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B V DOSHI
AR503 Contemporary Architecture
Architecture Style
5 IIM, Bangalore
Balkrishna Vithaldas Doshi
Awards:
Associate Member, Royal Institute of British Ar., 1954
Fellowship, Graham Foundation, 1958
Honorary Fellow, American Institute of Ar., 1971
Fellow, Indian Institute of Architects, 1971
Padma Shri Award, Government of India, 1976
Pritzker Prize, 7 March 2018
6 Aranya Housing,
Indore
An architect, urban planner, and educator for 70 years.
NATIONALITY INDIAN
DATE OF BIRTH AUGUST 26, 1927
PLACE OF BIRTH PUNE, INDIA
PROFESSION ARCHITECT,
EDUCATOR AND
ACADEMECIAN
• 90-year-old Balakrishna Doshi made the
whole nation proud by bringing home
the Pritzker Prize, Nobel equivalent in the
field of architecture.
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INTRODUCTION
Architecture Style
5 IIM, Bangalore
6 Aranya Housing,
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• Born in Pune, India in 1927.
• Bachelors from J. J. School of Art,
Bombay in 1950.
• He worked for four years with Le
Corbusier as senior designer (1951-54)
in Paris.
• In 1956 he established a private
practice in Vastu-Shilpa, Ahmedabad
and in 1962 he established the Vastu-
Shilpa Foundation for Environmental
Design.
• He has worked in centre for
Environmental Planning and Technology
(CEPT, AHMEDABAD) and Kanoria
Centre for Arts, Ahmedabad.
• He was the founder member of Visual
Arts Centre, Ahmedabad.
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INTRODUCTION
Architecture Style
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• Doshi worked closely with Louis khan and Anant raje, when Kahn designed the
campus of the Indian Institute of Management.
• He was presented in 1995, Aga Khan Award for Architecture, for the Aranya
Community Housing in Indore, India.
• Over the years, he developed his own language of architecture, forging design
sensibilities that were inherent to India’sclimate and conditions. Take any of his projects
IIM Bangalore, L D Institute of Indology, CEPT Campus, his own residence.
• His environmental and urban concerns, and his ability to adapt modern architecture
to an Indian context makes his work one of the most important models for modern
Indian architecture.
• The relevancy of his environmental and urban concerns make him unique as both a
thinker and teacher.
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INTRODUCTION
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• Architectural scale and massing, as well as a clear
sense of space and community mark most of his
work.
• Doshi an educator and Institution builder. Institutions,
which have own culture.
• He has been the first founder Director of the School of
Architecture, Ahmedabad (1962–72),
• the School of Planning (1972–79),
• first founder Dean of The Centre for Environmental
Planning and Technology (1972–81),
• founder member of the Visual Arts Centre,
Ahmedabad and
• first founder Director of the Kanoria Centre for Arts,
Ahmedabad.
• Establishing the Vastu-Shilpa Foundation for Studies
and Research in Environmental Design.
IIM
Bangalore
Doshi
Gufa
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PRINCIPLES
Architecture Style
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Doshi has categorized 8 principles in traditional architecture which he
believes would greatly enrich contemporary practice.
• MYTHICAL SENSE
• VASTU-PURUSHA MANDALA
• TRANSFORMATION OF ENERGY
• HUMAN INSTITUTIONS
• SYMBOLISM
• FLEXIBLE APPROACH
• AMORPHOUS FORMS
• TIMELESSNESS
MYTHICAL SENSE
• Doshi believed in the mythical sense of space.
• According to him space can be modified according to the desire of the perceiver
and is never static.
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PRINCIPLES
Architecture Style
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6 Aranya Housing,
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VASTU PURUSHA MANDALA
• Toensure minimum standards of health and hygiene in each project
• Vaastu' (environment), “Purusha' (energy) and Mandala ( astrology) to assist
builders in determining proper orientation.
TRANSFORMATION OF ENERGY
• Energy between the building and people using the space.
• The natural energy produced through sun radiations or natural elements,
surroundings, species around it etc.
• Doshi used this by providing openness in buildings through colonnades, pergolas,
porticos , sky lights etc.
• This beliefs is amplified by his own deep cultural experienced and popular evolution
of new instituions the name of his office itself, the vaastu -shilpa foundation, is a
ringing affirmation of doshi's faith in the dialouge between people and
architecture of which he speaks.
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PRINCIPLES
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FLEXIBLE APPROACH
• He believed in following the ' flexible rather than rigid approached to the structure '
• He said that this was how transformation of space from mere static container; to a
place where people actually feel a psychic interchange is best achieved .
SYMBOLISM
• His idea of flexibility lead him to the principle of symbolism.
• He believes that it can only be accommodate by mixture of structural systems
AMORPHOUS FORMS
• He advocates 'amorphous rather than finite forms' used with multiple
structural systems to let a meandering experience. eg: Aranya housing
TIMELESSNESS
• Doshi seeks "timelessness" in his architecture much as Louis Kahn did when
describing his quality in historical precedents as open endedness.
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PHILOSOPHY
Architecture Style
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• Doshi conceived building as not a container of specific activities but as a place to
be inhabited“.
• His work has consistently revolved around the interrelationship of indoor and
outdoor space, an appropriate and honest approach to materials , proper
climatic response and observance of hierarchy and order
• He believed that the success of any project depends on effective construction,
planning and co-ordination.
General philosophy towards design
• Doshi’s architecture explores the relationships between the fundamental needs of
human life, connectivity to self and culture, and respect for social traditions, with
a response that is grounded in context and exhibiting a localized Modernist
approach.
• Doshi made an intensive and sustained study of traditional Indian philosophy and
ancient architectural texts, while maintaining a deep commitment to modernism.
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ACHIEVEMENTS
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LIFETIME ACHIEVEMENTS
• 1992 - Special Award for Excellence in Architecture by
Journal of the Indian Institute of Architects
• 1995 - Aga Khan Award for Architecture
• Member of the 1998 Award Steering
Committee, Aga Khan For Architecture
• 1985-59 - International Fellow of the Graham
Foundation for Advanced Studies in the Fine Arts,
Chicago, U.S.A.
• 1971 - Hon. Fellow, American Institute of Architects,
U.S.A.
• 1988 - Chicago Architecture Award by the
Illinois Council/ American Institute of Architects
and Architectural Record, U.S.A.
• 1988 - Great Gold Medal for Architecture, Academy of
Architecture, Paris
• 1988 - Gold Medal instituted by Indian Institute of
Architects
• 2018- PRITZKER LAURETTE
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ACHIEVEMENTS
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5 IIM, Bangalore
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Indore My works are an extension of my life, philosophy and
dreams trying to create a treasury of the architectural
spirit. I owe this prestigious prize (PRITZKER PRIZE) to
my guru, Le Corbusier. His teachings led me to question
identity and compelled me to discover new regionally
adopted contemporary expression for a sustainable
holistic habitat,” says Doshi, “I believe Life celebrates
when lifestyle and architecture fuse.'”
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ARCHITECTURE STYLE
Architecture Style
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• 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 homogeneous mass will have
adequate details, textures and surface
modulations
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ARCHITECTURE STYLE
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• 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 an
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.
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IIM, BANGALORE
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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 ‘global’ 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.
Garden campus in garden city Inspired from lush green Lal Bagh and corridor and courtyard of Madurai temple
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IIM, BANGALORE
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• The principles from the Mughal city
of Fatehpur Sikri, built by Emperor
Akbar in the sixteenth century.
• Apart from the organizational
principles such as interlocking
courts, pavilions, terraced gardens
and connections, the IIM-B also
employs more subtle lessons about
materials and consistency of details
from Fatehpur Sikri.
• 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.
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IIM, BANGALORE
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Inspired from Madurai temple complex and Fatehpur Sikhri , Loose grid concept has been applied for easy
addition and variety of spaces.
Date of establishment-1971
Location- site is in hilly area in
south
Bangalore on Banerghatta.
Context- urban setting ,
linked bya highway.
Site area- 102 acres
Topography- undulating
terrain with gentle slope
Vegetation- lush green belt of
tropical rain forest, beautifully
landscaped and maintained.
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IIM, BANGALORE
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The campus was built in many phases, in 20 years. Stone and concrete construction was new to builders of
Bangalore at that time. Administration block was first building in the campus.
Facilities :
• Schools
• Kitchen And
• DiningBlock
• Faculty Housing
• Staff Housing
• Married Student Housing
• Community Facilities
• Parking Dormitories
• Transit Housing
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• The architect, B V Doshi, achieved this vision by linking a network of corridors, courtyards and external
spaces allowing for future extensions.
• Campus along partly open and partly closed corridors .
• A campus within garden.
• When one walks along the campus it gives a feeling that he or
she is partly inside and outside
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IIM, BANGALORE
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LIGHTING
• My lighting is different from that of Corbusier and Louis khan. Contrast IIM Banglore with that of Kahn at
Ahmedabed. IIM B is more like walking through a garden.”
• The IIM Campus in Bengaluru reflects the sense of scale, proportion and light that’s trademark Doshi.
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IIM, BANGALORE
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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.
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IIM, BANGALORE
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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.Dodhi’s architecture.
• A perfect blend of modern and traditional architectural style.
• 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.
• 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.
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• 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
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• Three-storied hallways, open quadrangles with ample area for greenery, a rough texture
finish are the unique features of this ‘local’ design.
• 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.
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ARANYA HOUSING, INDORE
Architecture Style
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7 Husain- Doshi
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• Client: INDORE DEVELOPMENT AUTHORITY
• Architect: B.V. DOSHI
• Total Built up are: 100000sqm.
• Project Cost: 100million
Situated 6 km from Indore, Madhya Pradesh is a housing project for the middle and lower income
groups of Indian population. Designed by architect B. V. Doshi of Vastu-Shilp Foundation, ‘Aranya’, was
awarded the Aga Khan Award for Architecture in 1995.
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ARANYA HOUSING, INDORE
Architecture Style
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• Toimprove and upgrade the existing slum area.
• To provide new serviced sites for development instead of building complete houses.
• Toprovide for 6,500 residential plots ranging in size from 35m2 for EWS.
• The idea was to mix some middle income plots with EWS plots to use the profits to raise capital
towards development of local trades.
• Funding –100% public sources.
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ARANYA HOUSING, INDORE
Architecture Style
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6 Aranya Housing,
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The general objectives or ARANYA were:
• Tocreate a township where a sense of continuity of fundamental values of security exist and to
plan a good living environment.
• To achieve a settlement character by establishing a harmony between the built environment and
the people.
• To create a balanced community of various socio-economic groups encouraging co- operation,
fraternity , tolerance and self help generated through a physical planning process.
• To evolve a framework within design where incremental physical development can take place
within legal, economical and organizational framework.
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ARANYA HOUSING, INDORE
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6 Aranya Housing,
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7 Husain- Doshi
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Ahemadabad.
1. Plan prepared by Indore Development Authority by which
shows a typical rubber stamping attitude without any
concern for open space hierarchy , circulation system ,
climatic orientation or the built form. Basic grid pattern
envisaged for simple layout.
2. Initial stage proposed plan with distributed open spaces and
street hierarchies. Twists and staggers introduced to
discourage through traffic.
3. Later stage of development with rectified orientation to
minimize the heat gain and increase natural shading. Clear
hierarchy to be obtained.
4. Proposed master plan with interlink built form, spaces,
variations, network distributed road hierarchies and climate
friendly orientations.
HOUSING PLANNING
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ARANYA HOUSING, INDORE
Architecture Style
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6 Aranya Housing,
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Ahemadabad.
ANALYSIS
1. Houses have been clustered in groups of ten,
separated by open spaces.
2. Each sector with main pedestrian street.
3. Otta, a transitional zone , is provided in front
of each house which is located between
private and public space .
4. Ottas are provided as a meeting place or
interactive place.
5. A septic tank was provided for two clusters.
The town centre in the middle part of the spine
consisted of four clusters of shopping, residential
and office complexes.
•The master plan was divided into six sectors
with a central spine area of commercial and
institutional land use.
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ANALYSIS
1. The high income group (HIG 9%), is along
the periphery of the national highway
and part on the south east border of the
arterial road in the south.
2. The middle income group (MIG 14 %) is
planned along the periphery of arterial
roads on north – west side and part on
the south arterial road along the part of
the spine.
3. The lower income group (LIG 11%)and
the economically weaker sector (EWS
65%) are located in the middle of all six
sectors.
Space Use
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BASIC PLAN OF A HOUSE
• A house plan included two rooms
and a living area followed by a
kitchen .
• Lavatory was constructed
between the front extension and
the multi use courtyard at the
back.
• Most houses were provided with
an additional access at the back ,
which allowed for keeping
animals, a vehicle or even renting
out part of the house to provide
income.
• For interaction of families an otta
(an important feature of the
Indian home) was provided
between the service spaces and
the cul-de-sac
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CONCLUSION
1. Community facilities grouped in local sub centres
2. Formal organisation
3. Community facilities distributed evenly
4. Informality created , Accessibility improved
5. Lower level Community facilities organised in
green spaces .
6. The road network, designed according to the
topography, allowed for smooth gravitational flow
of water.
1.Locally available building materials used for
low cost housing.
2.Interactive spaces are created e.g. ottas and
pedestrians.
3.No parking space provided due to majority
consists of EWS/LIG groups.
4.Extensions such as balconies, open stairs and
porches acts as both indoor and outdoor
characters.
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HUSAIN – DOSHI GUFA
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7 Husain- Doshi
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Amdavad ni Gufa
AHMEDABAD , (1992-95)
• The Gufa is a collaborative effort b/w B.V Doshi
and the Indian artist M.F (Maqbul Fida) husain;
began as an Art Gallery for the Exhibition of
artists work.
• It is located in the campus, of the Centre for
environment planning & technology (CEPT) in
Ahmedabad.
• Designer: Ar.B.V. Doshi
• Year 1995
• Site Area: 1000sq.mt
• Built up Area- 280 sq.mt.
• Building : Public museum
• Construction System : Shell Structure
• Architectural Style: Modern , Blobitecture
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HUSAIN – DOSHI GUFA
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Amdavad ni Gufa
AHMEDABAD , (1992-95)
• This is a combination of high technology and traditional techniques that also describes the essential
timelessness of technology itself.
• It represents a unique juxtaposition of architecture and art
• 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 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.
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
gallery for exhibitions.
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HUSAIN – DOSHI GUFA
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6 Aranya Housing,
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7 Husain- Doshi
Gufa,
Ahemadabad.
Amdavad ni Gufa
AHMEDABAD , (1992-95)
• Hussain-Doshi Gufa is a unique project
blending state of art engineering know
how with very primitive construction skills
of execution.
• The interior is divided by tree trunks or
columns similar to those found at
Stonehenge.
• Computer-assisted planning facilities
were used to resolve the structure's
unorthodox design.
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.
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HUSAIN – DOSHI GUFA
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Amdavad ni Gufa
AHMEDABAD , (1992-95)
EXTERIOR DETAIL OF WIRE
FRAME.
EXTERIOR VIEWS SHOWING
DOMICAL CAVES
INTERIOR VIEWS OF THE HUSSAIN DOSHI GUFA SHOWING
SUPPORTIVE COLUMNS, LIGHT SHAFT AND SCULPTURES
OF GUFA
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HUSAIN – DOSHI GUFA
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7 Husain- Doshi
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Ahemadabad.
Amdavad ni Gufa
AHMEDABAD , (1992-95)
•A simple floor of wire mesh and mortar was used instead of a
traditional foundation.
•All the structure's components are self-supporting.
•Ferro cement, only one inch thick, was used for the undulating
walls and domes in order to reduce load.
•The domes themselves are supported by irregularly shaped
inclined columns, similar to those found in natural caves.
•The cave was constructed by unskilled tribal labours 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.
43. 1
4
2
3
Contents
Introduction
Philosophy and
Principles
Achievements
HUSAIN – DOSHI GUFA
Architecture Style
5 IIM, Bangalore
6 Aranya Housing,
Indore
7 Husain- Doshi
Gufa,
Ahemadabad.
Amdavad ni Gufa
AHMEDABAD , (1992-95)
•Light arrives through snouts, creating spots of light on the floor
which move around as the day progresses, intended to create a
mystic atmosphere.
•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.
44. 1
4
2
3
Contents
Introduction
Philosophy and
Principles
Achievements
HUSAIN – DOSHI GUFA
Architecture Style
5 IIM, Bangalore
6 Aranya Housing,
Indore
7 Husain- Doshi
Gufa,
Ahemadabad.
Amdavad ni Gufa
AHMEDABAD , (1992-95)
• The central hall is supported by 2 rows of columns
which divide the interior in to a wider centre aisle &
2 side aisle.
• The columns have octagonal shafts wider at base &
tapered at capital.
MATERIAL
Ferro cement was used to create the undulating
walls and domes, which also helped in reducing
the total load of the structure
Waste tiles were used on top of the external
dome.
CERAMIC
RCC
45. 1
4
2
3
Contents
Introduction
Philosophy and
Principles
Achievements
HUSAIN – DOSHI GUFA
Architecture Style
5 IIM, Bangalore
6 Aranya Housing,
Indore
7 Husain- Doshi
Gufa,
Ahemadabad.
Hussain used the gallery's
walls as a canvas, painting
on them with bold strokes
and bright colors.
The figures were designed to
resemble ancient cave paintings
in a modern environment.