Introduction

It was an experiment. I was a part of the second-semester design studio in the School of Planning and architecture, New Delhi, from January to May 2015. As a team we agreed on the theme for the study tour. Traditionally, study tours in architectural colleges in India have a set pattern. As the first step, one gets to select a place of historical importance that manifests examples of architectural brilliance. As the tour takes landfall at the site, they are expected to engage with the subject by physically measuring the monuments and representing them through artistically expressive architectural drawings.1 The final step of this endeavor is to develop a design project brief focused on the context of the tour. The students are expected to address all elements of architectural production through individual designs and submit them through drawings and models.

We wanted to deviate from this standard structure. After pursuing several ideas, we resolved to take the process of measurement of architecture through an unconventional channel. In addition to technical studies, architecture borrows from several other disciplines such as philosophy, anthropology, and other social sciences. The essence of architectural thinking lies in the ability to synthesize knowledge from these different fields and to apply it to the design of the built environment. This involves an understanding of human behavior, cultural practices, and social dynamics, to be blended with technical knowledge of materials, structures, and building systems. How can one measure architectural spaces differently? Would it be possible to achieve this through our senses? Making these questions as the basis of our studio, we developed a program. Studies had been undertaken earlier to interpret architectural spaces through the analytical framework of phenomenology. This involves an understanding of how we experience and perceive space and how their subjective experiences are influenced by factors such as light, color, texture, and spatial arrangement. We agreed that the phenomenological method of studying architecture could provide a valuable framework for evaluating a space. This was our hypothesis, and students were prepped with study materials from architects who are known to engage with phenomenology, like Juhani Pallasmaa, Christian Norberg Schulz, Steven Holl and Peter Zumthor (Lee, 2022).

PHENOMENOLOGY @ ARCHITECTURE: SENSING SPACE

The phenomenological method of studying architecture involves experiencing architectural spaces through our senses2. It is based on the philosophical concept of phenomenology and involves an understanding of how we experience and perceive space. As per the strict code of the discipline, it is a very complex subject and difficult to grasp. For those who are not from within that realm, phenomenological approaches meander through thickets of philosophy and if one is not careful, there are all the chances of getting entangled forever. The concern was, how can one reorient the philosophical complexities of phenomenology without reducing its inherent value at the hands of first year students, and yet allow the subject to touch upon their subconscious creativity? It engages with the role of our senses in shaping perceptions of space, such as how we perceive light, shadow, texture, and sound in a particular space (Vega, 2010). We believed that much could be gained by encouraging students to approach the subject with an open mind. Students were encouraged to observe and document their own experiences of different spaces, and to reflect on how their subjective experiences are influenced by various factors. The students were allowed the freedom to document by creative writings, drawings, art works, installations and even by enacting dramatized narratives.

Based on this decision, I contacted professor Neelkanth Chhaya at Ahmedabad, and asked him if he would be interested in leading some of the inquiries in this realm. He found the theme interesting and readily agreed. Our primary case-study was the Mill Owner’s Association building at Ahmedabad designed by Le Corbusier in 1954. The aim we had set for the students was to make a deep study of all spaces using the framework of phenomenological method of measurements through their senses. Chhaya was to direct the students at site and inspire the students to evolve their own interpretations of how spaces behave. He conducted the sessions very artfully, being extremely conscious of their young minds. He then asked us if we would like to visit Sangath and possibly meet Doshi. A visit to Sangath3 was not a part of our program. However, when Chhaya suggested that detour, we were only too glad. The Sangath office is a place where Doshi's ideas come to life. The office is located in Ahmedabad and is built in an environmentally sensitive area.

I. Doshi ki Sangath: In Conversation with Students

The students sat on the shallow steps of the made-up amphitheater, a regular place for many such interactions, I’m sure. Probably one of the oft-used places in Sangath almost as a ritual. I thought about its scale, an architectural essential, which Doshi emphasizes in many of his talks. On the one hand typically, amphitheaters are a colossal monumental gigantic enterprise. But here in the low-key environmentally sensitive atmosphere of Sangath, these baby steps made a lot of sense. It was all about how the human body relates itself to its surroundings. The steps also served a very important aesthetic function. They formed a prelude to the gradually rising vaults which seem to have been reluctantly thrust out of the ground. From a bird’s perspective, just like the water, the space also seems to gently glide down towards the amphitheater. Another revelation is that Sangath does not seem to display a single jagged edge or an aberration to the eye. Every element is joined by another near it, in a loosely held grip, like that of old friends. And this whole community of architectural friends rejoices together in the joy which Doshi speaks of in his conversation. Sangath is not like the usual monumental architectural projects that one comes across. The incomplete parts of Sangath reminds me of the Wabi-Sabi4 principles that emphasize beauty in imperfection (Tsaknaki & Fernaeus, 2016).

Professor Neelkanth Chhaya was offered a chair next to Doshi, but he was happy to sit along with the students. It made me realize that very high esteem in which he held Doshi. That, for me, was a great example of the ethos Doshi has nurtured over the years. Doshi’s impact is not only felt directly, by interacting with him, but also indirectly through the people he has influenced.

The following four sections document Doshi’s interaction with the students.

(1) Why is the entry to this building in a roundabout way?

Doshi begins the conversation from the ground we sit on. Totally rooted to the context, he begins by pointing out to the students the meandering approach to the main entrance of the Sangath office. He asks them as to would it not have been better to enter directly from the West-side Road instead of going around in a roundabout way from the South-side Road. I call them trick questions. Always eager to find out the thinking of students before imparting knowledge, he draws in the audience into a thought-provoking mood. Invoking the right moods for learning to occur is one of Doshi’s hallmark of teaching. Prodding and provoking the students to respond, he poses more challenges by asking more questions. And eventually, the students realize that they are vocalizing their own thinking process during the conversation. A fount of untapped knowledge flows out gradually, leading to a comfort zone between them.

Doshi had underplayed the role of the main entrance of Sangath by tucking it away and below grade. Ordinarily, most main entrances are grand and beg for attention. However, there is nothing ordinary about Doshi and he has inverted this logic which leaves the visitor baffled. It’s like a game where one has to discover the entry. In fact, most people seem to go up the stairs towards the vaults in the belief that the entrance surely lies there. Ajit Rao, an eminent cartoonist, educator and architect, compares this to the story of the movie Sholay5. While talking with him I discovered how closely the perspective matches. He goes on to elaborate as to how the entry of Gabbar Singh in the movie Sholay has been dramatized after an elaborate hide-and-seek. He also mentions concepts of the Natyashastra6 in evoking emotions through well thought-out sequences in the narration. He applies the same to the design of Sangath. I asked Ajit if he found ‘joy’ in working at Sangath and he responded with great emotion. He said that during the five years that he spent there; every day was an incredible experience because it was never the same. The incidence of light and its temporal qualities throughout the day and seasons itself was a great joy. There were discoveries to be made through the many layers of emotions out of which it is built. A brief glimpse of the office from the entry to the plot is the only indication of the building. The path then gets diverted through features of landscaping which relate deeply to Doshi’s life. For example, the story of Doshi’s favorite tree which died, gets immortalized in the paving pattern. The buildup of elements before reaching the main entry to the building is in itself a long story. Its immersive, and some might get lost in it as Ajit puts it.

Doshi asks the students whether our way of looking at buildings gets colored by the fact that we are visiting a famous building? Preconceptions about buildings may lead to diluting the actual experience or expectations. And what if all buildings become famous? The expense of building also became a part of the inquiry along with its percentage of land-use. Are famous buildings more expensive? The conversation was taking quick turns and students were equally excited about expressing themselves. To every response of the students, Doshi had a new question. Tangibles and intangibles were being mixed into a large bowl of knowledge. Very skillfully, without mentioning Palladio, Doshi spun tales of how the classical principles of utilitas, firmitas and venustas apply as universally even today in the globalized world.

(2) Shaping Design Attitudes: How can one give joy while fulfilling all functions?

To respond to the diversity of client needs and at the same time to provide value through design one will have to think differently. It is a given that a program has to be fulfilled. But how can your architecture create a joy for the client? So, the discussion delved into the approach to the building and the many ways in which an architect can think beyond matters of pure functionality alone. For instance, by giving the user more time to experience the surroundings before actually entering the building, a story in landscape has to be created, even if there are space constraints. A sense of ritual can be inculcated, an almost processional approach. The many ways in which stories keep overlapping into Doshi’s conversations is unique. The man weaves a thick net of stories through which his architecture emerges as a resultant of the many human dimensions, and not as merely, a matter-of-fact task. Doshi believes that good design should not only meet functional requirements but also evoke positive emotions and bring joy to people's lives. He emphasizes the importance of incorporating elements such as natural light, ventilation, and greenery to create spaces that are visually appealing and uplifting.

(3) The Adalaj Story: Moods and Motivations

A visit to Adalaj stepwell was a part of our program. Stepwells are amazing as an architectural experience which was of great relevance to us. I have for the longest time thought of them as molds for temples and how exciting it would be to imagine them reversed in volume. However, it was purely a happy coincidence that Doshi should mention the story of Adalaj. Quite a chance, and so very welcome because we were to visit Adalaj, only the next day. For Doshi it came out instinctively while speaking about the ways and means of giving joy to your client. And the students were transported from contemporary times to the Mughal era when these stepwells were constructed. The story below transcribed from the video, in his words explains his intent:

“You know the story is very interesting. In those villages, there was no water, and they had to go to the well. During the Mughal period, it was not safe for ladies to go out. In the villages, there are no toilets, and the ladies had to go early morning. So, there was also a social danger. This lady Rudabai, she decided that I have to find a way by which she can do something. On the well they like to gossip; they like to talk. So, they cannot talk outside, because people will come. So now, it’s a couple of things put together. One is water, second is trying to gossip, third is certain privacy, and fourth is the way to do. So, what do you do? One way is to find a place to gather. So, in order to gather, can you gather without a purpose? No. But if there was something important, you will gather there. Nobody will object. So, she says I’m going to make a well which will be like a museum. So, there are sculptures, there are drawings, there are carvings. How do you make a museum, and you have to have water also? Question is if I make a well, then I cannot make a museum. But if I sink a big well, then I will have steps, I will have places, and gradually no one will object. Then you can see how in a program, you can change and add on to the program. You should have that purpose. It is not one purpose. The first thing is, for whom are we building? They are human beings; how will they constantly enjoy?” – Balkrishna Doshi

The careful articulation of this story of architecture, impressed upon the young minds of the 18-year-olds as to how social functions need to be integrated artfully into successful designs. It was not about the architectural history of Adalaj. Adalaj was a mere prop in reflecting upon the formation of a program for architecture. However, one of the most exhaustive studies of Indian stepwells is published in the book “Steps to Water: The Ancient Stepwells of India”. The authors claim that the Adalaj stepwell is the most majestic, elegant and classical of all the stepwells they studied. They go on to mention that it terms of its architectural and spiritual richness, it is a tirtha’s tirtha7 giving it an exemplary qualification (Livingston, 2002. pg. 88).

(4) Getting lost: A way to self-discovery

According to Doshi, getting lost in a space can be a way to self-discovery. He believes that architecture should provide opportunities for exploration and discovery, creating spaces that encourage people to engage with their surroundings and discover new perspectives. Experimenting with the experience in architecture, Doshi the storyteller transforms into Doshi the chef. Drawing analogies from the world of food-craft he explains how all the ingredients have to be mixed skillfully to make a delectable dish that not only fulfills its function but also gives joy to those who consume it. Measuring quantities, proportions, and finally presentation, it all shows in how many different ways the joys of architecture can be enjoyed. This analogy reflects how Doshi views architecture. He stresses that the secret to crafting a successful space lies in understanding its context, responding to the clients' needs, and nurturing the space like a living being.

With a final advice of “do what you enjoy and enjoy what you do”, he takes our leave. We thanked Doshi and moved on to the next leg of our tour which was to be a visit to Adalaj.

II. Upon Wondering: What is secret of crafting such a place?

How can one understand Doshi?

In the brief Sangath which we had with Doshi, I can’t help but wonder as to how he was able to pack so many inspirational ideas into a 24-minute period. No doubt Doshi's conversation with students highlighted his commitment to teaching and his passion for architecture. The case of Sangath is a classic example of how Doshi turned space into place by sheerly modulating architectural forms into a continuous array of exciting and memorable experiences. In his book “Paths Uncharted”, Doshi himself wonders as to how he could measure the sense of space or time while building Sangath. It appeared fluid and he could feel it flowing through his body, creating an immeasurable scale of undefined contents (pg. 332). It seemed to be a living being pulsating with the success of the projects it nurtured, and becoming flaccid when they didn’t. The ebb and flow of life made it silent at times and vibrating with radiance at others. These were the abstract concerns which made him question the idea of a building (pg. 376). Precisely the way in which a space becomes a place. In fact, Doshi mentions clearly that because of these myriad experiences of his life and their transience, Sangath is his best work (pg. 357) and the most unusual experiment (pg. 377). Ambling through hallways, climbing up or down stairs, or looking at the light coming from above, all have ritualistic attributes that can be captured and exploited by architectural design. The final concept for Sangath came from Doshi’s visit to the studio of Wissa Wassef near the Great Pyramid of Giza. The celebration of light and life he saw there was what he wanted to recreate at Sangath (pg. 382).

The many interpretations it has earned over the forty plus years of its existence have varied depending on the people that visited it. For some (mostly architectural interns and fresh graduates), it was home, especially because of the earthy and home-like atmosphere it exudes. It is like a cocoon. In fact, I noticed the traffic noise immediately outside Sangath only when I heard the recording. The idyllic environment had screened the noise from our senses. It was a great learning in how human senses work, allowing us to enjoy things we focus on and screen off all other deterrents. Doshi's ideas and philosophy about architecture continue to inspire and influence architects around the world and beg us to explore the secret of creating places such as Sangath.

In summation, I can say that it is difficult to fully understand the intricacies of his thinking. The several elements which exhibited themselves have been documented, and what is apparent as a singular principle is, that Doshi's approach to architecture was rooted in his concern for the relationship between nature and human nature. He believed in creating places rather than just buildings, catering to human emotions and sensibilities. The essence of his architectural thinking lies in understanding the unique relationship between space and people, and the ways in which space can shape our experiences and perceptions with the ability to transform environments. Doshi was a philosopher, practicing through architecture, and Sangath as his legacy in architecture serves as a reminder of the importance of empathy in design and the power of architecture to create meaningful and inclusive spaces.

• 1. Over the years, students have devoted enormous amounts of effort in producing a rich body of work which gets a platform at the Louis I Kahn trophy instituted by the National Association of Students of Architecture [NASA].
• 2. Finnish architect Juhani Pallasmaa states that “experiencing architecture is multi-sensory; qualities of space, matter and scale are measured together by the eye, ear, nose, skin, tongue, skeleton and muscle. Architecture strengthens one’s sense of being in the world, and this is basically an enforced experience of self. Instead of mere vision, or the five classical senses, architecture involves several realms of sensory experience which interact and fuse into each other” (Pallasmaa, 2012).
• 3. Sangath is the architectural studio complex designed by Doshi, located in the city of Ahmedabad, Gujarat, India. The building was completed in 1980 and serves as the headquarters for the architectural firm Vastu-Shilpa Consultants, which was founded by Doshi in 1955. Sangath, which means "being together" in Sanskrit, is a striking example of Doshi's architecture, which combines elements of modernism with traditional Indian design principles, incorporating vaults and large landscaping areas. The building is partially subterranean.
• 4. Wabi-Sabi is a Japanese philosophy which celebrates perfection of imperfection as a spiritual way of life for architects and designers (https://www.arcc-journal.org/index.php/repository/article/view/116).
• 5. A 1975 Bollywood multi-starrer blockbuster, rated to be the most influential Hindi movie. It ran to a full-house continuously for a period of five years in Minerva theatre, Grant road, Mumbai.(https://www.livemint.com/Consumer/hRPf7h8ebJyNXrwJQ5q2dM/Sholay-40-years-on-Remembering-Minerva.html)
• 6. I have applied the analytical framework of Natyashastra in an earlier article titled, “Mapping RASAS on the Sagrada Familia”
• 7. Tirtha means a holy place for Hindus. Tirtha’s tirtha probably means the ultimate in such a place of spiritual richness.