A bit about IIM Ahmedabad

IIM BANGALORE- Excerpt from 'The Complete Architecture of Balkrishna Doshi - James Steele'


The IIMB is one of the 4 institurtes commisioned by the govt. shortly after independence to train the future leaders of a new indutrialized society. the rise of a new middle class in India in the 1990's is partially a result of that decision.

Louis Kahn's Institute in Ahmedabad (1962-74) was based on an orthogonal system characteristic of his rational approach to planning. the heavy brick envelope of each of the units in that framework, pierced with huge circular and square openings, is placed in front of a second inner envelope as a means of layering that Kahn  called 'wrapping ruins around the building', to create shaded glare-free spaces. Those spaces are inside each individual unit and the outdoor 'rooms' between them are mostly devoid of shade. Kahn relied upon this geometrical arrangement of units to bring order to a large and varied progrmme that includes classrooms, offices, a library and dining hall, dormitories and faculty residences, workers' housing and a market, all the components of a small self sustaining village. Kahn employed the interlocking diagonals system of Ann Tyng in the design of the Bryn Maur Dormitory in 1963. Kahn's layer provided terraces betweent he inner wall and outer brick envelope, with arched openings widened by concrete relieving arches and this interstitial space becam a similar covered outdoor zone in blocks with other uses. the covered walkways between many of the blocks, while equally protective, failed to realize the vision Kahn had earlier descibed as "a realm of spaces which may be connected by ways of walking, and the walking is a protected kind of walking (which) you consider as high spaces together with low spaces and various spaces where people can sort-of find the place where they can do what they want to do."

Citation: This map is from the IIMA official site, iimahd.ernet.in
 This information is part of the public domain and can easily be accessed by anyone.
They have the gratitude of team INSIGMA, 3 sem RVSA.
The full size of the same image is at the bottom of this article.

the old camus is Kahn's design. the new one is a more recent expansion

full size map

IIM BANGALORE

IIM BANGALORE

BV DOSHI

IIMB Architecture (source-iimb.ernet.in

The IIM Bangalore campus was designed by celebrated architect B V Doshi, and is a conversation piece amongst laypersons and professionals alike. The campus is a destination and a pilgrimage for students of architecture and practicing architects, with the architecture of the academic and administrative blocks becoming a case study. Completed in 1983, the original stone architecture is now complemented by the greenery, just as B V Doshi had intended. Here is B V Doshi in his own words, explaining the architectural concept of the buildings:

At One with Nature - B.V. Doshi

Emperor Akbar established his well-known capital, Fatehpur Sikri, in the 16^th century. Though, barring a few years it remained unoccupied, it is universally appreciated for its scale, clarity, architectural style and most significantly, for its spatial organization. Here one discovers solutions to the now familiar problem of how to extend or add buildings and yet, related them, and on how to ensure that all the individual constituent parts of the complex evoke the sense of belonging to a larger fabric. And, it is not surprising that the tools employed at Fatehpur Sikri to simultaneously divide functions and unite the various buildings in a complex are the same as those used in planning temples in South India.

The response is achieved by adopting a system of major corridors for movement, along which activity areas are disposed. And within the network of corridors, the spaces between the activity areas become courts for extended activities. These courts regenerate the primordial sense of continuity, growth, and the tenuous linkages of the living environment.

In Fatehpur Sikri, the presence of the buildings is strongly felt in spite of their being relatively small, a factor of special interest to me. This has been made possible by the modest relation of the building to the ground, the sky, and the backdrop of the linking corridor, very much like the umbilical cord and the extended family. One is separate, and yet connected, even though tenuously.

Designing the IIMB's academic programme, which would stretch and change over the years, demanded such an approach. 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.

Because these local elements by themselves do not necessarily touch everyone, the design also included long, and unusually high (three storied), corridors, with innumerable vistas of local points generating a dialogue with one's self. 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. Owing to the varying rhythm of the solids and voids, that is, the wall and the opening, coupled with direct or indirect natural light, these links change in character during different times of the day as well as the seasons, and offer the students and the faculty, the occasion to feel the presence of nature even while they are inside. By creating such an environment, the activities pursued within the building become enriched because they become one with the larger total world. Architecturally, the links appear and disappear, and this gives a sense of being and not being, wherein the actual becomes notional. In the mornings and evenings, the sun's golden rays are reflected in the glazed windows and the long corridors, with the main central court surrounded by classrooms walls, giving a feeling of being in a place not unknown to one's inner being.

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 "His observation about the power of architecture rang very true. While talking about his design for IIM Bangalore, he spoke about how students come back years later, and seek out their favourite hang out spaces. Or how past students reminisce about time spent in a certain area." - Comment in blog by Arzan Sam Wadia on a lecture by B V Doshi in New York in June 2006

"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." - Blog courtesy: www.architecture-practice.com

(source_ iimb.ernet.in)

GALLERY- photos taken by the INSIGMA team

Sai Baba Mandir

Sai Baba Mandir

The Sri SaiSpiritual Centre ,bangalore was founded by its founder patron,his holiness sri Radhakrishna Swamiji ,in 1954 with a mission to spread sai devotion and set forth a tradition in which the Sai temple would provide spiritua comfort and solutions to the problems and needs of the community. Since its inception, the centre has played a pivotal role in shaping the destinies of thousands of Sai devotees. 

The Sai Baba Mandir is located in N.R colony, Bangalore. It was designed by Mr. Sanjay Mohe's office, Mindspace architects.

We spoke to Mr Amith swain, an architect ,part of the Mindspace team. This is what he had to say regarding the Sai Baba Mandir,

- It was important to arrive at an architectural form which could still communicate to the local devotees who have been visiting the old temples for years as a

 part f their daily routine. the image of the traditional shikara was exploited through separating layers and creating planes through which light filters in. 

The traditional sanctum(garbha griha) is reinterpreted-with just a simple oil lamp glorifying light, surrounded by infinite dark spaces-the enormous space under

 the shikara creates the sense of infinite space with the play of naturarl light thus creating a sense of divinity.

-The design brief chiefly addressed three points :

  1. the capapcity of the gathering hallin front of the sanctum (garbha griha) had to be increased to accomodate as manydevotees as possible.

  2. The large number of devotees on thurdays who seek darshan had to be specially managed in addition to the activities and devotees had to remain undisturbed inthe new structure.

  3. Areas such as the sanctum, swamiji's room and others which had the religious and sentimental significance had to remain undisturbed in the new structure.

                                   

- Shikara

   The traditional form of the shikara is re-interpreted by spillting the uniform surface into a series of peels that bring in the light and make illusions to an upwardly reach to the skies.

  

  This operation of peeling allows the scaleofthe shikara element to be gradually brought down to the entrance- thenew shikara becomes the device that references the traditional temple gopuram,yet remains a contemporary expression that creates an identity  for the ew centre with its sophisticated construction.

  A series of concrete shell structures forms a pattern that brings in direct and indirect natural light into the sanctum space belowilluminating it with a unique radiance. The entire volume under the shikara is visible from the main hall. its various skylights bring in a play of natural light evoking a sense of divine purity

                                              

-The primary challenge addressed by the architectural concept was to negate the perception of consrained space. Functionally overruled and replaced the conventional spatial connotations of a temple.

  

  The envelope of the central gathering space is stretched to the maximum, converting the compound wall into the only threshold in the temple and virtually the only wall. All spaces are enclosed within this envelope and conceived as a free flowing continuity that borrows from or adds to the centrality of the volume of the main hall.

  

  Many notions of a typical temple are reversed here. For instance, instead, instead of glorifying light by contrasting its presence with darkness, the sanctum (Garbha Griha) merges with the main hall and the flood of bright white light across the interior spaeks a new divine truth.

-The role of colour in the overall perception of the Spiritual Centre is significant- the vertical and curved planes are chiefly grey, the floor and roof surfaces are mostly in white. In contrast, the textured colour background of the sanctum visually punctuates the entire volume.

  

  Texture-both visual and tactile-is consciously deployed in the design. The black granite cladding with leatherite finish, the glass mosaic tile cladding for the shells of the shikara and the textured paint in the sanctum are instances of textural discoveries that unfold while traversing the building.

 The use of stone [black granite cladding for the walls and the white marble floor] retains the traditional flavour of a temple while the colour of the stone evokes a contemporary feel. Niches in the compound wall add a visual rhythm and allow for ventilation. 

NGMA

NGMA

Located in the prestigious heritage premises of Manikyavelu Mansion, the NGMA Bengaluru branch was inaugurated by the Honourable Union Minister of Culture and Tourism, Mrs. Ambika Soni on February 18.

Over 90 years old, the Manikyavelu Mansion on Palace Road was once the property of the Mysore royal family. The mansion later came to be owned by Raja Manikayavalu Mudaliar, a mine owner. It was taken over by the State Government in the late sixties, who then offered it to the Ministry of Culture in July 1989 for setting up of a modern art Museum at Bengaluru by NGMA. The foundation stone for the museum was laid in 2001.

Spread over an area of 3.5 acres, the historic heritage mansion was transformed from a residency into a museum gallery, with a display space of 1551 sq. m by architect Naresh Narasimhan of Venkataramana Associates. The heritage building has been supplemented by a new Gallery Block, which adds a display space of 1260 sq. m. The new architecture is so designed, that while fulfilling the requirement of spaces needed by a modern museum, it coexists in harmony with the style and ambience of the traditional mansion.