Architecture or structural design is possibly the outline of human attempt, which furnishes perceptiveness into man's perpetual efforts to achieve perfection, his endeavor to articulate himself, his surroundings, and his stance towards existence, his civilization and his visual sense. Apart from this, architecture is conceivably the only outline which mirrors the development, splendor and riches as well as the retreat, putrefy and paucity of a society, or even a sovereignty or a reign of a certain period.

Gujarat is located at the farthest west of India opposite the Arabian Sea. The most important faith in Gujarat was Jainism and hence the majority segment of the structural designs of this place constitutes Jain temples. It was during the 11th and 13th centuries that the Hindu architecture attained its peak of brilliance as well as artistic radiance and this is manifested by a few of the supreme and most excellent samples of Gujarati designing that prospered during the Solanki as well as Vaghela period. Alas following the invasion from the Muslims, the Hindu as well as Jain temples were shattered and the resources were utilized to build mosques. A few of the notable memorials of Islamic architecture can be found in Ahmedabad in Gujarat. The icon of Islamic architecture is the Mosques in Ahmedabad.

The architecture style which originated in Gujarat while the Muslims ruled was indisputably the loveliest of the regional styles of Mohammedan architecture in the northern as well as western parts of India. It disagreed principally from that developed in northern India, where big and grand structures were raised by the Moguls on a gigantic and wide-ranging scale. Although Gujarat was comfortable with constructions of humble dimensions, they were noticeable by a prominent degree of excellence in their implementation and creative brilliance. The tool of inserting light and air via pierced screen as well as window tracery with venires decorated by a wealthy assortment of geometrical and flowery designs was exclusive. The passive light and assurance in the whole atmosphere, it formed, were promptly pleasant and comforting. Decoration of different parts, towers, structures, balconies and niches was excellent and unmatchable in opulence of facts and creative style. The trembling towers of Ahmedabad are even now the admirations of the world. Fortresses, castles, temples, synagogues, mansions, mosques, sepultures, creative figure of Idols on Stone entrances and step wells which subsist these days in and around Ahmedabad are the bright reminiscences of the expertise and deftness of those who did them.

In fact we can say that Gujarat is spotted with antique Hindu, Jain, Buddhist, and Muslim memorials. The architectural ideas postulated in these memorials mirror the grand legacy of Gujarat arts with culture.

Mahmud Ghazni in 1025-26 A.D sacked the Hindu temples at Somnath and this marked the decisive moment in Gujarati structures. Ghazni’s violation and looting of Somnath worked as a catalyst and witnessed Indo-Aryan style architecture in Gujarat attain its peak. This was the period during which authentic and extensive architectural movement in Gujarat took place.

Solanki Dynasty from 1000-1300 AD - One distinctive facet of this era was the expansion of 'Toran' and 'Kirtistambha' architecture.

The noticeable attribute of these Toran and Kirtistambha is an affluent decoration. Whilst Toran functioned as an entry, the Kirtistambha was essentially ornamental, destined to augment the exquisiteness of the overall building. Through the same era temple architecture has arose in Gujarat which is mostly founded on the fundamental thinking on Indian Shilpashastra and Vishwakarma Vastusashtras that itself is founded on 'MANADAP' arrangement (of a covered porch open to all slopes). It has its source in the very antique Vedic age, when non-permanent Mandaps were built for auspicious occasions, marriage ceremonies and Yagnas. With passage of time these Mandaps were prepared as palaces and shrines with gorgeous pillars, engraved roof, ceilings of delicate craftsmanship and striking Toran. The premium instance of temple structural design is the Sun Temple located at Modhera. These were a few examples of wonderful architectural memorials in the nation.

The Indo-Saracenic approach of structural design sprang up during the Islamic rule in Gujarat. Later on the Muslim architecture built Mosques of Honey-colored sandstone which was an unusual and cheerful blend of Muslim and Hindu styles.

The mansolea, mosques and pavilions were the blend of the ascetic principles of Islamic design and the conventional Hindu art of carved decoration. This technique is most extraordinarily presented by the memorials of the significant city of Ahmedabad, which evolved throughout the Muslim phase in Gujarat and was indisputably the most stunning of the regional approach of Mohameden architecture in the western as well as northern India.

The tool of inserting air and light via pierced screen as well as window decoration with panels decorated by a wealthy assortment of geometrical and flowery designs was exclusive. The passive light and assurance in the whole atmosphere, it formed, were promptly pleasant and comforting. Decoration of different parts, towers, structures, domes, balconies and niches was excellent and unmatchable in opulence of facts and creative style. The trembling towers of Ahmedabad, which form the part of Siddi Bashir Mosque, are still the admirations of the world.

Modern Architecture

At present Ahmedabad has a lot of buildings known as some of the best examples of contemporary architecture. It is a truth that contemporary architecture everywhere in India continues to mirror a western prejudice, whereas on the other hand it has been triumphant in foretelling the provincial expression of Indian people, their customs, values as well as philosophy. Le Corbusier, Charles Correa along with Louis Kahn, have really added towards contemporary architecture in Gujarat.

The assorted designs by these 3 architects are evidence of the reality that they could articulate individual social and religious customs and respects via their creations. And these designs were termed as a novel aspect in contemporary architecture, as these aren't an expression of use but of culture.

Louis Kahn with Le Corbusier was the 2 key counselors whose teachings Mr. B.V.Doshi scrambled to fuse their idea in a way to deal with Indian situations. Therefore we can view the viewpoint of the 4 geniuses, but giving individual thoughts of each designer.

LE CORBUSIER

Le Corbusier made use of adequate amount of bricks and concrete by impregnating them with a tangible sense of space as well as light. His Indian along with spiritual building was the combination of celestial and ancient themes, while his home designs were 'on the cutting edge of peasants'.

LOUIS KAHN

The natural works of Kahn applied light geometry, structure and a strong concept to tap an ageless aspect, with each novel task he attempted to break in the basic human sense of the institution.

CHARLES CORREA

Charles Correa’s fundamental attitude of his buildings was to provide lengthy passageways and extensive arches, which offer shade and aeration. A specimen of his construction styles can be seen at Gandhi Ashram which was designed in 1962. He has productively articulated his viewpoint mixing with regional customs.

B.V. DOSHI

Doshi has merged certain permanent values of contemporary architecture with research addicted to the foundation of Indian custom. Doshi has shed light on a terminology of his own by means of vaults sheltered courts, green platforms, water gardens and covered sources of light. Doshi has attempted to determine a reciprocally constructive and inspirational balance between industrialized towns with rural base. Doshi's constructions symbolize a mental picture of man in accord with the nature’s order. It is a perfection which blends the reformist attributes of the contemporary movement with a remote and early religious tradition. Doshi also takes into account the fabled and poetic scope of nature, the surge of breeze as well as water, the agreement of light with shade, the association between earth and sky. Doshi did not distinguish between architecture with Urbanism. Individual houses are a theory of an improved kind of city – common space, terrace, rooms, street and court are all connected.

Modern Indian Architecture

Mr. Doshi mentioned to the requirement of constructing building of 'interposed open spaces, courts and terraces'. Architecture was not only to dish up basic human wants but also provided the structure for communal rituals. Climatic version was to be articulated via the key structure. Buildings were supposed to be thought as collections competent of expansion and change. In addition, there were strong clues about the forms that would best articulate his ideas.

1. The building outline will encompass natural light, movement of air, and access components against the sky to put across the celestial relationship.

2. The base of the building will slowly widen near the floor via steps, platforms, terraces.

3. The building imprint will incorporate rooftop, water bodies, rainwater falls, natural scenes and gardens to hang.

4. The interminable completion of the building will express one homogeneous method yet will have sufficient aspects / compositions / surface balances.

5. The main entry to the building was placed at higher levels with plans for a subordinate entry to convey duality.

6. All the developments inside the building will not be symmetrical but will present astonishing experiences and give double/ambiguous impressions.

7. Artistic contemplations will keep in mind local imagery, contact, and acquaintanceships. Radiating shadows, rhythms in structure, emptiness, solids and banking of marks will be the means of expressions.