sangath,

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Sangath, amhadabad. Client, Balkrishna Doshi Principal Architect , Balkrishna Doshi , M/s Stein Doshi & Bhalla Project Assistants , J.Joshipura, S. Patankar, H.M. Siddhpura Project Engineer , B.S. Jethwa, Y. Patel Structural Engineer, G.A.Tambe Site Area, 2346 m 2 Total Built-up Area, 585 m 2 Project Cost , Rs. 0.6 Million ( 1981 ) This complex was intended to encourage activities in the areas of fine and technological arts related to architecture, planning and crafts. Spaces were needed for long and short terms workshops and seminars, and to accommodate a professional architectural firm and an office for the Vastu – Shilpa Foundation. In the initial stages of planning a flow pattern of activities and their volumetric space requirements were determined. This generated the spatial as well as the structural dimensions of the complex. To control interior heat conditions in the hot, dry climate of Ahmedabad and various energy-efficient designs primarily based on passive response were evaluated. The sum total of these rational needs was then studies volumetrically, and the building – site relationship was established. However, at a sensuous level it was felt essential that form, light, and space should be integrated. And so a design combining functional, climatic and technological considerations was evolved and a model prepared. Somehow, though, the resulting model did not express the vitality of the activities planned for the complex; it seemed capable of allowing only the measurable functions. In order to create a builtform to match the dynamic concept of Sangath(in the vernacular it stands for moving together to a goal), it appeared that equally dynamic articulating methods had to be discovered, to give another dimension to the traditional spaces and to continuously generate experiences of the unexpected and the ambiguous. One way of doing this was to incorporate into the built – form a series of contrasts such as spaces pushing below ground and surging above ground, or high spaces which are flooded with light and low spaces which are dimly lit.

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Page 1: Sangath,

Sangath, amhadabad.Client, Balkrishna Doshi  Principal Architect , Balkrishna Doshi , M/s Stein Doshi & Bhalla Project Assistants , J.Joshipura, S. Patankar, H.M. Siddhpura Project Engineer , B.S. Jethwa, Y. Patel Structural Engineer, G.A.Tambe Site Area, 2346 m2 Total Built-up Area, 585  m2 Project Cost ,   Rs.  0.6 Million ( 1981 )

This  complex  was  intended  to  encourage  activities  in  the  areas  of  fine and  technological  arts  related  to  architecture,  planning  and  crafts.  Spaces  were  needed  for  long  and  short  terms  workshops  and  seminars,  and  to  accommodate  a  professional  architectural  firm  and  an  office  for  the Vastu – Shilpa  Foundation.

In  the  initial  stages  of  planning  a  flow  pattern  of  activities  and  their  volumetric  space  requirements  were  determined.  This  generated  the  spatial  as  well  as  the  structural  dimensions  of  the  complex.  To  control  interior  heat  conditions  in  the  hot,  dry  climate  of  Ahmedabad  and  various  energy-efficient  designs  primarily  based   on passive  response  were  evaluated.  The  sum  total  of  these  rational  needs  was  then  studies  volumetrically,  and  the  building – site  relationship  was  established.  However,  at  a  sensuous  level  it  was  felt  essential  that  form,  light,  and  space  should  be  integrated.  And  so  a  design  combining  functional,  climatic  and  technological  considerations  was  evolved  and  a  model  prepared.  Somehow,  though,  the  resulting  model  did  not  express  the  vitality  of  the  activities  planned  for  the  complex;  it  seemed  capable  of  allowing  only  the  measurable  functions.

In  order  to  create  a  builtform  to  match  the  dynamic  concept  of  “Sangath”  (in  the  vernacular  it  stands  for  moving  together  to  a  goal),  it  appeared  that  equally  dynamic  articulating  methods  had  to  be  discovered,  to  give  another  dimension  to  the  traditional  spaces  and  to  continuously  generate  experiences  of  the  unexpected  and  the  ambiguous.  One  way  of  doing  this  was  to  incorporate  into  the  built – form  a  series  of  contrasts  such  as  spaces  pushing  below  ground  and  surging  above  ground,  or  high  spaces  which  are  flooded  with  light  and  low  spaces  which  are  dimly  lit.

Such  articulated  spaces  with  particular  structural  systems  also  make  the  built – form  specific  in  some  regards.  For  example,  the  entire  building  has  three  different,  closely,  interlinked  structural  systems.  One  comprises  load – bearing  walls  combined  with  post  and  beam  structure  to  carry  heavier  loads.  Each  systems  has  been  optimally  used  to   create  the  variety  of  spaces  described  earlier.

Likewise,  three  means  of  allowing  light  into  the  interior  were  devised  :  one  through  normal  windows  punctured  in  the  wall,  another  through  a  skylight,  the  third  through  direct  penetration  from  the  flat  roof  through  the  glass  brick.    All  these  articulating  methods  still remained  architectural  and  only  marginally  further  from  the  physical :  they  fell  short  of  touching  the  psyche.  To  create  the  desired  holistic  experience,  the  next  step  was  to build  surprises  in  a  certain  rhythm,  i.e.,  sequence.  The  long  double  structured  unexpected  unassigned  spaces  heighten  and  accentuate  the  experience  of  surprise,  the  unexpected.  If  a  building  stretches,  is  cut  into  many  parts,  it  is  seen  as  fragments,  direct  confrontation  with  it  is  replaced  by  a  sense  of gradual  transformation  that  diverts  the  mind.

Finally,  to  bring  the  individual   into  focus,  it  was  decided  to  underplay  the  overall  scales  of  the  builtform.  This  has  been  achieved  through  a  practice  that  is  rather  unusual  in  the  contemporary  context,  but  has  been  widely  used  in  traditional  temple  architecture,  relating  to  the  treatment  of  the  plinth.  The  articulation  of  interior  spaces  as  described  earlier  led  to  sinking  certain  areas  and 

Page 2: Sangath,

elevating  others.  By  articulating  the  plinth  in  several  ways  one  notices  while  approaching  that  the  building  has  mitigated  the  external  massing  of  building.  The  approach  walkway  gradually  becomes  steps  for  gathering  and  through  a  series  of  platforms  culminates  at  the  terrace  where  the  upper  level  entrance  is  situated.  Tying  the  low  base  and  the  high  roof  vaults  evokes  in  an  Indian  mind  a  sense  of  seeing  the  proportions  of  the  deity's  face  with  the  crown  and  the  tall  shikhara  of  a  temple  with  its  low  base.  The  sunken  floor  level  at  the  lower  entrance  summons the  experience  of  entering the  ancient caves.  The  articulated  edges  of  the  vaults  and  other  surfaces  accessible  from  the  low  terraces  generate  a  firm  relationship  with  the  ground  like  that  found  in  a  Buddhist  stupa.   The  ambiguous,  open – ended  character  of  the built – form  starts  to  reveal  itself  right  at  the  entrance,  which  makes  one  wonder  about  where  to  move  and  how  to  reach  the  sanctum.  In  achieving  a  destination,  there  are  many  ways  to  go.  You  can  find  your  own  space,  in  your own  time,  through  your  own  movement.  And  the  space  has  to  be  something  beyond  just  a  structure :  it  has to  be  like  a  book,  to  reach  different  people  and  give  them  the  kind  of information  they  need  at  certain  points  of  time  and  space.  Sangath  has  two  entrances,  one  at  level + 1.8 m  and  the  other  at – 1.m.  Both  finally  reach  the  same  place,  but  through  different  paths.

Many  visitors,  learned  or  otherwise,  architects  and  laymen,  have  felt  unusual  experience  at  Sangath,  and  since  one  is  touched  at  some  centre  of  his  being,  I  feel  that  I  have  activated  the  psychic  aspect  of  the  relationship  between  architecture  and  community.

Word  count  :  841

Page 3: Sangath,

PROJECT DETAILS  National Institute of Fashion Technology NIFT Campus Nr. Gulmohar Park  Hauz Khas   New Delhi 110 016Client, National Institute of Fashion Technology Principal Architect , Balkrishna Doshi , M/s Stein Doshi & Bhalla Project Associate , Laxman Patel, S.L.Shah Structural Consultant , Himanshu Parikh, Ahmedabad Electrical Consultant, Sheth Consultants, Ahmedabad Site Area, 11650 m2 Total Built-up Area,  13570   m2 Project Cost ,   Rs.  8.5  million (1994)     Fashion  implies  creativity  with / and  time.  An  ever  changing  phenomenon...  The  milieu  for  the  fashion  design  and  display  essentially  is  a  theatrical  setting  with  dramatic  effects.  In  architectural  terms  -  a  spatial  modulation  of  continuos  movement  in  time  and  space  much  as  the  ambiance  of  an  Indian  bazzar  where  the  drama  of  day  today  life  unfolds.

The  National  Institute  of  Fashion  Technology  at  New  Delhi,  recreates  an  inwardly  bazar,  livened  up  by  designed  displays  and  movements  of  students  as  well  as  visitors  through  entire  space.  Consisting  of  academic,  administrative  and  residential  activities,  the  campus  reinterprets  the  traditional  town  square  through  its  inward  looking  building;  interactive  corridors,  bridges  and  terraces;  k u n d   like  steps;  and  communicative  facades.

The  front  court,  surrounded  by  the  terraced  academic  block  and  glazed  administrative  wing  becomes  culturally  appropriate  and  climatically  comfortable  outdoor  space.  Animated  by  a  series  of  high  and  low  platforms,  soft  and  hard  landscaping,  a  water  channel  and  a  mirror  like  wall  back  drop,  the  space  multiplies  as  entrance  court,  central  green,  display  platform,  informal  theatre  and  a  visual  focus.

Open  as  well  as  glass  screened  bridges  separating  kund  like  court  from  amphitheatre  court,  not  only  remain  as  movement path,  but  also  double  up  as  the  cat  walk  for  the  fashion  shows  which  can  be  viewed  over  from  the  class  rooms,  corridors,  library  as  well  as  the  administrative   block.

Fragmentation  of  the  built  mass  and  facade  articulation  illustrate  a  tenuous  yet  experientially  rich  inter – relationship  between  various  parts  of  the  ensemble.  Formlessness  and  fragmentation  of  buildings  at  NIFT  renders  it  flexible  to  adapt  and  express  different  form  and  elements  of  different  edges,  in  effective  response  to  their  specific  functions  and  context.  While,  the  common  set  of  elements  namely  -  court,  steps  and  corridors  integrate  these  parts  into  unified  whole.

Heightening  the  drama  is  a  juxtaposed  co – existence  of  the  random  stone  masonry  wall  fragments  mimicking  ancient  ruins  alongwith  stone  grit  plastered  walls  of  yester  years,  and  steel  frame  screen,  clad  with  reflective  glazing,  of  the  present  times.  Serving  as  visual  reminders  of  the  “time  and  space”  they  evoke  a  sense  of  belonging  with  their  inherent  contradictions  and  metamorphosed  manifestations.  A  metaphor  in  essence  of  Fashion  !

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Client, Indian Institute of Management Principal Architect , Balkrishna Doshi , M/s Stein Doshi & Bhalla in association with M/s Kanvinde Rai & Chowdhury  Project Associate , Mr. K. Varkey, Mr. R.S. Kadakia, Mr. H.V. Nagendra, Mr. B.J. Poonater Project Assistant , Mr. H.C. Parikh Project Engineer , Mr. S.L. Shah Structural Engineer, Mr. Mahendra Raj Contractors ,  M/s South India Corporation Pvt. Ltd., M/s Balaji Engineering & Construction Works, M/s Gina Engineering Co. Total Built-up Area, 54000  m2 Project Cost ,   Rs.  72 Million   Emperor  Akbar’s  established  his  well – know  capital  Fatehpur  Sikri  in  the  16th  century.  Though  it  remained  unoccupied  except  for  a  few  years,  it  is  appreciated  universally  for  its  sale,  clarity,  architectural  style  and  most  significant  of  al  its  spatial  organization.  Here  one  discovers  solutions  to  the  now  familiar  problem  of  how  to  extend  or  add  buildings  and  yet  relate  them,  how  to  ensure  that  all  the  individual  constituents  parts  of  the  complex  evoke  the  sense  of  belonging  to  a  larger  fabric.  And  it  is  not  surprising  that   the  tools  employed  at  Fatehpur  Sikri  to  simultaneously  functionally  divide  and  unite  the  various  buildings  in  a  complex  are  the  same  as  those  used  in  planning  temples  in  South  India.

The  response  is  achieved  by  adopting  a  system  of  major  corridors  for  movement  along  which  activity  areas  are  disposed.  And  within  the  network  of  corridors,  the  space  between  the  activity  areas  become  courts  for  extended  activities  under  Brahman.  These  courts  regenerate  the  primordial  sense  of  continuity,  growth,  and  tenuous  linkages  of  the  living  and  their  habitat  environment.

At  Fatehpur  Sikri  in  the  presence  of  the  buildings  is  felt  very  strongly  in  spite  of  their  being  relatively  small  a  factor  of  special  interest  to  me.  This  is  made  possibly  by  the  modest  relation  of  the  building  to  the  ground,  sky,  and  the  backdrop  of  the  living  and  their  habitat  environment.

Designing  for  the  Institute's  extensive  academic  programme  with  its  changing  and  extensive  academic  programme  stretching  and  changing  over  the  years  demanded  such  an  approach.  Bangalore’s  climate  is  very  comfortable  and  the  city  is  full  of  lush  green  lawns  and  trees.  Therefore  in  this  project  the  “building”  includes  the  external  spaces  and  the  links  between  the  buildings  in  the  Bangalore  climate  permit  academic  exchange  beyond  the  classrooms.  Functional  and  physical  attributes  of  the  design  are  related  to  the  local  traditions  of  pavilion – like  spaces,  courtyards,  and  ample  provision  for  plantation.

Because  these  local  elements  by  themselves  do not  necessarily  touch  everyone,  the  design  also  included  long  and  unusually  high  (three  storeyed)   corridors  with  innumerable  vistas  of  focal   points  generating  a  dialogue  with  one's  self.  These  corridors  are  sometimes  seem  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  or  more  towards.  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.  Architecturally,  the  links  appear  and  disappear,  and  this  gives  a  sense  of  being   and  not  being  wherein  the  actual  becomes  national.  In  the  mornings  and  evenings,  the  sun’s  golden  rays  are  reflected  in  the  glazed  windows,  and  the  long  corridors  with  main  central  court  surrounded  by  classroom  walls  give  a  feeling  of  being  in  a place  not  unknown  to  ones  inner  being.

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PROJECT DETAILS  Hussain –Doshi Gufa CEPT Campus 

Client, M.F.Hussain. Principal Architect , Balkrishna Doshi , M/s Stein Doshi & Bhalla Project Associate , S.L.Shah, Vishnu Joshi, v.v. Ranga Rao, Lise Trottier Structural Consultant , Vishnu Joshi Structure form Consultant, Ravindra  Vasavada Contractors,  Western India Engineers, Ahmedabad Site Area, 1000 m2 Built-up Area,  280   m2 Project Cost ,   Rs.  1.8  million (1993)

Essentially an art gallery exhibiting paintings and sculptures of noted artist M.F.Hussain, the Hussain Doshi Gufa in Ahmedabad is located on a campus of the Centre for Environmental Planning and Technology, while becoming a metaphor, balancing the adjunct science and architecture education institutions.

Sense of ablution, comfort conditions of the subterranean, painting abstractions reminiscent of palaeolithic art, and visual reminders of Buddhist caves from Ajanta and Ellora, all influenced the form imagery of a cave for the proposed museum.

As a human intervention and interpretation of a natural form the basic plan organization evolves out of the familiar module of an intersecting circles and ellipse. The spaces formed within are however contiguous and amorphous through inclined planes of domes, curvilinear planes of walls, undulating floors and non rectilinear leaning columns. A footprint of 280m2 nearly doubles its surface area for painting through convoluting planes. The shells, domes and skylight protrusion of various sizes and shapes float on a part buried space and eves gutters extending over ground further accentuate this feeling and anchor the object to the ground. Projecting skylights and skin cutout not only illuminate the spaces within but create mythic shafts and spots of light reminiscent of the galaxy and stars.

Buried spaces, earth mounds, raised volumes and china mosaic finish renders the architecture energy conscious, cutting down it’s energy intake, in an otherwise harsh hot dry climate. Material resources are further optimized through its shell like forms and ferrocement construction techniques. A simply 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 minimum, requiring only an inch thick ferrocement shell without any form work. The construction is carried out with simple hand tools and by semi and unskilled workers on site.

Computer aided designs executed by the tribal, amorphous forms out of basic geometric module; dome volumes relieving and exalting the centredness suggested by the circles in plan; and internal space division through “stone henge” like columns defied by their non vertical alignment and irregular forms are some of the inherent dualities and designed dichotomies of space making to offer a multiple dimensions of mystery and surprise. A sense of discovery synonymous to early caves.

Illusions emerging out of such dualities manifest a healthy dialogue between art and architecture is a setting for art or art is an embellishment of architecture. At Hussain- Doshi Gufa they become mutual references – one animating the other.