sangath,
TRANSCRIPT
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
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.
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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 !
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.
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.