Tagore Memorial Hall

Ahmedabad

Tagore Hall is an auditorium in Ahmedabad dedicated to the renowned Indian poet Rabindranath
Thakur. The building was designed by B. V. Doshi in 1961 while its construction came to an end
in 1971. Doshi was inspired by Corbusier’s “Box of Miracles'' and thus designed the building as
a box. It's an example of Brutalist architecture and most of the building is made of exposed
concrete.

Figure 1 Figure 2
Master Plan Ground Floor Plan
Skin

The first glimpse of the Tagore hall while entering is a huge grey wall visible from the avenue at
the west with a silver mural of Rabindranath Thakur on it. It is a double facade where the surface
is made out of concrete and is raised from the ground. It is a layer of a concrete skin other than
the concrete shell that wraps the whole building. From afar it looks like a wall hanging from the
roof. It stands on five concrete columns placed at regular distances with the corners cantilevering
over the stairs. It is connected to the inside facade through concrete beams. The whole surface is
300 mm thick which is quite unusual for a non structural concrete element. Even though it is
considerably thick, the hanging effect created by the columns makes the whole facade appear
lighter.

Figure 3 Figure 4
The Western Facade The Intermediate Space

Note. The western facade of the building through Note. The open area takes in
the avenue with visible slits and a column. sufficient light.
Copyright by K. Mudris (2023). Copyright by K. Mudris (2023).

The main reason for a double facade is to cope with the harsh afternoon south west sun in
Ahmedabad. The skin i.e. the outer facade ends exactly parallel to the inner facade which has
glass doors and windows. The facade has four vertical slits each placed exactly in between two
columns. The slits allow some sunlight to enter the space but due to the thickness of the skin,
harsh sunlight between 2 and 4 pm is denied while the pleasant and calming sunlight during the
hours of sunset is allowed in.
The skin creates an intermediate space between the inner facade and itself which remains shaded
throughout the day. The space being double heighted, provides ambient space for ventilation and
lumination. One has to enter from under the facade to reach the intermediate space. The contrast
of the harsh sun and the shaded space produces a soothing and relaxing experience for the user.
Cubicle Door

Between the inside and the intermediate space, there is a row of glass panels and a cubicle door.
The cubicle is exactly at the centre of the facade. The entrance to the inside is through the
cubicle which has doors on two of its surfaces. The cubicle is made of timber. The doors on the
two surfaces are also made of timber and are like any other double flap door but are much thicker
than normal ones. The cubicle has dimensions of 2000 x 2000 x 2000mm. The doors open
towards the inside giving a welcoming effect to the visitors. The handles are cylindrical and are
made out of steel. They are roughly 300mm in length. The doors on two opposite surfaces, one
inside and one outside, create a buffer for the hot winds. One can open the interior door, step in
the cubicle and then open the exterior door. This does not interfere with the effect of air
conditioners.

Figure 5
The Cubicle Door

Note. The cubicle doors are made of wooden frame and glass.
Copyright by V. Baraiya (2023).

The cubicle stands under the concrete wall and between the row of glass panels. The glass panels
start from the sides of the cubicle and stretch till the concrete wall of the facade. The panel starts
exactly from the centre of the surface. It looks as if the cubicle is locked between these panels
and the concrete wall above it. The dimensions of the cube matches with the dimensions of the
panels being a metre wide and 2m in height. It seems as if the glass itself transformed into wood
and formed the doors.
When someone enters the cubicle, it acts as a space between inside and outside. It is neither
inside nor outside but rather a connection between both of them. A portal that connects the rough
exterior to the polished interiors. The cubicle being made out of timber amidst the glass panels
stands out and establishes itself as a single entrance for inside.
Concrete Pilaster

The north and the south side of the building has a series of concrete pilasters that extrude from
the vertical folded plates and then transform into the beams that hold the horizontal folded plates.
The pilasters stand from the western facade till the eastern facade. The pilasters are hollow and
contain RCC ties inside. It can also be referred to as an RCC frame wherein the two surfaces
(vertical folded plate and the pilaster) joined together by the ties are both 180 mm thick. From
inside it looks like a single heavy RCC frame which is not visibly hollow from inside. The
pilasters are the primary compression members taking load from the roof which has a huge scale.
The whole rib seems heavy at top but lighter towards the bottom.

Figure 6
Pilasters

Note. The pilasters are straight below the planks but come out towards
the top. Copyright by K. Mudris (2023).

The pilaster itself transforms into the beam at the top due to which it looks as if it is a rib on
which the whole shell structure rests. The pilasters taper towards the bottom from three sides
which gives it the triangular shape in elevation. The width of the pilaster increases towards the
back due to which it no longer remains a rectangular pilaster. The concrete on the pilasters is not
kept exposed but a layer of distemper is applied to it. Due to the distemper coat being too light,
the shuttering patterns are still visible. Due to thinner bottom, the spaces underneath or adjacent
to the pilasters are not restricted or congested but rather have an extra space for circulation. The
space between the pulasters has been used to put up paintings which seem to break when the
pilaster comes and then continue again after the pilaster.
Figure 7
Pilaster and Folded Plate

Note. The pilaster is attached to the

folded plate by RCC ties.
Copyright by K. Mudris (2023).

Curvilinear Wall

After entering the lobby, a curvilinear wall can be seen with the Navarasas placed on it. The wall
is at the end of the auditorium. The shape of the wall is curvilinear due the shape of the slab. The
wall stands on the cantilevered slab which in turn stands on the inclined beam and the twisted
columns. There are four twisted columns which primarily support the slab. The wall along with
the slab, beam and the column are all made of RCC and thus act as a homogeneous structure.
Use of RCC made it possible for the construction of the wall with a thickness of 150mm. If
instead of RCC, other masonry would have been done, it would have been thicker and more
space would have been consumed inside. The wall is also connected to the roof which makes the
wall look as if it is hanging. Despite being painted over by distemper, the shuttering patterns are
visible. The shutterings were wooden and were vertical to get a better curve as more the lines,
better the curves.
Figure 8 Figure 9
Navarasas The Curvilinear Wall

Note. The curved wall with three Note. The curvilinear wall as seen from the lobby.
of the Navarasas. Copyright Copyright by S. Follen (2010)
by K. Mudris (2023).

The curvilinear wall provides a focal point towards the stage due to which the audience faces the
stage at angles while sitting anywhere in the auditorium. The wall has been covered with wooden
panels and insulators from inside. The wooden panels, one metre long each, are simply nailed to
the wall while the sound insulation pad and the fibre are stuck on wooden panels stuck to the
wall. The panels and the fibre absorb the sound and thus no reverberation happens. The
Navarasas on the wall give a sense about their cultural importance and how the theatre is nothing
without them. The curvilinear wall adds the character to the lobby as well as to the auditorium
and provides better viewings for the audience.

Exterior Staircase

The eastern facade of the building had a staircase at the south-eastern corner. B. V. Doshi was
inspired by the staircase at ATMA and thus used the same measurements to design one for the
Tagore hall. The staircase is a four-storey structure which connects the parking on the south to
the green rooms and services. The staircase is entirely made of RCC. Just like the staircase in
ATMA, this also has a central support column which looks like a wall. The staircase spirals
around the column to reach the destined floors. The riser is 15mm and the tread is 30mm which
is considered as an ideal dimension for steps. At the start of the staircase, a concrete roof is
provided against the sun. The plinth becomes the first step and after that the staircase starts.
Being casted entirely in RCCand kept exposed, the shuttering patterns are visible and provide
information about the construction of the staircase. The shutterings made of wood on the parapet
and the column are vertical. The edges of the column are round to avoid any injury and to
showcase concrete as a fluid material and something that is not cruel. The width of the
shutterings decreases near the round edge to make a nice and clear curvature. The height of the
parapet is more than the normal ones to give a sense of enclosure. The view of the riverfront and
the Sabarmati river itself are visible from the platforms which gives the staircase a more
theatrical movement. The staircase being spiral in a sense and having platforms, reduces the
efforts of the user as it breaks the continuity of the flight.
The staircase is nowadays covered with other constructions around it which are covered with tin
sheds. This does not allow someone to experience the staircase the way it was intended and thus
also breaks the continuity of the whole concrete structure. The staircase now has a channel gate
on the first step which mostly remains closed.

Figure 10 Figure 11
Singular Staircase Demolished Staircase

Note. The staircase at the southeastern corner of the building. Note. The staircase demolished due to unclear
. Copyright by S. Follen (2010) reasons. Copyright by E. Sumner (2018)
List Of Figures

Fig. 1 Master Plan

Copyright @ 2023 by Vastu Shilpa Foundation

Fig. 2 Ground Floor Plan.

Copyright @ 2023 by Vastu Shilpa Foundation

Fig. 3 The Western Facade.

Copyright @ 2023 by K. Mudris

Fig. 4 The Intermediate Space

Copyright @ 2023 by K. Mudris

Fig. 5 The Cubicle Door

Copyright @ 2023 by V. Baraiya

Fig. 6 Pilaster
Copyright @ 2023 by K. Mudris

Fig. 7 Pilaster and Folding Plate

Copyright @ 2023 by K. Mudris

Fig. 8 Navarasas
Copyright @ 2023 by K. Mudris

Fig. 9 The Curvilinear Walls

Copyright @ 2023 by S. Follen

Fig. 10 Exterior Staircase

Copyright @ 2023 by S. Follen

Fig. 11 Demolished Staircase

Copyright @ 2023 by E. Sumner
Bibliography

Tagore Memorial Hall (2023). Wikipedia.

https://en.wikipedia.org/wiki/Tagore_Memorial_Hall

Balkrishna Doshi, VSF Tagore Hall Memorial (March 2018). Divisare.

https://divisare.com/projects/381275-balkrishna-doshi-vsf-edmund-sumner-tagore-memorial-hall

Follen S. (2010). Making Space: Sensing Place. Blogspot.

http://msspfollen.blogspot.com/2010/03/tagore-memorial-hall-ahmedabad.html

Tagore Hall (N.D.). Architexturez.

https://architexturez.net/doc/az-cf-168251