IA&B April 2013

MUMBAI

INDIAN ARCHITECT & BUILDER IN CONVERSATION

APR 2013

` 200

Daniel Libeskind

ARCHITECTURE

House at Panchgani: Practice Architecture Khamir Crafts Resource Centre, Kutch: Prof. Neelkanth Chhaya The Book Building, Chennai: moad Residence in Ahmedabad: SAK Designs

INTERNATIONAL

VOL 26 (8)

Sunset Chapel in Acapulco: BNKR Arquitectura

YOUNG DESIGNERS ‘13

Swarnabhoomi Academy of Music: Studio 7 Consultants Pvt. Ltd.

BOOK REVIEW

Architecture of Shivdatt Sharma: Vikramaditya Prakash

SPACE FRAMES

Image © courtesy Mahesh Radhakrishnan, moad

Traces of Struggle: Surendra Lawoti

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Inspiration through Memory

Committed to expanding the scope of architecture, Daniel Libeskind’s designs reflect his profound interest and involvement in philosophy, art, literature and music. In conversation with IA&B, Daniel talks about his beginnings, his journey, his philosophy and his weakness for the value of human memory in architecture. Š Ilan Besor Indian Architect & Builder - Apr 2013

Images: courtesy Studio Daniel Libeskind

in conversation

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International architect and designer, Daniel Libeskind was born in Poland in 1946. A virtuoso musician before becoming an architect, he has received numerous awards and designed world-renowned projects including the Jewish Museum in Berlin, the Denver Art Museum, the Royal Ontario Museum in Toronto, the Military History Museum in Dresden, and the Master Plan for Ground Zero among others. Fundamental to his philosophy is the notion that buildings are crafted with a perceptible human energy, and that they address the greater cultural context in which they are built.

Daniel teaches and lectures at universities across the world. He resides in New York with his wife and business partner, Nina Libeskind.

IA&B: You have enjoyed a peculiarly mixed cultural background, spread across countries like Poland, Israel and the United States. Do you think this has had an influence on how you see architecture?

DL: Most definitely. It was only because of the different circumstances that I encountered; because of the fact that I was an immigrant, because both my parents were immigrants; because I once lived under a totalitarian or communist dictatorship in Poland; because I found myself, each time, as a stranger in a new place, that I was able to realise how incredible the world really is. What this made me realise is that it is not just about being in one place; it is about the world itself, the variety, the challenges, the people, the beauty and so on; and that has definitely had an influence on my architecture, for it has given me a global experience, a cosmopolitan understanding. And I would say that it is because I have never been in a provincial setting, restricted to the same place with the same people and language or with the same values, that I have been able to learn and discover something more.

IA&B: The Felix Nussbaum Haus in Osnabrück, your first building, displayed a sort of blatant symbolism. How did this idea emerge? Did that influence manifest itself in your subsequent designs?

DL: The Felix Nussbaum Haus was a very small and humble building dedicated to a Jewish painter whose all perished in the holocaust. It was a building to tell a story. It was a very simple building which I called “a museum without an exit”; because there is no exit from that life. You have to get into that life to understand what it means to have lived in those dark times and I wanted to communicate an experience; but experience also with hope and not just the fatality, the destruction and the fact that it is irremediable.

But the fact is that we have to learn something, see something through this experience. Of course it was my first small building

Felix Nussbaum Haus, Osnabrück. © Bitter Bredt

which I actually built before the Jewish Museum was realised. But it dealt with history, it dealt with expression, it dealt with ‘how to have a story’ rather than just ‘how to build an abstract structure’; it dealt with very simple materials - wood, concrete, glass - bringing new life to this town, new understanding to people after the event and something to inspire further questioning and further hope. So, yes, that was certainly very important in my architecture.

IA&B: You have previously stated, “Music speaks to us in a mysterious way. Architecture is very similar.” Can you please elaborate?

DL: I was a professional musician. But to answer more directly to this question, music speaks to you in mysterious ways because music is, in one way, a science, just like architecture. It is very precise; every vibration, every chord, the structure of music itself is so objective and incredible. Given all that, music is the means to communicate to the soul, it is about emotion. No one will ever say that ‘music’ is listening to this scientific, geometric aspect of the music; they are listening to the music itself. And this is true even with architecture. Even though architecture is very objective, technological and highly scientific, in the end, it is only a means to communicate something to the human soul; something which is ineffable, which is not about the object, but about the meaning of things, the meaning of life, the meaning of where you are, who you are and what you are looking at. So, in a way music and architecture are very similar, both very objective, very scientific, highly structured, very precise, perfect, but in the end, only means to say something that can only be accessed emotionally. You can play a perfect concerto with every note correctly, not to any music and not communicate anything. And in a similar way, you can have a perfect building, with perfect material and perfect technical solutions; but if there is no emotion, there is nothing in it. So that is why I think these two fields are very close to each other and very

Felix Nussbaum Haus, Osnabrück: View of the façade. © Bitter Bredt

Felix Nussbaum Haus, Osnabrück: Old and new. © Bitter Bredt

Indian Architect & Builder - Apr 2013

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connected in history, because of their proportions, their mystery, their history of communication and because both of them deal with the ineffable, with the human soul, the heart.

IA&B: Your projects reflect tradition on the one hand, and extremity of form on the other. How do you negotiate these opposing forces in architecture?

DL: Well, I don’t think they are opposing, because tradition is very radical. Tradition, often, is the forgetting of tradition, forgetting of what it is - just a ritual, just a mythology, just an acquired habit.

But the true tradition in every space and every place in history has the radical flame of something fantastic, something legitimate and something very wondrous. So, to me, using forms that might even be disturbing, that raise questions, that are not simply repetitions of that formula are the only way to really re-open that tradition to its true light, to its true flame which is always burning in every tradition. And I think that, to me, is not a contradiction but really the way tradition is transmitted.

IA&B: “Memory is complete intellectual and emotional immersion in the event itself.” You have designed Jewish Museums in Berlin, San Francisco and Copenhagen. What was your personal memory that influenced your work there?

Can you share that with us?

DL: Well, first of all, it is the memory of people, not statistics; nobody can understand what six million murdered people are, nobody can understand any genocide, what it means. We have to understand individuals, we have to encounter individuals. You know, for this project I did not have to go the library to research it because my parents are holocaust survivors. I grew up with no family, and they grew up with no family. They were virtually the only survivors. I understood what it meant. I understood what it means to eradicate an entire community, to try to eradicate a culture. That is really what memory is. Memory is not just a general historical understanding of something. It is an individual encounter with each soul and of course, this is an infinite task. How can we

Jewish Museum in Berlin: Aerial view. © Guenter Schneider

Indian Architect & Builder - Apr 2013

go further, how can we know every one of the children, every one of the women, every one of the families? We cannot. But it is a task that is given in eternity and I think, in that sense that is the question of memory. Memory is not just something passing, but really a dimensional orientation which is beyond space, because it is orientation in time. And of course, carrying that memory is something which is living; it is not a memory of the dead, it is the memory of the living and that is a part of how I developed the Jewish Museum or the buildings at Ground Zero. It is important to know that memory is not always negative; there is also a formation of life in memory, a foundation of continuity.

IA&B: What would you say was the positive aspect in the conception of the Jewish Museums?

DL: The positive aspect in Berlin was how to bring hope after such an event, because the event itself is over, there is nothing you can do about it; it is irreversible. We cannot bring the dead back, but what you can do is provide a hope through looking again, through an encounter which is experiential, spiritual, you can encounter your own sense of reality in history and that is, of course, what it is. In San Francisco, it is a celebration of Jewish culture, a communal culture. In America they are optimists, and they have great possibilities offered to immigrants. So each project has a different sense. In Copenhagen, it is more of a celebration of how this one country in the middle of the darkest period of history saved the Jews, by saving them, not handing them over to death camps but shipping them on boats to Sweden - a gesture of something so incredibly positive. So, each of these museums has a different phonology, a different story.

IA&B: The Leuphana Universität Lüneburg, in Lower Saxony, is currently developing the new central building that you have designed with students. How did this project and collaboration initiate? How was it working with students?

DL: It was perfectly fantastic. In fact, the entire project began with students. It is a university that has undergone transformation, from

Jewish Museum in Berlin: Exterior window cuts. © Michele Nastasi

Jewish Museum in Berlin: The Holocaust Tower. © Bitter Bredt

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a mediocre university to one of the greatest universities of the world. One of my contributions here was to teach architecture not to architects - because there is no architecture school there; there are scientists, people that are educated in sociology, psychology, business, and so on. As I said, every creative individual should be empowered to not only talk about architecture, but to build it; and everybody can build it. I created a series of workshops for students who have never studied architecture. I empowered them with tools, pencils, papers, and computers; whatever they needed to be able to ask the right questions: Do we need a building in this campus? How big should it be? How much money should we spend on it? Should it have windows? What kind of environment should it have? What should it look like? And I was very lucky to be able to put across my teaching, to work with students and to actually realise a physical project with this idea. So yes, it is a proof that architecture is not for architects only. Everyone is capable of doing architecture and everyone should, in a democracy, being able to intervene creatively in the city, the building, the houses and the streets. It was definitely a wonderful experience and as you say it is now under construction.

IA&B: Both art as well as political power, sometimes, tend to completely ignore the people. You define architecture as the ‘art of construction’ and have been involved in projects with political roots. How did your architecture evolve within such constraints?

DL: First of all, architecture is a civic art, but it is an art. It is not a political tool but it is about the ‘politaire’, in Greek that means the city. The word ‘idiote’ in Greek means a private person. The city is really about its citizens, it is about a common space, a shared community space. And in that sense, of course, one has to fight for liberty in architecture, for liberty for people. We are living in an age where people are in danger of losing their individuality through mass-media, through all sorts of left and right politics. We have less and less respect for each and every individual. In a democracy, which I am a believer in, we should celebrate every difference, every individual. But of course, that is the tradition of architecture.

How do you give expression to individuality and, at the same time, create a building has the uniqueness to communicate across time, and such that there is no contradiction between the ‘politaire’ which is the city, between art or something that is not just private and at the same time the individuality of each and every person, which is to be respected. Every project that I have been involved in is not made with a committee, is not done as some sort of abstract exercise, it is not about statistics; it is a communication to an individual and I think that is what a work of art really is. It can be very large, it can even be a city plan or a large public building but it is for each individual. That is how I conceive it, and that is why I do not believe in formulae, I do not believe in the statistics only, I do not believe in the ‘mass’ idea. I believe it is about liberty and what is more fantastic than art which is an affirmation of human liberty.

IA&B: What is your vision for the Ground Zero Master Plan?

How do you think it will influence the people who visit it years from now, both Americans and visitors from across the world?

DL: Even though the building is not entirely ready, it already has

Ground Zero Master Plan, New York City: Sketch.

© Silverstein Properties proposed view.

shown that people come and are very moved by the memory of what happened there. That was, in fact, my idea - to create a memory foundation, so no one should ever forget what this attack, this catastrophe, really meant to New York in a deep way; yet, rise out of this tragedy, to understand the heights of aspirations, the buildings organised to create a sense of liberty around that memorial, employing vital streets and public spaces, cultural encounters with the museums, performing art centres, visitors’ centre, to open a new horizon to the Thompson river. It aims to instil the building of memory, vitality and wonder of New York City and America in each and every person who comes to the site and that is what I think it will be. It will be an inspiring place, because the concentration is not only on the private buildings, but also on the public ones, spaces which people can share. I have mentioned that my parents are immigrants; they worked in sweatshops under harsh conditions. While working on Ground Zero, I wondered, what this project is to the people of New York. They are not going to be in the gleaming buildings; they are going to be at the ground level, on the streets. How do you make better streets? How do you make something really fantastic for the hardworking people of New York?

And that is why I concentrated on the related aspects. How to make light? How to create the right symbols? How to create something that will inspire and never shift New York to a pessimistic register, but will inspire people with the fantastic notion of taking away their tired, their poor, their masses who have been oppressed, and in turn give them life, give them freedom, give them the possibility to be educated and successful.

IA&B: You have written empathetically on your experiences and subsequent ‘intuitive’ relations they have with your architecture. Do you think your architecture borrows substantially from this?

DL: Sure; if it is not based on experiences, it is nothing. If architecture is based on some abstract ideas of space or façades or typology, then, to me, it is nothing but a hollow exercise. I think it has to be based on some human experience. And I think that is an intuition of what the world is about, it is a revelation, it is knowledge, and it is not something that is step-by-step verified.

There has to be an enquiring intuition into what the world is about.

I think every individual, every child born opens its eyes and has this intuition about what the world is, and then they work their whole life to express it and do something with it. So yes, I do think that Indian Architect & Builder - Apr 2013

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intuition and experience are very critical to decipher the wonders of architecture.

IA&B: Your career, in a way, appears to be in reverse when compared to how architects usually plan theirs; the first part spent in reflection and the second, in fervent activity. Can you tell us how this different approach has helped your work?

DL: It is a reversed approach? (laughs)… It is absolutely true. I did not start by apprenticing myself, by working with offices, and on small buildings, and doing the kind of routine. I took a different path and that has certainly had a very big impact on how I look at architecture. I do not look at it as just a practice. I look at it as a philosophy of life. I look at it as something connected to the humanistic art, to poetry, to literature, to music. I do not look at it, as many of my colleagues, as just a vocational profession. So maybe the way I entered this field and how it developed is part of how I see buildings and cities of the future as well.

IA&B: In a recent retrospective, the MoMA revisited the iconic ‘Deconstructivist Exhibition’ of the 1988. How do you look back at this curation you were a part of?

DL: ‘How strange…’, because when I was made a part of this exhibition, I did not have a single building. All I had were some drawings and models, and yet when I look back on it, that is what I think, where does architecture come from? It does not come from the media; it does not come from just looking around; it does not come from copying others. It comes from drawing; drawing something out of the tradition, drawing in a physical way, sitting and meditating; it is a spiritual epiphany. It is strange, it is very practical. But where does it come from? It comes from the ancient sources and, of course that is drawing, that is having the patience not to rush and simply build; but to follow the direction of the single line, to follow a single development of a drawing. And if you are lucky and connect with the path, you see a reverberation in reality. I look at the show now and how strange it was that I was in the show but did not have a single building; I had never built a building. Since then I have been so lucky to have so many buildings, so many important projects, be it in New York, in Berlin, in Singapore, Shanghai, Warsaw, Milan or Dublin. It shows that you have to take a risk in architecture. You cannot just follow the

Studio Daniel Libeskind.

Indian Architect & Builder - Apr 2013

truisms. You have to take a risk, which may for some appear to be a failure for a long time. A lot people then said that I had not built anything, that I was a failed architect. But you have to be bold because without that nothing would ever happen.

IA&B: Do you think that the exhibition, and the subsequent debate on ‘Deconstructivism’ as a style, affected your work substantially?

DL: The exhibition had many fine architects who also did not really build very much at that time. Maybe I was the only one who really did not build anything (laughs), but I think it gave a chance. It was an emblematic exhibition because it signified that the world has changed. It was the first show at the Museum of Modern Art that was on architecture and displayed on the ground floor. It was not at the Department of Architecture on the 5 th floor; it was where the masses of public enter the museum and it was first time since the international exhibition of 1930 that architecture became a part of public discourse. And I think that was an important moment for architecture. It signified really the beginning of the 21 st century - a new sense of space, a new sense of individual, a new sense of the issues and questions that are developing with the world. So it was a very important exhibition, I think.

IA&B: What are your hopes for the future of architecture?

What do you think are the challenges?

DL: My hope for architecture is that we are living in a time of renaissance, a re-discovery of the art of architecture; that it is about people, that it is about art; that it is not just a technological or economic imperative that drives the world. The world is about individuality; the world is about liberty, the world is about tradition. There is also a return to the understanding that cities are not made of concrete or bricks; they are made of citizens and that is something very positive today. Of course, there are many challenges with great density, with new developments of technology, with sustainability, with the obliteration of nature.

We have to re-think how we are to give value to human beings, because nothing can replace a human being. Each person that is born, is a mystery, is an enigma. Why? Where? How? And we really have to recover that human tradition of architecture. And that, I think, is the biggest challenge of the 21 st century.

VOL 26 (8) | APR 2013 | ` 200 | MUMBAI RNI Registration No. 46976/87, ISSN 0971-5509 INDIAN ARCHITECT AND BUILDER

EXPLORE

Chairman: Jasu Shah Printer, Publisher & Editor: Maulik Jasubhai Shah Chief Executive Officer: Hemant Shetty EDITORIAL Assistant Editors: Maanasi Hattangadi, Ruturaj Parikh Writers: Rashmi Naicker (Online), Sharmila Chakravorty, Shalmali Wagle Editorial Co-ordinator: Parikshit Vivekanand Design Team: Mansi Chikani, Prasenjit Bhowmick, Kenneth Menezes Event Management Team: Abhay Dalvi, Abhijeet Mirashi Subscription: Dilip Parab, Deven Arora Production Team: V Raj Misquitta (Head), Prakash Nerkar, Arun Madye

26

IN CONVERSATION

Inspiration through Memory

Renowned architect Daniel Libeskind, in conversation with IA&B, discusses

architecture through his inspirations, philosophies and memories, each of which

has greatly influenced his work.

34 CURRENT

Au courant updates on events, exhibitions, competitions and news.

42 PRODUCTS

Objects and details designed for architectural settings from across the globe.

46

CONSTRUCTION BRIEF

Himatnagar Canalfront Development

A decrepit stretch of 60,000sqm in Himatnagar, Gujarat, being restored by HCP

Design, Planning and Management Pvt. Ltd. will accommodate spaces for public

interface while ensuring its self-sustenance through time.

48

WildEcho

Designed by Mahesh Naik of Farmhouse Organic Architecture, the WildEcho

settlement imitates nature with the use of organic materials in its construction.

50

POST EVENT

With the agenda of deciphering the ‘Architecture of Purpose’, the 361°

Conference 2013 engaged professionals and students in talks, interactions,

dialogues and a curated exhibition in order to create a meaningful community

Bengaluru/ Hyderabad: Sudhanshu Nagar Mobile: 09833104834, E-mail: sudhanshu_nagar@jasubhai.com

of like-minded architects.

Chennai / Coimbatore: Princebel M Mobile: 09444728035, 09823410712 E-mail: princebel_m@jasubhai.com

58 ARCHITECTURE

Head Office: JMPL, 210, Taj Building, 3rd Floor, Dr. D. N. Road, Fort, Mumbai 400 001, Tel: +91-22- 4213 6400,+ 91 -22-4037 3636, Fax: +91-22-4037 3635 SALES Brand Manager: Sudhanshu Nagar E-mail: sudhanshu_nagar@jasubhai.com MARKETING TEAM & OFFICES Sales Co-ordinator: Christina D’sa E-mail: Christina_dsa@jasubhai.com Mumbai Parvez Memon 210, Taj Building, 3rd Floor, Dr. D. N. Road, Fort, Mumbai 400 001, Tel: +91-22- 4213 6400,+ 91 -22-4037 3636, Fax: +91-22-4037 3635 Email: parvez_memon@jasubhai.com Delhi: Preeti Singh / Manu Raj Singhal 803, Chiranjeev Tower, No 43, Nehru Place, New Delhi – 110 019 Tel: 011 2623 5332, Fax: 011 2642 7404, E-mail: preeti_singh@jasubhai.com, manu_singhal@jasubhai.com Gujarat: Parvez Memon Mobile: 09769758712, Email: parvez_memon@jasubhai.com

Kolkata: Sudhanshu Nagar Mobile: 09833104834, E-mail: sudhanshu_nagar@jasubhai.com Pune: Parvez Memon Mobile: 09769758712, Email: parvez_memon@jasubhai.com Printed & Published by Maulik Jasubhai Shah on behalf of Jasubhai Media Pvt. Ltd (JMPL), 26, Maker Chamber VI, Nariman Point, Mumbai 400 021 Printed at M.B.Graphics, B-28 Shri Ram Industrial Estate, ZG.D.Ambekar Marg, Wadala, Mumbai 400031and Published from Mumbai - 3rd Floor, Taj Building, , 210, Dr. D. N. Road, Fort, Mumbai 400 001.

Editor: Maulik Jasubhai Shah, 26, Maker Chamber VI, Nariman Point, Mumbai 400 021 Indian Architect & Builder: (ISSN 0971-5509), RNI No 46976/87, is a JMPL monthly publication.

Reproduction in any manner, in whole or part, in English or any other language is strictly prohibited.

We welcome articles, but do not accept responsibility for contributions lost in the mail.

361°Conference 2013: Architecture of Purpose

Suggestive Simplicity

The House at Panchgani by Mumbai-based Practice Architecture follows a

functional approach to design, delivering a strong architectural piece rooted

in its context.

66

Roots

The Khamir Crafts Resource Centre in Kukma, Kutch designed by Prof. Neelkanth

Chhaya lays the foundation for his deep-seated belief in an authentic identity.

74

Building with Words

The Tara Books Book Building in Chennai by moad conveys the essence in meaning

through a visual and physical manifestation of the form of a book.

80

Beacon of Style

SAK Designs renders elegance and comfort to the Residence in Ahmedabad with

a resourceful sense of purpose.

88

INTERNATIONAL A Transcendental Transition

The Sunset Chapel in Acapulco by BNKR Arquitectura is a composition of light

and concrete that delves into the depths of sorrow to inspire the dawn of

new beginnings.

96

YOUNG DESIGNERS ‘13

MUSICAL MANIFESTATIONS

Designed by Studio 7 Consultants Pvt. Ltd., the Swarnabhoomi Academy of

Music near Chennai promotes the simplicity of architecture through the purity

of music.

102

BOOK REVIEW

Architecture of Shivdatt Sharma

The book, authored by Vikramaditya Prakash, explores the works of veteran

architect Shivdatt Sharma, providing insights into his life, his influences and

his affinity towards the architecture of Chandigarh.

104

SPACE FRAMES

Traces of Struggle

In this edition of Space Frames curated by Dr. Deepak John Mathew,

photographer Surendra Lawoti attempts to capture the political and domestic

struggles in his native country, Nepal.

Printed & Published by Maulik Jasubhai Shah on behalf of Jasubhai Media Pvt. Ltd (JMPL), 26, Maker Chamber VI, Nariman Point, Mumbai 400 021.

Printed at M.B.Graphics, B-28, Shri Ram Industrial Estate, ZG.D.Ambekar Marg, Wadala, Mumbai 400031and Published from Mumbai - 3rd Floor, Taj Building, 210, Dr. D. N. Road, Fort, Mumbai 400 001.

Editor: Maulik Jasubhai Shah, 26, Maker Chamber VI, Nariman Point, Mumbai 400 021.

Indian Architect & Builder: (ISSN 0971-5509), RNI No 46976/87, is a JMPL monthly publication. Reproduction in any manner, in whole or part, in English or any other language is strictly prohibited. We welcome articles, but do not accept responsibility for contributions lost in the mail.

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current

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Seoul Urban Design 2013 - International ideas competition for students Category Type Deadline

: : :

International Open to students April 26, 2013

As a growing city demands faster transportation lines to catch up with its size, overlaying a steady transportation network on a large cityscape has been a chief responsibility for every metropolitan government. It focusses on the eco-friendly regeneration of the expressway, Jemulpo-gil and the adjacent blocks in the west region of the city. The Seoul Metropolitan Government has a potential plan to build underground tunnels to turn the extensive surface area of Jemulpo-gil into usable space for citizens. On theses lines, the competition seeks inspiring proposals that can re-define and revitalise Jemulpo-gil and its adjacent blocks.

For further information, log on to: Web: www.sss9.or.kr

Call for World Design Capital 2016 Applications Category Type Deadline

: : :

International Open to all April 30, 2013

Design-driven cities are invited to bid for the World Design Capital (WDC) 2016 designation by the International Council of Societies of Industrial Design (Icsid). The competition is a biennial designation awarded to a city in recognition for its design achievements in city promotion and development. The highly coveted title garners expressions of interest from around the globe encouraging pride in the citizens. The Icsid President Soon-in Lee commented that, “Icsid initiated the World Design Capital to help design-driven cities continue the use of design to further their social, economic and cultural development.”

For further information, log on to: Web: www.worlddesigncapital.com

European Prize of Sacred Architecture Bachelor’s, Master’s, and PhD Thesis - V Edition - 2013

COMPETITIONS

Category Type Deadline

: : :

International Open to students May 07, 2013

Belgorod City Centre Category Type Deadline

: : :

International Open to all May 10, 2013

The competition requires the replacement of the low-rise buildings that occupy the heart of Belgorod City, Russia, with a dense development. The city of Belgorod is located to the southwest of Russia near the border with Ukraine. Its population is 350,000 inhabitants, which increases by it being a university town that attracts students from all over the country. The site is quite a large urban block of the size of around 300m x 200m. The participants are required to provide a master plan for the site by finding a balance in the viable density for the project and the quality in developing the city centre as a whole. The design must make it an attractive place to live and work.

For further information, log on to: Web: www.belgorodkonkurs.com

Architecture Photography Competition - Edited Architectures Category Type Deadline

: : :

International Open to all May 10, 2013

Homemade Dessert invites one entry from each participant that encourages one to think critically about a space that has been re-purposed, the architecture or environment transformed from its original function to accommodate a new set of programmes or uses. This is to make one aware that even the most successful of spaces is subject to change over time, in relation to advancements in technologies, or evolving political, social and economic patterns.

The scale of the space can range from the idiosyncratic alteration to a space to the mass overhaul of urban centres or infrastructural systems. The submitted photographs must present a narrative without any additional explanations.

For further information, log on to: Web: homemadedessert.org

Sukkahville 2013 Category Type Deadline

: : :

International Open to all May 15, 2013

In a bid to promote and valourise the contributions of young graduates, the Fondazione Frate Sole Foundation has instituted the European Prize for Sacred Architecture in 2013. The competition invites projects for church of Christian worship, the subject of a Bachelor’s, Master’s, and PhD thesis. The competition promotes an interest and research in the field of ecclesiastical architecture that implements the artistic and mystical qualities. The aim of the European Prize of Sacred Architecture Bachelor’s, Master’s, and PhD Thesis - V Edition - 2013 competition is to make a sacred place a site for spiritual exaltation, responding to the acquired communitarian conception of liturgical action.

The Kehilla Residential Programme invites architects, students, artists, builders and allied design professionals to submit design proposals for the second annual Sukkahville Design Competition.

The aim of this open competition is to design a temporary, free-standing Sukkah to be built in Mel Lastman Square in Toronto for the holiday of Sukkot. A Sukkah is a temporary structure constructed for use annually during the week-long Jewish festival of Sukkot. It symbolises the impermanence of life. Participants are encouraged to re-imagine the traditional notion of Sukkah, with a contemporary design language and approach at the same time must adhere to several traditional constraints.

For further information, log on to: Web: www.fondazionefratesole.org

For further information, log on to: Web: www.sukkahville.com

Indian Architect & Builder - Apr 2013

36

MediaCities Conference: Call for Abstracts Date Venue

: :

May 03 - 05, 2013 New York, United Sates

The fourth MediaCities Conference is a three-day affair which will reflect upon pluralities and globalities, on MediaCities everywhere.

It will address new lines of inquiry and emergent relations between urbanity and digital media found in non-Western cities, in post-Capitalist cities, in cities hosting civic turbulence or crossing international boundaries. Considering the new entanglements between urban life and contemporary media, communications and information technologies, MediaCities promises to expand our understanding of both media and the city today. The themes for the event are as follows: Other Urbans, Uncommons, Zero Growth Cities, Media Geographies and Bordervilles.

For further information, log on to: Web: www.mediacities.net

AA Rome Visiting School ‘Form as (Dynamic) Unknown’ Date Venue

: :

May 09 - 18, 2013 Rome, Italy

The AA Visiting School ‘Form as (Dynamic) Unknown’ is a 10-day architectural workshop open to students in the field of architecture, engineering and design from around the world. It pursues the thought that our urban environments are not just static or passive systems, but in fact respond to the constant change of our surroundings.

Deriving from the work of Leonardo da Vinci, the participants will design robotic systems inspired by nature. As an experimental laboratory, the workshop researches on kinetic interactive structures that will be designed by the students as they develop novel solutions, building upon the experiments of great Italian innovators.

The workshop will offer both introductory instruction for beginners and advanced instruction for experienced users.

For further information, log on to: Web: www.aaschool.ac.uk

3rd International Green Roof Congress

EVENTS

Date Venue

: :

May 13 - 15, 2013 Hamburg, Germany

Organised by the International Green Roof Association (IGRA) in Hamburg, Germany, is the 3rd International Green Roof Congress.

Kai-Uwe Bergmann (Bjarke Ingels Group) and Herbert Dreiseitl (Atelier Dreiseitl) will present solutions for the ecological and urban challenges of cities in the 21st Century. Also the founder of the well-known architecture firm WOHA and winner of the International Highrise Award 2010 Wong Mun Summ will contribute by giving insights into his recent projects, where nature is conquering back its space. The International Garden Show 2013 and the International Building Exhibition – Building the City Anew (IBA), will also be taking place at the same event along with well-organised congress programme with lectures, workshops and excursions.

For further information, log on to: Web: www.greenroofworld.com Indian Architect & Builder - Apr 2013

Hospitality Design Exposition & Conference (HD Expo) Date Venue

: :

May 15 - 17, 2013 Las Vegas, United States

The Hospitality Design Exposition & Conference (HD Expo), a leading event for the hospitality industry will take place over a span of three days at the Mandalay Bay Convention Center in Las Vegas, United States. Through this event that will showcase the ever-evolving and ultra-competitive world of hospitality design, attendees can gain a lot of knowledge in up and coming products and services that can help make designing easy and of better quality. There will also be several educational sessions, panel discussions and exclusive site tours. The event shall also provide great networking opportunities with an expectation of over 7000 attendees.

For further information, log on to: Web: www.hdexpo.com

French Design Connection Date Venue

: :

May 18 - 21, 2013 New York, United Sates

On the occasion of the New York Design Week, Francesco Pirrello (founder of Meet My Project) under the supervision of Clément Sauvoy (French journalist based in Paris specialising in design, lifestyle, and architecture) will hold the 13 th edition of Pirrello’s exhibitions. The event brings together the best of European design to the forefront. The new style of curation attempted by Clément Sauvoy is intended for meetings, mutual exchanges, and debate as more than 70 pieces devoted to French luxury, as well as an installation by the Swiss studio Allegory, span a space of 400 square metres, split between the lobby and open mezzanine. The set design is provided by the Manhattan studio of Brad Ascalon, one of America’s leading design talents of his generation. The event will also feature two carteblanche video projections by film director Eames Demetrios and the architect of Chambers Hotel, David Rockwell.

For further information, log on to: Web: www.frenchdesignconnection.com

Office Expo Delhi Date Venue

: :

July 27 - 29, 2013 New Delhi, India

The Office Expo Delhi is a pioneer in providing niche platform for office automation and office furniture. It is a three-day mega event organised by Media Expositions and Events at Pragati Maidan, New Delhi, India. The event will help at providing enormous opportunities for exhibiting various products and emerging trends in making office environment more efficient and effective.

Architects and interior designers can also be updated with the various new entries in the field. The expo also provides a platform for various networking opportunities.

For further information, log on to: Web: www.theofficeexpo.com

current

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Toyo Ito: 2013 Laureate of the Pritzker Prize

HC Orders Status Quo on Banjara Bhavan

Renowned Japanese architect Toyo Ito has been formally awarded the prestigious 2013 Pritzker Prize at the John F. Kennedy Presidential Library and Museum Boston, Massachusetts. He is the 6th Japanese architect to be conferred the award. 71-year-old Toyo Ito is known for his unique designs derived from deep philosophical meaning and a keen understanding of the urban scenario. Born in Seoul on June 1, 1941, he graduated from the University of Tokyo’s Department of Architecture and began his own firm, the ‘Urbot’, an acronym for Urban Robot, in 1971. His firm, later renamed Toyo Ito & Associates, is a source of inspiration to several young architects for its socially responsible architecture.

The jury commented on Toyo Ito’s works as being “timeless and yet boldly charts a new path”. They said, “His architecture projects have an air of optimism, lightness and joy, and is infused with both a sense of uniqueness and universality. For these reasons and for his synthesis of structure, space and form that creates inviting places, for his sensitivity to landscape, for infusing his designs with a spiritual dimension and for the poetics that transcend all his works, Toyo Ito is awarded the 2013 Pritzker Architecture Prize.”

Just days after the Mehdi Nawaz Jung’s residence, Banjara Bhavan, in Banjara Hills, Hyderabad, was razed to the ground, the Andhra Pradesh High Court ordered a status quo on the site. The order was granted by a division bench comprising acting Chief Justice N V Ramana and Justice Vilas V Afzalpurkar which was hearing a writ petition filed by Forum for Better Hyderabad (FBH) against the denotification of the structure as a heritage building and its subsequent demolition. In the petition filed by O M Debara, there is mention of the building being so beautiful that it inspired India’s renowned poet Rabindranath Tagore to compose his poem ‘Kohistan’. The Banjara Bhavan was a grade-1 heritage structure until the government de-notified it on March 8, following which its owner demolished it. Debara alleges that the government de-listed the building without paying any heed to the opposition by the conservation committee of the Hyderabad Metropolitan Development Authority (HMDA). In its plea, FBH requested the court to declare the action of the respondents, which include government officials and the owner of the property, as illegal and to set aside the government order that stripped the structure of its heritage status. The bench called for reports from the HMDA and the government, and adjourned the matter for hearing.

Prominent Architectural Photographer and Publisher, Yukio Futagawa, Dies at 80 The reputed Japanese architectural photographer and Editor Yukio Futagawa (1932-2013) succumbed to cancer on March 5, 2013, aged 80, in Tokyo, Japan. He was the founder of the distinguished Global Architecture (GA) Publishing Group, which he established in 1970, and director of Global Architecture (GA) magazine. Futagawa studied architecture at Miyakojima Kogyo High School in Osaka, and went on to Waseda University in Tokyo. His most important works among several include a 10-volume collection of “Japanese Traditional Houses” in the 1950s which he began photographing in his twenties and a 12-volume collection of Frank Lloyd Wright’s works. He travelled extensively, covering architecture of the most unique quality, such as the Minka Houses of Japan, while studying them as well. Although he was faced with a lot of opposition during the time he overcame them to make architecture easily available. He believed that if one enjoyed what one did, the discomfort or difficulties that come with it would not matter.

NEWS

Carla Juacaba Wins Inaugural arcVision Women and Architecture Prize Carla Juacaba, a 37-year-old Brazilian architect, was declared as the winner of the first arcVision Prize – Women and Architecture, an international social architecture award for female designers instituted by the Italcementi Group. Carla trained in architecture at Santa Ursula University in Rio de Janeiro (1999) and in 2000 established her own practice of architecture and research. Her research project, the Umanidade 2012 pavilion for Rio+20 (the UN conference on sustainable development), was designed and built in collaboration with artist Bia Lessa. The jury described her work as unconventional solutions with an enormous sensitivity to the context in which her works will reside. The jury also awarded three Special Mentions awarded to Izaskun Chinchilla from Spain for her unconventional approach, Anupama Kundoo from India for her skill in researching materials, and Siiri Vallner from Estonia for her sensitive interpretation of spaces.

Indian Architect & Builder - Apr 2013

Karan Grover’s ‘Student Green Movement’ After getting the UNESCO world heritage status for the city of Champaner, architect Karan Grover has begun on his next mission for the cause of sustainable buildings. For the next one year, Grover will be reaching out to students of architecture in an effort to garner support for his green cause calling it the ‘Student Green Movement’. The aim of the mission is to encourage young architects to promote green buildings. “Buildings consume 50 per cent of world’s energy, which is more than the transport or industry sectors. Clearly, we are the problem but we can also be the solution. Singularly, architecture can save almost 25 per cent of world’s energy,” he said while addressing 600 students in the city of Vadodara. The move happened when, as chairman of IGBC Vadodara chapter, Grover got to know that India Green Building Council (IGBC) which was formed by CII in 2001, had an almost-defunct five-year-old students’ chapter.

‘The Good Cause Exhibition’ in Rwanda As a part of the ‘Architecture of Peace’ initiative, ‘The Good Cause’ exhibition, by ARCHIS Foundation was organised in Kigali, Rwanda. The event was initiated by Killian Doherty, the designer of the Kimsigara Community Centre, where the event was held. It opened with a formal speech made by Jolke Oppenwal from the Dutch Embassy in Rwanda. It demonstrates the thin line that exists between architecture of war and architecture of peace by showcasing the complexities of a post-conflict resolution and providing suggestions towards a peaceful sustainable architecture. The exhibition deals with the bigger picture of the international peacekeeping and reconstruction of a better future. The six projects showcased were selected on the basis of the following criteria of Context, Publicness, Skills, Communality, Trust, Sustainability, Identification, Legitimacy, Modesty, Safety and Time. Among the several projects was Anne Feenstra’s project in Northeast Afghanistan, the ‘House with Dancing Windows’.

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Award-winning designer John Green embarks on a journey of creative and innovative designing with his multi-functional venture, Embrace.

Indian Architect & Builder - Apr 2013

products

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EMBRACE

Text compiled by: Parikshit Vivekanand Images & Drawings: courtesy John Green

T

he Embrace is a resultant product of a simple, creative, innovative and functional design by John Green. As a designer, John Green is known for his state-of-the-art furniture and lifestyle products. Embrace was originally designed when John was a student. The original brief was to design a modern take on the Isokon’s Penguin Donkey which provided compartmentalised storage, but did not maximise efficiency on the size of the objects to be stored. In spite of that, over 10 per cent of the original dimensions of it were incorporated in John’s design. The resultant product was the Embrace, an award-winning piece of furniture designed to store modern media such as DVDs, CDs, books and magazines.

This smart piece of furniture naturally forms two low modern tables that are then embraced together in order to form a storage unit/magazine rack/occasional table. This piece of essential furniture not only serves the purpose of a small table, but also functions as a laptop table, a bench and desk for kids and a serving tray for those lazy Sunday breakfasts in bed. Embrace is made in the Baltic regions of Europe where all the timber used is sustainably felled at source, keeping the carbon footprint of the product to a bare minimum. The main material used for this product is bent plywood and is also available in Birch Oak and Walnut. Each unit is numbered, stamped and signed upon completion by John himself, making it an authentic John Green product. This hand-in-glove design maximises not only storage, but also efficiency in the space that it resides as a complement to its surroundings.

Design Firm: John Green Designs Designer: John Green Contact: John Green Designs Compton Street York, YO30 6LE, UK Tel: +44 (0) 7746 131 871 Email: jg@johngreendesigns.co.uk Website: www.johngreendesigns.co.uk

Indian Architect & Builder - Apr 2013

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A graduate from NID, designer Kuldeep T explores the idea of minimalistic design with his design project in contemporary Indian furniture the, Swadeshi Chair.

Indian Architect & Builder - Apr 2013

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SWADESHI CHAIR

Images & Drawings: courtesy Kuldeep T

I

mbibing inspiration from the use of teakwood, furniture designer Kuldeep T reconnoiters modern-day Indian furniture with the Swadeshi Chair. The key idea in this design is to make the most of the material, used minimally, in the overall finish of the product.

This minimalistic appeal of its design helps it command an overall appearance and experience of the final product with regards to its surrounding.

During the commission of this particular project, a special request was made by the clients; the frame of the design was to be upholstered with the client’s homegrown silk from his own enterprise called Swadeshi Silks. It is also where the product derives its name from.

The body is made from teakwood with a conjoined bent-ply seat and backrest fastened to it. The use of these materials also makes it easy to separate the seat and backrest from the rest of the structure, which makes it convenient to re-upholster at any given time. The finishing of the teakwood is enhanced with olive oil.

The Swadeshi Chair, with its cracked-egg-shell design embodies a multitude of advantages which make it comfortable to sit on, sustainable in the use of material, strong in structure and frame, as well as durable. The light weight and minimalistic design just magnifies all these features of the Swadeshi Chair.

Design Firm: Bent by design Designer: Kuldeep T Contact: No. 57/3, Banjara layout, Kalkere, Agara, Bengaluru - 560043 Tel: +919845272320 Website: www.facebook.com/bentbydesign www.bent.co.in www.bent-by-design.blog spot.com

Indian Architect & Builder - Apr 2013

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3D visualisation of the proposed canalfront.

Himatnagar Canalfront Development Development of the 60,000sqm Himatnagar Canalfront by HCP Design, Planning and Management Pvt. Ltd. is an initiative towards providing a self-sustaining, revenue-generating urbanscape.

Text compiled by: Ayishwariya Balagopal Images & Drawings: courtesy HCP Design, Planning and Management Pvt. Ltd.

T

he Himatnagar Canalfront project developed by HCP Design, Planning and Management Pvt. Ltd. is executed with the intention of making a difference to the urban environment and improving public interface through a step-by-step process. A small town with a population of about 1,00,000, Himatnagar is located to the north of Ahmedabad in Gujarat. The main canal from the Hathmati River is drawn into the city for the purpose of irrigation, which divides the city’s topography. Although meant for irrigation, the canal remains dry most of the year, which makes it an unnecessary urban appendage. To make matters worse, it is subject to pollution from sewage waste and stormwater drains posing a health hazard to the city.

Based on priority, the first step to be taken in developing a canalfront in a dry area is to generate enough water that will sustain itself throughout the year. For this purpose, an efficient management of water through the process of recycling, groundwater recharge and rainwater harvesting techniques will be implemented in the design. It will be built in such a way that it can be easily accessed by the public. Three pedestrian links will connect either sides of the canal increasing the interaction between the two ends. These are pre-fabricated and assembled on-site. To prevent stagnation of water an effective aerating system which doubles as a water feature will be introduced.

Amenities have been incorporated in the design to uphold public Indian Architect & Builder - Apr 2013

Context diagram.

interest. An elevated, landscaped linear park has been proposed along the periphery of the canal, providing refuge from the bustling city. Shops, informal markets, a play area for children and a food court are the other amenities that will be included in the design as a means to attract the public. A lower level walkway on either sides of the canal provides the user with the option of better proximity to the water.

The project seeks to revive the canal and construct more usable spaces by providing activities which the public will pursue. This will not only bring the dead urban space back to life but also generate revenue for its maintenance through time.

SITE SECTION

construction brief

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Condition prior to the development.

Ongoing construction.

Seasonal Market

Cross-regulator 2 (Downstream)

Lower Level Walkway

Children’s Play Area

Access Road

Pedestrian Deck

Commercial Buildings

Linear Park

Food Court

Plaza

Public Toilet

Vegetable Market

Cross-regulator 1

MASTER PLAN

FACT FILE: Visualisation of pedestrian bridge.

Pre-fabrication of pedestrian bridge.

Project : Location : Architect : Design team :

Client : Built-up Area : Site Area : Consultants :

Himatnagar Canalfront Development Himatnagar, Gujarat HCP Design, Planning and Management Pvt. Ltd. Bimal Patel, Jignesh Mehta, M.S. Swaminarayan, Raman Aras, Pradip Jadav, Harsh Mittal Himatnagar Nagarpalika 7,000sqm (approx.)

60,000sqm (approx.)

Advance Engineering (Structure) DUCON (Structure) Jhaveri (Electrical and Plumbing) Indian Architect & Builder - Apr 2013

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The structure overlooks the pool and the cluster of Palmyra Palms.

WildEcho WildEcho, designed by Mahesh Naik of Farmhouse Organic Architecture, is built using local organic materials as an expression of the rustic environment of Agarsure, Alibaug.

Images & Drawings: courtesy Asim S Wadkar, Mahesh Naik

C

onsidering imitation to be the highest form of flattery, the WildEcho in Agarsure, Alibaug designed by Mahesh Naik of Farmhouse Organic Architecture, draws heavily from nature and its organic shapes. The design of area 14430sqft, is based on an organic grid of triangular and circular geometry. It is an assemblage of four nuclear dwelling units situated around a cluster of existing Palmyra Palms establishing a relation between the built fabric and the topography of the site. The palms manifest as the focal point in the design, which bears a resemblance to the jagged silhouette of the structure.

construction of arches in the design, the difference in layering of bricks creates an interest in the façade. The use of Mangalore tiles proves to be a more eco-friendly option to cement. Sharply defined balconies and roofs that are seemingly precarious, project out into the pool, resting on a protruding vertical support.

The daring cantilever of the roof that defines the entire structure is made possible by the use of hollow steel M.S box sections.

At first, the WildEcho appears inconspicuously shrouded amidst the thick foliage of trees. Facing inward, the dwelling units act as a screen from the harsh sunlight and rain of the south-west, protecting the more intimate spaces such as the deck area around the pool.

Each of the dwelling units comprises of a living space and kitchen on the lower floor. A staircase leads up to the toilet at the mezzanine level and the bedroom on the upper floor. Local materials are being used in the load-bearing construction of the WildEcho. Black basalt stone is used in the foundation for the structure. The 14� thick brick walls have better insulation, keeping the harsh sunlight at bay. Implemented in the Indian Architect & Builder - Apr 2013

Interior brick arch breaks continuity in space.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Mangalore-tile roof cover.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

GROUND FLOOR PLAN

FIRST FLOOR PLAN

FACT FILE:

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

SITE SECTION

Project Name : Location : Architect : Client :

Area of Ground Floor : Area of First Floor : Area of Deck and Pool : Total Construction Area :

WildEcho Agarsure, Alibaug,Maharashtra Mahesh Naik Mr Nikil Kapoor, Soojata Kapoor Mr Sanjay Kapoor 2980sqft [Plinth Area] 3270sqft 8180sqft [Plinth Area] 14430sqft

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Hollow M.S box-section frame for the roof.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

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Indian Architect & Builder - Apr 2013

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The Nehru Centre - Venue of the 361° Conference 2013.

Architecture of Purpose The 361° Conference 2013 and Exhibition of Projects 361° Conference 2013 tried to understand and decipher the ‘Architecture of Purpose’ with three days of talks, interactions, dialogues and a curated exhibition on the counterpoint to sustainability creating a meaningful community of like-minded architects.

O

n March 6 th, 7 th and 8 th, the 361° Conference – an annual initiative by IA&B in the interest of a much-needed and almost-absent discourse on architecture in India – was organised at the iconic Nehru Centre in Worli, Mumbai. 361°, in its sixth edition, is one of the most relevant core architecture conferences in India. Over the years, the conference has hosted an unprecedented array of thought-leaders, academicians and practicing architects, and in its wake, created a community of architects and students of architecture in India who can contribute to the cause of sensitive and ethical practice in our context.

In a jam-packed auditorium over three days, 16 speakers presented their work. The conference was formally opened by Mr I M Kadri of Kadri Consultants Pvt Ltd, veteran architect and designer of the Nehru Centre, with Mr Jasu Shah, Chairman of the Jasubhai Group, lighting the Lamp. Maulik Jasubhai, Publisher of IA&B, presented the welcome address.

Indian Architect & Builder - Apr 2013

Following the inaugural ceremony, veteran South African architect Peter Rich of Peter Rich Architects opened the conference with his ‘Icon Lecture’. After his lecture, Prof. Christopher Charles Benninger, CCBA, engaged Peter in an intense conversation on his work, his life and his ideas on architecture and education in the ‘Dialogue’ track.

On the morning of 7 th March, Icon Lecturer Padma Vibhushan Charles Correa of Charles Correa Associates introduced the historic film Vistãra that he scripted with Imtiaz Dharker as a part of the 1986 ‘Architecture of India’ project. After 25 years and with great effort by Imtiaz and Alpesh Taylor, the digitised Vistãra film was projected on the second day.

Charles Correa opened the second day with his lecture, followed by the second Dialogue between him and Prof. Neelkanth Chhaya, CEPT. Six architects presented their work after the Icon lecture.

post event

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Lighting of the inaugural lamp by Mr Jasu Shah and architect I M Kadri - the guest of honour.

The Nehru Centre Auditorium - 600 professionals and 300 students attended the Conference.

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Icon Lecturer Peter Rich in conversation with Prof. Christopher Charles Benninger after his lecture.

Padma Vibhushan Charles Correa presenting his lecture.

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A ‘Dialogue’ betwen Charles Correa and Prof. Neelkanth Chhaya after the Icon Lecture.

Peter Rich talks to delegates.

Australian architect Sean Godsell, Sean Godsell Architects, talked about his interpretations of the Australian landscape and his practice, presenting a set of beautifully light buildings wrapped in ambiguous skins. Acclaimed architecture photographer Helene Binet presented compelling images that addressed the fine distinctions of light and darkness – of opposites that form an image. Helene talked about her photographs and her ideas on the power of the visual.

Malaysian architect Kevin Mark Low talked about the idea of formal and informal and his work that occupies the disordered space in-between. His presentation revolved on the core ideas that define his unique practice – smallprojects. Soumitro Ghosh of Mathew & Ghosh Architects presented his work in the context of history focussing on projects that relate to memory and conflict.

Sri Lankan architect Palinda Kannangara of Architect Palinda Kannangara talked about the tropical context of Sri Lanka and his work that is contemporary yet responsive to that context. His sketches gave an insight into a beautiful landscape very much like our own! Spanish architect Fernando Menis, Menis Arquitectos, talked about his work in concrete – a versatile liquid that he manages to sculpt into breathtaking forms and fluid compositions.

His lecture focussed on the idea of beauty and timelessness.

A Discussion and Open Mike session with all the speakers of the day followed Menis’s lecture. Delegates posed questions to the panel, to which the panel responded through a moderated Q&A.

Prof. Christopher Charles Benninger with his fans!

The last day of the conference, 8 th March, was opened by Ambrish Arora, Lotus Design Services. Ambrish talked about his versatile practice and projects that reflect their understanding of the Indian reality. His work, though not bound by stylistic brackets, was beautifully responsive to function, context, constraint and addressed issues of skill and materiality.

Finnish architect and activist Jenni Reuter elaborated on her work with Hollmén Reuter Sandman Architects. Through her understanding of poverty, frugality, resource and inherent industriousness of people in the third world, Jenni talked about her architecture that responds to these realities and the empathetic practice of her firm.

Graham Morrison of Allies & Morrison presented the work of his firm in the context of present-day London; its many layers of history and activity and the seemingly simple yet intricately multi-layered response of his architecture to the urban space.

Another young Sri Lankan architect, Pradeep Kodikara of Pradeep Kodikara Architects, talked about his practice in the context of contemporary architectural paradigm in Sri Lanka. His work, humble and unassuming, represents many ideas that form the kaleidoscope of contemporary architectural thinking in Sri Lanka.

Manuel Clavel Rojo of Clavel Arquitectos, Spain, showed an array of his multi-disciplinary works that occupy the intersection of many creative and engaging fields – that of communication Indian Architect & Builder - Apr 2013

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In a jam-packed auditorium over three days, 16 speakers presented their work. More than 900 professionals and students attended the conference and many more visited the exhibition.

Australian architect Sean Godsell presents his talk.

Speakers (L-R) Fernando Menis, Helene Binet, Soumitro Ghosh, Sean Godsell, Palinda Kannangara and Kevin Low during the Panel Discussion on Day 1.

Indian Architect & Builder - Apr 2013

Ar. Sanjeev Joshi poses a question during the Open Mike session.

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Sean Godsell responds to a question from the audience.

Soumitro Ghosh makes his presentation.

Kevin Mark Low talks about ‘the Seashell and the Sea’.

Fernando Menis interacts with the audience.

The 361° Exhibition of Projects in the Hall of Knowledge, Nehru Centre, with 44 project panels.

Indian Architect & Builder - Apr 2013

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Students and professionals interact with Charles Correa in the lobby of the Nehru Centre.

Sandeep Khosla gestures during his talk.

Jenni Reuter during her talk.

Li Xiaodong responds to a question from the audience during the panel discussion.

Speakers (L-R) Ambrish Arora, Li Xiaodong, Jenni Reuter, Neelkanth Chhaya, Pradeep Kodikara, Manuel Clavel Rojo and Graham Morrison during the Day 2 Panel Discussion.

Indian Architect & Builder - Apr 2013

The cruciform and the sky beyond.

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design, production, sceneography and architecture that is beautifully interactive. Indian architect Sandeep Khosla presented the work of his firm, Khosla Associates, that employs simple, effective and skill-based techniques to create architecture of exclusiveness and humility for the Indian context.

Mr Kedar Rele of Birla White – one of the Partners of the conference presented a technical advancement in Birla Wall-Care Putty that controls the ageing and weathering of concrete in interior surfaces.

Prof. Neelkanth Chhaya of CEPT talked about fundamental ideas that define his practice and his academic involvement.

His concepts of space, architecture and context put the theme ‘Architecture of Purpose’ into perspective.

Chinese architect Li Xiaodong, Li Xiaodong Atelier, talked about the pitfalls of a rapidly urbanising China and the loss of the Chinese identity. His work – funded and developed by his efforts – represents an alternative, rooted and responsive approach to architecture in a rapidly developing China.

Towards the closing of the conference, a Panel Discussion and an Open Mike with all the speakers involved the delegates in meaningful conversations and exchange of thought.

Over two days, parallel to the conference – in the hall of knowledge, Nehru Centre – the 361° Exhibition of Projects was

presented. The exhibition intended to propose an alternative to the rampant and abused idea of ‘Green Building’ systems in the Indian context. Through 44 projects presented in panels and supporting content, the intent of the exhibition was to present an idea of sustainability that is inherently Indian and responsive to our context.

The ‘Architecture of Purpose’ conference was intended to ponder on and deliberate purposeful architecture – relevant to the context of contemporary practice. Towards the end of the conference, although the speakers did not talk specifically about the theme, there were certain common threads of ideas that emerged.

It was noted that principally, and at the core of all work, was the idea of ethical practice. It also emerged that having a commercial practice and being socially responsible are not mutually exclusive ideas. Through Panel Discussions and Open Mike sessions, many ideas on the present system of architecture education, prevalent ideas and concerns on professional practices and alternatives to the ‘commoditised’ green building propaganda – genuine concerns of sustainability and sensitive practice in Indian context – were deliberated.

The 2013 Conference, thus, closed on two essential axioms: 1) The immediate need of regulating, re-thinking and sensitising architectural education in India, and 2) The necessity of a meaningful, genuine and dedicated community of architects who can influence change.

Visitors at the Exhibition of Projects in the Hall of Knowledge.

The Chapel looks into the landscape beyond.

Indian Architect & Builder - Apr 2013

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The bamboo gate and the cobbled driveway lead to the unassuming residence.

Suggestive Simplicity Balanced and concise, the House at Panchgani by Mumbai-based Practice Architecture follows a functional approach to design, staying true to material and reducing embellishments to a minimum, to deliver an expressive and impactful architectural piece in its context.

Text: Shalmali Wagle Images & Drawings: courtesy Practice Architecture | Siddharth Babaji

“Simplicity and repose are the qualities that measure the true value of any work of art.”

- Frank Lloyd Wright

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implicity is a worthy linguistic to follow in a natural setting.

The rudimentary beauty of virgin landscapes and rhythmic waterscapes, the freshness of remarkable downpours and fog-free environments, weathered roadways, utilitarian stone walls and subtle interventions that refuse to dominate their setting, but instead, submissively merge with it; this obedience and restraint is unquestionably an art. Further, anyone who claims that simplicity in architecture, or even in art or music, is a matter of plainness is simply missing the point; the challenge of keeping things ‘simple’ is in fact an exceedingly complex Indian Architect & Builder - Apr 2013

one. And when it additionally narrows down to the particulars applied to spaces and experiences, burdened enormously by their nagging programmatic necessities and functional expectations, the task only gets more complicated. The House at Panchgani by Practice Architecture tackles this deliberation rather ‘simply’. The design builds on a strong premise of minimum intervention to an existing structure and flourishes on a continuous communion with nature.

The meek town of Panchgani derives its name from the five hills on which the town is built in the Sahyadri range of the Western Ghats. Recent decades have witnessed an increase in residential demographics and consequently a transformed built-scape; a disparate collection of small and medium houses

architecture

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The familiarity of the honest white walls is broken with a sudden splash of vibrant colour.

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SECTION AA

A

A g

j

g

j

h

UPPER LEVEL PLAN

5

6

7

4 A

A c e

d f

b

5

LOWER LEVEL PLAN Indian Architect & Builder - Apr 2013

5

1. Entrance gate 2. Driveway 3. Caretaker’s house 4. Utility 5. Lawn

a

3

8

2

6. Raised lawn 7. Lotus pond 8. Play court

a. Entrance b. Living c. Dining d. Kitchen e. Portico

f. Bath g. Bedroom h. Terrace j. Balcony

1

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The indiscreet main entrance to the house.

with an elusive sense of rootedness to the context of local life.

Along a series of such small houses, the existing house is a builder’s prototype; concrete structure, concrete roof, mild-steel section doors and windows, and mosaic floors that bear no local association, but are adept with the advantages of a lucrative plan; compact, direct and oriented to face the beautiful valley view. Overgrown wilderness and a redundant site - these were the raw materials available for conversion of an existing unused structure into a house that radiates a strong sense of place.

The design stems from an inherent need to provide a simple architectural solution to this situation through the recycling of the existing structure and its transformation into an animated habitable residence. Chief among the immediate decisions in design, the importance of retaining the frame structure intact was established as essential due to cost considerations and in order to obtain certain mandatory local clearances.

A deceptively rickety bamboo gate and the black basalt retaining walls make an immediate distinctive statement of spontaneous informality, as one approaches the residence. A rough granite cobbled driveway leads to the house, which, in turn, perches somewhat unassumingly in the landscape; the familiarity of its honest white walls broken only impulsively with a sudden splash of vibrant yellow or red-sienna. The surrounding landscape renders a sense of openness and fosters purposeful theatrics of light and shade in sections in between.

The natural composition is completed with perfection; a tranquil

The introverted view into the lawn.

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Enlivening architectural insertions, porticoes, deliberately fragment the spaces.

The balcony of the bedroom above the kitchen.

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The extroverted view onto the valley.

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water pond sprinkled with generous portions of green. The driveway culminates at a high wall that encloses a secluded play-court in collaboration with the raised lawn and the layered boundary. The site development and arrangement of functional zones within boundary walls eventually lead to a gradual revelation of the rear valley view. The use of bamboo sheltering in the play-court as well as the semi-covered enclosures visible on the terrace offers a simple and textured quality to the entirety, that which is largely visible among local houses of the region. With a lush natural setting, the house achieves a well-calculated focus on the enclosed landscape of the site and the open backdrop of the surroundings. The house is an open connecting corridor that bridges the front lawn and the rear valley end. Large fenestrations, arranged diametrically opposite, form linear passageways that allow complete views and access to the landscape at both ends.

An indiscreet main entrance greets one into the living space.

The relationship between the mundane regularity of the functions of living, dining, kitchen, bedrooms and bathrooms is deliberately fragmented through enlivening architectural insertions; a portico-terrace positioned strategically towards the valley, an extroverted segment, and numerous balconies in bedrooms that open into the lawn, as introverted sections. The construction of the portico-terrace is a simplified free-standing

A seamless continuum between the closed, semi-open and the open.

frame structure that connects itself to the existing house and is bridged by timber boarding over locally available ‘Babul’ wood beams. The terrace on the upper level is shaded by closely arranged bamboo, shielding the house from strong weather and providing interesting light and shade patterns throughout the day. A significant defining element in design is the seamless blurring of any demarcations between the interior and the exterior owing to the large door and window fenestrations. A single brick wall provides an offset to accommodate three layers of wooden sliding doors and windows; the innermost mosquito screen, the middle clear glass and the outermost louvres; and eliminates pests, controls weather inclemency as desired and offers generous views, all the while providing privacy.

Clay tiles continuously cover the floors and hand-made tiles, salvaged from dilapidated houses in Wai village, at the foot of Panchgani, protect the concrete roof from direct sun and rains.

The wide portico, and consequently the terrace on the upper floor, coupled with large fenestrations and wall enclosures result in a seamless continuum between the closed, semi-open and the open. Colour in restrained quantities brings a refreshing change to the composition. This along with the enclosure walls, rough timber of the portico, stone walls and bamboo bear local associations, and the newly defined proportions of the house are reflected in the well-hewn internal surfaces, the wooden staircase and the clean planes that appropriate to modern

Colour in restrained quantities introduces a refreshing change.

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The house is an open connecting corridor between the lawn and the valley.

The horizontal louvres and the vertical railings.

The three layers of wooden sliding doors and windows.

View from the play-court.

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The surrounding landscape renders a sense of openness.

The terrace on the upper level is shaded by closely arranged bamboo.

The materials and textures relate to each other, but maintain their individual identity.

aesthetic vocabulary. The materials and textures relate to each other and to the building but still differentiate themselves.

The compact original plan with additions is made free from ancillary amenities by planning a detached caretaker’s house.

The linearity of this house props a dead wall to the main house providing it privacy as well as extra space for storage, laundry and as a drying yard.

Design boundaries, today, are rather porous and architecture co-ordinates not merely its internal self, but landscape, structure, furniture, graphic and atmosphere, all at once. The value of simplicity and honesty in architectural conception, though rooted in the design approach and shaped in accordance to external influences, reflects in the ultimate quality of the space. The outcome that one observes in the House at Panchgani certainly appears worth every bit of the underlying complex effort. It establishes a renewed, more harmonious relationship between nature and architecture through an unpretentious approach that respects both, merges them and celebrates the blend.

FACT FILE:

The bamboo creates interesting light and shade patterns throughout the day.

Project Location Architect Client Contractors

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House at Panchgani Panchgani, Maharashtra Practice Architecture | Sidhant Dave Vipul Doshi Shailesh J Muley Indian Architect & Builder - Apr 2013

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ROOTS

A contemporary pastiche, Khamir Crafts Resource Centre in Kukma, Kutch designed by Prof Neelkanth Chhaya upholds the cause and relevance of traditional building practices and inscribes its ethos and the idea of timelessness of architecture rooted in identity, authenticity, culture and context.

Text: Maanasi Hattangadi Images & Drawings: courtesy Prof. Neelkanth Chhaya

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n the sparse and barren land of Kutch, a set of sloping roofs lay unassumingly low over the horizon of Kukma village, around 12km away from the town of Bhuj. Looking a touch weary under the unforgiving sun of the region, the Khamir Crafts Resource Centre is a joint exploration of architectural capacities to reawaken a local craft and impart a meaning to tradition far beyond its origin, in the wake of the devastation wreaked by an earthquake in 2001. A collaborative endeavour

by Non-Governmental Organisations [NGOs], Kachchh Nav Nirman Abhiyan better known simply as, Abhiyan and the Nehru Foundation for Development [NFD] building on a proposal by the Government of Gujarat, the design called for repositioning of craft, music and other cultural inheritance in the region, as well as to emphasise the impact of the environment and related issues on their livelihood - supporting a range of community functions both now and with flexibility for the future. In the symbolic landscape laden with possibilities and cultural inheritance, the Centre fosters this socio-economic intent over a built-up area of 2200sqm in the vast Craft Park of two acres. It is embedded in its place and is expressive of it.

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Built in the arid region of Kutch, Khamir Crafts Resource Centre evokes a humble expression of architecture by referring to the artisanry values and building practices of the region.

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Potter Shed

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The Kutch experience, they say, is not based on any single element; one can derive pleasure from even the smallest thing.

The dialects are musical, the customs are colourful and the forlorn earth is at its reclusive best. Familiar shadows slant across the walls of Khamir Crafts Resource Centre. Context is not reduced to temporal or spatial criteria, but it reinforces the visual dimension of cultural knowledge in the design logic into scale and composition, proportion and architectural order.

Remarkably modest in its pronouncement about architecture, it looks into creative possibilities inherent in the tradition. The planning is simple and strong, which comes together through fragmented notions in concordance with the pre-existing scale of the region. The stance assayed by its architecture is thus not one of individual buildings, styles or technology, but rather of ideas of architectural formulation. It is about bringing people together through informal exchanges and encounters.

The movement in the plan is reciprocal to these aspects in its program and conceptualisation both. The building was set in the extensive program where not only would studies in Kutch culture be undertaken, but it would also serve as a multipurpose Indian Architect & Builder - Apr 2013

nucleus for interaction between craftspersons and designers, development of craft techniques and use of materials, business and documentation support, training and enhancement of skill, archiving, data-banks and traditional knowledge systems and sales and marketing.

Typified with the traditional Kutch village space as a point of departure, the plausibility looked at creating “a culturally relevant architecture.� It is all about familiarity. Comfort is the prelude to the space. The streetscape engagement facilitates the architecture to participate rather than to intimidate. As a catalyst for community atmosphere, it establishes a kind of urbanistic relationship which elevates the degree of integrity and involvement both. There is a lack of hierarchy of space, but the realisation is explained by the architects as, “The buildings of Khamir thus emulate the structure of the Indian village: workshop units cluster together to form narrow streets and shaded spaces, and the streets divide and meet in courtyards and chowks. In the harsh climate of the region, the local idiom works better than any other, also providing an echo of familiarity

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The cluster composition of the plan reiterates the idea of a Kutch village .

Stages of Construction

to the craftspersons. The juxtaposition of work, administration, commerce, research and living facilities form one ‘mohalla’, combining many aspects of life in one matrix of buildings.”

In the stratified ‘cluster’, administrative offices and spaces for craft activities staggered along various levels compose the plan. Though internal, the complex resonates with a sense of openness. The circumambulatory path weaves through a series of progressions and pauses - narrow laneways chase the light

Hunnarshala Foundation was involved for skills and building construction techniques.

“The buildings of Khamir thus emulate the structure of the Indian village: workshop units cluster together to form narrow streets and shaded spaces, and the streets divide and meet in courtyards and chowks.”

– Prof. Neelkanth Chhaya

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The spaces are simple and articulated resonating with a sense of openness within.

The making and materiality involve local building practices and a palette of rammed earth, rubble stone, wattle and daub, lightweight metal lath plaster and panelling.

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into courtyards and ‘chowks’, silently basking in the mosaic of materials that surround them. The materiality is contextualised within the discourse of this thought. It is a manifestation of the idea of local availability and sustainability as both, a curatorial strategy and sustainable model. At the core of it all, lays the artisan’s identity and the building is reflective of it as an expression in its designed alcoves, colours and inferences.

The formative principles followed a patient understanding of the landscape, vegetation, geology of the region and perfected a response to the sun by curating the density and porosity of its fabric and orientation. Faceted walls that generate intimate spaces rise from a layered materiality of recycled approach and suitable techniques that reinforce the simplicity, affordability, context and necessity for earthquake-resistant construction and rainwater harvesting techniques and decentralised wastewater treatment. Etching the local sensibility in the building, the detailing developed by Hunnarshala Foundation, a local organisation consisting of architects, engineers and artisans involved diverse elements like rammed earth, rubble stone, wattle and daub, lightweight metal lath plaster and panelling.

Neelkanth Chhaya says, “Built by the Hunnarshala Foundation, an organisation especially conceived to learn, use and promote sustainable practices in construction, Khamir employs unique strategies of making in this earthquake-prone area. Deep rubble stone foundations hold up the ground floors of all the buildings using stone available nearby. The ground storeys of most buildings are constructed in rammed earth: a cast-earth technology in which mud from the site is packed into metal formwork. The walls continue upwards of the lintel using compressed and stabilised earth blocks; reinforced cement concrete makes the slab. Above the ground floor, steel frames take over and support the roof. While the walls between the

The detailing is characterised by simplicity and purposeful inferences of the colourful dynamics of the region - even the doors and windows follow the inherent vernacular patterns of the region.

Orientation and configuration manipulate appropriate breeze flow, reduction of thermal radiation exposure and creation of effective daylight conditions.

Structured together, the workshops, streets and shaded places form courtyards and ‘chowks’.

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The spaces are stark, sparse and reciprocal to the local lifestyles.

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The large gables underneath the roofs filter in soft light through small openings planned in a plaster of Paris sculptural wall.

steel columns are made of wooden frames and infilled with ‘wattle and daub’ (a bamboo lattice covered in mud plaster and finished with lime), the roofs are made with corrugated sheeting covered with country tiling, using a naturally available compound, purlite, as an insulating and binding agent. Locally carved shutters make windows, and doors are made in exactly the vernacular manner. The large gables underneath the roofs, bring in indirect light through a structured plaster of Paris sculptural wall with small openings. Orientation and configuration take into account appropriate breeze flow, Indian Architect & Builder - Apr 2013

reduction of thermal radiation exposure and creation of effective daylight conditions.” Stemming from a balanced and stark overlay of details, the construct possesses a humility with a simple scaled feel. The effortlessness and essence of each derivative is persuasive and relevant. Continuity, both in fact and in metaphor, has been an emerging theme in this project with levels of culture embodied into its form. The ethos establishes a point of view from which the experience of the architecture is perceived. And the architecture reciprocates.

“The impact of the project has been immense,” say the architects, “There is a great increase in the volume of work that craftspeople have done. Awareness about the available skills has spread. Most importantly, the craftspeople have felt completely at home in using this environment to participate in research and capacity-building workshops that are frequently held here. Throughout Kutch today, this experiment in sustainable architecture appropriate to local lifestyles has become known. The methods and techniques used here are being studied by village craftspeople, and may result in adoption of some of the concepts.

All in all, Khamir is a pioneering institution in its activities as well as its physical manifestation; while much remains to be explored and fine-tuned in its new architecture, its language reflects the energy, curiosity and entrepreneurial qualities of the people of Kutch.”

The architecture is not a performance but a prop to an identity. In capturing the spirit of the region, it avoids overt expressiveness and the engagement with vernacular poetics is rooted in

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While the ground floor of most buildings are constructed in rammed earth, the walls continue upwards of the lintel using compressed and stabilised earth blocks and the slab is made of reinforced cement concrete.

subtle shifts. Exposing the aesthetic in the everyday, it offers a contemporary cenotaph that preserves the vibrant culture steeped in craftsmanship in its own way. Tactile, it reaffirms its place as a reappropriation of its locale with vernacular authenticity. There is no false gesture or abstract exercise to it.

The space references a memory.

The architecture upholds various respects – of values, of tradition and identity as a point of reference. The building is a cultural construct based on interrogation of the present proposing a dim outline of an alternative, rather than operating as a reflection in the truest sense of the term; architecture, as a way of being utilitarian, provocative and pragmatic, justifying all that matters.

FACT FILE:

As a symbolic embodiment of the locale, the Centre is an impactful experiment in sustainability.

Project : Khamir Crafts Resource Centre Location : Kukma, Bhuj, Kutch Architect : Neelkanth Chhaya Assistants : Sachin Soni Structural Consultants : Himanshu Parikh Electrical Consultants : Nandish Shah Plumbing : Arvindbhai Mewada Specialised Building Techniques : Hunnarshala Foundation for Building Technology and Innovation Associates : Hunnarshala personnel Project Management and Execution : Hunnarshala Foundation Client : Nehru Foundation for Development, Ahmedabad Year of Completion : 2007 Indian Architect & Builder - Apr 2013

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View of the Book Building exterior, with the contrasting stair and mural.

Building with Words Giving the city a much-needed cultural insert, Chennai-based moad design the Book Building in Thiruvanmiyur as a visual and physical manifestation of the form of a book.

Text: Sharmila Chakravorty Images & Drawings: courtesy moad

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uperficially, books and buildings might not seem to have anything in common. However, if one was to look at the symbolic thread that binds the two together, both encourage one to dream bigger, aim higher; the ability of both to inspire one to transcend the boundaries of reality into the metaphysical realm.

grill at the entrance and windows, the ‘Gond’ art mural on the topmost part of the otherwise white building etc. intrigue even the most casual onlookers. With its appearance from the outside, the building defines itself as an enclosure of all things ‘art’ – unusual, exclusive and approached unconventionally.

Tara Books specialise in handmade artistic picture books for both children and adults alike, collaborating with artists and writers from all over the world. Aptly, the Tara Books Book Building by moad has been designed to exude a similar penchant for customised, expressive individuality. The design interprets the form of a book, and evolves into a tangible manifestation of the same. While only a reading enthusiast can truly appreciate the thought behind the Book Building, the building on the whole is a cultural space for one and all to experience and enjoy.

The interior space is holistically designed; blending together an eclectic program of office, retail, and museum as well as living quarters for resident and visiting artists. All the different spaces within the Book Building are connected either visually or physically, most of them sharing common boundaries. Thus, the design organises the different programs around a set of outdoor spaces, at different levels.

The building, from the outside, is rather boxy. Yet, niches and openings impart a sense of lightness, while details such as the Indian Architect & Builder - Apr 2013

The first level houses the administration and meeting space, as well as the services. A spiral stair leads one to the second level, where the design and director’s cabin are located. A court and accommodation for visiting and resident artists occupies the split

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The entire office space thereby becomes a tangible testimony to what Tara Books is all about.

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The boxy exterior of the Book Building.

The internal space opens into a double-height lobby.

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Murals transform walls into canvases.

The large windows impart lightness to the interior spaces.

The interior space showcases Tara Books’ ethos.

The organically designed stairway to the upper levels.

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second level, and is accessed by an aesthetic spiral stair from the outdoor gallery. The spiral stair contrasts with the white, plain texture of the outside wall, and merges in with the ‘Gond’ mural at the top, thus adding a certain amount of required visual drama.

The design is purposely minimalist; its walls white, devoid of adornment, except for the murals and art works by Tara Books’ artists; the walls are intended to convert into canvases at the touch of the artists’ brushes, taking on a new life. Thus, the interior space of the building is designed so as to transform dynamically over time, always disposed for newer artistic additions. The entire office space thereby becomes a tangible testimony to what Tara Books is all about.

Detail of the grill, looking outward.

Overall, the Book Building is more than just a piece of meaningful architecture. It is a symbolic intervention in a day and age where everything is preferred ‘virtually’. The Book Building is therefore a movement in itself, promoting the ‘real’ world, with books one can touch and feel, and artwork which evolves, transforming the space into a surreal one – where words are the bricks that build it up, and art is the aura that colours the whole.

FACT FILE:

Visual connectivity is maintained throughout the interior space.

Grill derivations and details.

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Project : Location : Architect : Design Team :

Structural : Graphic : Services : Project Management :

Tara Books Book Building Thiruvanmiyur, Chennai moad Mahesh Radhakrishnan, Zahed Mirza, Ludovic Tiollier, Chandrika Ravichandran, Shyni Mathew, Dhivya Ravishankar, Salome Houllier, Ashwin Ashok Kriti Consultants Tara Books moad moad

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The Book Building surprises with unexpected secluded, surreal spaces.

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The modern construct stands in dynamic contrast against its suburban context.

Beacon of Style

A touch of elegance, a dash of comfort and an incessant flow of ingenuity lends character to the residence designed by SAK Designs in Ahmedabad.

Text: Alifiya Mehamdabadwala Images & Drawings: courtesy SAK Designs

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challenge designers often face is how to reconcile the style of a home with a client’s vision of what it should be. The home should reflect the sensibilities of its inhabitants, while at the same time have an imprint of the designer’s style.

SAK Designs was appointed by the client with a brief to design a classy home in Ahmedabad, which was an inspiration to life. At the outset, the architects were given complete freedom to bring in their sensibilities in managing aesthetics with functionality.

The architects then set out to design the house, uninhibited and unshackled by any particular style; trusting their youthful creativity and bringing to life a home that is simple yet modern, echoing with its own distinctive charm.

A walk towards the main gate of this two-storeyed house spread over 6,500sqft makes one immediately notice the elegant look Indian Architect & Builder - Apr 2013

of the house with its white walls, and wooden soffit and door.

The most striking imagery that catches one’s eye is of the long perforated screen in concrete that hangs from the terrace level and the huge granite steps. A sense of mystery prevails, unearthed with every step taken into the interiors.

The main door opens into a vestibule, with a wall clad in triangular sheets illuminated from one side, creating an interesting pattern.

A colourful painting of Lord Ganesha greets the visitor, adding a touch of transparency to the essence of a home. The intricacies of lighting design and spurts of colour in the otherwise white interior space set the tone for the entire site.

The ground floor of the house spans out to accomodate the living room, family den, kitchen and dining area and the guest bedroom.

Glass doors or partitions between spaces help create individual

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CONCEPTUAL ROOF DEVELOPMENT

rooms, yet merge into one another. The living room, situated to the left side of the main entrance, is a formal seating area with a huge window that offers views of the landscaping outside.

The lush trees surrounding the periphery help maintain privacy of the interior space from the adjacent houses. Meanwhile, the adjoining family room opens up to a well-designed verandah with a curvaceous corner seat cast in concrete engulfed by surrounding trees and shrubs. A skylight connects the upper and lower level of the house, while a helix-shaped chandelier hanging from the slanted wooden slab adds a classy touch to the space. The kitchen and the dining area are connected by a wooden window, making the space both efficient as well as private. The contemporary design makes the kitchen user-friendly. A sleek island and counters make for easy flow of movement.

SKETCH OF THE MERGING LANDSCAPE

The staircase acts as the link between the public and private worlds in the house. It has been designed in an artful manner, with Indian Architect & Builder - Apr 2013

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1 Site Entry 2 Parking 3 Entry 4 Vestibule 5 Living Room 6 Dining Area 7 Family Den 8 Verandah 9 Guest Room 10 Kitchen 11 Back Entry 12 Powder Room 13 Service Yard 14 Servant Room 15 Drying Area 16 Wave Seat 17 Pebble Gardern 18 Master Bedroom 19 Dresser 20 Toilet 21 Kids Room 22 Guest Room 23 Bridge 24 Study Area

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The perforated concrete slab at night.

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Triangular cut-outs on the wall are accentuated with lighting fixtures.

solid Burma teak steps and a large leaf-like concrete wall cast as sculpture on the opposite side of the railing. Intimate spaces like a master bedroom, children’s room, guest bedroom and study are acccomodated on the first floor.

The grey and yellow sofas against white walls add an elegant touch to the living room.

The master bedroom is laid out in a simple style with a large horizontal window with wooden louvres that allow enough light into the room without disturbing the privacy. The bathroom and dressing room are once again separated by clear glass and a wooden partition. A light sculpture adorns one of the walls in the bathroom and an island washbasin stands gracefully in the centre, breaking monotony. The bathing area livens up with the daylight that penetrates through the skylight above, making the overall experience spa-like in the comfort of the home.

The eclecticism extends to the large terrace as well, wherein a section has been designed with a sit-out having a bamboo screen, garden chairs, a basket swing and a floating platform; a place to unwind in the evening with friends or family.

The family rooms opens up to the verandah and the wave seat.

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The entire house has been designed in a distinctive style, giving each room an identity, yet making it seamlessly blend with one another. Light plays an important role in accentuating the nooks and crannies and lending dignity to the space. Numerous moods and experiences are shaped with the artistic play of light, bringing an almost ethereal feel to the space, especially at night. Even

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Good lighting and contemprory design ensures easy movement in the kitchen.

A curvy corner seat in the coutyard.

Steps with leaf motif wall lead to the first floor.

Light plays an important role in accentuating the nooks and crannies, and lending dignity to the space. Numerous moods and experiences are shaped with the artistic play of light, bringing an almost ethereal feel to the house, especially at night.

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Ample light perforates the space from the skylight and helix-shaped chandelier.

Elegant and simple is how one would describe the master bedroom.

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though the use of white does not add any newness to the space, the creative use of lighting fixtures, and flamboyantly chic furniture makes for interesting living.

The way a home looks is always unique to those who inhabit it. However, the most basic idea of a home remains constant; a sanctuary, a blanket of safety and comfort, an album of memories created. One’s idea of home slowly enfolds into reality when the sensibilities and style of the architect blends in with the soul of the house. Therefore, in this case, luxury, simplicity and style are definitive!

FACT FILE:

The children’s room is brought to life with the 3D bookshelf and lamps.

Project Location Architect Design Team Client Project Area Civil Contractors Carpentry Contractors Initiation of Project Completion of Project

: : : : : : : : : :

Abhay Shah Residence Ahmedabad SAK Designs Ashish Kesurvala, Jinal Suthar Mr. & Mrs. Abhay Shah 6,500sqft Patel Engineers Shantilal Mistry Oct 2010 Oct 2012

Cozy sitout area on the terrace.

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The Chapel perches atop a mountain like a single colossal boulder.

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A composition of concrete and light mourns death and inspires new beginnings at once.

A Transcendental Transition Indestructible as a boulder and ethereal as light, the Sunset Chapel in Acapulco by BNKR Arquitectura provides apropos refuge for convalescence after the loss of a loved one, through a simple composition of concrete and light, that mourns death and inspires new beginnings, both, at once.

Text: Shalmali Wagle Images & Drawings: courtesy BNKR Arquitectura | Esteban & Sebastián Suárez | Jaime Navarro

“For tho’ my lips may breathe adieu, I cannot think the thing farewell.”

-Alfred Lord Tennyson

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ifferent cultures have different ways of paying respects to their dead. While some attempt an eternal preservation of their remains, others celebrate their lives with monumental tombs; some make them a part of their atmospheres through cremation, others let them travel the world through watercourses, and yet others implant for them inconspicuous serenity in the womb of Mother Earth. However, the fact remains that the physical departure of someone beloved seldom translates effortlessly into a psychological acceptance of farewell, more so when a considerable period of recuperation is lacking. The dead depart, but sorrow lingers…

Now, architecture has succeeded in devising ways to satisfy practically every need that one may encounter in the physical realm and every emotion that makes its presence felt in the experiential tangent. Even so, bereavement over the demise of a loved one, an exceedingly ubiquitous emotion, futilely looks for comfort amidst the celebrations of the cathedral or within the solemn silence that is the cemetery, or simply amid the untouched tranquillity of nature; the reason being that the journey to regeneration, in itself, is an extremely private one.

The Sunset Chapel in Acapulco by BNKR Arquitectura unites the physiognomies of the two natural antagonists, life and death, in a haven solely dedicated to the recuperation of those individuals left behind by their loved ones in passing. With a spectacular play of the contrasts – light and shadow, solid and void, order and chaos – and the backdrop of natural landscape, Indian Architect & Builder - Apr 2013

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the Chapel metaphorically merges elements and emotions together to evolve as architecture in utopian synchronisation with the cycle of continuous renovation.

Chapels are usually erected in celebration of life, faith and delight: the structure embodies transparency; the experiential impact is joyous, even though ephemeral and ethereal; and the use of classical proportions, a common inclination. On the contrary, cemeteries mourn death: they bring with them ideas of loss, suffering and ceaseless sorrow; the experience is heavy, indestructible and lasting, the architecture being apparent of this underlying chaos. The Sunset Chapel pursues a combined premise arrived at through its purpose, a permutation of the essential mourning of death, and the hopeful stimulation of acceptance, resurgence from tragedy and new beginnings.

The minimal steps and pebbled pathway lead to the entrance.

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The hills of Acapulco comprise of huge granite rocks piled one on top of another; the landscape is raw and the surroundings natural. In a purely mimetic endeavour, the 120sqm Sunset Chapel inconspicuously perches atop a mountain like a single colossal boulder itself. Designed predominantly with concrete, the chapel radiates the irreversible permanence of death through the inherent solidity and visual immensity of the material. Physically, the design is minimal, revolving entirely around its function and the simple, almost na誰ve, client brief.

But deeper, in essence, it understands the sentiments that accompany death, its ambience empathetically connecting with the anticipated reactions to it and its structure mutely providing a setting for internal healing after the occurrence.

A simple gesture in the landscape, the chapel instinctively adopts the natural views in its vicinity, utilising their inherent

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The structure creates minimal impact on the existing site.

therapeutic qualities, making them the focal point in its conception, both physically and figuratively. The large trees and abundant vegetation that threaten to block the vistas are humbly conquered with a raise in the level of the chapel by five metres. This, in turn, generates a theatrical build-up to the main Chapel while preserving the exotic vegetation that surrounds the otherwise virgin oasis. The design makes the least possible impact on the existing site, reducing the footprint of the building to nearly half the floor area as the level above.

The entrance to the Chapel is rather unassuming, with minimal steps in the landscape and a pebbled pathway leading to the sharp dramatic cave-like opening in the crystal-shaped concrete boulder. The building stands blatantly stark, stripped of any superfluous elements that distract from its inherent essence. Its minimalist exterior rejects any traces of religious paraphernalia, besides the single traditional cruciform, towering over the mountain.

The bare, overwhelmingly insipid walls reflect the grim mood of the purpose, almost as if intentionally attempting to summon one’s internal distress by triggering the memory and senses through tools of space and surface. And then, as if hoping to shatter the purposeful solemnity proclaimed by this immediate interior, black suspensions of the staircase embrace one as the first signs of warmth and security at the rear end of the chamber. The staircase, in itself, creates a substantial Indian Architect & Builder - Apr 2013

The sharp, dramatic cave-like opening.

cocooned journey from grim darkness to the filtering light of the Chapel above, all the while allowing solemn moments of contemplation. The gradual transition from darkness to light unintentionally becomes a metaphor for the power of resurrection from death to life over time, as the upper level clasps the natural light filtering in through the vertical slit-like openings along its walls. Sorrow, regret, guilt, helplessness, frustration, anger - the chaos of such and parallel emotions is reflected well by the violent oblique walls and the vertical cuts effected in the façade. While the walls, ceiling, floors and seating imitate the forbidding theme of hyperbolic seriousness through ‘organised complexity’ of order and spontaneity, the continuing drama of gravity culminates with the brilliant gleam of the glass cruciform and the limitless sky beyond.

The design is manipulated to ensure that the sun sets exactly behind the altar cross during the equinoxes. With the hours of the day and the situation of the sun, the structure itself undergoes an inspiring transition as one observes the inanimate rock-like edifice radiant with the glow of the light within as night falls. The allegory is simple, of death, of an inward journey through silence, and of coming back to life.

There is, indeed, an enormous difference between structures that embody ‘life’ and those that embody ‘death’, though both are buildings are meant to symbolise, even contribute to ‘regeneration’. Unfortunately, many a time, the currently

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The bare, insipid walls reflect the grim mood of the purpose.

The staircase creates a substantial cocooned journey from darkness to light.

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The chaos is reflected well by the violent oblique walls and the vertical cuts.

fashionable architecture fails to take notice of that difference, or at least, of how it is to be reflected in relation to sentiments that are particularly individual an affair.

The beauty of the Sunset Chapel lies in its raw simplicity. It appears, more than anything else, to have a soul of its own that penetrates the souls of those within with compassion and concern. Its noiseless walls convey an intimate and private experience that remains shared between the user and the architecture alone. It inspires silence; it offers contemplation; and in the process, it manifests regeneration.

FACT FILE: Project : Location : Architect : Project Leaders : Design Team :

Structural Consultants : Contractors :

Indian Architect & Builder - Apr 2013

Sunset Chapel Acapulco, Mexico BNKR Arquitectura Esteban Suárez, Sebastián Suárez Mario Gottfried, Rodrigo Gil, Roberto Ampudia, Javier González, Óscar Flores, David Sánchez, Diego Eumir, Guillermo Bastian, Adrian Aguilar Juan Felipe Heredia, José Ignacio Báez Factor Eficiencia – Fermin Espinosa, Francisco Villeda

The cruciform and the sky beyond.

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The walls, ceiling, floors and seating imitate the hyperbolic seriousness.

The Chapel looks into the landscape beyond.

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MUSICAL MANIFESTATIONS STUDIO 7 CONSULTANTS PVT. LTD, CHENNAI Studio 7 Consultants Pvt. Ltd., a six-year-old firm, practices through constant research, in order to find the best possible site-based design solution that suits the client, in terms of time, quality and cost.

Text: Alifiya Mehamdabadwala | Images & Drawings: Studio 7 Consultants Pvt. Ltd.

The Swarnabhoomi Academy of Music near Chennai, designed by Studio 7 Consultants Pvt. Ltd., embodies simple yet distinctive principles of architecture, where intersection of communities and ideas is sought through music.

“Inspiration is the moment when the desire to express meets the possible.” - Louis Kahn

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usic is the common thread that binds people together irrespective of their nationality, culture or creed. Creating a space that is just not a building, but a congregation, where an exchange of ideas and thoughts takes place resonating a globally rich environment, is a gigantic task. Swarnabhoomi Academy of Music commissioned Studio 7 Consultants Pvt. Ltd. to build, a first-of-its-kind institute of music within India with a subject and team which is global and cross-cultural in nature. The architects therefore set out to create a distinctive campus, which was representative of the Indian culture yet spoke a global language.

The academy, sprawled over a 4-acre site, is part of the larger 600-acre Swarnabhoomi satellite township at Seekinankuppam, East Coast Road, near Chennai. The academy stands closer to the lake, lending natural scenic value. It is divided into three sets of three scales each – a training hub, an administrative hub and a cluster of practice rooms.

As one walks towards the academy, the first impression one gets is of an earthy-looking structure, the roof of which resembles Indian Architect & Builder - Apr 2013

a piano-lid. This is the training hub which comprises ensemble rooms, recital halls, piano lab, kitchen etc. With the purpose of creating a lasting impression on the mind of musically inclined people, the architects ended up designing the grand piano-like building.

A place for studying music should be an inspirational space and one that is well lit and ventilated. Technical factors to consider when designing these spaces are acoustics, volume, interior materials, noise and vibration control, lighting systems, and sound systems (for large performing space). In accordance, the design of the building incorporates cut-outs in corridor slabs and skylight which separate the training hubs from the dining area/kitchen on the ground floor, and on the second floor; it divides the roof garden from the training hubs.

The sounds generated from the rooms are not allowed to reach the structural framework of the building, especially the roof slab. Spring isolators for ceiling suspension; ensure that the sound transmission does not reach the roof slab. Thus, the sound generated within a room is first isolated and then deflected. The single-storeyed administrative facility separates the academic facility and the practice areas. It houses all the staff rooms, offices and

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The Swarnabhoomi Academy of Music epitomises minimalism and openness in design.

A landscaped seating area outside the Academic Hub. Indian Architect & Builder - Apr 2013

98 71800 06

01

09

7000

10

129500

03

11

03

03

03

03

Legend

03 03

69750

03

03

03

03

04

03

03

05

29200

02

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03 03

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1. Academic Block 2. Admin Block 3. Musical Hut 4. Toilet 5. Car Parking 6. Entry/Exit 7. Open-air Theatre 8. Area for future Expansion 9. Landscaped Court

65300

07

70800

SITE PLAN Roof top lvl + 10190

1st floor lvl + 4500

Plinth lvl + 750

Skylights

Private Drums Lab

Library Corridor

Ensemble Room

Private Guitar Lab

Private Piano Lab

Large Recital Hall Corridor

Roof top lvl + 4425

Corridor

Media Room

Plinth lvl + 750

Corridor

Staff Room

Waiting Lounge

Faculty Office

SECTION AA’

Roof top lvl + 9300

Roof top lvl + 7650

Skylights

Landscaped Terrace

Private Bass Lab

Library

1st floor lvl + 4500

1st floor lvl + 4500 Cafeteria

Plinth lvl + 750

Digital Piano Lab

Grand Stair case

Ensemble Room

Large Recital hall 2700 Plinth lvl + 750

SECTION BB’ Indian Architect & Builder - Apr 2013

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01

01

01

99

08 06

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20866

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Corridor

02 03

07 10

6000

11

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01

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20270

Academic building

01

11370

01

Legend

8360

31680

2455

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1. Ensemble Room - 1 2. Ensemble Room - 2 3. Large Recital Hall 4. Medium Recital Hall 5. Safe Room 6. Kitchen 7. Dining 8. UPS Room 9. EB Room 10. Digital Piano Lab 11. Media Room 12. Toilets 13. Admin - Reception 14. Faculty Office 15. Waiting Lounge 16. Staff Room 17. Room for President 18. Room for Director 19. Room for Vice President

14435

20275

18

16

19

8360

17

13

2450

19175

15

12

8360

14

GROUND FLOOR PLAN

Administrative building

14 14 14 11

11

10

13

4900

11

14 14 14 14 14 14

2455

11

13

10530

04

12

02 Corridor

31680

Corridor

07 09

09

09

07

04

15

04

2455

09

2980

46075

Corridor

Legend

02 08

08

06

05

05

05

01

03

28235

19175

6000

Academic building

28235

Open Terrace

8360

02 7115

10725

1. Indian Percussion Lab 2. Private Indian Percussion Lab 3. Voice Lab 4. Private Voice Lab 5. Private Piano 6. Bass Lab 7. Private Bass Lab 8. Guitar Lab 9. Private Guitar Lab 10. Drums Lab 11. Private Drums Lab 12. Library 13. Toilets 14. Practice Room 15. Landscaped Terrace

Administrative building

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View of Admin and Academic buildings from the huts.

The Piano lid-shaped roof comprising the roof garden.

White poles suspended from the roof at various angles make for an interesting design element.

The architects have meticulously designed the spaces in the institute in a sequence corresponding to their degrees of privacy. Hence, the most formal spaces are at the front while the intimate spaces are at the back.

The buildings span out on site creating spaciousness and maintaining varying degrees of privacy.

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The skylight helps sunlight percolate the space.

The central staircore leads to the labs and library on the first floor.

Huge doors and windows welcome the outdoors into the otherwise isolated musical huts.

The landscaped garden leading to the musical huts.

conference facilities and shares a common inviting plaza with the academic facility.

A total of 17 musical huts (practice rooms) are scattered as stand-alone structures amidst beautifully landscaped open areas.

These huts are open on either sides with sound-proof doors and slit windows, thus linking the built space with the open. The architects have meticulously designed the spaces in the institute in a sequence corresponding to their degrees of privacy. Hence, the most formal spaces are at the front, while the intimate spaces are at the back.

The stone pathways and the lush green gardens add a touch of tranquility to the place, symbolic of the purpose of the institute where students are encouraged to embrace and inspire through the creation of music. The various grass joints and angular tracts of lawn, have been carved to trap the dust laden winds from most of the sides, except for the lake-abutting sides. The design has been inspired from the musical notation for neutral clefs, creating one more connection in design to music.

The ochre yellow-coloured paint of the building merges into the coastal rustic brown, borrowed from the native landscape.

A careful and well-planned approach towards the usage of sustainable building materials resulted in the academy receiving the LEED accreditation. While a cool roof high-albedo paint was

used on top of the piano-shaped roof, FSC wood, zero-emissive paints, VRV system for HVAC, acoustic carpet and other IGBC-LEED certified materials made the overall palette look more versatile.

Music reverberates in every nook and corner of the premise, dousing the soul in an environment of well-thought-of structures that positively influence the flow of sounds emanating from the guitar, bass, drums and piano. The vitality of the location and the program are therefore reflected in the simplistic and underplayed architecture. The project serves as the catalyst for the transformation and opening up to students from around the globe, which blends in perfectly with the culture and atmosphere of its surroundings.

FACT FILE: Project : Location :

Client : Architect : Project Area :

Contractors :

Initiation of Project : Completion of Project :

Swarnabhoomi Academy Of Music (S.A.M.) Seekinankuppam, East Coast Road, Near Chennai, Tamil Nadu Swarnabhoomi Academy of Music Studio 7 Consultants Pvt. Ltd. Site Area: 4 acre Built-Up Area: 31,500sqft (approx.)

Civil/Electrical – MARG Acoustics – Santhoshi India HVAC – 99 Chills February 2010 October 2010 Indian Architect & Builder - Apr 2013

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Cover.

Vikramaditya Prakash authors a much-deserved book on the work and practice of one of India’s original modernists, veteran architect Shivdatt Sharma, with insights into his life, his influences and his affinity towards the architecture of Chandigarh.

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hivdatt Sharma is a guardian of a unique legacy that captured the imagination of many architects in the post-independent history of Indian architectural practice: the legacy of Le Corbusier. Sharma’s work is crucial to understand the ideological continuity of Corbusier’s ideas on architecture and the multiple practices that they subsequently generated.

Foreworded by Balkrishna Doshi, the initial section of the book takes the reader through the context of Sharma’s works – that of his ideas and influences. The essay, ‘A Cubicle of Modernism in India’, discusses the idiosyncratic idiom of crediting the development of Chandigarh as a modern city primarily to European architects: Corbusier, Jeanneret, Maxwell Fry and Jane Drew. Prakash writes, “Sharma learnt his modernism in the trenches, the hard way.” Like many of his contemporaries, Shivdatt Sharma’s practice and his architectural language is greatly influenced by what he learnt from them. But the Indian Architect & Builder - Apr 2013

Essay by Vikramaditya Prakash – introduction to the book.

book highlights a personal struggle – that of rediscovery and affirmation of Sharma’s personal ideas that evolved and deviated from his experience with Jeanneret.

Prakash writes about the deviation and evolution of what he calls the ‘Chandigarh Style’ by writing: “The laws of the Chandigarh Style were that local materials (brick, concrete, stone) were to be used; simple yet innovative building techniques were to be adopted; orientation, daylighting and natural ventilation of all spaces was required; program was to be distributed rationally and efficiently; and all materials should be used unadorned, as far as possible.” This statement does give a code of ideas that is the philosophical foundation to Shivdatt Sharma’s practice but as the book progresses in the second half with project profiles, one realises that Sharma’s architecture goes well beyond the confines of this idiom.

The deviation to the norm is evident in the Museum of Science building he designed and the book chronicles. Although the building is thoroughly a ‘Chandigarh Style’ building, there are elements like the brilliantly balanced cylinder that comes out of the ground without the plinth and the asymmetry of the plan; ideas that characterise Sharma’s independent work.

The initial section of the book also has a transcribed conversation of Shivdatt Sharma with Juichi Iida and Rakib

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Double-spread from the book.

Akhtar followed by a introspective essay by Sharma titled, ‘Lasting Lessons from Legends – a Testament’, in which he casts a light on his work in the context of his past and his encounters with the masters.

The book, although a monograph, is a valuable addition and a comment on the surviving ideas on the re-interpretation of modernism and modern architecture in India. It is simply written, clear and open to many interpretations as the author is careful not to be judgemental – but perceptive.

As a chronicle of the architecture of Shivdatt Sharma, one realises that his work is a consistent search in ‘dignity without ostentation’ – something Sharma attributes to Jeanneret in his essay. The book adds significantly to the library on Indian Modernism – a collection that is incomplete without Sharma’s inclusion.

FACT FILE: Book : Architecture of Shivdatt Sharma Author : Vikramaditya Prakash Publisher : Mapin Publishing Pvt. Ltd. Language : English ISBN : 978-81-89995-67-6 Reviewed by : Ruturaj Parikh

The steel frame at the Carmel Convent School in Chandigarh. (Scan from the book)

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Traces of Struggle In a compelling photo-journal, Surendra Lawoti attempts to capture the many sides of struggle – political and domestic – in his Nepal, in this edition of Space Frames curated by Dr. Deepak John Mathew.

Photographs: Surendra Lawoti Curated by: Dr. Deepak John Mathew (dr.djmathew@gmail.com)

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epal has gone through dramatic transformation. After 239 years, monarchical rule has come to an end. The country witnessed a decade-long Maoist rebellion that resulted in over 16,000 deaths, and displacement of over 100,000. Various social and political movements, and discourses of equality and justice have heightened. Last May, the elected Constituent Assembly was dissolved after it failed to deliver its mandate of writing Nepal’s constitution after four years of deliberation. Now there is a precarious political vacuum. A caretaker government runs the country as it tries to navigate uncharted waters of running a country with an interim constitution that can be interpreted differently; depending who interprets it. And of course, there is the meddling in affairs by foreign powers such as India, US and China.

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Surendra is interested in engaging with those who have been historically marginalised and their collective struggle for liberation.

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The images are from Surendra’s trip to Kathmandu from the last summer. During these seven weeks, Surendra photographed on the streets of Kathmandu, photographed its landscape, visited squatter settlements, visited offices of political parties and met with social activists, political activists and intellectuals.

He has also visited manpower agencies, newly built housing colonies and other places that reflect the social and political vernacular of Nepal. Just as Bagmati River meanders through Kathmandu Valley, inequality and its political struggles during a vacillating process of democratisation run through the heart of this body of work. Surendra is interested in engaging with those who have been historically marginalised and their collective struggle for liberation. Similarly, he is also interested in the embodiment of space and place, physical and metaphysical, personal as well as political. This work is about human struggle, introspection, discovery and liberation. It is about a landscape going through transformation.

Space Frames investigates issues of architecture and environment through the medium of photography. To contribute, write to us at iabedt@jasubhai.com or to the curator Dr. Mathew at dr.djmathew@gmail.com.

Indian Architect & Builder - Apr 2013

Space Frames Apr 2013: Traces of Struggle Indian Architect & Builder Magazine

Space Frames investigates issues of architecture and environment through the medium of photography. To contribute, write to us at iabedt@jasubhai.com or to the curator Dr. Mathew at dr.djmathew@gmail.com.

Surendra Lawoti Surendra Lawoti was born in Nepal. After completing high school, he moved to the US, where he studied Photography in Chicago and Boston. He has made Toronto, Ontario his home since 2008. His work has been exhibited internationally in the past 12 years. He has received awards from Ontario Arts Council, Artadia (Chicago), Dept. of Cultural Affairs, City of Chicago and others. His past photography projects have included photographing within the Nepali Diaspora in Chicago, Michigan and Boston. A major part of his work deals with home, migration, loss, and sense of longing and belonging. Amidst the precarious tussle between nature and urbanisation, the work looked at a group of people living in the peripheries of the mainstream society. As an artist, he is interested in the human experience amidst the forces of social and political transformations. His Nepali Diaspora work dealt with the migratory landscape in a post-9/11 period.

He is represented by Gallery Kayafas in Boston and teaches as a Sessional (Adjunct) Faculty at Ontario College of Art and Design University.

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