Senses And Places- A study of Ahmedabad city

Senses and places

SENSES AND PLACES A STUDY OF AHMEDABAD CITY

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ZANKRUTI RAVAL N0891648

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Senses and places

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4 Senses and places

L I T E R AT U R E R E V I E W

Senses and places

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Senses and places

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The term atmosphere in our five senses, skeleton and muscles architecture is used to describe the (Holl et al. 2006 p 30). Holl perceives intangible characteristics that space as a set of experiences than as a permeate our built environments​whole and this practice helps him to raise (Matthew, 2012 p V)​ . According to the level of perception and to increase the Birkhauser atmosphere is a metaphor phenomenal experience. (Holl et al. 2006, that refers to a creative climate that p 42). Phenomenal experience here refers responds to our senses (Kamphuis as a “first person’s view of the et al. 2007 p 7). Zumthor in his book surrounding world and it’s private” (Das called Atmospheres (Zumthor 2006, 2005, p 1) supporting this, according p 7,11) said that an atmosphere to Marleau ponty phenomenology is the reflects its architectural qualities and​ study of essences be it essences can be synthesized as aesthetical, of perception, consciousness or sensual historical and functional categories as well experience. (Merleau-Ponty, Landes as personally (Zumthor et al.

2015, 2012 p 1). Adding to the sensual experience p 18). Atmosphere can be considered of the space Juhani Pallasmaa states as a constant interaction between the that one perceives a particular built materialistic properties a space contains environment not only through their five with the emotional response, cognition, senses but also through sensations of perception and imagination and memories orientation, gravity, balance, stability, associated with the objects present there motion, duration, continuity, scale (Pallasmaa 2014, p 232). and illumination (Pallasmaa 2012 p 24).

We also tend to perceive and have Further discussing about the equation an immediate response towards space also of atmosphere and perception Merleau through our sense of imagination Ponty perceives a space in totality by connected to our memory. (Holl et al. grasping its uniqueness, which lays a hold 2006 p 72 ) on his senses (Merleau-Ponty et al.

1964, p 48). Any perception of a particular space is multi-sensory, qualities of architecture can be measured equally by

Senses and places

“I enter a building, see a room, and- in a fraction of a second-have this feeling about it.”

(Zumthor 2006, p 13), Juhani Pallasmaa in his book (2014, p 232) supports this by saying, we get involved in the atmosphere before identifying or perceiving the details of the space. To this Harrison had a very similar opinion that space becomes a part of us the moment we enter it, where the experience generated is an interaction happening between the perceiver and the surrounding objects (Harrison 2008, p 130). Zumthor believes that we as human beings have the ability to have an immediate response towards emotional senses for a particular built environment (Zumthor 2006, p 13) where we can quickly appreciate or discard the first impressions (Karabašević 2016 p 181).

Similarly, we can immediately feel the changes affecting our mood about the weather without learning the scientific facts or the way we grasp the vitality of the new city without knowing about its history and its countless layers (Pallasmaa 2014, p 232). Arts and music are too like architecture where we are emotionally attached and mentally organised with the music (Zumthor 2006, p 13). Pallasmaa mentioned in reference to the visual

sense, that it gives rise to memories, imagination, emotions and dreams. To this he gave an example of his home and city and stated that every city has its own characteristic smell and tastes (Pallasmaa 2012, p 48-53). Also, folk music creates a particular cultural atmosphere without us knowing much about the culture and musical structure and eventually will have an impact on our mood and emotions (Pallasmaa 2014, p 235).

Atmosphere can be shaped through few tangible architectural aspects that evoke intangible aspects such as mood, intensity, feelings, and sense of expectations (Zumthor 2006, p19).

The built environment can intricately be observed, through few factors of architecture starting the journey with an envelope of the building (Zumthor 2006, p 21) or stated as muscle and bone (Pallasmaa 2012, p 64). Secondly through materials where Zumthor believes that every material works uniquely due to material combination (Zumthor 2006, p 23) where he perceives the space through sensitive material transition and believes in inessential construction details to be an inherent part of space production.

(Zumthor et al. 2015, p 15).

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Senses and places

Next comes the sound where interior spaces are considered to be a large sound transmitting instruments depending on the material palette (Zumthor 2006, p 23). To this Holl added that each place has a specific sound of intimacy or monumentality, rejection or invitation, hospitality or hostility. Another aspect is smell or odour being one of the strongest memories of that place (Holl et al. 2006 p 31, 32).

Other aspects such as surrounding objects, light, context, involvement with architecture through movement stated as Between the composure and seduction, the transition or the threshold between the interior and the exterior which also involves the public and private realm a space posses (Zumthor 2006).

Pallasmaa referred to the work of Alvar Alto in reference to the light quality a place possesses and stated that it gives a mystical quality of sense of community and a sense of solidarity (Pallasmaa 2012,

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p 51). This helps to create the degree of comfort for a person in a particular public space due to physical aspects such as scale and proportion, dimension, mass and volume of the space. This degree of comfort is again associated with intangible aspects such as a sense of belonging, a sense of familiarity and the fact of being observed by someone within the space (Raval 2017).

Everything man does is associated with the experience of space (Lang 1974, p85) and is determined by our movement (what and how we do) and what we are ready to do (NoĂŤ 2006, p1). Nothing occurs, without a spatial context, because space (along with time) is one of the principles organizing systems for living organisms (Lang 1974, p85). Each space is considered to be an invitation to various activities creating distinct experiences, where the outcome of the space is evaluated through the activities thrived and behavioural pattern fostered in the space (Pallasmaa 2014, p 231).

Senses and places

Methodology

A qualitative research method is chosen to complete the inquiry where secondary research is aimed at the initial stage to understand and identify the concept and the role of the atmosphere in architecture. Secondly, choosing two case studies to understand the difference in the evolved atmosphere and the designed one. To which a case study at a subneighborhood level in an Indian context would be chosen to understand the

tangible aspects of the space that helps to create an atmosphere of those two places.

Analysing the behaviour pattern of the users in relation to the surrounding objects would help to understand how they perceive a place. A small survey would also be conducted by interviewing the users and the residents, to understand their background, views, experience, feeling and perception about the place.

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Senses and places

6 Fig 1:

Evening view of Hussain Doshi Gufa. (Shivani suthar 2019)

CASESTUDIES

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Senses and places

CONTENT 1. Bhau ni pol chowk

1.1 Introduction 12 1.2 Context/ Location 14

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1.3 Background of Pol houses

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1.4

Users of the space

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1.5

Activity pattern of the chowk

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1.6 Intimate scale 40

Senses and places

2. Hussain Doshi Gufa

2.1 Introduction 52 2.2 Context/ Location 57 2.3 Visual perception 60 2.4 Colours 66 2.5

Circulation and Angle of viewing

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2.6

Architectural Elements

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2.7

Light quality

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Bhau ni pol chowk 10

Fig 2:

An image of the entrance of Bhau ni pol and its context. (Raval 2017)

Bhau ni pol chowk

1.

BHAU NI POL CHOWK AHMEDABAD OLD CITY

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Bhau ni pol chowk

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Introduction

Bhau Ni Pol chowk also known as Zhatkeshwar Mahadev no chowk is situated in the walled city of Ahmedabad located in the Khadia sector comprising of maximum residential areas from the old city area in today’s date.

This case study is selected to understand the atmosphere in taditional neighbourhood hence focuses on the chowk of Bhau ni pol known as Zhatkeshwar mahadev no chowk. It is named after the major pull factor and social amenity present in the chowk, the shiv temple. The chowk also branches out into dhobi no khancho, which is also analysed in the later part of study to understand the atmosphre at intimate scale.

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Bhau ni pol chowk

Fig 3:

An image of the entrance of Bhau ni pol having

security cabin above. (Raval 2017)

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14 Bhau ni pol chowk

Bhau ni pol chowk

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CONTEXT/ LOCATION

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Fig 4:

Map of Ahmedabad city with the

old city area markedx in blue (Raval 2019)

Bhau ni pol chowk 16 Fig 5:

A zoomed in area showing the location of Khaida sector in Walled city Ahmedabad (baseplan: Ahmedabad

municipal corporation 2017)

Bhau ni pol chowk 17 Fig 6:

A zoomed in area showing the locality near Raipur Darwaja and Bhau ni pol falling in the heritage walk tour

of Ahmedabad. (Raval)

Bhau ni pol chowk

1.3

Background of Pol Houses

Pol housing is one of the oldest housing developments of Ahmedabad. The “Pols” are the indigenous residential area that comprises of compact and dense fabric of built form (Choksi, Agarwal 1984). The street patterns here have evolved gradually over many centuries, resulting in narrow lane in dense residential area. These narrow lanes with popping balconies above, provides a pleasant environment for socializing and shaded walkways (Raval 2017). Other than this the residential area of the pol housing is devoid of any formal community spaces. Chowks and streets are the resultant of the un-built spaces in its fabric that acts as the informal gathering space for the residents, where inhabitants can freely interact with each other, being present into their semi private

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zones they can participate into different socializing activities.

(Choksi, Agarwal 1984) The study focuses here to understand an atmosphere that has evolved during a period of time.

The most favorable conditions for the following research could be found in organically developed settlements, those possessing a long tradition of vernacular buildings and neighborhoods. To this one of the best examples found was the traditional neighborhood in Ahmedabad known as Pol housing. This historic settlement is also known as “Amdavad” and has recently been declared as India’s first heritage city by Unesco. The history of the evolution of the city dates back down by six centuries and the dwellings here evolved here over a period of 300- 400 years. (Khasiya 2014)

Bhau ni pol chowk

Fig 7:

A map showing the location of Bhau ni pol in khadia sector. (Raval 2019)

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Bhau ni pol chowk

1.4

Users of the space

One of the most important components of any space are the users.

They give a character and assigns activities to the space. According to doshi, users of the chosen space can be categorised in three ways: Residential, Visitors and the Passerby (Patel 1986).

Residential users: Those who use the space daily for some or the other purpose, owning some amount of space in neighbourhood houses can be said to be the residential user.

They are people who are responsible for maximum amount of ongoing activities in the chowk and are known to be quite welcoming to the visitors.

Visitors: The person who uses the space only for few hours, belonging to any other neighbourhood can be said as visitors or the people who came to visit the chowk for any specific purpose.

Passer-by: The one who is only onlooker with no relation to the built 20

form are passer-bys.

The frequency and the flow of any of this user category, governs the activeness of the chowk. The density of the residential users is more for the chosen case study due to which the space can be said to be more domestic and privately public. Most of their daily routine activities happens into the common chowk of the pol (Patel 1986).

The frequency of visiting users are more during the day time due to the heritage walk and also due to the collection and returning of laundry items. Other than that the footfall of the visiters remains ongoing due to the amenities present. Still such user group gives more movement and activeness to the space. Such spaces would tend to become dead during night time and more active during peculiar hours of the day, unless the space comprises of good street furniture and shade.

Bhau ni pol chowk

Fig 8:

Users of the space. (Raval 2017)

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Bhau ni pol chowk Fig 9:

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Activities during morning time at chowk (Raval 2017)

Activity pattern of the chowk

The usual daybreak of the residents starts by visiting the temple and offering water to the tree beside the temple. During that time an old lady sits there for a while with her neighbors and does her daily chants and performs her rituals. The street becomes and the chowk becomes alive early in the morning when cleaning and water filling activities start taking place. This is the time when usually women wash clothes or utensils and collect water from the chowkdi right in the early morning just beside the otla on the street edge (Kagal 1986).

At times women also gives a bath to their young ones in the chowkdi itself. This is the time when maximum interaction within the women residents takes place. At the same time, visitors, as well as residents, visits the iron stall to give and take clothes for laundry and iron press. During this time either the elderly sitting in the otla or the men enjoy being a part of the street activities and experiencing the environment while reading the newspaper. One of the residents their

Bhau ni pol chowk

1.5

shares his experience by saying that he enjoys sitting on the otla during the morning daybreak as he could listen to the sound of the bells at the temple nearby and hear the chantings performed by the devotees. At the same time, there is a sound created by the visitors to the place and a chance to exchange a casual talk with them happens.

By the time vendors selling vegetables, fruits and flowers would come and will call to gather everyone at its pitch voice. This is the time when residents from the above floors come down to take vegetables and fall into a casual talk with the neighbors and other visitors. The vendor with fresh flowers sitting besides the temple and brewing tea at all the houses during day time evokes the smelling senses while reading a newspaper on the otla. All of these activities happening around the chowk and street makes a spectator feel to be indirectly participating in the activities and experiencing the atmosphere.

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Bhau ni pol chowk

Morning Activities

Fig 10:

Morning routine of wahing clothes at otla. (Raval 2017)

Fig 11:

Visitor looking at the surrounding activities and structures. (Raval 2017)

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Bhau ni pol chowk 25

Fig 12:

Plan of the chowk showing morning activities. (Raval 2017)

Bhau ni pol chowk

Noon activities

Fig 13:

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Deactive space during noon hours (Raval 2017)

During noon the chowk becomes comparatively deactive, unless any commercial or retail activities takes place in the chow. This is the time when only passive activities such as parking takes place. Activities during noon are

null and no residents come out to the chowk during this time. Also the otlas opening towards the main chowk are less and hence the open space is devoid of any shaded area to sit.

Bhau ni pol chowk 27

Fig 14:

Plan of the chowk showing noon activities. (Raval 2019)

Bhau ni pol chowk

Evening activities The chowk starts becoming active again at 6 pm onwards when children come out to ride bicycles and teenagers to chit chat. People usually don’t come out to interact as the number of sitting spaces are less. They tend to meet in the street besides (Dhobi no khancho) as there

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are more semi-private zones opening towards the street and the proportion of the street is intimate. This characteristic of the streets encourages and fosters interaction among the residents and makes one feel comfortable enough to be a part of that space.

Bhau ni pol chowk 29

Fig 15:

Plan showning the activities during evening hours (Raval 2019)

Bhau ni pol chowk

Circulation in relation to the pause points: Pedestrian movement and pause points are highly guide by the building territories and the vehicular movement. People prefer walking a bit away from the building territories, so that they do not hinder the privacy of other residents, but pauses in those buffer spaces acts as the interaction spots. People tend to pause and interact at places where the degree of safety is high, near sitting spaces and places with higher permeability.

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Bhau ni pol chowk 31

Fig 16:

Plan showing the circulation

pattern and pause points of the users.

(Raval 2019)

Bhau ni pol chowk

Physical density analysis

Fig 17:

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Physical density versus openness analysis of the chowk. (Raval 2019)

Higher density in the local area population physically facilitates a high level of interaction and activeness in the space. Due to high-density residents of the pol tend to move out to the shared spaces or junctions, due to the absence of open spaces where there is a probability of more face to face interaction.

Even high density increases proximity within the neighbours, so even while

passing through the street there are more chances of incidental meet and sharing favors. At the same time for the visitors, it certainly gives a sense of attachment to the place and feels to be a part of the community. The ratio of density versus openness in the chosen case is 1:3, where density is higher than the openness.

Bhau ni pol chowk 33

Fig 18:

Desity of the chowk (Raval 2019)

Bhau ni pol chowk

Most active area in the chowk:

Fig 19:

Men sitting at the birdfeeder and looking at the activites in the chowk (Raval 2017)

Maximum people tend to talk near the social amenities and sitting spaces (Temples, tea stall and shops). Other than that, they prefer interacting within the house boundaries (especially wom-

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en). Maximum interaction happens on the edges of the buildings or street corners and away from the vehicular movement

Bhau ni pol chowk 35

Fig 20:

highly active spots of the chowk. (Raval 2019)

Bhau ni pol chowk

Age group: The age group of the users plays a crucial role in defining the character of a space as the need and the activity patterns also varies according to the age group. People with different age group have different mind sets and tend to find their comfort zone in open space depending on the activity choices they make.

According to the observations based on the users of the space, the users were divided in the four categories of age, people ranging from the age of 5 to 15, 15 to 25, 25 to 45 and 24 to 60.

To this the inferences were, that the children (5-15) tend to play in strategic spots where vehicular movement is

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less and places where the eyes of their guardian falls. People within the age group of 15 to 20 sit at the junctions or the nodal points of an opens space.

Where they can see activities happening around them and participate in different activities. User group ranging from 25 to 45 years mostly seek interaction outside their work places, near their semi- private zones and users within 45- 60 tend to interact where the amount of sitting spaces are more as they try to seek more comfort while interacting. They also meet near social amenities like temple, grocery shop tea stall etc.

Bhau ni pol chowk 37

Fig 21:

Plan showing the activities in relation to the age group (Raval 2019)

Bhau ni pol chowk

Activities from the floor above.

Fig 22:

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Visual connectivity and participation from the above floors (Raval 2019)

The diagram above shows the transparency of the buildings that allows visual connectivity in common space.

The built form on all the sides of the chowk are mostly residential. So the built form opening towards the common chowk is more but sizes of the openings are small in case to maintain privacy from passersby. Whereas the

visual connectivity is higher on above floors with balconies popping out, allowing to become the part of the activities happening in the chowk, this increases the chances of interaction. A person standing in the chowk can give a call by its pitch voice and can find chances to interact with the one standing on the balcony above.

Bhau ni pol chowk

Private

SemiPrivate Pedestrian

Fig 23:

Public Vehicular

Private

parking

A section of the chowk showing the visual connectivity on ground floor (Raval 2019)

The focal point of the chowk is the temple and is the main social amenity for the residents. The organization of the temple is such that it blocks the views of one side of the building edges, whereas on the other side people can easily see through the activities happening around the temple. The number of balconies popping out on one side of the chowk are more,

so people usually stand in the balconies and be the part of the activities happening in the chowk. The visual connectivity is blocked by the temple but not the audibility. The height and the proportion of the buildings around are such that it encourages the quality of vertical interaction and also keeps the chowk shaded during morning and evening.

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Bhau ni pol chowk

1.6

Fig 24:

Intimate scale

Location of Dhobi no khancho from Bhau ni pol

chowk. (Raval 2019)

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The intimate scale looks deeper into the atmosphere, scale and proportion, architectural elements, interaction and activities happening in relation to the house and the street. The street selected for studying intimate scale is known as Dhobi no khancho, which literally means a street of washerman and ironing. It is formed by the cluster of six- seven houses and it is directly linked with the chowk (shared spaces) of the pol.

Bhau ni pol chowk

Fig 25:

Zoomed in plan of Dhobi no khancho (Raval 2019)

The street used to be shaded most of the time and is pedestrian friendly due to its scale and proportion. The width of the houses are narrow but are multi-storeyed. This helps creating the ground space abit cooler and invites people to sit due to its shaded spaces. and It prevents vehicles to speed up and does not allow car to access due to its narrow nature.

This makes residents feel safe to be the part of street activities and as a result the street becomes more interactive. This street consist of one of the major social amenities that caters to the proximate area of the pol and

also few outsiders. The laundry and iron stall having the man doing his job acts as a major pull factor for the street. Due to his presence the street never becomes dead and attracts residents to participate in street activities and interaction. The number of houses one needs to cross while passing, influences interaction level and increases the chance of casual encounters. All the houses opens up into the secondary street rather than the 41 main street which enhances the chances of activities and visual connectivity to the houses in the opposite lane.

Bhau ni pol chowk

Degree of comfort through Enclosure, Scale and Proportion.

Distance between the house form and the street is an important factor that gives the feeling of enclosure and helps to unfold interaction (Straube 2006). The degree of enclosure maintained due to the distance increases the sense of safety and also gives a feeling of warmth in a space. Audible distance also matters that how far or close people stand while interacting with each other. If people know each other well they tend to stand close while interacting (Hall 1990). If the distance is more while interacting with someone than it becomes and invisible barrier and sometimes weakens the possibility of interaction (Hall 1990). It is the similar case with the visual connection also. Direct visual connection increases the possibility of interaction, but barriers like compound wall, clothesline, vehicles being parked in buffer zones hinders the connection even if the permeability is high.

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Bhau ni pol chowk

Fig 26:

Degree of enclosure depicted through sections in the street (Raval 2019)

Fig 27:

Use of otla and plugin teps in Dhobi no khancho. (Raval 2017)

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Bhau ni pol chowk

Circulation pattern in Dhobi no khancho The main pull factor of Dhobi no khancho is the person doing laundry and hence the street remains active most of the time.

Residents there usually sit on the otla and their circulation pattern follows the route to their neighbour’s house. They usually tend to walk towards the building edge to bump into a familiar casual conversation with their neighbours. Whereas the circulation pattern of the visitors are governed by few aspects such as building territories, permeability, visual connectivity and vehicular movements (Thakur, Desai 2015, p 88). Visitors usually tend to walk away from the building edges for not hindering resident’s privacy.

Public, semi-priavte and private realm.

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One side of the street has more number of openings and otlas facing towards the street where the buffer spaces are mostly used for interaction and for other passive purpose like parking two wheelers, keeping water barrels etc. whereas on the other side the building edge is less permeable and does not consist of semi- private zones. Most of the houses on the other side of the street has plug-in entries and are used for passive functions. The otlas opening towards the street are utilized by the owners and few other residents. They also help a smoother transition from public to the private realm without hindering privacy (Kaza 2010).

Bhau ni pol chowk

Fig 28:

Circulation pattern in Dhobi no khancho (Raval 2019)

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Fig 29:

Public, semi-priavte and private realm. (Raval 2019)

Private Semi private Public

Bhau ni pol chowk

Sectional analysis

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The otlas opening towards the street acts as a non-physical buffer for passerby’s.

It also allows people to pause, sit and talk. As the distance between two building is too less (Kaza 2010). Residents living in above storey, could hardly participate in street activities due to lack of visual connectivity so most of the interaction happens at floor level. Though the visual connectivity is less, audibility is quite well defined. It is easy for one to interact to the person living on the third floorAlso the clothes line hung prevents the eye falling on the street from the one who is passing by from the main chowk.

This increases the privacy level of the activities happening in the street and thus built up the comfort level of the residents to participate in the activities and interaction right in the middle of the street (Raval 2017). The blank building edges are mostly used for passive purposes like parking vehicles or putting buckets and barrels of water. And on the other side of the street is active during most of the time.

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Fig 30:

Activities through sectional analysis (Raval 2020)

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Bhau ni pol chowk

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Fig 31:

Hussain Doshi Gufa (Arastu Gupta na)

Hussain Doshi Gufa

2.

HUSSAIN DOSHI GUFA WEST AHMEDABAD

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Hussain Doshi Gufa

2.1

Introduction

Hussain Doshi gufa is a distinctive underground art gallery located in Ahmedabad.

It is a unique example displaying the balance between art and architecture which for now is used as an exhibition space. It was designed to show the collaboration between an artist and an architect. Gufa was an outcome of B.V. Doshi’s imagination and M.F.Hussain’s skills.

It has always been limelight ever since it was constructed, due to its fluid form depicting caves that are partially underground. The free-flowing interior spaces were designed with the concept of “Garbha griha” (mother’s womb). The Buddhist and Jain caves at Ajanta and Ellora inspired Doshi while Hussain ideated with paleolithic cave art.

Doshi wanted to represent timelessness through spaces in the interiors of the gufa where the past, present, and future are fused together giving an everlasting experience.

The exterior of the structure was inspired by tortoise, which is covered with broken chips of cups or white china mosaic. Whereas the black lines on the roof indicates sheshnag. (Doshi, Balkrishna. “Give time a Break.” In Eighth Annual Anytime Conference. Ankara, Turkey, 1998)

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Hussain Doshi Gufa

Fig 32:

A view from the entryway of the Gufa (Vastushilp foundation

1995)

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Hussain Doshi Gufa

Designers

Fig 33:

B.V.Doshi (re-thinkingthefuture 2017)

B.V. DOSHI

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Balkrishna Vithaldas Doshi known as B.V.Doshi is a modernist Indian architect and has recently been awarded the Pritzker Prize (2018). Most of his projects are public institutions and he has worked over a hundred projects in seventy years of his career span. His works mainly focused on Indian tradition and the environment. His works depict the influence of his mentors, Le Corbusier and Louis Kahn’s characteristics and principles. However, he has practiced the post-modernist style of architecture and has experimented with structure when it comes to the Hussain Doshi Gufa project and it is his only project consisting of graphics or artwork. The initial design or idea of gufa did not intend to showcase the works of Hussain but later the design was flexible enough to get the collaboration done and to display his works and paintings. (Tambekar NA)

Hussain Doshi Gufa

Fig 34:

M.F.Hussain (Artsome 2016)

M.F. HUSSAIN Maqbool Fida Husain, known as M.F. Husain (19152011) is known to introduce modernist painting style to India and is considered to be the Picaso of the country. Uniqueness if his work lies in the amalgamation of Indian subjects, culture, and roots with westernized modern techniques in his paintings. Gufa was supposed to be a place only to display or showcase his metal sculptures but later he decided to paint the interiors. This idea of him gave an entirely different identity to the gufa.

This artwork became a highlight of his work in Ahmedabad and gave him more fame and identity to the place. (https://www.independent.co.uk/)

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Hussain Doshi Gufa

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Fig 35:

Map of Ahmedabad showing the location of Hussain Doshi Gufa marked in blue (Raval 2019).

Hussain Doshi Gufa

2.2

CONTEXT/ LOCATION

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Hussain Doshi Gufa

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Fig 36: 1992)

Plan of Cept university with Hussain Doshi Gufa marked in Red (vastushilp foundation in

Hussain Doshi Gufa

Fig 37:

View of CEPT university from north loans. (Carlo Fumarola 2011)

Fig 38:

View of ZEN cafe during late evening. (@zencafegufa N.A)

The gallery is located in the heart of the city on the west part of Ahmedabad surrounded by very important and identical landmark buildings like CEPT University, Vikram Sarabhai science center and

LD college of Arts. The gallery is a part of the CEPT campus itself having a cafe located in its entrance and the whole campus is covered with a patch of greenery allowing people to enjoy coffee during evening hours.

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Hussain Doshi Gufa

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2.3

Visual perception

Hussain Doshi Gufa

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Fig 39:

Painting of Gufa represented in 2D (Tambekar, Khushbu)

Hussain Doshi Gufa

2D Graphics and its meaning

The artwork by Hussain has multi-layers of understanding and depicts various aspects in an abstract manner. It is a beautiful amalgamation of Indian culture, vegetation, mythology, animals, and apsaras portrayed in Hussain’s style. Each of the graphics here has a particular meaning.

Where the following things are represented according to the numbers plotted in the 2D artwork.

1. Black lines.

These were the lines painted in the very initial stage of the project after construction got completed, even before the interiors of the cave weWre decided to be painted. These black lines are part of the whole artwork and connects it all together even when it flows onto different spherical volumes.

2. Blue entrance One enters the gufa under the volume colored with dark blue. This is where the fluidity of the graphic starts and it provides a soothing, dark and a grand entrance.

3.The lady figure.

The ladylike figure or a black princess is curled around one big skylight opening. 2-3 tauruses also surrounds the opening.

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4. Animals Plain minimal black line drawings of animals are scattered in the entire cluster of volumes. They are found either on ceilings or walls. They are the abstract narrations of birds, cows, tauruses, horses and many more.

Hussain Doshi Gufa

5. Mythological characters.

This part of the graphic portrays Sitaji (mythological character from the holy book Ramayana) having a sack supported by her shoulders. Warriors and sons Luv and Kush lead her into the woods.

6. Sheshnaag.

A huge sheshnaag (snake) curves around another small skylight. It probably corresponds to the snake from the exterior of the building roof.

7. Color patterns To balance the painting and unite them as one few voids have been filled up with bright contrasting primary colors, having solid tones. this makes the artwork more aesthetically pleasing.

8. The Apsaras

There are women or apsaras that seem to be performing a dance around the huge skylight surrounded by elephants and fishes in celebration.

9. Vegetation plantation in the artworks here was to bring freshness and liveliness in the whole composition

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Hussain Doshi Gufa

Fig 40:

Bird eye view of Hussain Doshi Gufa (Sangath, Vastushilp foundation 1995)

Bird-eye view of Hussain Doshi Gufa. The image clearly depicts the Sheshnag curling in three main domes of rotundas made with a thick black brush stroke. The sheshnag made on the outer shell transforms

the physical look of Gufa from a plain simple looking china mosaic tile and gives a different identity to the structure from its exterior and outer public space.

64 Fig 41:

A view from the entrance. (Raval 2019)

The first glance at the structure while entering the building awith the highlights. The black lines representing the sheshnag fro the entrance.

Hussain Doshi Gufa

are three forms of visual art: “ There Painting is art to look at, sculpture

is an art you can walk around, and architecture is art you can walk through.

-Dan Rice (Godrej Interio2009).

”

65

Hussain Doshi Gufa

2.4

Colours

Fig 42:

Basic color palette of the artwork. (Raval 2019)

Fig 43:

A schematic bubble diagram showing the dominating colours in each of the volumes. (Raval

2019)

66

Being a part of the gufa it is never possible to see the whole graphic from one particular angle but the colour palette and the language of the drawing are uniform and hence connect the entire space even when it is perceived in parts. Bright colours like red, orange, yellow, dark green, ink blue, brown and black are used in the painting. These solid primary and secondary shades are contrasting

to the concrete canvas of the gufa. it makes the interior of the cave lively, joyous and increases the excitement when perceived all together.

The schematic diagram here shows the application of the chief dominating colour in a particular rotunda. this helps to understand the feeling or the emotion attached to the particular subvolume in relation to the light and darkness.

Hussain Doshi Gufa

Fig 44:

Image showing the initial stage of Gufa without being painted (John Paniker 2000)

Fig 45:

Gufa after being painted by Hussain (Debarpita Mohapatra 2015)

The image here shows the view of gufa in its initial stage after it was built without having any sort of graphics, having a plain concrete background. The space looked quite empty, incomplete and a mere freeflowing volume. The plain concrete structure gave a raw feeling of the cave and the light quality enhanced the space. The entire perception and

focus of this space changes after the incorporation of the painting. The spatial quality of the space became more powerfull after introducing the visual aspects in the gufa. Little aspects of graphics such as the colour palette, strokes, scale, and its positioning change the mood and ambiance of the space.

67

Hussain Doshi Gufa

2.5

Circulation and Angle of viewing

The cave walls are full of undulations, with the domeshaped roof supported by inclined and irregular shaped columns that represent the trunk of the tree. The ceiling has different sizes of circular shafts at various locations. The diagram here shows an overlay or the approximate position of the domes over the graphics. The gray circles here shows the position of the skylight. They bring diffused light to the structure and falls on the graphics having bright colours creating a mystical ambiance for a perceiver. These domes in varying sizes also allow for a new perception related to the graphics under its roof.

The scale of the graphics is such that one can never see the whole artwork from one particular angle or point of

68

view. The columns keep protruding in the vision, hence making the spectator more curious about the graphics and its meaning.

An individual’s movement is mostly guided by the flow of light, floor guidance, and the visual connectivity.

The pause points occur where one could get the maximum view of the graphics from that particular place.

The angle from which one is observing contributes a lot towards how is one perceiving the space. From the distance, one would get attracted to the collage of colours but when the viewer goes closer to the graphics under each and every dome, the story and the meaning starts unfolding.

Hussain Doshi Gufa

Fig 46:

Overlapping of base graphics and the structure (Raval 2019)

69

Fig 47:

Circulation and pause points in the gallery (Raval 2019)

Hussain Doshi Gufa

2.6 Architectural Elements

The whole space is made up of a set of elements like dome, columns, snouts, and doorways. All of these elements are self-supporting.

The organically located supports recreate the feeling of being under a thick canopy, in a dense primeval forest. The combination of circles

and ellipses resembles the feeling of a cave. the gallery represents a unique structural example made by a great balance between architecture and arts. the geometry itself is an exploration through fluidity, ambiguity, and silence.

1. Column

Fig 48:

70

Columns dividing the spce into sub volume. (vastushilp foundation 1995)

The columns are uneven and inclined giving and expression of a tree trunk. the columns are arranged in such a way at it subdivides the main volume into many smaller ones and also define

a specific subspace. It creates a dense nature in the forest leading to darkness.

The arrangement of the columns gave a sense of enclosure and emphasized the direction to further sub volumes.

Hussain Doshi Gufa

2. Snouts

Fig 49:

Position of snouts and its light quality (vastushilp foundation 1995)

Fig 50:

Exterior view of snouts (vastushilp foundation 1995)

The snouts at intervals become the source to bring light into a particular subvolume. Bright shafts of light from the punctuate the thick rotundas and softly lits the space.

The snouts are directly attached to the smaller rotundas without being

protruded which illuminates the sub volume brightly, resulting in better visibility to the graphics. Whereas fewer snouts protrude out resulting in the diffuse light inside, which helps only to guide the movement of the user in a particular space.

71

Hussain Doshi Gufa

3 . Walls

Fig 52:

72

Undulation of the surface- From ceiling to wall to floor (Raval 2019)

The main function of gufa was to exhibit the paintings by M.F.Hussain but the interior curvilinear walls did not give the liberty to hang or showcase the paintings. Hence freestanding black metal sculptures made by Hussain were exhibited initially. The paintings by Hussain could have been seen on the flat surface but viewing them on curvilinear walls introduces enhances the experience of that place. The curvilinear walls give a homogenous feeling of endlessness and freedom of movement. this fluidity in designing the cornerless wall edge simultaneously supports the angle of viewing the painting. The viewer is always in constant conversation with space, light quality and the graphics due to the curvilinear free-flowing edge.

The niches in the gufa were inspired by the temple niches to give more of a cave feeling. (Tambekar NA)

Fig 51:

Schematic wall section of Gufa (Raval 2019)

Fig 53:

View of the entrance from the gufa (Edmund summer 2018)

Fig 54:

Painting of the door

Hussain Doshi Gufa

4 . Doorway

shutter (Edmund Sumner 2018)

There are multiple doorways to the subspaces acting as narrators to different stages of darkness.

The main entryway to the gufa is a place where you at first encounter the darkness while stepping down the staircase. It is also the first source of light that unfolds the upcoming journey. The door shutter is intricately painted with black lines inspired by Paleolithic cave art.

73

Hussain Doshi Gufa

2.7

Fig 55:

74

Light quality

Quality of light through sections. ( base sections Vastushilp foundation) (Raval 2019)

The building is located in the northsouth direction which allows skylights to face south allowing maximum daylight into the gallery at peak hours.

Even when the sun is at its lowest trees don't allow its shadows to overcast on the structure. At night the smaller skylights are lit and act as a torch.

The stairs leading to the main entrance make the first encounter to the

darkness of the gufa. Further moving in, the ray of light coming from the snouts creates the sense of being outside while being in the cave. They become the major element to guide the movement and experience of the space.

Most of the spaces of gufa are dark as it is half underground and covered with rotundas.

Hussain Doshi Gufa

Fig 56:

Degree of darkness inside the gufa from the entrance (Vastushilp foundation 1994)

75

Fig 57:

Interior space lit through snouts and the doorway (Designbowl na)

Senses and places

Fig 58:

A sketch of an otla at the street edges of Ahmedabad old city where

women spend most of their time of the day (Raval 2020).

76

VISUAL ESSAY

Senses and places

77

Senses and places

Fig 59:

78

A word collage of different senses. (Raval 2020)

Senses and places

Introduction

The purpose of the research is to explore and understand various ways in which a definite place affects an individual’s senses with respect to the traditional neighbourhood. The research attempts to understand the physical aspects of the place affecting the senses as well as the impact of intangible aspects evoked by residing in a traditional neighbourhood. It also argues that the senses associated with the place emerge from the engagement of not only our five Aristotle senses but also the way we actively participate in making places.

The study has been concentrated on the traditional neighbourhood of Ahmedabad old city located in Gujarat, one of the states of India. Every organically developed Indian city has its own fabric working on similar principles, yet the weave is uniquely different (Thakur 2015).

The flow of this fabric is defined by its threads, the streets, which tie every big and small location to each other and make the neighbourhood a system of journey and destination. In this traditional neighbourhood, streets and chowks behave like a thoroughfare and also a place where cultures and activities thrive (Chauhan 2014). This concept of traditional neighbourhood raises interest to understand the senses evoked through that place.

The common and shared spaces known as chowks are more than mere open spaces where every individual residing there has their own memories, experiences, and activities associated with it. Lund’s article on the pedestrian environment and sense of community stated that traditional neighbourhood has a higher sense of community due to their walkable distances (Lund 2002).

79

Senses and places

Chapter 1 Impact of place on our senses

80

Senses and places

Fig 60:

A sketch depicting the entrance of the pol of Ahmedabad as sense of place (Raval 2020)

In humanist geography space, place and senses are important concepts and are often misunderstood with each other. (Lefebvre, NicholsonSmith 2011; Massey 2005, p 20).

Tuan investigated the roots and the meaning of a place and space, where he mentioned the difference between the two subjects, that it can be described through which every individual

gives meaning to a place (Tuan 1974 p 6). According to him, space is an abstract location having no social connections (Tuan 1974 p 4) whereas places are associated with having a social backdrop in which life revolves (Cresswell, 2004; Gieryn, 2000). A place can be experienced, remembered, understood and imagined by the people.

81

Senses and places

Sense of place

Fig 61:

Physical setting or built

form (Raval 2020)

+

82 Fig 62: 2020)

Defining a meanig to a place (Raval

Senses and places

Fig 64:

Memories related to the place

(Raval 2020)

+ 83

Fig 63:

Giving an identity to the palce

(Raval 2020)

Senses and places

+

Fig 65:

Activities associated to the place (Raval 2020)

Fig 66:

Experience generated in the place (Raval 2020)

84

Senses and places

= Fig 67:

A sketch of the mosque along the street,

giving it an identity to the street as a place. (Raval 2020)

During a visit, one's definite pause turns a space into a place and it is formed due to memories associated, relationships with humans, their perception and emotional experience regarding the place. Each pause while walking in space has meaning and experiences attached to it (Tuan 1974).

Any place has a definite function and is unique for every individual. A space defined as a chowk or a recreational place turns out to be a place for social

gathering and sharing experiences, emotions, memories and building relations with other residents. This, as a result, gives rise and creates a sense of belonging and attachment to the place.

(Pakzad 2009 319). the sense of being attached to the neighbourhood highly depends on the interaction level with other residents (Relph 2008 p 33) and recording or transferring memories (Mirmoghtadaee, 2008 p 5).

85

Senses and places

1.1 Sense of place, belonging, and community.

Fig 68:

Sense of belonging indicated through body posture of the man sitting on the bench in chowk

(Raval 2020)

86

A common human concern is establishing and maintaining relatedness to others, environments, and the self (Tambunan 2014).

According to the US novelist, Wendell Berry a place is formed when memories and stories are linked to that place and one has a sense of attachment towards it. The story of the place is narrated by the visual, cultural, social and environmental qualities and characteristics (Wiebe 2017,p 3-6).

The sense of belonging (belongingness) and place attachment are a higher level of the sense of place, which plays a key role in any situation and space in order

for one to enjoy and continue his/her presence in the place (Falahat, 2006 p 60).

One’s component of accepting himself to be a natural part of the surroundings and associate themselves with other things and people is considered as a sense of belonging. Furthermore, Anant in an article based on the sense of belonging by voices of youth, mentioned that a sense of belonging is related to personal involvement in society so that people consider themselves to be an integral part of society (Tambunam, 2014).

Senses and places

Fig 69:

Sense of familiarity and security with respect to other people (Raval 2020).

In the image above, residents of Vad ni pol sitting outside in comfortable position on benches. Since the benches are in raised plinth level, the sense of safety is higher.

A study was carried out

by Xuemei Zhu in Texas, the USA on the influence of the physical environment on people’s thoughts concluded that the built environment and its atmosphere affects community sentiments such as place attachment and thus develop a bond with the

place (Zhu 2015). According to the same study, when one perceives the neighbourhood as his or her own and considers his responsibility towards the community then it can be said that one has a feeling or sense of attachment towards the place or neighbourhood (Zhu 2015).

87

Senses and places

I COME HERE TO PRAY DAILY I AM HERE TO PERFORM MY ROUTINE

88 Fig 70:

Sense of belonging and community at the chowk (Raval 2020).

Senses and places

NOWHERE AS THIS PLACE

I AM ATTACHED TO THIS TEMPLE AND CHOWK

WOULD LIKE TO COME HERE AGAIN

89

Senses and places

90

Fig 71:

Sense of belonging and familiarity through body posture (Raval 2020)

The person sitting on the bench by extending his leg and resting it on the autorickshaw shows the sense of familiarity he possess with other people and his bond with the space.

Senses and places

Fig 72:

Sketch of the women from different houses interacting on otla looking towards the street.

(Raval 2020)

A sense of belonging is something that helps to define how united we are as a community and attached to a place. According to Dempsey, Brown, and Bramley’s (2012, p 122-124) the article on influence of density on social sustainability; community stability and sense of place attachment were to be influenced by a number of physical features including density, accommodation type and location in relation to services/ facilities, public transport, and the city centre; and non-physical aspects including feelings of satisfaction with the neighbourhood. Other, few tangible

aspects such as, proximity in relation to the walkability to the common space, users considering their age groups and gender, ownership in terms of who all can use the space, land use, etc. can help to understand the sense of belonging a place holds (Thakur, Desai 2015 p 88). A sense of community can be studied by the degree of attachment and feeling of home, as a part of neighbourhood also the level of attachment and acknowledging being a part of the society and maintaining good relations with others. (Jun, Hur 2015, p 1).

91

Senses and places

Fig 73:

92

People participating in conversation from different pols. (Raval 2020)

People from different pols nearby gather to meet each other outside the closed shop in evening, sitting on otla. This shows the sign of maintaining good relation with the neighbours and the feeling of being a part of the community

Senses and places

Fig 74:

A group of old man from different pols gathers every evening (Raval 2020)

To this, we can say that the size of the community also affects social interaction and experiences. The phrase “size of the community� refers to the density of people and the caste they belong to. If the density of occupants is higher, the chances of residents being unknown to each other is also high, (N. Dempsey et al. 2012 p 115, 136) though it depends on the clustering patterns of the units (Cullen, Wilcox 2010 p 22). If the size of the community is larger than breaking down into smaller clusters and grouping up the units together at a smaller level will increase the chance of interactions (Thakur, Desai 2015 p 99). A small community works better in this case, as the occupants would be knowing each other, as they have to cross each other’s house again and again (N. Dempsey et al. 2012 p 136).

According to the case study, people from different pols (residential clusters) nearby gather to meet each other outside their closed shop in the evening, sitting on an otla (entrance platform). This shows the sign of maintaining good relationships with the neighbours and the feeling of being a part of the community. This activity of crossing paths increases familiarity within the neighbours and the fact that you know everyone in the community gives a sense of security and sense of belonging (N. Dempsey et al. 2012 p 136). A deep sense of familiarity comes from a deep sense of comfort. When people are comfortable in a particular place, either physically or mentally, they tend to get attached and connect more with others and the place (Pps 2018).

93

Senses and places

94

Fig 75:

A sketch showing sense of security in public space (Raval 2020)

Senses and places

1.2

Sense of security and comfort

Particular characteristics of open spaces and streets influence the feeling of safety (Jacobs 1992, p 31). Jane Jacobs outlines, “Uses of sidewalks” as her basic notion of what makes a safe and livable neighbourhood. She states that urban researchers and planners should understand streets and sidewalks for how they actually function rather than their use. She found that the streets with highest number of outward signs and chaos, for example, children playing or elderly people sitting on steps, and street vendors are the reasons that make, safest and liveable urban spaces of the city (Jacobs 1992, p 35). Oscar Newman, in his theory of defensible

spaces, suggests that keeping in mind the safety and security factors of a neighbourhood a mini-neighbourhood, or a less dense neighbourhood works better and the layout should be less permeable (Cullen and Wilcox 2010, p 22).

“Other non-physical influences on reported feelings of safety included age (older residents are more likely to report feeling unsafe) and tenure (homeowners are more likely than renters to report feeling safe) and income (higher incomes are associated with higher reported levels of safety). ” (Dempsea, Bramley and Brown 2012, p 134).

95

Senses and places

Fig 76:

96

A sketch showing sense of security, enclosure and attachment achieved in a place. (Raval 2020)

Senses and places

A sketch showing all the senses evoked through the attachment to the place.

People feel secured being watched by others from the balconies above. They try to seek enclosure and seek near the birdfeeder. They feel secure due to the enclosure achieved due to the building heights around. Also, the plinth of the bird feeder is raised from the vehicular road beside. This is a unique place, where they can observe all the activities happening around them.

97

Senses and places

Fig 77:

Sense of security in relation to the vehicular movement. (Raval 2020)

The image above shows that ,even though the sitting space is located besides the main road, the occupants feels safe to sit there, due to its intimate scale and its arrangement that is displaced from the road and attached to the building.

98

According to Jacobs, road traffic or vehicular movement has a negative impact on the feeling of safety, especially for elderly people and children. Standing gossiping and chatting on the street corners and edges of the common spaces always keep the space watched by people so the place gets a sense of protection (Jacobs, 1992

p 31- 35). Jacobs identifies particular individuals whose continuous daily presence on the streets makes the street life safe, stating that such people act as “eyes on the street�, who due to their long, continuous presence on the street, are able to quickly detect if something goes wrong, or if there is a need for help (Jacobs 1992 p 31- 35).

Senses and places

Privacy in design has been treated as a significant and psychosocial phenomenon. In the residential area, it is one of the important factors that satisfy human comfort and makes the place liveable (Kennedy et al, 2015 p 2).

Privacy involves both restriction and seeking interaction; whereas it can also be sometimes regarded as a state of withdrawal (Kennedy et al. 2015 p 3-4).

According to Irwin Altman, privacy is better conceived of, as the interplay of dialectic forces involving different balances of opening and closing of self to others (Altman and Vinsel 1981p 2). Most people like to maintain a high degree of independence and also do not want to feel isolated, though they will tend to connect to the environment outside, as they want to be aware of what is going on in their immediate context. The built form around the right balance enables residents to have a certain amount of privacy they want and to also seek contacts with others (Modi and Pandya 2009 p 16). Also, the number of built form opening towards the common space defines the safety and security space holds and it is directly related to the degree of privacy, but the degree of privacy may get reduced by the high amount of permeability (Chauhan 2014 p 14-17). Jacobs stated that there must be eyes upon the street as they make any shared open space have more public characteristics. It is also largely linked to the comfort level of the users of that space (Jacobs 1992 p 35).

99

Senses and places

Fig 78:

100

A child having sense of famility and attachment with the place (Raval 2020)

One always tends to find comfort zones within an open space while interacting with someone.

(Chauhan 2014 p 13). The comfort level of a person in a space is likely to be affected by the tangible factors of the proximate built form. It is also dependent on intangible aspects associated with the human, such as an individual’s sense of community, sense of familiarity, sense of belonging that is associated with the space and sense of safety and security he/she feels (Thakur and Desai 2015 p 98).

There are few indications through which one can measure the degree of comfort level and sense of attachment in a particular place. It could be through body language or posture, an individual’s attire, presence of each age group in that place, ability to relax, having active participation and possessing domestic behaviour in the

presence of others (Pps 2018). The behaviour, interaction and activity choice of a person also depends on the degree of comfort level experienced by the above-stated factors and on the characteristics of the built form around it. We regard physical space around us as personal territories. People maintain a certain distance while interacting with others but it depends on how familiar a person is to the other and the place (Hall 1990). People living in dense neighbourhoods are comfortable standing close to each other while interacting, as a sense of familiarity within each other is more prominent.

This is seen particularly in women when they interact with other women as they have smaller defined territories for themselves which increases when they talk to strangers. (Haran 2010 p 19).

Senses and places

Fig 79:

Children having sense of security in relation to the vehicular movement. (Raval 2020)

The fig 78 shows the child standing right in the

The fig 79 Children usually tend to play within the

middle of the road, feels comfortable and secured

pol, where there is less vehicular movement and

being watched by the people sitting around. This

has eyes over them by their guardian.

shows that he has a sense of familiarity with the people around and has the unique bond with the place.

101

Senses and places

Fig 80:

102

Tea stall as a gathering place for the people from different pols (Raval 2020).

A few basic necessities that one seeks to satisfy his or her comfort level, in relation to space and built form around are thermal comfort, noise and audible distance, comfort in relation to safety and security, scale proportion and circulation. People are likely to feel comfortable in spaces with maximum pedestrian movement, as vehicular movement acts as a strong predictor of safety (Raval 2017, p 18). Sometimes spaces that are unused or less used by people are considered to be less

comfortable spaces by women and older people because there is no chance of being observed by anyone (Haran 2010 p 22). Haran also mentioned that some amount of publicness is necessary to feel comfortable in shared spaces.

The provision of different amenities is also necessary sometimes, to encourage activities. For example the presence of a shop, having a sufficient amount of sitting spaces, shade, etc... helps in building comfort level to space.

Senses and places

103

Fig 81:

Grocery shop as the meeting place near the entrance of the pol (Raval 2020).

Senses and places

104

1.3

Fig 82:

Enclosure

Sense of enclosure in public open place (Raval 2020)

Senses and places

‘Enclosure’ is the term given to any part of a building that physically separates the external from the interior environment. It is often referred to as the ‘building envelope’, although ‘enclosure’ is considered the more precise term (Straube 2006). The enclosure is an important aspect that contributes to define the character and the comfort level of any space. Jacobs stated that narrowness, enclosure, and intimacy brings a feeling of safety (Jacobs 1992 p 31- 38). In the case of open spaces, every person seeks a comfortable environment, there is always a constant search for an enclosure, maybe, sometimes to find shelter from sun rays, to avoid other’s eye over himself and to remain unseen by others or in search of shelter.

“The volume of space is thus considered in terms of the ratio of smaller side to the height of the boundary” (v.s.f 1988). In a situation where the height of the boundary is noticeable, an open space can be imagined to be under enclosed volume.

For example, a space surrounded by the buildings. “The ratio of the height of the defining surfaces, to the width of

the street is an important predictor for the degree of enclosure.” (Alexander 1977). In case of achieving a proper sense of enclosure, the vertical plane must be taller than the person’s height.

(Rapoport, 1977, p 181) This plane can simply be a free-standing wall, column, a tree, etc. If the vertical planes are below eye level, it still gives a sense of minimum enclosure but the sense of security will reduce. Sometimes the height of a vertical plane and its distance from the viewpoint also describes the sense of enclosure one perceives. One would find comfort in the spaces where the width does not exceed the surrounding heights.

“Enclosure is most comfortable when the enclosing elements are 1/2 - 1/3 as high as the width of the space, that below 1/4 there is no enclosure whereas over 1/2 space becomes a trench or a pit. ” (Rapoport 2016, 182). Enclosure in space helps to define individuals’ safety, security, territories, warmth, privacy, and protection where all these characteristics are necessary to unfold the sense of security in a particular place (Thakur and Desai 2015 p 38).

105

Senses and places

A survey was carried out where people were asked to sketch their perception and meaning od Sense of belonging, sense of community, sense of security, sense of illumination and sense of place.

Thuy Mai Pham

106 “Celebrating festivals together gives me a feeling of being a part of the community and all the destinations I have traveled is a place to me, as I have good memories associated with it.�

Senses and places

Prof. Gautam Patel

“To me sitting with my friends at a tea stall is a sense of community whereas sitting at my home and having tea while watching television is sense of belonging.�

107

Senses and places

Ar. Kishori Dalwadi

108 “I like the buzz and vitality of Ahmedabad old city. The Teen Darwaja, Premabhai hall and the terraces of the pol houses are embedded in my memory.�

Senses and places

109 “The Chabutra (birdfeeder) gives identity to every pol and creates a sense of place.

The extending otlas and the interaction happening while sitting there generates sense of belonging.�

Senses and places

110

Darshan Jogi

“I consider my skills and abilities as a sense of security. I have colleagues from different cultures and places. Spending time with them at my workplace gives me a feeling of being a part of the community.�

Senses and places

Zubin Patel

“To me, a sense of place and belonging is my home�

111

Senses and places

Simon Yang

“I feel secure when I am on my bed”

Orlando Gamal

112 “Sense of belonging to me is being with my parents and at home. Dining together with all the family members is a sense of community.”

Senses and places

Andela Spanovic

“I feel secure sitting on my couch with a blanket and a book. It gives me homely feeling being around with my pet cats�

113

Senses and places

Saurin Patel Sense of security

Sense of community

Sense of belonging

Sense of illumination

114 “Presence of others with the same age group as mine makes me feel secure especially, at my workplace. Moving around the park and seeing people engaged in different activities is sense if community to me. It gives me a sense of belonging surrounded by the neighbours in the common recreational place of the society.�

Senses and places

Dan Zhang

“Witnessing a sunrise in the sunrise gives me a sense of illumination. Chatting with my friends around the world on social media gives me a sense of community.�

115

Senses and places

Chapter 2 Touching the world through basic senses

“The body is soul’s prison unless the five senses are fully developed and open” -Jim Morrison

116

Senses and places

117

Fig 83:

An image showing our basic senses (Raval 2020).

Senses and places

118

Fig 84:

An image of bells at mosnastry (Gundega 2018)

Senses and places

2.1 The Auditory Realm 119

Senses and places

120

Fig 85:

An abandoned house causing deep echoic sound (Jolene 2014)

whereas its absence generates a mental loss of sense of centre and sense of orientation in a place (Pallasmaa 2012, p 52-53). He also gave an example of a movie playing without the background soundtrack that makes one feel a loss of sense of continuity and life.

Taking an example of a particular atmosphere from the chowk of the traditional neighborhood of Ahmedabad, sound plays an important role in perceiving the space and defining a meaning to it. Walking through the chowks of Ahmedabad, one would subconsciously generate an experience created by the presence of sound due to the activities happening around. The sound of chanting mantras near the local temples makes one immediately experience the natural link and connection with the place.

While standing alone in the street, observing the activities around and inattentively listening to the chat and murmurs of other residents unites one

with the crowd and makes them feel a part of that place. The sound of the temple bell echoing around the streets and pol houses makes one feel attached and creates a sense of familiarity with the place. It also evokes a sense of illumination at the same time. The call from street hawkers makes one aware of the time and the interaction between the residents from the floors, allows you to have a glance at the full facade that involves us directly in the atmosphere. The sound of the vehicles passing by the chowk makes one feel secure while standing in the streets enclosed by the jharokhas (balcony) extending above.

Senses and places

Juhani Pallasma suggests that each place has its own characteristic sound. (Pallasmaa 2012, p 54) and mentioned that it makes us aware of our fundamental solitudes.

The presence of sound in a place causes a sense of connection and a sense of unity or agreement with others,

121

Senses and places

122

Fig 86:

Sounds produced due to different activities at the chowk in Ahmedabad. (Raval 2020)

Senses and places

123

Senses and places

124

Sense of touch through material change on the beach (Khan 2017)

Senses and places

2.2

The Haptic Realm 125

Senses and places

Fig 87:

126

A wall with different material and textures invites to touch and feel it (Bricolage 108 N.A)

Tactility plays a major role in shaping the experience and memories of any place. It had the potential to connect us to different time zones, age, and the world at the same time feel the atmosphere (Moreira 2018). Pallasmaa, in his book T ​he eyes of the skin,​ mentioned that the skin recognises the texture, weight, density, and temperature of any subject. It helps us associate ourselves with the culture, tradition, and time and also connects us with numerous generations (Pallasmaa 2012, p 62).​​The sense of touch has the ability to make one feel

a place becoming a home, feel secure and welcomed (Moreira 2018). It is also linked with intimacy, and comfort (Pallasmaa 2012, p 62). The work of Alvar Alto refers to the tactile senses and exhibits a muscular and haptic presence. His architectural work having immense details invites one to touch and experience the atmosphere created through intimacy and warmth.

His work has the ability to pull someone to touch and evoke a sense of security and comfort (Pallasmaa 2012, p 75-76).

Senses and places

“ The door is the handshake of the building�

~ Juhani Pallasmaa

Fig 88:

The door is the handshake of the building (Pereznieto N.A)

127

128 Senses and places

Senses and places

2.3 The Olfactory Realm

129

The olfactory realm (Alamy 2017)

Senses and places

â€œâ€Śunlike the other senses, smell needs no interpreter.

The effect is immediate and undiluted by language, thought, or translation.�

Fig 89:

~Diane Ackerman

Bhunga houses made of rammed earth and mud plaster producing earthy smell (Priya Kumari

N.A.)

130

The strongest memory of any place is recollected through the sense of smell. Few smells are etched in our memories and are difficult to recollect.

Pallasmaa (2012 p 57- 58) also said that it is possible for one to enter forgotten space and relive it through our nostrils.

The sense of smell triggers our eyes to remember and imagine. While sharing his experience of walking around the narrow streets of the old town he mentions that every city has its own range of tastes and odours.

Senses and places

Fig 90:

Forest generating damp smell (Krappweis 2013)

Returning to the atmosphere of chowks of Ahmedabad, the smells generated at the pan shop ( a shop of beetle nut leaves) at the entrance of the pol makes one reminds themselves of their ancestors.

The fragrance while passing by the flower hawkers sitting beside the temple refreshes health and makes one feel energetic and joyous. The scent offered to God in the temple of the local chowk

becomes a part of our memory and arises a sense of attachment to God. The fragrance of incense sticks and the burning lamp at the entrance of the sanctum awakens the sense of being and existence. The freshly brewed tea in houses and nearby tea stalls indirectly makes one participate in the conversations happening among the residents.

131

Senses and places

132

Fig 91:

A collage of smell generated while walking around the chowks of Ahmedabad (Raval 2020)

Senses and places

133

Senses and places

134

Fig 92:

An ornamented house in Ahmedabad old city with different use of material and textures.

(Devansh Jhaveri 2017)

Senses and places

2.4

The Visual Realm 135

Senses and places

136 Fig 93:

The chabutra (birdfeeder) used as a visual element to define chowk (Raval 2020)

Senses and places

Fig 94:

Work of Le Corbusier as architecture to please eye (Kultur 2016)

Vision is highly accountable for how we perceive a place. Plato considers vision as one of the noblest senses and the greatest boon to humans (Jay 1994). It helps us to get the first impressions of any place. Pallasmaa mentioned vision and hearing as sociable senses and other senses join to perceive a place (Pallasmaa 2012, p 12- 13). He also stated other senses as archaic sensory remnants that are suppressed through visionary senses.

Sine ages architecture and the built environment has been designed in a manner, to please our visual sense.

Aesthetics

has

been the chief priority in the works of many architects. Le Corbusier (1986, p 25) stated that architecture is the masterly and impressive play of masses.

This statement suggests an inference to an architecture for eye, where visual aspects were more important​.​Our eyes have naturally got trained to perceive a place visually through design principles such as ornamentation, proportion, geometry and pattern, balance and symmetry, etc‌ Neufert mentioned that we perceive the elements of a place through our visual sense by figuring out its rhythmic arrangement (Neufert et al. 2019, p 31).

137

Senses and places

Conclusion

Percieving a place is primarily a sensory experience either consciously or subconsciously. Ant touching experience is an integrated outcome of collected senses. The experiences infuse both physical and mental structural senses. In rich and invigorating experiences of a place, all sensory realms including emotional engagement, interact and blends into a memorable image of the place, which as a result evokes other emotional senses attached and related to the place. All the senses are interdependent on each other to fully generate a memory regarding the place and have an emotional attachment, no sense of our, work in isolation to understand a place

138

List of figures

Fig 1:

Evening view of Hussain Doshi Gufa. (Shivani suthar 2019)

6

Fig 2:

An image of the entrance of Bhau ni pol and its context (Raval 2017)

10

An image of the entrance of Bhau ni pol having security cabin above. (Raval 2017)

13

Fig 3: Fig 4:

Map of Ahmedabad city with the old city area markedx in blue (Raval 2019)

15

A zoomed in area showing the location of Khaida sector in Walled city Ahmedabad (Ahmedabad municipal corporation 2017)

16

A zoomed in area showing the locality near Raipur Darwaja and Bhau ni pol falling in the heritage walk tour of Ahmedabad. (Raval 2019)

17

A map showing the location of Bhau ni pol in khadia sector (Raval 2019)

19

Fig 8:

Users of the space (Raval 2017)

21

Fig 9:

Activities during morning time at chowk (Raval 2017)

22

Fig 10: Morning routine of wahing clothes at otla. (Raval 2017)

24

Fig 5:

Fig 6:

Fig 7:

Fig 11:

Visitor looking at the surrounding activities and structures. (Raval 2017)

24

Fig 12:

Plan of the chowk showing morning activities. (Raval 2017)

25

Fig 13:

Deactive space during noon hours (Raval 2017)

26

Fig 14:

Plan of the chowk showing noon activities. (Raval 2019)

27

Fig 15:

Plan showning the activities during evening hours (Raval 2019)

29

Fig 16:

Plan showing the circulation pattern and pause points of the users. (Raval 2019)

31

Fig 17:

Physical density versus openness analysis of the chowk (Raval 2019) 32

Fig 18:

Desity of the chowk (Raval 2019)

33

Fig 19:

Men sitting at the birdfeeder and looking at the activites in the chowk (Raval 2017)

34

Fig 20: Highly active spots of the chowk. (Raval 2019)

35

Fig 21:

Plan showing the activities in relation to the age group (Raval 2019) 37

Fig 22:

Visual connectivity and participation from the above floors (Raval 2019)

38

Fig 23:

A section of the chowk showing the visual connectivity on ground floor (Raval 2019)

39

Fig 24: Location of Dhobi no khancho from Bhau ni pol chowk. (Raval 2019) 40 Fig 25:

Zoomed in plan of Dhobi no khancho (Raval 2019)

Fig 26:

Degree of enclosure depicted through sections in the

41

street (Raval 2019) 43 Fig 27:

Use of otla and plugin teps in Dhobi no khancho. (Raval 2017)

43

Fig 28:

Circulation pattern in Dhobi no khancho (Raval 2019)

45

Fig 29:

Public, semi-priavte and private realm. (Raval 2019)

45

Fig 30:

Activities through sectional analysis (Raval 2020)

47

Fig 31:

Hussain Doshi Gufa (Arastu Gupta na). Available at: https://art-zoo.com/revue-presse-architecture/page/537/

50

A view from the entryway of the Gufa (Vastushilp foundation 1995) Available at: https://art-zoo.com/revue-presse-architecture/page/537/

53

Fig 33:

B.V.Doshi (re-thinkingthefuture 2017)

54

Fig 34:

M.F.Hussain (Artsome 2016)

55

Fig 35:

Map of Ahmedabad showing the location of Hussain Doshi Gufa marked in blue (Raval 2019).

56

Fig 36:

Plan of Cept university with Hussain Doshi Gufa marked in Red (vastushilp foundation in 1992) Available at: https://architexturez.net/doc/az-cf-185138

58

Fig 32:

Fig 37: View of CEPT university from north loans (Carlo Fumarola 2011)

Available at: https://www.flickriver.com/photos/ carlofumarola1978/5584787096/ 59 Fig 38:

View of ZEN cafe during late evening (zencafegufa N.A) Available at: http://www.zencafe.co/in/

59

Fig 39:

Painting of Gufa represented in 2D (Tambekar Khushbu NA)

61

Fig 40:

Bird eye view of Hussain Doshi Gufa (Sangath, Vastushilp foundation 1995) Available at: https://www.sangath.org/projects/amdavad-ni-gufa-ahmedabad/ 64

Fig 41: A view from the entrance. (Raval 2019) Fig 42: Basic color palette of the artwork. (Raval 2019)

64 66

Fig 43:

A schematic bubble diagram showing the dominating colours in each of the volumes. (Raval 2019)

66

Fig 44: Image showing the initial stage of Gufa without

being painted (John Paniker 2000) Available at: http://hiddenarchitecture.blogspot.com/2017/11/ hussain-doshi-gufa.html 67 Fig 45: Gufa after being painted by Hussain (Debarpita Mohapatra 2015) Available at: https://www.pinterest.co.uk/ 67 Fig 46:

Overlapping of base graphics and the structure (Raval 2019)

69

Fig 47:

Circulation and pause points in the gallery (Raval 2019)

69

Fig 48: Columns dividing the spce into sub volume.

(vastushilp foundation 1995) Available at: https://divisare.com/projects/381260-balkrishna-doshi vsf-edmund-sumner-laurian-ghinitoiu-amdavad-ni-gufa 70 Fig 49: Position of snouts and its light quality (vastushilp foundation 1995)

Available at: http://hiddenarchitecture.blogspot.com/ 2017/11/hussain-doshi-gufa.html 71 Fig 50: Exterior view of snouts (vastushilp foundation 1995)

Available at: http://hiddenarchitecture.blogspot.com/ 2017/11/hussain-doshi-gufa.html 71 Fig 52:

Undulation of the surface- From ceiling to wall to floor

(Raval 2019) 72 Fig 51:

Schematic wall section of Gufa (Raval 2019)

72

Fig 53: View of the entrance from the gufa (Edmund sumner 2018)

Available at: https://divisare.com/projects/381260-balkrishna doshi-vsf-edmund-sumner-laurian-ghinitoiu-amdavad-ni-gufa 73 Fig 54: Painting of the door shutter (Edmund Sumner 2018) Available at: https://divisare.com/projects/381260-balkrishna-doshi vsf-edmund-sumner-laurian-ghinitoiu-amdavad-ni-gufa 73 Fig 55: Quality of light through sections. (Raval 2019), Base sections by :Vastushilp foundation 1995 74 Fig 56:

Degree of darkness inside the gufa from the entrance (Vastushilp foundation 1994) Available at: https://www.sangath.org/projects/amdavad-ni-gufa-ahmedabad/ 75

Fig 57: Interior space lit through snouts and the doorway (Designbowl na)

Available at: https://www.designowl.com/home decoration-ideas/institutions/in-tandem/ 75

Fig 58:

A sketch of an otla at the street edges of Ahmedabad old city where women spend most of their time of the day (Raval 2020).

76

Fig 59:

A word collage of different senses. (Raval 2020)

78

Fig 60:

A sketch depicting the entrance of the pol of Ahmedabad as

sense of place (Raval 2020)

81

Fig 61:

Physical setting or built form (Raval 2020)

82

Fig 62:

Defining a meanig to a place (Raval 2020)

82

Fig 64:

Memories related to the place (Raval 2020)

83

Fig 63:

Giving an identity to the palce (Raval 2020)

83

Fig 65:

Activities associated to the place (Raval 2020)

84

Fig 66:

Experience generated in the place (Raval 2020)

84

Fig 67:

A sketch of the mosque along the street, giving it an identity to the street as a place. (Raval 2020)

85

Fig 68:

Sense of belonging indicated through body posture of the man sitting on the bench in chowk (Raval 2020)

86

Fig 69: Sense of familiarity and security with respect to other people (Raval 2020). 87 Fig 70:

Sense of belonging and community at the chowk (Raval 2020).

88

Fig 71: Sense of belonging and familiarity through body posture (Raval 2020) 90 Fig 72:

Sketch of the women from different houses interacting on otla looking towards the street. (Raval 2020)

91

Fig 73: People participating in conversation from different pols.

(Raval 2020) 92 Fig 74: A group of old man from different pols gathers every evening (Raval 2020) 93 Fig 75:

A sketch showing sense of security in public space (Raval 2020)

94

Fig 76:

A sketch showing sense of security, enclosure and attachment achieved in a place. (Raval 2020)

96

Fig 77:

Sense of security in relation to the vehicular movement. (Raval 2020) 98

Fig 78:

A child having sense of famility and attachment with the place

(Raval 2020) 100 Fig 79: Children having sense of security in relation to the vehicular movement. (Raval 2020) 101

Fig 80:

Tea stall as a gathering place for the people from different

pols (Raval 2020). 102 Fig 81:

Grocery shop as the meeting place near the entrance of

the pol (Raval 2020). 103 Fig 82:

Sense of enclosure in public open place (Raval 2020)

104

Fig 83:

An image showing our basic senses (Raval 2020).

117

Fig 84:

An image of bells at mosnastry (Gundega 2018) Available at: https://abstract.desktopnexus.com/wallpaper/2406048/ 118

Fig 85: An abandoned house causing deep echoic sound

(Jolene 2014) Available at: https://www.flickr.com/ photos/nintheu/15924256832/in/set-72157638514210224 120 Fig 86:

Sounds produced due to different activities at the chowk in Ahmedabad. (Raval 2020)

122

Fig 87: A wall with different material and textures invites to touch

and feel it (Bricolage 108 N.A) Available at: https://www.flickr.com/ photos/bricolage108/196926124/in/photostream/lightbox/ 126 Fig 88: The door is the handshake of the building (Pereznieto N.A)

Available at: https://archello.com/story/53177/attachments/ photos-videos/4 127 Fig 89: Bhunga houses made of rammed earth and mud plaster

producing earthy smell (Priya Kumari N.A.) Available at: https://in.pinterest.com/pin/728105464739616203/ 130 Fig 90: Forest generating damp smell (Krappweis 2013) Avilable at: https://www.rgbstock.com/photo/ nVInwBy/Sunlight+in+deep+green+Forest 131 Fig 91:

A collage of smell generated while walking around the chowks of Ahmedabad (Raval 2020)

132

Fig 92:

An ornamented house in Ahmedabad old city with different use of material and textures. (Devansh Jhaveri 2017)

134

Fig 93:

The chabutra (birdfeeder) used as a visual element to define chowk (Raval 2020)

136

Fig 94: Work of Le Corbusier as architecture to please eye (Kultur 2016)

Available at: https://www.dn.se/kultur-noje/konst form/leonidas-aretakis-han-larde-den-moderna manniskan-att-dromma/ 137

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Senses ans Places: A study of Ahmedabad old city.

Zankruti Raval