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Architect BV Doshi


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This Presentation covers the impact, philosophy and Works of an Indian Architect Balakrishna Vithaldas Doshi

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Architect BV Doshi

  1. 1. Architect Balkrishna Vithaldas Doshi His Philosophy and Works
  2. 2. About an Architect • Balkrishna Vithaldas Doshi (born 26 August 1927) is an Indian architect, considered an important figure of South Asian architecture and noted for his contributions to the evolution of architectural discourse in India. • Apart from his international fame as an architect, Dr. Doshi is equally known as an educator and institution builder. Dr. Doshi has been instrumental in establishing the nationally and internationally known research institute VastuShilpa Foundation for Studies and Research in Environmental Design. The institute has done pioneering work in low cost housing and city planning. • Over the years Doshi has created architecture that relies on a sensitive adoption and refinement of modern architecture within an Indian context.
  3. 3. Building Styles and Forms • The building profile will have Natural Light, Air Movement and 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 and foliage • The external finish of the building will express one homogenous mass but will have adequate details, textures and surface modulations • The main arrival to the building will be at a higher or a 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 or dual impressions…” • 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
  4. 4. His 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, Ahmedabad
  5. 5. Aranya Housing • Location – 6km from Indore , M.P , India. • Client – IDA (Indore Dev. Authority) • Principal Architect – B.V Doshi • Total Area – 100,000 m sq • Project Cost – 1 Crore
  6. 6. Requiremen ts • To improve & upgrade existing slum area • To provide site for new housing developments instead of building complete houses. • To provide for 6,500 residential plots ranging from 35 sq m to 450 sq m •To create sense of community & good living environment •Achieve community character by Harmony between built environment & people Object ive
  7. 7. Climate Responsive Feature • North-South opening permit light & cross ventilation • Local Building material only • North-South orientation helps in less heat gain •Cost effective •Progressive development of facilities •Houses built by people themselves to suite their needs Advantages
  8. 8. Amdavadi ni Gufa • Amdavad ni Gufa is an underground art gallery in Ahmedabad, India. Designed by the architect Balkrishna Vithaldas Doshi, it exhibits works of the Indian artist Maqbool Fida Hussain. • The gallery represents a unique juxtaposition of architecture and art. The cave-like underground structure has a roof made of multiple interconnected domes, covered with a mosaic of tiles. • On the inside, irregular tree-like columns support the domes. It was earlier known as Hussain-Doshi ni Gufa. There are facilities for special painting exhibitions and for projecting films. Gardens and a café are located above ground.
  9. 9. Etymology and Development • The gallery is called gufa ("cave" in Gujarati) because of its resemblance to a cave. It was known earlier as Hussain-Doshi ni Gufa, after its architect, B.V. Doshi, and the artist, M.F. Hussain. • Later it was renamed after the city of Ahmedabad, known locally as Amdavad. The structure's contemporary architecture draws on ancient and natural themes. • The domes are inspired by the shells of tortoises and by soap bubbles. The mosaic tiles on the roof are similar to those found on the roofs of the Jain temples at Girnar, and the mosaic snake is from Hindu mythology. • The Buddhist caves of Ajanta and Ellora inspired Doshi to design the interior with circles and ellipses, while Hussain's wall paintings are inspired by Paleolithic cave art. • The interior is divided by tree trunks or columns similar to those found at Stonehenge.
  10. 10. Constru ction • While visiting Ahmedabad, Hussain asked his friend Doshi to design a permanent art gallery for the exhibition of his works. Together they planned an underground structure capable of withstanding the area's severe summer heat. • Computer-assisted planning facilities were used to resolve the structure's unorthodox design.A simple floor of wire mesh and mortar was used instead of a traditional foundation. All the structure's components are self supporting, relieving stress by their ubiquitous continuity. Ferro cement, only one inch thick, was used for the undulating walls and domes in order to reduce load. • The cave was constructed by unskilled tribal labourers using only hand tools. Broken ceramic crockery and waste tiles were used to cover the domes' exterior, which bears a transversal mosaic of a snake. • Work was carried out in two phases: the first was the construction of the main cave as an underground art gallery, while the second covered the surrounding structures including the paving, the café, and a separate art
  11. 11. Structur e • The gallery space is below ground level. A partially hidden staircase leads to a circular door which opens into a cave-like space. • Though designed to display paintings, the cave has no straight walls, instead using a continuation of the curved dome structure which extends down to the floor. • The domes themselves are supported by irregularly shaped inclined columns, similar to those found in natural caves. They are also said to resemble the trunks of trees. • The entire design is made up of circles and ellipses. Light arrives though snouts, creating spots of light on the floor which move around as the day progresses, intended to create a mystic atmosphere.
  12. 12. Art • Hussain used the gallery's walls as a canvas, painting on them with bold strokes and bright colors. The artwork depicts human figures and motifs of animals, including his famous horse figures. • He also decorated features such as doors and even air conditioners. The figures were designed to resemble ancient cave paintings in a modern environment. • Hussain also placed a few metal sculptures of human figures between the inclining columns. His largest work, Sheshnag (the divine serpent), stretches over a length of 100 feet (30 m).
  13. 13. Conclu sion • Hussain-Doshi Gufa is a unique project blending state of art engineering know how with very primitive construction skills of execution. Enigmatic in its spatial experience the form of Gufa is a direct translation of climatic and constructional obligations and knob an abstraction of personals fancies. • Buried spaces, earth mounds, raised volumes and china mosaic finish renders the architectural energy conscious, in an otherwise harsh hot dry climate. • Material resources are further optimized through its shell like forms and Ferro cement construction techniques. A simple wire mesh and mortar lined floor in a form of natural sag of cloth, evolved through scaled model studies, eliminates the need of any kind of foundation, as the basic form is continuous and efficient in optimizing the stresses and its distribution. • Similar economy of material is achieved through roof shells in a form guided by computer designs which resolve stresses to a minimum, requiring only an inch thick Ferro cement shell without any form work. The construction is carried out with simple hand tools and by semi and unskilled workers on site.
  14. 14. IIM Bangalore • Date of establishment-1971 • Location-site is in hilly area in south Bangalore on Banerghatta. • Context-urban setting , linked by a highway. • Site area- 102 acres • Topography- Undulating terrain with gentle slope • Climate-temperature arid climate. • Vegetation-lush green belt of tropical rain forest, beautifully landscaped and maintained.
  15. 15. IIM Bangalore • The 54,000 sq mt IIM B complex, built on a 100-acre campus, is based on the design of the town of Fatehpur Sikri, laid out by Akbar in the 16th century. The architect, B V Doshi, achieved this vision by linking a network of corridors, courtyards and external spaces allowing for future extensions.
  16. 16. Design Concept • Fatehpur Sikri’s courtyards and the gardens of Bangalore merged in B V Doshi’s mind’s eye. He picked up the gardens and put them in the courtyards, and the vision for a ‘glocal’ campus was born. Instead of courtyards that are dry and rigid, he made green corridors, which allow for academic exchanges to be carried beyond the classroom.
  17. 17. Site Plan
  18. 18. The Structure • The design of IIMB reflects the architect’s perfect sense of scale, proportion and light. • From the logo that portrays the rays of the rising sun to the design of the IIMB complex, light plays a crucial role.
  19. 19. The Structure • IIMB’s design therefore symbolizes a deep understanding of the past and a comfortable relationship with the present. The aim, said B V Doshi, was “to create an atmosphere where you don’t see divides and doors”. • The ‘building’ includes external spaces, and the links between the buildings in the Bangalore climate permit academic exchange beyond the classrooms. • The functional and physical attributes of its design are related to the local traditions of pavilion-like spaces, courtyards, and ample provision for plantations. • A good integration of climatical factors ,the ‘Sun Path diagrams’, and proper implementation of ‘Vastu Shashtra’ was one of the best qualities of B.V.Doshi’s architecture. • A perfect blend of modern and traditional architectural style.
  20. 20. The Structure • The construction of the entire complex is made simple and standardized using exposed concrete, lattices, frames, and wall system using rough blocks of local gray granite. • Local craftsmen worked on it with local material; it is low on maintenance; the building is cool and light is controlled.
  21. 21. The Structure • Access to classrooms and administrative offices is provided through these corridors. • The design offers students and faculty the ability to see and feel nature even when inside the classroom.
  22. 22. The Structure • The IIMB campus was envisaged as a place to be inhabited, as a place to facilitate the course of human interaction. • The design therefore conserves energy – human or mechanical, optimizes technologies, adopts innovative ways of building and uses alternative materials.
  23. 23. The Structure • Three-storied hallways, open quadrangles with ample area for greenery, a rough texture finish are the unique features of this ‘glocal’ design.
  24. 24. The Structure • The voids in the structure lets in the fresh air from the green surroundings. • The pergolas and geometrical roofs let in the controlled ‘Sun Light’ creating a dramatic effect and eventually avoiding the excess heat from entering in.
  25. 25. The Hallways
  26. 26. Skylights • Natural illumination is achieved due to provision of ‘Sky Lights’ and also saves lots of electricity. • Creates a dramatic effect by highlighting a certain area.
  27. 27. The Stairs
  28. 28. Thank You The presentation by; Aishwary Kaushal (15BAR1047) Pravin Verma (15BAR1072) Utkarsh Singh (15BAR1061)