Component of Design Method: The examination of the reconciliation of opposites through the works of Le Corbusier in Ahmedabad

Abstract

Design method is a very elusive and under-documented subject. Regardless it proves to be a very important part of an architects skill, thinking and expression. In a way it defines and rationalises the very process of creation of architecture. The study of the design method or in this case a fraction or component of it, can provide insights into possible explanations behind the design of his/her unique architecture. This study focusses on ‘reconciliation of opposites’ or to its abbreviation — ‘ROC’. ‘ROC’ is studied here as a component of Corbusier design method. Reconciliation of opposites in general is a universal phenomena, as in one sense it essentially means making opposites compatible. But, it takes specific forms in Corbusier’s life and work. A perspective put forward by multiple scholars, ‘ROC’ is a perspective that aims to understand the work Corbusier produced. ‘ROC’ is argued to be a part of his design method, which has allowed Corbusier to generate his unique style, principles, concepts, visual art and architecture. This thesis explores the theory of ‘ROC’ under its context of design method. And aims to understand the resultant architectural manifestations produced due to ‘ROC’ in the localised context of Corbusier’s projects in Ahmedabad, India. The theoretical body of ‘ROC’ is vast and ubiquitous throughout Corbusier’s projects. It has been observed and discussed in his various works, ideas, artwork and across different time periods. A theory when applied to a particular context may produce a different result form when it may be applied elsewhere. The discussion of this thesis centres around how the constant theory of ‘ROC’ produces its local manifestations in Ahmedabad, thus creating architecture supposedly unique to its context with embodying the principles of ‘ROC’. Initially, the theory is broadly explored. After which, the theory is stated in quantifiable statements. These statements or ‘points’ are further expanded on with Corbusier’s background and selected works. The four buildings—Mill Owner’s Association, Sanskar Kendra, Villa Sarabhai and Villa Shodhan are analysed through ‘ROC’(quantified points). Conclusions and inferences are drawn from the analyses above. This may provide insight into how ‘ROC’ as component of the design method has translated into architecture, and has contributed to the design of these buildings in Ahmedabad.