BV DOSHI MBS COLLEGE_3B GROUP 4

BALAKRISHNA VITHALDAS DOSHI

HISTORY OF ARCHITECTURE

BV DOSHI

 ABOUT

 He was born on 26th August 1927 in Pune.

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In a career spanning about seven decades, Doshi completed more than 100 projects, many of which were public institutions based in India: schools, libraries, art centers, and low-cost housing.

 His understated buildings adapted the principles he learned from working with Le Corbusier and Louis Kahn to the needs of his homeland. In considering India’s traditions, lifestyles, and environment, Doshi designed structures that offered refuge from the weather and provided spaces in which to gather.

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In 1947 he entered the Sir J.J. School of Architecture in Bombay (Mumbai).

 In 1950 he traveled to London, where he met Le Corbusier, and, for the next four years, Doshi worked in the famed architect’s studio in Paris.

 He returned to India to oversee the construction of some of Le Corbusier’s projects, including the Mill Owners’ Association Building (1954) and the Villa Sarabhai in Ahmedabad (1955).

 He eventually settled in that city, where he designed his own residence (1963), named Kamala House after his wife; his studio, Sangath (1980); and some of his most important projects.

 In 1956 Doshi founded his own practice, Vastushilpa, which he later renamed Vastushilpa Consultants.

 Indian architect, the first from that country to be awarded the

“ALWAYS THERE ARE CLUES WE MUST BE AWARE TO USE THEM”

Title MYTHICAL SENSE

o Doshi believed in the mythical sense of space. “According to him space can be modified according to the desire of the perceiver and is never static.”

VASTU-PURUSHA MANDALA

o

TRANSFORMATION OF ENERGY

SYMBOLISM

VASTU – PURUSHA MANDALA CHART

TIMELESSNESS

o Doshi seeks "Timelessness" in his architecture much as Louis khan did when describing his quality in historical precedents as' open endedness’.

HUMAN INSTITUTIONS

o This belief, is amplified by his own deep cultural experience and popular evolution of new institutions

o The name of his office itself, the Vaastu-Shilpa foundation, is a ringing affirmation of Doshi’s faith in the dialogue between people and architecture of which he speaks

FLEXIBLE APPROACH

o He believed in following the ‘flexible rather than rigid approach to the structure’.

o He said that this was how transformation of space from the mere static container ; to a place where people actually feel a psychic interchange is best achieved.

AMORPHOUS FORMS

o He advocates “amorphous rather than finite forms”, used with multiple structural systems to let a meandering experience.

Eg: Aranaya Low Cost Housing, Indore

ARCHITECT’S PHILOSOPHIES

Childhood recollections, from the rhythms of the weather to the ringing of temple bells, inform Doshi’s designs.

He describes architecture as an extension of the body, and his ability to attentively address function while regarding climate, landscape, and urbanization is demonstrated through his choice of materials, overlapping spaces, and utilization of natural and harmonizing elements.

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 ACCORDING TO HIM ARCHITECTURE OF A BUILDING IS CONCEIVED NOT AS A CONTAINER OF SPECIFIC ACTIVITIES BUT AS A PLACE TO BE INHABITED, AS A PLACE TO FACILITATE THE COURSE OF HUMAN ENVIRONMENT  DOSHI’S WORK HAS CONSISTENTLY REVOLVED AROUND THE INTERRELATIONSHIP OF INDOOR AND OUTDOOR SPACE, AN APPROPRIATE AND HONEST APPROACH TO MATERIALS, PROPER CLIMATIC RESPONSE AND OBSERVANCE OF HIERARCHY AND ORDER THAT HAS ALWAYS BEEN PRESENT IN THE BEST MODERN ARCHITECTURE.

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 IT IS THIS SO CALLED ‘FILTER’ BETWEEN CONTEMPORARY AND TRADITIONAL ARCHITECTURE WHICH DOSHI HAS MASTERFULLY BROUGHT IN.

 THE SUCCESS OF ANY PROJECT DEPENDS ON EFFECTIVE CONSTRUCTION, CONTRACTING, LOGISTIC PLANNING AND CO-ORDINATION.

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 AN ESSENTIAL PART OF THE PHILOSOPHY IS THE CONSTRUCTION OF SCALE MODELS AND OF FULL SCALE MOCKUPS TO MAKE DECISIONS JOINTLY WITH THE CLIENT ABOUT THE BUILDING.

PROJECTS

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SITE PLANNING

MINIMIZING SOLAR RADIATION ON SOUTH

AND

WEST SIDE:

THE STRUCTURE IS CLOSELY INTEGRATED WITH THE OUTDOOR SPACES. VEGETATION ON SITE IS ALMOST LEFT TO GROW INTO WILDERNESS. THE WEST AND SOUTH FACADE IS SHADED BY DENSE TREES.

MAXIMIZING

WIND FLOW: WIND FROM WEST AND SOUTH-WEST SIDE IS TAKEN IN BY JUXTAPOSITIONING STRUCTURES SO AS TO CREATE A CENTRAL OPEN SPACE THROUGH WHICH WIND CAN FLOW DESIGN

ELEMENTS

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MATERIALS : ALL WASTE MATERIALS ARE RE-USED LIKE CHINA MOSAIC

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SANGATH HOLDS CONNECTIONS TO INDIA'S CULTURE. THE LAYOUT RESEMBLES THE WAY THAT A TEMPLE DEVELOPS A SERIES OF STAGES INTO A FINAL PLATFORM WHILE THE FORM LOOSELY IMITATES THE BOLDNESS

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DESIGN FEATURES

SANDWICH CONSTRUCTION OF VAULTS: : THE VAULTED ROOF IS OF LOCALLY-MADE CLAY FUSES OVER THE CONCRETE SLAB, WHICH PROVIDES A NON-CONDUCTING LAYER. THE TOP FINISH OF CHINA MOSAIC GLAZED TILES FURTHER ADDS TO THE INSULATION. BEING WHITE AND GLOSSY IT REFLECTS SUN WHILE BEING MADE FROM CLAY IT RETARDS THE HEAT TRANSMISSION.

VAULTED ROOF FORM: THE ROOF FORM CREATES AN EFFICIENT SURFACE/VOLUME RATIO OPTIMIZING MATERIAL QUANTITIES. THE HIGHER SPACE VOLUME THUS CREATED PROVIDES FOR HOT AIR POCKETS DUE TO CONVECTIVE CURRENTS THAT KEEP LOWER VOLUMES RELATIVELY COOL.THE VENTILATING WINDOW AT UPPER VOLUME RELEASES THE ACCUMULATED HOT AIR THROUGH PRESSURE DIFFERENCES.

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SUBTERRANEAN SPACES: THE BUILDING IS LARGELY BURIED UNDER THE GROUND TO USE EARTH MASSES FOR NATURAL INSULATION.

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ENVELOPE DESIGN: EXTERNAL WALLS OF THE BUILDING ARE NEARLY A METRE DEEP BUT HAVE BEEN HOLLOWED OUT AS ALCOVES TO PROVIDE STORAGE THAT BECOMES AN INSULATIVE WALL WITH EFFICIENCY OF SPACE (FOR STORAGE FUNCTIONS).

GROUND FLOOR

B’

TECHNIQUES

STACK EFFECT:

VENTILATING WINDOW AT UPPER VOLUME RELEASES THE ACCUMULATED HOT AIR THROUGH PRESSURE DIFFERENCE.

INSULATION:

BUILDING IS LARGELY BURIED UNDER GROUND TO USE EARTH MASSES FOR NATURAL INSULATION EXTERNAL WALLS OF THE BUILDING ARE NEARLY A METER DEEP BUT HAVE BEEN HOLLOWED OUT AS ALCOVES TO PROVIDE STORAGE THAT BECOMES AN INSULATED

PASSIVE SOLAR DESIGN

INDIRECT/DIFFUSEDLIGHT :

o TO MAXIMIZE DAYLIGHT (INTENSITY OF ILLUMINATION) AND TO DIFFUSE HEAT AND GLARE, THE LIGHT IS RECEIVED IN INDIRECT MANNER BY DIFFUSING IT. THERE ARE THREE WAYS BY WHICH NATURAL LIGHT IS DRAWN WITHIN.

o BY UPPER-LEVEL LARGE OPENINGS TOWARDS NORTH DIRECTION, WHICH IS COOL, AND CONSISTENT LIGHT IS REFLECTED OFF THE CLOUDS

o SKYLIGHTS, WHICH ARE PROJECTED MASSES FROM THE ROOF, REFLECT THE LIGHT ON THE WHITE INNER WALL SURFACE, WHICH FURTHER RADIATES LIGHT INTOTHE ROOM

o INNERMOST SPACES ARE LIT UP THROUGH SMALL CUTOUTS IN THE ROOF SLAB, WHICH ARE THEN FILLED WITH HOLLOW GLASS BLOCKS THAT TAKE AWAY THE GLARE AND TRANSMIT DIFFUSED LIGHT

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ARANYA LOW COST HOUSING INDORE

YEAR 1989

Architect: Balakrishna. V. Doshi

Established: 1989

Commissioned by: Indore development Authority Firm: Vastu Shilpa Foundation Site Area: 85 Hectare

Location: Aranya Nagar, Vijay Nagar, Indore

> NEED: Early 1980's,Indorewas facing a shortage of Housing approx. 51,000 families were homeless or living in illegal settlements

> APPROACH : A rectilinear site of 86 hectares was designed to accommodate over 6500 dwellings, largely for the Weaker Economic Section

> CONCEPT : Designed as a site and services project spread laid out in six sectors that converge on a central spine i.e. the Central Business

HOUSING TYPOLOGY

The ideological basis for planning Aranya has been the following:

+ Vitality - development to support socio-economic aspirations of the community.

+ Imageability – built form to impart identity and inculcate a sense of belonging amongst the inhabitants.

+ Equity - to create equitable balanced community with satisfactory level of environmental qualities and opportunities for all.

+ Efficiency - to realize development that optimizes natural, material as well as human resources to the advantage of the user group.

+ Flexibility - to evolve framework that absorbs with ease the progressive change and growth as a part of natural development process.

+ Feasibility - to ensure development within given legal, fiscal and organizational milieu

Title CLIMATE RESPONSIVE FEATURES

Each house has minimum surface exposure. This reduces the heat gain by the house during the hot summer. The houses are oriented with longer side in north-south axis in order to reduce the solar gain. The buildings are close to each they such that they shade the public spaces in between the houses. The streets remain half shaded thus help in reducing the heat gain /and provides shaded common spaces

The openings at the front and back of the houses helps for maximum air flow thus improving the ventilation . They also use jaalis for air flow — FIG

CONSTRUCTION

DETAILS

+ FOUNDATION - under reamed piles in concrete, cast in situ locally used as the soil is black cotton soil. Low cost undreamed CRC piles were built for the core house (bathroom and the toilet) and the residents were provided with ready built foundations.

+ STRUCTURAL MEMBERS –reinforced concrete plinth beams load bearing brick walls, reinforced concrete slabs.

+ROOFING- RCC slab plastered and painted.

+ EXTERIOR FINISHES - bright color in the facade ,railing ,grills and cornices in these houses. The doors, windows, and grills were made by the residents on site. The walls were plastered and painted.

+ SEPTIC TANK AND MANHOLE - corbelled brick manholes.

+ STREETS - the internal roads and streets are stone paved since they are not meant for heavy vehicular loads. Only the main roads are asphalt paved for heavy traffic

services

Plan of 4 cluster of EWS showing the sewer system

EWS HOUSING TYPOLOGY

The house basically consists of a verandah , 2 rooms, kitchen and the main service core-toilet and the bathroom The types only differ by the number of floors and the types of the stairs.

UNITS PLANNING

The major house plans included a verandah (otla),a living room, followed by a kitchen. The toilets were provided at back of the house.

+ Most houses were provided with an additional access at the back, that allowed them to keep animals, a vehicle or even renting out that part of the house for income.

+ ten houses formed a cluster that opened into a street.

+ The courtyard at the back opened into the open space of the cluster and was used as a play area and service area.

AND CON’S

POSITIVES

A surplus of 11.7 million rupees generated against 57.2 million rupees investment (based on 1982 prices). This was accomplished by carefully placing bigger plots and commercial activity that brought in the highest sale prices. This excess served as a starting point for future EWS projects.

The sale prices of the EWS dwellings were subsidized by about 35% which was compensated from the surplus generated.

The idea of integrating different socio-economic groups worked fine and the concept became a good reference for any integrated settlement planning

Provision of a minimal service core and allowing freedom to the residents to build by their own pace and choice was a success. People built with more variety to create a unique identity of their own. 

According to the post-occupancy survey, nearly 90% of EWS households continued to live in and make little improvements to their homes. To increase their income, 30% of the households rented out a portion of their homes. 

Availability of open spaces with amenities created a sense of equality among the residents. These linear open spaces were also used extensively by people to access schools and other amenities located along it. 

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Initially, who will perform the maintenance of the streets and open spaces was an issue, but later the communities evolved their own system of maintenance and up keeping. 

The project understood the traditional Indian habits of the low income communities and was designed in accordance with the socio-economic conditions of the residents, which created a sense of belongingness in the people.

“They are not houses but homes where a happy community lives. That is what finally matters,” says B.V Doshi

NEGATIVES

The contribution of the public sector in the funding of Aranya Housing was only 1.5% of the total. (Ekram,1995) (Government of India Planning Commission, 2008) 

The architect believed the growth and community involvement in Aranya to be a common cultural occurrence, however this was untrue. The concept was proven inefficient since the necessary organizations, such as Indore Municipality Council (IMC), were unable to encourage occupants to abide by their allotted sites. 

Only 80 display homes were constructed at the beginning of Aranya to demonstrate the flexibility of housing and the type of space that might be anticipated from the entire development once it was finished. Once the initial demonstration homes were erected, the remainder of the project was left to be completed by local residents without the necessary municipal support or enforcement. 

Unfortunately, even ten years after the project's inception, there is still an 81 ha building site without any trees (Khosla, 1995).  Aranya depends on ‘material banks’, financed by the higher income groups. However, there was no institution that was responsible for these material nodes. (Steel, 1998) 

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The way of delivering houses placed the local income groups at a disadvantage. It is essential that resources be made available for the poorest households, including depots where they may purchase building supplies at a discounted rate as well as financial aid and technical guidance. (Turner,1980) 

A local report by Khosla in 1995 claimed that at Aranya, water was only available half an hour a day. 

In the case of Aranya, ‘only 15 to 20 percent of the original plot owners still held the plots originally allotted to them, with the resale price of plots averaging approximately ten times the original purchase price. (Steel, 1998) This is contradicting what the post occupancy survey results claimed.

INFERENCES

 Flexible layouts of the houses

 Aranya was designed for the human scale: the urban plan, based on six sectors grouped around a town centre, gave residents access to schools, commerce, employment, and other services within walking distance.

 The clustered housing layouts further provided easily accessible spaces for work and each housing block culminated with spaces set aside for local commerce and community gatherings.

 The hierarchy of streets separated pedestrian and vehicular routes and a sequence of passages and open spaces, with lush planting and shade-giving trees, allowed residents to go about their daily activities and develop a livelihood around their dwellings.

CEPT AHMADABAD YEAR 1962

Architect: Balakrishna. V. Doshi

Funding: The Ahmedabad Education Society

Architect: Balakrishna. V. Doshi

Aided by: The Ministry of Human Resource, the Government of Gujarat, and the Ford Foundation

Established: 1962

Established: 1968 Floors: 3 with multiple levels

Floors: 2 with multiple levels Area: 12.5 Acre

Floor Area: 700.15 sq. m (Faculty of Architecture)

Ahmedabad, Gujarat

Site Area: 12.5 Acre

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Location: Ahmedabad, Gujarat

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DESIGN FEATURES

THE BUILDING IS SET BACK 100FT FROM THE MAIN ROAD AND IS COVERED BY TREES TO CREATE THE COOL ATMOSPHERE INSIDE THE CAMPUS AND IS HARDLY VISIBLE FROM THE MAIN ROAD.

CREATION OF A PROPER WORKING ENVIRONMENT FACILITATING FAC- ULTY AND STUDENTS TO HAVE FREE SCOPE TO LEARN AND TEACH ANYWHERE.

 EXPOSED LOCAL MATERIALS FOR LOW COST,EASY EXPANSION AND MAINTENANCE.

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THE DESIGN IS INTENDED TO BE CLOSE TO NATURE AND EXPERIMENT THE DESIGNING SKILLS,PLAY WITH,LEVELS ETC..,THE SITE WAS UNDULATED AND GAVE OPPORTUNITY TO PLAY WITH LEVELS.

 THERE ARE INCLINE SKYLIGHTS ON TOP OF THE STUDIOS, PERPETUALLY LETTING IN NATURAL LIGHT INTO THE SPACES.

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 THE STUDIO SPACES HAVE BAY SPACES FACING THE EXTERIOR, CREATING SEMI-PRIVATE SPACES WHICH ARE YET TOTALLY OPEN TO THE EXTERIOR SPACES WHERE THE INDIVIDUAL CAN BE ALONE WITH NATURE.

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-ONE OF THE BEST EXAMPLES OF SPATIAL PLANNING WITH INTERESTING PATHWAYS. CEPT UNIVERSITY WAS STARTED IN 1962 UNDER THE AHMEDABAD EDUCATION SOCIETY AND WAS ACTIVELY SUPPORTED BY KASTHURBHA! LALBHAI A LEADING INDUSTRALIST AND PHILANTHROPIST.

THE SCHOOL BROKE AWAY FROM THE CONVENTIONAL TEACHING COURSES

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THE CONCEPT CHANGED FROM ARCHITECTURE AS THE TECHNICAL DISCIPLINE TO ARCHITECTURE AS A DESIGN DISCIPLINE.

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SITE PLAN

o Cept university Ahmedabad consists of 10 buildings on the campus in a total site area of 12.5 acres. measuring about 300 m north-south direction and 150 m east-west.

o It is a roughly rectangular site with an extension on the eastern side and south end for vehicular parking and southern side having Ahmedabad ni gufa.

BUILT UNBUILT RELATIONSHIP

o 76 % of the total site area is provided as an open space and 24% as a built form.

o The open space on campus includes lawns, circulation space, parking, and assembly ground.

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ORIENTATION OF BUILDINGS

 THE BUILDINGS ARE PLACED ORTHOGONALLY WITH RESPECT TO THE SIDES OF THE SITE AND HENCE ALONG THE CARDINAL POINTS.

 KEEN OBSERVATION IN PLAN REVEALS THAT BUILDINGS ARE ORIENTED IN SUCH A PASSION THAT TO AVOID THE HARSH SUNLIGHT.

 IT ONLY ALLOWS THE LIGHT BUT NOT THE HOT SUN TO THE INTERIORS DURING MID DAY WHEN THE SUN IS HIGH.

 AS WE SEE, THE BUILDINGS ARE PLACED ACCORDING TO THE SUN DIRECTION, THE SOUTH FACED OF THE BUILDINGS HAS LONG PROJECTIONS AND ON THE NORTH FACADE OF THE BUILDING HAS SMALL PROJECTIONS

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ALL

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SPACES

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IIM

BANGALORE YEAR 1985

Architect: Balakrishna. V. Doshi

Building type: Educational institution

Established: 1985

Floor Area: 54000 sq. m

Site Area: 100 Acre

Location: Bannerghata road, Bangalore city, Kolkata

DOSHI IMAGINED THE IIM CAMPUS AS A DISTINCTIVE TRADITIONAL INDIAN ARCHITECTURE THAT WOULD EFFORTLESSLY ADAPT TO THE LOCAL ENVIRONMENT AND CIRCUMSTANCES. THE IDEA WAS TO REPRESENT THE ETHOS, GREEN AND ALIVE, OF THE TOWN.

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B V DOSHI BELIEVED THAT THE CAMPUS LOCATED INSIDE THE THEN GARDEN CITY OF INDIA SHOULD REFLECT THE SAME CONCEPT. DOSHI REFERRED TO THE COMPLEX AS "BAZAAR OF EDUCATION’. ONE CAN EXPERIENCE WEAVING OF INDOOR AND OUTDOOR SPACES WITH TRANSITIONAL SPACES. IT IS OFTEN DESCRIBED AS AN IDEAL COMBINATION OF MODERN MOVEMENT WITH ANCIENT SPIRITUAL

HE TOOK THE GARDENS AND DRY COURTYARDS OF FATEHOUR SIKHRI AND MERGED THEM INTO ONE WHILE DESIGNING THE COURTYARDS OF IIM TO AVOID ANY DRY RIDGES.

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CONCEPT

There are no dry and rigid courtyards but rather green corridors that encourage intellectual exchange outside the classrooms. An unpredictable series of events that characterize the beautifully amorphous space inside the IM Bangalore campus is created by integrating the constructed space and the landscape with life.

As the relationship between humans and their built environment becomes increasingly deterministic, characterized by contemporary buildings’ cause-and-effect programming, the IIM Bangalore campus suggests an alternative view, one in which the built environment allows interruption of time's linearity.

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HERE WE CAN WEE THAT HOW AR. DOSHI REPLICATED THE PLANNING STRUCTURE OF SOUTH INDIAN TEMPLE IN DESIGNING IIM BANGALORE

PLANNING

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ZONING

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DAY TIME ACTIVITY IS CONCENTRATED IN ACADEMIC AND ADMINISTRATION AREAS. MORE USE OF INTERACTION AND TRANSITION AREA LIKE CORRIDORS GALLERIES AND COURTS AND FOYERS THROUGHOUT THE CAMPUS.

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ACTIVITIES TEND TO FLOW BETWEEN CLASSROOMS AND LIBRARIES COMPUTER CENTERS CANTEENS AND STUDENTS DORMITORIES. NIGHT TIME ACTIVITY SHIFTS TO LIBRARY AND HOSTEL BLOCKS AND TO THE COURTYARDS

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SITE DIVIDED INTO TWO HALVES: NORTHERN FOR STAFF HOUSING AND SOUTHERN FOR EDUCATIONAL BLOCK STAFF HOUSING INTO 2 SECTORS FOR TEACHING AND NON TEACHING STAFF.

EDUCATIONAL BLOCK INCLUDES ADMINISTRATIVE AND LIBRARY BLOCK AND DORMITORY SPACES TO SOUTHERN SIDE.

THIS ZONE IS WRAPPED WITH A BLANKET OF GREENERY SCREENS OFF UNWANTED NOISE EMANATING FROM ROAD AND BREAKS VISUAL LINK WITH SURROUNDING SPACES.

CIRCULATION

VEHICULAR MOVEMENT IS WELL INTEGRATED WITH FONT RIG OF VINOUS ACTIVITIES. PEDESTRIAN MOVEMENT DOMINATING WITHIN ACADEMIC COMPLEX AND STUDENT’S DORMITORIES.

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ACHIEVED BY ADOPTING A NETWORK OF CORRIDORS LINKING TOGETHER ALL VOLUMES COURTYARDS AND EXTERNAL SPACES.

HIERARCHY OF SPACES

MATERIAL AND TEXTURE

THE TWO PRIMARY MATERIALS B. V DOSHI CHOSE FOR COMPOSING THE STRUCTURE HAND-CHIPPED GRANITE AND CONCRETE. THE BUILDINGS PROVIDE A SILENT, NEUTRAL PALETTE FOR MORE ANIMATED OBJECTS SUCH AS TREES AND HUMANS TO INHABIT, ALONG WITH FLOORS MADE OF ROUGH AND POLISHED KOTA STONE.

AMDAVAD NI GUFA

YEAR 1995

Architect: Balakrishna. V. Doshi

Building type: Public museum

Client: Maqbool Fida Husain

Established: 1995

Floor Area: 280 sq. m

Site Area: 1000 sq. m

Location: Ahmedabad ,Gujarat

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AMDAVAD NI GUFA WAS DESIGNED TO DEMONSTRATE THE COLLABORATION BETWEEN AN ARTIST AND ARCHITECT. AN UNDERGROUND GALLERY HOUSING THE WORKS OF ARTIST MAQBOOL FIDA HUSAIN, DOSHI’S DESIGN WAS INSPIRED BY A DISCUSSION BETWEEN THE TWO THAT OCCURRED THIRTY YEARS PRIOR TO THE PROJECT. IT WAS ABOUT A RESPONSE TO CLIMATE, AND THE BENEFITS OF INTERRED SPACES. IN DESIGNING THE LANDSCAPE AND ENTRANCE, THE ARCHITECT CONNECTS THE BUILDING TO THE EXTENDED WORLD.

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“The form and space of Gufa animate the mysteries of light and memories. Challenges between an artist and an architect give birth to the most unexpected. Searching the uncommon meant raising fundamental questions – what is the meaning of function, space and

CONCEPT

AMDAVAD NI GUFA IS AN UNDERGROUND ART GALLERY IN ANMEDABAD, INDIA. DESIGNED BY THE ARCHITECT BALKRISHNA VITHALDAS DOSHI, IT EXHIBITS WORKS OF THE INDIAN ARTIST MAQBOOL FIDA HUSSAIN. THE GALLERY REPRESENTS A UNIQUE JUXTAPOSITION OF ARCHITECTURE AND ART. THE CAVE-LIKE UNDERGROUND STRUCTURE HAS A ROOF MADE OF MULTIPLE INTERCONNECTED DOMES, COVERED WITH A MOSAIC OF TILES. ON THE INSIDE, IRREGULAR TREE-LIKE COLUMNS SUPPORT THE DOMES. IT WAS EARLIER KNOWN AS HUSSAIN-DOSHI NI GUFA.

THERE ARE FACILITIES FOR SPECIAL PAINTING EXHIBITIONS AND FOR PROJECTING FILMS. GARDENS AND A CAFÉ ARE LOCATED ABOVE GROUND.

THE GALLERY IS CALLED GUFA BECAUSE OF ITS RESEMBLANCE TO A CAVE. IT WAS KNOWN EARLIER AS HUSSAIN-DOSHI NI GUFA, AFTER ITS ARCHITECT, B.V. DOSHI, AND THE ARTIST, M.F. HUSSAIN. LATER IT WAS RENAMED AFTER THE CITY OF AHMEDABAD, KNOWN LOCALLY AS AMDAVAD.

THE STRUCTURE'S CONTEMPORARY ARCHITECTURE DRAWS ON ANCIENT AND NATURAL THEMES. THE DOMES ARE INSPIRED BY THE SHELLS OF TORTOISES AND BY SOAP BUBBLES. THE MOSAIC TILES ON THE ROOF ARE SIMILAR TO THOSE FOUND ON THE ROOFS OF THE JAIN TEMPLES AT GIRNAR, AND THE MOSAIC SNAKE IS FROM HINDU MYTHOLOGY. THE BUDDHIST CAVES OF AJANTA AND ELLORA INSPIRED DOSHI TO DESIGN THE INTERIOR WITH CIRCLES AND ELLIPSES, WHILE HUSSAIN'S WALL PAINTINGS ARE INSPIRED BY PALEOLITHIC CAVE ART. THE INTERIOR IS DIVIDED BY TREE TRUNKS OR COLUMNS SIMILAR TO THOSE FOUND AT STONEHENGE.

PLANNING

SET ADJACENT TO THE CEPT UNIVERSITY, THIS MUSEUM IS ONE OF A KIND – THE SPACES ARE ALL UNDERGROUND WITH ONLY THE DOMED ROOF SHELLS PROTRUDING ABOVE THE GROUND LEVEL. FROM THE EXTERIOR, THE GUFA LOOKS MORE LIKE A WORK OF ART, A SCULPTURE OF DOMED SHELLS FINISHED IN DAZZLING CHINA MOSAIC, COMPLETE WITH A BLACK SERPENTINE IMAGERY SNAKING ACROSS THE SURFACES. THE MUSEUM SPACES, SET BELOW THE GROUND CONTAIN NO STRAIGHT WALL, A SURPRISE WHEN YOU CONSIDER THAT THE FUNCTION WAS TO HOUSE HUSAIN’S PAINTINGS…ONE ENTERS THE SPACE THROUGH A STAIRCASE WHICH IS PARTLY HIDDEN, THROUGH A CIRCULAR DOOR AND REACHES THE SURREAL CAVERN LIKE SPACE. HERE, THE GENIUS OF DOSHI & HUSAIN COMBINE TOGETHER TO PRODUCE A UNIQUE MARRIAGE OF ART AND ARCHITECTURE.

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CONSTRUCTION

WHILE VISITING AHMEDABAD, HUSAIN ASKED HIS FRIEND DOSHI TO DESIGN A PERMANENT ART GALLERY FOR THE EXHIBITION OF HIS WORKS. TOGETHER THEY PLANNED AN UNDERGROUND STRUCTURE CAPABLE OF WITHSTANDING THE AREA'S SEVERE SUMMER HEAT. COMPUTERASSISTED PLANNING FACILITIES WERE USED TO RESOLVE THE STRUCTURE'S UNORTHODOX DESIGN. A SIMPLE FLOOR OF WIRE MESH AND MORTAR WAS USED INSTEAD OF A TRADITIONAL FOUNDATION. ALL THE STRUCTURE'S COMPONENTS ARE SELF-SUPPORTING, RELIEVING STRESS BY THEIR UBIQUITOUS CONTINUITY. FERROCEMENT, ONLY ONE INCH THICK, WAS USED FOR THE UNDULATING WALLS AND DOMES IN ORDER TO REDUCE LOAD] THE CAVE WAS CONSTRUCTED BY UNSKILLED TRIBAL LABORER'S USING ONLY HAND TOOLS  BROKEN CERAMIC CROCKERY AND WASTE TILES WERE USED TO COVER THE DOMES' EXTERIOR, WHICH BEARS A TRANSVERSAL MOSAIC OF A SNAKE. WORK WAS CARRIED OUT IN TWO PHASES: THE FIRST WAS THE CONSTRUCTION OF THE MAIN CAVE AS AN UNDERGROUND ART GALLERY, WHILE THE SECOND COVERED THE SURROUNDING STRUCTURES INCLUDING THE PAVING, THE CAFÉ, AND A SEPARATE ART GALLERY FOR EXHIBITIONS.

STRUCTURE

THE GALLERY SPACE IS BELOW GROUND LEVEL. 

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A PARTIALLY HIDDEN STAIRCASE LEADS TO A CIRCULAR DOOR WHICH OPENS INTO A CAVE-LIKE SPACE. THOUGH DESIGNED TO DISPLAY PAINTINGS. 

THE CAVE HAS NO STRAIGHT WALLS, INSTEAD USING A CONTINUATION OF THE CURVED DOME STRUCTURE WHICH EXTENDS DOWN TO THE FLOOR.

THE DOMES THEMSELVES ARE SUPPORTED BY IRREGULARLY SHAPED INCLINED COLUMNS, SIMILAR TO THOSE FOUND IN NATURAL CAVES. THEY ARE ALSO SAID TO RESEMBLE THE TRUNKS OF TREES.  

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THE ENTIRE DESIGN IS MADE UP OF CIRCLES AND ELLIPSES.LIGHT ARRIVES THOUGH SNOUTS, CREATING SPOTS OF LIGHT ON THE FLOOR WHICH MOVE AROUND AS THE DAY PROGRESSES, INTENDED TO CREATE A MYSTIC ATMOSPHERE.

STRUCTURE:- AHEMDABAD NI GUFA IS AN UNDERGROUND ART GALLERY IN AHEMDABAD. IT EXHIBITS THE WORK OF THE FAMOUS ARTIST MAQBOOL FIDA HUSSAIN. THE GALLERY REPRESENTS A UNIQUE JUXTAPOSITION OF ARCHITECTURE AND ART. THE CAVE-LIKE UNDERGROUND STRUCTURE HAS A ROOF MADE OF MULTIPLE INTERCONNECTED DOMES, COVERED WITH A MOSAIC OF TILES. INSIDE IT, THERE ARE IRREGULAR TREE-LIKE COLUMNS THAT SUPPORT THE DOMES.

CRITICAL REGIONALISM IN

INDIAN ARCHITECTURE

REGIONALISM ARCHITECTURE

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What is critical regionalism…?

THE TERM CRITICAL REGIONALISM WAS COINED BY ALEXANDER TZONIS AND LIANE LEFAIVRE IN THE EARLY 1980S, AND WAS LATER ELABORATED BY ARCHITECTURAL CRITIC AND HISTORIAN KENNETH FRAMPTON

 CRITICAL REGIONALISM IS AN ARCHITECTURAL CONCEPT THAT SEEKS TO BALANCE LOCAL NEEDS AND CAPABILITIES WITH THE PROGRESSIVE LESSONS OF MODERNISATION.  CRITICAL REGIONALISM IMPARTS A SENSE OF PLACE AND MEANING TO ARCHITECTURE.  CRITICAL REGIONALIST DESIGNS ARE SENSITIVE TO THE LOCAL CLIMATE AS WELL AS THE TECHNOLOGICAL CONSTRAINTS OF THE LOCAL BUILDING INDUSTRY.

 CRITICAL REGIONALISM HAS BEEN AN INFLUENTIAL ARCHITECTURAL APPROACH IN POSTCOLONIAL INDIAN ARCHITECTURE. EVEN BEFORE THE TERM WAS COINED IN THE 1980S.

 CRITICAL REGIONALISM IS THEREFORE VITAL IN CONTEMPORARY TIMES AS IT RESISTS THE OVERPOWERING ONSLAUGHT OF HOMOGENEOUSLY INTERNATIONALISED ARCHITECTURE BY RELATING ARCHITECTURE TO THE REALITIES OF THE PLACE.  ARCHITECTS IN INDIA HAD SUBCONSCIOUSLY BEGUN PURSUING THE IDEAS OF CRITICAL REGIONALISM IN DESIGNING THEIR BUILDINGS.

How did it made its way in India…?

 The architectural legacy left behind by the British in India did not adequately address the local climatic conditions and socio-cultural needs .Thus, it was not surprising that the British architectural influence dwindled soon after India gained independence in 1947.

 Independent India chose modernism as its preferred architectural approach with the belief that it could solve its problems such as social inequality. However, by the 1960s, architects in India began realising the limitations of modernist architecture.

 Indian architects like Charles Correa, Raj Rewal and Balkrishna Doshi sought to overcome the dominance of modernism that they had themselves inherited through their Western education. They began incorporating the ideas of critical regionalism in their works to counter the homogenisation of architecture resulting from modernism.

 Correa, Rewal and Doshi׳s works of 1980s acted as models for critical regionalist architecture in India in the decades to follow.  An architect is identified as one with critical regionalist thinking if he/she follows the following ideologies:-

CONTRIBUTION BY BV DOSHI

By the end of 1970s and throughout the 1980s, critical regionalism picked up pace in the Indian architectural scenario especially in the domain of higher education and research institutions. Balkrishna Doshi׳s Indian Institute of Management Bangalore (1977) derived its inspiration from the courtyards of Fatehpur Sikri) whereby laying different building programmes asymmetrically around a sequence of courtyards, squares and pedestrian streets . Rough-hewn blocks of local granite stone having greyish colour are used throughout the institute uniting the complex into a whole.

Figure 7. Indian Institute of Management Bangalore (1977) by Balkrishna Doshi

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CONCLUSION

The Critical regionalism has not only found expression in nearly all building types but has also produced noteworthy architecture in each building type. Cultural institutions like museums and art galleries, and institutes for higher education and research have been the chief patrons of critical regionalist architecture in India. These two building types witnessed regionalist expressions as early as the 1960s and by the 1980s produced some of the finest examples of critical regionalism in India. Even in contemporary times, critical regionalism continues to create good architecture in institutions of higher education and research.

Many building types such as schools, resort hotels, religious institutions, and healthcare facilities that did not adequately experience regionalist architecture in the twentieth century, are discovering the promise of the critical regionalist approach and have started to provide greater patronage to regionalist architecture in the twenty-first century.

 Although, the critical regional approach has resulted in some remarkable office buildings, government buildings, factory buildings and shopping centres, it has not been able to wield adequate influence over these building types. The primary reason being the differences in the priorities of these sectors and the concerns of critical regionalism. These building types can, however, benefit from critical regionalism in achieving long-term environmental quality.

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As a number of different architectural expressions continue to actualise in the pluralistic built environment of India, critical regionalism is likely to persist balancing progressive means and traditional principles of building.

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