Rethinking modernism-

BALKRISHNA VITHALDAS DOSHI

THEORY OF ARCHITECTURE

TANYA KUKREJA BALKRISHNA VITHALDAS DOSHI

3RD YEAR THEORY OF ARCHITECTURE
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 01
BIO ---SKETCH---Z

02
PHILOSOPHIES

03
PRINCIPLES

04
PROMINENT WORKS

CONTENTS 05
INCIDENTS THAT INFLUENCED HIM

06
ANALYSIS OF HIS WORK WITH RESPECT
TO SOCIAL AND ECONOMIC
DEVELOPMENT

07
CONCLUSION

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 BIO-SKETCH
 Born in 1927 in Pune, Doshi grew up in a joint family.
 He did his bachelors from J. J. School of Art,
Bombay in 1950.
 After graduating from the JJ School in Bombay, Doshi
began his architectural career in Europe. He
apprenticed at Le Corbusier’s Paris atelier – a period
that shaped much of his philosophy and approach to
architecture.
 He later went on to oversee the construction of some
of his mentor’s pivotal projects in Chandigarh and
Ahmedabad.
 In 1956 he established a private practice in Vastu-
Shilpa, Ahmedabad and in 1962 he established the
Vastu-Shilpa Foundation for Environmental
Design.
 He also founded and designed the School of
Architecture and Planning in Ahmedabad.
 Doshi has worked in partnership as Stein, Doshi &
Bhalla since 1977.
 He won the most prestigious architecture award-
Pritzker Award in 2018.

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 PHILOSOPHIES
• Doshi’s states “I think architecture is a matter of transformation. Transformation of all
adverse situations into favourable conditions”. He states again about his work “For me
its search, only a search. Search for that unknown that I have not known, neither I
know how it will manifest .That’s actually essence of my work”. The statement clearly
indicates that he is searching something new always which is indication of creativity of an
architect.
• While talking about the transformation, he is clear about his objective of project and
transformation should take place to meetADD theseTEXT
objectives but he is flexible in his approach 1.
HERE
to reach to these objectives.
• The main key aspect of his philosophy remains the openness of ideas and he himself
I feel the charm of existence in this spot,
quotes the Gandhi “open the windows but see that your roof is not blown out, make sure that
which was created for the bliss of souls
the foundations are strong.” Doshi understand likethe importance of foundation and that is
mine.
nothing but looking back to traditional architecture of India and he is opening to new
window which are adaption with new technology, new living style etc, He has said “A deep
understanding of the past and a comfortable relationship with the present was the only way
that India could invent a sustainable future for herself, was his belief.”
• Doshi has many influences on his architecture and it could be observed in his projects but he
never copied any one, even not his Guru, Le Corbusier. He has said “Le Corbusier was like
a guru to me. He taught me to observe and react to climate, to tradition, to function, to 2.
structure, to economy, and to the landscape.”
• Doshi’s work reflects the interrelationship ADD of TEXTindoorHEREand outdoor spaces and he focus on
openness through colonnades, pergola, porticos, skylights etc. He does not only focus on
design but gives important to manyI other
feel the factors and in his
charm of existence own
in this spot,words “success of any
project depends on effective construction,
which wascontracting, logistic
created for the bliss planning and co-ordination”.
of souls
• His work can be identified in 3 distinct stages, beginning with modern influence in
like mine.
1960s and early 1970s, through the search for indigenous Indian models until the mid
1980s, evolving a current phase of almost primal mystic studies related to early
Buddhist, Hindu and Islamic models and a complete exclusion of western influences.
1. Example of 1st stage - Institute of Indology
2.Example of 2nd stage -Husain Doshi Gufa
3. Example of 3rd stage - Sangath. 3.
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 PRINCIPLES
 Doshi has categorized 8 principles in traditional architecture which he believes
would greatly enrich contemporary practice.
And he has used all these principles in his style of architecture which are clearly
noticeable
Interior of Husain Doshi Gufa
MYTHICAL SENSE
 Moving beyond historical examples of his own region, he first cites the ‘mythical sense’
space often evident in traditional architecture which is not simply confined to open or
closed areas Space can be modified according to the desire of the perceiver and is never
static.
• ‘Sangath’ presents one of the most uplifting progressions of interlocking volumes of
any of his projects, but almost at domestic level, and is the Husain Doshi Gufa,
whose residential component for the artist was adapted during construction
• The outdoor spaces like that of court and covered corridors of IIM, the outdoor Corridors of IIM
amphitheatre and water court protected by the office wings at Sangath are
appreciably treated.
TRANSFORMATION
 The kind of vibrancy found at Hindu temples as well as mosques like Ahmedabad jami
mosque, the transfer of energy that takes place between the walls, columns and spaces of
the temple and worshippers passing through them, either alone and passing through
groups has led Doshi to infer 2nd principle of ‘transformation’ between the building and
the people that transcends the functional use. More accurately described as a ‘dialogue’,
this transfer underscores the important position that people occupy in Doshi’s architecture. Sangath
• The way the colonnades, porticoes, pilasters, stairs and roof forms energize the edge
of open courts of an Indian temple in the same way he tried to energize the work
environment in his office Sangath by providing barrel vaults and taking the natural
light from above.
• The treatment of outdoor spaces like that of corridors of IIM, deep cuts in facade of
Gandhi labour institute and projecting beams in outer facade of School of
architecture, Ahmedabad reflects the transfer of energy from the structure to
surroundings and species around it.
IIM
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 HUMAN INSTITUTIONS
 Doshi has persisted a deep belief in importance of ‘human institutions’, just as
Louis Kahn did before him. This belief, which can be taken as third principle, is
amplified by his own deep cultural experience and popular evolution of new
institutions. The name of his office itself, the Vaastu-Shilpa foundation, is a
ringing affirmation of Doshi’s faith in the dialogue between people and
architecture of which he speaks and powers of dialogue to bring about old
institutions and create new ones. Fatehpur Sikri
It is no surprise that Doshi’s inspiration for creation of institutions begin
with the interaction he witnessed while visiting a temple , moving him to
recreate the pauses and transitional spaces which act as catalytic agents for
the built form and individual and community to enter into a dialogue and
this dialogue gives rise to community at large. Built form which generate
such holistic experiences finally become human institutions.
FLEXIBLE RATHER THAN RIGID APPROACH
 A fourth, more specific principle is to follow a ‘flexible rather than rigid
approach to structure’. This is how transformation of space from the mere static
container to a place where in which people actually feel a psychic interchange is Meenakshi temple,Madurai
best achieved.Here Doshi refers to the multiple mixed structural systems, of the
type found in Madurai temple and city of Fatehpur Sikri.
SYMBOLISM
 The notion of flexibility leads naturally to Doshi’s fifth principle, of incorporating
symbolism. He believes that such nuances can only be accommodated by mixture
of structural systems. Symbolically charged space must be designed as receptacle
for human activity
AMORPHOUS RATHER THAN FINITE FORMS
 To accommodate such nuances, as a sixth principle, Doshi also advocates
amorphous rather than finite forms used with multiple structural systems so LIC Housing
that ‘experience with them may be loose meandering and multiple’.
The massing that results from the mixture of trabeated and bearing wall
systems at Madurai temple is one of the compelling model for such forms
Such kind of contemporary work can be hypostyle entry at High court
Chandigarh.
Another example is that of LIC building in Ahmedabad and Aranya low
cost housing project at Indore.

Aranya
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 VAASTU-PURUSH MANDALA
 The structural and formal systems that Doshi has adopted led him to assimilate
the 7th principle of Vaastu-Purusha Mandala to ensure minimum standards of
health and hygiene in each project .
‘Vaastu’ (environment), ‘Purusha’ (energy) and ‘Mandala’ (astrology) are
combined in the diagram that has evolved to assist builders in
determining proper orientation. North relates to the lord of wealth, south
relates to the lord f death , east to the lord of light (the rising sun), and
west to the lord of wind. The centre is attributed to the lord of the
Cosmos . Following this chart has generally indicated a southwest
orientation , favoring he prevailing breeze and also has defined the use of
central courtyard.
TIMELESSNESS
 As an 8 and final principle, Doshi seeks timelessness in his architecture
th

much as Luis Kahn did when describing this quality in historical precedents as
‘open endedness’.

PROMINENT WORKS

SANGATH CEPT

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 HUSSAIN-DOSHI GUFA ARANYA LOW-COST HOUSING

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 INCIDENTS THAT INFLUENCED HIM
 Among the formative influences on his life and work, Doshi recalls two incidents from his childhood. On a visit to a brick
kiln, the sight of a woman carrying bricks on her head while descending to a tin-roof shed with four columns left such a
lasting impression on the young Doshi’s mind that he designed his residence around four columns.
 Another incident Doshi recalls a woman who came to his grandfather, a carpenter, and narrated an incident of domestic
abuse by her alcoholic husband. Doshi his friends visited the lady’s house in a slum and found that it utterly bare, with no
furniture at all. The memories of the two incidentsshaped his approach to affordable housing for the poor.
 Doshi’s early works were influenced by Le Corbusier as can be seen in the robust forms of concrete which he employed,
an embodiment of the ‘Brutalism’ or the use of raw concrete, popular from the 1950s through the 1970s. However, Doshi
took the language of his buildings beyond these early models. “Kahn used to say you talk to a brick and it talks back to
you. I would like to extend that by saying that I talk to nature and nature talks back to me”,says Doshi. “And nature is
silent…it does not need to shout to create a sense of activity.”

ANALYSIS OF HIS WORK WITH RESPECT TO SOCIAL AND

ECONOMIC DEVELOPMENT
 The most important of Doshi’s work has been in low-cost housing, his interest in which can be traced back to his
childhood. He undertook his first project for low-income housing in the 1950s. During an interview in 1954, Doshi
observed, “It seems I should take an oath and remember it for my lifetime: to provide the lowest class with the proper
dwelling.” This oath was reflected in Aranya and other low-cost housing projects he undertook over his career, including
the Co-Operative Middle-Income Housing in Ahmedabad in 1982, and several others. Housing is contextualised within
the broader ambit of private, public and semi-public spaces, and how these spaces relate to the broader city. The
conceptualisation and planning are testimony to Doshi’s vision of the importance of urban design and in understanding how
cities work.
 Doshi designed the Aranya Low Cost Housing project in Indore in 1989. Aranya currently accommodates a population
exceeding 80,000 in 6,500 residences, ranging from single room homes to spacious dwellings. It integrates low-income
and middle-class housing through a system of houses, bright spacious courtyards and a network of internal
pathways. The fluid contours and transitional spaces between living and community spaces reflect the Indian ethos
of continuity
TANYA between living and community
KUKREJA spaces and nature.
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3RD YEAR THEORY OF ARCHITECTURE
 Doshi’s work reflects an acute awareness of the context in which his buildings are located – a principle often overlooked in
the design of low-income affordable housing. His designs are cognitive of the social, environmental and economic
dimensions – as a result, his architecture is informed by the imperative of sustainability. The use of patios, passages
connecting buildings and covered walkways offering respite from the elements are reflected in the designs of the School of
Architecture (1966), now a part of the CEPT that he founded, and the IIM Bangalore (1992); Doshi’s work creates spaces
that provide relief from the harsh sun, draw upon breezes and provide a sense of continuity between the buildings and
surrounding nature.
 In recognition of this approach, the award citation observed that, “Over the years, Balkrishna Doshi has always created an
architecture that is serious, never flashy or a follower of trends. With a deep sense of responsibility and a desire to
contribute to his country and its people through high quality, authentic architecture, he has created projects for public
administrations and utilities, educational and cultural institutions, and residences for private clients, among others.”
 An LIC housing project in Ahmedabad that Doshi has built gives a sense of community living in the middle of the
hustle bustle and high-rise buildings in a posh area of the city. The leitmotif running through Doshi’s career is
sustainability and recognition of the human development aspect.
HE WROTE THE JOURNEY OF HIS LIFE IN HIS AUTO-BIOGRAPHY-PATHS UNCHARTED.
 “Remember, without dark night, there can never be sunrise, don’t even think of only
sunrise and smile or thinkof only the darkest night and imagine death.”
The dark and the light cannot exist without each other. Here he talks about accepting nature and
to understand theinterconnectedness between different events and happenings in life. Our
journey would always have both the flavours - the good andthe bad, the beautiful and the ugly,
smooth and a bumpy ride. However, the darkness doesn’t prevail for eternity. Change is the only
constant.
CONCLUSION
B.V.Doshi has worked with two great Masters Architect of the world Louis I Khan and Le
Corbusier and it is very difficult to come out from the shadow of such Master architect but
still Doshi has tried to create his originality in architecture by using the principles of
ancient architecture along with modernism learned by these two Master architects. He has
whole heartedly accepted the influence of both architects.
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