B V Doshi
Balkrishna Vithaldas Doshi
provides one of the most important models for modern Indian architecture. Doshi’s architecture provides architecture. FAMOUS WORKS • INSTITUTE OF INDOLOGY AHMEDABAD(1957-62) • SCHOOL OF ARCHITECTURE AHMEDABAD 1968 • INDIAN INSTITUTE OF MANAGEMENT BANGALORE (1977-85) • MADHYA PRADESH ELECTRICITY BOARD JABALPUR (1979-89) • SANGATH AHMEDABAD (1979-89) • ARANYA LOW-COST HOUSING INDORE (1983-86) • HUSAIN-DOSHI GUFFA (1992-95) • NATIONAL INSTITUTE OF FASHION TECHNOLOGY NEW DELHI (1997) • GANDHI LABOUR INSTITUTE
DESIGN PRINCIPLES Doshi's work has consistently consistently revolved around: • The interrelationship of indoor and outdoor space • An appropriate and honest approach to materials, • Climatic response • Observance of hierarchy
• Doshi belief belief in the ‘Mythical Sense’ of space often evident in traditional architecture architecture which is not simply confined to open or closed areas. According to him space can be modified according to the desire of the perceiver and is never static.
• According to him, Architecture of a building is conceived not as a container of specific activities but as a place to be inhabited, as a place to facilitate the course of human environment
• Doshi made an intensive and sustained study of traditional Indian Indian philosophy and ancient architectural architectural texts, while maintaining a deep commitment to modernism.
• The architectonic scale and massing, the clear sense of space and an attraction towards towards materials remain thematically strong strong throughout his works. • The idea of flexibility leads him to a principle, of incorporating “symbolism”. He believes that it can only be accommodated by mixture of structural systems. Symbolically charged space must be designed as receptacle for human activity.
IIM-B
The Indian Institute of Management with 54,000 square meters of built up area is located in south of Bangalore city.
All of Doshi’ Doshi’ss conc concerns erns in incorporating traditional Indian Architecture have been illustrated in this campus: • Multiple structural system • Mythical space • Dialogue between architecture and people • Symbolism • Amorphous forms
IIM-B
• The design design of of this academic academic complex complex has been been steered 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 f local materials. • The fountain fountainhead head of the inspirati inspiration on for the the open spaces spaces is derived from the courtyards of the Capital complex at Fatehpur Sikri. • The principle principles s of planning planning method, method, especially especially the the use of multiple structures, structures , mythical space, space, dialogue between architecture and people. people .
IIM-B
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IIM-B 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.
IIM-B Planning: • 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 Elements of design: • 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 as well as 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.
IIM-B
IIM-B Class Room Block
Fatehpur Sikri
Fatehpur Sikri
IIM-B Campus
IIM-B Elements of design:
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.
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.
Planning
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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.
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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 ‘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 earthsurrounded walls and pools surrounding building. These climatic benefits were essential to the preservation of the ancient manuscripts.
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The Institute is the first example of precast concrete members.
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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.
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Doshi used Concrete for both the structure & cladding. The Institute is the first example of precast concrete members thus minimizing the amount of labor needed
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.
Gufa
An underground art gallery in Ahmedabad as a joint collaboration between M. F. Hussain & 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.
Gufa 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.
Gufa
Gufa
Gufa
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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.
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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.
Gufa Balkrishna Vithaldas Doshi
