planned symmetry — a colonial
and royal blend of town planning rooted in geometry.
• The axis between Chamundi Hill and the Palace, as well as the radial road system (like the intersection at KR
Circle), reinforce the idea of monumental urban order.
Takeaway: The formal urban language of Mysore aligns well with Krier’s vision of city-building grounded in
geometry, hierarchy, and symbolism.
5. Modern Gaps – Loss of Spatial Definition
Krier warns about modern interventions creating amorphous, undefined spaces — large setbacks, open parking lots,
and weak street edges.
In Mysore:
• In newer developments (like Outer Ring Road layouts or sprawling malls), buildings often float in open space,
disconnected from the street.
• These lack the spatial containment Krier advocates, and dilute the walkable, defined character of the older
city.
Takeaway: Urban expansion in Mysore should relearn enclosure, edge, and proportion from its historic core.
Final Thoughts: What Would Rob Krier See in Mysore?
Krier would likely appreciate:
• The classical urban grammar of the old city.
• The clear hierarchy of spaces — squares, streets, and courtyards.
• The human scale and geometry of public space.
He would caution against:
• Sprawling layouts with no spatial structure.
• Unframed open spaces and car-centric designs.
