BALWANT SHETH SCHOOL OF ARCHITECTURE EDITORIAL TEAM :
• EDITOR URMI NANDU • ARTICLES AND WRITE-UPS VARUN VASHI , RAEKA TAMBAWALA , AMMAR RASSAI , KAREENA PINTO , SHLOKA MASHRU , URMI NANDU , DISHA SHAH • INTERVIEW BY • FORMAT
URMI NANDU KRISHA JAIN
EDITOR’S NOTE Dear Readers, As we stand here, looking towards the beginning of a new academic year, it is our privilege and pleasure to present to you, ARCHiTYPE. ARCHiTYPE seeks to provide you with a new topic to ruminate on each month, in ways which might have been uncanvassed earlier. As an amalgamation of Open Studio reviews, interviews with professionals, competition results and articles by committee members, ARCHiTYPE aspires to be the quintessential school magazine. After much contemplation, for the inaugural issue of our magazine we have explored a fragment of the vast topic of Architecture + Psychology. This issue discusses a range of topics carefully curated just for you. So, dive in! Happy reading!
-Urmi Nandu
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An ARCH-etype for Human Senses Architecture is an expression of art, an art which can be experienced and moved within by people. We are surrounded by architecture in all forms and expressions; whether it be your own home, a public park that stimulates human interaction, areas of convenience catering to your daily needs as well as work spaces and educational spaces. Architecture is the art which shapes human lifestyle, temperament and emotional reaction. Architecture that is able to relay emotions and cater to all human senses is considered to be good architecture, in the sense that it justifies the emotion that a space is stimulating.
Human senses have been majorly classified into five major categories; sight, smell, hear, touch and taste, and an architectural space predominantly caters to humans being able to sense the former three categories, with touch being an optional sense. Elements whether 04
they be pertaining to architectural design: such as doors, windows, staircases and functional spaces; or experiential elements such as light, wind, vision and acoustics; play a major role of how humans sense a space to be. Light affects our sense of site when it creates glare from any opening, or provide comfort depending on its placement, a room having its fenestration facing a wall, can also create a negative impact on the visual perception of a space. Wind on the other hand can either impact a space strongly, or create ventilation which is refreshing and natural, affecting our senses of touch since wind comes in contact with the skin, the list goes on. In short, a good space is the one that enriches our senses in a positive way, and a bad space insinuates negative emotions.
In this article, we will be covering as-
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pects as to how any architectural space affects our senses of sight, sound, smell and for that matter touch. Our sight, or vision per say is the first sense to be affected in a space. Visual connect as an element of experience plays a major role, as it provides the most intuitive approach in observing or assessing architecture, as well as the most instant neural pathway in making assessments about a space. Sight is the sense that most architects tend to focus on, as they consider good architecture to be that which is visually pleasing, which may be true albeit it is superficial. The sense of sight creates the first impression about any piece of architecture and shapes the entire experience and perception of a space. A corridor to narrow leading to a wall can make us feel restricted and trapped, a small room with lack of openings can affect our connect with the outside. Most builders tend to prey on our sense of vision by offering great views from the building to the outside and thereby establishing a USP which benefits them. While sight may be the primary sense of focus in architecture, the remaining senses tend to provide more depth and value of space. Acoustics or the sense of sound is the second most intuitive sense. For those who are visually impaired, the sense of sound is the guiding principle in their movement within a space. Acoustics or lack thereof moulds the experience, house situated near a station or airport is subjected to sounds of train horns or take-off can create a disturbance and unpleasant feeling, whereas a space situated near the sea, has a pleasant feeling due to the sound of the sea waves. The feeling of tranquillity, creates a serene atmosphere. Spaces for meditation creates the sound of silence, which helps to channelize the inner peace in human beings, and therefore sound itself plays a vital role in sensing a space. Since a space itself is like an organism, any unpleasant sound can
create dissonance within a human and pleasant sounds are like music. The sense of touch is what gives emotional materiality to space. The feeling of touch, is what sparks intimacy and closeness to a space, establishes the relation between a space and the people within it. The need to feel the material existence of a space, is created by the visual impact it has on the person, a smooth surface, a clear edge, an undulating level; these nuances are what establishes a relationship between architecture and the entity it is made for. Coming to the final senses of smell and taste, they are interrelated; scientifically per say as both senses are physically close in a human body, and tend to exist together. The smell of a well cooked meal stimulates the taste buds and accelerated the production of the salivary glands. Similarly an olfactory sensation can create a sense of taste. In architecture, the sense of taste does not play a major role, unless the space itself is constructed of edible items, but that only exists in Roald Dahl books. However, the sense of smell does establish an immediate anchor in the nervous system. Smell of wet mud after the rain, reminds some people of their childhood when they played with paper boats in ponds of puddles. The smell of fish near the sea reminds people of cooking at their home. Smell is the sense which is quick to establish memories that may be stored in the subconscious but can be triggered if a similar sense is experienced. Architecture is an extremely human art. It shapes how we live, and go about our day to day lives. To create great spaces, there is need to be extremely attached to our most innate emotions and senses, and it is only when we are connected to our senses in the deepest level, is when we will be able to establish an empathic relationship with the space we build, and with those who we build it for. - VARUN VASHI
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Psychology in restaurant design
icture your favourite restaurant. What does it look like? What is it about that place that prompts you to return? Is it the smell of food wafting from the kitchen? The lighting, the chatter of diners, or the music? Could it be the space itself: the high ceilings, sprawling exterior views and the artwork on the walls. Maybe it’s the ‘feel’ of the place: the cozy seating areas that just make you want to relax and stay a while longer. When you dine, all these factors have been designed with you in mind. Our experience in a restaurant does not center around only the food served- in fact, a design can dictate human behaviour by means of how a person perceives it. What we think of as ‘ambience’, is just an amalgamation of senses. For a restaurant to create an impression, it’s important to engage as many senses as possible. Colour schemes have a psychological effect on customers: warm colours like yellow, orange and red are appetite stimulants, while pale green, blue, and purple act as suppressants. The smell of food creates an emotional attachment to comfort, some restaurants even go as far as to infuse the smell of baked bread into the air. There are also smells that can change a person’s perspective of a room. Apple and cucumber scents, for example, make a room feel bigger and more airy, while
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barbecue smoke makes a room stuffy and feel smaller than it actually is. The style and pace of music can determine factors like how quickly a person chews, and how relaxed they feel. By placing the bar in the center of the space, the chatter of people makes the place seem more lively, and encourages conversation. To ensure privacy, there’s carpeting, drapes, and table linen, all of which absorb some of the sounds, so you don’t have to shout to be heard across the table. Besides branding and targeting consistency, there are important distinctions between fast-food and upscale restaurants: how the design influences diners’ behavior. The ambience and nature of the place plays a very important factor in making design decisions. The seating areas in fine dining restaurants are comfortable and inviting, with dim lights, encouraging you to stay a while longer. The seating areas and lighting in a fast food joint are the opposite, where high turnover is the goal. Lighting is one of the key elements used to set the mood, however, practicality must not be overruled by ambience (those of us who have had to deal with the trauma of our parents using their cell phone flashlights to read a menu in a fancy restaurant can relate). Lighting is also used to highlight the intent of the restaurant. Compare McDonalds and Starbucks: neither are fine dining establishments, however, McDonalds is brightly lit to stimulate customers and facilitate turnover,
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while Starbucks encourages guests to linger over coffee and conversation. Arguably one of the most important factors in restaurant design are the operations. The location of all the elements, from circulation spaces, to seating areas and the bar, all contribute to how a person moves in a space. If there is not a factor of comfort, then the space fails, and that affects the business. When designing, think about how the guests will arrive at the restaurant. What route will the food take from the kitchen to the guests’ table? How is it delivered? How will you divert the traffic between people entering and leaving the restaurant? The spacing between tables should be enough to make it comfortable for people to move around, with more space allotted in a fine dining establishment as compared to a fast-food restaurant. Along with a certain level of privacy, diners need to see and be seen by members of staff as well, to make them feel that their every need can be attended to at the soonest possible time. The ideal place to put server stations is in the center of the dining space, avoiding being too close to tables and away from the restrooms. In regard to restrooms, they must be easily locatable as asking for directions might be uncomfortable for some diners.
people revert to meals they have already had, reducing the probability of them trying something new (or more expensive). In the age of home-delivery services, people go to restaurants to see and to be seen. Hence, it is important for an architect to create a space in which the person can engage with the environment. All these different factors work together to define the space. Every single detail has been meticulously plotted to dictate your experience from the moment you step through the restaurant’s door. And you thought you just wanted dinner. - RAEKA TAMBAWALA
Even the most minute details are thought of. Smaller individual plate sizes are kept to make the serving size look much bigger. Menus do not keep the currency symbol and avoid zeros, as that reminds a person that they are spending money. Even the number of items on the menu is taken into consideration, too many options make
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HOW YOU SEE ME Architecture and Illusion Tracing back all the way to the Greeks, architects have employed the mind-shifting capacities of optical illusions to visually alter the viewer’s perception of their design. The intention of creating architecture that is illusory from what is actual, happens when forms need to be more enhanced, experiences more nuanced and faults more corrected. Techniques of doing so span the spectrum, from bold to subtle. Let’s briefly run through a few real life instances where architects have effectively been able to masquerade reality through this time-tested art of deception. The Parthenon is one of the most celebrated erections of ancient Greece not only because of its historical significance but also because of its rich architectural value. Contributing to the majority of its value is its delicate use of optical corrections that transforms the way one sees the building. It’s hard to believe but fact is that there are virtually no straight lines or right angles in the Parthenon. Callicrates and Ictinus wanted their Parthenon to seem as if it were afloat, so they made the whole thing curve slightly upwards to the middle, These almost imperceptible optical refinements allow us to inadvertently consume the features of the Parthenon more easily. By doing so, viewers appreciate the structure in its entirety 08
and are never subjected to unpleasant views that otherwise could have been caused by the building’s massive scale, perspectives and the basic nature of ancient post-and-lintel construction. Its outer columns are thicker at the top and angled inward at a slant so that from certain points of view the building appears to stand tall and straight. Subtly bold.
Akin to how to the Parthenon was designed to be viewed from certain angles, the Gateway building in Singapore was too. From particular points, this structure stands like a 2 dimensional planar surface. Designed by renowned architect IM Pei, the 37-storey building is designed to emerge flat when in reality it is a 3-D trapezoid shape with exceptionally narrow corners. This allows for it to be seen as flat from not just one, but multiple angles. The horizontality created by the long stretch of windows aids in
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accentuating this illusion.
In more recent times, designers have acquainted themselves with materials such as mirror and glass to conjure optical illusions in their architecture. The approach through which the architect expends these materials elicits diverse ways in which one can perceive a space. The Pinnacle in Nashville, designed by Pickard Chilton and Everton Oglesby Architects stands out in downtown Nashville’s skyline. The building, constructed of stone, metal, and glass, transforms into a colossal optical illusion. In certain conditions, the structure sings a different tune as its sleek, mirrored facade seems to disappear into the sky. The structure procures the intangibility of a hologram whilst in reality, being entirely tangible. The viewer ascertains the lightness of the structure but its presence never dwindles, it always overwhelms.
Another smaller structure is The Izabelin House, A two-story mirror house concept that is fashioned from two horizontally configured blocks. The ground floor of this house is clad with reflective panelling. The mirrored surfaces at the bottom floor perform an enigmatic play between the forest and the structure. It manifests as an extension of the forest floor. The lower level is decked with a sheltered terrace in shades of dark brown wood that resembles the earth encompassing the structure. The second floor ensues to float above its mirrored base almost as if it were levitating. Different views of the structure obscure and reveal different floating fragments.
Our eyes play tricks, orchestrated by the vision of an architect. We recognize the deception but still get deceived every time. That’s the power that engenders every time illusion meets architecture. - AMMAR RASSAI
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More security , less crime “Blink and you will miss a revolution�
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ith every passing moment, an innovative technology is invented, bringing about a revolution in the current era. The boom in technology has ushered in a fundamental change in every progressive society of the world. In order to make cities more socially, environmentally and economically sustainable the relationship between crime, intelligence and security is highly important. However the struggle remains within the society and its members. The fact that society goes through inconsiderable changes following a plethora of functions with consistency and constrained by time enthrals me. Security is both a feeling and a reality. The quality of security is revealed by the degree to which the individual responds to the reactive environment. Psychology
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stresses on how attachment to a particular environment/individual/situation/ group plays a vital rule in understanding how secure and individual feels in a given period. Attachment is a deep and enduring emotional bond that connects one person to another across time and space. It influences experiences, which stimulate growth of neural pathways and will sculpt enduring patterns of response in the future.
Why do we want to feel secure?
In order to live a productive and carefree life that will enable us to benefit mentally and physically from nature and environment, we need to feel safe. Security and crime are interrelated. Crime is a part of every social system and produces an environment centred with fear.
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THE DESIGNER-How do we journey towards a secured and safer society?
It is important to explore architectural patterns of organization of mass and space to understand, detect and counter crime and security vulnerabilities. Insecurity and the crime rate can be reduced by changing the physical environment allowing social logic space. • Housing at reasonable prices • Lighting is an important security tool which increases powers and perception of those watching. Greater visibility creates a sense of security as darkness has an advantage of concealing identity and contributes to fear. • Constructing landscapes and buildings that create and reflect a sense of territoriality which connotes ownership and closure • Natural surveillance emphasized by openness and visibility • Creation of semi-public spaces may generate feelings of commonality • With certain forms of architecture that can be easily monitored that facilitate unplanned social interaction reducing social isolation • Placement of seats and benches in parks, airports can bring people together or divide them, creating what architects call, sociopetal and sociofugal spaces. • Human beings are complex individuals layered with several layers of experiences and memories and hence would spontaneously operate differently. Sociofugal spaces are grid like spaces forcing suppression and indirectly keeping people apart while restricting conversation. For example- lecture halls and libraries.
While sociopetal spaces are radial and more welcoming to a more cohesive environment by forming relationships based on mutual attraction with an individual and a structure bounded by a social function For example –playgrounds, cafes, dining tables However it is a socially inclusive idea to design both the spaces in order to maintain a balance in everyday life.
How architecture can help reform criminal justice systems?
Design is crucial to creating an environment in which prisoners can live and not become institutionalised. Noise may influence mood, motivation, behaviour, the quality of productivity including the ability to successfully engage in educational and rehabilitative programs. Windows with a view provide a source of activity and distraction from monotony. The use of green spaces referred to as ‘biophilic design’ brings nature into daily life to enable positive physiological and psychological outcomes. Architecture itself cannot stop crime, nor can it replace law but can surely prepare an urban space to give people a sense of security that will deflect crime reduce it. - KAREENA PINTO
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COG-WORKS Architectural impact of human cognition
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here is a very high probability that the room you are sitting in right now is affecting you in more ways than you can imagine and you are completely unaware about it. The quality of a space, interior or exterior, can play with one’s mind, making one feel a span of emotions and also influence the way in which a person thinks, acts, feels and understands their surroundings. Thus, it is crucial to learn how we, as architects, can design in order to cater to the psyche of people impact them in a beneficial way. Louis Khan rightly said “Architecture is the thoughtful making of space.” The role of an architect is to design creatively in order to achieve particular outcomes. One of the ways is to regulate the amount of natural light allowance in the space as light has a physiological impact on people. For instance, in a classroom, a good amount of natural light boosts performance and allows the students to feel fresh. However, in a house, natural light at all times might seem a little overbearing to a few. Artificial light is another thing to keep in mind while designing to evoke moods.
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In a house, a white light or warm white is preferred to yellow as it allows mood stability and increases productivity. Yellow light can be used for aesthetic purposes like in a restaurant. Another aspect of design that greatly affects our minds is space. The idea of a “perfect” design is a relative one. However, a design that constitutes of flexible spaces that change as per need is usually suitable to most. While for some, large spaces can employ freedom and positivity, others might feel a sense of isolation or insecurity in such spaces. Parallelly, while a compact space might be very comfortable and cozy for some people, certain others might find the same space suffocating. Hence, it is essential to keep the user in mind while designing. The inclusion of a green landscape within the space reduces stress levels and regenerates energy. The third principle of design is colour. People often associate colour with thoughts and moods, and as designers we can use this to our advantage and set colours in accordance to what we want the user to feel. Warm colours reflect enthusiasm, energy and ecstasy
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whereas cool colours represent calmness and professionalism. Neutral colours serve as a backdrop and provide a certain sense of normalcy to the design. Thus, the colour choice of the design becomes significantly relevant.
Psychologists say that people respond to curved and wavy lines more positively than straight lines, as curves are more beautiful and graceful when compared to the sharp angles that are not as pleasing to the eye. In rooms that are curved, people tend to be more comfortable and relaxed as compared to perpendicular rooms that seem to impose a sense of structure and authority. The reason behind this is that curves are represented as “flexible�. They allow for a better flow of thought and more freedom. Straight lines in contrast, seem rigid and confine the individual to the room. Therefore, if a design is supposed to be understood experientially, curves work better but something like a prison that operates by rules- a perfect rectangular room would be a better decision.
All in all, neuro-architecture is an up and coming necessity in construction which if used to its optimum benefit, can subordinate a designer to convey their design with more impact. The thoughts that go into designing something that is psychologically responsive might seem irrelevant but implementation of it allows to control the minds: the most complex system in the world. Therefore by the usage of different techniques like use of light, colour, space and form; designers can certainly gain an edge to positively influence the people. - SHLOKA MASHRU
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IN CONVERSATION WITH AAHANA MILLER -INTERVIEW CONDUCTED BY URMI NANDU (EDITOR)
po grou which mortar re
2) ABM wide span of airports, instit the basic checkl as well as end-use cific pointers in min
ABM’s projects originate fr unique and caters to a variet as well as the users’ needs. So user friendly”, “is it functional” an For example, we are designing an space should be ‘future ready’. In de user will age in this space; our design
Aahana joined her father, Alfaz Miller’s firm, ABM Architects for a short stint in 2014, after completing her Bachelors of Fine Arts in Interior Architecture. This 3) ABM has also worked on heritage is where she began working on Architectural projects, after which she decided to pursue her that work, in terms of spending, aesth Masters of Architecture at UPenn. She rehow do you think there has been a chan turned in 2018 to join her father’s practice, Heritage and conservation projects are the most ch where she designs a range of commerof the project but often because of tight budgets. Ho cial, residential, retail and institutional lenge that we need to tackle, just like we would for any projects. With her experience in Fine However, it is only until users and patrons see the value i Arts and Graphic Design, Aahana a change in perception. brings some freshness to the style ABM has been known 4) With a change in client, for example, governm for. She not only helps her private individual, what are the distinctions that you o father with the day to day their emphasis on budget, aesthetics, utility, etc.? workings of the office, Each project is unique, and it depends entirely on the client, whether i she has also been a corporate or an individual. With the government, not only are the budg key in bringing new tight, but also the architectural fees. I think for most projects we work on a technologies and utility, whether it’s the government or corporate or individual. software to the firm.
5) Do you, having studied abroad, feel that nationality and gender p role in a person’s architectural choices?
I find that gender does play a role in the design and architectural approach to the proje But I can’t say it’s black and white and that the way women and men design are diametri Moreover, designing keeping in mind the opposite gender’s needs is critical. I would recommend reading Beatriz Colomina’s Sexuality & Space which comprises of essays that address gender in relation to architecture and space. Through my work experience in India and abroad, I have found that contemporary Indian architecture has been struggling to find its aesthetic persona. It is not so much nationality but more of a ‘national design identity’ that we are looking for. 14
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1) Could you tell us a little about Mr. Miller’s journey as an architect?
6) Architecture, to Alfaz Miller, has always represented a satisfying amalgamation of his As the various interests: he loved to sketch; was interested in science and math. He estabformer lished ABM Architects soon after achieving his Bachelor of Architecture from JJ School of Art in 1972. Alfaz Miller’s success story was triggered by the restoration of the interior Chairperson architecture of ANZ Grindlay’s Fort office in Mumbai (1989), overcoming the challenges of PennDeosed by a design intervention in a functional workspace. Miller’s proficient design skills, sign’s Women unded ethics, and sharp business acumen, continue to define his self-sufficient firm in Architecture possesses all capabilities required for transforming ideas on paper, into brick-andgroup, and more ealities.
importantly, as a woman architect, M Architects is one of the few firms that has worked on such a why do you think wof projects, ranging from private buildings to hotels, health, men are underrepretutional, corporate and such other mega-projects. What is sented in the field of arlist that you keep in mind in terms of client psychology chitecture? er psychology? For specific projects, do you keep speSimply put – Yes. There is a prend? Could you give us a few examples?
conception in the industry that women rom loyal clients. But even with the same client, each project is are more suited to be interior designers ty of end users. We try to balance the client’s requirements and so they are hesitant to approach ome of the basic things we keep in mind are “is the project women architects. In the Indian milieu it is nd “is it accessible”? more challenging. Lack of status, power, resapartment in Mumbai where the client’s brief is that the pect and unequal pay are extremely prevalent esigning for the future, we must keep in mind that the in this field and only serves to discourage women. should reflect this. The industry is competitive and it’s is harder for women to prove themselves. But I see that there is a shift in this perception of ‘women architects’; there are e and conservation projects. Based on a lot of known women led firms in India. hetics and other such benchmarks,
nge in the psychology of users?
hallenging not because of the intricacies owever, we recognize this as a chaly other project. in conservation, that there will be
ment, corporate and observe in terms of
it is the government, gets are extremely aesthetics follow
play a
ect. ical.
7) In your experience, have you felt that a person’s personality (for example an introvert v/s an extrovert) has had a bearing on their requirements and on the way they perceives a space, or is that just a general misconception?
To an extent, personality, morality and aesthetic sensibilities play a role in the overall perception of space as well as approach to a project. It would be difficult to separate a designer’s personality from their design. However, I would ask does one have to have a particular personality to be a good designer?
8) Are there any other preconceived notions people have about Architectural psychology? If yes, what are they?
I think this is a new field people do not quite fully understand, but are interested in learning more about.
9) If there was any space you could change, which would it be and how would you change it? (For example, an area where buildings are extremely close to each other could lead to people being deprived of sunlight and ventilation, which in turn may affect their mental and physical health negatively.)
In Mumbai with the rapid development we are eating into our public, open spaces and even encroaching on our sidewalks. The city is unplanned; this has made the city dense and overcrowded with only 1.7m2 of open space per person. The city needs to expand its open spaces, plan for new ones by discerning its current spaces and designing them for public recreation.
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T I T O G E V ’ U O G Y N O R W L AL Sel
Most of us, at some point in our lives, have set certain goals for ourselves. These
goals 1 are most usually to do with a change in our behavior, by exercising (what we humans are so proud to call) OUR WILLPOWER. Most of us have usual2 ly not succeeded in this attempt. Here’s why: More often than not, we tend to synonymize self-disciple and willpower. For instance, if we see a classmate who wakes up at 5AM every single morning…—okay, jokes aside. Coming back to the point, we all know that one person (at least) who works assiduously all week and arrives at 7:50am on deadline day with 11 sheets and 2 models when the rest of us have mutually agreed not to work at all. (Note to faculty: The previous sentence was a work of fiction written purely for the purpose of entertainment and bears NO resemblance to the real life situation.) When we see this person, we conjecture that they’re achieving this through plain self-abuse. We assume that their conscience (or fear of mentor) somehow 1) AKA “New Year’s resolution” for many 2) terribly failed and given up
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forces them to do everything right, come what may. As much as we may sometimes envy (other times despise) this person, most of us are apprehensive to adapt to their lifestyle (or any sort of change), only imagining what torture it must be. The truth, however, is that if you ever truly notice this person, you’ll realize something terrifying—they actually enjoy it. And that, dear friends, is also the key. Let’s look at it this way—matter scatters. And according to Newton’s third law of motion, for every action there is an equal and opposite reaction. We are matter. Our thoughts are matter, too. Hence, the harder we push our body or mind, the more it resists our action. This is exactly what happens every time we know we’re not supposed to laugh and suddenly everything is funnier; or when that one song refuses to leave our head only when we need to focus in class. Although we (usually) know what the right thing to do is, our actions are based on our feelings. They might be influenced by logic, but we always find a way to do what makes us feel good and try to avoid doing things that don’t make us feel good. This is where I want to bring in the Newton’s law analogy again: while doing something we like, we don’t feel the need to push our body or mind to do it, and the easier it becomes to do it, and it’s just the inverse with things that we dislike.
So how do we discipline ourselves to do what is required to be done? For one, we must learn to accept our flaws. Now, as clichéd and “tacky” as
that may sound, self-love is the first most important step to self-discipline. The more one likes oneself, the most it feels good to take care of oneself; mentally and physically. Second: it is very important to not evaluate one’s self-worth in terms of victories or defeats. (Doing this only makes it that much easier for one to give up at the threat of feeling unworthy.) Lastly: Positive reinforcement always helps. The same way a child feels more motivated to work when shown appreciation, our brain, too, 3
works much better when shown a reward.
So, to all those people out there who bash themselves up over a submission gone wrong, who never give themselves a pat on the back no matter the amount of effort they’ve put in, or who think that their GPA is what defines them, here are some POINTS TO PONDER. - URMI NANDU (EDITOR)
3) This is NOT the same as a bribe.
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OPEN STUDIO REFLECTION Believing in landscapes, simplicity and the imperative connection of the outdoors with the interiors of any environment, Alan Abraham, an architect, urban designer and a passionate photographer creates spaces that are open and often, minimalistic. For Alan, photography and architecture are complementary and he has managed to draw inspiration from his father, who he also practices with. He believes in simplicity and landscape and a lot of interaction between the outdoors and the indoors, so all his projects are mostly very open. He likes to introduce plants both inside as well as outside and keep things to a minimum because he believes that that’s what helps in making the person’s character stand out and this helps creating architecture that is able to respond to the site. Even though the demands of a client have to be kept in mind, it is inevitable that Alan’s creative mind colours each project. According to him, it is the same as in writing and photography. The architect puts across what has to be done within the brief that is given to him and he likes to deal with each situation individually. He thinks of every space he designs as his own living room and tries mixing high and low, traditional and contemporary, new and old to create transcending spaces that convey a sophisticated living. “We transform spaces – we don’t just deal with space as it is. We don’t merely redecorate a wall. We rethink a wall, so a wall might cease to exist and become a window. Innovations in spaces happen in details. From glass panels to windows to whatever is executed here are innovations in terms of application of certain materials. By materials I don’t mean paint or texture but I mean an entire system”, believes Alan. He also emphasises on the fact that, “everyone has an idea that what is good there will be good here. But they do not realise that styles are very different. So, we have to educate them and tell them what is good for them. We have to understand their
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lifestyle – I am an architect and I do interiors so I am giving my client a lifestyle. I am not just giving him a house or a place. But I am actually changing the way he lives, the way he moves, the way he showers, where he eats his food, where the food is cooked.” A common thread that runs right through the process up to the outcome is meticulous attention to detail, that juxtaposes the practical with the luxurious. It is our duty as architects, says Abraham, to invest time in areas other than designing buildings. “Prepare clients for a better lifestyle where they can enjoy their environment to the fullest. It is up to us to make them brainstorm, imagine, and give them a product that finally matches their values and possibly surpasses their aspirations.” Alan stands for the ideology that creativity is the watchword. - DISHA SHAH
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UPDATES
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BALWANT SHETH SCHOOL OF ARCHITECTURE / ARCHiTYPE /VOL 1
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BALWANT SHETH SCHOOL OF ARCHITECTURE EDITORIAL 2019-20