Brief About Ar.B.V.Doshi (Pitzker Winner) About,Achievements,Work

1. B.V.DOSHI Submitted by:
ARSH EMMANUEL LALL
STUDIO 3A ,TOD

2. In this dynamic
context , the
architecture
BALKRISHAN DOSHI
deploys the strengths
of tradition and
modernism in a
powerful combination
, infusing bold new
forms with an
intricate social ,
historica land cultural
awareness.
Space can be ‘modified according to the desire of the
perceiver’ and is never static .
A building can be transformed according to its functional
use.
His third principle is amplified by his own deep cultural
experience and the popular evolution of new institutions .
A fourth , more specific principle is to follow a ‘flexible
rather than rigid approach to structure’.
He believes symbolism.
As a sixth principle Doshi has advocated amorphous ,
rather than finite forms.
As an eighth and final principle , Doshi seeks timelessness
in his architecture much as Louis kahn did when describing
this quality in historical precedents as ‘open-endedness’ .
Foresight gas allowed his work to withstand changes
•Doshi was born in Pune on 26 Aug.1927
•Married to Kamalaparikh in 1955
• Has three children
•His family had been in the furniture business for two
generations
ACADEMIC QUALIFICATION AND HONORS
Doshi completed his studies from J.J.School of Arts , Mumbai
1976 : PADMASHREE National Award , GOVT. OF INDIA
1987 : Distinguished Professorship , School of
Architecture,CEPT Ahmedabad
His early association with two of the most influential
‘form-givers’ in modern architecture , Le Corbusier and
Louis Khan , has made an indelible impression on him.
Doshi’s work is a compelling mixture of the modern and
the traditional , containing the most fundamental
aspects of each , without being deflected by superficial
forms .
HIS LIFE
ABOUT

3. Sangathis the best known of all his works internationally.
Sangath, which means ‘moving together through participation ‘ in
Sanskrit, is a village like enclave of distinct rectangular volumes
aligned along a north-south axis inside a lush green compound on the
outskirts of Ahmedabad.
It serves as an architecture office, research
center,school,place of contemplation, and built
model of environmental consciousness
This cluster of rectangular units of various lengths is
arranged in four parallel ranks, with a deliberate gap
provided for an outdoor amphitheatre in their midst.

4. The golden section and square were used in
determining the plan and section, the satisfying
geometry of the platonic circle.
The vaults are primary architectural features and
impressions of the studio ensemble.
It is the essence of architecture, regardless of
cultural associations, and its strength defines Doshi
best.
The central court and amphitheatre at Sangath
is used for lectures and discussions under the
green canopy that surrounds and shades it.
 A diagonal pathway, leading from the
forecourt to the main entry and reception area,
first lead left to give a perspective view of the
ensemble, a classical strategy, then returns to
the right past an outdoor amphitheatre, often
used for extempore.
 Water running through a wide trough spills off
the roof in a waterfall just behind the
amphitheatre seating.
The first two ranks of rectilinear forms of
Sangath on the west are dug into the earth as
physical protection against the severe summer
heat .The ranks rise up towards the east.

5. The Gufa , which is a collaborative effort
between Doshi and the Indian artist M.F.Husain ,
began as an art gallery for the exhibition of the
artist’s work .
It undeniably represents an anomaly in Doshi’s
oeuvre , a natural and free expressionistic essay that
differs completely from the rigorous order evident in
Doshi’s previous work .
The references for the gufa are elemental and
primeval : the cave , the circle , the mountain , the
breast , and historical precedents in India itself which
emerge from these universal prototypes , the
Buddhist stupa (memorial) and its appearance in the
cave monasteries of Karil and Ajanta in particular .
significance as both the tomb of Buddha and the
symbol of the pursuit of knowledge , one of his ‘four
noble truths’ .

6. PLANNING
Originally , stupa varied in shape from the prevalent
hemisphere to pyramids and cones and were often
‘covered from top to bottom with small triangular
recesses for oil amps , so the whole monument could
be illuminated and appeared as one huge radiating
dome of light’ .
The composition of the 25-millimeter shell is a
physical with this link , handmade from reinforcing
bars and mesh buttered with cement .
The main difference between the gufa and the stupa , of course ,
is that the 25-millimeter thin Ferro cement shell that has been
used as the structure of Doshi’s museum , as well as the sloping
columns that support it internally convent solid into hollow ,
extending the reference further to the Buddhist caves at Ajanta
and Ellora .
The concrete was then covered with compacted layer of
vermiculite followed by a mosaic of pieces of broken china.
The use of coating , as well as depressing the gallery more then a
meter into the ground , is an affective insulating strategy and the
white tiles also reflect the suns rays , helping to keep the interior
cool