Balkrishna Vithaldas Doshi: Presented By: Ritika Dhamija Sakshi Jindal Sanjana Malhotra

BALKRISHNA VITHALDAS DOSHI

PRESENTED BY :
RITIKA DHAMIJA
SAKSHI JINDAL
SANJANA MALHOTRA

ARCHITECTURAL DESIGN THEORY - IV

INTRODUCTION
Full Name : Balkrishna

Vithaldas Doshi
Birth Date : 26 August 1927
Place Of Birth : Pune

Studied at JJ SCHOOL OF
ARCHITECTURE, Mumbai
1951-54 worked as senior

designer on LE CORBUSIER’S
project in Chandigarh
1956 established private practice in

VASTU SHILPA, Ahmadabad.
1962 VASTU SHILPA

FOUNDATION FOR
ENVIRONMENT DESIGN which is
internationally renowned today.
Since 1977 he is working in
partnership with BHALLA and
STEIN.
He is considered one of the three

pillars of modern Indian
architecture alongside Ar. Achyut
Kanvinde and Ar. Charles Correa.

ACHIEVEMENTS
Founder director of Vastu Shilpa Foundation for
study and research in environmental design,
Ahmadabad.
Member of the Jury for several international and

national competitions including the Indira Gandhi
National Centre for Arts and Aga Khan Award for
Architecture.
He has been the first founder Director of School

of Architecture, Ahmadabad (1962-72)
first founder Director of School of Planning
(1972-79)
first founder Dean of Centre for Environmental

Planning and Technology (1972-81), founder
member of Visual Arts Centre, Ahmadabad.
first founder Director of Kanoria Centre for Arts,

Ahmadabad

AWARDS
1978 PADMA SHREE ,GOVT OF INDIA.

1988 MB ACHIEVER MEMORIAL GOLD
MEDALIST,IIA.
1988 VISHVA GURJARI AWARD,GUJARAT.
1990 HONOURABLE DOCTORATE,
UNIVERSTY OF PENNSYLVANIA, USA.
1993 J.K. ARCHITECT OF THE YEAR.
1998 AGA KHAN AWARD FOR ARYANA
HOUSING.
1997 NAGAR BHUSHAN,AHMEDABAD
MUNICIPAL CO-ORPORATION,AMD.

PRINCIPLES
"I learned from Le Corbusier to observe
and react to climate, to tradition, to
function, to structure, to economy, and
to the landscape. To an extent, I also
understand how to build buildings and
create spaces and forms. However, I
have in the last two decades, gradually
discovered that the buildings that I have
designed seems somewhat foreign and
out of milieu; they do not appear to
have their roots in the soil. With the
experience of my work over the years
and my own observation, I am trying to
understand a little about my people,
their traditions, and social customs,
and their philosophy of life.“
- BV DOSHI
PRINCIPLES
•Architecture for place and people
•Architecture of the unbuilt (energizing

voids)
•The order of heterogeneous homogeneity
•Myth, form and Imagery; Perception
•Built in flexibility and open endedness in

design
•Resource conservation
•Encouraging interaction through built form
•Consideration while designing projects

•Architecture for place
B.V.Doshi believes that Architecture of a place should and people
have its roots in that place.
•Architecture of the unbuilt
It should out appear out of the place. (energizing voids)
It has to be according to the people using it. •The order of

heterogeneous
homogeneity
For example:
•Myth, form and Imagery;
It is designed for Perception
the place like Delhi
to beat its heat •Built in flexibility and open
and its endedness in design
architecture
doesn't seem to be •Resource conservation
out of the place.
•Encouraging interaction
It is a Fashion design institute and has through built form
been designed keeping in mind inside
outside relationship in studios as per •Consideration while
requirement of an arts student. NIFT, Delhi designing projects
•Architecture for place and
B.V Doshi believes that unbuilt area of a building has people
its own importance other that just beings an open
space. •Architecture of the unbuilt
(energizing voids)
This at times creates a beautiful play of light and
shadow and acts as buffer space for climatic •The order of
conditions. heterogeneous
homogeneity
For example:
Voids •Myth, form and Imagery;
Perception
•Built in flexibility and open

endedness in design
through built form
IIM, •Consideration while

Ahembadad designing projects
people
B.V Doshi building `s external finish expresses one
homogenous mass but also has all the adequate •Architecture of the unbuilt
details, textures and surface modulations. (energizing voids)
•The order of
For example: heterogeneous
homogeneity

Perception

endedness in design
through built form
•Consideration while
NIFT, Delhi designing projects
Imagination, beliefs and Perception together gives a people
different and new contribution to the surface of earth.
Difference never takes away its roots from the place a (energizing voids)
building is built.
•The order of
For example: heterogeneous
homogeneity
•Myth, form and

Imagery; Perception

endedness in design
through built form
Hussain Doshi Gufa, Ahemdabad designing projects
people
In his design, the space forms a flexible relation
with the environment. •Architecture of the unbuilt
(energizing voids)
They are open endedness in character means •The order of
they are open for further modifications. heterogeneous
homogeneity
For example:
Perception
This built •Built in flexibility and open

area was endedness in design
added
latter to •Resource conservation
the main
complex •Encouraging interaction
through built form
Sangath, Ahemdabad designing projects
B.V Doshi always take care of the climate of a place people
for designing a building so as to reduce the
exploitation done to the environment. •Architecture of the unbuilt
(energizing voids)
He also says that a building should speak its type and
culture of the place. •The order of
heterogeneous
For example: homogeneity

Perception

endedness in design
Sangath, Ahemdabad
through built form
C.E.P.T., Ahemdabad designing projects
WORKS
HIS FEW WORKS ARE:
C.E.P.T , AHMEDABAD (1966-68)

IIM, BANGLORE (1977-85)
MADHYA PRADESH ELECTRICITY
BOARD,JABALPUR (1979-87)
SANGATH,AHMEDABAD (1979-81)
ARYANA LOW COST HOUSING,INDORE
(1983-86)
HUSSAIN DOSHI GUFA,AHMEDABAD
(1992-95)
NATIONAL INSTITUTE OF FASHION
TECHNOLOGY,DELHI (1997)
BHARAT DIAMOND BOURSE, MUMBAI
(1998)

The Centre for
Environmental
Planning &
Technology
(C.E.P.T)

The campus is located in the heart of the Ahmadabad city, in the university
area and has been designed by Doshi himself. Doshi and his contemporaries
believe that a student of architecture must be surrounded by beauty and art,
so that he/she develops into a well rounded creative person, ‘sensitive to the
emotional, spiritual, cultural and aesthetic dimensions’.

The entry to the complex is
through a long axis which ends up
in facing a blank wall. One is
forced to turn, go down a flight of
brick paved steps and turn then
again to enter the main wide
flight of steps leading up to the
library. This forms the main axis,
which runs along the side of the
library block with steps rising up
ever so slowly towards the
framed entrance to the library.
On the right side is the double
storeyed studio block
perpendicular to the axis of the
library. One gets glimpses of a
long framed visual axis running
through the open ground floor of
the studio block. The levels are
articulated to create subtle
demarcation of spaces.

FRONT ELEVATION
SIDE ELEVATION
Aligned along people
north-south
axis •Architecture of the unbuilt
(energizing voids)
•The order of
heterogeneous
homogeneity

Studios on the North according to people
Perception
i.e. students of architecture using it
Doshi and his contemporaries endedness in design
believe that a student of
architecture must be •Resource conservation
surrounded by beauty and art,
so that he/she develops into a •Encouraging interaction
well rounded creative person, through built form
‘sensitive to the emotional,
spiritual, cultural and aesthetic •Consideration while
dimensions’. designing projects
people
The buildings
are organised as •Architecture of the
double storeyed unbuilt (energizing voids)
linear masses,
open from both •The order of
sides, letting in heterogeneous
plenty of light homogeneity
and ventilation
into the studios. •Myth, form and Imagery;
In addition, Energizing Perception
there are voids
inclined •Built in flexibility and open
skylights on top use of exposed endedness in design
of the studios, brick with
perpetually concrete, •Resource conservation
letting in natural emphasising the
light into the slabs and the •Encouraging interaction
spaces. beams to create a through built form
natural coarse
texture . •Consideration while
designing projects
Built and open spaces people
forming a harmonious
whole with nature, •Architecture of the unbuilt
interspersed with (energizing voids)
sculptures, installations
and other art works. •The order of
heterogeneous
homogeneity

Perception
•Built in flexibility and

open endedness in design
An open ending
space is very
common in
Doshi’s design
through built form
for further
modification in
future
designing projects
Open space
people
provided in studios
and complete
north light reduces
(energizing voids)
the consumption
of resources by
•The order of
CEPT for life time.
heterogeneous
homogeneity

Greenary reduces the
Perception
temperature of a place.
endedness in design
Interaction through •Resource conservation

built form ::
entrances, sitting •Encouraging interaction
area etc. are very through built form
prominent and
separable •Consideration while
designing projects
INDIAN INSTITUE OF
MANAGEMENT (IIM)

Completed in 1983, the original stone
architecture is now complemented by
the greenery, just as B V Doshi had
intended. Bangalore's climate is very
comfortable and the city is full of lush
green lawns and trees. Therefore, in
this project, 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.

The main grouping of
campus contains
offices, class room,
labs and libraries that
are arranged as a
datum in a ladder like
plan along longitudnal
axis, with student
dormitories a short
distance away,
organized in
interlocking squares at
an angle to this axis.

Front elevation
Side elevation

Sections
The design includes long, and unusually high
(three storied) corridors. These corridors are
sometimes 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 forward towards
one's destination or more. Access to
classrooms and administrative offices was
provided through these links as well, to
generate constant activity.

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.

MADHYA PRADESH ELECTRICITY BOARD
M.P.E.B ( 1979 – 1989 )
Jabalpur, Madhya Pradesh.

• Electricity Companies have historically been notable markers in national advancement
toward industrialization. This building is for Madhya Pradesh Electricity Board.
•B.V Doshi`s iconic symbol of development at jabalpur is an administrative centre, rather

than a factory.
ENTRANCE
•Laid out over a long site.
•The level of the single building

changes often,reflecting the
contours of the hilly area.
•B.V Doshi has chosen an octagon as the basic

building block of the complex.
•This system, which has resulted in sixteen

interlocking cells distributed across hilly, rocky
site along east- west axis
people
An iconic symbol in jabalpur.
The MPEB project was designed as a city in miniature, •Architecture of the unbuilt
reflecting the integration of social and industrail (energizing voids)
spheres.
•The order of
heterogeneous
homogeneity

Perception

endedness in design
through built form
designing projects
It has internal coutryards, balconies,shaded windows, people
misting fountains, shaded walkways and courts.
•Architecture of the
unbuilt (energizing voids)
•The order of
voids heterogeneous
homogeneity

Perception

endedness in design
Cube forms
makes it
homogeneous.
through built form
designing projects
people
Site plan, showing interlocking components. The
buildings are integrated with the rocky surroundings. •Architecture of the unbuilt
(energizing voids)
•The order of
heterogeneous
homogeneity

Perception

through built form
ROCKY SURROUNDINGS designing projects
SANGATH
Sangath (1979-
1981)Thaltej Road,
Ahmedabad
Site Area: 2346 m2
Total Built-up Area: 585 m2
Construction system :
concrete
Style : modern

“SANGATH” means “moving together through participation "and the
place is more than just an architectural office.
It is basically the cluster of rectangular units of various lengths which are

arranged in four parallel ranks, with a deliberate gap provided for an out
door amphitheatre in their midst. There is water running through a wide
trough which spills off the roof in a waterfall just behind the
amphitheatre seating

people
It is a village-like enclave of distinct rectangular
volumes •Architecture of the unbuilt
These vaulted roofs stands elegantly holding (energizing voids)
the dignity of Indian temples and pride of
being of the place, that is only locally available •The order of
material and tradition was used for its heterogeneous
construction. homogeneity

Perception

endedness in design
Once one is about to reach the building, in the
left there is a bell is hung on a tree to maintain •Encouraging interaction
the sacredness of the place, as for Doshi Sir it through built form
is like a Temple
designing projects
Energizing Voids •Architecture for place and
people
•The order of
heterogeneous
homogeneity

Perception

endedness in design
through built form
Homogenous and heterogenous •Consideration while

combination designing projects
people

(energizing voids)
Imaginary form
•The order of
heterogeneous
homogeneity

Perception

This built
area was •Resource conservation
added
latter to •Encouraging interaction
the main through built form
complex
designing projects
The vaults of the ranks
people
are made of
sandwiched layer of
ferrocement and
(energizing voids)
ceramic ‘fuses’, or
strands of clay, which
•The order of
were pressed together
heterogeneous
to become the
homogeneity
formwork for a
concrete which was
applied on the top of it
Perception
with hands. The first two
rectangular •Built in flexibility and open
ranks are endedness in design
dug into the
earth as •Resource conservation
physical
protection •Encouraging interaction
against the through built form
sever
summer •Consideration while
heat. designing projects
ARANYA HOUSING INDORE
ARCHITECT :
Vastu-Shilpa Foundation.
Balkrishna V.Doshi
Ahemdabad,India.
CLIENT :
Indore Development
Authority
Indore,India.

• Aranya ( which means “forest” ) is a sites-and-services

township for 40,000 people in Indore, Madhya Pradesh State.
The Indore Development Authority (IDA) developed the
settlement, with the World Bank and the Housing and Urban
Development Corporation (HUDCO).
• Aranya has demonstrated an innovative approach to

integrated development creating wholistic environment
rooted in socio culture and economic condition of the place
and sympathetic to the way of life of the urban poor.
• A rectilinear site measuring is designed on the ides of site and

services basis, to accommodate over 6500 families, largely
from the economically weaker section.

INITIAL SKETCHES
Sketches by B.V Doshi of

Aranya floor plans and
socio – economic
culture.
HIERARCHY
AND
DISTRIBUTION

• B.V Doshi tried to create a township where a sense of
continuity and fundamental values of security exist in and people
a good living environment.
• And also to achieve a community character by
(energizing voids)
establishing harmony between the built environment
and people.
•The order of
heterogeneous
homogeneity

Perception

endedness in design
through built form
A typical interior view displaying local style •Consideration while

designing projects
• Small open spaces play a vital role. Such places are
people
designed for the use of small temple, festival
gathering and resting platform etc.
•The order of
heterogeneous
homogeneity

Perception

endedness in design
through built form
designing projects
The basic framework allows buildings to be extended in and people
a legal , economical and planned way.
Terraces and balconies – open or sheltered ,and at •Architecture of the unbuilt
different heights – allow variation within the broad (energizing voids)
scheme.
•The order of
heterogeneous
homogeneity

Perception

endedness in design
through built form
designing projects
•A kit of meaningful •Architecture for place and
building elements is people
developed. Form variations
on a standardized plan is •Architecture of the unbuilt
achieved through (energizing voids)
permutation combination
of various elements which •The order of
are to be exercised by
heterogeneous
users.
•This participatory process homogeneity
satisfies users priorities of
houseform while offering •Myth, form and Imagery;
pleasing varities to street Perception
façade.
The houses are also •Built in flexibility and open
divided on the basis of endedness in design
income.
through built form
designing projects
• B.V Doshi always designed so that there is
people
flexibility available in the design.
• So, that elements to be added for future use can
be added without any damage to the previous
(energizing voids)
design.
EMPTY SPACE
•The order of
heterogeneous
homogeneity

Perception

through built form
designing projects
•Promote person-to-person contact through cluster of human people
scale.
•Provide an individual character to each other.
•Create functionally sympathetic and aesthetically pleasing street
environments. (energizing voids)
•Provide spaces for social and religious activities.
•Promote income generation at cluster level. •The order of
•Provide all essential amenities and utilities to every street. heterogeneous
•Define clearly each cluster’s territory and the sense of entry. homogeneity
•Have regard for pedestrian.
•Optimise cluster patterns for economic activities and easy acess. •Myth, form and Imagery;
Perception

endedness in design
through built form
designing projects
HUSSAIN-DOSHI GUFFA
Hussain Doshi Gufa (1992-95),

AHMEDABAD
Bldg. Type : Cultural/Public
Bldg. Usage : Art Gallery
CLIENT : M F Hussain
SITE AREA :1000 Sq. m
BUILT-UP AREA :280 Sq. m

The stupa has communal rather than individual reference , and its rounded shape
suggests eternity and envelopment, focusing the attention of an entire society in its
group identity and structure.
It represents the unity of the community, aw well as the unity of body and mind that is
essential in the spiritual training of Buddhism .

people
In a country •Architecture of the unbuilt

like India (energizing voids)
where caves
and stupas are •The order of
so prominent heterogeneous
for religious homogeneity
things and are
considered •Myth, form and Imagery;
sacred. Perception

endedness in design
through built form
designing projects
Voids for people
daylight and
acts as •Architecture of the
energizing unbuilt (energizing voids)
voids again
creating play •The order of
of light and heterogeneous
shadow. homogeneity

Perception
Homogeneity is very much evident in use of material.
endedness in design
through built form
designing projects
people

(energizing voids)
•The order of
heterogeneous
homogeneity

Perception
Myth, Form and Imaginary when tried to perceived
together gives
Built area is always
provided with •Resource conservation
surrounded open
space for any case •Encouraging interaction
of further through built form
designing as design
can never end. •Consideration while
designing projects
Material used is same •Architecture for place and
as Sangath and is people
easily available
(energizing voids)
•The order of
heterogeneous
homogeneity
Open space and greenery reduces the •Myth, form and Imagery;
temperature of a place Perception

endedness in design
Interaction
through build
form by
emphasizing
entrance by
through built form
another
material
designing projects
NATIONAL INSTITUTE OF
FASHION TECHNOLOGY,DELHI
Animated by a series of high and lo
w platforms, soft and hard landscapin
g, a water channel and a mirror like
wall back drop, the space multiplies
as entrance court, central green, displ
ay platform, informal theatre and a v
isual focus.

Consisting of academic, administrative
and residential activities, the campus
reinterprets the traditional town squa
re through its inward looking building;
interactive corridors, bridges and ter
races; kund like steps; and communic
ative facades.

Entrance leads to steps which lead to two courts i.e informal amphitheatre and
saucer shaped rainwater store. Both are central and surrounded by glazed
corridors around them that allow clear view of galleries, classroom clusters,
adamin. block, libraries.

BHARAT DIAMOND BOURSE
Bharat Diamond Bourse

( 1998 )
Mumbai
site : 20 Acre.


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BALKRISHNA VITHALDAS DOSHI

ARCHITECTURAL DESIGN THEORY - IV

Full Name : Balkrishna

Birth Date : 26 August 1927

Place Of Birth : Pune

ARCHITECTURAL DESIGN THEORY - IV

1951-54 worked as senior

1956 established private practice in

1962 VASTU SHILPA

He is considered one of the three

ARCHITECTURAL DESIGN THEORY - IV

Member of the Jury for several international and

He has been the first founder Director of School

first founder Dean of Centre for Environmental

first founder Director of Kanoria Centre for Arts,

ARCHITECTURAL DESIGN THEORY - IV

1978 PADMA SHREE ,GOVT OF INDIA.

ARCHITECTURAL DESIGN THEORY - IV

•Architecture for place and people

•Architecture of the unbuilt (energizing

•The order of heterogeneous homogeneity

•Myth, form and Imagery; Perception

•Built in flexibility and open endedness in

•Encouraging interaction through built form

•Consideration while designing projects

ARCHITECTURAL DESIGN THEORY - IV

It has to be according to the people using it. •The order of

•Built in flexibility and open

IIM, •Consideration while

•Myth, form and Imagery;

•Built in flexibility and open

•Myth, form and

•Built in flexibility and open

This built •Built in flexibility and open

•Myth, form and Imagery;

•Built in flexibility and open

C.E.P.T , AHMEDABAD (1966-68)

ARCHITECTURAL DESIGN THEORY - IV

ARCHITECTURAL DESIGN THEORY - IV

ARCHITECTURAL DESIGN THEORY - IV

ARCHITECTURAL DESIGN THEORY - IV

•Myth, form and Imagery;

•Myth, form and Imagery;

•Built in flexibility and

•Myth, form and Imagery;

Interaction through •Resource conservation

ARCHITECTURAL DESIGN THEORY - IV

ARCHITECTURAL DESIGN THEORY - IV

ARCHITECTURAL DESIGN THEORY - IV

ARCHITECTURAL DESIGN THEORY - IV

ARCHITECTURAL DESIGN THEORY - IV

ARCHITECTURAL DESIGN THEORY - IV

M.P.E.B ( 1979 – 1989 )

Jabalpur, Madhya Pradesh.

ARCHITECTURAL DESIGN THEORY - IV

•B.V Doshi`s iconic symbol of development at jabalpur is an administrative centre, rather

•Laid out over a long site.

•The level of the single building