Aspects of Organic Architecture

ASPECTS OF ORGANIC ARCHITECTURE An Inquiry In Works Of Didi Contractor

Keithy Gandhi IU1443000012 Guided By: Prof. Bhanupratap Sharma, Prof. Pratik Zaveri

Rancharda, Thaltej, Ahmedabad, Gujarat - 382115

Approval of Successful Completion of B. Arch Thesis Submitted to the Institute of Design, Environment and Architecture, Indus University, Ahmedabad.

In partial fulfilment of the requirement for the degree of Bachelors of Architecture.

The following Bachelor of Architecture Thesis is hereby approved as credible work on the approved subject carried out and presented in a manner sufficiently satisfactory to warrant its acceptance as a prerequisite to the Bachelor in Architecture for which it has been submitted. It is also to be understood by this approval, the undersigned does not necessarily endorse and approve any statement made, opinion expressed or conclusion drawn therein, but approves the study only for the purpose for which it has been submitted and satisfies the student to the requirement laid down by the thesis committee in July 2020.

Thesis Title: ASPECTS OF ORGANIC ARCHITECTURE: An Inquiry In Works Of Didi Contractor

Keithy Gandhi Name and Signature of Student

Prof. Bhanupratap Sharma

Prof. Pratik Zaveri Name and Signature of Thesis Guide/s

Name and Signature of HOD

Rancharda, Thaltej, Ahmedabad, Gujarat - 382115

Plagiarism Declaration Name of the Student: Keithy Gandhi | IU1443000012 Title of the Thesis: ASPECTS OF ORGANIC ARCHITECTURE, An Inquiry In Works Of Didi Contractor Guided by: Prof. Bhanupratap Sharma, Prof. Pratik Zaveri Head of the Department: Department: Bachelor of Architecture, IDEA, Indus University, Ahmedabad I affirm that I am aware of the Anti-Plagiarism Policy at the Institute of Design Environment and Architecture (IDEA), Indus University. Plagiarism is using another person’s thoughts, words, results, judgements, ideas, images, drawings etc. and presenting them as your own. I declare that the conceptualisation, conduct of data collection, and ultimately the writing of the thesis report is my original work, except where duly acknowledged and referenced. I have identified and included the source of all the facts, opinions, and viewpoints of others in the report. I have cited the source of all quotations, paraphrases, summaries of information, tables, diagrams, photographs, drawings, electronic media and other materials in which intellectual property rights may reside. I am solely responsible for checking my work for plagiarism, and not my thesis guides or the thesis coordinator. I also declare that this report, or any part of it, has not been previously submitted by me or any other person for assessment in this institute or any other institute.

I understand that failure to comply with the institutes’ regulations governing the plagiarism constitutes a serious offence for which the institution may impose severe penalties. A substantiated charge of plagiarism will result in a penalty being ordered, ranging from a mark of zero for the assessed work to expulsion from the institute.

Signature of the Student (18.07.2020 and Ahmedabad)

Table of Content

Acknowledgement Abstarct Introduction Aim and Objective Research Questions Methodology Scope and Limitation Criteria for selection of case studies

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05 07 09-12

1.1 Introduction to Organic Architecture ........................................................

14-15

1.2 Evolution of Organic Architecture

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16-19

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22-28

2.2 Louis Sullivan 2.2.1 Wainwright Building

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29-36

2.3 Frank Lloyd Wright 2.3.1 Robie House

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37-45

2.4 Bruce Goff 2.4.1 Bavinger House

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46-54

2.5 Nari Gandhi 2.5.1 Jain House

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55-60

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61-62

Chapter 1: Organic Architecture

1.2.1 European Romantic Movement

1.2.2 The Gothic Revival 1.2.3 Art Nouveau

Chapter 2: As practice by Architects

2.1 Antoni Gaudi

2.1.1 Casa Batlo

2.1.2 Sagrada Familia

2.2.2 National Farmer’s Bank

2.3.2 Johnson Wax Buidling

2.4.2 Ford House

2.5.2 Daya Madh Island House

2.6 Analytical Inferences

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Chapter 3: Didi Contractor

3.1 Biography

3.1.1 Inspirational years and Influences

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64-67

3.1.2 Didi as Interior Designer 3.1.3 The solar cooker project

3.2 Didi’s architectural philosophy

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68

3.3 Other Beliefs

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69-70

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71-80

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81-91

3.4 Kangra Architecture 3.4.1 Understanding of physical contex

3.4.2 Natural Hazard of Kangra valley

3.4.3 People and their occupation 3.4.4 Agriculture

3.4.5 Spatial organization of the dwelling

3.4.6 Material and construction Techniques

3.4.7 Transformation in the Traditional Built Form Material and construction Techniques

3.4.8 Scarcity of local materials and introduction to new materials

3.5 Neo-Kangra Architecture 3.5.1 Alterations in materials and Construction

3.5.2 Element and Innovation

3.5.3 Other beliefs

3.5.4 Architect - craftsman relationship

3.5.5 Architect - client relationship 3.5.6 Drawings

Chapter 4: Case study

4.1 Case study 1: Dharmalaya Institute

4.2 Case study 2: Sambhaavnaa Institute

........................................ 95-113

4.1.1 Integration of building with surroundings 4.1.2 Integration within the building 4.1.3 Material and construction techniques 4.1.4 Light and Sunlight

........................................ 114-132

4.1.1 Integration of building with surroundings 4.1.2 Integration within the building 4.1.3 Material and construction techniques 4.1.4 Light and Sunlight

Conclusion Illustration Credits Bibliography

........................................ 134-135 ........................................ 136-137 ........................................ 138-139 3

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Acknowledgements

I would like to express my sincere gratitude and appreciation to the following people for their dedication and contribution to finishing this research thesis.

Foremost, I would like to express my gratitude to my guides Prof. Bhanupratap Sharma and Prof. Pratik Zaveri for the continuous support, motivation, and immense knowledge throughout my thesis. Their discussions, time, supervision, and inputs helped me formulate my thesis.

I am grateful to Prof. Urvi Desai and Prof. Madhvi Desai, who reviewed my study and guided me in the right direction. I am very much thankful to Prof. Naresh Chhatwani for their guidance and all the IDEA faculties’ members for their support.

I appreciate the efforts from Lanka Adarsh and Kriti Dhingra for always being there to help me by providing me enough information.

Special gratefulness to my friend Larsen Christian, who has always been a great support and a morale booster. Thank you for all the fun we had in the last 5 years of architecture.

Also, I would like to thank Nilay Khatri, Priyanshi Pathak, Ayushi Shah, Maulie Pandya, Princy Patel, Ruchesha Thaker, Rushil Shah, Sanjana Nanavati, Sejal Gandhi, Smit Shah and Abhi Shah for being supportive and helpful.

Most importantly, I would like to thank my parents for always believing in me and supporting me and encouraging me throughout the journey.

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Abstract

Organic architecture isn’t a style of imitation, but rather a revaluation of nature’s principles to build it more naturally. Nature has always been an inspiration for humans. Nature with regards to its surroundings for developing architecture and its principles.

Humans go along with nature. Architecture finds inspiration in nature and imitates the shapes of living organisms. Later, Humans have attempted to introduce some of the principles from nature and then applying those principles in architecture. Every individual contains a different understanding and perception of nature and natural principles.

The thesis aims to concentrate on the relationship between nature and architecture. Nature has been a source of inspiration for several architects, one amongst them is Didi Contractor.

She re-interpreted the principles of architectural design by searching nature and uncovering its hidden dimensions to introduce her idea which is close to nature.

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“The mother art is architecture. Without an architecture of our own we have no soul of our own civilization.”

- Frank Lloyd Wright

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Quote by Frank Lloyd Wright

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Introduction

“We borrow from nature, the space upon which we build.”

- Tadao Ando This study is an endeavor to understand the aspects of organic architecture. This stream of thought came into existence as a response against industrial and industrial products. Certain exponents began to look more towards Nature and its principle and also the architecture developed out were strongly rooted in Nature.

Being a component of Nature, Human’s creative world is influenced by nature and its processes and a particular structure to all its functions. Human progress has evolved and kept its continuity through integration with the surrounding environment and depends on the preservation of nature. The vernacular architecture comes closest to nature and is honest in using natural resources and is familiar in its expression.

Humans built close to nature and blend with nature as if it a component of nature. On the other hand, most of the post-industrial architecture in its zest for functions and technology failed to correlate it to nature and its processes. Hence a need arises today to co-relate the architecture with Nature and adore the very sense of both Nature and Architecture. This very aspect of adoring the essence of both Nature and Architecture is the concept of organic architecture. It might not be wrong to call the vernacular buildings as parts of organic architecture since they include nature, humanistic ratios, and emphasize the continuity. This suggesting means that one building designed by a selected architect using the philosophies of Organic Architecture could also be very different from another building designed by another architect in another place.

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Quote by Tadao Ando

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Didi Contractor is down to earth and self-made architect based in Kangra valley in Himachal Pradesh, India. She works towards sustaining the traditional architecture of the Kangra valley while concurrently innovating it to satisfy the contemporary needs. Didi has specialized in mud, bamboo, and stone architecture. She uses techniques which have some superior characteristic. Didi design the building which has a specific reason for serene beauty associated with them that makes them different from others.

A deep perusal of Didi’s architecture reveals that her buildings seem to grow from the earth and are in perfect harmony with nature. She tried to synchronize the method of construction with the cycles of nature so that the end product is in harmony with the surroundings.

Aim: The aim is to study the aspects of organic architecture within the works of Didi Contractor.

Objectives: To understand the term organic architecture and its evolution.

To search for the parameters of organic architecture by understanding the various approaches by different architects.

To understand the philosophy of Didi Contractor which evolved by understanding the vernacular architecture of Kangra Valley.

To identify the aspects of organic architecture in the works of Didi Contractor.

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Research Questions: What is the term organic architecture and how it is evolved?

What are the various approaches by different architects to achieve organic architecture?

What is the philosophy of Didi Contractor and which are the factors influenced the design process of Didi Contractor?

What are the aspects of organic architecture in the works of Didi Contractor?

Method of Study: The study relies on both secondary and primary sources. The first three stages involved secondary data from readings, books, articles, and periodicals.

The first stage involved the introduction and evolution of organic architecture.

The second stage involved the works of different architects and their different approaches to achieve organic quality in architecture.

The third stage involved the biography, influences, and philosophy of Didi Contractor.

The vernacular architecture of Kangra valley is studied on the basis of its physical context, social and cultural aspects, and spatial organization of the dwelling, and material and construction techniques.

The fourth stage involved analysis to show the general aspects of organic architecture .

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Scope and Limitation: The study is restricted to Modern Architecture in the Indian context.

The parameters discussed in the study do not define the term organic architecture, but some aspects are expressed through some case studies.

The study is an inquiry for the aspects of the organic architecture in the works of Didi Contractor.

Criteria for selection of case studies: The works of Didi Contractor are taken to look into a different approach to achieve the organic quality in architecture.

The case studies ‘Dharmalaya Institute’ and ‘ Sambhaavnaa Institute’ are selected based on possible access to them.

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Chapter - 1

Organic Architecture

1.1 Introduction to Organic Architecture

1.2 Evolution of Organic Architecture

1.2.1 European Romantic Movement

1.2.2 The Gothic Revival

1.2.3 Art Nouveau

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Introduction to Organic Architecture

“We are in line with the laws of nature, these laws rule our acts and all our actions are based on them.”

-Le Corbusier

The dictionary meaning of organic is “relating to or derived from living matter, having a complex but necessary interrelationship of parts, similar to a living thing.”

The term ‘Organic Architecture’ is a bit difficult to define. Further in the introduction, we have discussed nature, and natural principles are the best inspiration for humans to integrate them into their own creations. Therefore, when such an attempt is made to achieve this type of quality can be express as organic architecture.

There are a few aspects of architecture, which establish a relationship between nature and architecture and give an expression of organic architecture. These aspects include the relation of building with its surroundings as well as within the building to generate organic quality. Such a building is responsive to its surroundings, within its self and is consistent with the natural systems.

Organic architecture does not exist as a defined style or a movement. Rather it is a quality, which refers to nature as a prime source for design concerns. When the word ‘organic architecture’ is used, there are some misconceptions regarding the term. It is misunderstood that organic architecture is an imitation of nature because it has a direct or indirect inspiration from nature and natural principles.

An additional misconception is that it is an architecture that has curvaceous forms and free-flowing spaces. It is a misconception Quote by Frank Lloyd Wright Zevi, Bruno. Towards an organic architecture. Faber & Faber, 1949

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that organic architecture is non-geometric.

According to Frank Lloyd Wright, the building that is perfectly geometric in shape can be considered as organic building. These buildings show a response to certain aspects that go beyond the physical aspects.

Humans and nature are part of the universe that are interrelated with each other earlier times.

Humans have a simple life, were in contact with nature, and were true to their instincts. All his work was honest in their own aspects and was a tune with nature. Same as vernacular architecture comes closest to nature and is honest in using natural resources.

Organic architecture aims to express unity in the form of the integrity of the building within the surroundings and with the surroundings.

The architecture gives the ambiance of order, structure, and harmony on which nature thrives and display it so exceedingly.

An architecture that considers the properties of surrounding, and its natural building material and techniques, understanding the function of the building and making it work together with the surrounding and within the building in a harmonious way.

Using materials from surroundings without alteration and forms and elements reflecting the topography of the surrounding context, and following laws that building the structure in order to get an understanding of design solution.

Buildings are built by people considering time.

Place, environment, and aim.

The integration with the surrounding context implies that the building responds to the context in terms of its overall form, climate, material, and by establishing a harmony between the inside and outside.

Zevi, Bruno. Towards an organic architecture. Faber & Faber, 1949

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1.2 Evolution of Organic Architecture

A short introduction about evolution of organic architecture. When Human makes efforts to emphasize nature and builds according to it. The thought of organic streams comes to end. The humans have made certain efforts to achieve organic thought in his buildings. In order to study the efforts, the styles and the movements are studied which were inclined towards nature.

1.2.1European Romantic Movement Romanticism was originated from the late 18th century to the mid- 19th century in Western Europe. Romanticism combined many fields of study, including politics, arts, and humanities.

Romanticism is a dominant movement in literature and the other arts, particularly music and painting. It is regarded as having transformed the artist’s style and practices. Romanticism stressed more on the individual, the subjective, the irrational, the imaginative, the personal, the spontaneous, the emotional, the visionary, and the transcendental.

The principles of ‘romanticism’ were scientific and rational analysis of Greek, Gothic, Romanesque, and other historic movements.

The architecture as a result of this would be free from the influences of former movements. It led to exposure to new architecture arrangements.

The theory of architecture was based on organic principles. The concepts from natural sciences were the inspiration for Romantiques.

Using analogies from nature as well as scientific and rational analysis, the essential relationship between form and function was established. The movement was categorized by a celebration of nature and the common man, a focus on individual experience, an idealization of human,

Fig.1.2.1 Assembly Hall, Viollet le Duc

Collins, Peter. “Changing ideals in Modern Architecture.”

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and an embrace of isolation and melancholy.

Hence form and function have its early foundation in the Romantique era. Violet-le-duc was an advocate of this theory. He believed in the application of natural principles of creation since these principles always express a function.

Thus Romantique architects established a theory of architecture where the natural principles, logic, and reasoning and analogies from nature were the principles, which can be considered as the originator of the organic stream of thought which is followed by many movements, styles, and architects.

1.2.2 The Gothic Revival The movement was started in the late 17th century and the early 18th century in England.

It started in contrast to the neoclassical style.

Gothic revival featured from the original gothic style, including decorative patterns, finials, lancet windows, and many more. Violet-le-Duc inspired by the Gothic builders and considered that it is fully based on both the ornamental style and principles of construction and even based on logic and reasoning. The builders had a thoroughly rational tendency of mind.

The Gothic revival strained on the honesty of construction and representing the structural system as a pure expression of the nature of materials. Violet-le-Duc always wanted to reform the style of architecture and construction. He observed the original gothic architecture but never wanted to imitate its forms or details.

He advised rationalism and obligation to pure expressions of materials and its construction.

He thought of directly expressing the materials, technology, site, and functional needs. Antonio

Fig.1.2.2 Sagrada Familia, Antoni Gaudi

Collins, George. Antonio Gaudi. G. Braziller, 1960

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Gaudi was one of the architects who was inspired

by Gothic architecture and its structures. Gothic revival movement was an approach towards organic thought not in literal interpretation of nature’s forces and principles but in its honesty of construction, the human scale, the proportions and the rational and logical use of materials and structure being measured as an expression through materials used are defensible.

1.2.3 Art Nouveau

Art Nouveau movement flourished in Europe throughout the late 18th and early 19th centuries. Art Nouveau was another movement where nature was the inspiration in architecture and arts. This movement grew out of the modern art movement, which was a revolution against automation by William Morris. It was a movement for artisans and craftsmen. This movement implemented the philosophy of John Ruskin that true art should be both useful and beautiful.

The artist working with Art Nouveau style searched for a style of imitation any historical style. The style is distinct in appearance and decoration. In this movement, new materials particularly iron, glass, ceramics, and later concrete, to create unusual forms and larger open spaces and technologies were used in building and its ornamentations.

The Art Nouveau style was an abstraction of the works. Most of the works have inspired by nature, particularly animals, insects, plants, trees, flowers, or micro-organisms. Structures are often asymmetrical, meaning their sides aren’t necessarily balanced. Doors and windows often have sloping arches that organic forms.

Art Nouveau was the transition between Historicism and the modern movement. In this Fig. 1.2.3 Staircase, Rue de turin, Victor Horta

https://www.britannica.com/art/Art-Nouveau

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movement, the ornamentation and decorations were emphasized more than the structural principle mentioned in nature or any logical reasoning. The references to the historical movements and by imitating with naturalistic or abstract patterns in painting and sculptures. Art Nouveau gave many new experiments in the twentieth century.

Fig.1.2.4 Metropolitain Station

The two creators, Louis Sullivan and Victor Horta in Brussels were the originators of this theory in Architecture. The ornamentation of the Louis Sullivan was very much influenced by nature.

Early works of Antoni Gaudi can be said to be in the Art Nouveau style.

Fig.1.2.5 Wainwright Building, Louis Sullivan

Panchal, Sejal. Search for organic expression in architecture: an inquiry into the work of Frank Lloyd Wright and Bruce Goff.

Ahmedabad: Cept University, 2000.

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Chapter - 2

As practice by Architects

2.1 Antoni Gaudi

2.1.1 Casa Batlo

2.1.2 Sagrada Familia

2.2 Louis Sullivan

2.2.1 Wainwright Building

2.2.2 National Farmer’s Bank

2.3 Frank Lloyd Wright

2.3.1 Robie House

2.3.2 Johnson Wax Buidling

2.4 Bruce Goff

2.4.1 Bavinger House

2.4.2 Ford House

2.5 Nari Gandhi

2.5.1 Jain House

2.5.2 Daya Madh Island House

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2.1 Antoni Gaudi

“There are no straight lines or sharp corners in nature. Therefore, buildings must have no straight lines or sharp corners.”

-Antoni Gaudi

Antonio Gaudi was a Spanish architect born in 1852 in Spain. This work is a reflection of his individual and distinctive style and was greatly inspired by nature. Most of his work is found in Barcelona city. His works can be counted into the Art Nouveau line, looking at their straight inspirations from Nature and Natural processes.

Influences: Gaudi was influenced by nature. In the earlier works of Gaudi’s, the inspiration from nature is seen as the decoration and ornamentation of the building. But after a while, he looked on the aspects of nature and nature structural principles. He detailed the structural principles in nature and applied those principles in the structure of his buildings.

Gaudi was also inspired by Viollet-le-Duc for restoring Gothic monuments. He considered Gothic architecture as highly rationalized and logical imitation principles of any style in art or architecture.

Quote by Antoni Gaudi.

Zerbst, Rainer. Gaudi, 1852-1926: Antoni Gaudí i Cornet : a Life Devoted to Architecture. Taschen, 2005.

Collins, George. Antonio Gaudi. G. Braziller, 1960.

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Fig.2.1.1 Benches in Park Guell with ceramic mosaic tiles

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Ideas and Philosophy: Gaudi incorporated Catalonia’s architectural style and its rich history into his objects. He wanted to move away from these trends and create an identity of its own and expres-sion of his architecture. Gaudi was always motivated by colours, shapes, and forms which are offered by nature. His building was free-flowing forms, which give an expres-sion of a natural organism. The surfaces of his buildings have strong expression due to his belief that natural architecture does not have any straight lines.

He carried out intense research on Organic forms and studying their inner structure and stresses, he tried to integrate them into his buildings.

Based on these ideas and beliefs and the structural stimulation from nature, Therefore, His architectural style was in direct correlation with nature and his unmatched and incomparable building forms were parallel to the beauty of nature.

Gaudi’s first design was far from his later works.

The first design was lamppost for Placa Reial in Barcelona. He designed many benches and lampposts in the early stage of architectural practice.

The soul of architecture in Gaudi’s work was light, his forms with heavily decorated and finished in colours. These elements add quality to the building. All the works by Gaudi’s feel like they are wrapped it with some surfaces on it. All these characteristics are inspired by nature.

To look at his ideas and philosophy in more detail, and to study a different approach of organic principles in architecture, it becomes necessary to look at his works.

Fig. 2.1.2 Lightpost inspired by natural motifs

Cremona, Juan Manuel Gonzalez. Towards the beatification of Antoni Gaudi: since 1992. Barcelona: Asociation pro Beatification de Antoni Gaudi, D.

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2.1.1 Casa Batlo

Casa Batlo is a well-known building located in the center of Barcelona and is one of Antoni Gaudi’s work of art. Casa Batlo designed is identified as Art Nouveau. Casa Batlo is a proclamation of joy, a canvas of marine inspiration from nature. The house makes great use of color, light, line and texture which results into organic and flowing design.Each and every part of the building is inspired from the nature. It has both functional and aesthetic value.

Gaudi made changes in the old building, were radical and modified completely. The main floor was the home of Mr. Batlo and his family, and other four floors are divided into two floors each on rent. Gaudi completed his intervention by adding two floors.

Fig.2.1.3 Front elevation of Casa Batlo

Casa Batlo architecture is inspired by the organic forms of nature, for which the structure is analyzed and implemented out by Gaudi in a regulated geometry.

Joseph Batlo buys the Building 1877

1904 1903

The Orginal Building

Seguros Iberia acquired Casa Batlo

Joseph Batlo died 1941 1934 Joseph Batlo selected Antoni Gaudi

Preparation for opening to the public 2000

1954 Chamartin animation studios settle in Casa Batlo

2002 2001

Casa Batlo renovated

Cultural visits to the Noble Floor

Fig.2.1.4 Timeline of Casa Batlo

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The facade is a free flowing surface, which strongly favors his views regarding natural architecture. His philosophy that ‘Natural architecture does not have any straight lines.

The surface is decorated with a collage of Montjuic sandstone, glass, ceramics tiles, flowing stonework’s and large irregular windows.

Fig.2.1.5 Balcony on exterior facade

Fig.2.1.6 Bone like pillars on exterior facade

The front facade reveals striking textures, colors and imagery that work together to conjure a larger sculptural pieces that create the boundaries to the building. Gaudi kept the rectangular shape of the old building balconies.

The surface of the facade is ornamented with 7 balconies. The balconies appear fragments of skull with the openings of the eye and nose.

The slabs of the balconies were replaced with curved floors. The columns of the gallery on the first floor resemble Human Bones.

The facade with the ceramic fragments of various colors, which is obtained from the waste material of the Pelegri glass work.

The facade concludes in catenary vaults covered with glazed with ceramic tiles in the forms of scales in shades of yellow, green and blue, which resemble a dragon’s back, on the left side is a cylindrical turret with anagrams of Jesus, Mary, and Joseph, and represent Gaudi’s four-armed cross.

Fig.2.1.7 Bone like pillars in the interior

Fig.2.1.8 Roof with chimneys

Sculpture on the roof is chimneys connected to the kitchen and fireplace. The helical chimneys (sinuous, stylized, and polychromatic on the roof, topped with conical caps, covered in clear glass in the center and ceramics at the top and surmounted by clear glass balls filled with colorful sand.

Zerbst, Rainer. Gaudi, 1852-1926: Antoni Gaudí i Cornet : a Life Devoted to Architecture. Taschen, 2005.

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The inner courtyard in the center of the building with a large skylight. The roof is supported by an iron structure in the shape of a double T, which rests on a series of catenary arches. The whole yard is covered with 5 different tones of blue ceramic tiles, more intense at the top and lighter at the bottom blues, achieving a uniform distribution of light. The design is inspired from the ocean.

Fig.2.1.9 T-shape iron structure

Private access to the Batlo family with an organic appearance. Similar to an underwater grotto. The staircase resembles the spine of a large animal.

Fig.2.1.10 Inner courtyard with sklylight

Fig.2.1.11 Staircase leading to first floor

Fig.2.1.12 Skection of showing the windows in the central courtyard

Panchal, Sejal. Search for organic expression in architecture: an inquiry into the work of Frank Lloyd Wright and Bruce Goff.

Ahmedabad: Cept University, 2000.

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2.1.2 Sagrada Familia

The Basilica and Expiatory Church of the Holy Family, known as Sagrada Família, is a large Roman Catholic church in Barcelona, Catalonia, Spain. The church is a UNESCO World Heritage Site, and in November 2010 was consecrated and proclaimed a minor basilica by Pope Benedict XVI. The style of Sagrada Familia is very similar to Spanish Late Gothic, Catalan Modernism, and to Art Nouveau or Catalan Noucentisme.The Sagrada Família falls within the Art Nouveau period, Gaudí carried the Art Nouveau style far beyond its usual application as a surface decoration.

The Sagrada Família ground-plan is linked to earlier Spanish cathedrals. The basilica in a sort of a Latin cross. The temple has to be seen divided into areas: the facade of the Nativity, the Passion Facade of the facade of Glory with the Baptistery and the Chapel of Sacramento, the Crypt, the apse, and the Cimborios in Obeliscos the four corners of the temple, the Cloisters, the sacristy, the Chapel of the Assumption, the Cruise and the transept, the Industrial and Chorus and the presbytery or Altar.

1. Nativity Facade (East) 2. Passion Facade (West) 3. Glory Facade (South) Fig.2.1.13 Plan of Sagrada Familia

The Nativity facade was completed

11years after the1st stone was laid 1883

1926 1893

Gaudi became chief architect

The Spanish Civil War ends 1936

1978

1933 Gaudi died in Barcelona

1939 The Spanish Civil War begins

Sagrada Familia will be completed

Church boost revenue via tourism 2020 1992 The passion facade was completed

2026 The main tower are slated to be finished

Fig.2.1.14 Timeline of Sagrada Familia

Zerbst, Rainer. Gaudi, 1852-1926: Antoni Gaudí i Cornet : a Life Devoted to Architecture. Taschen, 2005.

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The site seem quite hectic with rocks and vegetation around it. The bavinger house as a whole sits very well on the site and merge with its surroundings. The spiral form or helicoid form of the house, the local materials use to build this house. Therefore the relationship with the site and the house seems to be an integral part of it.

Fig.2.1.15 Interior roof

Fig.2.1.16 Columns subdivided into branches

The overall form of the house suggests suggest growth or an organism. The plan is a logarithmic spiral which itself suggest growth of the form. The articulation of the spaces and the suspended saucers in ascending order also suggest a growth. The choice of using available local natural material gives an expression of growth.

The colour and textures of the stone makes overall form integral with the nature. The buffet and stairs treads are of the solid walnut which are fallen from the tree on the site. Therefore the building is built with local materials, which remains well integrated with the surroundings.

Fig.2.1.17 Staircase in Plan

Fig.2.1.19 Section of Sagrada Familia showing different Columns

Fig.2.1.18 Types of columns

Christian, Larsen. Investigating the proportions of branching structures through form-finding process of tree-like structures in architecture. Ahmedabad, 2019.

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2.2 Louis Sullivan

“Every building is like a person. Single and unrepeatable.”

-Louis Sullivan Louis Sullivan was born in Boston on September 3, 1856. He spent most of his childhood with his grandparents on their farm at South Readings at Masachussettes, which made a significant effect on young Sullivan. He acquired his formal architectural education from M.I.T. Before starting his own practice in Chicago, he worked with Richard Morris Hunt in New York and with Frank Furness in Philadephia for quite sometime.

Influences: Sullivan was an apprentice to Frank Furness, whose thinking, mind and character were influenced by transcendental thinking. He was also influenced by Emerson’s writings. Emerson in his writings insisted that in a work of art. The artist should proceed like nature into his creations.

But Frank Furness and Louis Sullivan were of the opinion that the artist should not imitate nature, but should go about his artistic endeavours in such a way that it gives the essence of nature’s principles of life, growth and development in an abstraction of those principles. Walt Whitman was another influence on him. Sullivan believed that Whitman was an ideal creator who blended nature and humanity into subtle unison. He also acknowledges the influence of French teachings on him.

His Ideas and Philosophy: There are five essential features in Sullivan’s idea. ‘First, the process of creating architecture must be natural in being intuitive. Second, architecture must necessarily evolve from and Fig.2.2.1 Interior Design, Auditorium

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Quote by Louis Sullivan.

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express the environment from which it grows, it must be adapted to it. Third, good architecture must express its own particular function. Fourth, it must be truthful to its structure and purpose and fifth, it must seek expression in ornament based on natural growth.

Louis Sullivan, after much observation of nature’s processes formulated the phrase, ”Form follows function”. He reasoned this thought of relation of form and function, he said “All things in nature have a shape, that is to say, a form, an outward semblance, that tells us what they are, that distinguishes them from ourselves and from ourselves and from each other. In a state of nature, the form exists because of the function and this something behind the form is neither more nor less than a manifestation of what you call the infinite creative spirit and what I call God.” Sullivan approached the designing of the building as an expression of an idea. He perceived a building as a rhythmic growth of an idea or an impulse and this idea itself gave him the structure and the details. He was of the opinion that just as each form in nature gives an idea of the function, each building should also be able to express the function through its form and structure. He manifests the structure of the building through the expression of an idea. The function of the building or a part of it is differentiated through the structure.

He stressed on an inter-relationship of part to whole relationship to express the organic quality similar to nature as it depicts in its organisms.

He also puts it, “If the work is to be organic, the function of the part must have the same quality as the function of the whole, and the parts of themselves and by themselves must have the quality of mass and partake of its identity.

Fig. 2.2.2 Carson pirie scott building

Morrison, Hugh. Louis Sullivan: prophet of modern architecture. W. W. Norton & co., 1963.

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2.2.1 Wainwright Building

Wainwright building is an architectural landmark of international significance. Louis Sullivan’s masterpiece, which marked the commencement of modern skyscraper design. The building represented a revolution against American dependence on European antecedents in architecture, as expresses in tall steel frame buildings.

The building was named after a local financier, Ellis Wainwright, who needed office space to manage the St Louis Brewers Association. The concept of the building was to open up the corner of the building to the street, the base to the public, shaft to private and frieze to the management.

The wainwright building is a perfect example of Louis Sullivan’s ‘Form follows functions’. The function of the high rise building was to be high, so the form of the building had to follow the idea and emphasize the verticality. The wainwright building shows how this form of the building took shape.

Fig.2.2.3 Wainwright building with its context

James Taylor-Foster. “The Long(ish) Read: Louis Sullivan Discusses the Tall Office, “Artistically Considered”” 10 Sep 2015. ArchDaily.

Accessed 31 May 2020. <https://www.archdaily.com/773283/ the-long-ish-read-louis-sullivan-discusses-the-tall-office-artisticallyconsidered/> ISSN 0719-8884

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1 2

The building aesthetically demonstrates the composition of the base, shaft, and frieze, which is based on the structure of the classical column.

The three sections of the wainwright building, the reception, lobby, and commercial spaces at the base, the offices in the middle, and the mechanical and the utilities at the top are differentiated through the structure.

In this set-up, the base is strong, not ornamented, the shaft shows verticality and the frieze is light and has no structural function and can be ornamented. The philosophy of Sullivan’s of different functions demanding different form or structure is clearly perceived in this building.

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Here at the base, Sullivan has built broad, square windows emphasizing the broad base. In the middle he used tall, narrow paired windows, and at the top, to terminate this he has used a long band of the ornamented cornice.

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1. Cornice 2. Frieze -building machinery and utilities

3. Fluted Shaft

- 7 floor offices

4. Base

-Retail Shops Fig.2.2.4 Classical Column

Fig.2.2.5 Elevation of building dividing it into Base, Shaft, Frieze and cornice

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Sullivan described the symbolism of his architecture as one of the simple geometric and structural forms and organic ornamentation. The plans are organized by using rectangles with different sizes on both plan, lower and upper plans. Even the same geometry is applied in the section also.

Fig.2.2.6 Ground floor plan

Sullivan unified the facades of the building by treating them as grids of vertical and horizontal members. He emphasized the vertical members by broadening the corner piers and empowering them to rise freely to the cornice. In the middle of the building, the tall, narrow windows are separated longitudinally by vertical piers and horizontal band with rich organic ornamented panels. Thus the building balanced vertical as well as horizontal movement. While the horizontal band which is rich in organic ornamented panels and the slender vertical piers enhances the verticality of the building.

The alternating piers with spandrels and windows give a negative and positive effect with light falling on the piers and windows in its shadow.

Thus the facade is a constant play of light and shadow and mass and void.

Fig.2.2.7 Upper floor plan

Fig.2.2.8 Elevation treated as a grid

Fig.2.2.9 Vertical piers with horizontal bands

Fig.2.2.10 Light falling on the piers

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Fig.2.2.11 Ornamentation on Frieze

Organic ornamentation and carvings are characterized in this building. The most prominent being the frieze that rests below the deep cornice. Ornate foliage reliefs are carved in terra cotta panels, decorating each floor with different styles and patterns. The top story is a frieze of winding leaf scrolls that frame circular inset windows. The celery leaf foliage varies and scales with each story, embellished in terra cotta.

The wainwright building makes clear that ‘Form follows Function’ does not exclude ornamentation. Instead ornamentation can be used to give form to an element, to emphasize its function.

Fig.2.2.12 Ornamentation on seventh floor

The function of the building responded through ornamentation and fenestration, which is evident through the overall form of the building. Louis Sullivan devised the term Organic Architecture representing his work though ornamented patterns which are directly inspired by nature.

Fig.2.2.13 Ornamentation on entrance

Fig.2.2.14 Ornamentation on fourth floor

Lupkin, Paula. “The Wainwright Building: Monument of St. Louis’s Lager Landscape.”

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2.2.2 National Farmer’s Bank The National Farmer’s Bank of Owatonna is a bank located in the heartland of the Midwest which is one of the optimum parts of the “Prairie style” in America.

Fig.2.2.15 Exterior view of the main room

Fig.2.2.16 Stained glass window

The form of the bank resembles a jewelled strongbox, giving depositors a sense of security.

The scale and the symmetry of the building catch the eye at first look. Brown and green rectangular terra cotta panels and blue and gold mosaic glass bands conflict with the reddish brick walls.

The base of red sandstone anchors the bank to the ground. The simple brick exterior conveys a sense of solidity to the bank, while its organic terra cotta ornamentation elaborate decoration within.

There is a balance between simple form structure and ornamentation on the façade and the interior.

Fig.2.2.17 Green terra cotta panels

Fig.2.2.18 Plan of the National Farmer’s Bank showing the main room

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He decorated the building with plant motifs resultant from the “Prairie style” to create a sense of a united whole.

Fig.2.2.19 Interior view of the bank

Two arches with stained glass with a colour scheme of green, brown, gold, and red and a skylight in the same autumnal colours allow natural light inside the bank.

Large arched stained glass windows are mirrored on the inside side by murals.

In the interior, the large open plan featured with ornate stencilling along with terra cotta and plaster ornament by using plant motifs.

Fig.2.2.20 Semi-circular window details

The square interior of the main room of the bank was designed in harmony with the exterior with semi-circular murals on the walls. Four monumental cast iron electric chandeliers are known as electroliers used to express the organic ornamentation in the interior of the bank

Fig.2.2.21 Motifs on the stained glass

Fig.2.2.23 Sectition showing the skylight and semi-circular window

Fig.2.2.22 Plant motif on facade

http://artsmia.org/unified-vision/architectural-tour/greater-mn-owatonna-tour.pdf

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2.3 FRANK LLOYD WRIGHT

“Nature is my manifestation of God. I go to nature every day for inspiration in the day’s work.”

-Frank Lloyd Wright Frank Lloyd Wright was born in 1867. He was influenced by nature since his childhood. During his childhood, working in his uncle’s farm, he perceived a respect for nature and unique qualities in nature. Wright never had formal education in architecture. He had studied in an engineering school and later dropped it but he had learned drafting in an engineering school.

Later in 1888, later he joined the office of Alder and Sullivan. The initiation at Sullivan’s office influenced him a lot.

Influenced: Frank Lloyd Wright’s mother wanted him to be an architect and gifted him Froebel blocks to play with it. Froebel blocks influenced him the most and you can even see in most of his works. The volumetric qualities of those blocks made him understand architecture better. Even, Froebel blocks influenced also extends to his visualization and his process of design and also the use of pure geometrical forms were seen in his works.

Music was another influenced on Frank Lloyd Wright works. His father play music of Bach and Beethoven, which was an inspiration to him.

He often drew analogies between music and architecture. The expression of the wholeness is a common pattern between architect and a musician.

As seen before Louis Sullivan was also influenced by nature and his architecture was also a part of the organic architecture. The initiation at Louis Sullivan office created great impact on Wright Fig.2.3.1 Falling water

6

Quote by Frank Lloyd Wright.

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and his works. Wright designs with abstract geometries and spatial composition was influenced by Louis Sullivan exploration with ornamented patterns. Sullivan’s designs were a nest of different layers and scales and a play of solid and void. The way of approaching design through different forms and elevating the function of the building. The inter-relationship of Form and Function becomes a important characteristics even in wright’s buildings.

Ideas and Philosophies: Frank Lloyd Wright used ‘Organic Architecture’ to describe his own works. Since childhood he was inspired by nature and appreciated the variations and deviations, harmony and order, rhythm and structure in nature. Frank Lloyd Wright attempted to incorporate all the aspects of nature in his works. Wright believed that man could grow to serve as nature’s instrument.

From nature, his inspiration to scale, proportions and the relation of the part to the whole. He believed that everything in nature has a natural principles. That is how he defines his works as Organic Architecture.

Wright refers the concept of organic architecture to an organism in nature. In an organism, each part functions individually, but also subsidizes to make a whole. An organism in nature adapts itself to the surroundings and the natural processes.

This type of qualities expressed in architecture, generates an architecture, which he terms as organic. Wright does not directly imitate nature but refers to the organic qualities in nature.

Fig.2.3.2 Robie house

Wright, Frank Lloyd. Truth Against the World: An Autobiography.

New York : Horizon Press, 1977.

Paul Laseau, James Tice. Frank Lloyd Wright: Between Principles and Form. Wiley; 1 edition, 1991

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2.3.1 Robie House

In 1908, Frederick C. Robie, a successful Chicago businessman, decided to have a fully functional and modern home constructed for his family in Hyde Park, an elegant Chicago locality and home to the campus of the University of Chicago.

Robie wanted a house with a wealth of light and great views of the surrounding locality, even sustained his family’s privacy. He didn’t like small restraining rooms and thought that flowing spaces were essential in a well-designed home.

He soon realized Frank Lloyd Wright was the architect who could provide these elements; which were all part of the Prairie style.

The plan by Frank Lloyd Wright was determined by the help from The Robie House site. The corner plot is three times as long as it is wide.

These dimensions instigated Wright to think of the home in terms of long, narrow rectangles.

Therefore, the home consists primarily of two long and narrow “vessels,” each similar in shape to the hull of a ship, one set on top and slightly off-centre of the other. When viewed from the street, each blends into the other, forming what looks like a single, continuous horizontal structure.

The Robie House is constructed of red Roman brick and incorporate steel beams into its design.

These strong beams were required to create the cantilevered balconies, which appear to be suspended in mid-air.

Fig.2.3.3 Exterior view of Robie House

The ground floor of the Robie house was designed for everyday use, with a billiard room, playroom, and service areas. The first floor contains the home’s formal areas, including the living, dining rooms, kitchen and guestroom. These stretch in opposite directions from a central fireplace know as Hearth. The first floor topographies a long balcony that stretches nearly the entire

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length of the home. The second floor is occupied by the private family spaces: three bedrooms surrounding a central hall.

Frank Lloyd Wright provided designs for furniture, lighting fixtures, wall hangings, rugs, and, in some cases, even dishes and clothing. Frank Lloyd Wright’s aim was to create organic architecture and relied on such detailed instructions to create a complete environment. Wright himself never defined organic architecture, it is an approach to design that tries to unite or relate all the elements of a structure, such as its site, materials, ornament and even the human users.

The Prairie Style: The Robie House of 1910 is generally considered to be Prairie style work. This style is categorized by a governing horizontal axis, banded windows, and a spacious and open interior plan. The exterior is dominated by a low hipped roof, simple building materials (mainly brick, wood, and stucco) and suggests a union of the site and the building.

Homes like these typically gave vistas and adequate windows and balconies. Open spaces on the first and second floor of the house interiors were proposed to continue to the outside through these windows. Wright is emphasized through the open and flowing design of the Prairie style that influenced him a lot.

Fig.2.3.4 Robie house

Adelyn Perez. “AD Classics: Frederick C. Robie House / Frank Lloyd Wright” 16 May 2010. ArchDaily. Accessed 31 May 2020. <https:// www.archdaily.com/60246/ad-classics-frederick-c-robie-housefrank-lloyd-wright/> ISSN 0719-8884

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The Robie house is a very self-contained house.

The entrance is from the main street. The entrance is pushed away from the street edge which forms a long, narrow, open space before one enter the house. There is an indirect entry to the house which gives an experience the surface and horizontal bands all around the building.

Fig.2.3.5 Indirect entry

The overall form of the house is a reflection of the organisation of the spaces within. The house is split into two halves, the service part and the main living part. Which are shifted in order to make pockets of open spaces on each side of the house.

The site offers the advantage of orienting the house east-west with the longer side facing south. This brings in maximum sunlight and breeze in summers and sun in winters.

The growth of the house was according to the need of the client and restricted to the site. But

Fig.2.3.6 Hearth in the center of the house

Fig.2.3.7 Plan showing evolution of form Fig.2.3.9 Ground floor plan showing indirect entry to the house

Fig.2.3.8 Plan showing the axis of the house

Fig.2.3.10 The main space connecting sub private spaces

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the house itself just a horizontal and vertical growth. The spaces are divided in between the long horizontal planes. These spaces growth are made porous through fenestration. In order to reflect the nature of the built form, the overall form of the house is articulated to bring it to domestic scales. The mass is broken into surfaces which are articulated through elements like cantilevered slabs, Fenestration, etc.

Fig.2.3.11 Basement plan showing inside out relationship

Fig.2.3.12 First floor plan showing inside out

Fig.2.3.13 Inside-outside relationship

In order to make a strong relationship between inside and the outside was developed. The mass of the built form is made absorbent, simplifying the maximum view from outside, through fenestration.

Long horizontal cantilevered slabs indicate the infinite growth of the inside spaces. The fenestration helps to bring natural light in ample amount. The geometric patterns glass window bring natural light into various colours and shapes that becomes a celebration and even functional requirement.

Fig.2.3.15 Hearth in the center holding all the spaces

Fig.2.3.16 Floating horizontal planes enchored to the ground by Hearth

Fig.2.3.14 Bricks emphasize horizontality

Panchal, Sejal. Search for organic expression in architecture: an inquiry into the work of Frank Lloyd Wright and Bruce Goff.

Ahmedabad: Cept University, 2000.

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2.3.2 Johnson Wax Heaquarter

The Johnson Wax Headquarters is located in the town of Racine, 200 miles from Chicago, on the shores of Lake Michigan. The Johnson Wax Headquarter also is known as the Johnson Was Administration Building, opened to the public in 1939. Johnson Wax Headquarters is the world headquarters and administration building of S.C Johnson and Son, for the company president, Herbert F. The 14 story Johnson Wax Research Tower built between 1944 and 1950 were designated as Nation Historic Landmark in 1979 as Administration Building and Research Tower, S.C. Johnson and Son. Fig.2.3.17 Ground fllor plan of Johnson Wax building showing workshop and research tower

Fig.2.3.18 Workshop and outside isolated relationship

The Johnson Wax Headquarters were set in an industrial zone and Wright decided to create a sealed environment from above, as he had done with the Larkin Administration Building. He designed the building in his organic architecture style with references to natural forms and structures. The building features interpreted the streamlined of Art Modern style. The form of the building is a break with Wright’s earlier Prairie Style.

The building itself is isolated from its environment that allowed Wright to create his idea of architecture wall inward, addressing the relationship of an unhealthy environment through outright denial. The building has no windows, only long blind facades, impressive red brick walls.

The most recognizable element is the dendriform columns, the name used by Wright because of its tree-like shape. Wright’s ability to incorporate

Fig.2.3.19 Workshop and passage isolated relationship

Kelly Minner. “AD Classics: S.C. Johnson and Son Administration Building / Frank Lloyd Wright” 21 Nov 2010. ArchDaily. Accessed 26 May 2020. <https://www.archdaily.com/90519/ad-classics-s-cjohnson-and-son-administration-building-frank-lloyd-wright/> ISSN 0719-8884

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the organic metaphor into his architecture is revealed in the building via tall slender mushroom columns.

Fig.2.3.20 Mushroom columns in workshop

The building is a bit like a forest. A low ceiling featured with shortened mushroom columns which lead to the lobby. While the great room is surrounded by slender mushroom columns and light streams in from above. The column system seems like a continuous rigid frame structure hinged at the column foot.

The roof level as broad lily pads of concrete 18.5 feet wide. The hollow cored columns that serve as stormwater drains. The circular lily pads are woven together by a membrane of Pyrex glass tubing that illuminates spaces with natural light.

By using Pyrex tubing allowed for a lot of diffused light to enter the interior.

Fig.2.3.22 Plan of Workshop space showing mashroom column

Fig.2.3.21 Mushroom Column details

Michelle Miller. “AD Classics: SC Johnson Wax Research Tower / Frank Lloyd Wright” 29 Oct 2018. ArchDaily. Accessed 27 May 2020. <https://www.archdaily.com/544911/ad-classics-sc-johnson-waxresearch-tower-frank-lloyd-wright/> ISSN 0719-8884

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Wright to the horizontal line was the horizon, which is associated with the ground. It has a vertical tower having vertical in volume and having a horizontal line. That makes a direction that could make the building belongs to the ground.

Fig.2.3.23 Slab to detail junction

The research tower was the second phase of the project after the administration building complete. The tower has fourteen cantilevered floor building. As with the administration building, Wright considered the building to be an organic style. Therefore, he compared the tower’s structure to be like a tree consisting of a deeproot stem and tapering branching floor slabs.

Light played a major role throughout all the spaces. Wright sought to reach the light in a constant way to all corners, and two resources used to achieve this by undoing the ledges and take the residual spaces between the circles that generated columns in the ceiling.

Fig.2.3.24 Slab to detail junction

Fig.2.3.25 Slab to detail junction

Lipman, Jonathan. Frank Lloyd Wright and the Johnson Wax Buildings. Rizzoli Intl Pubns, 1986.

Fig.2.3.26 Section of the building showing the vertical research tower

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2.4 Bruce Goff

Bruce Goff was born on 8th June, 1904, in Alton, W. Kansas. During the first ten years of his life, Goff’s family was always moving. Being in constant touch with nature, Bruce Goff was influenced by nature. Since from his childhood, he was interested in sketching. At the age of twelve he started his architectural apprenticeship. His designs were influenced by Frank Lloyd Wright.

He was a self-educated architect.

Influences: Bruce Goff’s was influenced by architects and artist who drove architecture into 20th century.

These includes many American architects like H.H Richardson, Louis Sullivan and Frank Lloyd Wright. He valued the art and architecture of Art Nouveau, Surrealists, Expressionists and internationalists.

The foremost influence of Goff’s designs were nature and its processes. As a child, he stayed in the open grasslands of Colorado. Being with nature as his religion. His grandma was a watercolourist and whenever he visited her, she let him look at her collections of natural things. The shells, crystals, coloured rocks, butterflies and feathers him at a young age. He got influenced by its simplicity, colours, textures, materials and design as well.

He also influenced by music. He was both composer and an architect, and hence he rarely tried to correlate music and architecture.

But it was more on the abstract level as relation of part to whole, solid and void etc.

Fig.2.4.1 The Struckus House

Cook, Jeffrey. Architecture of Bruce Goff. Crosby Lockwood & Son Ltd. , 1978.

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His Idea and philosophies: Bruce Goff’s designs would look irrational at first glimpse but then they have certain logic behind the unusual forms and materials. He is many a time criticized for trying to be different. The unusual forms in his designs give an impression that he did such works for effects and tried to be different from the current style or the era. To this, he defends himself by saying that certain artist are accused of trying to be different. Goff has been many times claimed to be someone who tried to be different, but each of his projects though being different from previous, had a logical reason behind it.

This concept of individuality and the concept of change or growth are the main aspects in his designs. He had a belief that a building showing organic quality should constantly be changing. These aspects of individuality and growth of the building are brought through the use of appropriate materials and geometry in his designs, which brought a certain spatial experience.

Hence his ideas and philosophies regarding organic architecture can be put in some parameters, such as Individuality, growth, climate, local materials, sitting on ground, spatial experience.

Fig.2.4.2 The Gryder House

Nicholaides, Paul Nicholas. , Bruce Goff and his Architecture. 1960.

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2.4.1 Bavinger House

The Bavinger House was built in a forest of native trees blackjack and designed to make a compatible home with the environment.

The Bavinger House put a new twist on the modernism. Goff included distinctive floor plans, mixing materiality with eccentric spaces to produce the desired effect.

Originally built in 1955 in Norman, Oklahoma, Goff work together with artists Eugene and Nancy Bavinger as well as students from the University of Oklahoma to create a spiralling fan-like building whose core is defended behind clumps of sandstone.

The house’s signature 96-foot-long spiral, which curved downwards in logarithmic fashion, mimicked that of a sail unfolding in the wind.

Trapped in suspense, Goff showcased the tensile trends that were emerging in architecture at the time.

Among its woodland surroundings, Bavinger House was pinned to the ground through a recycled oil field drill stem which was also used to elevate the central mast above 55 feet.

With no interior walls, an array of multi-height platforms created space within the house while the ground floor was covered with pools and planting.

Fig.2.4.3 Exterior view of Bavinger House

Greg LeMaire. “AD Classics: Bavinger House / Bruce Goff” 23 Sep 2011. ArchDaily. Accessed 31 May 2020. <https://www.archdaily. com/171574/ad-classics-bavinger-house-bruce-goff/> ISSN 07198884 Bruce Goff, David Gilson De Long, Art Institute of Chicago. The Architecture of Bruce Goff, 1904-1982: Design for the Continuous Present. Prestel, 1995.

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The site seem quite hectic with rocks and vegetation around it. The bavinger house as a whole sits very well on the site and merge with its surroundings. The spiral form or helicoid form of the house, the local materials use to build this house. Therefore the relationship with the site and the house seems to be an integral part of it.

Fig.2.4.4 Form inspired by the form of Snail

Fig.2.4.5 The plan indicates growth of the spaces in all direction

The overall form of the house suggests suggest growth or an organism. The plan is a logarithmic spiral which itself suggest growth of the form. The articulation of the spaces and the suspended saucers in ascending order also suggest a growth.

The choice of using available local natural material gives an expression of growth. The colour and textures of the stone makes overall form integral with the nature. The buffet and stairs treads are of the solid walnut which are fallen from the tree on the site. Therefore the building is built with local materials, which remains well integrated with the surroundings.

Fig.2.4.6 View of skylight

Fig.2.4.8 Elevation indicating vertical growth of the house

Fig.2.4.7 View from top of the roof

Bruce Goff, Goff of Goff Progressive Architeture.

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The orientation of the house is such that the major axis is east-west. The undulating stone wall is facing north, the glass wall at the entrance is facing south. The orientation is such that the planter area at entrance level get enough sunlight throughout the day.

The approach to the house is direct. A path is created from the outside to the main entrance of the house, which is distinguished with the flooring. The flooring continues inside the house through the glass wall, which is a gesture of making the inside and outside relationship.

Fig.2.4.9 Diagram showing evolution of form of the house

The child’s play area open into the passage leading to the suspension bridge. This bridge crosses the lake and leads to the flower garden on the opposite side. Such connection from inside established a strong relation with the outside.

The inside outside relationship is established in the house through openings as well as material used.

Fig.2.4.10 Orientation

Fig.2.4.11 Inner view of the house

Fig.2.4.12 Diagram showing spaces floating in one common space.

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The plan organization itself suggest a part to whole relationship. The whole house is a single space with different function at different level.

Each function here is a part with large volumes.

Fig.2.4.13 Plan showing relationship of part to whole

The natural light is taken through spiral band of skylight. It is the main source of natural light, which lights up the entire house along with the individual spaces with different light quality.

The house gives an impression that the form and the functions are predetermined. Therefore the relationship of form and function is not quite strong. It seems the form was preconceived and the function are treated as a effect rather than cause.

Fig.2.4.14 The hierarchy of privacy in secrion

The core of the house is kitchen. The circulation plays an important role in emphasis of the core.

The vertical circulation is in and around the core. Each spaces having different functions are accessed through this staircase.

Fig.2.4.15 The skylight adjacent to the curved wall

Fig.2.4.17 The main space connecting sub private spaces

Fig.2.4.16 View of floating Spaces

Panchal, Sejal. Search for organic expression in architecture: an inquiry into the work of Frank Lloyd Wright and Bruce Goff.

Ahmedabad: Cept University, 2000.

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2.4.2 Ford House

Sam and Ruth Van Sickle House is also known as Ford House. The Ford House takes a seat on a city block in western Aurora, Kane County, Illinois. It is located in the northwest quadrant of the block.

The house has a clear axis from northwest to southeast. It was built in 1949.

The opaque side of the house is oriented towards the public side to the northwest and the transparent side of the house is oriented towards the private side to the southeast.

Bruce Goff likes circles, considering that a circle is informal, gathering around, friendly form, which is used in many forms. Working on that theory he designed this house which makes modern houses look old-fashioned. It is a private residence for Sam and Ruth Van Sickle, it is also mentioned as a “Round” or “Coal” house.

Fig.2.4.18 Plan of the building

http://hiddenarchitecture.net/ruth-and-sam-ford-house/

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Goff reused the Quonset hut ribs leftover from the Second World War, which he used them in a radial configuration. The main center dome of the Ford house is created using these Quonset Ribs. The ribs discharge from the central column but are slanted to give the house its rounded form. A shingled roof is laid over the roof, and a glass ceiling is used in the center of the dome to bring light into the house.

Fig.2.4.19 Quonset Ribs

The house consists of a huge, domed center circle and with two semi-circular bedroom wings, all shapes by steel arches made of Quonset Ribs.

The house is constructed of anthracite coal, steel, glass, cedar, and hemp. Goff’s playful and uninhibited exploration of the actual material and forms are reflected in the house.

The plan of the house reflects the centrality of the structure and the form. The two semi-circular bedroom wings are connected to the main dome emphasizing the centrality. On another hand, the plan of the house also reflects the growth of the house from inside to outside.

Fig.2.4.20 Skylight in the centeral dome

Fig.2.4.22 Glass marble studded in coal wall

Fig.2.4.21 Glass marble studded in coal wall

https://www.andrewtboyne.com/organicarchitecture/goff_ford. html.

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There are three levels in the central dome consist of a gallery, balcony studio, and a circular pit, which makes a direct connection to the ground as if the whole structure belongs to the ground.

Fig.2.4.23 Central dome

Ford Residence - Aurora, IL - Built: 1948 - Life Magazine. (https://www.flickr.com/photos/midcentarc/4822270495/in/album-72157624568581396/). http://gis.hpa.state.il.us/pdfs/803088.pdf.

(National Register of Historic Places Reaisffat”on Form)

At the base of the central dome, which is built on three different levels, which is a curved cannel coal wall and has been treated against smudging and weathering. This wall is studded with glass marbles to receive diffused light. Navy surplus rope concealment the horizontal ceiling of the house. Cypress siding is rested in the herringbone pattern on the dome and wall.

There are no windows in the house, so ventilation is provided by hinges louvers and ceiling vents.

The main living area is coved by the glass to create a transparency between inside and outside, which carries out the theory of Goff’s “space moving inside to out”.

Fig.2.4.24 Diagram showing the organization of the building

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2.5.1 NARI GANDHI

“The reality of architecture is not contained in the roof and walls, but in the space within. It is the space that is.”

-Nari Gandhi Nariman Dossabhai Gandhi known as Nari Gandhi was born in 1934 in Surat, India, into a Zoroastrian Parsi family from Bombay. He was well known as ‘father’ of modern architecture in India and was among the world’s talented 20thcentury architects. He was an Indian architect known for his highly innovative works in Organic architecture. Nari Gandhi studies architecture at Sir J.J. School of Architecture in Mumbai in the early 1950’s s and completed in four years. Later he traveled to the USA to apprentice with Frank Lloyd Wright at Taliesin West in Arizona and spent five years there.

Influences: He was influenced by numerous architectural practices but Frank Lloyd Wright remains the single most influenced of his life. He was very patient and quite merely biding his time with the singleminded and intense objective in life of working under Frank Lloyd Wright. He was engaged by Taliesin’s learning system and developed his taste for other arts like a sculptor, ceramics, music, and many more. So he left Taliesin west and studied pottery at Kent State University.

He returned to India and continued to work on Wright’s ideology of ‘Organic architecture and further developed his style which influenced him by local materials, context, climate, and culture. He continued with the idea of ‘flowing space’. He spent most of his time on sites and worked closely with the craftsmen and even he participated in the construction process.

Quote by Nari Gandhi.

Michael C. Hawker,Celebrating the life and work of Nari Gandhi, Vol. 23.1, 2007,

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Fig.2.5.1 Red Brick House

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Philosophy: The main objective of Nari Gandhi’s designs is the true spirit of himself. His simplicity, purity, and integrity of thoughts in his real-life sought inspiration in ‘nature’ as a base for his design philosophies. The major decision of the design was taken on the site looking at the natural condition regarding the orientation, geometry, forms, and even selecting suitable materials for the construction which is available in and around the site.

He very logically interpreted the principles of nature in his works. Therefore, he created some similarities between nature and man-made, in a way that they are correlated with each other as a part or a whole. He believed that there should be harmony between nature and man-made surroundings. He categorized his design in three parts are the structure, material, and purpose come together to harmonize within the context.

Therefore each space is connected to the surrounding and own its individuality and even it integrate as a whole.

Nari Gandhi focusses on elements like Climate and weather conditions, Topography, Views in nature, trees and plants in nature, material availability, craftsmanship, and structural originality. His philosophy in his works displays a distinguishing organic character. They appear to have developed as a response to the context, remaining strongly ingrained to the site and being very well connected to the surroundings.

Fig.2.5.2 Daya residence

Michael C. Hawker,Celebrating the life and work of Nari Gandhi, Vol. 23.1, 2007,

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2.5.1 Jain House

Fig.2.5.3 Exterior view of the house

Jain House is located in Lonavala built-in 19891992. It is situated on a sloping site and flanked by terrace gardens on both the part of the house. The house owns its individuality and at the same time embraces the dialogue between the built and the unbuilt and reflects beautifully onto the structure.

The terrace gardens began above the entrylevel towards downhill and planted numerous variety of local plants and trees, adding beauty to the bungalow.

The spaces are designed according to the location of the existing trees, which vacillated spatial arrangement is assured together by the internal courtyards provided on every level.

Fig.2.5.4 Interior view of the bedroom wall

The semi-circular openings are designed throughout the house and parallelograms for the doors that help it to blend with natural forms.

The deep overhangs of the roof creating a stepped profile of the structure which is highlighted by the mountains in the backdrop.

The masonry walls are made using locally available igneous rocks of variable sizes.

Fig.2.5.5 Plan of the showing spatial organization

Michael C. Hawker,Celebrating the life and work of Nari Gandhi, Vol. 23.1, 2007,

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The house with the stepped sectional profile is designed to blend in with its surroundings. Its rugged exteriors accompaniment the dispersed interiors. All the private areas of the house are accessed by a straight flight staircase running centrally through the house, which separates the structure into two parts.

Fig.2.5.6 Exterior view showing roof supported by steel trust.

The huge roof supported by the metal trusses emerging from the stone masonry walls and dotted with several dormer windows and covered with Mangalore tiles.

The courtyard walls are adorned with small chips of stone in which planter beds are built that covered the foliage during the monsoon season.

Fig.2.5.7 Entrance facing balcony

The flowing connection from the interior to the exterior, there is an irreversible bond between nature and man-made. The huge walls, deep overhangs, semi-circular windows, natural material, and radiating overhangs look like everything is a part of the surroundings. http://nirman.com/blog/2017/01/06/jain-bungalow-lonavla-awork-of-pure-genius/ http://theinsidetrack.in/spotlight/art-or-architecture https://archnet.org/sites/6329/media_contents/61092

Fig.2.5.8 Section of the Jain House

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2.5.2 Daya Madh Island Bungalow

Fig.2.5.9 View of living area showing Stone cladding of floor and inner vault are same

Fig.2.5.10 Skyling ring from broken beer bottles

The Daya Madh Island bungalow, where Nari was given complete freedom to imagine and innovative process. The site of the bungalow was selected by Nari, He created the three vaults on the site. The exteriors of the vaults were filled with earth to covert the roof into garden, roughly the same size as the vault. He innovated the roof by puncturing at some places to brought light inside the living area and capped by glass-chip dome.

The house give glance like a cave with rustic surface treatment and natural looking interiors.

He uses sandstone slabs for cladding the interior of the vault. Two smaller vault flank it on either side, containing the servant quarter and kitchen area. The sandstone flooring of living area is cladded as same as the interiors. Earth filling strips planted with vegetation gives a natural feel.

Multiple materials and design approaches appear throughout the house, the glass skylight made from broken glass chips, marbled, stained glass, and broken beer bottles. All over the house, stone is found in the form of broken chips with cement coated surface.

Fig.2.5.11 Roof Plan of Daya Madh Island Bangalow

Fig.2.5.12 Floor Plan

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Nari Gandhi was an artist by nature. He uses his artistic taste demonstrating through paintings, sculptures and other artifacts. The artistic feel is seen all over the house. To give enchanting look he displayed terracotta sculpture and pots, ceramic facial portraits and even many art work through earthenware to metalwork.

Fig.2.5.13 inside view of mother of pearl canopy.

A vaulted canopy made up from thin nylon strings and mother of pearl shells on the terrace and a suspended swing from an elliptical opening in the main room roof give the house a unique feel.

Daya Madh Island Bungalow is one of the illustration were Nari designed with his freedom and imagination in a unique way. He made the house look as a part of its surroundings and a true illustration of organic architecture.

Fig.2.5.14 Centre circukar paved block made from chipped stones.

Fig.2.5.15 Elevation of entry gate of the bangalow

Gore, Rahul. 1996. The Works of Nari Gandhi, Centre for Environmental Planning and Technology, Ahmedabad.

Fig.2.5.16 Section of vaults

Fig.2.5.17 North - south section

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Analytical inferences

After understanding the movement and periods in the previous chapter, It is important to examine the works of some architects who attempted to achieve organic quality in architecture through their works. Although, as understood by the previous study in this chapter, all five architects have their ways and methods which differ from each other, the ultimate goal remained the same and that is an approach to achieve organic architecture. Below, there are a few aspects mentioned, which came after understanding the philosophy and their works of architects.

1. Antoni Gaudi

- Analogy with nature - Integration of architecture with nature - Nature and Geometry - Ornamentation - Material - Scale and proportion - Light and Sunlight

2. Louis Sullivan

- Analogy with nature - Integration of architecture with nature - Nature and Geometry - Form and Function - Inside - outside relationship - Ornamentation - Material - Scale and proportion

3. Frank Lloyd Wright

- Approach & Orientation of the building - Respond to the ground - Form and Function - Nature and Geometry - Spatial Organization - Inside -outside relationship - Growth of the building - Part to whole relationship - Light and Sunlight - Material

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4. Bruce Goff

- Sitting of the building & contextual response - Orientation and approach of the building - Form and Function - Spatial Organization - Growth of the building - Part to whole relationship - Inside - outside relationship - Materials

5. Nari Gandhi

- Analogy with nature - Sitting of the building and contextual response - Nature and Geometry - Spatial Organization - Part to whole relationship - Inside - outside relationship - Ornamentation, Patterns and Textures - Material and construction techniques - Scale and proportion - Climate responses - Rhythm

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Chapter - 3

Didi Contractor 3.1 Biography

3.1.1 Inspirational years and Influences 3.1.2 Didi as Interior Designer 3.1.3 The solar cooker project

3.2 Didi’s architectural philosophy 3.3 Other Beliefs

3.4 Kangra Architecture

3.4.1 Understanding of physical contex 3.4.2 Natural Hazard of Kangra valley 3.4.3 People and their occupation 3.4.4 Agriculture 3.4.5 Spatial organization of the dwelling 3.4.6 Material and construction Techniques 3.4.7 Transformation in the Traditional Built Form Material and construction Techniques 3.4.8 Scarcity of local materials and introduction to new materials

3.5 Neo-Kangra Architecture

3.5.1 Alterations in materials and Construction

3.5.2 Element and Innovation

3.5.3 Other beliefs

3.5.4 Architect - craftsman relationship

3.5.5 Architect - client relationship

3.5.6 Drawings

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3.1 Biography

3.1.1 Inspirational years and influences Delia Heldigarde Contractor known as Didi Contractor was born on 11 October 1929, United States of America. At an early age, Didi contractor was exposed to art and architecture and was even encouraged by her parents.

Her mother Alice Fish Kinzinger and father Edmund Daniel were both expressionist artists. Her father taught art at a different institute in Europe and America. He was involved in the early Bauhaus Movement.

She was encouraged to draw at a very early age. She liked to look at the texture and patterns in nature and inspired by it.

Even she visited many museums in Europe in her childhood. At the age of 11, she heard about the works of Frank Lloyd Wright and was impressed.

During her childhood, her parents bought a house in New Mexico and she spent two summers helping her parents renovating the house in Adobe. She was exposed to the architecture and design and construction properties of the building at an early stage.

Therefore, she was inclined to study architecture due to various influences in her life. Her parents didn’t pick up on her efficiency towards architecture as her parents assumed that women are bad at mathematics. Although she was interested in arithmetic and even fascinated about Geometry. She discovered that she was good at that during the college years. However, at that point, she got more involved in playing the guitar and writing poems.

Fig.3.1.1 Didi Contractor

Singh Joginder. Down to Earth: The Mud architecture of Didi Contractor. 2010 <https://www.scribd.com/doc/44677665/Down-to-Earth-DidiContractor>

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She went for higher studies in university and even studied art with Hans Hoffman in New York but didn’t complete her undergraduate degree because she was deeply interested in pursuing art but not in the university coursework.

During her study, she met an Indian Gujarati boy, Narayan Ramji who was pursuing engineering in the university of colorado. She got married to him and moved to India in 1951.

Didi fell in love with Indian village architecture, the village shrines, and their entire earthiness.

She loved the aesthetics of village architecture.

She photographed and sketches the spaces of the villages. To her, the Indian villages are full of beauty and those are all things people have made for themselves. She believes that building should look nice but it should also serve a function. The aesthetics should contribute to the building but not diminish the function and each function should aesthetically presented.

She subscribes that form follows function.

In the beginning, the couple lived in Nasik, but later they shifted to Mumbai. During that time, Didi was painting actively and designed her residence in Juhu, Mumbai.

3.1.2 Didi as Interior Designer Didi was always passionate about designing inner spaces, so she started working as a freelance decorator in Mumbai. She worked on interiors for corporate offices with the purpose to make better workspaces. But the corporate world didn’t match her philosophy and soon she found it difficult to work in those circumstances.

Singh Joginder. Down to Earth: The Mud architecture of Didi Contractor. 2010 <https://www.scribd.com/doc/44677665/Down-to-Earth-DidiContractor>

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In 1961, she got an opportunity to design the interiors of Lake Palace Udaipur, to convert Jag Niwas into Udaipur’s luxury hotel. Didi loves Indian crafts and she even worked with the local craftsmen of the region and appreciated the importance and richness of regional crafts.

Being an interior decorator, she got to know more about materials and its value, understanding the importance of details and instilled a deep appreciation and respect for workers on site and their experiences.

In 1974, Didi went to teach art to students at Rishi Valley school in Andhra Pradesh where her daughter was studying at that time after separating from her husband.

In 1978, she traveled to Andretta, a village in Kanga valley at the foothills of the Himalayan ranges. There was an Indian colony build in adobe in the village which was set up by Norah Richards, which reminds her of her childhood in New Mexico.

She spent her time reading the literature of Shakespeare and books on Indian architecture to know more about techniques, language, and its importance.

During that period she examined the local village life, their building techniques and explored vernacular architecture. She was astonished by the skills of people, the climate condition of the region. She worked at pottery, gardening, and maintain her living. That all influenced her perspective on life values.

Later, She started the beginning of her building career by designing a solar cooker.

Singh Joginder. Down to Earth: The Mud architecture of Didi Contractor. 2010 <https://www.scribd.com/doc/44677665/Down-to-Earth-DidiContractor>

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3.1.3 The solar cooker project Didi started her building career with a solar cooker project in the mid-eighties using local skills and local materials. She was involved with an Indo-German project concerning the ecology of the region, as a part of which they designed the solar cooker for the region. While Didi saw it she determined to redesign it by using the local materials.

The basic perception of solar cookers is to have two parallel pieces of glass, set at an angle in between which convection takes place. Light arrives through the glass and hits the black surface and acts as a heat trap. Various universal designs suggested solutions to make the insulating frame out of plywood and cardboard boxes with a tin foil for a reflector.

Didi redesigns the solar cooker using the local materials. She placed the glass in layers with a half-inch piece of wood in between and a bushing of wool. The wood piece used was of a deciduous tree alternatively of a pine tree. In pine, resins are drawn apart due to the intense heat developed in the solar cooker which gets settled on to the glass and is impossible to clean.

She used adobe as a strong insulating material besides cardboard boxes to build up the frame and to the reflector to build up the heat she uses aluminium foil or ghee metal tins. She filled the whole skeleton with coir or rice husk to hold the heat mass for a longer time.

From Palampur to Bir she made around 150 solar cookers in the villages of this region with a lot of experimentation using local materials. The model she designed has been used by her and other villages.

Fig.3.1.2 Solar Cooker

Narayan, Kirin. My family and other Saints. < https://press.uchicago.edu/Misc/Chicago/568201.html>

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3.2 Didi’s architectural philosophy

Didi has lived in India for almost more than 65 years now. She is one of the architects who got an opportunity to work in various fields ranging from painting, interior designer, and lastly architecture. She not only developed her philosophy by a variety of work she has done but it’s about her belief in the concept of diversity that helped her to display different experimental solutions for practical problems in our day to day life.

The energy she invested to understand vernacular patterns, ecology, and styles to develop her architectural philosophy. In every building design, firstly Didi responds to the context and nature of the surroundings for inspiration and latterly, she emphasizes the appropriateness of traditional construction to local conditions to meet contemporary needs.

The foundation of her philosophy has its history.

The architecture she has developed through an empirical way of learning by vernacular building with collaborative craftsmanship and deep understanding of the local traditions.

This part talks about her architectural philosophy which has developed over the years through various experiences, observations, and experiments. This has been described by above parameters.

Dhingra, Kriri. Insight into the architectural works of didi contractor. Ahmedabad: Cept university, 2014.

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3.3 Other Beliefs

Didi believes in understanding building traditions and there underlying principles of every form of tradition. Some of these gestures are expressed in her work. There are a few parameters which are discussed below:

Bhoomi Pujan: Didi considers doing Bhoomi puja before starting of the construction of every project. She believes that when we do Bhoomi puja, we are asking permission from the earth. The Bhoomi puja has beautiful shlokas asking permission to earth for the construction. Thus, it creates a dialogue between Didi and nature.

Vastu: Didi always designs her buildings according to the Vastu principles. She follows basic Vastu in which the northeast is the auspicious direction.

According to Vastu, puja, and bedroom area in the northeast. So, she always tries to orient the house in the northeast.

Feminization of Architecture: Didi believes in the thought of feminization of architecture because that will produce a more understanding attitude towards designing spaces. For example, mud as a material has the versatility of being molded in the desired way.

Even the sill level and staircase edges are finished with wood rather than stone because in case of accident stone can be more dangerous.

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Even Didi adopted is the entry to the house that is dominant from the kitchen. That helps a lady, who is a homemaker as well as welcoming guests genially.

Kuccha and Pukka Materials: Didi divides the material into two categories Kuccha and Pukka. ‘Unbaked’ materials are referred to as ‘Kuccha’ that remain organic and can be reused. Whereas ‘processed’ materials are referred to as ‘pukka’ which have a larger threat to the environment as their properties are changed and they can’t be reused. Therefore, Didi feels that limit utilizing materials that can be replaced or reuse or re-grown easily. Didi has integrated this thinking into account while designing.

Ecological factor: Didi gives the highest importance to this factor.

She makes deliberate efforts to complete her work within the economic restraints. She gave more importance to the ecological value and even to the economic value. When Didi came to India, there was a moral, you didn’t take more than you needed. It was an idea that you didn’t use more than you needed. It is applied in architecture also, Building should take what is needed and the architect should take what he needed in order to design the building

Dhingra, Kriri. Insight into the architectural works of didi contractor. Ahmedabad: Cept university, 2014.

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3.4 Kangra Architecture

Cloud burst, Flood/ Flash Flood

Hydro metrorological

Wind and Hail Strome Drought

Earthquake

Geological

Landslide and Soil Erosion Soil Erosion

Hazard Profile of Kangra

Industrial

Gas Leakage Chemical Spillage at mass level

Stampered

Human Induced

Road Accident Domestic, Urban/ Forest Fire

Epidemic

Biological

CBRN Emergency Pest attack

Fig. 3.4.1 Chart showing the Natural Hazards and Manmade Hazards in the Kangra District

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3.4.1 Understanding of physical context The Kangra district is located on the southern Himalayas in the state of Himachal Pradesh, India. The Kangra valley lies on the foothills of Dhauladhar peaks. Dharamshala is the headquarters of the district of Kangra.

In winters, the temperature falls below 5 degrees Celsius and in summers it exceeds up to 35 degrees Celsius. Kangra valley has a rich biological diversity and in monsoon experiences heavy rainfall.

Fig.3.4.2 Map of India Showing Himachal Pradesh

3.4.2 Natural Hazard of Kangra District

Kangra district is inclined to various natural hazards and manmade hazards. In Kangra District the geological hazard mainly like earthquakes, landslides and soil erosion are more critical. a) Earthquake:

The Kangra district has been shaken by more than 80times by earthquakes having a magnitude of 4 and above. However, despite the maximum seismic intensity being high, the traditional method of constructing houses was the walls of houses are made up of clay mud, unburnt bricks, or random rubble without any earthquake resisting features. Now all such houses can be the collapse of the intensity is 9 or more and will cause severe damages. Also, there are some houses with new industrial materials like burntbricks, cement mortar bands, and roof typing.

Therefore, they will also damage if the intensity is high of earthquakes.

Fig.3.4.3 Map of Himachal Pradesh showing Kangra district

Himachal pardesh, State disaster management authority/ Hazard profile

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In 1905, parts of Himachal Pradesh had experienced mortal earthquakes of 8.0 magnitude, in which many structures and lives were affected. Thus building techniques were evolved in response to this reality. b) Landslides and Soil Erosion:

Landslides are another form of natural hazards that occurred very frequently in this region.

Landslides on mountains or hills are liable during monsoons and also in high-intensity earthquakes.

Due to not so stable steep slopes, it has increased in the last decade due to inappropriate human activities like deforestation, road cutting, terracing and changes in agriculture crops require more intense watering.

In addition to the above regular soil erosion arises in monsoon and therefore the non – seasonal rains resulting in loosening of soil or stones as resulted in an exceedingly landslide.

The ash remaining after the forest fire grows the acidic nature of the soil, and the destruction of vegetation ends up to soil erosion. Frequently fires within the area make the grass coarser moderately, destroying the natural binding of rocks, leading to landslides in the hilly areas.

Deforestation in the Kangra region due to the increase of construction works and agriculture or horticulture activities makes the soil erosion and landslide determined.

The material of the buildings and spatial placement of the building according to their functions determined the architectural language of the region.

Very High High Moderate Fig.3.4.4 Vulnerability Map of Himachal Pradesh

District Hazard Profile/ Himachal Pradesh <https://himachal.nic.in/WriteReadData/l892s/219_ l892s/1487055186.pdf>

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3.4.3 People and their occupation

Fig.3.4.5 Map of Himachal Pradesh showing Chamba & Kangra district

Numerous families, two ages back, migrated south from Bharmour within the Chamba region to the village of Kangra, during the colonial movement. They searched for the new fields and ripe places where there’s the Kangra valley for his or her domesticated animals and yields.

Before this movement, the first inhabitants were Rajput and Pahari people, who tilled the land before the British occupation. The district can be divided into different caste groups: the Gaddi and Pahari Brahmins, Rajputs, Thakurs and Chowdary from the lower part of the village, and Gujjars, Hallis and Dogris from the upper part of the villages.

In Chamba, the Gaddi tribe was not agriculturalists but pastoralists who earned their living by selling sheep wool, milk, and milk products. Today, most Gaddi’s tribes who have settled in Kangra valley earn a living through both agriculture and other earning in forms of wage labour such as shopkeeping, taxi living, and work in village NGO and hospitality.

Chamba Kangra

Caste

Agriculture

Gaddi

Animal Husbandry

Pahari Brahmins

Fig.3.4.6 People and their occupation

Caste differences don’t seem to be too evident with the change in livelihood patterns. People of various tribes often work together. However, many festivals are celebrated within a caste.

That difference is reflected in the organizational patterns of the dwelling. The housing typology remains the same for the people from different tribes but the difference in only visualize in the size of the courtyards or room sizes.

Lakshmi Swaminathan, Vernacular Built Forms in Kangra Valley and their Relationship to Livelihoods. <https://www.sahapedia.org/vernacular-built-forms-kangravalley-and-their-relationship-livelihoods>

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3.4.4 Agriculture The rural population of Kangra district depends on agriculture and animal husbandry.

Agriculture is the primary economic activity in this region. Agriculture plays an important role in the landscape of Kangra district, as the soil is good for the growth of rice, corn, barley, wheat, millet, and Tea. The water stream meanders through these villages, before joining the Beas River, providing water to these agricultural fields. The water stream is directed into the fields by Kuhls (manmade irrigation channels) to control the direct flow of water to the crops.

Fig.3.4.7 Agricultural map of Himachal Pradesh

Therefore, the placement of the dwelling is selected on the factors like the approachability of water, availability of area of land for cultivation, and pasture for cattle.

3.4.5 Spatial Organization of the dwellings Animal husbandry Argiculture

Economy

Rice

Villagers

Corn Barley

The orientation of the houses was such that the houses receive a maximum amount of sunlight with south-facing courtyards and north facades blank to prevent from unpleasant cold winds.

The placement of the dwelling units is settled at the topmost contour of the land to supervise the cultivated field and the grazing cattle. The pattern of the spatial organization reflects the centrality of the spaces designed to live, work, manage the stocks, and store grains.

Wheat Millet Tea Fig.3.4.8 Agriculture

Lakshmi Swaminathan, Vernacular Built Forms in Kangra Valley and their Relationship to Livelihoods. <https://www.sahapedia.org/vernacular-built-forms-kangravalley-and-their-relationship-livelihoods>

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The organization of the houses is designed with the central courtyard comprising of the main spaces of the house and cowshed. As the members of the houses increased, new houses emerged around the courtyard.

The main house has a two-storeyed stone masonry house with a verandah connected to the living room, sleeping area, and storage area.

Ground floor rooms are small with a low height ceiling. The upper floor includes a kitchen, bath area, washing area with a pitched roof.

Cow Shed

House 3 Central Courtyard House 1 Cow Shed

House 2

Fig.3.4.9 Plan showing the spatial organization of the dwelling.

Lakshmi Swaminathan, Vernacular Built Forms in Kangra Valley and their Relationship to Livelihoods. <https://www.sahapedia.org/vernacular-built-forms-kangravalley-and-their-relationship-livelihoods>

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3.4.6 Material and construction Techniques The built forms are built with locally available materials and particular construction techniques of making and assembling using the resources and uses of labour at hand and other factors that contribute to the construction of a dwelling.

The foundations of the houses were set in stone.

The thick walls were of local stone were built over the stone foundations. The plaster was done on the thick walls of stone with mud and cow dung.

The upper floor is supported with the thick walls, wooden columns and heavy wooden beams.

Wooden rafters were used in the framework of the upper floor slab and on that, large stone slabs with layer of mud. Proura leaves were used in between the stone slabs and mud layer to keep insects and termites away.

Fig.3.4.10 Pine Wood Used as supporting element in beams and framework Fig.3.4.11 Mud

The roof was built by local slate laid over the framework of wood and bamboo. Doors and windows made in locally available wood with very small openings to protect from the harsh cold winds. Lintel bands of wood were used above doors and windows, running throughout the house for earthquake resistance.

Used in constructing load bearing Adobe walls and in top layer of flooring

Fig.3.4.12 Stones Used in load brearing Random rubble walls and in foundation Fig.3.4.13 Bamboo Used as supporting elements in Beams and framework of construction.

Fig.3.4.14 Slate Tiles Used as covering element in Roof.

Dhingra, Kriri. Insight into the architectural works of didi contractor. Ahmedabad: Cept university, 2014.

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Slate Tiles

3” Thick Wooden Member Wooden Rafters

Thick mud plaster Stone wall 1” Thick Slate Slab Proura Tree Leaves 4” Thick Mud Floor 3” Thick Bamboo

Wooden Lintel

Thick mud plaster Mud Floor Thick Stone Wall Stone soling

Foundation Include Stone, Mud and Soil Ground earth

Fig.3.4.15 External wall section showing traditional method of construction

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3.4.7 Transformation in the Traditional Built Form Material and construction Techniques Over the period, the character of the Kangra region has lost its essence due to disorganized development. Modern methods of construction and design activities are adopted, especially the Public Work Department (PDW), which encouraged local people to follow the modern trend.

PDW Argiculture

Kangra

Globalization Economy

Traditional Modern

Fig.3.4.16 Transformation in material and construction techniques

Agriculture has been the main source for the people of this region. Over the years, an increase in population and globalization of this region, the economy has forced men to leave from villages to cities.

Previously, men used to contribute to constructing their own houses, and women are involved in household works. Today, both men and women are educated and are involved in other economic activities.

Therefore, there is no time to build their houses and continue the traditional method. Traditional houses need regular maintenance but it is inexpensive. However, Traditional architecture is disappearing from the region.

Dhingra, Kriri. Insight into the architectural works of didi contractor. Ahmedabad: Cept university, 2014.

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3.4.8 Scarcity of Local Materials Introduction to New Materials

and

In today’s scenario, stone quarries and timber extraction have been banned. For timber, a limited quota of construction timber is one tree for each household allowed once in five years.

Slate which is used in roof and even flooring is also not freshly available and previous qualities of slate tiles available cannot match either the structure or insulating properties.

Therefore, due to the scarcity of local materials resulted in the introduction to the new range of materials is necessary, which are used in the retrofitting of the old house or the construction of the new houses.

In the introduction to the new materials, fired bricks and cement are used to construct walls and are an easier and faster method to build the construction. Iron girders are used in the floor slabs to make it stronger. The galvanized iron sheet is used for roofing.

In addition to the industrial materials, new building typologies have developed due to the influence of tourism with modern-day facilities.

As building design, typology and trends are changing, the local people are increasingly using industrialized material.

This approach towards introducing new materials and constructing them has distributed the visual integrity of the villages and even it also influenced the climate.

Dhingra, Kriri. Insight into the architectural works of didi contractor. Ahmedabad: Cept university, 2014.

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3.5 Neo-Kangra Architecture

Didi being a self-taught architect, she was free from pre-conceived ways of working and had freedom to explore her own style for conveying her ideas to reality. In her craftsman style working, the conception, design, execution and analysis become inseparable. For this, there are certain perameters which she developed overtime with every project. They are discussed below

3.5.1 Alterations in Materials and Construction Techniques Didi believed that the use of materials available from the surrounding areas to reduce the carbon footprint. She has examined the material constraints within the vernacular and provided solutions with new materials where needed.

Following are some of her aspects, improving the vernacular construction techniques: a) Foundation: In foundation, the locally available stone is used which is available in or around the site. Before constructing the walls, a stone foundation is done to settle during at least one monsoon.

However, if the schedule does not allow for this period, she provides the RCC plinth band to give the structure greater stability and earthquakes resistance. Above the plinth band, the stone masonry wall is constructed up to the sill level.

Dhingra, Kriri. Insight into the architectural works of didi contractor. Ahmedabad: Cept university, 2014.

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Layers for Digging

Mud

Rice Husk

Pine Needles

Water

Pugging the mixture

Fig.3.5.1 Process of pugging mud for bricks and mortar

Mud Mixture

OG

Step 1: Brick mould

Step 3: Mud mixture is filled into the mould

OG FROG FR

FROG

FR

Mould made of Pine Wood

Step 5: FROG is made on the upper surface to create grip for bricks above.

Brick Mould

Brick Mould

Water

3"

3"

6"

3"

6"

2"

G1

"

12

Step 4: Smoothening the upper surface with water

OG FROG FR 12"

O FR

Step 2: Wash Brick Mould

Mud Brick

6"

Step 6: The mould is removed from the bricks

Fig.3.5.2 Process of moulding mud bricks

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b) Adobe Wall: Adobe walls are built above the sill level. During the construction, the soil which is excavated for the foundation is used to make adobe brick which is used in constructing the adobe wall.

Adobe bricks are made up of mud, straw, soil, and clay to balance the composition of the mud and are placed in a mould which is made up of timber and dried them in the sun. The size of the adobe bricks is 12 inches x 6 inches x 3 inches and is used for an 18-inch wall. Even different sizes are made for different junctions as well.

Fig.3.5.3 Mud bricks

Mud Brick Mud mortar

Plaster 1: Mud and Rice Husk mixture

Plaster 1: Mud and Rice Husk mixture

Plaster 2: Mud and Cow dung

Plaster 1: Mud and Rice Husk mixture Plaster 2: Mud and Cow dung Plaster 3: Cow dung and DDL Fevicol

c) Mud Plaster: Mud plaster is required to finish the adobe wall.

Three layers of plastering are usually done. The first layer of plaster has a 3:1 proportion of soil and sand. When the first layer dried up and it gets cracked, then the second layer is applied to it with the same proportions of soil and sand with the addition of cow dung. The third layer of fresh cow dung and DDL fevicol is added.

Alternatively, Didi has used paper pulp in the third layer of plaster which is equivalent to cow dung and requires less maintenance. d) Lintel Level:

Wooden horizontal bands were a common feature used throughout all the buildings during the fatal earthquake. However, today wood is no longer easily available in this region. Therefore, Didi has replaced wood with reinforced concrete bands in the adobe brick walls. These horizontal bands are knotted together with vertical reinforcements within the load-bearing walls.

Fig.3.5.4 Layers of mud plaster

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3” Thick Mud Floor 1” Thick Ferro Cement Split Bamboo - Chachara Wooden Beam 3” Thick Bamboo

Fig.3.5.5 Layers of floor slab

e) Floor Slabs: In response to the scarcity of materials like stone and wood. In traditional houses in this region and her preliminary projects, room widths were controlled by the use of 10 feet wooden beams.

Lately, it was increased by using bamboo and steel reinforced beams. The bamboo is painted with bitumen to prevent expansion from the moisture in the cement. These bamboo rafters are placed evenly at 12 inches. Split bamboo called chachara is laid over these bamboo rafters. 1-inch layer of cement with chicken wire mesh in it is laid over the whole floor. Then the mud layer is done for better insulation. Later, the floor is plaster with the same layer as adobe walls. f) Roof: Initially, Didi used traditional roofing style with different types of false ceilings using bamboo mats, plywood, etc. Workers faced difficulty in the construction of these false ceiling and even the ceiling material became homes for pests and rodents.

In response to these issues, Didi experimented with different roofing styles with different degrees of slopes for different directions. Also, Ferro concrete or bitumen is added between the bamboo framework and the mud layer.

Slate tiles are used in the roofing which is fixed onto thinner wooden batons on the top of these layers resulted in less overlap. Therefore, this method considered of saving of both wood and slate.

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Slate Tiles 9” x 18” Wooden Rafters - Dhajjis 1” Thick Ferro Cement 3” Mud Layer 1/2” Thick Bitumen Sheeting Spilt Bamboo - Chachara 3” Thick Bamboo

Slate Tiles 9” x 18” Wooden Rafters - Dhajjis 1” Thick Ferro Cement 3” Mud Layer 1” Thick Ferro Cement Spilt Bamboo - Chachara 3” Thick Bamboo

Slate Tiles 9” x 18” Wooden Rafters - Dhajjis COB Layer with Rice Husk 1” Thick Ferro Cement Spilt Bamboo - Chachara 3” Thick Bamboo

Fig.3.5.7 Different alternative roofs

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Slate Tiles Wooden Rafters - Dhajjis 1” Thick Ferro Cement Split Bamboo - Chachara Wooden Beam Broken Glass pieces Mud Plaster 18” Thick Adobe Wall 3” Thick Bamboo 3” Thick Mud Floor 1” Thick Ferro Cement Wooden Beam Split Bamboo - Chachara 3” Thick Bamboo

RCC Lintel Band Pine wood Window frame Glass

Mud Floor Slate Mud Plaster Concrete Block Stone Soling Slate Skirting Stone Wall upto Sill Level RCC Plinth Band Foundation Include Stone, Mud and Soil Cement Aggregate Ground earth

Fig.3.5.8 External wall section showing Didi’s innovative construction techniques

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3.5.2 Elements and Innovation a) Fenestrations: The reinforced concrete lintels were provided above doors and windows which allow large openings to increase the amount of daylight in the room. Also, chamfered bricks are used on the edges of the openings which spread the more amount of light. b) Skylight:

Fig.3.5.9 Skylight in Sambhaavnaa Institute

From the start, Didi was profoundly aware of the utilization of light in her architecture. Skylights, in the rooftop at the highest point of the pitched slant roof. In her designs, a transparent fiber sheet was utilized in the rooftops over the kitchen and study area for the natural light. c) Crafted niches:

One of the unique features in Didi’s designs is small niches and arches are prominent elements in her projects. Mud construction gave the flexibility to mould interesting architectural elements. This feature is adapted from the traditional houses.

Fig.3.5.10 Crafted niches in Sambhaavnaa Institute

Dhingra, Kriri. Insight into the architectural works of didi contractor. Ahmedabad: Cept university, 2014.

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d) Landscape

Fig.3.5.11 Landscaping in Sambhaavnaa Institute

Didi’s designs are incomplete without landscape.

She observes the site and its surroundings to make the best use of it. Didi’s information about plants and trees has helped her to utilize existing development on location as development material source just as bringing together design components.

For example, trees like Pajja and Tooni are viewed as useful for wood and are collected for fenestrations and furniture. Didi has also used hydrophilic plants, for example, ferns and spider grass on the retaining wall to lessen the water drainage into the building. Even, to decorate the pathways and paving, she uses flat rounded slates shaped by the river.

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3.5.3 Architect - craftsman relationship “I believe in craftsmanship, as Coomaraswamy says that every artisan is a special sort of man and every man is a special sort of artist.”

- Didi Contractor

While working on the interiors of Lake Palace in Udaipur, where she worked with the local artisans and developed this ideology very strongly. She holds that craftsman must be a part of the vision and respect them. This way, she creates a mutual understanding between her and craftsman. She maintains the close loop system of knowledge transfer across generations and concludes in training sessions to improve the local community for the betterment of skills.

Her method of construction is labour-intensive and offers various opportunities for work for skilled and unskilled labourers. The work like digging, shifting earth, making and drying the mud bricks, preparing the materials that employ unskilled labour. Workers which show interest are apprenticed by the masons and carpenters. Even they are taught how to read and draw plans.

As building language and patterns are changing, people in traditional settings are getting influences by the industrialized materials without understanding its pros and cons. When Didi started her architectural career, it was very difficult for her to train workers and to respect their own traditional

Fig.3.5.12 Architect and craftsman relationship

8

Quote by Didi Contractor.

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building technology. She tried to make them understand the significance of their culture and to respect their traditional building techniques in a better way.

The wages are paid daily to all the workers because they are from the local community and are agriculturists. They even need time to harvest their fields as well. Thus, flexibility is given in their work hours. However, this type of work environment requires lots of planning, coordination, and supervision on site. But a mutual trust is required because of such relationships, experiment and developing details with local materials is possible.

Didi’s way of working was an inspiration to many young men of the community to join and help in the building. They understand the importance of their tradition and tculture and have taken the step forward with changing the need of society.

Didi has a constructive team that is capable of performing without her.

3.5.4 Architect and Client relationship She makes two types of drawings, Drawings made in colour to make them look nice and drawings for the workmen which are quite different. Some drawings are made computerized but are not use to the clients either the workers. They are only for architects. Because the client can understand the computerized drawings but for the worker, need a junior engineer to explain them. She makes drawings much simpler that the worker can understand easily. Some part section or part plan are made on-site and show them on the site, so they get the overall idea.

She believes that the computerized drawings have formed a distance between the designer and the building. Didi presented her ideas with

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sketches. She prepares colourful drawings on grid paper with exciting legends for clients to understand. She draws simple drawings with basic dimensions and details written instructions for workers to follow them, which are made in parts as the building process proceeds. She supervised on-site and even improvises as per the requirements. Her drawing reflects the concern towards the importance of the context and even the orientation according to the climate and Vastu directions.

3.5.5 Drawings She makes two types of drawings, Drawings made in colour to make them look nice and drawings for the workmen which are quite different. Some drawings are made computerized but are not use to the clients either the workers. They are only for architects. Because the client can understand the computerized drawings but for the worker, need a junior engineer to explain them. She makes drawings much simpler that the worker can understand easily. Some part section or part plan are made on-site and show them on the site, so they get the overall idea.

She believes that the computerized drawings have formed a distance between the designer and the building. Didi presented her ideas with sketches. She prepares colourful drawings on grid paper with exciting legends for clients to understand. She draws simple drawings with basic dimensions and details written instructions for workers to follow them, which are made in parts as the building process proceeds. She supervised on-site and even improvises as per the requirements. Her drawing reflects the concern towards the importance of the context and even the orientation according to the climate and Vastu directions.

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Chapter - 4

Case Studies 4.1 Dharmalaya Institute

4.1.1 Integration of building with surroundings 4.1.2 Integration within the building 4.1.3 Material and construction techniques 4.1.4 Light and Sunlight

4.2 Sambhaavnaa Institute 4.1.1 Integration of building with surroundings

4.1.2 Integration within the building 4.1.3 Material and construction techniques 4.1.4 Light and Sunlight

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Framework of Analysis

Orientation

Integration of Architecture with surroundings

Approach Response to the ground Inside - outside relationship

Aspects of Organic Architecture

Integration within the building

Spatial organization and usage Hierarchy of spaces

Material and construction techniques

Light and sunlight

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4.1 Case Study : 1 Dharmalaya Institute

Dharmalaya is an Indian charitable organization dedicated to education and empowerment for compassionate living, with a practical concentrate on sustainable village development, contemplative service-learning, immersive ecotourism, and also the preservation and adaptation of traditional wisdom.

It is settled on Dhanaari hill, over the village of Ghornala, 3kms northwest of the town of Bir in Kangra district of Himachal Pradesh.

Due to the restricted budget, the wants of Dharmalaya were minimal. Because it is an institute encouraging education and empowerment of compassionate living, with the practical concentrate on sustainability, the client wanted space to convey small workshops and small duration retreats. This building is constructed with the neo-Kangra style of architecture.

The Dharmalaya Institute grants a range of programs to the Indian and international communities, including vocational training for villagers, service-learning and volunteer possibilities for the overall public, workshops, retreats, long-term courses, and more.

Fig.4.1.1 Dharmalaya Institute

http://dharmalaya.in/about/

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Private Cottage

Dormitory

Main Building

Bamboo House

Storage (Machan)

Faculty Cottage

Retreat Cottage

Fig.4.1.2 Site Plan of Dharmalaya Institute

Dharmalaya Institute

Site Plan

Scale: 1:750

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Main Building:

The ground level of the building incorporates a dining hall, a large kitchen, a common toilet and bath area, a dormitory, and two private rooms.

Due to the hilly terrain, the corridor consisting of kitchen, toilets and dormitory and private rooms have four levels each of one or two steps. The construction of the staircase was the most difficult part of this building according to Didi Contractor.

The walls of the staircase have niches that act as a library. The indirect light penetrating through the windows of the staircase makes the path rejuvenating. The niches were wide enough for a person to sit and read the book. The space under the staircase is used as a laundry and storage area, which was designed consciously.

On the first floor, a huge meditation hall is placed above the dining hall and the kitchen. The use of natural materials brings tranquility to the space, thus it gives a very peaceful experience for the users with huge openings giving the view of the horizon outside. The dormitories, toilets, and private rooms are alligned as it is on this floor as the ground floor. The space near the staircase and just before the entrance of meditation room is used as a library having books on spirituality, permaculture, gardening, and few on architecture and mud construction.

The roof of the building has skylights in the meditation room for fetching natural light, which remains most of the year.

Fig.4.1.3 Backside of Main Building

http://dharmalaya.in/about/

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Dharmalaya Institute

1. Dining Hall 2. Wash Area 3. Kitchen

Fig.4.1.4 Ground Floor Plan

Ground Floor Plan

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4. Dormitory 5. Second Entry 6. Foyer

7. Bathroom 8. Basin Area 9. Western Toilet

10. Compost Toilet 11. Laundry Area 12. Storage

13. Dormitory 14. Boy Dormitory 15. Book Shelf

Dharmalaya Institute

16. Foyer 17. Storage 18. Book Shelf

Fig.4.1.5 FIrst Floor Plan

First Floor Plan

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19. Bathroom 20. Basin Area 21. Indian Toilet

22. Western Toilet 23. Dormitory 24. Bedroom

25. Yoga and Meditation Hall

Fig.4.1.6 Section A-A’

Dharmalaya Institute

Section A-A’

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Fig.4.1.7 Section B-B’

Dharmalaya Institute

Section B-B’

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4.1.1 Integration of building with surroundings: The Dharmalaya Institute is on Dhanaari hill. Like the other buildings of Didi Contractor, this building is designed to integration with its surrounding, by responding to the climate and its topography and by using natural and available materials.

a) Orientation

Fig.4.1.8 Ground floor plan showing the east-west axis of the building

The site offers the advantage of orienting the main building in the east-west direction in response to the climate.

The main axis of the building is east-west with the longer side facing south and by aligning the major performing spaces on the south facade, which brings in the maximum amount of sunlight in winter and breeze in summer.

b) Approach

Fig.4.1.9 Ground floor plan showing the approach to the building

The approach of the building is direct from the path. The uneven surfaces of the ground lead to the building. On the ground floor, there are three entrances to the building.

One of the entry opens to the dining area and the second entry opens to the passage.

The third entry is indirect from the back of the building and opens to the wash area of the kitchen.

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To respond to the existing profiles, she has provided the indirect entry to the dormitory on the first floor. It is a private entry to the building.

Fig.4.1.10 First floor plan showing the approach to the building

c) Response to the ground: Fig.4.1.11 Turf excavated from the ground

Fig.4.1.12 Turf replanted on the slop

The site originally has turf i.e grass on the topmost layer of the ground. The turf is excavated from the ground and removed along with the roots which are about 2 to 3 inches deep. The excavated turf are replanted on the slopes where there are chances of soil erosion.

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The institute is nestled in the forest of the Himalayan foothills. The site is a hilly area with multiple levels. Didi decided the placement of the building and then she flattened the land and used the excavated earth in the construction of the building.

Fig.4.1.13 Ground floor plan

She responded to the ground by designing the levels of the building in such a way that they blend with the surroundings and not damaging the existing ground profile.

On the ground floor, there are multiple levels, on each level, there are different functions performing in the building.

Therefore, there are different levels for different functions.

Similarly, on the first floor, every function is performing on a different level.

Fig.4.1.14 First floor plan

Fig.4.1.15 Section A-A’

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d) Inside-outside relationship: In order to make the institute an integral part of the surrounding, a strong relationship between the inside and the outside is generated. The mass of the built form of the building is made porous, facilitating the maximum view to the outside, through the fenestration system. Due to which the space within the physical enclosure throughout the learning center keeps relating to the outside.

Fig.4.1.16 Ground floor plan

Also, the chamfered edges of windows help to focus on a specific view. So, from every window of the building, there is a different view that helps to connect to the outside.

The different finishes of the ground creates the inside and outside relationship i.e outside the building there is natural earth and unfinished surface and as you enter inside there is a finished surface using slate tiles as flooring.

Fig.4.1.17 First floor plan

Fig.4.1.18 Part section

Fig.4.1.19 Part Plan

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4.1.2 Integration within the building: a) Spatial organization and its usage:

Fig.4.1.20 Ground floor plan

The main function of the building is the meditation area and is the core space of the building. It is the main gathering area for all the students for lectures, workshops, relaxation, etc.

All the other spaces of the building are supportive spaces for meditation space.

The organization of the plan is free-flowing.

The central part of the building is the services. The other supportive spaces are attached to the central part.

The people working in the institute are allowed to use any spaces in the building. But, the students participating in the workshops are not allowed to use the kitchen and bedroom on the first floor. Also, the visitors visiting the institute are only allowed in the dining area and meditation area.

Fig.4.1.21 First floor plan

Core Ancillary Services Visitors Students

Fig.4.1.22 Section A-A’

Co-workers of Institute

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b) Hierarchy of Spaces:

The hierarchy of spaces is a transition from public to semi-private to private. The transition changes according to the function and program of the spaces.

Fig.4.1.23 Ground floor plan

Based on the function of the spaces, the central part of the building consist of services, which is a semi-private space.

To the left of the building from the ground floor to the first floor that includes the dining area and meditation area, which is public spaces and to the rightmost of the building that includes dormitory and bedroom are private spaces.

Fig.4.1.24 First floor plan

Public Semi-Private Fig.4.1.25 Section A-A’

Private

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4.1.3 Material and construction techniques:

Glass Wooden frame Slate Tiles 9” x 18”

Wooden Rafters - Dhajjis 1” Thick Ferro Cement

Split Bamboo - Chachara

Polycarbonate Sheet Wooden Beam 3” Thick Bamboo

3” Mud Flooring 1” Thick Ferro Cement Split Bamboo - Chachara

3” Thick Bamboo Wooden Beam

18” Adobe Wall 18” Stone Wall

Fig.4.1.26 Section A-A’

3” RCC Plinth Band Foundation Include Stone, Mud and Soil

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Slate Tiles 9” x 18” Wooden Rafters - Dhajjis 1” Thick Ferro Cement Split Bamboo - Chachara Polycarbonate Sheet Pine Wood Door Frame Glass 3” Mud Flooring 1” Thick Ferro Cement Split Bamboo - Chachara 3” Thick Bamboo Wooden Beam 3” Mud Plaster 18” Adobe Wall 4” RCC Lintel Band Pine Wood Window Frame Glass

Slate tile flooring Stone soling 6” Thick PCC 18” Thick Stone Wall 3” RCC Plinth Band Foundation Include Stone, Mud and Soil Cement Aggregate Ground earth

Fig.4.1.27 Wall section of Dharmalaya Institute showing the construction technique

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Sequence of construction:

Fig. 4.1.28 Step:1 Ground Earth

Fig.4.1.29 Step. 2 Cement Aggregate

FIg.4.1.30 Step:3 Stone foundation

Fig.4.1.31 Step 4: RCC plinth band

FIg.4.1.32 Step 5: 18’ Stone wall

Fig.4.1.33 Step 6: RCC band

Fig.4.1.34 Step 7: Stone wall

Fig.4.1.35 Step 8: Stone soling

FIg.4.1.36 Step 9: Pcc flooring

Fig.4.1.37 Steo 10: Slate tile flooring

Fig.4.1.38 Step 11: Window frame

Fig.4.1.39 Step 12: Adobe wall

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Fig.4.1.40 Step 13: RCC lintel band

FIg.4.1.41 Step 14: Adobe wall

Fig.4.1.42 Step 15: Wooden beam

Fig.4.1.45 Step 16: 3” dia Bamboo

Step.4.1.46 Step 17: Chachara

Fig.4.1.47 Step 18: Ferro concrete layer

Fig.4.1.48 Step 19: Mud flooring

Fig.4.1.49 Step 20: Adobe wall

Fig.4.1.50 Step 21: Window wooden frame

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Fig.4.1.51 Stap 22 Adobe wall

Fig.4.1.52 Step 23: Wooden beams

Fig.4.1.53 Step 24: Wooden truss

Fig.4.1.54 Step 25: Bamboo

Fig.4.1.55 Step 26: Mud plaster

Fig.4.1.56 Step 27: Chachara

Fig.4.1.57 Step 28: Ferro concrete

Fig.4.1.58 Step 29: Wooden rafters

Fig.4.1.59 Step 30: Slate tiles

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4.1.4 Light and Sunlight The main axis of the building is east-west with the longer facade facing south. All the performing spaces are aligned towards the south facade to get maximum amout of light in winter and breeze in summer.

Fig.4.1.60 Ground floor plan

The mass of wall is less than the mass of fenestration. Thus the large number of openings not only brings transparency between inside and outside but also it brings natural light and wind.

The edges of the windows and doors are chamfered not only for the technical reason but also to get more amount of light.

On the upper floor, the skylights is used as an element to the building. Skylights, in the rooftop at the highest point of the roof in every spaces brings light from morning to evening.

Fig.4.1.61 First floor plan

Fig.4.1.62 Section A-A’

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4.2 Case Study : 2 Sambhaavnaa Institute

Sambhaavnaa Institute, nestled in a small village called Kandwari, in the lap of the Dhauladhar mountain ranges in Himachal Pradesh, is an alternative learning and living space for those concerned with social and political change. It is dedicated to educate, about the processes and politics of policymaking in the government, and to enable people to participate in the process.

It is a space designed for the local community as well as a social activist to come, stay, and engage in the process of policymaking.

Sambhaavnaa’s primary objective has been to nurture value-based leadership by encouraging individuals, especially the youth, to discuss and develop a critical perspective on the ideals and ideas that define a society.

The site originally was a tea estate and as tea needs a longer time to grow, a policy was published to demolished the tea estate and build over it. But, Didi respected the landscape and successfully re-established old tea bushes within the site and designed them respectively.

Fig.4.2.1 Main building

There, the institution constitutes a dining hall, a meeting room, a guest house, a hostel, a bathhouse, a library, an open-air theatre, a water tank, a learning center, and a primary school.

The main building consists of a dining area with a kitchen on the ground floor and a meeting room or workshop area on the first floor. The long and short courses that happened are conducted in the meeting room.

The hostel is intended to accommodate a maximum of 30 students who attend short or long term courses and programs at the institute.

The hostel building has four wings that meet in a common area. Each floor consists of little

Fig.4.2.2 Main building

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kitchenettes. The idea was to give a different experience of living.

The guest house consists of the kitchen and living area at the ground floor and 5 bedrooms at different levels to accommodate 5 faculties at a time who comes here to teach and present short and long courses at the institute.

Fig.4.2.3 Guest House

The residence consists of two apartments on two different floors for two families who are operating in this institute.

The campus also constitutes a bathhouse designed to cater to a large number of people.

It has separate sections for males and females with eco-san toilets and dewats system for proper disposal of sewage into the environment.

Fig.4.2.4 Bath House

The campus also incorporates a learning center designed in the continuation of the same style.

It consists of a children’s library and a science center for the students of the local community and the office area for the teachers.

Lastly, there is a udaan school for the students of the local community. It is a primary school for one to fourth grade. It consists of a kitchen, canteen, classrooms, staffroom, and play area.

Fig.4.2.5 Residence

Fig.4.2.6 Udaan School

https://www.sambhaavnaa.org/

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Faculty Guest House

Dinning area and Meeting Hall

Hostel Residence

Bath House

Cow Shed

Learning Center

Udaan Primary School

Fig.4.2.7 SIte Plan

Case study 2: Sambhaavnaa Institute

Site Plan

Scale: 1:1500

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About Learning Center:

The learning center is a part of the institute which is rebuilt in 2019. The Learning Center has room for puzzles, indoor games, art and craft, music and also, there is a space for carpentry and pottery in the center. Even, there is a non-conventional space including a library and a science laboratory. All these facilities are used by children daily after their school hours and all day during weekends and other school holidays.

The institute organize field trips and nature camps for children to guide them learnings from the outside world as much as from the inside world of the Learning Center

Fig.4.2.8 Learning Center

https://www.sambhaavnaa.org/

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Learning Center

Ground Plan

B

A

LVL +00

LVL -1500mm

Fig.4.2.9 Ground Floor Plan

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LVL -300mm

3

LVL -450mm

LVL -450mm

1

LVL -800mm

LVL -600mm

LVL -1500mm

LVL -1050mm

LVL -1200mm

LVL -750mm

4

LVL -1050mm

2

1. Children library 2. Science center 3. Office room

B'

A'

Fig.4.2.10 Section A-A’

Learning Center

Section A-A’

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Fig.4.2.11 Section B-B’

Learning Center

Section B-B’

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4.2.1 Integration of building with surroundings: The learning center is built on a site in an urban fabric with scattered blocks of institutional. The site originally was a tea estate as a tea need more time to grow. Therefore, Didi respected the landscape and re-established old tree bushed within the site and designed it according. In response to the context, She uses natural materials and materials available in and around the site as the construction material.

a) Orientation

Fig.4.2.12 Plan showing the east-west axis of the building

The site offers the advantage of orienting the learning center in any direction but, due to the temperature in Kangra, the building is oriented east-west with the longer side facing south. That brings in maximum daylight and breeze in summer and sun in winter.

b) Approach

Fig.4.2.13 Plan showing the approach to the building

The approach towards the building is pushed away from the main vehicular path of the institute. The narrow path covered with random stones leads to the entrance of the learning center. There are two indirect entries to the building, one to the main space library and another to the science laboratory.

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c) Response to the ground: The institute is nestled in the lap of the Dhauladhar mountain range among the hilly area.

The learning center is placed on the 2 meters contours.

Therefore, she responded to the ground by designing the levels of the building in such a way that they blend with the surroundings and not damaging the existing ground line. There is a play of levels in the plinth that helps in the circulation of the building easily.

Fig.4.2.14 Section A-A’ showing the existing ground line

Fig.4.2.15 Section A-A’ showing the existing ground line

LVL -600mm

LVL +00

LVL -450m mm

LVL -300mm

LVL -1500mm

LVL -750mm

LVL -1050mm

LVL -450mm

LVL -800mm

LVL -1050mm

LVL -1200mm

LVL -1500mm

Fig.4.2.16 Plan showing the levels of the building

To respond to the ground and the natural hazards of the region, the foundation is 3’ deep and above it, the RCC band runs through the building that gives the strength to the overall structure.

The unfinished ground line, getting merge with the stone wall and seems that the stone wall is grown out of the ground. Overall the building seems to be grown out from the ground as the plant grows from the ground.

18” Stone wall Mud plaster PCC Stone Soling Stone foundation Ground earth Cement Aggregate Fig.4.2.17 Foundation detail

Fig.4.2.18 Ground to wall junction

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d) Inside-outside relationship:

Fig.4.2.19 Plan showing the opening in the walls through which the inside is brought outsside

To make the learning center integrated with the surrounding, a strong relationship between the inside and the outside is developed. The mass of the built form of the building is made porous, facilitating the maximum view to the outside, through the fenestration. Due to which the space within the physical enclosure throughout the learning center keeps relating to the outside.

Also, the chamfered edges of windows help to direct on a particular point of view.

So, from every window of the building, there is a different view that helps to connect more the outer surroundings and nature.

Fig.4.2.20 Section and part sectionshowing the flow of space from inside to outside

Before entering the building, there is a pathway that leads to the building. The pathway is of random stone pacing and as you entered a building there pattern is changed to rigid slate tiles on the flooring.

So, the different texture of stone and slate paving that differentiate inside and outside of the building.

Fig.4.2.21 Plan showing the different texture of stone and slate paving that differentiate inside and outside

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4.2.2 Integration within the building: a) Spatial organization and its usage:

Fig.4.2.22 Ground floor plan

The main function of the building is the children’s library and is the core space of the building. It is the main gathering area for the students for lectures, reading, playing, workshops, and many more activities. The science laboratory and office are supportive spaces with meditation space.

The organization of spaces is designed in such a way that the other two ancillary spaces are attached to the main core space. However, the core space becomes the central part of the building.

Fig.4.2.23 Section A-A’

The people working in the institute are allowed to use all the spaces in the building.

But, the student coming here in the evening is not allowed to use the office area. and the visitors visiting the institute are not allowed to visit the office the same as the students.

Core

Ancillary Services Visitors Students Co-workers of Institute

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b) Hierarchy of Spaces:

The hierarchy of spaces is a transition from public to semi-private to private. The transition changes according to the function and program of the spaces.

Fig.4.2.24 Ground floor plan

Based on the function of the spaces, the central part of the building is a children’s library that is a public area.

The science laboratory is attached to the library which is used by students and the institution faculties that is a semi-private area. The office the most private area that is only used by the institution faculties.

Fig.4.2.25 Section A-A’

Public Semi-Private Private

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4.1.3 Materail and construction techniques Glass Wooden frames for skylight 9” X 18” Slate Tiles

Transparent Galvanised Sheet

Wooden Rafters 1” Thick Ferro Cement

Split Bamboo - Chachara

3” Dia Bamboo Primary Pine Wood Beam Pine Wood Trust

Mud Plaster 18” Thick Mud Brick Wall Burnt Brick Wall

Pine wood window framework Stone Wall till Sill Level R.C.C Plinth Band

Foundation include Stone, Mud and Soil Fig.4.2.26 Exploded axonometric view

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Slate Tiles 9” x 18”

Wooden Rafters - Dhajjis 1” Thick Ferro Cement Split Bamboo - Chachara Mud Plaster 18” Adobe Wall 6” RCC Lintel Band 3” Thick Bamboo

Glass

Pine Wood Door Frame

150mm Thick PCC Stone soling 18” Thick Stone Wall RCC Plinth Band Foundation Include Stone, Mud and Soil Cement Aggregate

Ground earth Fig.4.2.27 Wall section

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Details:

Course 1

Course 2

Fig.4.2.30 Stone Foundation detail

Scale 1:20

a c

b

d Fig.4.2.28 Foundation detail

Trust type A

a c

Trust type B

b a

a - Balla (3” x 6”) b - Naksh (3” x 6”) c - Kamarpatti (3” x 1.5”) d - Bamboo (4” dia)

Fig.4.2.31 Truss detail

Scale 1:100

Fig.4.2.29 Truss detail

Adobe Wall P.C.C Bed Rubble Soling

Fig.4.2.32 Section through adobe wall

Scale 1:25

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Steel Bar Concrete Mud Mortar Mud Bricks

Fig.4.2.33 Reinforcement detail

Fig.4.2.35 Reinforcement detail Column Type 1

Column Type 2

Pine Wood Beam

3” Dia Bamboo

Pine Wood Column

Pine Wood

R.C.C Plinth

Fig.4.2.34 Column

Fig.4.2.36 Reinforcement detail

Scale 1:20

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Sequence of construction:

Fig.4.2.37 Step:1 Ground earth

Fig.4.2.38 Step:2 Stone foundation

Fig.4.2.39 Step:3 RCC band

Fig.4.2.40 Step:4 Stone wall upto sill level

Fig.4.2.41 Step:5 Stone soling in plinth

Fig.4.2.42 Step:6 PCC finish for flooring

Fig.4.2.43 Step:7 Wooden door and window frames

Fig.4.2.44 Step:8 Mud wall upto lintel level

Fig.4.2.45 Step:9 Concrete band or wooden member on lintel level

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Fig.4.2.46 Step:10 Adobe wall upto roof level

Fig.4.2.47 Step:11Wooden truss build on the adobe wall

Fig.4.2.48 Step:12 Adobe wall is plastered with 3 layers of mud plasters

Fig.4.2.49 Step:13 Bamboo laid on wooden truss

Fig.4.2.50 Step:14 Split bamboo - Chachara is laid on the bamboo

Fig.4.2.51 Step:15 Ferrocement is laid on the chachara

Fig.4.2.52 Step:16 Wooden rafters are placed on the ferrocement

Fig.4.2.53 Step:17 Slate tiles are nailed on the wooden rafters

Fig.4.2.54 Step:18 Wooden shutters are made for door and window

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1.4.4 Light and Sunlight: The orientation of the building is east-west with maximum spaces aligned towards the south. This brings in maximum daylight and breeze in summer and sun during winters. In response to this, she has provided a long porous wall to the south to allow the maximum amount of light.

The fenestration on the south facade is large in size than the north facade. Not only in the plan but also in elevation. The height and the width of the openings are larger to allow a large amount of light.

Fig.4.2.55 Plan showing the fenestration in the building

54'-9" 54'-9"

54'-9" 54'-9" 107'-11"

The edges of the windows and doors are chamfered not only for the technical reason but also to get more amount of light.

76

'-2

"

138'-8"

241'-5"

138'-8"

76'-2"

215'-9"

73'

58'-4"

78'-3"

78'-3"

43'-4"

78'-3"

217'-11"

139'-9"

Fig.4.2.56 Plan showing the sizes of the openings

Fig.4.2.57 Part section showing the height of window in south facade

177'

227'-11"

Fig.4.2.59 Part section showing the edge of window

Fig.4.2.58 Part section showing the height of window

Fig.4.2.60 Part section showing the edge of window

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Observations: The Dharmalaya Institute and The Sambhaavna Institute, through the above aspects of integration of building with surrounding, integration within the building, material and light, and sunlight show a unique response to the particular urban context as well as the programmatic needs. through all these aspects, it depicts its individualistic in nature. Also, it is evident that organic quality in architecture is strongly addressed through all these aspects.

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Conclusion

From the preceding study, it is understood that the term ‘Organic Architecture’ is complicated to define. However, it is clearly an architecture where nature and its principles enhance the major concern. On the basis of this and its perception of natural processes reveals that parameters like the integration of building with surroundings, integration within the building, material and light, and sunlight are some of the expects of organic architecture.

Nature has became an essential part of architecture when man built true to his instincts.

Lately, with the changing social, economic, and geographical conditions, the act of building became more industrialized, which led to conscious efforts to bring organic aspects in the built form. Many architects like Antoni Gaudi, Louis Sullivan, Frank Lloyd Wright, Bruce Goff, Nari Gandhi, which are discussed before in the study, tried to achieve these qualities in their works in different aspects. However, these qualities can be said to have found in Didi Contractor’s works.

Didi, throughout her architectural practice, constantly emphasized nature and its principles and believed that the only way to build the building is the organic way.

From the consideration of Didi’s buildings, it becomes quite evident that integration is the main characteristic of her architecture. A holistic approach to architecture made her buildings integral to the surroundings and even within the building. Social, economic, and geographical aspects are reflected in her works critically. She emphasized the appropriateness of traditional construction to local conditions to meet contemporary needs. These aspects are evident in most of her works and are strongly addressed.

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The architecture which considers the properties of surrounding and its natural building materials and its construction techniques and understanding the function of the building and making it work together with the surrounding context and within the building in a harmonious way. However, the prime concern was to generate an architecture that would celebrate the harmony between manmade and nature.

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Illustration Credits

1.2.1 1.2.2 1.2.3 1.2.4 1.2.5

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2.4.6 2.4.7 2.4.8 2.4.11 2.4.14 2.4.15 2.4.16 2.4.17 2.4.18 2.4.19 2.4.20 2.4.21 2.4.22 2.4.23 2.4.24 2.5.1 2.5.3 2.5.4 2.5.5 2.5.6 2.5.7 2.5.8 2.5.9 2.5.10 2.5.11 2.5.12 2.5.13 2.5.14 2.5.15 2.5.16 2.5.17 3.1.1 3.1.2 3.5.12

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