CONTEMPORARY ARCHITECTURE

09AT5DCCOA

CONTENT COMPILED BY
AR. SAHANA. S
(ASSISTANT PROFESSOR, B.M.S.C.A.)
B.V.DOSHI - LIFE AND WORKS

•Balkrishna Vithaldas Doshi was born in Pune on 26th of August 1927.

• He belongs to that generation which came of age just after Independence, and which was confronted with
the massive tasks of constructing a new nation.
• Doshi’s family had been in the furniture business for two generations.
• In 1947, he enrolled himself in JJ college of architecture, Bombay.
•After initial study in Bombay, he worked with Le Corbusier in Paris (1951-1954) as senior designer.
•In 1955 he returned to India to supervise Le Corbusier’s projects in Ahmadabad and Chandigarh.
•Doshi established the Vastu-Shilpa Foundation for Studies and Research in Environmental Design in 1955,
known for pioneering work in low-cost housing and city planning.
•Most of B.V.Doshi’s projects/buildings are influenced by Le-Corbusier.
•Dr. Balkrishna Doshi, a Fellow of the Royal Institute of British Architects and a Fellow of the Indian Institute of
Architects.
•Apart from his international fame as an architect, Dr. Doshi is equally known as educator and institution
builder.
•In recognition of his distinguished contribution as a professional and as an academician, Dr.Doshi has
received several International and National honors.

•DOSHI AS A INSTITUTION BUILDER

•He then started the School of Architecture (S.A) in 1962.
•He has been the first founder Director of School of Architecture, Ahmedabad (1962-72).
•First founder Director of School of Planning (1972-79).
• First founder Dean of Centre for Environmental Planning and Technology (1972-81).
•Founder member of Visual Arts Centre, Ahmedabad.
•First founder Director of Kanoria Centre for Arts, Ahmedabad
B.V.DOSHI - LIFE AND WORKS

•Dr. Doshi has been instrumental in establishing the nationally and internationally known research institute
Vastu-Shilpa Foundation for Studies and Research in Environmental Design
As an academician, Dr. Doshi has been visiting the U.S.A. and Europe since 1958 and has held important chairs
in American Universities.
•In recognition of his distinguished contribution as a professional and as an academician, Dr. Doshi has
received several international and national awards and honours.
•In 2008, 100hands director Prjmit Ramachandran released a documentary interviewing Doshi.
•Doshi was the teacher for contemporary designer and University of Pennsylvania professor Anuradha
Mathur.

"I learned from Le Corbusier to observe and react to climate, to tradition, to function, to structure, to
economy, and to the landscape. To an extent, I also understand how to build buildings and create spaces and
forms. With the experience of my work over the years and my own observation, I am trying to understand
about my people, their traditions, and social customs, and their philosophy of life."

•Stages in his work:

There are three distinct stages in his work that could be observed:
1. Beginning of modern influence-1960 to early 1970’s
2. Search for an indigenous Indian model-till mid 1980’s
3. The current phase that is related to the primal mystic study of
Buddhist, Hindu and Muslim models{here we see a complete
exclusion of western influence}
B.V.DOSHI - DESIGN PHILOSOPHIES

Doshi's work has consistently revolved around:

• The interrelationship of indoor and outdoor space
• An appropriate and honest approach to materials,
• Climatic response
• Observance of hierarchy

1.Mythical sense:
• Mythical sense of space often evident in traditional architecture which do not simply confined to open or
closed areas.
• “Hindu ability to transfer by ritual substitution” or to transform the function of space by ritual use.

2.Transformation:
• Transformations that take place between a building and people.
• More accurately described as a ‘dialogue’ ,this underlines the importance of people in doshis design.
• Transfer of energy that takes place between walls, columns and spaces of a temple/mosque and a
worshipper.

3.Human institutions:
• The ‘dialogue’ Doshi has experienced, gives direction to community at large, resulting in built forms
which generate holistic experiences which finally become institutions.
• His own firm- Vastushilpa foundation whearin the vastu-shilpa system is an oral tradtion of passing down
knowledge about building from generation to generation;it now co-exists with professional practice in the
same way as feng-shui.
B.V.DOSHI - DESIGN PHILOSOPHIES

4.Flexible rather than rigid approach to structure:

• This is how a transformation of space from a mere static container to a place where people actually feel
psychic interchange is best achieved.
• ‘Multiple mixed structural systems’ like at madurai temple wherein there are slightly varing axes inside a
walled enclosure

5.Symbolism
• Accomodated by mixture of structural systems.
• Serve as a backdrop for each of the rituals/ activities or interactions that take place in it.
• Encouringing interactions through built-forms

6.Amorphous rather than finite forms

• Use of amorphous rather than finite forms used with multiple structured systems so that ‘experience
within them may be loose, meandering and multiple’.
• Adds richness to even lowest-budget projects such as aranya low –cost housing project at indore.

7.Vastu purusha mandala

•To achieve minimum standards of health and hygiene.
•Generally indicates a southwest orientation, favouring the prevailing breeze and also has defined a central
courtyard. North: lord of wealth

8.Timlessness West: lord of Centre: lord East: lord of light

of the (the rising sun)
• Doshi describes this quality in historical precedents wind
cosmos
as ‘open-endedness’.
• Foresight has allowed his work to withstand changes.
South: lord of death
B.V.DOSHI - BUILDING STYLE AND FORM

•The building profile will have natural light + air + movement + access elements
against the sky to express the cosmic relationship.

•The building base will gradually widen towards the ground through platforms,
terraces, and steps.

•The building mass will integrate roof, rainwater, cascades, water bodies,
natural landscapes, gardens, foliage.

•The external finish of the building will express one homogenous mass but will
have adequate details/ textures/ surface modulations.

•The main arrival to the building will be at a higher or raised level- with
provision for a lower entry to express duality.

•Not all movements within the building will be symmetrical but will shift axis to
give unexpected experiences and provide ambiguous / dual impressions…”

•And finally Aesthetic considerations will take into account local symbolism,
context, and associations.

•Casting of shadows, breaking of mass, rhythms in the structure, solids, voids,

will be the mode of expression.
B.V.DOSHI - FAMOUS PROJECTS

1. L.D. INSTITUTE OF INDOLOGY AHMEDABAD (1957-62)

2. SCHOOL OF ARCHITECTURE AHMEDABAD (1966-68)
3. INDIAN INSTITUTE OF MANAGEMENT BANGALORE (1977-85)
4. MADHYA PRADESH ELECTRICITY BOARD JABALPUR (1979-87)
5. SANGATH AHMEDABAD (1979-81)
6. ARANYA LOW-COST HOUSING INDORE (1983-86)
7. GANDHI LABOUR INSTITUTE AHMEDABAD (1980-84)
8. HUSAIN-DOSHI GUFA AHMEDABAD (1992-95)
9. NATIONAL INSTITUTE OF FASHION TECHNOLOGY NEW DELHI (1997)
B.V.DOSHI - L.D. INSTITUTE OF INDOLOGY

•The institute is located in a 3.7 hectare site at Ahmedabad. It was built during 1957-62 with a built-up area of 2858
sq.m.
•An inherent simplicity and boldness prevails in the approach towards architectural elements and materials.
•One of Doshi’s early affinity for Le Corbusier’s principles
•Houses a collection ancient manuscript
•Raised plinth of a jain apashraya in ahmedabad
•Intergration of jain typology, vernacular technique of earth berming and cross ventilation of le corbusier

Facade
•Linear building that stretches across the site to present a long façade to the prevailing breeze
•Building partially recessed into ground
•Steps connect the street to the building
•Screening effect on the south façade

Concept Development:
•The cross section of the building shows the dynamic form evolving from climatic needs of the building. The bottom
floor cantilevers over the moats of either side of the building, making it appear as if it is floating.
• The Institute is the first example of precast concrete
members, thus minimizing the amount of labor needed.
• The Institute is built in Reinforced Concrete which was a
new technology at that time, but marked the step towards
progress, technology and modernity. Doshi used Concrete
for both the structure & cladding.
B.V.DOSHI - L.D. INSTITUTE OF INDOLOGY - PLANNING

• The entry of the building is through a

vast green lawn and garden.
• A bridge leads visitors above the moat
which surrounds the building.
• Moat allows the building to utilize water
as a cooling mechanism as well as adding
humidity to lower portions of building
which hold the precious manuscripts.
• Through the building on the other side is
a large outdoor patio which draws heat
from the sun.
• Constant breeze on public portions.
• The ‘hallways’ are pushed to the exterior
to maximise air movement and shade.
• Entering the building a half story above
ground allows the basement storage areas
to have indirect light while benefiting
from the natural cooling of the earth-
surrounded walls and pools surrounding
building.
• Manuscripts stored in a half-basement
cooled by cross-ventilation (distinctive
angled air scoops)
• These climatic benefits were essential to
the preservation of the ancient
manuscripts.
B.V.DOSHI - L.D. INSTITUTE OF INDOLOGY - CLIMATOLOGY AND DESIGN

The expression of the form is portrayed in the structural grid of the building. All of the elements of the façade
fall into a three meter grid. There are panels of glass on either side of the column alternating with four panels
of concrete between the glasses.
•The second museum phase of institute added to the southern edge of the site, behind the existing building
separated by a paved courtyard – accelerates convective cooling .
•Garden – cool air is retained by the surface area of the plants and grass in the garden
• Atrium is entered through a wide leaf door, akin to the wall that may be opened to allow air.
B.V.DOSHI - INDIAN INSTITUTE OF MANAGEMENT, BANGALORE

All of Doshi’s concerns in incorporating traditional Indian

Architecture have been illustrated in this campus:
• Multiple structural system
• Mythical space
• Dialogue between architecture and people
• Symbolism
• Amorphous forms

Organizational principles:
• Interlocking courts
• Pavilions
• Terraced gardens
• Connections

The structure is not merely a support, but also:

• Defines spaces N
• Creates rhythm In movement
• Creates light and shadow
• Creates a layering of enclosures
• Frames, vistas etc.
B.V.DOSHI - INDIAN INSTITUTE OF MANAGEMENT, BANGALORE
B.V.DOSHI - INDIAN INSTITUTE OF MANAGEMENT, BANGALORE - PLANNING

• The main grouping of the campus, which

contains administration offices, classrooms,
laboratories and a library is arranged as a
datum in a ladder-like plan along a
longitudinal axis with student dormitories a
short distance away, organized in interlocking
squares at an angle to this axis.
• To make important buildings like the lecture
halls or the library stand out in sharp relief,
the architect varied the scale of fenestration
and sometimes used symmetry to display a
beauty that has strangeness in proportion.
• The interlocking courtyards are scaled to suit
the functions located around them.

• The administrative block is placed on the north – eastern side.

• The “open office” planning in this block provides flexibility for reorganization of interior spaces.
• Faculty offices with their garden courts are located to the north – west and south – west.
• Planned to accommodate 600 students, the dormitory blocks are linked together by walkways and
verandahs.
• Each block has four wings of residential rooms which are arranged around a central court, creating a
community feeling and a sense of security.

• IIM-B employs more subtle lessons about materials and consistency of details from Fatehpur Sikri.
B.V.DOSHI - INDIAN INSTITUTE OF MANAGEMENT, BANGALORE - SKETCHES

Sketch of temple mouldings Sketch of circulation between classrooms

Sections and plan of Sketch examining relationship between

pedestrian pathway dormitories and teaching blocks

Dormitory courts, Plan

B.V.DOSHI - INDIAN INSTITUTE OF MANAGEMENT, BANGALORE - DESIGN ELEMENTS

• Covered streets are the spine of the campus

• Corridors provide innumerable vistas for focal points
• Varying direct and indirect sunlight was coupled with solid void combination To further enrich the spatial
experience, the corridor width was altered in a lot of places with sitting areas for casual interaction, while moving
from one destination to the other.
• The design of this academic complex has been steered and governed by the climate and culture of Bangalore, a
garden city, the sloping topography of the site, the concern that buildings should not swamp the landscape
• The use of local materials.
• The fountainhead of the inspiration for the open spaces is derived from the courtyards of the Capital complex at
Fatehpur Sikri.
• The principles of planning method, especially the use of multiple structures, mythical space, dialogue between
architecture and people.
• A system of major interior streets for movement has been adopted.
• The teaching spaces, faculty and administrative offices are dispersed along these circulation spines.
• The “streets” often stand agape on one side or are topped by skylights to admit the crystal clear stream of light.
• The width of the streets has been modulated at places to heighten the spatial experience and to promote
interaction.
• The design also included long and unusually high (three storied) corridors with innumerable vistas.
• These corridors are sometimes seemed open sometimes with only pergolas and sometimes partly covered with
skylight.
• To further heighten the spatial experience, the width of the corridors was modulated in many places to allow
casual sitting, interaction or moving forwards to once destination.
• Access to classrooms and administrative offices was provided through these links & to generate constant activity.
• Owing to the varying rhythm of the solids and voids, i.e. wall and opening, coupled with direct or indirect natural
light, these links change in character during the different times of the day as well seasons and offer the students
and the faculty, occasion to feel the presence of nature even while they are inside.
• By creating such an environment the activities pursued within the building become enriched because they
become one with the larger, total world.
B.V.DOSHI - INDIAN INSTITUTE OF MANAGEMENT, BANGALORE - DESIGN ELEMENTS
B.V.DOSHI - GUFA

Concept:
• The idea for an underground structure – something that had never been tried before.
• Create a unique space that Husain will have to rise up and match the quality of the space with his art.
• Climatologically appropriate building form for withstanding the scorching heat of Ahmedabad
• The reference for the gufa (cave) is elemental and primeval; it emerged from the Buddhist stupa and karli and
Ajanta.
• An underground art gallery in Ahmedabad as a joint collaboration between M. F. Hussain & B.V. Doshi.

Planning:
• Set adjacent to the CEPT University, the museum spaces are all underground with only the domed roof shells
protruding above the ground level.
• The construction of the Gufa was finally dependent upon the knowledge & skill of builders who had to translate
highly sophisticated diagrams into reality.
• Structure is in form of skeletal skin & wire mesh sandwiched on each side by layers of cement.
• The concrete is then covered with a compacted layer of vermiculite followed by mosaic of pieces of broken china,
complete with a black serpentine imagery snaking across the surfaces.
• White tiles reflect the sun rays helps to keep the interior cool.
• One enters the space through a staircase which is partly hidden, through a circular door
• The plan is evolved from the intersecting circles and ellipse
• The spaces formed within are continuous and amorphous through inclined planes of domes, curvilinear planes of
vaults, undulating floors and non rectilinear leaning columns
• Light comes in as shafts through a few circular openings in the dome, the diffused light adding to the mystic
ambience.
• Spots of light on the floor, from the circular skylights, change location according to the time of the day, adding to
the mystery of the space.
• Husain painted the walls, ceilings; decided to relate it with the primordial tortoise and the cobra.
• The inclined columns in the interiors act as a perfect setting for various shaped metal sculptures.
B.V.DOSHI - GUFA

• The structure is in form of skeletal skin & wire mesh sandwiched on each side by layers of cement over which is
mosaic of pieces of broken china . White tiles reflects the sun rays, helps to keep the interior cool.
• The structure is specifically oriented to let in the maximum amount of heat & light to give the interior a golden
glow . To enhance the cave like feeling of gallery, the contours of the site were retained, rather than being leveled.
• The entrance is approached down a flight of steps in to the cave like interior . Some shells consists appeared
snouts with apertures (hole), used to capture fresh air & light.
• The central hall is supported by 2 rows of columns which divide the interior in to a wider centre aisle & 2 side aisle
. The columns have octagonal shafts wider at base & tapered at capital.
B.V.DOSHI - GUFA

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