design detail

Price `120 Design Detail Magazine

Design Detail November 2012 - January 2013 Vol. 1 Issue 1

Price `120

www.monier.in

Now, German Technology for water-tight roofs.

High Strength

Long Lasting

Water Tight

Fungi & Algae Resistant

Call Our Roof Expert:

Cool Inside

Attractive & Superior Finish

+91 9895777355

For more details SMS ‘ROOF’ to 5676776 or email us at contact.india@monier.com

Available in a wide range of colours, textures and finishes.

Showroom and factory: 143/C3, Bommasandra Industrial Area, Bangalore. Tel: 080 41268116/7.

Dealers in: Andhra Pradesh, Chhattisgarh, Goa, Gujarat, Karnataka, Kerala, Maharashtra, New Delhi, Pondicherry, Rajasthan, Tamil Nadu & Uttarakhand.

Exclusive showrooms: KOCHI, Near Oberon Mall.

PUNE, Ingawale Patil Estate, Bhugon, Mulshi.

m-and-m.in

Monier is the world leader in roofing systems. It blends the best of German Engineering with aesthetics to give you tiles of enduring beauty. Monier also gives you unmatched strength, coolness, water-tightness and longevity. Go ahead and choose what the world prefers.

contents 12

ARCHITECTURE IS POETRY Architect Manoj Kini writes about one of the masters of contemporary Indian architecture, Rajeev Kathpalia.

28

A SILENT SANCTUARY

32

WHERE NATURE AND DESIGN COEXIST

The Kampii Chapel of Silence offers a place to quieten down and compose oneself.

Architect Jaisim recalls the days when his most favourite project, Light & Life Academy, was entrusted to him.

38 52 62 70

BALANCING TECHNOLOGY AND NATURE Campus: College of Architecture, Thiruvananthapuram, Kerala

WHERE LIGHT & SPACE ABOUND ‘Let there be light’. Yes, there is.

A lot of it; A Residence in Chennai.

IN AN ANTIQUE LAND A photo travelogue of Egypt by photographer Ajeeb Komachi

TRANSCENDING CONVENTION Architect Sanjay Mohe’s redesign of Sri Sai Spiritual Centre

44

BUILDING THOUGHTS

A conversation with Architect Charles Correa, a pioneer in the field of post-independent Indian architecture.

78

THE SPICY SULEMANI

84

AQUATIC STADIUM IN TROUBLED WATERS

88

PANDORA-THE PANORAMA OF FUTURISTIC ARCHITECTURE

96

THE UNSEEN DREAM OF THE SCOUSERS

107

Nilofer Suleman's art is unadulterated and unpretentious. This Bangalore based artist employs the bold usage of colour and depicts a heterogeneous group of characters.

A round-up of the polarised opinions of critics about the London Aquatics Centre.

Cover photo Courtesy : Architect Rajeev Kathpalia

columns

Architect P.S. Sreekanth tries to analyse the architecture in the movie 'Avatar' and the imaginary world of Pandora.

Joe Eshwar takes a trip down the architectural landmark of Liverpool, St. George's Hall.

GET INSPIRED We bring you ideas to adopt and create a beautiful home.

ARCHITECTURE IN PRINT Architect B.S. Bhooshan

105

BOOK RE VIE W REVIE VIEW

82

MEMORIES OF AN IMAGINED FUTURE An Architectural Graphic Novel by Jimenez Lai

editorial

s

erious writing on architecture and design and critical debates on the built-form are few and far between in India.Architects have neither learnt to share their work nor respect others work or encourage dialogue between themselves to understand and inspire the quality of architecture all around.

We seem to ape the west in many fields and applications like the extraordinary mushrooming of glass towers in all our towns and cities without even a hint of discussion if they are relevant to our climate and context. If you ever are in a plane which has just landed, over a hundred cellphones are whipped out to announce "I have landed" loudly in 26 different dialects and languages with complete indifference to the fellow passengers.

But we have yet to ape the good lessons from the West as seen in almost all architectural and design magazines. Unknown works in smaller towns; dedicated designers who believe in what they do with a passion that is self consuming; and poetry in buildings and objects of design that can change the world we live in.

I am therefore delighted that a group, which has been quietly working with architects and for architects, has decided to go national beyond their regional boundaries in Kerala. I am counting on the combined wisdom and support of the architectural fraternity pan India to come forward with work that has inspired them, so that we can continue to inspire all those who leaf through these pages.

We cannot do this without your support; so we will be counting and leaning on you more than you know. Don't let us down - we can only be as good as you make us be!

Architect KARAN GROVER Chief Editor

Vol. 1 . Issue 1 . November 2012 - January 2013 EDITORIAL Chief Editor

: Ar.Karan Grover

Publisher

: Ar. L. Gopakumar

Group Editor

: Dr.Rema S. Kartha

Consultant Editor

: Prema Manmadhan

Associate Editor

: Nanditha Nair

Sub-editor

: Susan M. Correya

Correspondents:

: Jency Samuel Tina Garg Jasminder Maolankar

DESIGN Head of Design

: Deep Das Gupta

Visualizer

: Athira Jose

Web Contents

: Asha Prakash

BUSINESS HEAD

: Binu Dinesh

MARKETING & ADVERTISING Vice President Head-Events & Brand Promotions Senior Manager Asst. Manager Senior Executive

: Vinod Gopinath : K.V Johnson : Jaison Augustine : Nitha Oommen : A.J Sebastian, R.Rajesh

CIRCULATION Dy. General Manager Executive Co-ordinator

: C.K.K. Nair : Praveendas M., Pramod P.P : Rakesh N.K

FINANCE & ADMINISTRATION Manager : Balakrishnan R Accountant

: Shiney John

Corporate Office: Designer Publications Kerala Pvt Ltd, 39/4722, DPK towers, R. Madhavan Nair Road, (Old Thevara Road), Kochi-16, Kerala Ph: 0484-6456290, 3296534, 3077822, 3077855, 3077533 All rights reserved by Design Detail. Any part of this publication may be reproduced only with the written permission from the Editor.The Editors do their best to verify the information published but do not take responsiblity for the absolute accuracy of the information.All objections, disputes, differences, claims & proceedings are subject to Ernakulam Jurisdiction.

www.designerplusbuilder.com

Welcome to Design detail

T

he launch of any new magazine has excitement about it. I hope the contents of this first edition have something for the academic and industry audience. We genuinely attempt to wrestle with the serious questions being asked of current and future status of architecture. We hope that this will turn into one of the many places to look for clues as to the way out of the dead-end that architecture has backed itself into. We have tried to gather together many strong, intelligent, interesting, and convincing voices in one place. All the projects featured have Innovation, Imagination, Creativity, Identity and Sustainability and we promise to bring you more in the coming issues.

Architect L.Gopakumar Publisher

contributors

GRANT SNIDER Grant Snider is the writer behind the Incidental comic strip “Suburban Planning”. His comics and illustrations appear in newspapers and magazines across the world. He is currently studying orthodontics at the University of ColoradoDenver and hoping that readers of Incidental Comics are easier to entertain than teenagers with braces.

ARCHITECT S. GOPAKUMAR S. Gopakumar, one of the leading architects of Kerala, is the founder of the very famous Kumar Builders. After he graduated from the Trivandrum Engineering College in 1970 with the first rank that year, there has been no looking back for this remarkable architect. His expertise can be seen in his interior design work at the Taj hotels, Sahara, Mini Muthoot, Skyline builders etc.

ARCHITECT MANOJ KINI Manoj Kini is juggling with his many identities - a writer, a teacher and an architect. His interest in urban Design led him to work for various developmental projects. He is a Researcher at CEPT,Ahmedabad

P. S. SREEKANTH P.S. Sreekanth is an architect, blogger and most importantly a movie enthusiast. He is an Architect at Dar AlHandasah, Pune and is one among those romantics in search of the elusive movie that would inspire him to create the perfect dwelling for the future generation.

He records his search in his blog http:// thearchiblog.wordpress.com

Ar. S. GOPAKUMAR

JOHN GUY John Guy is one of UK’s leading photographers.

Based in Liverpool, he specialises in documentary photography although his interests range from movies to architecture. He travels to the places his camera takes him and holds Auchwitz – Echoes of Sorrow Exhibition as his most favourite work.

JOE ESHWAR Joe Eshwar, the Indian writer/filmmaker based in the UK, was among the first Indians to receive the prestigious honour of ‘Men of Letters’, Kent. His films ‘Bogady’ and ‘The Response’ received wide critical acclaim. His tessellated pavements of movie making and writing are converging in the soon to be released multilingual movie ‘Kunthapura’.

ANUMITA ROY Anumita Roy Chowdhury is the Executive Director Research and Advocacy for The Centre for Science and Environment, New Delhi. She heads the air pollution and clean transportation programme, also campaigns for clean air and public health. She always gets in the driver’s seat on any environmental issues.

DR. B.S. BHOOSHAN Dr. B.S. Bhooshan has been practising architecture professionally since the late ‘80s, the bulk of his esoteric designs are in Mysore and Bangalore. He has adopted diverse roles as planner, designer, researcher, professor at universities and colleges and consultant to the United Nations. He laments the death of some of the best Indian architecture magazines like Design.

IN DETAIL

Architecture

is Poetry Text : Ar. Manoj Kini Photography: Rajeev Kathpalia

E

very project I attempt reminds me of the deep wisdom of the past and gives a challenge, “Will you have the conviction of your ancestors to invent such powerful places? Not by copying them but by re-inventing them appropriate for the technological, economic and social milieu of today!”

Ar.Rajeev Kathpalia Rajeev believes: “Modernity is not a western concept alone, it is based on revolutionised modes of governance with the emergence of democracy, the modern nation state and its institutional apparatus, the predominance of man and reason and the penchant for Meta narratives such as progress.

It is especially peculiar to the third world de-colonising states. Modernity is the only system in human history with the backing of technological capability, the social organisation and a systemic will power to comprehensively re-shape the world in its own image.”

with the modern spirit. He has come up with a remarkable spectrum of projects ranging from independent villas to large urban designs and nature revitalisation schemes. In his projects one can see the subtle yet constant reverence to tradition, care for the environment and respect for the context. The remarkable quality of Kathpalia can be seen in the way he draws creative sustenance from the environment in which he works.

According to him architecture is poetry.

He quotes from Tagore: “Does one write poetry to explain something? Something felt within the heart tries to find outside shape as a poem. So when, after listening to a poem, anyone says he has not understood, I am nonplussed. If someone smells a flower and says he does not understand, the reply to him is: there is nothing to understand, it is

Rajeev Kathpalia is one among those contemporary masters whose signature will be cherished and followed by future generations. As an architect, he seeks to fuse tradition and modernity in his projects. According to him: “The state of being modern has attributes such as socialism, egalitarianism, within which the truths of utility, calculation and science take precedence over emotions, the sacred and the non-rational.

Modernity assumes that the associations in which men live and work are based on choice and not on birth, that work be separated from family, residence and community”.

With more than 25 years of experience, Rajeev is one of those rare architects who have passionately combined the spirit of Indian architecture

DESIGN detail

12

Architect Rajeev Kathpalia

ACCESS

Architect Rajeev Kathpalia is an exponent of admirable and eco-friendly structures. A spokesperson of nature inspired designs; his architecture has been instrumental in the 'preservation of ecological balance' idea and to the traditional Gujarati-Rajasthani architecture. Fusing the modern with tradition, Architect Rajeev Kathpalia paves the way for aspiring architects.

Radhika Villa Courtsey: Vastu silpa Foundation

13

DESIGN detail

only a scent. If he persists, saying: ‘that I know, but what does it all mean?’ Then one has to either change the subject, or make it more abstruse by telling him that the scent is the shape, which the universal joy takes in the flower…That words have meanings is just the difficulty. That is why the poet has to turn and twist them in metre and verse, so that the meaning may be held somewhat in check, and the feeling allowed a chance to express itself. This utterance of feeling is not the statement of a fundamental truth, or a scientific fact, or a useful moral precept.

Like a tear or a smile, a poem is but a picture of what is taking place within. If Science or Philosophy may gain anything from it they are welcome, but that isn’t the reason of its being.” He adds, “After reading this I was tempted to substitute the word architecture instead of poetry because I believe that all the conditions mentioned apply so aptly to architecture.”

Boulevard connecting academic spine and student housing, FLAME

The design of FLAME postulates the 'bazaar of education', a rather unusual approach to a campus which echoes the idea of 'constant change' combined with 'evolution of time'.

DESIGN detail

14

Kathpalia’s philosophy of architecture evolved out of his deep understanding of traditional Gujarati-Rajasthani architecture. According to him, architecture has always been about synthesising the diverse and often contradictory demands of living in the world. His projects can be seen as good examples of critical regionalism, a balanced synthesis between a universal culture and elements derived from a particular physical location.

Kathpalia’s works are in solid volumes, building a volumetric composition between the opaque and transparent sections and is deep rooted in modern architecture, which blends traditional and regional elements. As a teacher, philosopher, architect and urban designer, Kathpalia over the years developed sensitivity towards the environment and social content of the canvas he works on.

A few selected projects documented here show the commitment and calibre of this Indian master.

Northern approach to the academic spine, FLAME

FLAME: FOUNDATION FOR LIBERAL ARTS AND MANAGEMENT EDUCATION "Nestled on the slopes of the Sahyadris, the FLAME arises as a testament to man's ever increasing need to be in touch with nature, and its myriad inspiring and thought provoking creations. This educational institute believes that the process of learning extends far beyond the classroom, into encounters of nature; people and life…"

The conceptualisation of this University aimed to give living expression to the wisdom of embodying nature within man’s creation; conceived as a place of ‘liberal education’, the design approach in itself

15

DESIGN detail

Northern approach to the academic spine, FLAME

gives impetus to lateral learning. A place aimed at establishing a relationship between the students and life all around them, it goes a long way in imbibing a way of lateral thinking in addition to imparting knowledge within the classroom. FLAME is the epicentre of the university town, envisaged to have bustling streets, bazaars, sports arenas, cultural centres and social amenities that go into nurturing a settlement.

The town is set on a scenic site of 1,200 acres near Pune, in the state of Maharashtra, India. The site topography resembles a saucer, a valley surrounded by undulating hills that rise up to 200 m high, with the Sahyadri mountain ranges providing the perfect backdrop. The waterfalls, brooks, tropical species of trees and the entire natural forces form the picturesque site.

DESIGN detail

16

FLAME Plan showing spine, 16 Reception 17 Dept of performing arts 18 Dept of visual arts 19 Recording studio 20 class room 21 Faculty - 4 22 Meeting Room 23 Faculty - 3 24 Chemistry Lab 25 Faculty - 2 26 Class Room 27 Physics Lab 29 Tagore Lecture Theatre 30 Seminar Block

17

DESIGN detail

The design postulates the ‘bazaar of education’, a rather unusual approach to a campus design. This echoes the idea of ‘constant change’ combined with ‘evolution of time’.

This texture could be felt in an Indian village street. Thus an open to sky pedestrian ‘spine’ emerges as the salient design feature that connects the various blocks, enacting as a ‘breathing space’. The sequencing of programme fabricates casual encounters, those accidental running into known and unknown faces, instituting the people from various disciplines to interweave and share knowledge - to share life. The classrooms, laboratories, faculty rooms, performing arts centre, visual arts studio and recording studio play a part in the making of the spine.

DESIGN detail

18

'Kathpalia's philosophy of architecture evolved out of the deep memories of his understanding on traditional Gujarati-Rajasthani architecture'

A SHIFTING LANDSCAPE Hanj Kunj Habitat, Nalsarovar Hanj, the majestic flamingo and Kunj, the opportunist crane, are both inhabitants of Nalsarovar, Asia's largest wetland and Gujarat's principal bird sanctuary. It provides an idyllic spot for those seeking a place of tranquillity away from the city life, allowing them to relax and reconnect with nature.

Hanj Kunj aims to create a habitat where birds and humans can coexist. It seeks to reconnect man and nature by establishing weekend homes within an area of wetlands. The location acts as a container, capturing every drop of rain, independent of any artificial water source. What emerges is an undulating landscap e, a series of mounds and depressions. While the natural system forms the landscape, the subdivision of the land into plots provides another dimension of habitat, a human habitat.

Hanj Kunj Habitat

Hanj Kunj shifts the idea of development to a future where nature is respected and left to prosper while human needs for a place away from the daily chaos are met.

19

DESIGN detail

Birds eye view at night

SMRITIVAN- a memorial for the 2001 earthquake victims of Gujarat at Bhuj, Kutch.

Kutch is a dry, arid, desert land. But for over a millennium it has been inhabited by a culturally diverse, rich, agrarian, nomadic society.

Despite the intense heat and acute scarcity of water, an extremely rich craft-based culture has sustained in this inhospitable terrain. The earthquake memorial or Smritivan is envisaged as a rejuvenation of this landscape. It is a tribute to the extraordinary resilience of the people and their acceptance of the calamity with great equanimity.

The client's brief for the memorial was a plantation of 13,805 trees- each tree representing one victim. The implication being a merely ornate landscape dependent on an external source of energy for sustenance, in essence a convenient but unbefitting tribute to the spirit of the people and their lost ones. Given the setting of the undulating terrain with an extensive water shed, the vision for Smritivan was recast as a self-sustaining habitat optimizing the watersheds through check dam reservoirs which would nourish a mix of trees downstream without any external dependence on energy.

Pathways between the forest

Reservoirs

Southern side exterior view, Arjun Machan weekend retreat

ARJUN MACHAN, A weekend retreat, Ahmedabad The brief of the project was to have a weekend retreat easy to reach, to be visited regularly without the fear of long commuting time and too much forethought and planning. It has to be an extension of the home yet without the encumbrance of daily maintenance. A place suitable to be alone in silence and solitude yet endowed with the capacity to accommodate the gregariousness of fifty, a retreat to rejuvenate the body, mind and the spirit, to reinforce family bonds and to be with friends.

DESIGN detail

20

'As a teacher, philosopher, architect and urban designer, Kathpalia over the years developed sensitivity towards the environment and social content of the canvas that he works on.

21

DESIGN detail

DESIGN detail

22

Northern side exterior view

A piece of agricultural land of two acres, which is roughly 185 metres by 55 metres, was acquired for the building. It slopes by about 4.5 metres from a knoll on its southwest corner to a dip on its northwest corner. The sight of the distant

23

DESIGN detail

Detailing of Openable glass wall

Northern side , First floor

horizon, the appearance of wild boar and Neel gai, the hovering of birds and the emptiness of the barren land marked with the occasional neem and mango trees; all of this has been inspirational in planning the elevated verandah or 'machan'.

A 'Machan' to watch the sun rise and sunset, to see the moon rise and observe the stars as they traverse the firmament, to be one with the rhythm of the ever-changing seasons, to break the shackles of time. A place where there are no limits, where the horizon stretches to infinity- to be infinite.

DESIGN detail

24

The shadows on the back wall of brick, the large Ferro cement roof overhang casting shadows, or the curving corbelled brick wall abetting this shadow, even the coursing of brick projecting in tiers on this wall with its shifting shadows, all reinforce the simple idea underpinning this structure. The northern side brings in light with an open able glass wall that offers a view and the southern side is with brick to protect from the heat. The eastern and the western walls have shorter spans to reduce solar exposure.

Birds eye view, Radhika villa

'Rajeev Kathpalia is one among those contemporary Masters who has made a signature that will be cherished and followed by the future generations'

Concrete outer ceiling, Radhika villa

RADHIKA VILLA Rajeev Kathpalia describes the house he built for his family in Ahmedabad as a pavilion opening into the gardens and the sky, even though it appears from the outside to be carved from a massive block with a dramatic cantilever. Through this house, Kathpalia seeks to fuse tradition and modernity. Cavity walls and a wellinsulated roof are responses to the chilly winters and ferociously hot summers of Gujarat. The sunken roof terrace is a traditional feature, providing a cool retreat during the summer evenings and a place for the family to gettogether. There is a basement cistern for storing rain water. The shuttered concrete outer walls and ceilings, jutting rain spouts and sculptured roof lanterns evoke memories of a Corbusien Villa. Kathpalia emphasises livability over form-making. The house was designed for himself, his wife and two kids.

25

DESIGN detail

The sunken roof terrace

In Rajeev's own words "At one level there are coherent rational streams of thought that look towards understanding and attempting to solve programmatic needs and social agendas based on the needs and aspirations of my clients. Often these are stretched to accommodate my agendas of nation building and social change informed by professional ethics. I am personally inclined to more freely moving spaces and forms, which to me adds a dimension of memory and time.

Perhaps, this connects to the cortex of the brain dealing with our primordial origins. Caves and rocks and the freedom they create of space are quite different than that of precise man made geometry. I have always wondered why in nature there exists an asymmetry, an aliveness which the man-made reduces to symmetry and still life. I have also wondered why I search for that in my architecture and not the other, the other of perfection and visual order. Incompleteness, not fully resolved, seems to suggest further engagement than the simple straightforward and predictable box. I wonder!"

DESIGN detail

26

AESTHETIC GROUNDS

A Silent Sanctuary

DESIGN detail

28

The Kampii Chapel offers a place to quieten down and compose onself in one of Finland’s most lively urban spaces

Text

: Anoop Sankar

Photography

: Marko Huttunen Tuomas Uusheimo

A The spherical monument has an inviting exterior wooing the casual passer-by

midst the din of modern urban life sits a sanctuary of peace insulating the visitor from the bells and whistles of the city around them.

The Kampii Chapel of Silence is located in the busy square of Narinkattori right in the center of Helsinki. Imagined by a group of local parishioners, this mysterious structure, constructed almost entirely out of wood, offers a turn off switch to the city dwellers of Helsinki. The Chapel was designed by a local architecture firm K2S associates and stays true to the Finnish tradition of originality and function in its design acumen. Sponsored in part by the Helsinki city administration, it is also part of its designation as World Design Capital, 2012.

29

DESIGN detail

The facades are made of sawn-to-order horizontal finger jointed spruce wood planks, which are treated with a pigmented transparent nanotech wax.

The spherical monument has an inviting exterior wooing the casual passer-by to experience what it has to offer. The shape and the materials used in its construction are a deliberate attempt to be strikingly different from what you see around in a typical urban atmosphere. The chapel is not intended to be a purely religious place; instead it is imagined to be a place to get away in silence and this fact is quite evident in its design and structure.

Inside, the chapel is provision ed with 70 pews for its visitors to contemplate in silence. This is an imposing yet comforting space which stretches 11.5 metres upwards. The natural interior lighting is obtained from the roof which is offset slightly against the walls, providing a natural soothing gradient to the luminescence.

The craftsmanship is incredible; the quality and layout of the interiors adds to the sense of quiet

DESIGN detail

30

comfort. Structural elements are glue laminated. The interior walls use alder planks treated with linseed oil. The timber design has already won numerous applauds and plays a huge role in accentuating the tranquil feel of the structure.

The chapel was open to the public in early June this year. It remains open to visitors every day from 7 am to 8 pm.

The chapel’s inner walls are made of thick oiled alder planks.

RELEASE REWIND

Where nature

and design

coexist Text : Tina Garg and Jasminder Maolankar Photography: Kanika Bansal, Keerthana Devdas, Cheryl Rohit John

W

hen Iqbal K Mohamed approached Jaisim to build Light & Life Academy, he was unfamiliar with Jaisim's philosophy. For Architect Jaisim, this journey would not have been possible without the all-important step in the design process -understanding the reasons behind the client's life choices, their life story. "When clients come with pictures of other villas to replicate, we dissuade them and offer to capture the essence of their personalities, their life values instead."

RESPECTING NATURAL FORCES About the structure, he says: "Nature and the British pointed the way forward.

Insects with an extremely light exoskeleton, such as ants and grasshoppers, navigate most terrains easily. This inspired me to use steel. And the simple structure of the local labourers colony established by the British demonstrated how my building would stand."

Architect Jaisim

DESIGN detail

32

His plan was initially rejected by the contractor who felt that the structure couldn't stand on the hilly terrain. Jaisim thought otherwise. "Structure includes not just the physical structure but also

33

DESIGN detail

the structure of design, space, and time. If this structure respects the physical structure, then the result is a phenomenal example of design."LLA stands today as an example of this ingenuity.

FROM HEIGHT TO HEIGHTS The structure is deliberately kept light and agile with the use of steel and hollow blocks from Kerala. The roof, in two layers, is kept well insulated and waterproof with corrugated aluminum sheets and Mangalore tiles.

DESIGN detail

34

Natural light and breeze are closely integrated into the structural design. The open, simple structure allows the naturally cool air to fan through the academy and move through space without being obstructed. The roof is designed with ample skylights to filter in the natural light.

IN STEP WITH INDIAN SENSIBILITIES All created space must inherently have a sense of fun, joy, and happiness in it. In Jaisim's opinion it's not enough to pay attention only to building exteriors, the interiors are equally important, maybe even more so. Jaisim says, "We

FACT FILE PROJECT: LIGHT & LIFE ACADEMY LOCATION: GANDHIPET, LOVEDALE, OOTY YEAR OF COMPLETION: 2000 AREA: 34000 SQ. FT. TEAM: JAISIM, SAGAI RAJ CRUZ CONTRACTORS: SRINIVASAN

35

DESIGN detail

BREAKING THE NORM

LLA is an example where Architect Jaisim truly defies norm in every way.

Here’s a quick glance at how a bohemian approach gave birth to a place, which has become synonymous with wonder, joy, and creation!

Amidst a terrain with heavy buildings, stone, and concrete structures, LLA was largely built with steel, terracotta blocks, and aluminum sheets.

LLA needs no artificial cooling or heating despite the temperature rising high or falling down to two degrees. The Mangalore tiles on the roof keep it insulated at all times and the ambient temperature is always comfortable – a huge relief on costs!

LLA stands in simple elegance – no plastering on its walls, roughly finished steps; yet it is one of the most appreciated and captivating places to lose yourself in.

LLA allows the space within to move freely. At the topmost level, one can view all the other levels with ease as no enclosures block the view.

Indians are vibrant people; we need colour in our environment. My buildings are dynamic and evolving, with new facets being revealed every day.

This adds a sense of sustainability and surprise that keeps the interest in the building alive."

FINDING INSPIRATION IN THE MATERIAL According to Jaisim, it's the human mind that intervenes to turn sand into glass and iron ore into steel. Man is the catalyst who integrates time and space to make architecture possible.

For Jaisim, the choice of materials should follow the dictates of design and

that is what keeps designs timeless and age proof. The material in itself is not as important . At LLA, this is well elucidated in his use of terracotta blocks:the same blocks adorn the jalli patterns in the photography studio and work wonderfully as columns in the precincts.

However much they resemble each other,no two buildings designed by Jaisim are the same. "Each design is dynamic and includes some elements from the previous along with new ones in the present. My designs evolve as they progress and even I can't predict the end result until I finish it!" he adds in a lighter vein.

STRIKING THE BALANCE With examples of the classics that he has created, Jaisim wishes that the architects of today take this talent forward. Offering succinct advice for budding architects, he says, "Have a strong belief in yourself: if you don't respect yourself, who will? And develop the perseverance to think, to apply yourself. Most people are happy to cruise along on other people's efforts. If you really want to create something, get into the soul of it. My architecture has to be a culmination of philosophy of objectivism, reinforcement of fundamentals, and a strong belief in myself."

This approach is justified indeed, for it is a moment of pure joy when such imagination inspires creations like Light and Life Academy, which can uplift man over many life times; when nature and man coexist to make space for inspiration, to give birth to poetry in building, and to celebrate life timelessly.

DESIGN detail

36

IN PUBLIC

Balancing

technology

& nature Photography : Ratheesh Kariyam

Project College of Architecture, Thiruvananthapuram, Kerala Architects Iyer&Mahesh, Thiruvananthapuram

DESIGN detail

38

The exterior of the building captures the beauty of the main campus with its red brick.

39

DESIGN detail

L

ocated in the outskirts of Thiruvananthapuram, the capital of Kerala, the College of Architecture nurtures the eager young minds of tomorrow. The college with its weathered brick facade leaves a visitor with an enduring image. The classrooms, faculty rooms etc are in the main block.

The college canteen is on the south of the main section. The college hostels, under construction, are also on the south of the main section.

DESIGN detail

40

The College of Architecture Thiruvananthapuram (CAT) campus is a treat for the eye. Located amidst the beautiful green rubber plantations in Thiruvananthapuram, this institute boasts of its innovative design structure built without disturbing the ecological balance of the area. The architects of CAT have walked the extra mile in preserving nature in an age where the felling of trees seems to be the best option. CAT provides the ideal environment for inculcating the ideas of eco friendly architecture in its students.

GOLD RATING This IGBC Gold rated green building encompasses the basic sustainable technology and remains minimalistic in nature.

The two storied structure is also accessible on wheel chair and has two wheel chair friendly toilets.

The interior of the building is designed to accommodate the vast array of educational, administrative and conference needs.

CELEBRATION OF YOUTH Five courtyards are set wherein students can interact with each other. The open air provides for topographical continuities between the building and the garden. Day lighting is achieved through vertical louver blinds for the faรงade area.

The white walls accentuate the light.

Unlike the normal 16% allowance of

41

DESIGN detail

windows, this structure has 25% of windows which lets all the light and breeze in, thereby beating the heat. The reverberation level in the lecture halls and studios is almost nil which is achieved through acoustical panelling.

The entire structure was designed after a time motion study. The faculty takes less than three minutes to reach the lecture halls. The entire structure is frugal in nature and abides by the AICTE norms. The ISO compliant canteen is made of stainless steel.

EARTH MANAGEMENT The architect has ensured that no single load of mud would be brought in or taken out. The campus is a rubber plantation converted without vandalising the trees. The maximum damage done was the inevitable cutting down of three rubber trees that blocked the entrance, the rest being built adimst the rubber plantation.

THE CHALLENGES

Architect N. Mahesh

DESIGN detail

42

The challenge that the architect faced was that the students should not be prejudiced by the design of their alma mater. No design features, like overhangs, wall finishes etc. were avoided deliberately. Minimalism was adopted, considering longevity.

MASTERS

We are bringing you a series of conversations with the pioneers in the field of post-independent Indian architecture. The first is with Architect Charles Correa, whose innovative and inspirational design ideas have given shape to India’s major developmental projects.

Photo credit : Cristbal Manuel / E L PAIS

Building

Thoughts DESIGN detail

44

C

harles Correa is arguably India's greatest architect. Born in Secunderabad in 1930, Correa studied at the University of Michigan and the MIT before returning to Bombay. Correa made his way into every architecture connoisseur's radar with the creation of the Gandhi Smarak Sangrahalaya.

His work from the 1950's to the present day includes the Kanchanjunga Apartment tower, the Jawahar Kala Kendra, the planning of Navi Mumbai, MIT's Brain and Cognitive Sciences Centre in Boston, and most recently the Champalimaud Centre for the Unknown in Lisbon.

Team Design Detail met with this revolutionary architect, the 2006 recipient of the prestigious Padma Vibhushan, at the Brunton Boatyard, Kochi. Enjoying the scenic splendour of Kerala, Correa had high regard for Kerala and its architectural heritage.

Describing Brunton as a far superior reference to tradition than the usual 5-Star Hotel kitsch, he explained to us the craftsmanship that went into the detailed aesthetics of the building.

He looks back on an extraordinary career and shares his thoughts on the present state of Indian Architecture in his talk with Ar. S. Gopakumar.

Charles, you did your degree in the US. Usually, after education Indians decide to stay back. What inspired you into returning?

You mean, why didn't I just turn around and go right back to the US? Because I like India. Of course, in the 1950's, there wasn't all this corruption, politics and lying. A young architect could expect to receive significant commissions on the basis of merit not on influence, or kick-backs. And we all knew then that this could be a great country once again, if we worked in the right direction. India of the 1950's was really an exciting place for an architect to start building.

Why exciting?

Because the issues were real. For instance, take climate. You know, a response to climate is one of the greatest generators of architectural form - all the great buildings of the past, from Padmanabhapuram to the Red Fort in Agra, have been generated by a response to the climate in which they have been constructed. And in that 'Socialist' India, there was no question of using air-conditioning - you couldn't possibly afford it. So the building itself, by its very

Architect Charles Correa is one of the pioneers in the field of post-independent Indian architecture. His innovative and inspirational design ideas have taken shape in India’s major developmental projects.

45

DESIGN detail

“I had never learnt architecture as a style, but as principles, as attitudes�

tion. Of course addressing real issues is a challenge - but it also gives you the chance to develop your imagination, it gives you the chance to grow.

shape and form, had to deal with the climate. How different that is from today, when a mechanical engineer can make any building, however dumb, habitable just by installing enough airconditioning. So the architect feels free to design moronic glass towers anywhere and everywhere. The only concession he might have to make is to use LowE glass - and he's halfway through to getting his LEED certifica-

After you started practice, which was your breakthrough design that brought public attention?

Photo credit : Pranlal Patel

Gandhi Smarak Sangrahalaya

DESIGN detail

46

I really don't know. Perhaps it w as t he G an d h i Smar a k Sangraha laya at the Sabarmati Ashram in Ahmedabad. You know, Gujarat was very important to the new architecture of the 1950's and 60's - especially Ahmedabad. That city has a special breed of Venture Capitalists who are willing to take risks. And all art involves taking risks. In contrast, Big Capitalism in Bombay is bourgeois - i.e. rich people who want to stay safely within their conventional world.

Luckily that is beginning to change.

For instance, when Ratan Tata wanted to produce his new car, he didn't go to BMW or Mercedes or Honda - he had enough faith that this could be done right here in India, using our own people, that's a huge sea-change. Ratan had the guts to say: we'll make our own car.

And I think that happened because he was trained as an architect and so he had this self-reliance, this confidence that we can find solutions, that we can think for ourselves, using local resources, knowhow and materials.

Photo credit : Rosa Reis

This is why when I came back to India,I could adjust so easily. I had never learnt architecture as a style, but as principles, as attitudes - of climate and culture, of materials and technologies, and so forth. What I never wanted to do is just copy the buildings I'd seen in America.

Which I suppose is how you designed Kanchanjunga – another break-through project.

Yes, Kanchanjunga is a high-rise apartment house, built right in the heart of Bombay, based on the principles (NOT the form) of the bungalow where the main living areas are protected by a ring of verandahs, bathrooms, etc. along the periphery.

This creates two lines of defense against the monsoons and hot sun and in Kanchanjunga, there is that extra bonus of a generous Champalimaud center Photo credit : Jose Campos

47

DESIGN detail

Photo credit : Peter Vanderwarker

“Cities with excellent public transport are such delightful places to live in.”

MIT’s Brain & Coginitive Science Centre, Boston

two-storey terrace garden for each family. If we had started out with a pre-conceived notion of air-conditioning the whole building, none of this would have happened.

How do you think any of this could be applicable to Kerala which has such variant diversity ?

Exactly! Kerala has such a strong culture. It could be the basis of great new architecture - which is generated from this very soil. You know, the strength of Frank Lloyd Wright was that he never looked at history as a source to copy buildings from the past. He went much deeper than that.

He understood the deep structure of the society in which he lived. He felt the aspirations of the American people - he understood what they wanted to become. Such an attitude is a much

DESIGN detail

48

MIT’s Brain & Coginitive Science Centre, Boston

Kanchanjunga apartment tower

Photo credit : Ram Rahman

better way to evolve your architecture than just looting images from the past or trying to duplicate the ones they are building in New York, London and Shanghai.

Which brings us to cities.You once said that it would make a great difference if there was a new road connecting Thiruvan thapuram to Kasargode - and recently there was a proposal for it.

But as some people opposed, it is now at a standstill.

Well, I always think of Kerala as essentially one very long Main Street, with all the towns and cities along the way. If the existing Main Street road is over-used, then we should perhaps British Council Library,New Delhi

“Working in India is so rewarding. It gives you the chance to grow. In the 1950’s we knew that this could be a great country once again, if we worked in the right direction.”

Photo credit : Rohinton Irani

consider building a new one, possibly further inland, which would open up new areas. I don't know Kerala's geography well enough to know just where this might be located, but it might be worth considering. The new road would open up a lot of area and then the connecting cross-roads, between the old highway and the new one would create junctions at which new economic growth could occur.

There's also the latest proposal of the high speed train That's wonderful! It is so much smarter than widening roads - which merely increases the number of cars, which in turn leads to more demands for even wider roads, and then flyovers, clover-leafs, and so forth. That's a suicidal path that has destroyed the vast majority of American cities. In

49

DESIGN detail

"Kerala has such a strong culture. It could be the basis of a great new architecture."

Architect Charles Correa in conversation with Architect S. Gopakumar

DESIGN detail

50

contrast, European cities have excellent public transport - this is why they are still such delightful places to live in.

Central Government installs a metro system - at an astronomical price. That's not really an option available to any other Indian city today.

The main thing is to preserve Kerala's polycentric urban structure. There is no single monster city dominating the whole state (like in Bengal, or Maharashtra, or Tamil Nadu), but a whole range of urban centres, of varying sizes. In any one of them, getting to work is a crucial problem.

You need to live next to your job- or next to some public transport that takes you to your job. The advantage of creating public transport as early as possible is that people can decide where they want to live. Mumbai, with all its problems, has one decisive advantage over all our other cities: because of the two railway arteries running northsouth up the length of the city, people are mobile.

And because in the case of Mumbai, the railway tracks and stations were laid much before the vast majority of the population arrived, they created corridors of demand - which in turn makes the public transport much more efficient and economical to run. That's smarter than what has happened in Delhi- where the city has been allowed to spread in all directions, at the dictates of the market forces and the developers. And now the

Is architectural education in India heading in the right direction?

I understand there are around 200 architectural schools in the country. So the problem isn't one of attracting students - it is one of getting teachers. We have to have start programmes for training teachers- otherwise all these schools will be in a colossal mess. Learning architecture is a process of opening up your mind. A good school teaches you how to teach yourself. It gives you not only the opportunity to learn, but more than that; it gives you the desire to learn. That's why working in India is so rewarding. It gives you the chance to grow. Because when you look at questions much bigger than yourself, you may not find all the answers - but in the very process of reaching out to find them, you have grown. Writing about Napoleon, Stendhal said: "There are no great men, there are only great events". But I think it is not just great events -it's also great issues. It was the issues they addressed that transformed someone like Mahatma Gandhi, or Mother Teresa, into the person they became.

CITY COMFORTS

DESIGN detail

52

Where Light & Space Abound Architect M.Murali created a spacious and bright house with a very elegant and stylish interior design in Chennai .

With a white Frangipani tree in the living room and plants set in miniature balconies, the house is inviting Nature inside. Here is a walkthrough.

Text : Jency Samuel Photography : R Samuel

L

et there be light'. Yes there is, a lot of it, in Mr. N S Krishnamma Raja's residence in Chennai.

Barring the greenery that peeks from behind a granite-clad compound wall, the rather unpretentious exterior, holds no clue as to what lies beyond. By the ingenious use of very high ceilings, glass and varied levels, a spacious house has been designed in a 60' x 40' plot.

A flight of steps ends in a small open verandah,and the main door leading to a threein-one open space that has a foyer, a living room and a dining area. The first thing that strikes one is the expansiveness of the living-cum-dining area. The foyer is small with a single-storey high ceiling and has low, shuttered racks that also serve as informal seaters. A mirror above the racks, framed by slivers of small tree stems, enhances the feeling of space and partitions the staircase and the verandah.

53

DESIGN detail

The living and dining areas have been designed around the Frangipani tree

Steel sections in the patio and wooden studs in the glass panels throw patterns of sunlight streaming in

DESIGN detail

54

The living and dining areas flow from one to the other but are clearly demarcated using other elements.

The dining area's ceiling is nearly three-storey high and the flooring is of leather-finish grey granite, the living area is two-storey high with wooden parquet flooring. However, the highlight of the house is the Plumeria Alba or the white Frangipani tree in the living area. The living area has been designed so as not to disturb the tree that was already in the plot. The ceiling has an open-

ing that accommodates the branches of the tree. Besides, the tree is visible from all the rooms of the house.

The design allows for the seamless merging of the indoors with the outdoors, without compromising on privacy. Mr. Krishnamma Raja, an entrepreneur from the well-known NRK family of Rajapalayam says that that precisely was his brief to the architect. From within, he wanted to be able to see as much of nature as was possible - the sky, the greenery

and the rain. And that is what has been achieved through the design. The glass panes on the external walls of the living and dining areas are at the first and second storey levels, letting in light and also lending privacy. The glass French windows in the dining area open into a small enclosed patio. But the non-natural turf in the patio is at variance with the rest of the elements of the house. Windows in the foyer and the staircase landing provide the much needed cross ventilation. A three-panel wall hanging with silk

embroidery above the cutlery cupboard adds relief to the sheerness of the wall. The dĂŠcor in general carries a minimalistic elegance.

Living-cum-dining area – minimalistic elegance with a mix of trendy and traditional furniture

Vertical wooden studs in a niche in the living room wall opposite the tree and along the glass panes above the tree accentuate the verticality. Besides, the wooden studs add to the liveliness, affecting the parallel and slanted play of the sun's rays in the

55

DESIGN detail

The family room

living room. The opening above the tree throws shifting patterns on the floor. The low glass panel at floor level on the southern wall brings the garden with its variegated crotons and white ixoras in.

Beyond the dining room is the guest bed room, pooja and the kitchen. A glass Perforated metal sheets in the balcony offer a view of the trees

FACT FILE ARCHITECT: M. MURALI M/S MURALI ARCHITECTS CHENNAI CLIENT: N S KRISHNAMMA RAJA PLOT SIZE : 2400 SQ. FT. BUILT-UP AREA : 4500 SQ. FT. LOCATION: ADYAR, CHENNAI

DESIGN detail

56

panel on the dining room floor lets natural light below, into the theatre-cum-library in the making.The kitchen follows an open design, covered by FRP roof. This makes the kitchen bright and sunny, ideal for rainy and wintry months. Another enclosed kitchenette is sandwiched between the open kitchen and the

The children’s bedroom with a well-lit attic

staircase.The open kitchen has an adjoining large utility area.

The family room in the first floor has a work table in addition to the regular features and a sunken portion that houses an easel for the kids' creative pursuits. A glass door separates the family room and the small balcony.

The balcony is enclosed by a perforated MS sheet, through which one can not only watch the rain (as the residents desired) but also catch a spray too, if you are game for it. A nook that opens out to the living room below houses the electronic keyboard.

The bedrooms are at two different levels, separated by a single flight of stairs. The first level has the bedroom which 10-year old Prahladh and 4year-old Shradha share. Narrow glass panels on the southern wall extend up to the ceiling, adding light and offer-

ing a view of the tree in the living room. The highlight of the room is the 5' wide attic that has been created below the ceiling. With windows opening out to the copper pod trees beyond, the attic is ideal for fun with playmates and to plonk on a pouffe with a book.

In the landing wall near the master bedroom, the hand imprints of all the family

The well-lit master bedroom with a sunken cosy corner

57

DESIGN detail

DESIGN detail

58

The open kitchen

members add a personal touch. In the master bedroom a second space or a spacewithin-space has been created. The room with leather finish granite flooring has a sunken portion. With wooden flooring and mattresses thrown in, this sunken portion provides a cosy corner for the family. The other side of the sunken portion is a raised work area, with a view of the tree. The bedroom is so designed that the Frangipani tree can be seen from the room's small extension and the glass panel gives a view of the greenery outside.

Wooden balusters in the place of the chrome ones provided now would have worked better, given that the steps and the handrail are of palm-finished wood. Given the modern features, a snazzy design for the fan suspenders would have fitted well.

The stairwell and other openings covered with FRP panels, supported on steel sections, give the impression of a Madras terrace roof. Given Chennai's humid weather conditions, the house has a tendency to

heat up during the afternoons. Though the residents consider this a minor inconvenience with respect to the spacious, well-lit house, it could have been worked around with appropriate construction material and method. A ventilator at the roof and a few louvers on the walls take care of the air circulation.

The unpretentious exterior

With space for a garage and regulatory offsets, the size of the plot shrinks sizably. Designed and built at four different levels with high ceilings, a spacious house with built-up area double the size of the plot has been made possible. Plants set in the miniature balconies of the house contribute to the green setting of the house. Glass panels enable the house to be naturally lit, as well as to bring in the outdoors. Be it the blue sky of the day or a star-lit sky of the night, it can be viewed through the glass panels from within the rooms of the house. In short, it is a spacious house where light and view of the outdoors abound.

59

DESIGN detail

FREEZE FRAMES

In an antique land A photo travelogue of Egypt by photographer Ajeeb Komachi

DESIGN detail

62

63

DESIGN detail

Speak to the earth View from the Pyramid of Khafre

Master of Puppets Splendour rings

DESIGN detail

64

You raise me up View from the Pyramid of Khafre

65

DESIGN detail

Stairway to heaven View from the Pyramid of Khafre

DESIGN detail

66

This building in Valencia, Indestructible Spain i hassplendour a dominant Luxor palace of curve shape. theold building Pharos in Upper also as a quick transition (southern) between the windowEgypt and the capital of Luxor and the roof Governorate

Beyond walls

Chamber of faith

67

DESIGN detail

From darkness to light The Mosque of Muhammad Ali Pasha or Alabaster Mosque, Cairo Citadel is among the most interesting Mosques in Egypt.

Night of a Thousand lanterns

DESIGN detail

68

REDEFINED

DESIGN detail

70

With a single threshold and practically no walls, the sacred space at the Sri Sai Spiritual Centre has undergone a structural transformation under the guidance of Architect Sanjay Mohe, Mindspace. Today the divine ground gratifies its swarming devotees who once had to wait in the never ending queueoutside the temple for the lord's darshan.

Transcending

Convention Text : Tina Garg, Jasminder Maolankar Photo credit : Mindspace

71

DESIGN detail

A

DESIGN detail

72

widely popular temple, the Sai Centre was in dire need of expansion, renovation, and rebuilding to accommodate its swelling number of devotees.

For example, on Thursdays, Sai Baba’s special day, it was common to find a kilometre-long queue of devotees waiting for darshan and up to 70-80 people trying to view the deity at the same time.Faith – immense; challenge – even bigger, for the temple is situated in a tight site in a dense, narrow street.

MAINTAINING SANCTITY Mindspace sought to redefine traditional form here, bringing its own signature style to the temple, as well as ensuring a timeless means to connect with the divine. Being well aware of the emerging design concepts and precedence given to space and nature, the Centre authorities were open to most suggestions – and hence the project literally materialised into a divine engagement for Mindspace.

PLANNING THE DIVINE Mindspace planned a structure around three principles: to evoke a perception of spaciousness and expanse, to reverse the common notions of light in

a typical Indian temple, and to re-interpret the traditional form of the sikhara(tower).Then there were other elements to be kept in mind as well: keeping the focus on the dhuni- the eternal fire sourced from Shirdi; designing a deepasthambha(lamp tower)that complemented the overall design of the structure, particularly so as Sai Baba is associated with several stories with lamps; and most important of all – crowd managementsuch that on Thursdays,devotees who come to spend time and sing bhajans(devotional songs) and those who come just for a darshan(beholding of a deity), leave satisfied. And if they could increase the time each devotee spent in front of the deity, this would be an added bonus!

This place of worship reflects the time and technology of the time in history it occupied.

73

DESIGN detail

ENCLOSING SPACE The unplanned growth of the Centre over the years had resulted in a network of rooms that had spread their tentacles into the already confined space. Its location in a congested residential area -was yet another major concern.

Mindspace moved away from the traditional norm of gradually unfolding layers of space to doing just the opposite. Working from inside-out, the plan was to expand the volume of space from the central hall outwards till the compound wall. The result: a free flowing expanse of space contained only by the compound wall. This wall became the first and only threshold on the premises and virtually the only wall within the temple.

Circulation within the space & crowd management took precedence over all other aspects giving due respect to certain sacred places and rituals.

DESIGN detail

74

The absence of thresholds is deliberate and spaces differentiated through carefully designed spatial organisation. At the entrance itself the visitor steps into the 'space' of the temple, thereby immediately entering the presence of divinity. This lack of thresholds reverses the norm of waiting for a one-toone darshan and instead allows seven to eight hundred devotees to seek darshan simultaneously - reinforcing the principal idea of promoting a sense of community.

EVOLUTION OF DESIGN

To manage the swell in numbers on special days, an elevated pradaksina (circumambulatory pathway) is created to separate it from the activities on the ground floor. This pathway offers constant visual connection with the deity.

'SENSE'-ABILITY OF DESIGN What emerges very strongly as one moves around the Centre, is that Mohe has planned the contemporary temple around the traditional 'sense theory'.

There is perceivable use of a lot of natural light within the temple, the focus being on going as natural as possible. Simple openings in the temple’s structure meets the light requirements during the day and ensure that the space is blessed with abundant sunshine. The traditional sikhara is also reinterpreted and created in separate concrete layers, which allow natural light to filter in. The skylights in the sikhara are not so prominent from the outside, but instantly catch attention in the interior with

75

DESIGN detail

Shirdi Sai Baba, more than a saint for millions, is revered at the Sri Sai Spiritual Centre, Bangalore.

Founded in 1954 by His Holiness Sri Radhakrishna Swamiji with a dual purpose of establishing a temple and a centre to meet community needs, SSSC was rebuilt in 2007.

the beautiful quality of light that they capture, suggesting a reach to the sky. The entire volume of space under the sikhara is visible from the temple hall and the tip of the sikhara, positioned directly above the deity is constructed in prismatic glass to filter in light. In an effort to bring this imposing structure of 70 ft. down to human scale, each layer of the sikhara cascades gently towards the person at the entrance.

Architect Sanjay Mohe

As the most visually identifiable feature of a Hindu temple, the sikhara plays a pivotal role in the exterior form and in the inner spatial organisation of the temple. At the Sai Centre, the composition of

concrete shells and glass skylights defines the structure and gives it a unique, contemporary identity. Light also floods the voluminous garbhagriha at different angles to generate a sense of bliss and keeps the premises dynamic and evolving. Numerous sketches and visualisations had resulted in a balance in the form of the gopuram and sikhara. Mohe then planned for other elements in this structure. Two Deepasthambas in bronze, copper, steel, and brass is an artist's expression of contemporary sculpture that simulates hundreds of deepams (oil lamps) with electrical lights. These distinctive art forms add to the unique experience of visiting this celebrated temple.

LESS ON THE EYE Locally available black granite cladding with a Leatherette finish was used for the walls and white marble was used to adorn the floors. The use of black stone also emphasised solidarity with the temple's geographic location as most South Indian temples are built in black. Of course, the fact that black not only complements the form but is also timeless and maintenance-free was an added plus.

Preferring a minimalistic look that offers clean spaces and evokes a pristine look, Mindspace also paid special attention towards keeping the premises free of external ornate carvings and embellishments.

DESIGN detail

76

LITTLE BIG DETAILS

N

Nilofer Suleman

DESIGN detail

78

ilofer Suleman's art is unadulterated and unpretentious. This Bangalore based artist employs the bold usage of colour and depicts a heterogeneous group of characters in her art.

Every painting depicts a story. Most of it is a biting narrative of reality represented through art. Suleman is of the opinion that inspiration always lurks around the corner and is waiting to be discovered. Her work presents rustic life legitimately.

Suleman began her career in art fifteen years ago as a cartographer and miniature artist and there has been no looking back ever since. She has experimented with various sorts of western artistic styles like cubism and expressionism and gradually found her niche in art. Her work generally combines fauvist influences with the Indian culture. Suleman opines that she finds her influences in the chai stalls, old Hindi movie posters, hand painted God oleographs, the painted trucks and in the simplicity of interactions on the street and in the movies. In short she finds her inspiration from the Indian typography.

Nilofer began her career in art fifteen years ago as a cartographer and miniature artist and there has been no looking back eversince.

Laxmichand Milavatiram & sons Acrylic on canvas 66” X 48”

79

DESIGN detail

Hindustan Maharajas antiques showroom . Acrylic on canvas 45’’X 60”

Suleman's work is a coalition of styles that weave together a host of Indian influences: animated characters, old and charming lithographs of Gods and Goddesses portrayed on tin boxes, hilarious misspelt words and matchbox art. Chinamma and Jayaram are the eternally stunned protagonists in Suleman's works. Then there are the sly and lecherous Ramlal Pardesi and Tiger Murugesh with oiled Gulbahar Students- Acrylic on canvas 45” X 49 “

hair and colourful scarves around their necks.

The seductress Kaanan Bala, The Rogue Josi Kutti, The Vamp Susy Mallama, Love-struck Lakshmi and the Disapproving Mother-in-law amongst a sea of other characters. An amazing feature of Suleman's art is the eyes of her characters. At a glance, the eyes of all the characters look similar but if observed carefully one can see the smugness in one pair, the confusion in another: an array of strong emotions being conveyed graphically. While going through her art one can deduce her unceasing appreciation for the simplicity of life. She is of the opinion that poor people have a simple life, void of depression and that they have their Gods and Bollywood which gives them enough and more hope, this being a recurring theme in her paintings. This is why her paintings appeal to a larger audience.

Nilofer Suleman's style lays side by side the real world of the streets to a softer world where lotuses sprout from any surface, serpents fall asleep daintily in one's hair, and blue-skinned lovers embrace. Her works were exhibited in the India Art Fair by Art Musings in 2009 and 2011. She had her debut solo show, Sulemani Chai in Mumbai with Art Musings in 2009, followed by her next solo We Two, Our's One with Art Musings in 2010. Her next solo is dd with Art Musings in October 2012.

DESIGN detail

80

BY THE BOOK

Memories of an Imagined Future Abraham Tharakan

i Book Review: Citizens of No Place An Architectural Graphic Novel by Jimenez Lai Princeton Architectural Press, New York, 2012

DESIGN detail

82

n the last 20 years academic writing, especially criticism has adopted a rather convoluted language mainly through nominalisation. While accepting that such an approach at times helps to illustrate complex ideas, whether it helps to communicate the same is any one’s guess.

Reading Jimenez Lai's graphic novel, one is often forced to reconsider the possibility of visual representation as a more apt form of layered, complex communication. While it's not mandatory that the reader knows about BUREAU SPECTACULAR and its purpose, spear headed by Lai, the reader would certainly gain insights into the embryonic genre of arch narrative or arch fiction.

This piece of work can be read as both a manifesto for pushing the boundaries of architectural design and for depicting the tension between the linear and non-linear narrative within the graphic novel. The riot of imaginative paper architectural experimentation is easy to identify; "from rotating plates for zero gravity to performative parametricism", structures based on the extrapolation of current socio-economic trends in the West. Lai begins with the proposition that most discussions on architecture is within the context of its economics, in terms of zoning laws that shapes urbanism and government interventions that is made necessary by " vacant properties in the sky that needed to be sold quickly". The various chapters move along, exploring the various relationships within structures and human interaction from imagination, rituals, subjectivity, extremity, obsession, power, projection, uniqueness, posture and history. The highlight of the book certainly would be the chapter "On Types of Se-

ductive Robustness" which stresses on the impossibility of uniqueness and the human tendency to gravitate towards change ; 'yesterday's extremes to tomorrow's status quo'.

As a comic book, one is reminded of Francisco Ibáñez's 13 Rue del Percebe.

Ibáñez breaks away from the normal comic book cellular format and represents his characters in the cross section of a house. The reader's negotiation of the narrative therefore becomes a personal choice. Lai created a similar visual narrative, yet his inspiration is very clearly from the blueprint. Architectural drawings, on the first look does not seem to have a narrative ; the spaces within the building does signify a chronological relationship with each other, yet the functions performed in each of these spaces create a spatial relationship interpreted only through the chronological chores. Cooking, eating, excreting, working, sleeping all are carried out, yet not necessary in any particular order, this relationship forms the blueprint for Lai to create not just the perfect dwelling but also the robust representation of architectural criticism in a comic book format.

The future according to Lai is not totally dystopian, yet its mechanical nature is claimed only through the manner in which human needs stipulate the function of spaces and vice versa. Questions are thrown open and often answered with an open-endedness that not only creates more questions but also even more choices to dismantle. ( Jimenez Lai is currently an assistant professor at University of Illinois at Chicago and the principal architect of Bureau dd Spectacular.)

83

DESIGN detail

LOUD PAPER

Aquatic Centre in There remains little doubt that Zaha Hadid Architects (ZHA) disappointed a section of the 2012 Olympics water games fans with their view blocking swoopy ceiling design of the London Aquatics Centre. As the question regarding who is to be blamed, ZHA or the LOCOG (London Organising Committee of the Olympic and Paralympic Games) persists, one wonders - did Zaha take Goethe’s famous quote “Architecture is a kind of petrified music” too literally?

T DESIGN detail

84

he recently concluded London 2012 Olympics saw some magnificent architectural feats, one of the major ones being the London Aquatics Centre designed by Zaha Hadid, winner of the much coveted Pritzker Architecture Prize and the Stirling Prize.

The design that received much critical attention was inspired by the fluid geometries of water in motion, creating spaces and a surrounding environment that reflects the riverside landscapes of the Olympic Park.

The Aquatics Centre was the first to be designed but the last to finish construction.

It was accompanied along the way by stories of escalating budgets (nervous builders, and near abandonment of the design).Modelled to provide the optimum spectator capacity of 2,500, it was designed with an inherent flexibility to accommodate 17,500 spectators for the Olympics and since the Aquatics Centre did not possess the desired Olympic-sized capacity, tempo-

n troubled waters

they took off. Here is a roundup of the polarised opinions critics had to the design of London Aquatics Centre.

rary seating had to be added which did not get along with the proposed design idea.

Like some of the other facilities created for the London Games, the Aquatics Centre functioned in two different "modes," one during the Olympics and a scaled down "legacy" version afterwards. The after story was that up to 4,800 tickets for 10m diving events had to be refunded. Reason: Upper sections and temporary stands giving obscured view of high board competitors as

The Aquatics Centre was the first to be designed but the last to finish construction. It was accompanied along the way by stories of escalating budgets

Rowan Moore of the Observer called the Centre a space that can only be described as “stonking”. He says: "From the outside, it's a car crash. Or a UFO crash. Or, to use the watery metaphors that are de rigueur when talking about Zaha Hadid's £269m Aquatic Centre, it is like a vast turtle waving over-sized flippers." Moore continues: "There may also be a mismatch between the processes of something like the Olympics and architecture as conceived by Hadid. Architecture, for her, is something that should make its presence felt, intervene, change things, perhaps get in the way.

Her style seems to be about dynamism and weightless modernity, but her buildings are actually massive. They are slow, not fast.

They reflect an old idea, common to Palladio and Le Corbusier, that architects sculpt, shape and compose. Hence her roof, which dips down in the middle to suggest two different spaces within in the overall enclosure, one for swimming and the other for diving."

Architizer jabbed on Zaha, "Safe to say, this probably isn't the first time that Zaha or parametric architecture took the fun out of things."

85

DESIGN detail

“Style and styling are not the same and what bothers many architects and critics about a design like the Aquatics Centre is the willful arbitrariness of its form � says Architecture critic Peter Buchanan

DESIGN detail

86

Architecture critic Peter Buchanan says: "Neither the presence of the structural elements nor their organisation is apparent, although looking around, it gradually becomes clear that the roof must be supported at only three points to either side of what will be the entrance and on the concrete wall behind the shapely concrete diving platforms. But there is no visual or empathic sense of loads being transferred down to the ground. Instead the huge roof floats (maybe metaphorically apt) above the interior, while the exterior seen from the sides flops down to the ground on either side of the future entrance like an ungainly beached whale, another aquatic reference, but hardly apt. Clearly Hadid devised the shape first and then the engineer had to figure out how to construct it. Not only achieved at considerable structural and economic extravagance, the result appeals to the eye alone, not the mind or empathic engagement; this is more scenography than architecture.

Style and styling are not the same and what bothers many architects and critics about a design like the Aquatics Centre is the willful arbitrariness of its forms, at least of those of the steel and glass superstructure. Elegant and excitingly expressive they may be, but there is nothing to be grasped intellectually or subliminally, no revealed structural or other design logic to read and relate to, no empathic sense of forces in action, whether of a heaving arched action or of loads being brought down to ground."

Update: ZHA states that the design had nothing to do with the ticket refunds, this even after LOCOG confirmed that the angle and curve of the aquatic centre roof did indeed obscure views of the 10m diving events from the flagged seating areas. ZHA counters that "LOCOG approved the sightline studies and seating layouts over two years ago." Zaha herself denies any responsibility and is of the opinion that her design provided for much more than what was proposed. Well, too much of anything is always too bad!! dd

ARCHITECTURE TALKIES

Pandora-

The Panorama of futuristic architecture DESIGN detail

88

The portrayal of architecture in movies has always been a debate.

Are they closer to reality or are they imaginative and help break the norms? Are the reel-architects still in the shadow of Howard Roark or have they come out of that age? Architect P.S. Sreekanth tries to analyse this on the basis of some of the notable movies in the recent past. The first of the series is on Avatar and the imaginary world of Pandora.

Text : Ar. P.S. Sreekanth

I

t was one of those routine Sunday mornings when you wake up late and have relatively nothing interesting to do. I switched on my laptop and ran through my vast collection of Hollywood movies. I decided to watch the Avatar, the very famous movie which revolutionised the concept of 3D format in Hollywood and world cinema. I had already watched the movie umpteen times, in theatre as well as on my laptop. This time however, the movie elicited a rare innovative architectural streak in me and I was left imagining a possible future home for me on the lines of Avatar.

The language of architecture when spoken through a movie, is really a feast for the eyes, more so for the eyes of an architect who is required to be adept at gauging the aesthetic quality of any built environment.

Do you remember those huge beautiful blossoming flowers that buckle within themselves upon touch, defying all logic of mass and

89

DESIGN detail

volume? Now imagine such a visual screen in your home that can be made to appear/disappear with a slight stimulus.

Jake Sully, in the movie learns to bond with the creatures of Pandora through a biological bonding using his hair which kind of acclimatises him with the creatures. If such a bonding mechanism is introduced in architecture then we may achieve a very ’Personalised’ kind of architecture where possession of buildings will attain entirely new meaning. Imagine a house as an industrialised factory product with an Artificial Intelligence feature to it which can learn and adapt to its users. So the longer we own such a house the longer it adapts to our needs and moods and such familiarity and complaisance will make our life so much easier.

My biggest inspiration was of course the scene in which Jake runs over a bed of foliage in a myriad of colours and each step eliciting a fluorescent response, an unearthly glow beneath the feet. Now

The language of architecture when spoken through a movie is really a feast for the eyes more so for the eyes of an architect who is required to be adept at gauging the aesthetic quality of any built environment.

imagine such a flower bed brought into your home and as you walk you create colourful patterns on the floor. Toddlers would love to crawl with their hands and feet creating ripples of colour on the floor. Further, imagine how such a system can help in guiding people in a dark room towards the door or towards the exit in a movie theatre since each step will illuminate the floor ahead without the help of an ambient light source. I later realised that such a floor is actually possible through piezoelectric materials where, a little pressure on the surface can evoke an illumination response. Fortunately my imaginative process declined to die down and I further went onto other trains of thought such as – could sound or body heat also evoke illumination of a surface? Imagine that as you speak, the wall in front of you reacts by displaying ripples of colour on the surface or as you get closer to the wall, your body heat changes the wall colour according to your proximity. Now such a house would actually be able to communicate to you, react to your moods and be a partner in all your fun activities, or a house more than a building and more as a person.

Cameron’s vision of floating mountains, huge tree as the dwelling place for the entire Na’avi clan, hammocks in place of bed for sleeping is a treat in itself for any architectural enthusiast. One look at the movie and we start craving for a world like Pandora, a natural bliss sans the buildings of today. This leads us to the same old duel between man and nature. As socially and environmentally responsible architects, let us strive to create eco-friendly designs with minimum impact on our planet. Our earth may not seem as naturally diverse and interesting as Pandora, but we architects can certainly integrate our design with Mother Nature’s, thus creating an interactive world with infinite possibilities.

DESIGN detail

90

TACTICS TECHNICS

Ecarb -

New Software to Calculate Carbon Footprint Text : Jency Samuel

En3, the Chennai based architecture firm, has come up with a ground breaking answer to all carbon emission queries—eCARB.The soon-to-be launched carbon emission tracking software from the En3 mantle helps firms keep track of their carbon footprint, in turn enabling them to become energy efficient and reduce operating costs.

DESIGN detail

92

T

he carbon emission accounting software eCARB that is to be launched soon is a handy tool for organisations to calculate their carbon footprint. The public increasingly opting for green products has prompted manufacturers and suppliers choose sustainable processes to the maximum extent possible. But the challenge in sustainability is to cut down on carbon emissions in the operational phase. As the first step towards minimising the emissions, eCARB helps in quantifying the same.

SEBI has initiated the idea of bringing carbon emissions under the purview of ESG (Environment,Social and Governance) report.But calculating carbon emissions manually is cumbersome.

Spreadsheets are found wanting, as numerous calculations are involved in arriving at

the carbon footprint. eCARB software – short for Carbon Accounting, Reporting and Benchmarking - simplifies this process, helping firms keep track of their carbon emissions. eCARB has been developed in-house by the sustainability and energy consulting firm En3. En3’s consulting experience and expertise have enabled them to design a simple, user-friendly tool. The founder-director of En3, Deepa Sathiaram, likens the software to a balance sheet in the green realm. Credit and debit are equated to Sources and Sinks in eCARB. All the sources of GHGs (Green House Gases) are quantified. Direct emissions in the form of energy and water consumptions and indirect emissions incurred due to travel are incorporated.

As the very concept of quantifying emissions is new, eCARB is designed so that the user enters data as response to simple queries. The typical inputs required are quantum of electricity, water and diesel consumed. The electricity and water bills are in the government domain or streamlined and hence the data are easily available.As for the indirect emissions accrued through travel, the input of diesel consumption is optional,though it would be high for consulting and marketing

eCARB helps in minimising the carbon emissions and quantifying the same. eCARB has built-in analytical tools as well, enabling the user to enhance energy efficiency; thus cutting down on operating costs.

En3 has created interfaces so that eCARB can be linked to any existing software that tracks movements or Building Management Systems Software.

firms. Many firms keep track of the movement of their personnel either manually through a log book or in an e-format.For data that needs to be fed to eCARB, the mode of transport, the points of origin and destination - to calculate the distance - are the additional inputs required. Refrigerant leaks and LPG usage in pantries are also accounted for. The final computing is done by the software, as per the IPCC (Intergovernmental Panel on Climate Change) guidelines and conforming to ISO 14064.

The eCARB software is adaptable, in that if the required data is available in a spreadsheet, they can be uploaded on eCARB directly. En3 has created interfaces so that eCARB can be linked to existing softwares that track movements or BMS (Building Management Systems) software.

This enables eCARB to pick up relevant data from the existing software.

Developed in eighteen months, eCARB takes the various aspects and complexities into consideration. It is designed in such a way that it is highly adaptable as any type of establishment should be able to use it. It is also scalable. eCARB can be used at a facility level, the Chennai facility of En3 for example. It can be used to compare facilities and benchmark, such as

93

DESIGN detail

between the En3 facilities in Chennai, Bengaluru and Mumbai. The operation can be scaled up, for calculating the emissions of a business conglomerate also. ISO accreditation firms can also use eCARB for validating energy audits.

The software has built-in analytical tools as well, enabling the user to enhance energy efficiency, thus cutting down on operating costs.

Depending on the type of user establishment, the number of facilities to be covered and the existing methods and systems, the software is customised. The tool is simple that anyone can use, after being trained by En3 for a couple of days.

Besides, 24x7 online and call-in support

En3, has created interfaces so that eCARB can be linked to any existing software that tracks movements or building management system software is available. Future updates in emission factors would be passed on to users. The product is cost-effective. Sathiaram quotes a lakh of rupees approximately if the software needs to cover two to five facilities.

Keeping track of one’s carbon footprint is not just for quantifying the GHG emissions but for the ultimate purpose of minimising one’s emissions and becoming carbon neutral. En3 has tested the software internally and calculated the carbon emissions of their three facilities to be 84 tonnes per year. En3 has offset the emissions by investing in wind energy. This has earned En3 the carbon neutral tab from BVQI, showing what companies using eCARB can do.

DESIGN detail

94

REMINISCENCE

The unseen dream of

the Scousers Text : Joe Eshwar Photography : John Guy Courtesy : Alan Smith & Neil Jackson

DESIGN detail

96

Joe Eshwar’s European trail is a journey through the architectural glory of Europe. He discovers the intellectual and spiritual tradition of these cities through the one prominent building that soaked up the very essence of its culture.

His first stop is Liverpool, the city that taught the world to break free of the system. He takes a trip down its architectural landmark, St.George’s Hall.

L

iverpool. Perhaps no other city in the world evokes as many cultural, artistic, and architectural visions as this city in Northwest England despite the fact that it was once associated with painful, haunting images of the transatlantic slavery. It is history's unforgettable location where thousands of wretched human beings, transported across the Atlantic from Africa, were sold, bartered, brutalised and often killed. Some of them of course eventually learnt to fight for their rights and earn that wonderful state called 'Freedom' which so

many of us take for granted. Home of the Beatles, this city filled with museums and churches holds a huge number of the world's cultural treasures.

It's evening and I am at the Albert Dock, by the Mersey River which is full of people.

Some are in a celebratory mood, while others seem to be overcome with remorse at the terrible memories of the past. Tourists, locals, poets fill the place. The waters of the Mersey River are still, as a long hoot sound by a cargo ship is heard from far. Liver Birds

97

DESIGN detail

Concert hall is the finest example of early Victorian interior design

Intricate glass work

hover above. The sun is all set to hide behind Birken Head across the river. This scene has been repeating for the last 800 years. Incredibly, it's been 800 years since Liverpool's birth. One of the most talked about, heard about, discussed about cities is celebrating its birthday! It's not just Liverpool and Liverpudlians celebrating it but the whole of Europe, as Liverpool is in many ways the Cultural Capital of Europe.

Liverpool, to the rest of the world is famous for its football addicts and of course Scouse. To Liverpudlians however, it's more than just a city. It is a civilization in itself. As a Metropolitan borough in Merseyside, one of the most happening metropolitan counties in North West England, Liverpool has a history which cannot be ignored.

In all these 800 years, Liverpool has seen and experienced practically all the issues cities elsewhere have experienced: battles, economic downfall, industrial progress and religious conflicts. It survived because of its people and their strong will to stand by one another in times of turmoil as well as victories.

Scousers, as the people of Liverpool are called, are renowned for their patriotic spirit and unity. However the reputation of Liverpool in the 18th and 19th centuries was for a different trade altogether-Slavery. About 40% of the European slave trade was operated from Liverpool. Ships loaded with sugar and tobacco were exchanged for Africans and vice versa.

This enabled Liverpool to have a firm nexus with the American colonies. This highly profitable business started with 'Blessing', a slave ship under the captaincy of Brownbell in 1700

DESIGN detail

98

The civil court room in the imperial Roman theme

which reaped huge profits according to the archives. Many others followed suit. 'Blessing' turned out to be a curse for Liverpool as diseases and economic downfall hit the region for many years.

Neither economic downfall nor diseases overtook the passion Liverpudlians had for their architecture. Liverpool is perhaps the only city after London in England to have the highest number of architectural wonders. The most important of Liverpool's sites are the Town Hall and Albert Dock but of the many prominent buildings in Liverpool, one stands tall, majestic and flamboyant, The St. George's Hall. The giant hall situated opposite the world's first railway station, Liverpool Lime Street, is sublime. Liverpudlians claim that it

is the most photographed building on earth.

It was in St. George's hall that we filmed some portions of 'St. Dracula', a feature film directed by Rupesh Paul and produced by Sohan Roy. I happened to be the Chief Associate Director of the project.

St. George's Hall has a serenity which cannot be explained in words. It is an abbey to a monk and a palace to a king. The Neoclassical styled building was designed by a 25 year old Architect Harvey Lonsdale Elmes in 1840 and the construction came to the fag end in 1854. The Roman and Greek architectural style influenced Lonsdale and that is evident in the way the building is constructed. The hall was to host the city's

Birch punishment chair in court house

The furnace burned at the base of the tower provides the necessary upcraft for air to be extracted.

99

DESIGN detail

St.George’s Hall stands 169 ft long and 74 ft wide with a tunnel vaulted ceiling

Ventilation system: Involved all extracted air and chimney exhausts being taken down into the basement

DESIGN detail

100

triennial music festival, dinners and concerts. It was his idea that led to the incorporating of two courts within the great hall. Lonsdale passed away much before the building could be completed. Liverpudlians call it ' the Unseen dream' because the hall was the dream of the young architect who could not see the completion of his craft.

We shot a dance sequence in the concert hall which is the largest area of the hall. Rectangular in shape, the concert hall has also been used in many other feature films such as Elizabeth: The Golden Age and Harry Potter. The concert hall is 90 feet tall and its roof is a tunnel vault carried on columns of polished red granite. Allegorical statues representing virtues, science, arts and justice adorn the panelled plasterwork of the vault.

The most famous feature of the hall is its floor that is open to guests and tourists only occasionally, decorated with 30,000 priceless Minton tiles. The air-conditioning system at St. George's Hall was the first attempt at air conditioning in a public building in the UK.

The hall is home to one of the largest pipe organs of the country which is played on by virtuosos from all around the world during their visits to Liverpool.

From a filmmaker's point of view the concert hall can be used as the lounge of a palace, the dormitory of a Vatican or even the grand hall of Buckingham Palace. Running out of time and confined to the filming, the chambers, cells and corridors beyond the concert hall did not come to my attention.

Liverpool is also blessed with many national museums such as The World Museum, Merseyside Maritime Museum and International Museum of Slavery. Architectural wonders such as the St. George's Hall, Walkers Art Gallery and Tate Liverpool are worth visiting. Liverpool is also home to many international figures like Carl Gustav Jung, Jason Issacs, Wayne Rooney, Michael Owen, and Allen Ginsberg.

Liverpool has an unrivalled musical heritage. Liverpool's fame spread in the 60s as four young men conquered the hearts of music lovers around the world. The Beatles consisted of four young Liverpudlians known as John Lennon, Paul McCartney, George Harrison and Ringo Star. They are undoubtedly one of the best-selling-musical bands of all times.

The Beatles gave us the idea to break free of the system. They introduced to the world the bohemian subculture, deeply rooted in the centuries old liberal European scene. The Beatles allured the world and united them during the irresponsible excess and flamboyance of the sixties. They gave us the courage to talk about freedom ,to fight freedom.

They did not conform to any given system, did not follow the mainstream culture but created their own and stood by what they believed in. They were more than just artists or another music group. They were a new breed of bohemian artists from the Old Continent, from Europe.

COLLOQUIUM

Unlivable

cities: The aftermath of construction boom Text : Anumita Roy Chowdhury

DESIGN detail

102

T

he construction boom seen across India will make cities unlivable unless this growth is guided by the right developmental principles. These guiding principles relate to choice of location, architectural design, appropriate material and operational management. Considering that 70% of the building stock proposed by 2030 is yet to be built, there is time to prevent this environmental debacle.

The concern over regulating urban growth emerged at a media briefing on the - Build them green: deconstructing the building sector in India. The focus of the briefing was environmental challenges and solutions for the building construction sector. In India, buildings are major

water and electricity guzzlers and waste generators—they use up 40 % of the energy available and 30% raw materials; they also account for 40% carbon emissions, 30% solid waste generation and 20% water effluents. Despite being a major resource predator, the building construction sector is poorly regulated.

There is potential for resource savings in buildings if appropriate policies are in place. With more efficient lighting, ventilation, air-conditioning and architectural design, it is possible to save upto 70% energy. The national power demand can be reduced by as much as 25% in 2030 by improving energy efficiency of buildings and operations.

It is possible to reduce water demand also.

But the major problem in improving things is lack of information. There is barely any information or data in the public domain.

Even in cases where green rating systems have been promoted with government back-up and incentives, there is no actual record of the performance of the buildings and

Current construction trends are heading towards a major case of resource exhaustion. The alarming pace may result in posterity witnessing a barren synthetic tomorrow, void of trees, water and even land. As obvious as it may be, only judicious use of resources and implementation of appropriate policies can regulate this to a considerable extent.

103 DESIGN detail

PLUG THE LOOPHOLES Builders have found an easy route of dodging the requirement of EIA by showing smaller parcels of land than the minimum limit of 20,000 sq m. No clear benchmarking for assessing resource use, waste generation and mitigation strategies provided by the project proponents for approval. The EIA appraisal should work in synergy with the norms and standards in the relevant sectors.

Strengthen screening of sites for construction. A large number of projects have come up in the water stressed part of Haryana that has been marked by the Central Ground Water Board as a dark zone, as the groundwater table has dwindled drastically.

EIA should assess boundaries of influence and sensitivity of sites before decisions on sites are taken.

In many cases it has been noticed that actual construction of buildings has progressed without getting the requisite consent from the authorities. This weakens their scrutiny.

Post-construction monitoring is the weakest link in the current EIA system for buildings. Project proponents are expected to submit bi-annual compliance report based on self monitoring. This is rarely done.

Rapid review of projects in and around Delhi has shown deviation from the prescribed conditions.

In contrast to the EIA rules for mining and industry sector that requires formal public hearing, the simplified procedures for the building sector provide no scope of soliciting public comments on impact and mitigation. Citizens' perspectives are completely ignored. As a result, we are beginning to see strong public reaction and anger in cities against construction projects.

The expansion of high impact buildings, especially commercial and retail will induce heavy traffic in cities with serious pollution, public health and congestion impacts. Developers will have to provide area management plan for traffic mitigation in and around the project area.

The gamut of challenges that plague the environmental clearance process is staggering-regional offices do not have adequate authority for effective monitoring; resources and staff strength and capacity for appraisal and monitoring are very poor; institutional coordination for clearances is missing; the state environment appraisal committees are heavily burdened; there are errors in documentation; quality of data and information provided by the project proponents is of poor quality.

DESIGN detail

104

Without proper performance monitoring green rated buildings perform worse than standard buildings. the nature of resource efficiency measures applied. Cities such as Noida in Uttar Pradesh are allowing extra builtup areas and giving tax concessions to incentivise green rating of buildings.

But these incentives are not linked to actual performance of buildings, which makes evaluation of green rated buildings next to impossible. Without proper performance monitoring, green rated buildings can perform worse than standard buildings.

NO INTEGRATED VISION FOR TOWNSHIPS IN OFFING More than 50 to 95% of the new buildings will come up in resource stressed suburbs and new townships.

The size of private integrated townships ranges from 40 hectares (ha) to

over 400 ha; more than 200 such townships covering more than 8,000 ha are under approval for planning and construction especially around the four metros. Promoted as ‘walk-to-work green towns’, the new towns are sprouting without clear benchmarks, implementation strategies or strong regulatory safeguards.

Green measures are needed not only to reduce resource impacts of rich people’s homes but also to improve thermal comfort of poor people’s homes. Building public support and acceptance of green building programmes is called for—tell people what works and what doesn’t work in terms of energyefficient and water-saving strategies for homes, inform people about the rate of return on costs for energy-efficiency and water-conservation products and appliances.

CUBES OF WORDS

Architecture

in print Dr.B.S.Bhooshan

W

riting is a linear arrangement of words, thoughts, ideas. It presents itself like a procession of signs.

But are thoughts linear always? As thoughts are expressed verbally often, logical thinking appears linearly. Words have to form a sentence in a preordained fashion, ideas are to be formed in paragraphs and they have to be positioned one after another, so on and so forth. Thoughts put to paper in a nonlinear fashion will be difficult to understand, complex and may be boring too. Even simply confusing. But still our non verbal minds, I think, often think laterally without starting or finishing points; starting anywhere and meandering without a proper finish. Architectural thoughts are often in a nonlinear fashion, unlike verbal entities like writing and it is also not understood or experienced only cerebrally. Unlike other visual media, architecture is also read, understood and experienced through many senses though it seems that architecture cannot be understood these days without verbal support.

Architectural profession is influenced by the idea of writing and similar narratives. So the idea of formal architecture is also understood or arranged as

procession of images, things or objects.

Monumental spaces of western classical history always tried to do that. We are also drilled in theory and teaching with two dimensional visual ideas like symmetry, balance and harmony.

Historically, architecture of a culture is located in a place. It constitutes the place. To the extent that time is linear, events and ideas in one time influencing the next; but space has no linear time and layers of time can be found superimposed in the same space. French philosopher Michel Foucault called it heterochronia, citing the cemetery as a classic example of that(!). However, buildings and places can be understood and read as multiple narratives with unfocused following of the eye backward and forward and laterally too. In many places, one can start and stop from different entry and exit points.In addition, built Design of environment meets us architecture is a through the haptic (touch acoustic, olfactory process of converting related), as well as kinaesthetic non verbal, nonlinear senses too.

thoughts. To that extent it is a medium by its own right.

In spite of many theories and methods to channelise design thoughts, conscious design most often is nonlinear; and is

105 DESIGN detail

This photograph is an entrance court to an office. This makes good visual composition in print. But does it adequately convey the experience the space can give. Will it be more or less than the expectation this picture generates? The object is several times removed from the image

abstract and multi tasking too.The architectural theory culls and scavenges from many disciplines, forms ideas about physical space and stops there, leaving the actual method of design to a nebulous process to the individual designer to find out. Even the simplest and highly mechanised form- search too is truly cloudy. The process looks apparent only after the design is finally arrived at. This is so despite attempts by parametricism.

architects who left the field and did well with words; British novelist Thomas Hardy for example and recently, the Nobel Prize winning writer, Orhan Pamuk. Pamuk left architecture after studying it for three years. His book on Istanbul is a vivid description of the city and its spaces and its cultural history, though. Is there a disconnect between architecture and writing then?

After all, built environment is a 'touchy-feely thing'. Built space is not always cerebral but experiential and that too multisensory. Especially so in the not-so-self- conscious cultural production of architecture and places.

Yet architectural journals have been increasing in India. One doubts, are they read by words or by photographs? Both grossly underrepresenting architecture? Long tradition of architectural journalism has reduced architectural experience to mere photographic and vicarious one. Real experience of many an architecture and places is too distant for many, but virtual experience of those places is too common.

As long as direct experience of architecture cannot be conveyed over distances except through words and pictures, this limitation will always be there. Then, how and to what level is the print media influencing architecture and its design?

Has it changed the way architecture as a discipline is understood and designed? Has it changed the intentions of architecture? Is the print media only promoting architects or is it promoting critical debate in architecture and built spaces? If so, what kind of architecture of words and images would be relevant in the print space?

Design of architecture is a process of converting nonverbal, nonlinear thoughts to a physical space or object. To that extent it is a medium by its own right. It is represented in diagrams, drawings, pictures and inadequately in words. Print and visual media is poor in conveying the architectural idea adequately to the readers. When done so, it is misrepresented and twisted resulting in misreading of the idea. In reverse, architects are generally poor verbal communicators; many abhor it and many even think that talking too much about design and analysing it verbally drains their creative energies. Geoffrey Bawa famously refused to talk about his works saying that his works should speak for itself. There are also

DESIGN detail

106

ADOPT ADAPT

Get inspired Adopt ideas and create a beautiful home

Great ideas in low cost; The office of Above I, an interior design firm in Kochi can be described so. A wall is completely made out of thrown away container wastes. Electric wires are creatively arranged inside red painted PVC pipes and hung from the roof.

107 DESIGN detail 107

Completely self sufficient; With no heating or cooling system, and hundreds of years of use, Earthship Karuna is based on the concept of sustainable architecture. Using discarded , consumer products like tyres and plastic bottles to raise a building right down from the foundation, the Earthship Karuna, near Shembaganur, Kodaikanal, is the first of its kind in India.

DESIGN detail

108

NEWS

Cera does it again

C

era Sanitaryware Ltd. has been voted Product of the Year(a 24year old international organisation based out of France, currently operating in 38 countries, ) in the Sanitaryware & Fittings category. Cera’s innovative Nano technology which won the award again, ensures a microbial free surface for the products that impedes bacterial growth resulting in a healthier and cleaner environment.

The winner is decided based on the findings of a massive consumer survey among 30,000 people by research firm A C Nielsen.

Galtex opens a new showroom in dubai

CERA bagged Product of the Year award second year in a row for Sanitaryware and fittings category. Seen here is Mr. Atul Sanghvi, Chief Operating Officer receiving the POY Trophy from Ms. Kamalika Guha Thakurta of the “Kyunki Saas Bhi Kabhi Bbahu Thi” fame while ace photographer Mr. Vikram Bawa looks on

G

altex, the popular brand in texture paints, opened a showroom in Deira, Dubai which gives it the scope to display its new range of texture finishes. It offers the Gulf malayalees an opportunity to select the texture finish from Dubai. All the designs are available both in Dubai and India. It has been 4 years since Galtex entered the UAE Market. The

paint giant is also offering a special discount for all orders from Dubai. Its Kochi showroom too has a range of new international quality finishes on offer.

Contact: Dubai showroom Ph : 0097142560299 Web : www.galtexme.com Email : mail@galtexme.com Tollfree : 80010500

Hycount - Kerala's own PVC pipe

H

ycount is the No.1 PVC pipe brand in Kerala. it also has a very strong presence in Tamil Nadu and Karnataka. Hycount manufactures high quality pipes using stateof-the-art Automatic Interlock machinary. And for the processing of PVC pipes,Hycount relies on Double Spider Die Assembly. Since Hycount adheres to high quality standards in manufacturing PVC pipes, it's durable,

leak-proof and low on maintenance.

Hycount has won the highest award for quality in the country - Rajiv Gandhi National Quality Award - three times in a row. Hycount is the only PVC pipe manufacturer to be credited with this award. Hycount is certified by British Standards Institution's (BSI) ISO 9001:2000 and ISO 14001:2004 in addition to certification from Indian Standards Institute (ISI).

109 DESIGN detail

SHOWCASE

Mood Enhancer Text : Pink Lemonade Photography : Lucky Malhotra

DESIGN detail

110

Veda Ajwani, a Fine Arts graduate got drawn into the world of lights quite accidentally. Veda found herself increasingly drawn to fibre optics and decided to reinforce this interest with formal training from Denmark. After exhibiting her unique light fixtures for several years, Veda joined hands with other artists to open her store, Vedabh.

T

hat light can influence moods is something most of us are aware of, but it takes an expert to control the light, to set the desired mood. Vedabh is a magical world of designer lights where Veda and other Indian designers showcase their unique creations. Veda and her team also customize light fixtures to suit all decors and theme-based interiors.

SETTING THE MOOD Having helped to renovate a heritage home in Kerala into a select restaurant, Veda remembers the challenges faced in customising its light fixtures to complement the predominantly wooden interiors. Lights were fashioned in a wide variety of materials to fuse contemporary designs with inheritance.

Throwing some ‘light’ on the factors she keeps in mind while designing lights for a commercial establishment, Veda shares, “In a restaurant it’s very important to strike the right balance with light. Besides the quality of light, its luminance also plays a key role in setting the ambience the restaurant desires.”She finds that most restaurants today, either over-light or under-light their dining areas and therefore miss achieving the desired effect.

111 109

DESIGN detail

Most commercial establishments today also use aesthetic lights in their common areas and for these, the material and design used should take into consideration ease of cleaning, frequency of cleaning, durability, replacement, and maintenance.

Veda likes to delve into the ethos of the project to help visualise the design and the material that will best suit the fixtures.

BLENDING THE CONTEMPORARY With an increasing number of light types in the market, the challenge of making the right match with the purpose, desired effect, and budget while still staying contemporary and aesthetic has made the services of a lighting consultant all the more necessary.

Veda Ajwani

DESIGN detail

112

At Vedabh, the newly launched ‘Industrial lights’ series makes recycling fashionable by giving a new lease of life to odds and ends sourced from industries – a definite addition to add character to a room. dd

PRODUCTS Monier : For tiles of enduring beauty Monier now introduces, LuxlaTM - the high quality pitched roof rain water gutter system made of superior quality Magnesium Aluminum Alloy (Al Grade 3003). Monier's roof tiles range includes Elabana, Plano, Coloroof & Roof System Components (RSC). http://www.monier.in/

Smart power with Havells Crabtree is now introducing a new category of Switchgear-Crabtree XPRO, a smart and efficient range of products.

Truly international in technology and design, this user friendly range offers enhanced safety and its aesthetic design matches the taste of the discerning clientele perfectly. http://www.havells.com

ECPL’s green revolution There’s a real revolution brewing in the world of landscaping and that’s - FieldTurf Artificial Grass. FieldTurf is so grass-like and soft, that you could even walk barefoot on it and not realize it is artificial. Pets or children could play, dive and slide on it and its completely safe. It lasts over 15-20 years and is environmentally-safe as well. www.greatsportsinfra.com

113 DESIGN detail 113

PRODUCTS

Favourable kitchens with Faber The hood expert Faber has launched two new stylish designs, KLIMA (A/C) and NEST. KLIMA (A/C) is the first air-conditioning hood and both the releases stay true to Faber's rich legacy. http://www.faberonline.com

Ozone for a safe zone Ozone launches the Next Generation door closer technology- Ozone Plus - a Hydraulic Patch which has compacted door closing into super slim size. This avant-garde fitting is a Bottom Patch fitting used in frameless glass doors with an in-built hydraulic system.

Platino’s basin Art

http://www.ozone-india.com/

This single piece floor mounded basin from Platino Art has a highly contemporary design with clean, soft shapes and simple lines. Available in Dove White colour ,it truly signifies what Platino Art stands for, a powerful solution to design the bathroom environment. www.Platinoart.com

Categorise with Dolin

Dolphin International, manufacturer of Stainless Steel Kitchen Accessories and Houseware items has recently launched small utility items for storage of utensils such as Glass, plate, bottles, thali etc i the brand name Dolin.

These utility accessories are fixed on SS wire Baskets (Racks) or wooden drawer system in modular kitchens and are very effective for storage of utensils. These utility accessories can also be used near the wash area for storage of washed wet utensils before storage in drawers. The plate, thali and other utilities can also be used in dining area for stacking of crockery/utensils. http://www.dolin.in

DESIGN detail

114

ACCESS Architect Rajeev Kathpalia 'Sangath' Drive In Road Ahmedabad - 380054, India Fax :- 0091-79-27452006 Website :- www.sangath.org E-mail :- vsf@sangath.org Jaisim Fountainhead JAISIM - FOUNTAINHEAD, #1 75/1 Pavllion Road, Jayanagar East 1st Block , Bangalore - 560011 Tel 1:- 91-80-26630234 Tel 2 :- 91-80-26657915 Website:- http://www.jaisimfountainhead.in E-mail :- jaisimfountainhead@yahoo.com Iyer & Mahesh Narayana Towers, Vazhuthacaud, Trivandrum Kerala - 695014 Tel :- 91 471 2325543 / 27 Architect Charles Correa Charles Correa Associates 9,Mathew Road Mumbai 400.004, E-mail :- cca@charlescorrea.net Architect M.Murali E-mail:- archaalto1@yahoo.co.in Ajeeb Komachi Silver Hills,Marikunnu,Calicut - 673012.

Phone :0495-2731500 Architect Sanjay Mohe Director, MINDSPACE, 408 12th Main RMV Extension Sadashivnagar,Bangalore - 560 080 Tel 1 :- 91 80 2351 5501 / 02 Tel 2 :- 91 96633 79548

Nilofer Suleman Bangalore, Mob :- 9341272346 E-mail:- nilofersuleman@gmail.com Abraham Tharakan Architect Deepa Sathiaram Director, En3 Sustainability Solutions, New 126, Habibullah Road, T. Nagar Chennai 600 017 E-Mail: info@en3online.com

Adapt Adopt 1)Above I Door No:111, Judges Avenue, Kaloor, Kochi-17 Tel 1 :- 91 484 4055553 Tel 2 :-91 8129 755553 Website :- http://www.abovei.com/ E-mail :- mail@abovei.com, info@abovei.com 2)Earthship Karuna Karuna Farms at Prakaspuram village, Kodaikanal Website :- http://www.earthshipkaruna.net Tel :- 91 9344561061 Vedabh No.5, Upper Palace Orchards 13th Cross, Sadashivnagar Next to ICICI Bank Bangalore 5600080 Tel :91-80 41137676 91 9035035240 91 9844172250 E-mail : vedabh.in@mail.com

ADVERTISER DIRECTORY Bathroom Fittings & Accessories Bathx Cera Platino Art Building Materials Alfab Marketing Doors, Frames, Gates, Shutters & Accessories Ozone Furniture & Furniture Fittings Damro Institutes DIID Kitchen Dolin Faber Sleek

Lighting & Electricals Havells Crabtree Havells Xpro Magazines Designer + Builder Paints Galtex HBC Pipes & Fittings Hycount Pools Moothedan Overseas Roofing Keerthy Monier Miscellaneous Deepsun Energy

Landscaping ECPL

115 DESIGN detail

INCIDENTAL COMICS

Printed,Published and Owned by Designer Publications Kerala (P) Ltd.,DPK towers, R. Madhavan Nair Road, , Kochi, Kerala 682 016,Kerala and Printed at Maya Offset Printers., Eroor, Kochi and Published at Designer Publications Kerala (P) Ltd., Kochi- 682 016 , Kerala Editor : Karan Grover

www.monier.in

Now, German Technology for water-tight roofs.

High Strength

Long Lasting

Water Tight

Fungi & Algae Resistant

Call Our Roof Expert:

Cool Inside

Attractive & Superior Finish

+91 9895777355

For more details SMS ‘ROOF’ to 5676776 or email us at contact.india@monier.com

Available in a wide range of colours, textures and finishes.

Showroom and factory: 143/C3, Bommasandra Industrial Area, Bangalore. Tel: 080 41268116/7.

Dealers in: Andhra Pradesh, Chhattisgarh, Goa, Gujarat, Karnataka, Kerala, Maharashtra, New Delhi, Pondicherry, Rajasthan, Tamil Nadu & Uttarakhand.

Exclusive showrooms: KOCHI, Near Oberon Mall.

PUNE, Ingawale Patil Estate, Bhugon, Mulshi.

m-and-m.in

Monier is the world leader in roofing systems. It blends the best of German Engineering with aesthetics to give you tiles of enduring beauty. Monier also gives you unmatched strength, coolness, water-tightness and longevity. Go ahead and choose what the world prefers.

Price `120 Design Detail Magazine

Design Detail November 2012 - January 2013 Vol. 1 Issue 1

Price `120