Architect B.V Doshi’s 97th birth anniversary

Villa Shodhan

Built-in 1955, it was originally designed as a residence for Surottam Hutheesing, but when the construction plans were complete, he sold them to fellow mill owner Shyamubhai Shodhan. The three-storeyed villa with the raw concrete and wood framework, marks an important departure in Le Corbusier’s style with the addition of nature into the structure. What makes it truly one of a kind is its structural geometry, countered by a roof parasol with an oval cutout, terrace garden and undulating landscaping of the grounds – a reverse on Le Corbusier’s theory of a city house on pilotis or stilts. The top plays an important role in cooling the rooms during the day and also provides an alternate sleeping area in the summertime, a typical practice in the hotter parts of India.

Dr. Doshi’s keen observation of how in traditional Japanese farmhouses, the slender rectilinear wooden columns were braced with same-sized rafters, brought a crucial change in Le Corbusier’s design. In fact, the latter loved the idea so much, he reworked the plans and sections accordingly. “I planned the Shodhan extension, and Le Corbusier was very pleased. He was gradually getting confident of my ability.”

Sarabhai House

Built for Manorama Sarabhai and her growing family in 1955, it is located inside a 20-acre family-owned park. The Corbusier Foundation describes the Villa de Madame Manorama Sarabhai as, “situated according to the prevailing winds (in order to be traversed by currents of air), and its facades furnished with brise-soleil.” Having understood the tropical climatic conditions, Le Corbusier made brick vaults the defining feature of the home. The structure has cradle vaults of flat tiles set in plaster without formwork and rows of exposed bricks cast roughly in cement. The interior is a unique story too – the areas “simultaneously moving in both directions, constantly revealing its integration with the garden on the ground and roof…and the free-flowing contained space with its large pivoted doors.” The flooring is black Madras stone, laid in a specific way that Corbusier had developed, which minimised wastage and had unobstrusive joints.

Dr. Doshi talks of the half cylinders of the segmental vaulted roof as being a brilliant solution for cross ventilation and cooling. “The vaults were waterproofed, then covered with earth and the upper part became a magnificent garden. Every time I visit, the genius of the architecture strikes me afresh. It is one of the most important buildings of Corbusier’s career and in the world.”

Amdavad ni Gufa

The late legendary artist Maqbool Fida Husain wanted a space to exhibit his art, and requested Dr. Doshi to design a structure that could counter the Ahmedabad heat. The latter recalls that exciting time: “Intense discussions followed, questioning conventions of normal construction. We decided to create an underground space that would offer great climatic benefits. Both of us were looking forward to the challenge….hundreds of sketches and models led to a curvilinear space filled with diffused light from the oculars above. It was impossible to hang a canvas, so Husain created his art after we gave him a model of the ceiling, and made plywood cut-out figures that he placed strategically.”

The domes visible above the surface, are inspired by tortoise shells and are covered with mosaic. The central mound has small black tiles depicting Seshnag, the mythical king cobra. While the sloping, uneven floor is made from wire mesh and mortar, the ferrocement was used to create the undulating walls and roof. The curved tops are supported through irregular inclined columns. According to Dr. Doshi, “The Gufa evokes a sense of wonder and curiosity, which we seem to be losing today.”

Liked this insight on B.V Doshi of Sangath? Now read: Late Dr. B.V Doshi—ELLE DECOR India looks back on his life and ideals that shaped modern Indian architecture