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Architecture of India
It is almost as if the building design has been given out to several sub-teams within the office. Each of them has done a competent job, but an overall rhythm is lacking. It is entirely possible that Doshi’s office, in its eagerness to keep up with developments in architectural theory – neglects in this building its core expertise – that of designing simple, good architecture that works for its users and helps preserve local building traditions.
In the later part of his career, Doshi’s work is characterised increasingly by mythical allegories to religion and dreams. In the Bharat Diamond Bourse and other projects, the built form and even at times the choice of site is, in Doshi’s words, the product of ‘non-traditional’ forces. It is doubtful till now if these allegories have translated successfully into concrete projects, nor how, in Doshi’s case, a mythical references to architecture have translated into better user experience. This is, really, one criticism of Doshi’s later work – that in the search for a personally satisfying solution he seems to have compromised on his earlier careful innovation and respect for the end-user. While Correa has always been politically astute, Doshi at this stage of his career seems satisfied with his earlier, spectacular success and gives up primary responsibility to direct his architecture to allied firms - preferring instead to concentrate on personal mythology as a medium of expression. Still, Doshi remains one of the seminal figures of South Asian architecture and has contributed in no small way to the evolution of post-independence architectural discourse in India. Starting off as Le Corbusier’s protégé, Doshi’s architecture is an eclectic mix of styles and influences that make it unique in recent history. Whether Doshi’s best is behind him is something that may remain a subject of debate – that, however, he has already made an indelible mark in South Asia is already beyond contestation. February 12, 2006 Images from
The Week of February 12, 2006
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In the
National Institute of Fashion Design (N.I.F.T.), Delhi, Doshi and the
Vastu-Shilpa Foundation are less successful. While there is nothing wrong
per se in using the form of a step-well (baoli) from Ahmedabad as
conceptual and formal inspiration, what is lacking in the building is the unity
of its parts and overall coherence. 
BV Doshi
creates and conceptualises the space, and MF Husain embellishes it with his
painting and sculpture. While possibly being a tourist attraction and even
perhaps a pilgrimage of sorts for students of architecture, the Husain-Doshi
Gufa, Ahmedabad may not, in the end, do justice to the considerable talents
of either of its creators. 