Understanding Transition Spaces

Understanding Transition Spaces Importance and Role in Indian Architecture Rashmi Singh

B.Arch., SSAA (12000099)

Dissertation | UNDERSTANDING TRANSITION SPACES | 2015

ACKNOWLEDGEMENTS This dissertation would not have been successful without the support and encouragement of many people.

I would like to take this opportunity to express my sincere gratitude and deep regard to my guide, Ar. Vandini Mehta, for her exemplary guidance, valuable feedback and constant encouragement throughout the duration of the dissertation. Her perceptive critiques kept me working to make this dissertation better. Working under her was an extremely knowledgeable experience for me. Besides my guide, I would like to thank my mentor, Ar. Thomas Oommen, for his insightful comments and assistance during the initial, decisive stages of the research that helped me frame and direct my dissertation. His valuable suggestions were of immense help. I would also like to thank our dissertation coordinators, without whose hard work the dissertation would not have been successfully complete. The time table and the reminders helped me immensely, in managing my time along with the other subjects. Lastly, I would like to thank my family for their moral support and encouragement throughout the semester.

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CONTENTS ACKNOWLEDGEMENTS ............................................................................................................................................ 2 CONTENTS .................................................................................................................................................................... 3 List of Figures ................................................................................................................................................................ 4 Chapter 1: ABSTRACT ................................................................................................................................................ 5 Chapter 2: INTRODUCTION ...................................................................................................................................... 7 

What is a Transition Space? ....................................................................................................................... 7

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Hierarchy ........................................................................................................................................................ 9

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Transition Spaces in Indian context ........................................................................................................... 9

Chapter 3: TRANSITION SPACES IN SPACE AND TIME ................................................................................... 11 

Variation with building type or scale in India ..................................................................................... 13

Chapter 4: TRANSITION SPACES IN INDIAN ARCHITECTURE ......................................................................... 16 

Courtyard as a Transition Space in Indian context............................................................................. 16

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Entrance or Threshold as a Transition space ........................................................................................ 18

Chapter 3: CASE STUDIES ...................................................................................................................................... 19 

ARCHITECT: B. V. DOSHI .......................................................................................................................... 19 Philosophies and Ideologies .................................................................................................................... 19 Analysis of Projects ................................................................................................................................... 20

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ARCHITECT: CHARLES CORREA .............................................................................................................. 26 Philosophies and Ideologies ..................................................................................................................... 26 Analysis of Projects..................................................................................................................................... 26

Chapter 5: CONCLUSION ...................................................................................................................................... 31 BIBLIOGRAPHY ......................................................................................................................................................... 32

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List of Figures Figure 1: Diagram explaining the relationship between public- private and open- closed transition spaces. .......................................................................................................................................................................... 7 Figure 2: Anup Talao, Fatehpur Sikri, with the platform in the centre. .......................................................... 10 Figure 3: Threshold of a haveli.

Figure 4: The courtyard inside a haveli. ............. 13

Figure 5: Plan of the Ranganathaswamy Temple, Srirangam. ........................................................................ 14 Figure 6: The interior courtyard of nalukettu. ..................................................................................................... 16 Figure 7: Courtyard like spaces in between houses/ havelis in Jaisalmer.................................................... 17 Figure 8: Entrance at the Buland Darwaza, Fatehpur Sikri.............................................................................. 18 Figure 9: The image shows the cluster of houses in the Aranya Township. .................................................. 21 Figure 10: The image shows the basic layout of the Aranya housing development. ................................ 21 Figure 11: Characters of Otla. .............................................................................................................................. 22 Figure 12: The different types and level of activities in the otla. .................................................................. 22 Figure 13: An otla without any boundary.

Figure 14: An otla with a boundary wall. ... 22

Figure 15: House in Aranya Development showing different otlas................................................................ 23 Figure 16: The front façade of Institute of Indology. ...................................................................................... 24 Figure 17: Plan of Institute of Indology................................................................................................................ 25 Figure 18: The garden and the entrance.

Figure 19: The paved courtyard. ................ 25

Figure 20: Plan of the Belapur Housing. .............................................................................................................. 27 Figure 21: Relation b/w single units

Figure 22: Small Courtyard town ................ 27

Figure 23: Formation of the plan from a single unit to the settlement. .......................................................... 28 Figure 24: Private transition space. ...................................................................................................................... 28 Figure 25: Small Courtyard town serving 6-8 houses. ...................................................................................... 28 Figure 26: Community Park at a development level. ........................................................................................ 29 Figure 27: Landscape of Bharat Bhavan. ............................................................................................................ 29 Figure 28: The different courtyards in the premise. ......................................................................................... 30 Figure 29: The galleries of Bharat Bhavan. ....................................................................................................... 30

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Chapter 1: ABSTRACT “Architectural spaces that envelop us like a physical presence, simple and dense, defying description imitation and photography. . . . universal, yet present. The exterior is simple leading to greater levels of mystery surprise and memory, creating poetic changes of light and shade . . . guiding us through its spaces . . . .” - Alvaro Siza on Mexican Architecture (Deshmukh, 2009)

Transition – an in between state, in Architecture, is defined as a link or a connecting space between two enclosed spaces. An architectural space is incomplete without transition spaces. The inclusion of transitional and circulation spaces, in the form of corridors, atriums and stairwells, is unavoidable in the design of most buildings. The percentage of these spaces may however vary according to the function/ type of the building. Their functionality also varies according to the appropriate requirements of the building or the user.1 These in between spaces offer an opportunity to interfere and create a space which re-engages the person, in that space or passing through that space, through repetitive interruptions or pauses. The transitional spaces can be planned or can be a left over space, but both these types of spaces are in a continuous state of flux resulting into a “transition place”. The spaces could create subtle interconnections which can be exploited and temporal experiences could be defined through architectural interpretation of transitional spaces. Looking at Indian architecture, there are features like pavilions, courtyards, terraces, and thresholds which accentuate transition. All of these features come together to articulate the space. The elements can be used in buildings of many typology or function, such as, temple, palaces, ghats, residence, institutional buildings, etc. The listed features might show anonymity in their existence but their true meaning emerges from the context and its use. We will look at the use of these features, in detail, later in the dissertation.

We transit so often that we are not even conscious of that space being there. It is very interesting to know about it. We experience them from macro to micro levels, while being completely unaware of its presence. Therefore, in order to understand transition spaces, I would like to do an in depth study of how such spaces came up, their evolution, hierarchy and to analyse their role and importance. The

1

(Deshmukh, 2009) Page 5 of 33


evaluation of the works and philosophies of architects working with transition spaces will further help in understanding such spaces in Indian context. The dissertation examines the various transitional spaces used in Indian Architecture by investigating the works of architects like B. V. Doshi and Charles Correa. The aim will also be to derive how these transition spaces have lend Indian-ness to buildings, their different typologies and variation according to the function of the building. The dissertation will include case studies of the philosophies and various projects of these architects. My research will also include a formal analysis of the works, which will be covering a housing project and an individual house/ building. I have chosen these particular architects as both of them try to identify Indian identity and introduce it in their projects. Through their projects I will be able to understand the various transition spaces that they have integrated and it will allow me to analyse the expression of Indian identity.

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Chapter 2: INTRODUCTION What is a Transition Space? If we look at the definition of a transition space, it is a space of experience between the inner and the outer worlds; an intermediate or a third space. It is understood as a ‘buffer zone’ or a passage from inside to outside. They act as both a buffer space and a physical link. Other than being functional as circulatory routes for the building, the designs of these spaces is considered very important by building designers for reasons of aesthetics, health and comfort, and as exit routes in the event of an emergency. 2 Another feature in this architecture is the subtleness in the transition—instead of a sudden and abrupt change from inside to outside and open to closed, a range of intermediary spaces fall in between the two extremes. A transition space not only acts as a link between open and closed spaces, but also is a link between private and public areas; serves as a delicate transformation between the public and private domains of urban residential buildings. The transition space, therefore, is neither wholly private nor public, neither external nor internal. It can be defined as an indefinite zone, which is defined by the relationship of the existing extreme zones (internal v/s external and private v/s public).

Figure 1: Diagram explaining the relationship between public- private and open- closed transition spaces. 3

2 3

(Deshmukh, 2009) (Kent, 1990) Page 7 of 33


A transitional space, be it open or semi-enclosed, is an important element of the abode in the Indian context. It should be viewed in its plurality. At one level, it is an architectural solution to the problem of connecting the residence to the street or the public premise. On the other level, it is full of social meanings signifying welcome, auspiciousness and prominence. This integral in-between realm is also an indirect form of passive control that shapes people’s behaviour on a day to day basis. 4 Transition spaces generally consist of: entrance foyers, corridors, buffer zones, lobbies and other transitory areas which are used inside a building, but then again are not occupied at all times. Such spaces have a different impact on people who are passing through them than the areas which are outdoors or fully indoors. These transition spaces or the thresholds in architecture (a building or its premise) can be created by the change of light, a change of sound, a change of direction , a change of surface, a change of level, perhaps by gateways which make a change of enclosure and above all with a change in view.5

In our modern society where everything is based on the interests or the requirements of a consumer, the real question to ask is not whether or not we are surrounded by transitions but what is the quality of those transitions and how are they integrated into the building to generate an improved environment. It is quite interesting to draw a comparison between transitions in the field of architecture and transitions as a sociological moment. For example, the situations most commonly associated with the phenomenon of transition are death and mourning. The rituals surrounding death used to be qualified by a series of events spreading into time in order to make each death more bearable. Now this transition moment or threshold between our life before and after is supposed to last not months but instants. Theoretically, it symbolizes the transition point between the outer world of the senses and the inner world of the spirit; a transition between the inside and outside. I think there is a similar process in architecture, the process of entering or leaving; the transitional quality of spaces, however, is often under addressed and weak. The richness of a building should be judged mainly by the transition experiences it proposes. In the way it suggests rituals that guide you through a journey of exploration.6We would then address the issue of quality of the environment creating transition experience. The space should be understood as an event, a gradual transition towards a more inclusive interiority.

(Kaza, 2010) (Bhonsle, 2010) 6 (Bhonsle, 2010) 4 5

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Hierarchy When serving in an urban outdoor space, a transition affects the physical environment in which the city functions, in turn affecting the experience of the people. In a public setting, they may vary in scale but they succeed in creating a fluid and elastic outdoor space. A transition space began with and still is the element of transit between the public (street) and the private (house) domains considered to be irreverent and sacred, respectively. It is the first point of contact of the house with the outside. It becomes a centre for informal gatherings of small groups adding life to the street. Therefore, we can say that after an individual building and its premise the next level of transition happens at the intersection of streets (primary, secondary and tertiary). This type of hierarchy of transition spaces is visible in any urban planning, be it City level, Town level, District level or Local level. The entire road network itself acts as a transition mode. Integrated in the city scape there are interaction spaces, gathering spaces, urban corridors, plazas that standstill but act as a transition space in their own way. Urban nodes or the intersection points of streets can also be referred to as transition space, but at a macro level. These nodes however are in a complete state of flux and the level of activity is not constant. Similarly a slight hierarchy is visible in buildings as well i.e. the transition space between the outside (street) and the edge or a semi private area of a house. The next level is the semi-private to completely private area.

Transition Spaces in Indian context In Indian architecture, the transition spaces play a very significant role, especially in residential buildings. The transition spaces marked the boundaries of the living space. They played a role in both dividing and connecting the inner and outer space: the gate, the door, the threshold. These spaces were richly decorated and ornamented to highlight the transition space. In Indian architecture, the typology and nature of the transitional spaces have been changing with time. They vary in scale, usage and connection. The earlier cities were dense; hence the transitional spaces were tight and mostly bound by all sides, creating a sense of space and comfortable scale. As settlements grew, they became more planned and organized; hence, the transitional spaces were organized and no more acted as left out spaces. Visual expression became a very important aspect of such spaces. With modern age came the functional use of these spaces. These enable equal distribution of physical benefits. Also, in Indian architecture, design elements contribute a lot to transition spaces. There are colonnades, aisles, courtyards, water bodies, openings like doorways, pathways, grounds, patios, Page 9 of 33


gardens, trellis, pergolas, foyers, lobbies etc. If there is no defined space then confinement by some of the above elements makes the space functional and sensible; or a transitional space. For example, the Anup Talao in Fatehpur Sikri provides a very elegant transition from the inside (Khwabgah complex) to the outside. The central platform in the talao serves as a nice interaction space as well as a quite space. Figure 2: Anup Talao, Fatehpur Sikri, with the platform in the centre.

The platform here can be reached by the four bridges only; hence the four bridges here also act as a transition space. 7

Thus, by studying the transition spaces, we become aware of their role and importance in the design of a building or its setting. We are also able to fathom the significance of various design elements in designing a transition space in Indian context.

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Chapter 3: TRANSITION SPACES IN SPACE AND TIME Planned and unplanned transition spaces have always been a part of human settlements. The scale of these transitional spaces and the way it is used, however, has undergone massive changes over time. From medieval times to modern, the transition space has been permitting continuous adjustments and adaptations, in turn effecting the physical environment in which the city or building functions. The typology and nature of the transitional spaces have been changing with time. They vary in scale, usage and connection. Medieval cities were densely packed blocks with market places integrated inside them and narrow alleys. This setting in itself gives a very different perception of space than what exists today i.e. properly planned outdoor plazas and wider lanes. Due to the density of the settlements the transition spaces were also tight and mostly bound by all sides, creating an enclosed space. Transition spaces in such settlements were often self-evolved, according to the use and the requirements of the user. With dense living conditions the houses were mostly dark and most of the transition and experiences took place outdoors, in external open spaces. These spaces were more comfortable and interactive unlike the closed walls of a house. These transition spaces from inside to outside be where people made social contact and interacted with each other. Very big social gatherings used to take place in the outdoor plaza which was bigger in dimension. 8 These outdoor transition spaces, from the threshold to the other destination, have ever since selfmutated in time. Their scales varied but they succeeded in creating fluid, elastic and malleable outdoor in-between spaces which were mostly unprogrammed areas, but later were defined by usage. The self-evolvement of these spaces, over time, can be defined as one of the reasons in shaping up of the medieval cities and their extremely flexible open spaces. The absence of the focus on individual buildings/ dwellings and its private spaces could also be the success of the liveliness of the outdoor transition spaces. Medieval period in India was a transitional time. Only fortress towns under the patronage of chieftains and petty rulers used to grow. The biggest transition was from the settlement inside the fortress to the outside settlement. The huge fort wall followed by a moat stood tall as a transition, clearly demarcating the low/ medium density settlement from the high density settlement. Also, in Indian architecture, the very ancient civilizations like Mohenjo-Daro and Harappa were expertly built as an advanced civilization, as compared to the ancient Mesopotamia and Egypt. If 8

(Ramaswamy, 2005) Page 11 of 33


we study the city planning here, you will find a well thought planned city with the interplay of transition spaces. The utter size of the city, its provision for public buildings and all the basic amenities itself proposes a high level of social infrastructure. The separation of the residential and market area provided a transition from the private areas of the city to the more busy and public parts. The transition was very clear in the plan. The shift from a freely self-evolving city and open spaces to a strategically planned environment took place during the Renaissance; wherein the city was preconceived and planned. There was a gradual increase in scale of transition and open spaces. The transition spaces existing between two buildings were also mostly bigger and focussed on spatial effects, views and volumes. Visual expression became important in such spaces. For example, in the renaissance city of Palmanova built by Scamozzi in 1593, the streets all had same widths, 46 ft. this type of formalizing or urban streets and spaces led to a formal setting of transition spaces as well. 9 Within the city, there was a clear distinction between different zones based on importance. This created a new structure of hierarchy between the relationship of transition spaces and the streets (primary and secondary). The monumentality of buildings also enabled a sense of transition and a space. The modern spaces, however, brought to forefront the physical and functional aspects of buildings and their setting. The transition spaces were now used as a means to provide light, air and ventilation and enable sufficient access to open spaces. This led to detached housing. The requirements of such transition spaces were incorporated in house designs to ensure good individual living conditions, which aso benefited to the requirements of the space. Modernity is but one of the many overlays that constitute the complex canvas of Indian lifestyles, and in every region the architectural features of the buildings have deep cultural resonances of older ways of living.

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There is a distinct focus on individual spaces. The detached housing led to big open

spaces which served as a transition space from inside. These transition spaces, however, do not have any apparent function for them to be occupied at all times. The distances between different built spaces have increased as compared to medieval times, which increased the size and dimension of transition or in-between spaces.

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(Ramaswamy, 2005) (Thapar, 2004)

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Variation with building type or scale in India The traditional homes in India (mostly havelis) have some of the spatial and decorative elements in common, irrespective of the region where they are located. The names of these elements may also vary according to the region but their function and character are accepted as indispensable to domestic architecture, just as the zenana (women’s quarter) was essential for the reasons of purdah and distinct from the mardana (restricted to men). These elements would be, namely, the threshold (transition at a point), the courtyard, the hearth, etc. 11

Figure 3: Threshold of a haveli.

Figure 4: The courtyard inside a haveli.

In traditional Indian architecture, a transition space was treated in two very different manners, with different levels of importance. The function of the space was same though; a transitory area. The difference can be clearly seen in two different types of buildings, a temple and a residence. Indian temples are one of the best places to study ‘transition spaces’ in Indian context. In one plan only we are able to see the different levels, scales and points of transition. The transition that happens is not only physical but is also psychological, because of the experience you gain. In a temple, the transition space holds a spatial typology of procession and is very prominent. It doesn’t go without noticing. This transition space, acting as a passage leads to or is served with a destination, which in itself is very grand. The journey to the destination becomes a procession or a ritual. This is how the procession takes place: The very first transition happens when we enter in the temple through the giant Gopuram. Then we come to Sabhamandapa that is connected to Mandapa through a colonnade (here the colonnade is acting as a transition space). Then the Antaralaya between the Mandapa and Garbhgriha stands as

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(Thapar, 2004) Page 13 of 33


another transition space. Garbhgriha is again protected by Pradakshina path one more form of transition space. Figure 5: Plan Srirangam.

of

the

Ranganathaswamy

Temple,

The image shows the various levels or layers of transition spaces in a temple.12

There is hierarchy of transition spaces here; there is a series of physical and spiritual transition elements which one is required to experience before entering into the God’s adobe. A person entering into a temple mentally gets prepared for his actual confrontation to almighty, through this journey. He can’t directly enter to Garbhagriha as he cannot achieve that level of devotion required to enter in a shrine. He develops it slowly through transcendent travelling of his own self.13 But, in a residence or a house, the element of grandness is not there. The transition space is not very noticeable and is subdued by the other elements. Also, there is not a particular destination inside a house. Hence, the passage is only from inside to outside or there is a transition from the house to the spaces around it. Here, the scale also stands important in differentiating the two spatially different and functionally similar transition spaces. The scale of the space is flexible in terms of its outlines as its limit is based on the requirement of the dweller and not the space. At a macro level if we look at a residence and its premise, there are different levels of transitions going on. First is at the threshold of a house. At the threshold also, there are two different scenarios. One is where the wall stands separating the inside and the outside, clearly defining the private and the public. A completely different transition of spaces is happening at the gate. Here, the gate and the area around gate are acting as a transition space. The sharp distinction by the wall is softened at the gate. It acts as a semi private area. Second is a house where there is no built boundary wall or a gate per say, then the verandah acts as a transition space. It becomes a spatial sequence from the interior to the exterior and from there to a public space i.e. the street.

12 13

(Deshmukh, 2009) (Deshmukh, 2009) Page 14 of 33


The entrance space also, as a transitional zone, is an important concept in the cultural study of any traditional house form. A transitional space, open or semi-enclosed, can be thus called an important component of the dwelling in the Indian context. It should be viewed in its plurality. At one level, it can be seen as an architectural solution to the problem of connecting the dwelling to the street. At another level, it is full of social meanings symbolizing welcome, auspiciousness and status. This important and necessary in between realm is also an indirect passage that controls and shapes the behaviour of people on a day to day basis. 14

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Chapter 4: TRANSITION SPACES IN INDIAN ARCHITECTURE Courtyard as a Transition Space in Indian context Internal open spaces are other subjective elements in all types and scales of domestic architecture. These internal open spaces, or courtyards, had become the key organisational element in buildings or all types and scales; from small scale urban house to large bungalows and palaces. A courtyard is a medium to establish a controlled yet direct connection from the inside to the outside or vice versa. And being a transition space, from inside to outside, courtyard act as a very functional interaction space. Another reason for the courtyard to function so well is that it is a semi private space and is devoid of any public intrusion. This transition space actually serves various levels of privacy. Apart from interaction, a wide range of household activities could extend into these inside open transition spaces; these become the breathing area of domestic architecture.15 Other than being just a transition from inside to outside and vice versa, these spaces are designed to respond to the climatic conditions and sometimes the cultural needs of communities. They also contribute to the spatial quality of the space by bringing a subdued light and creating a calm environment. The courtyards serving as an open transition space if often bounded by semi open verandahs along its periphery. The completely closed private rooms open into these verandahs which leads to the courtyards producing a spatial organisation based on the hierarchal system of spaces ranging from closed to open. This spatial sequence results in intermittent flow of activities responding to the needs of the dweller. The courtyard would provide space for ventilation and thus fewer openings were required on the façade facing the street or an exterior area. This would enable privacy. These open, yet protected spaces became the heart of Indian living. Figure 6: The interior courtyard of nalukettu.

The courtyard here is a transitional space between the inside and the outside realms. 16

15 16

(Anonymous, 1992) (Infratech, 2014) Page 16 of 33


Terraces with similar type and function also started to come up, which would serve as an inside open space (courtyard) but at a different level or height. There weren’t many changes observed in the general form of courtyards. However, there were changes in the materials, articulation or ornamentation of the enclosing elements, scale, proportion or the complexity of the plan. These factors depended on the kind of building and the user. By and large they receive a treatment similar to the external facade; they are in fact facades inside the house. In large houses, havelis, palaces or public buildings, the nature of the architecture is formal. Hence, all sides tend to be of symmetrical, orthogonal and ordered. In vernacular conditions where the houses are smaller, it is quite different. 17 The scale of the courtyards were according to human proportions to make it a more comfortable and habitable space. In bigger houses also, the number or the complexity of the courtyards would increase, not the size; sometimes even a series of courtyards were created with a hierarchy of open and closed spaces. This feature of a courtyard makes the transition fluid and not too dramatic. In Indian settlements with dense fabric, courtyard enables porosity and provides for lung spaces. Courtyard like spaces between houses also provide for an interactive transition spaces at a public level. Narrow streets open into these open transition spaces which can be used as public gatherings.

Figure 7: Courtyard like spaces in between houses/ havelis in Jaisalmer. The transition from a narrow street to an open space is clearly visible here. 17

(Anonymous, 1992) Page 17 of 33


Courtyard not only satisfies the aesthetic and spatial purpose of a building but, also helps in the sustainability factor. It is a passive design element and helps keep the inside spaces cool.

Entrance or Threshold as a Transition space The threshold or the transition space is the space along which one approaches the building prior to actually entering inside. This point or space serves as an introduction to the building and preconditions our mind for the kind of activities inside. Figure 8: Entrance at the Buland Darwaza, Fatehpur Sikri.

The image shows how the entrance has been marked by staircase. Here, a frontal approach has been used, where the staircase lead directly to the entrance, physically and visually. 18

The idea of a threshold is one which is constant in architecture, an ambiguous moment that defines the inside and outside. Without the threshold, almost no transition spaces would have been possible in architecture. There would have been a single continuous space. The threshold therefore has a dual purpose, of separating as well as linking the two completely different realms.19 Therefore, we can say that for the creation of transition spaces, thresholds serves as an intrinsic element of architecture. An entrance or a thresholds best expresses the most significant transitional relationship between two distinct realms; the inside and outside, private and public or open and closed. Whether it is a single distinct entrance to the city, through a fort wall, or a hierarchal order of spatial layers with a series of in between realms, the most significant aspect which remains is ‘transition’. This complexity of transition as an element varies through space and time. Entrances are often, in many cultures, not in direct contact with the exterior space, to achieve privacy. On the other hand, there are many examples, where a single door serves as the only link between the outside and the inside realms. And in yet another form, an entrance may be the medium (transition space) through which one is introduced to the inside space. 20

(Bhonsle, 2010) (Bhonsle, 2010) 20 (Anonymous, 1992) 18 19

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Chapter 3: CASE STUDIES In India the version of architecture, where decorative and scenographic elements are used to make a building more communicative, has established itself in the works of prominent architectural professionals such as B. V. Doshi and others who have used historical elements to create fancy housing estates. This is also evident in the works by famous architects such as Charles Correa and Raj Rewal who make serious claims to be searching for an Indian identity buried in the layers of history. This expression centred on identity has shifted the discourse of Indian architecture from the quasi- scientific social concerns of the early post-independence period to a culturally based search for “Indian-ness”.

21

Regionalism rooted from this, the architecture all over followed certain norms

of society. The choice of these case studies allows me to analyse the formation of this Indianized Indian identity, and the various types or hierarchy of transition spaces. The study will be first through an understanding and critique of the philosophies and ideologies, and then through a study of the influence of this expression upon actual building production in India.

ARCHITECT: B. V. DOSHI Philosophies and Ideologies “I think architecture is a matter of transformation. Transformation of all adverse situations into favourable conditions” – B. V. Doshi (Sen, 2009) Balakrishna Vittaldas Doshi is a pioneering architect, a teacher and an influential architectural thinker of modern India. His architectural work can be seen as a judicious combination of tradition and modernism, and his life is almost parallel to the growth of modern architecture in India. Doshi believed that architecture of a building should be able to transform a space and not just imitate or reproduce what already exists. His works consistently revolve around the relationship between the inside and the outside. There is proper climatic response and a hierarchy and order of spaces to be observed. Beyond the climatic aspect of the design, Doshi explores the mythical sense and the poetic dimension of nature- the contrast between shade and light, flow of breeze, the relationship between earth (ground) and sky.22 According to him a space is never confined to open or closed, they are inter related and

21 22

(Bhatt, 2001) (Curtis, 1988) Page 19 of 33


are static. The outlook of the space is up to the perceiver. He also favours a flexible and amorphous form as to a rigid or a finite form. He wanted the space to have multiple experiences. His architecture embodies a vision or man in harmony with the natural order. It is an idea which combines the character of the modern movement with that of an ancient and spiritual tradition. The structural and formal system that Doshi adopted was of the Vastu-Purusha-Mandala. He also wanted to achieve a timelessness in his architecture; an architecture for all times. Doshi believes that there is no difference between architecture and urbanism. The individual house is a hypothesis for a better kind of city; room, terrace, court, transition space, street and communal space are all related. According to him, the architect must give a symbolic shape to a building, as it is the building which provides the social life with coherence and continuity.23 According to Doshi, tradition, lifestyle, community feeling, culture and religion have all influenced the spaces of the past. However, he believes, that nowadays architecture has become more about aesthetics and that architects are designing products rather than buildings. 24

Analysis of Projects ARANYA TOWNSHIP, INDORE, MADHYA PRADESH (1983-86) Aranya Township is a development with total site area of 85 hectares. It is situated six kilometres away from the centre of Indore. The plan was such that there were six sectors, with primarily residential blocks, that converged on a central spine known as the business district. Doshi had worked out a set of ideals to deal with townships and rural developments. Prefabrication and local crafts were to be combined. To do so a limited set of “types” were to be designed and then laid out along shaded streets. He tried to develop a gradual hierarchy from the private dwelling to the public realm, going through various degrees of transitions, from steps and ledges at the threshold of a house to small street or Public Square/ chowk and then to communal places for markets, theatres.25 For Doshi, the Aranya Township Project was an experiment. He dealt with the entire project as a dialogue. The project was a live example where the organic growth, which is invariably a part of any growing mechanism, is gelled with the designed space, and the function extends to the spaces in and around, to make it a live architectural experience.26 (Curtis, 1988) (Detail, 2013) 25 (Steele, 1998) 26 (Detail, 2013) 23 24

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Figure 9: The image shows the cluster of houses in the Aranya Township. 27

The Aranya Township is an urban level project. It sites and services approximately 40,000 people. It is a low price housing project developed by the Indore Development Authority. Aranya replaces the insensitive grid plan which is usually associated with sites and projects of such scale and type; a township. It attempts to provide an architectural vocabulary suitable to both socio-economic circumstances and the spaces. Due to the small sizes of the plots, a hierarchy of shared open spaces were created in the neighbourhood, which will serve as transitional spaces between public- semi-public- private areas. The settlement also seems to have a very dense fabric due to these small and narrow plots. The plan was informal, imitating that of a slum settlement. The centre is divided into 4 clusters: shopping, residential, office complexes and mixed use at the edges. The residential clusters open into a street and have a rear courtyard, which can be used as a play area or as a service area. The open spaces and pedestrian pathways help in connecting these clusters to the central spine and hence acting as a ‘transition space’ between the clusters and the central spine.

The Central Spine. The Residential Clusters.

Figure 10: The image shows the basic layout of the Aranya housing development. 28

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(Development, 2013) Page 21 of 33


The otla generally consists of a platform across the entire front of the house, and as it mostly creates a transition from a public to private space, it is interesting to see how in Aranya housing the variations in otla created different transitions and experiences.

Figure 11: Characters of Otla. Figure 12: The different types and level of activities in the otla.29

Figure 13: An otla without any boundary. 30

Figure 14: An otla with a boundary wall. 31

A gated or a fenced otla provides a higher level of privacy than the one without a clearly marked threshold. The level of transition from one place to another also depends on the height solidity and the thickness of the threshold. A higher otla tends to separate the inside private space more from the outside streetscape. The transition here is a bit sudden. However, a deep and open otla extends the transition from the interiors to the streets enabling the transition to be gradual. Variations in a single otla also creates a hierarchy of transition spaces in a single house. (Kolamkar, 2012) (Curtis, 1988) 30 (Kaza, 2010) 31 (Kaza, 2010) 28 29

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For example: Figure 15: House in Aranya Development showing different otlas.

In this house the side otla is lower than the front otla. Therefore, the relationship of the side otla with the interior and the street is stronger than the direct relationship of the street and the inside and the transition is gradual. In the front however, there is a sudden transition between the outside and the inside or the public and the private. 32

Traditional elements, such as the ‘Otlas’ contributed to the transition of spaces from a private dwelling to the street. The otla was an extension of the plot. The dweller had the freedom to use the extension as they pleased. This freedom enabled an interesting street character. Some of the house extensions were platforms, porches, open stairs and all of them either served as a transition from the inside to outside or as a transition between the private and the public. The otla in the Aranya neighbourhood plays a very important role in creating an individual identity for each house. The variations in the otlas provide subtle transition from one house to another also, and enables a difference in experience. However functional, social or symbolic is the role of the otla, it also serves as a visually interesting space. We can conclude that the otla in Aranya housing contributes to the spatial quality of the streets and the dwellings and provides interesting transition spaces.

INSTITUTE OF INDOLOGY, AHMEDABAD (1957-62) Doshi’s inspiration for the creation of institutions begins with his interactions with the Indian temples, moving him to recreate the pauses, transitional spaces and thresholds which act as catalytic agents for the built form and the individual or the community to enter into a dialogue at the level of

32

(Kaza, 2010) Page 23 of 33


comprehension and this dialogue gives direction to the community at large. Built form which generate such holistic experiences finally become human institutions. 33 The L. D. Institute of Indology is located on a total site area of 3.7 hectares, donated by the Ahmedabad Education Society. It is located on the periphery of Gujarat University and is essentially a museum which stores ancient manuscripts and texts which were originally stored in basement beneath Jain temples. The institute is an attempt at defining an architecture appropriate to the Indian climate, on the basis of both a contemporary structural instrument – the concrete frame – and schemes of order with an ancient character in the Ahmedabad region.34 The plan is linear in design and stretches across the site presenting a long façade in the front. The building is partially recessed into the ground to obtain a cooler environment at the half basement level. This creates a very intriguing entry and helps in highlighting the threshold of the building. The entry is at a level which is half a storey above grade, reached by a raised bridge that connects the entrance deck with the street. The transition here is very strong as the entrance deck gives an experience of grandeur and procession.

Figure 16: The front façade of Institute of Indology. 35

The building is divided into two parts connected via an open platform or a paved courtyard in between them. Here, the courtyard acts both as a link between the two structures and as a break

(Steele, 1998) (Curtis, 1988) 35 (Curtis, 1988) 33 34

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from the built form. This open platform provides for a transition from the inside to outside; open to close.

Open Platform

The entry deck

Figure 17: Plan of Institute of Indology.36 The plan shows the alternating transition of spaces from open to close and semi-close.

Another interesting feature in this building are the circulation spaces i.e. the corridors and the hallways. These spaces are mostly present on the periphery to ensure a subtle transition from the public to private and also to ensure air circulation. In this project, the transition spaces also help in making the building sustainable. The corridors and circulation spaces present at the periphery helps in cross ventilation and keeps the rooms inside cooler. Similarly the paved courtyard in between the two blocks accelerates the process of convective cooling. The gardens enveloping the entrance also help in cooling and they also calm the ambience by subduing the monumental entrance.

Figure 18: The garden and the entrance.37

36 37

Figure 19: The paved courtyard.

(Wright & Dimick, 2011) (Curtis, 1988) Page 25 of 33


ARCHITECT: CHARLES CORREA Philosophies and Ideologies Charles Correa is an Indian architect and urban planner particularly known for his use of traditional methods and materials. An open to sky space plays a very vital role in the works on Correa and can be seen in most of them. He believes that an open to sky space is very important in a housing, where it can make a decisive difference between a liveable habitat and claustrophobia- particularly in low income housing. In planning for neighbourhoods his ideas focussed on the individual identity and hierarchy of open spaces. In terms of design there seems to be two major concerns. The first being the cosmological approach in single buildings. He used a system of mandala as a system of organisation. The second deals with the idea of enclosure by a wall i.e. the vertical element of the structure as an element to define a space as opposed to horizontal platforms.38 Correa’s work in India also shows a careful development, understanding and adaptation of modernism to a non-western culture. His works attempt to use a vernacular approach. Some of the components that he uses in his buildings are courtyards, terraces, ritualistic pathways, gardens, etc. He believes that there should be a subtle transition from one space to another. For example, a private room opening into a verandah which then leads to an open terrace or a courtyard which is probably shaded by a tree. Complementing the site in its context was also a constant approach in Correa’s works.

Analysis of Projects BELAPUR HOUSING, BELAPUR, NEW BOMBAY (1983-86) Correa has done a great deal in housing. He tries to articulate the volume of each house, of the development, in plan and in section to take advantage of all the spatial experiences and natural ventilation. Interlocking courtyards, open to sky in between spaces have allowed him to create a convective flow of currents and also serve as a transition space. The total site area is of 6 acres and caters to approximately 550 families. ”Making housing is like a bird building its nest. You start with a basic house, but you have to let people change it to their own needs.” – Charles Correa 38

(Khan, 1987) Page 26 of 33


The housing project at Belapur, follows similar ideals as quoted above by Correa – each unit is in its own individual site and has a scope of change and expansion. Each basic block has its own courtyard as well. These blocks come together and form community spaces between them. These generated groups then come together to form the settlement. The formation of the settlement thus obtained is a clustered one.

Figure 20: Plan of the Belapur Housing.

The housing re-interprets the traditional Indian urban spatial syntax. The socio-economic ideals of Correa are visible in the project. A hierarchy of transition spaces can be observed in the project. The first is the private courtyard of the single dwelling unit which acts as a transition space from closed inside to an open outside, but acts as a private space at the same time. These spaces are used for private outdoor activities throughout the year. Subsequently, these individual units generate a small courtyard town when grouped together. This courtyard acts as a public space on the second level; a courtyard for a community for 6-8 families.

Figure 21: Relation b/w single units

39

Figure 22: Small Courtyard town 39

(Torus, 2012) Page 27 of 33


The small courtyard towns then go on to form the complete settlement. The scale of these spaces have increased and is much bigger than what it was in the single dwelling unit.

Figure 23: Formation of the plan from a single unit to the settlement. The image shows the change in scale and character of the open transition spaces. The relationship of the space with its surrounding changes with the proportion and function.

When looked as these transition spaces at the scale of a development, they start to function as community spaces accessible by all unlike the private courtyard in single dwellings used only by the occupants.

Figure 24: Private transition space.

Figure 25: Small Courtyard town serving 6-8 houses.40 40

(Torus, 2012) Page 28 of 33


Figure 26: Community Park at a development level.41

However functional, social or symbolic is the role of the courtyard in this context, it also serves as a visually interesting space. We can conclude that the courtyard in the Belapur housing contributes to the spatial quality of the streets and the dwellings and provides interesting transition spaces.

BHARAT BHAVAN, BHOPAL, MADHYA PRADESH (1975-81) Bharat Bhavan is a multi-arts complex and museum situated on a gently sloping hill overlooking the lake in Bhopal. The total floor area of the complex is approximately 1.2 hectares. The natural contours had provided Correa with an opportunity to create a series of experiences with the help of terraced gardens and sunken courtyards. The building was design to merge with the already existing landscape features. The visitors enter at the highest level and walk down a pedestrian spine, flanked by a pattern of courtyards, to reach the various parts of the complex. Each curve and space defines itself. Every part of the building is distinct in itself and yet they are able to flow into one another, linked by twisting paths. A variety of experiences are created for a visitor. The total effect is one of the surprise and pleasure. There is always a moment when the eye can rest and the mind contemplates. 42

The terraces and courtyards reflect Correa’s concern with progression through space; a transition of space through space. Figure 27: Landscape of Bharat Bhavan.

The landscape of Bharat Bhavan is its built form terminating itself at the lake forming into an amphitheatre.

43

(Torus, 2012) (Co., n.d.) 43 (Oke, 2012) 41 42

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The thoughtful hierarchy in the design and organization of spaces, is what allows for the transition courtyards to create an informality and openness which gives this space its character, as a platform for interaction and sharing ideas.44

Figure 28: The different courtyards in the premise. 45

Figure 29: The galleries of Bharat Bhavan.

46

All the galleries and exhibition spaces are standing as individual units and have their own significance. The in between spaces guides one through them to these destinations whilst providing an experience. The body gets driven by the captivating and subtle forces one enjoys of the transfusion of light through the chimney-like skylights and of the wind through the gradually transforming volumes.47

(Oke, 2012) (Associates) 46 (Oke, 2012) 47 (Oke, 2012) 44 45

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Chapter 5: CONCLUSION On studying and researching the case studies or the topic in general, I noticed that, transition spaces play a very important role in design and architecture. We can also say that transition spaces, and the scale of it, plays a very important role in human behaviour, which in turn affects the planning of a city or building. The human behaviour impacts the properties of various urban spaces, the study of interaction between people taking place in those spaces, culture and physical environments of all scales, planning of interior spaces, regional planning, and applications to improve the quality of life, planning and design. One of the most important functions of transition spaces is sustainability in building design. The proper use and placement of these spaces in a building design may increase its energy efficiency. The design consideration should contain this space as a necessary feature and should not be considered a constraint. When architects talk about orientation of the building, built form, site organization, topography, landscape then they should consider Transition Spaces as one of the aspects in building design. Let’s conclude by looking at how these spaces could be beneficial by the sustainability perspective: The layer of a corridor as a transition space on the periphery of the built form/ private rooms, reduces glare and direct sun, which results in cooler inside spaces. An enclosed or semi closed passage connecting two dwelling units creates a comfortable transition for the occupants. If the space is semi closed it can be used as a space for interaction or sit outs. The provision of water bodies in a transition space invokes cool breezes giving out the cooling effect to the interiors. As discussed above, courtyards serve as a nice interactive space. They also prevent heat and glare from directly entering the rooms and keep them cooler. Extended roofs in the courtyards makes the courtyard cooler itself. Therefore, by understanding the various features of a transition spaces, I can say that it is a very interesting space over all. It contributes to the spatial quality of a space, whatever be the setting and context. Its role is functional, social, symbolic, and visual and it serves a building from the perspective of sustainability also.

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BIBLIOGRAPHY Anonymous. (1992). The Vernacular Architecture of Rajasthan. Retrieved November 2015, from Archinomy:

http://www.archinomy.com/case-studies/1992/the-vernacular-architecture-of-

rajasthan Associates, C. C. (n.d.). Bharat Bhavan. Retrieved from Ebuild: http://ebuild.in/bharat-bhavan-bhopal Bhatt, R. (2001). Indianizing Indian Architecture: A Postmodern Tradition. Traditional Dwellings and Settlements Review, 43-51. Bhonsle, K. D. (2010). Thresholds in Architecture. Architecture- Time Space & People, 30-36. Co., B. B. (n.d.). Bharat Bhavan :: Introduction. Retrieved from A Multi Art Complex - Bharat Bhavan: http://bharatbhawan.org/index.html Curtis, W. J. (1988). Balkrishna Doshi- An Architecture for India. Ocean Township, Monmouth County: Grantha Corporation. Deshmukh, S. (2009, 10 14). Transition Spaces. Retrieved 9 2015, from INFINITY Architecture: http://shwetadeshmukh.in/2009/10/14/transition-spaces/ Detail, D. (2013, April 24). Beyond mere aesthetics, Architecture is about life. Retrieved from Designer + Builders:

http://www.designerplusbuilder.com/beyond-mere-aesthetics-architecture-is-about-

life/ Development, A. I. (2013, September 25). Aranya Housing Project. Retrieved from Architecture In Development: http://www.architectureindevelopment.org/project.php?id=401 Infratech, N. (2014, February 5). Nalukettu Architecture of Kerala. Retrieved November 2015, from Home Sweet Home: http://nestinfratech12.blogspot.in/2014/02/nalukettu-architecture-ofkerala.html Kaza, K. (2010). The Otla: A ‘Free Space’ in Balkrishna Doshi’s Aranya Settlement. Unitec New Zealand School of Architecture. Kent, S. (1990). Domestic Architecture and the Use of Space: An Interdisciplinary Cross-Cultural Study. Melbourne: Press Syndicate of the Universit of Cambridge. Khan, H. U. (1987). Charles Correa. London: Concept Media Ltd. with Butterworth Architecture. Kolamkar, A. (2012, May 20). Aranya Low Cost Housing . Retrieved from SlideShare: http://www.slideshare.net/ankita224/aranya-low-cost-housing

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Oke, S. (2012, May 19). Bharat Bhavan, Bhopal.. . Charles Correa. Retrieved from OKE Studio: http://www.okestudio.in/bharat-bhavan-bhopal-charles-correa/ Ramaswamy, D. (2005). THRESHOLDS AND TRANSITIONS | IN BETWEEN THE PUBLIC AND PRIVATE REALM. Blacksburg: Virginia Polytechnic Institute and State University. Sen, T. (2009, July 12). B. V. Doshi- The man in search of unknown. Retrieved November 2015, from Rain and Sunshine: http://trinathsen.com/2009/07/12/b-v-doshi-the-man-in-eternal-searchof-unknown/ Steele, J. (1998). The Complete Architecture of Balkrishna Doshi: Rethinking Modernism for the Developing World. Mumbai: Super Book House. Thapar, B. (2004). Introduction to Indian Architecture. Singapore: Periplus Editions. Torus, B. (2012). CHARLES CORREA’S HOUSING LANGUAGE. Turkey: Bahçesehir University. Wright, H. D., & Dimick, K. M. (2011, May 24). Institute of Indology.

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Understanding Transition Spaces

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