Not to scale- VolumeII

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Volume 2 August 2015

Landscape Architecture IIM Udaipur Water Pavilion Regional Park

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All the photographs and texts used in this magazine have been provided by the authors of the articles and their sources.

Views expressed in this magazine are those of the contributors and do not necessarily reflect those of the editors and publishers.

N o t e

Aesthetic engagement, escapism from world of concrete, inspiration, meditation, a touch of nature we came from and a sense of belonging to an area - that's what landscape provides us with. It is an inspiration of writers, artists and photographers, whom we all admire.

This issue predominantly focuses on landscape architecture and designs by various architects in the country. The showcase section covers the landscape details of IIM Udaipur designed by 'Earthscape' a landscape firm, based at Ahmedabad. Also in focus is the landscape planning of PipliyWpala Regional Park, Indore and Water Pavilion by Beyond Green, Ahmedabad.

Landscape Ar. Divya Sharma, writes about the history and chronological changes in landscape architecture. Further Ar. Vitasta Raina who is an urban-habitat planner, writer and artist, talks about the timeless quality of architecture.

The issue also showcases the work of the students of the college ( Buddha College of Architecture, Udaipur).

NOT TO SCALE volume 2, has been a work of patience for us. We hope that it makes a worthy utilize of your time.

Magazine Team Aditi Bhargava (Student Editor)

MENTORS Ar. Jaideep Vyas

Vishvesh Pathak (Graphic Designer)

Ar. Jasminder Kaur Vyas

Nirmal G. Anand

Ar. Nimnim Naredi

Vivek Savaliya

Contents Showcase

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Showcasing the landscape planning strategies for IIM, Udaipur by “Earthscape�, and their concept relativity with the city.

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An interview with the Cheif Architect of Pipliyapala Regional Park ,Indore and the story of its lake revival.

New Perspective

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"Context is a history, a story, or a background within which we place our design; it complements our design because it gives it meaning-" Ar. Vitsata Raina as she talks about context in architecture.

31 A design detail, named as Water Pavilion, by Beyond Green, Ahmedabad, playing with various elements of natural luxury.

Back To Basics

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Ar. Divya Sharma introduces landscape architecture from its roots to the current scenario

C O N T E X T S A N D C O N C E P T S

Gallery of works, experiences and ideas of students

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Temples of learning

stewardship of

ndia stands at the crossroads of two apparently conflicting paths: conserving by natural resources for future or continuing Earthscapes, Ahmedabad development that deteriorates natural resources. One cannot profess a simple solution to complex issues that scourge the country. When There is a sense of discovery as one moves presented with a unique opportunity to develop inward from the entry, which is heightened an institution of national importance – a temple upon crossing each hill and reaches a climax of learning that lights our future path, the vital when arriving at the vantage points for the question is that of setting out exemplary central valley. Two main paths of negotiation processes. Sometimes, traditional techniques were observed, one that goes along the ridges provide enormous possibilities of blending and allows panoramic views of the site & its development with natural resource conservation. surrounds, and second that goes through the The design team set out to achieve this goal valleys and foot-hills and allows one to through establishment of long-term landscape experience the enclosure and sequences stewardship processes at the site of proposed inherent in the site. The site has two main permanent campus of the Indian Institute of water features – the first being a large Management, Udaipur (IIMU). depression at the entrance leading to the The site is nestled in a degraded portion of the central valley, and the second being the Aravallis just outside Udaipur, and surrounded central valley itself. Numerous small water by a population striving for sustenance. The features are activated on the hills during terrain is hilly with a large part of the site having monsoon, and a sequence of waterfalls seems steep slopes of the order of 45 degrees and above, to come about in monsoon in the central water creating several local ridges and depressions feature. Valleys exhibit a distinct temperature (fig-00). Relative elevation difference between drop due to combination of moderate flora, highest and lowest points of the site is almost 100 funnel effect of wind and buffer from direct metres. Existing landscape consists of exposed heat. Northern slopes & valleys are shaded laminar rock covered by straggly scrub, which from the strong sun and wind, while ridges & denotes advanced stages of forest degradation southern slopes are most exposed to complete due to grazing and other human impacts. The variation in climate. region receives 650mm of rainfall, and high runoffs generated from barren steep slopes in the Before allotment of the site to IIMU, this area site drain into a seasonal stream that dissects the was used by surrounding villages for site from North to South forming a 50m deep unorganized grazing, collection of minor central valley and dividing the site into two forest produce and as a seasonal water source distinct parts. This stream runs dry for most of the in localized depressions on the site. Distinct year, save a check dam at northern edge of the site grazing patterns can be observed on the entire that has water till early summer. A distinct site, even on steep hills; and lopping of trees as erosional profile is observed, with debris from well as woody plants for fuel wood is a broken laminar rock strewn all along the slopes frequent occurrence. and in the valleys.

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Fig.00 Landscape zoning

LANDSCAPE ZONE GREEN BUFFER ZONE NATURE PRESERVES PUBLIC ZONE ACADEMIC ZONE STUDENT RESIDENTIAL ZONE FACULTY ZONE

Landscape Planning IIMU development master plan is based on critical analysis of ecosystem services demand, striving to reduce its ecological footprint by incorporating strategies like 100% rainwater harvesting and wastewater reuse, use of solar energy to reduce overall power demand, recycling organic wastes, landscape up gradation and development for strengthening ecosystem services. Landscape is envisaged as a complete ecosystem which includes the human society as an equal partner, sharing responsibilities and consuming outputs in a balanced manner. Proposed techniques of landscape development provide adequate involvement opportunities for local people who have been using the site for foraging, grazing, fuel wood and flora based products.

In a region having low rainfall and no current surplus water reserves, water becomes the primary constraint for any development including landscape up gradation. Hence, the first step aims to develop a resilient water balance that will allow the campus to sustain and develop itself. The next step is to examine the status of biodiversity in the region, and allow IIMU to steward the development of a climatically suitable climax forest in the long run, which will increase biomass, provide adequate renewable resources and enhance the regional ecosystem. The final step looks at integration of society within the landscape envelope, not just by creating physical resources for consumption, but also generating a landscape imagery that integrates the campus intrinsically with the region. The site is proposed to have three landscape zones – social zone which includes the built areas, public and outreach zone for general public and surrounding community and forest zone which shall be a largely undisturbed ecosystem.

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Water Systems – keystone of development Taking cue from Udaipur – city of lakes, which serves as an example of successful rainwater harvesting in a water starved region, landscape of IIMU activates itself around rainwater harvesting systems. An elaborate exercise to determine the campus water budget in a sequential manner allows one to manage water resources for initiating landscape up gradation processes immediately, followed by diversion of surplus water from established landscapes to human needs as the campus is populated.

Balance reverses and rainwater are diverted for human consumption while treated wastewater is supplied to landscape. Water balance of the campus aims to supply the entire water demand by rainwater harvesting measures proposed on-site, along with substantial support from treated sewage water that will be generated after the campus is operational.

Major Watersheds

Storage of rainwater is a critical factor since no natural water body exists on-site while the aquifer cannot facilitate such large quantities of annual injection and withdrawal. If one examines creation of check dams in valleys to store rainwater, standing water presents a formidable force in itself waiting to be unleashed, making traditional dam structures at once expensive and difficult to manage for an institution. Hence, another direction is being explored by excavation of lakes in valley beds in lieu of check dams, and balancing it with the earthwork filling required for construction on the hilly site.

This concept is also in line with the overall strategy of transferring accumulated topsoil in valley beds to slopes and hilltops for establishment of vegetation.

great detail using hydrological analysis software to generate raindrop analysis allowing demarcation of macro and micro catchments within the undulating site. Seasonal rills were identified leading from micro-catchments on higher elevation to those on lower elevations, allowing establishment of water storage locations for each micro as well as macro catchment.

Major Watersheds

Water Balance Diagram

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Flora – ecosystem up gradation

Water Harvesting System

Lake development for each macro catchment will be supported by critical erosion control measures like contour trenches, contour bunds, pitching and vegetative barriers to prevent silting of these reservoirs. Another line of defence against silting shall be creation of smaller gabion-bund based check dams in each microcatchment, which will filter silt, spread soil moisture in micro-catchments and allow seepage of rainwater to macro-catchment lakes over a period of few months.

Since smaller reservoirs are proposed to dry out by end of winter, annual de-silting can be taken up to transfer accumulated silt back to the slopes.

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The final part of this scheme links all reservoirs to central lake by means of a solar pumping system. Central lake in front of academic block is envisaged as a public place open to people of the region for recreational activities. This lake shall receive water daily from all water bodies, and in turn be used for withdrawal of daily water requirements of the campus. While other water bodies in the campus shall turn into wetlands by end of summer, central lake shall only lose a few metres of water depth, which shall be replenished with the first few rains. While natural percolation is undisturbed in all lakes except central lake, biodegradable consumption-safe evaporation control chemicals shall be used to prevent losses.

Resilience has been achieved in water balance by using only 36% of last 50 years' average annual rainfall even on steep slopes, and augmenting capacity through slow runoff from silt barriers and microcatchment reservoirs.

Once lakes are activated, each catchment will be further strengthened by establishment of pioneer vegetation, contour bunds and trenches that will reduce the runoff velocity and prevent surface erosion.

A strong maintenance cycle supported by employing local people will ensure vegetation establishment in a decade or so.

Outreach areas shall be dedicated to growth of fruit and minor forest produce bearing plants as well as fodder grasses that sustain the local community.

Flora observed in the site consists of very few native trees like Madhuca latifolia and Terminalia species, along with shrubs like Jathropha curcas and Zizyphus nummularia.

Seasonal grasses abound the site after monsoon, but by the end of winter the site is again barren, exhibiting an overall low biomass.

Landscape Upgradation 1

Landscape Upgradation 2

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Appropriate plant palette was selected after studying floristic surveys of Kumbalgadh, Sitamata & Phulwari sanctuaries nearby. A large list of native plants was generated, and thereafter segregated into various categories based on natural succession, forest ecosystems, optimal physical location and character on a hilly site, resources generated by the plant as well as intended landscape imagery for the site.

. The site was mapped for slope gradients, aspect, areas exposed as well as protected from wind and sun during each season. A planting palette is being developed for each of the mapping parameters (fig 08) in order of natural succession for each ecosystem. For example, steep slopes are proposed to be planted with deep rooted perennial grasses with high biomass value in order to hold transferred soil and increase its nutrient content.

Landscape Development Stage 1

Landscape Development Stage 2

planting succession

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The immediate requirement of increasing overall biomass on site is achieved through use of rapidly growing grasses and shrubs along with nitrogen fixers, in order to allow the permanent vegetation to be planted after two-three seasons in a naturally rich soil media.

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Society & Landscape – resources & imagery Ecological resilience is also being factored in by including drought hardy plants and those having minimal evapotranspiration losses, wind-breaks, fire-breaks, plants capable of growing on rocky-gravelly areas along with a rich mix of plants with varying speeds of growth and life-cycles to enable selfhealing in times of stress or natural aberrations.

landscape development stage 3

The final directive is to generate stewardship of community development, which shall be in form of knowledge and resources both. Hence, the plant palette shall include fodder grasses as well as plants that provide fuel wood, seasonal fruits and other minor forest produce to be collected and used by locals as a part of the maintenance strategy. The campus shall thus become a source of sustenance and development for the surrounding population, creating a symbiotic relationship.

IIMU's stewardship of regional landscape needs to be reinforced with the experiential landscape of the campus. The focus of this strategy is establishment of two large civic zones, one each in west and east campus. These zones will cater to a variety of civic and recreational needs through active and passive recreation, exhibition and performance areas, and congregation areas as well as sports facilities. In addition, these areas shall also allow recreational trekking within a part of the campus, providing exposure to the campus stewardship initiatives and exploration of biodiversity expected to settle in after a decade or so. The centrepiece of this zone shall be the central lake that will generate a complementary passive recreation and social activities.

Udaipur Spatial Analysis

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The language of landscape imagery is proposed to be consistent with that of a hilly city, and the design team has documented Udaipur's old city to understand the various facets of urbanity that makes traditional towns a haven for social interaction. Taking inspiration from great public places encountered in Udaipur old city, the master plan derives formulae for overlapping uses and utilization of public spaces within the campus. Movement in the hilly site will be negotiated through creation of multi-activity spines that allow one's vision to fluidly change between ground plane and the sky in designed sequences reminiscent of hilly fort cities like Udaipur and Chittorgarh. Variety and interest will achieved by modulating the proportions of datum, sky and vertical surfaces along the movement spines and in sequential nodes within each district. The open spaces character of a hot arid town consisting of shaded narrow streets and tight openings: “chowks� provide an eccentric grid for the campus as it blends itself within the site topography. Taking further inspiration, the campus is designed as a delightful non-motorized transit community that is traversed by various pedestrian priority streets, pedestrian only walkways and bicycle ways that promote a healthier campus lifestyle and generate interactions not just amongst people, but also with the landscape.

New Perspective

Showcase

Udaipur Palace movement analysis

Taking further inspiration, the campus is designed as a delightful non-motorized transit community that is traversed by various pedestrian priority streets, pedestrian only walkways and bicycle ways that promote a healthier campus lifestyle and generate interactions not just amongst people, but also with the landscape.

Vistas from each part of the site shall be emphasized by creation of pause spaces, plazas and change of movement directions.

Exploration of nature shall be encouraged by creating informal trails within the afforestation areas. The material palette is completely composed of native stones and plants that blend into the surroundings with ease.

Seasonal as well as diurnal changes are being analysed, to be included as a part of the landscape system providing subconscious connections to the landscape.

Another strategy proposed is an annual tree planting event that will foster a close relationship between campus residents and the landscape, allow them to develop a personal relationship with the site and encourage an urban lifestyle that appreciates ecosystem services.

Overall, the proposed master plan strategies will allow users to balance their life inside and outside buildings, experience and appreciate the idea of sustainable natural neighbourhoods, and very importantly- imbibe values of partnership with nature for future development.

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FOR

MASsES CLASsES

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The Pipliyapala Regional Park, Indore, project deals with the landscaping & conservation measures of urbanization intervened to form a harmonized city fabric.

Architect Jitendra Mehta is the chairman of IIA, Madhya Pradesh chapter and a member of International affair board, IIA. He has received the excellence in architecture award (2011), HUDCO Design award(2012) and special recognition in HOLCIM awards for sustainable construction (2011), etc, for "Pipliyapala Conservation &Lakefront development". The architect talks to Aditi Bhargava in an interview about the journey of Pipliyapala Regional Park Design:

FACT FILE Total land area = 41.3107 ha.

Area under master plan road = 0.3894 ha.

Area under cremation centre = 1.3139 ha.

Net planning area = 39.6074 ha.

Permissible total built up area = 1.9803 ha.

Proposed b/up area = 6583.60 sq.m.

'Creating a better space is the imagination work that an architect does.' In your project, what was this place before coming into your concern and what ideas you began with?

Actually, this was a neglected piece of land, which was lying ideal for almost 30-40 years. Earlier it used to be the only open recreational space, but wasn't organized to welcome families more often. Then the idea, basically came from the Indore Development Authority, who appointed us as architects to design the space. So, as the resident, my first visit to the site, made me think that there is no such descent place for ladies and families which could be pleasant as well as non isolated, which could also serve the younger generation to understand nature in a better way.

Secondly, the lake(in the picture) almost died, and was visited by me in a car to the centre most part, which was a concern that how are we going to rejuvenate the lake with water, bringing it back to its glory.Third aspect was to create a facility which not only compliments the regional park controls but also facilitates amusement and fun, because when a family visit such a place, it becomes more interesting to spend time in a lush green surrounding.

So these three were the prime objectives which led to the design.

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As you mentioned about the exhausting lake, what were the planning strategies, that made you to revive the lake. Which channels connect to this lake and how?

The water comes from the upstream which is 3540Kms away on a hill top known as Machin. Its storm water collection comes to the Bilawli lake and when it crosses the HFL level, it pours into the Pipliyapala lake.

Now the challenge was to inherit this hierarchy in the design, for which, we were required to understand the hydrological system of this area to retain water for all 12 months. For this, we conducted several surveys with technology as well as through interviews with the people from nearby villages. This revealed that most of the water from catchments which was supposed to move towards Pipliyapala was blocked due to diversions made by people to direct water for their personal uses illegally.

We tried to consolidate this existing system, by profile collection and silt removal, clearing the channel, leading a fluent water flow towards Pipliyapala. The second task was to bring additional water from a nearby huge Soya bean farm from where we streamlined the water and on a simple contour based arrangements , we installed pipes around 40-50 acre of catchment area.

Then we focused over the bund walls which were totally punctured from some parts, so in that case, whatever water the lake was holding used to get seeped out. For avoiding this, we managed silt removal and did re strengthening of bund walls by stone pitching.

And so the whole story was source rejuvenation of River Kahn at Indore

There is a beautifully designed radial pattern of different types of gardens we can go through, and also the huge entrance is a delight to be seen in Indore, which is not only new, but vast in itself. What concepts are concealed with these?

Plan of french garden and maze sculpture garden , musical fountain

Amphitheater

Entrance Gate Tensile structure

The worked out concept of the gardens was thought to act like the necklace of best architectural garden styles of the world, which were complimented by -Indian Garden, showcasing mughal char Baugh -Sprawling lawns defining the free expression of joy -Maze, the bhulbhlaiya for playing -French Rose gardens filling the colours -Musical water fountain & amphitheatre -Artist's village encouraging art -Sculpture court So the Park is about a muesum of gardens. The structural layout is derived from a town settlement pattern with a Network of streetscape. 6 radial avenues lead us to the 6 km long lake edge promenade.

The main central avenue lead to the plaza is a celebration path. The cross lanes & pathways that run across help us take a journey through various plazas, squares and linking nodes.

The park is well equipped with basic amenities like drinking water facility, eating places, adequate toilets, dustbins, parking lots, accesses adapted for physically challenged people usages etc, designed in sync with the architectural aesthetics of the whole park.

Secondly, this project was dedicated to Shri Atal Bihari Vajpayee, and being a government project, we were bolted to some ideas. But at the same time, our proposals were well accepted. Our thought to use tensile structure was to create a simple entrance avoiding heavy elements, because the project was a work of peace inheritance and to add an architectural identity to the place. Also, I believe that, “entrance is the most important part of the building�

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Photograph by Akshay Duggar Magari, Udaipur.

New Moti Perspective

Showcase

Your design not just revived the Pipliyapala lake, but also the vegetative life has been rooted back to its life. How did you make it possible to handle seasonal and perennial plants?

Actually, landscape is my passion, I wanted this park to grow old with better flora and attarct fauna. We bought all the plants from Rajahmundry and created a nursery here for 3 months, so that they get accustomed to the soil conditions of Pipliyapala, and then they were planted to their respected places according to the horticulture. Due to the plantation of thousands of species of Indian as well as exotic plants, it has also become a destination for botany students to learn.

And yes, we do shuffle the seasonal and perennial plants to maintain real look of the gardens, keeping the French garden flowery and the Japanese garden, dry.

Also the biodiversity park has the most Indigenous species inherited purposely to attract the migratory birds which ones deserted this lake when it exhausted.

Nursery and Gardens

All image courtesy - Ar. Jitendra Maheta

Definitely it attracts the people not only from Indore, but also from various places. What masses, do you think this place is more meant for?

When we started planning this huge space, “we not just thought of the classes, but also the masses�.

Our society, is a shuffle of more middle class families and less upper class families. So agenda of designing this whole space was to welcome the families which could enjoy their day without worrying about money.

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New Perspective

New Perspective

CONTINUITY

With the coming of the Environmental Movement in architecture, the meaning of the word 'context'

That T i m e l e s s

Quality of Architecture

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Ar. Vitasta Raina is an architect and urbanhabitat planner, writer and artist. She trained under Lauri Baker at COSTFORD in Kerala (2002). She was awarded in Appreciation of Academic Excellence by the IIA, Pune (2005).

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was bastardized to a large extent. Climate appropriate architecture, that paid heed to the sun direction, respected the water table, and responded to wind was suddenly elevated to 'good design', and such buildings were said to be not just harmonious

n our design journey as architects, we often come across the word

with nature, but also hastily dubbed as contextual.

But the practise of architecture that is in harmony

“context”. But what does context really mean? The greatest monuments of

with the environment, built using local materials and blending in gracefully with its landscape is not

architecture that we cherish today as icons of style, that bring out the best artistic and aesthetic genius were neither of their time,

a measure of design, it is a display of 'common sense'.

We now find ourselves in age where mediocre

nor culturally rooted in history. In their choice of materials and their application of

buildings that respect the climatic and site conditions are elevated to a stature of aesthetic

craft, they did not belong their environmental setting. Take the Taj Mahal for instance; the

glory. But if you are building using environmental responsive passive technologies, are you also

white marble that was used to build this grand mausoleum was sourced from Rajasthan, while some of the stones used in the inlay

building in context?

“And if your building is rated green, does it also mean that it is designed well?

work were transported from places as far away as Tibet and Sri Lanka. The Taj Mahal

As a young student of architecture, I had the privilege of working with Laurie Baker at

was not in context of where it was built, and yet by its building, the context for the city of

COSTFORD in Kerala, in the days before being green became mainstream. There are some

The reason why an exposed brick wall becomes us is that it goes through the

Agra was created. Today, we look upon it as a symbol of India's rich history.

This phenomenon of 'transposing context'

memories that remain with us for a long time, etched in our consciousness they shape the way we begin to perceive our world. I remember one

same entropic processes of life that we go through, it breathes with us, and it ages

holds true even today. We must understand that true Contextual Architecture, one that

particularly rainy afternoon, when I shared a cup of tea with the Daddy (as we at COSTFORD called

blends in with its surroundings, is seldom appreciated because it is hardly noticeable. It

Laurie Baker) at the Hamlet. The much celebrated 'Brickmaster of Kerala' spoke to me about growing

does not have a unique design vocabulary, nor does it challenge the existing paradigm.

old, and observed how with age his eyesight was failing and his filler-slab living room roof was leaking. I did not understand then what I know now, that such is the endearment of architecture that it grows old with you.

RESIDENTIAL PROJECT AT NOIDA. © WWW.STUDIO1652.IN

with us and through the course of our lives together, it also dies with us.

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New Perspective

New Perspective

Over a period of time, through professional and personal exploration, I have discovered that it is indeed not context that we need to pay heed to, because context can be created, be it with the humble brick or the marvellous white marble. Context is a history, a story, or a background within which we place our design; it complements our design because it gives it meaning. But it is also true that the most compelling of designs will often write their own story.

If one were to go back to the etymological origins of the word 'architecture', one might read it as a harmonious equation between art, technology and culture that manifests itself in real estate. That it is the built expression of art where culture can be experienced. And herein lays the reason why context alone cannot import significance or meaning to a built form. Because culture is a dynamic ever changing force, it is often difficult to capture it through the static margins of site, climatological or even historical context. To grasp the nature of ever moving, interchangeable culture, its complex interrelations and memoryscapes, one must understand the phenomenon of Continuity- the uninterrupted, gradually changing quality of space that evolve slowly with us throughout our lifetimes .

�

As architects, we tend to focus on site specific contexts and ignore the cultural continuity of space.

One way to capture continuity that has become a fashionable expression is to transpose the motifs and design elements of traditional Indian houses into modern architectural vocabulary. And such ethnomodern styles have found many takers, because it appeals to our mental need to find a familiar rooting continuity around us.

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Photograph by Rajendra Sharma Kutub Minar Campus, New Delhi.

New Perspective

New Perspective

Another more pragmatic approach of capturing continuity that goes beyond the designed elements is through the use of materials and construction systems that acknowledge the natural evolutionary processes of space.

The time has come now to write a new architectural paradigm. We must begin recognize that design is organic, that a building is a living organism that grows with us, and finally, we must acknowledge the most basic tenets of life- decay and death. Just as a human is not immortal, and goes through the natural processes of aging, so does a space that is lived in, so does a brick wall or a stone floor. The entropic processes of decay must become part of our design vocabulary; we must forgo the urge to design for monumental endlessness and focus on designing for our continuing present.

Now is the time for 'Bio-degradable Design - time to harness the quality of decay into the vocabulary of design, instead of wasting energy in trying to

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amend or avoid it. We must understand the aesthetic worth of entropic processes like rust and erosion and integrate them

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All image courtesy - The author

into our artist expressions. It is only when we can truly embrace decay that we can become 'sustainable'.

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Water

New Perspective

ater Pavilion is conceived as a relaxation space, which should be connected to the main residence and at the same time disconnected to have a sense of its own space.

1) The arrival path is primarily harmonized with a series of large trees integrated with a cascade water body with copper leaves floating in water so that it looks like a piece of sculpture even when not in use.

2) Overlooked by a small garden, the area acts as a green buffer along the lounge.

The site was well designed even before refurbishing the same and the brief was to create new experience (both spatially and visually) 3) The side walk pavement leads to a morning sitout, clubbed with a beautiful lotus pond having customised lighting system.

4) From sober landscape elements, emerges an extended rectangular lounge, set at the edge of a swimming pool giving a floating feel .

5) Appropriate use of levels to allow for interaction both as an adult and children was seen at the entrance of the lounge.

W

Ar. Bobby Sujansingani and Ar. Rucha Nangare are Partners and Principal Designers of M/s Beyond Green a landscape firm based in Ahmedabad Gujarat and starting their office soon in Sangli, Maharashtra. It is a relatively young firm established in June 2011 and having design commissions across the country.

Just like we were eager to know the fact of Ar. Bobby and Ar. Rucha handle this project, was also a question for them, as the client firmly believed in their works and patience.

Let's have a look to how this Landscape firm come across the challenges and enjoys the nuances of design.

New Perspective

P a v i l i o n LEGEND 1. ENTRANCE TO LANDSCAPE AREA 2. WALKWAYS 3. WATER BODY 4. LAWN 5. PLAY ZONE 6. GAZEBO

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Existing landscape plan (plan not to scale)

LEGEND

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1.ENTRANCE TO LANDSCAPE AREA 2. WALKWAYS 3. MORNING SIT OUT 4. LOTUS POND 5. GRASS VERGE WITH SIT OUT 6.SWIMING POOL 7. TODDLER POOL 8. POOL DECK 9. LONGUE 10. CHANGING ROOM 11.THEMATIC PLANTING 12. SCULPTURE DISPLAY 13. PLAY ZONE 14. SEASONAL PLANTING 15.FAMILY LAWN 16. PLUMERIA GROVE

Proposed landscape plan (plan not to scale)

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New Perspective

New Perspective

6) A pool deck perfectly adds to the ambience creating luxury with misters making it look more magical and mesmerizing.

7) Walking along the pool leads one to the lounge, which has a surprising element over the palm leaves concrete wall casted to echo the planting behind.

8) The interior of the lounge provides a very soothing feeling with intricate horizontal line patterns forming over the ceiling and also on the side walls.

9) The customised louvers installed over the glass facade facing pool, creates lined patterns during day time and subtle lights in the evening makes it mesmerising 10) The furniture designed for the area compliments to the lounge and is very responsive to the architecture of the place.

11) Flooring of the lounge is one type of stone which has been treated differently to form a carpet of stone .

12) Changing rooms are provided next to the deck, maintaining the balance of varying colours like grey, dark or brown in the flooring.

Fact File Site Area under landscape : 1730sqm Architect Firm : Beyond Green Period of completion : October 2011- September 2013

Pool flooring pattern

Lotus Pond

The complete project turned out to be a successful attempt for the design team of M/s Beyond Green who believe that such projects are possible only by symbiotic relations with the Client and team at site who understood, appreciated and respected the design and details to create something which is a memory for both the Clients and M/s Beyond Green.

Lounge flooring pattern

Concrete theme wall

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Back to Basics

Back to Basics

About

L a n d s c a p e

Architecture......

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ither through elaborate paintings or art, pictures or drawings landscape is highlighted in all ages. If we think of a space we have a definite landscape picture associated with it in our mind. Is it because landscape is omnipresent I think YES! We are surrounded by nature and environment since time has known that Man always had a give and take relationship with nature. During his nomadic years man used whatever was directly available by nature i.e. plants, animals, rivers (water), sun (light), air, earth. In this time he was using the landscape as it was. As evolution continued mankind moved from nomadic hunting & cattle herding to agricultural settlements. He started to modulate the landscape around him. He started to harvest crops according to seasons and develop settlements. Looking at ancient India the concept of gardens can be understood by various descriptions made in the religious and mythology scriptures. Each tree is depicted with certain values for eg. Asoka (Saraca asoka) was considered sacred, in the epic Ramayana the 'Ashoka Vatika' (the garden of Ashoka trees) was the place where Hanuman meets Sita to convey Lord Rama's message. Various texts and descriptions describe gardening and horticulture as a part of life whether it is a 'Rishi' nurturing and tending medicinal herbs in his garden or a 'Raja' sitting and enjoying his palace garden. These gardens were incorporated with ponds, lakes and canals which were used to cool the environment as well as for irrigation.

Graphical Representation of Evolution of 'Char-Bagh'.

Gardens were developed to give a character to the context surrounding the buildings. In mid Asia gardens were treated as a heavenly adobe or a replica of paradise. This can be seen in examples of scared gardens around tombs. With the set in of Persians and Mughals in India this concept was used in many places like the Nishat Bagh, Shalimar Garden or Taj Mahal. The characteristics of such gardens was of a walled enclosure with plants, birds, fruit trees and geometrical canals, the result of such geometry lead to evolution of the ' Char-Bagh' (the four fold garden).

Outside these Charbagh's large tracts of land were used in agriculture and vegetation, the royalties began to develop places in or outside kingdoms as hunting parks where the wild and animals could breed. These hunting grounds were used for hunting and training but are seen as the few instances of preserving the nature and forests.

Going towards east in China, gardens were used as a symbolic tool. To communicate the theme of a Chinese garden, gardeners chose plants more for their physical and symbolic attributes than for their sensual qualities. For example, the lotus, whose roots thrive in the muddy bottoms of ponds and whose blossoms reach up to float on the surface of the water, represented spiritual freedom. The “three friends of winter”—the pine, plum, and bamboo—signifyed longevity, endurance, and resilience. Plants representative of the four seasons—the orchid, bamboo, chrysanthemum, and flowering plum—also represented the traits of an ideal gentleman: grace, resiliency, nobility, and endurance.

The defining natural features in Chinese gardens were – mountains and lakes which were represented by use of rocks and water.The Japanese too were initially very much influenced by the Chinese style of garden making but with the onset of Buddhism principles large landscapes were represented in small spaces. Garden elements were abstracted and reduced to their essential characteristics, expressed in the form of kare sansui, or dry landscape gardens.

They were popularly known as Zen Gardens. A very good example is Nanzen-ji, The great merit of the garden is its ability to fuse and harmonize the enclosed space with walls, temple structures, roofs, distant forest and hills. The largest rock in the garden, whether by a happy coincidence or more likely design, replicates the outline of Mount Yokakuryo in the background. The success of this blending, the creation of a highly unified, layered massing of forms and requisitioning of borrowed scenery, has made the view from the verandah a composition recognizable to almost every Japanese. Exploring the side and rear gardens via a number of raised passage ways reveals a series of interesting sub-gardens.

HIERARCHICAL PLAN OF SHALIAMAR, KASHMIR: The lowest level contained the public audience hall. The middle level was known as the emperor's garden and contained a private audience hall. A pathway crossed the main axis to create a quadripartite division of space. The uppermost level was the zenana, or women's garden, and contained the black marble pavilion, thought to be a banqueting hall. The pavilion was surrounded on all four sides by fountains; a lateral canal subdivided the terrace. Source: Illustrated History of Landscape Design; Boulis,Elizabeth & Sullivan, Chip

Nanzen- Ji Zen Garden in Japan Source: Japanese Stone Gardens; Mansfield,Stephen

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Back to Basics

Back to Basics th

By the 20 century landscape architecture had spread all over the world and had also expanded its scale from parks to cityscaping to restorations giving in way for new terms like Landscape Conservation, Landscape Regional Planning, Landscape Insert or Land Art. Works of Brule Marx are a good example of usage of modernist and post modernist design principles being used in South America which were inspired by the 1930's Europe art and graphics. th

So up till the early 19 century modulating the landscape was termed as garden design in which garden meant growing of plants and green-scaping inside an enclosure of walls. These gardens were not meant for public use. During the mid 19th century, in a developing America Fredrick Law Olmsted coined the term “Landscape Architecture” whilst working on the 340 hectare site of New York's Central Park.. It was then when Landscape Architecture grew out of garden design. With the creation of Central Park in New York and Emerald's Necklace in Boston a radical change was observed in perception of Landscape Architecture. Now it was a discipline of engineering, social science and environmental science and not of arts & crafts.

Works of Brule Marx.

Works of Lancelot “Capability” Brown

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Aerial View of Central Park. New York. New York City Department of Parks and Recreation

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Now in 21 century Landscape Architecture has come a long way from a matter of aesthetics to th ecological focus in 20 century to moving towards sustainability & bio-diversity. Landscape Architecture projects like riverfront (Sabarmati Riverfront, Ahmedabad), urban renewal like (Cheonggyecheon River), restoration of mines and landfills (Eden Garden, Cornwell, UK), conservation of historic buildings (Humayun's Tomb, New Delhi), reusing & developing waste spaces etc. With the advent of newer technologies and newer materials are giving a newer dimensions to Landscape Architecture. Whilst Landscape Architecture continues to address the issue of visual matters it has become an applied art with the science of understanding.

Before and after pictures of Eden Garden, Cornwall, UK.

Before, after and even after pictures of Cheonggyecheon River, Seoul, South Korea.

Ar. Divya Sharma, a Landscape Architect based in Udaipur. She is currently working with her husband, Shantanu Sharma under their firm named Shantanu Sharma and Associates.

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Gallery of works, experiences and ideas of students

CONTEXTS &

CONCEPTS

Shutters up

Shutters up

Baneshwar - Jayesh Chauhan

Moti Magari, Udaipur - Rihan Kathiriya

Fateh sagar Lake, Udaipur - Akhilesh Tank

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Shutters up

Shutters up

Balicha, Udaipur - Rajendra Sharma PBC, Ahmedabad - Vishvesh Pathak

Kala Ghoda, Mumbai - Soumya Luthra

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Tour Around

Tour Around

New Delhi Chandigarh

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Kasauli Shimla

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Exhibition 2015

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Exhibition 2015

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Arts & Graphics

Arts & Graphics

Exhibiting rendering types of " SANGATH " Corporate office of Vastu Shilp Karyalaya (Dr. B.V. Doshi).

Pencil Sketch Rotring Line Rendering Rotring Doodle Rendering Rotring Dot Rendering Water Colour Sketch Colour Pencil Sketch Oil Pestles Sketch

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By Yamini Mangal Department of Architecture BGI

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Workshop

Workshop

BAMBOO WORKSHOP

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Thesis Project

Thesis Project

Center

Film

for

International

Festival

Harshit Chobisa Thesis Project Department of Architecture BGI

INTRODUCTION TO THE PROJECTCenter for International Film Festival is a Multi-use space that is intended for use of various types of film festivals, performing arts, including dance, music, theatre and social events. A cluster of performance spaces, under various roofs, each possibly designed for a specific purpose such as symphonic music or chamber music or theatre, but multi-purpose as a whole.

OBJECTIVES I want to preserve the 100 year old history of Indian Film Industry to preserve it for the future generations.

I want to introduce and give a memorable feeling of Indian Cinema by my project to the National and International Audience.

Cinema plays a very important role in India, and it has become a powerful vehicle for culture, education, leisure and propaganda.

I select my proposed site in Goa because Goa is known as "Pearl of the Orient" and a "Tourist Paradise “of India and Goa is a prime choice for Indian Film Industry.

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SITE LOCATION DONAPAULA AND BAMBOLIM

AIM OF THE PROJECT

The aim was to set up an International cinematographic festival at Goa, India.

International Film Festival intends to take the films created by young artists to the young audience. The festival is trying to make a space for the new creative voices from all over the world that is denied by the crude logic of media industry. It believes that the young filmmakers and their works deserve attention for their ability to go beyond local issues and provincial tastes while simultaneously opening up a window onto a diverse culture. This Centre is designed to serve as a glass through which audience may have an opportunity to glimpse important aspects of rapidly emerging creative sensibilities which are all set to conquer the future. The festival aspires to provide an ideal opportunity to enjoy the pleasure of regional distinctiveness through films and rejoice in their universal appeal. With the images and sounds of these films, we learn about other portions of the world and witness the ascendancy of new artists to creative acclaim. It also provides a platform for other cultural and artistic performers of the era.

Site area acquires 66.25 acres, the site resides alongside of the Arabian Sea facilitating a pleasing veiw, since the slope goes till 30m above road level.

The design style strives to integerate into the environment they encompass.

A design get its regularattention through its features, and keeping that in mind, the climate, requirements and necessary protective materials have been my basic focus,explained underneath:

The Goan practise of architecture s u p p o r t s t h e u s e o f l a t e r ite stone,which is inherited in this design for basic civil work and also Stamped concrete Stamping is a system of adding an impression pattern, a two toned colour effect and textured to the surface of newly poured concrete pavement.You can create realistic effect of slate, stone and wood by using stamped concrete.

Steel framing for sloping roof has been introduced with all the sectional parts like purlin, rafters, gusset plates covered with zinc which is Aesthetically pleasing, especially overtime, resistence to corossion, has long life and durable, maintenance free, its also offers versitatility in design for roofing and is flexible and easily fabricated.

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Thesis Project

REQUIREMENTS IFFI Office Tourist Information Centre Movie Theatre Auditorium Open Amphitheatre Exhibition Spaces Restaurants Fashion exhibition stallscum-retail shops Guest Houses Open Plazas

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Thesis Project

Model Photographs

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