IA&B August 2011 by Indian Architect & Builder Magazine

` 150 AUG 2011 VOL 24 (12)

Focus: Extreme Architecture

understanding new tectonics

IA&B - AUG 2011

let’s partner

Truth, Light and Poetry Alberto Campo Baeza, master architect and architectural thinker talks about the essential nature of his designs in conversation with IA&B. Photograph: courtesy Estudio Alberto Campo Baeza

Spanish architect Alberto Campo Baeza graduated from E.T.S. Arquitectura de Madrid in 1971. Alberto’s architecture celebrates the fundamental forces of design and is driven by logic and functional austerity. Alberto was the Chairman and Professor of Design in Madrid and has taught extensively in schools of the likes of University of Pennsylvania, BAUHAUS, Colombia and Harvard. His highly acclaimed work has been chronicled in journals, exhibitions and monographs. Alberto’s office in Madrid has designed buildings in some of the most significant places in Spain, Europe, North America and Africa. IA&B: How do we define the architecture of Alberto Campo Baeza? ACB: Poetry. I am trying to build very essential architecture, using not more than the precise number of necessary elements to do so, as in poetry. I like to call my architecture poetical. IA&B: You have been a close witness of multiple architectural and political eras. Is your architecture free from its contextual readings? ACB: Truth. We must be the architects of our time. We must open new ways of doing things with our technologies but this does not mean running behind fashion. I try deeply to understand our millennium; to produce work capable to resist time, capable to remain in the memory of humanity and capable to remain in history. I am “looking for the truth to find beauty”, as Plato said. IA&B: Talking about masters and mentors, who or what were the defining influences in your architecture? ACB: Mies van der Rohe and Le Corbusier primarily. I am inspired by Alejandro de la Sota of Spain and Alvaro Siza. I admire Tadao Ando, Richard Meier, Norman Foster, Eduardo Souto de Moura, Davis Chipperfield and Steven Holl. IA&B: You have talked about the relation between ideas and forms in your architecture. What, according to you, is the connection between the two? ACB: I continuously repeat “Architectura sine idea, vana architectura est”, which means: Architecture without ideas is vain and empty. Ideas remain, forms disappear. IA&B: Can we call your architecture minimal? ACB: Call it ‘essential’. I reject and refuse the ‘minimal’ label. Being minimal in architecture means expressing nothing and less than nothing. I guess they

are trying to say ‘essential’. Or even better; ‘poetical’. Poetry is not a literary minimalism, poetry is only poetry. IA&B: If we are to look at your designs and find a common thread that runs through all your architectural endeavours, what would that thread be? Is the colour white a part of it? ACB: Light. The white colour is not a key element. White is important because it is capable to reflect the light in a pure way. Nothing more than that. The central element of my architecture is light. I believe that light is the principal material used by architects to build architecture. I repeat “Architectura sine luce nulla Architectura est” meaning, architecture without light is nothing. Light is the most luxurious material used by architects. IA&B: “Architecture is a synthesis of rational construction and irrational emotion”. Please elaborate on the thought. ACB: Think beauty. If we can’t move people with our work, it is not worth it. We accomplish the first two Vitruvian Principles, ‘Utilitas’ (utility) and Firmitas (firmness) to get the third, Venustas (beauty). “To get to the Truth, to get to the Beauty” are my goals. To achieve this, it is sometimes necessary to use your head and to block your heart. IA&B: What are your thoughts on the significance of ‘abstraction’? ACB: Architecture is a matter of logic. The mind is the first instrument for an architect, the reason being its first premise. Without an idea capable to be built, architecture cannot happen. Good architecture requires a lot of time. IA&B: Have you been to India? ACB: It has been long since I am in love with India. Yours is a great country. I must come to India. Every day I receive a lot of letters from students from India, applying to come to work at my office.

To read more on Alberto Campo Baeza’s Work, go to the feature titled ‘Light & Logic’.

LET’S PARTNER Truth, Light and Poetry Alberto Campo Baeza shares the elemental essence of truth, beauty and light that form his design ideologies in a conversation with IA&B.

26 Chairman: Jasu Shah Publisher: Maulik Jasubhai Chief Executive Officer: Hemant Shetty

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

EDITORIAL

Assistant Editors: Maanasi Hattangadi, Ruturaj Parikh Writers: Hina Nitesh, Rashmi Naicker Design Team: Mansi Chikani, Prasenjit Bhowmick Events Management Team: Abhay Dalvi, Abhijeet Mirashi Subscription Team: Sheetal Kamble, Dilip Parab Production Team: V Raj Misquitta (Head), Prakash Nerkar, Arun Madye

CURRENT

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Establishing a connection between nature and upcoming workplaces, Nirmal Lifestyle’s Discovery Offices aim to be deviant.

Eastern Express Highway in Thane is a concept being constructed by Development Design Group Inc (USA).

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Beirut Residential Building Accent Design Group’s Beirut Residential Building presents an individualistic concept of a high-rise set amidst an existing fabric.

TECHNOLOGY Emerging Reflections Experiential and urbane – The Stockholm Sphere by Bjarke Ingels Group has been designed as a pluralist composition of elements.

POST EVENT Nerolac Earth Matters “Ideaz that count” Kansai Nerolac in association with Indian Architect & Builder presents a multi-faceted platform on sustainability in the form of Nerolac “Earth Matters “Ideaz that count”.

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Discovery Offices

ARCHITECTURE Search, Sensibility & Sensitivity With natural textures and an earthy feel, Mancini Enterprises delineate a harmonic and tactile visual for The Park on Vembanad Lake and Ingadi, a South Indian retreat in the countryside.

A Designer’s Abode Sensitive in its approach, architect Babu Cherian’s weekend home in Kozhikode, Kerala is envisaged as a place for the carefree mind and contemplative spirit.

INTERNATIONAL Light & Logic The spirit of light enhances Miesian discipline of order and formal articulation in the Junta De Castilla Y Leon building in Zamora designed by Alberto Campo Baeza.

COMMENT The Design We Forgot to Do Two real-estate ventures by realty firm DBS contemplate the potential to revive housing as a central solution to urbanisation and manipulate design as a tool to empower the poor.

128

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130

DELHI DIALOGUES DESIGN4BETTERCITY

Transparence

In the column curated by arch i, the fourth installment in this series is a compilation of short pieces by authors associated with DELHi 2050, from various design disciplines, discussing how they can help in shaping cities.

A built expansion of the natural white of snow, ice and ‘snice’, the ICEHOTEL offers a new experiential design in hospitality.

110

The Point Of Departure Norman Foster’s Spaceport America for Virgin Galactic is a transformative concept of a boarding platform for space.

116

136

SPACE FRAMES Coloured Vivek Vilasini presents a satirical statement on the contagious and unique suburban phenomena in Kerala in this column curated by Dr. Deepak J. Mathew.

In the Realm of the Unknown RAMA <Rover for Advanced Mission Applications>; a mobile research laboratory to explore Moon and Mars has been designed by LIQUIFER Systems Group, a multi-disciplinary design and development practice with offices in Mumbai and Vienna.

122

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ART Scale, Element, Time – A Canvas A composition of scale, mass and creativity, the Leviathan by Anish Kapoor elevates a sense of discover and awe for the visitor.

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Ima Co v e r

t n; o rg a t h e A r t i s M e nd D av e: © Kapoor a g a r Im sh Co v e t e s y : A n i Co u r

p Bal

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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26 IA&B - AUG 2011

current Lighting Design Awards 2012

eVolo 2012 Skyscraper Competition

Category Type Deadline

: : :

International Open to all October 7, 2011

International Open to all January 17, 2012

The 10 th annual Lighting Design Awards (LDA), to be held in London in March 2012, will celebrate the best talents of lighting design practice. Entries will be judged and awarded across categories like light sources, lighting controls, internal and external luminaries, exterior lighting, heritage, workplace lighting, large and small retail, leisure lighting, public buildings, hotel and restaurants, special projects, low-carbon lighting, and international exterior and interior lighting. Also, awards would be presented to the ‘designer of the year’ and ‘design practice of the decade’. Interestingly, the Awards will also feature a ‘daylight’ award, for the first time in the history of LDA to recognise daylight design in the UK. Prototypes will not be considered for the Awards. All non-UK projects shall be considered for the international category.

eVolo 2012 Skyscraper Competition seeks entries from students, engineers, designers, and artists from across the globe for a skyscraper that takes into consideration the latest advances in technology, the exploration of sustainable systems, and the establishment of new urban and architectural methods to solve economic, social, and cultural problems of the contemporary city, including the scarcity of natural resources and infrastructure and the exponential increase of inhabitants, pollution, economic division and unplanned urban sprawl. The competition is one of the most prestigious awards for high-rise architecture. The award recognises outstanding ideas that redefine skyscraper design through the implementation of novel technologies, materials, programmes, aesthetics, and spatial organisations along with studies on globalisation, flexibility, adaptability, and the digital revolution.

For further information, log on to: Web: www.lightingawards.com/home

For further information, log on to: Web: www.evolo.us

2012 Rome Prize Competition Category Type Deadline

: : :

International Open to all November 15, 2011

The American Academy in Rome seeks applications for the 2012 Rome Prize competition. It is one of the foremost centres for independent study and advanced research in the arts and the humanities, and is set to offer up to 30 fellowships for periods between six months to two years. Stipends for both, the six-month and the 11-month fellowship are to be awarded. Fellowships would be awarded in the fields of architecture, design (including graphic, fashion, interior, lighting, and set design, engineering, urban planning, and other related design fields), historic preservation and conservation (including architectural design, public policy, and the conservation of works of art), landscape architecture, literature, musical composition, visual arts, ancient studies, medieval studies, renaissance and early modern studies and modern Italian studies. For further information, log on to: Web: www.aarome.org

2012 Mock Firms International Design Competition

COMPETITIONS

: : :

Category Type Deadline

: : :

International Open to students January 6, 2012

Blue Award 2012 Category Type Deadline

: : :

International Open to students February 1, 2012

The Blue Award 2012 has been organised by the Department for Spatial and Sustainable Design from the Vienna University of Technology. The Award is a biennial international student competition that honours projects that address sustainability in the academic fields of architecture, regional planning and urbanism. The projects are required to have a comprehensive outlook, sustainable and future-oriented designs. The economical, cultural and social dimensions of sustainable development should be equal in significance to the classical problems of technique and function. The Blue Award 2012 will be handed out in three categories such as urban development and transformation, and landscape development, ecological building and building in existing structures. For further information, log on to: Web: www.blueaward.at

A’ Packaging Design Competition Category Type Deadline

: : :

International Open to all February 29, 2012

The 4th annual Chicago-based Mock Firms International Design Competition is one of the most highly regarded student-based design competitions. This year, the theme for the competition has been selected as versatility, and Beijing, China (for the collegiate division), and Detroit, Michigan (for the high school division), have been selected as the sites for participants to design a ‘mock’ mixed-use tall building or single-family residence. The competitive events draw the best talents from across the world to showcase their designs. The competition shall be a unique platform for design students to interact with leading professionals from the field and pitch their design concepts directly to the professionals to receive valuable feedback.

The A’ Packaging Design Competition is a freestyle design competition open to both concept-stage and realised works designed by professional and young designers, design companies and other business in this industry worldwide. The A’ Design Award for Packaging is essentially an indicator of quality and perfection in design and recognised the world over, making it much more influential and important compared to other usual awards. Winning the A’ Award is, therefore, more like having a certificate of excellence for the product. The winners of the A’ Design Award for Packaging are provided extensive and exclusive marketing and communication services to promote the success of winning the A’ Award. Furthermore, the winning designs appear on the A’ best designs book, which is available worldwide.

For further information, log on to: Web: www.chicagoarchitecturetoday.com/mockfirms.htm

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

IA&B - AUG 2011

current LoveLight 2011

Tokyo Designers Week 2011

Date : October 6, 2011 Venue : London, UK LoveLight 2011 is a one-day conference that puts light and lighting at the heart of architecture. The conference is intended to inspire not only architects, but also professionals affiliated to lighting and interior design. The conference would have exciting events, innovative and interactive lighting design workshops, and the change to interact with esteemed professionals from lighting and allied industries. There would also be an opportunity to experiment with an innovative and useful lighting kit that would be provided to all participants by the exhibitors. Speakers from leading architectural and lighting design practices would inspire participants, while manufacturers would satiate queries regarding lighting effects. Also, there would be a TechTouch Lounge wherein participants can interact and engage with the latest innovations in lighting technology. Similarly, a Guerrilla Wall, which uses iPads to project innovative designs on a wall in the exhibition area, would serve as an interactive space.

Date Venue

For further information, log on to: Web: www.we-love-light.com

ET ACETECH 2011

Memoria Romana: Memory in Rome and Rome in Memory Date Venue

: :

October 14-16, 2011 Rome, Italy

The three-day international conference will focus on studying the role of memory and memorialisation in a variety of aspects of the Roman culture such as art, architecture, literature (including historiography), social history, and religion, amongst others. Renowned architect Daniel Libeskind will give the keynote address. The conference will present a unique chance for artists and scholars to spend time interacting and working in one of the oldest, most cosmopolitan cities in the world. The richness of Rome’s artistic and cultural legacy and its power to stimulate creative thinking served as the initial impetus for the Academy’s founding and now, the conference.

For further information, log on to: Web: www.tdwa.com/en/

Date Venue

: :

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

Sydney Architecture Festival 2011

Date Venue

October 19-30, 2011 Sydney, Australia

November 3-6, 2011 Mumbai, India

ET ACETECH 2011 is an exciting trade venture dedicated to the architecture, construction and engineering industries. The Mumbai event is the first in this series, with ET ACETECH 2011 to be held across India in cities like Chennai, Delhi, Bengaluru and Hyderabad subsequently. The fair will provide access to the latest construction technologies and feature conferences and seminars that will be headed by distinguished professionals from the industries. With the Indian construction industry growing at a rapid pace, the fair presents infinite opportunities and possibilities for exhibitors and visitors. ET ACETECH 2011 will therefore present newer brands the opportunity to gain exposure within the industry while giving established brands a chance to reinforce their expertise. Events at ET ACETECH 2011 include lighting forum, green forum, design wall, mockup studio, as well as the ACETECH awards.

imm cologne 2012

: :

November 1-6, 2011 Tokyo, Japan

The Tokyo Designers Week 2011 will see Florian Busch as the TDW show designer. The exhibition ground itself would be treated as a giant design project by Busch and his team. The Environmental Design Tent will be a new exhibition space combining environment, design and art. There would also be a Student Exhibition Plus for undergraduates, work designers as well as members of the public. It will include exhibitions across eight creative disciplines such as architecture, interior design, product design, graphic design, fashion design, textile design, media art and fine art. The TDW will also have the Container Exhibition for the 9 th year in a row, challenging designers to use sounds, light, darkness, and the senses of smell and touch to design around the constraints of a shipping container.

For further information, log on to: Web: www.aarome.org/events/calendar/2011-10

Date Venue

EVENTS

: :

January 16-22, 2012 Cologne, Germany

The sole architecture festival in Australia, the Sydney Architecture Festival 2011 is a 10-day celebration of architecture, which aims to stimulate debate and offer newer and fresher perspectives of what constitutes good architecture and design, and how architects can create sustainable, healthy and culturally rich built environments. The festival is essentially a change to engage with architectural ideas and inspirations from across the world and translating them into the local context with the help of guided walking and cycling tours, talks, workshops, exhibitions, lectures, films and children’s activities.

imm cologne is an international furnishing show, which also promises to be a central meeting place for exhibitors and decision makers from important markets all over the world. It is this diverse mix of visitors that makes the imm cologne 2012 highly interesting and full of potential for exhibitors. The visitors are expected to be from all areas of trade and industry, contract business experts, professionals from the architecture as well as young, promising professionals. With imm cologne, a new trade format, LivingInteriors will be a new forum for manufacturers from the areas of bathrooms, floors, walls, ceilings and light, showcasing perfectly staged interiors. It will provide visitors with an overview of current trends, ideas and future standards through interior furnishing variants in living environments.

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

For further information, log on to: Web: www.imm-cologne.com

30 IA&B - AUG 2011

current Coastal Communities to Receive Multimillion Pound Boost It was recently announced that the coastal communities across the United Kingdom will receive a multi-million pound boost each year from a new Coastal Communities Fund. This new fund will be financed by the Government through the allocation of funding equivalent to 50 per cent of the revenues from the Crown Estate’s marine activities. This new fund is designed to support the economic development of coastal communities and will support a wide range of projects, including those that support charities, the environment, education and health. For each country of the UK, the funds available will be directly linked to the revenues raised by the Crown Estate’s marine activities from that area, with separate funding for England, Wales, Northern Ireland, the Highlands and Islands and the rest of Scotland. The fund will be available on a bid basis and the Government is in discussion with the Big Fund, part of the Big Lottery Fund, about the detailed terms on which they could deliver the funds to communities. The Big Lottery’s Big Fund has a wealth of experience and expertise in delivering funding and is well placed to distribute Coastal Communities Funding, on behalf of the Government. The Government will also liaise with the devolved administrations in Scotland, Wales and Northern Ireland. The Fund will open for business in April 2012.

‘The Charkha’ to be Installed at Cross Maidan in Mumbai ‘The Charkha’, a 35ft high steel sculpture depicting the legendary ‘charkha’ often associated with Mahatma Gandhi, will soon adorn Mumbai’s Cross Maidan as the centrepiece. The design, by Mumbai-based architect Nuru Karim, represents a futuristic version and an artistic interpretation of the charkha and was chosen from hundreds of entries from across the country. It won the ‘Notions of India’ competition organised by Tata Structura and Indian Architect and Builder (IA&B) magazine in August 2007, to select an architectural symbol that would best represent contemporary India. The project, currently underway at a workshop in Sewri, will be unveiled at the Cross Maidan in a couple of weeks.

NEWS

Rizvi College Student Wins RIBA Norman Foster Travelling Scholarship The 2011 RIBA Norman Foster Travelling Scholarship has been awarded to Sahil Bipin Deshpande, the second student from Rizvi College of Architecture in Mumbai to win the prize. His proposal ‘Sanitation: A case study across eight metropolises’ will take him to Delhi, Shanghai, Beijing, Oslo, Paris, Belfast, Kumasi and Johannesburg, where he plans to develop a sustainable manifesto for sanitation with applications for Mumbai. A total of 39 RIBA-accredited schools put forward candidates – a record number of applications to the scheme since its inception in 2006. Lord Norman Foster, who led the jury, said: “To achieve a sustainable urban environment, the approach must be integrated, embracing buildings, transport, as well as infrastructure. Sanitation is part of the metabolism of a city – it is as vital to plan waste removal, as it is to plan energy or water supply.” The jury also included RIBA President, Ruth Reed; Writer and Critic, Rowan Moore; Head of design and senior partners at Foster + Partners, Spencer de Grey and Roger Risdill Smith; and Stephen Hodder, Chairman of Hodder + Partners.

RSHP Awarded Geneva Airport Contract London-based international architectural firm, Rogers Stirk Harbour & Partners (RSHP) has won the contract to build a new EUR 305 million terminal at Geneva Airport. The project – due to begin in 2012 and to take three years to build – will see a complete revamp of the airport and will include tearing down the current 1970s – built terminal. The terminal – dubbed Aile Est – will have an area of 40,000sqm and will be equipped with six slots for jumbo jets. In addition, three of these stands will be able to split into two to accommodate smaller planes. RSHP was chosen by a panel of experts to head up the design for the new terminal, and will work as part of a team that includes the Swiss practice Jacques Bugna Architecture Workshop as well as Ingérop Consulting & Engineering and its partners Babel, Geos, EGC Chuard, Perrin & Spaeth, BA Consulting, and Assysytem. In the past, RSHP has designed a wide range of buildings, including the Centre Pompidou in Paris with Renzo Piano; Lloyd’s Tower in London; Terminal 4 at Madrid Barajas Airport; and Terminal 5 at London Heathrow Airport.

Mumbai to Get First Museum of Christian Art Soon Mumbai, which has a sizeable Christian population and a rich tradition of religious architecture, is set to get its first museum of Christian art. The 2,000 sqft museum will be housed at the St Pius seminary in Goregaon and will have over 150 objects on display, ranging from an over-200-year-old church altar to church silver, statues of saints and even the mitre (head dress) of a past Pope. Fr Warner D’Souza, head of the Catholic Church Committee on Heritage, said, “The museum will sensitise Christians and the general public to Christian art and culture.” The Church Committee hopes the new museum in Goregaon will awaken an interest in Christians so that they take measures to protect their heritage. The museum is slated to have a permanent exhibition and a temporary one, the latter being rotated with different exhibits around the year. There will also be an audio-visual facility in a small amphitheatre on various themes related to the artefacts in the museum.

Over 500,000 visitors to the Riverside Museum in its first 7 weeks Opened on June 21 this year, the Riverside Museum, Glasgow by Zaha Hadid Architects has welcomed over half a million visitors. “It is wonderful to see that the new museum has captured everyone’s imagination. Such passion for innovation and discovery from all members of the community is very exciting,” said Zaha Hadid. The Riverside Museum’s design is derived from its context. Located where the River Kelvin joins the Clyde, the design flows from the city to the river; symbolising a dynamic relationship where the museum is the transition from one to the other. The design is a sectional extrusion, open at opposing ends along a diverted linear path, allowing the museum to position itself as a third river flowing through one of the city’s most historic locations. The museum is home to the transport, engineering and shipbuilding legacy that made Glasgow the ‘Second City of the Empire’. Hadid’s first major public commission to open in the UK and housing more than 3,000 exhibits, the museum reveals the rich and varied stories of Glasgow’s great achievements, vibrant spirit and technological breakthroughs. The Riverside Museum has been funded by Glasgow City Council, the Heritage Lottery Fund and the Riverside Museum Appeal.

IA&B - AUG 2011

products Neiji Taken from the mystic legend about the reptiles Neiji Shori of New Zealand, Neiji elevates the fluidity of their form. Elegance and grace are two key elements that frame the resultant chair. The reason for such a deviant inspiration lies in the designersâ&#x20AC;&#x2122; words that â&#x20AC;&#x153;aborigines believe that acquiring even a piece of Neiji, it is impossible to lose the sense of beautyâ&#x20AC;?. Awarded the Design and Design International (Paris) 2010, Neiji is fluent illustration of a chair that is functionally sound and is also available in a range of tones. Designer: Aleksandr Mykomelov Contact: 95024, Simferopol Dneprovskaya st 48a of.1 Tel: +380956644353 Email: mail@mukomelov.com Web: http://mukomelov.com

Table

interiors

The concept for the contemporary table was derived from an experimentation with wire. Underneath the transparent layer of glass, a twisting steel pipe gives it an industrial accent. The form of the pipe flows organically and complements the entire unit aesthetically. The designer adds another element of surprise by stabilising it with transparent support on either side of the curved base. Simple and effective, the Table can lend elegance to many a contemporary home.

Designer: Raunak Narang Contact: Email: nraunak@gmail.com Web: www.coroflot.com/nraunak

IA&B - AUG 2011

products Thread Flexible, simple and functional – the elemental form of Thread light is a ready-made threaded post that be composed of a wide range of shades. The height and direction of light can be adjusted to align with the users’ comfort levels. It is benefited with the uncomplicated construction technique and can be assembled onsite. Effective in space, it can be adapted to blend in any environment. Structurally, it accommodates an additional threaded sleeve cast into a concrete base that allows two lengths of threaded rod to be screwed in to suit. Minimalist in its design approach, the light also has an added materialistic advantage. It highlights a sustainable angle to its making by being formulated of recycled spun aluminium and the concrete base is made up of a concrete composite called Lithistone which is made up of a combination of ground minerals, recyclable and organic mineral pigments.

Cone

luminaires

Cone is a floor lamp which creates an interplay of light and shadows to animate its surroundings. Essentially large in size, the lamp is a contemporary upgrade from the conventional floor lamps. It is a subtle fusion of 52 two-dimensional timber planes. The timber slats are internally supported by a cylindrical wooden ring which upholds the light globe. Mobilised for convenient use, the “flat pack design” can be easily packaged and reassembled as per use.

Designer: Coco Reynolds Contact: Tel: +61419616153 Email: sendcocoanemail@gmail.com Web: www.marzdesigns.com

IA&B - AUG 2011

products AK. Stool The concept behind AK. Stool is underscored by the thought of making a stool for a simplistic aesthetic appeal. The Stool is framed from a process of moulded wood that deforms to yield the formation of a seat. The designer delineates the advantages by attaching few words to it like “ample, soft, lightweight, slim, dynamic, the shape attracts, hosts...”. Anchored on three legs, it exudes stability as well as a lightweight outlook with the suspended seat giving off a feeling of levitation. It also allows a stackable use to benefit space saving. The concept borrows its name from the shape itself – the letters “A” and “K” are visible from the profile view. The uniqueness develops from the distinct ideation of the designer to create a base and seat from one piece. The horizontal deformation that emerges from the original tubular shape creates the difference that the Stool advocates. Designer: Germain Verbrackel Contact: Email: g.verbrackel@gmail.com Web: www.germainverbrackel.com

space-savers

Twin Chair In the age of minimalist approaches, compact living solutions rank high. Twin Chair is a modular unit composed of two foldable chairs with a built-in table. On an accessibility provision, wheels with effective brakes enhance the mobility of the unit. The aesthetic appeal of the chair is underlined in a dual combination of shades that are meant to blend in modern interiors. The designer has envisioned the chairs in perfect settings “as a great seat for a couple’s romantic moments with a tea or coffee inside the living room, garden or in balcony irrespective”. It also draws on functional disciplines like a flexible backrest which allows the user to lean in to the partners’ side. The intent is still to work towards an improvised design with better ergonomics and mechanism. Designer: Basil Jose Contact: Tel:+919538588177 Email: basil.design@yahoo.co.in Web: www.coroflot.com/basiljose

38 IA&B - AUG 2011

PulpLamp The PulpLamp originated â&#x20AC;&#x153;in a briefing in which the idea was acting against any day a day action that could be improved.â&#x20AC;? The designer elevated the purpose of making creative use of generated excess waste. The genesis delved into diversification of the use of discarded newspapers to give way for more formal options. While working with this paper pulp, the designer developed progressive molds that inflated into different shapes. This discovery was transformed to form the entire lamp collection.

Designer: Enrique Romero de la Llana Contact: Email: enrique@romerodelallana.es Web: http://cargocollective.com/enriqueromerodelallana

Street-Move

innovations

Design of street benches is generally undermined as opposed to its growing need in the infrastructure of today. The Street-Move gathers its concept from the vibrant spirit of Mumbai. It has been designed as a fixed entity that is anchored to the ground by a hidden base plate. Instead of conforming to a singular mass, the design undertakes the comfort and functional modes for convenience of sitting of the users. The bench is contemporary in its form; all set to stylise the streets of the city. Designer: Manoj Raja Contact: Tel: (0) 9731439244 Email: rajamnoj@gmail.com Web: www.coroflot.com/mnoj

products Touch Developed as multifunctional lighting product, Touch adapts to a variety of uses and situations. Responsive to different environments, Touch is stylised into various forms like pendent, chandelier and table versions. Embodying an aspiration to work with new process and collaborating with a glass blowing artisan, the designer shapes a pendant that fosters versions of itself. Available in adopting flexible functions, Touch provides options that are possible across the material range. It is available in anodised aluminium and a glass finish with an optional shade, which slides over the glass version to filter more directional light through. The cord in the table version is crafted within the pipe stand that distinguishes a formative setup that can be adjusted according to the usersâ&#x20AC;&#x2122; advantage. The sleek light shell encases a sensitive and classy form.

Designer: Ross Gardam Contact: Tel: +61 394176595 Email: info@spaceleft.com.au Web: www.spaceleft.com.au

Heracleum

lighting

The ornamental design of Heracleum takes note of the inspirational form of Heracleum plant. The uncommon lamp design branches out from a singular stem support in form of white poly carbonate lenses that mimic leaves. The LED lamp is fashioned by using the technique of coating conductive layers. Exquisite delicateness is delineated owing to the thin construct of a metal wire frame. The lamp is not frozen in position but can be rotated freely to create a play of light and shadows. Apart from its decorative framework, the lamp is also dimmable. Designer: Bertjan Pot Powered through ElectrosandwichÂŽ by Marcel Wanders Contact: Schie 34, 3111 PN Schiedam The Netherlands Tel: +31 (0)10 476 5042 Email: them@bertjanpot.nl Web: www.bertjanpot.nl

40 IA&B - AUG 2011

Sanghvi Clock Tower Sanghvi Group’s 20-storied residential project, Sanghvi Clock Tower, is all set to be the newest iconic landmark in Mira Road. Text compiled by: Sharmila Chakravorty

anghvi Group is launching its ambitious clock tower project in Mira Road, setting new benchmarks in design and construction. The majestic 20-storey tower’s elevated clock shall be visible in a radius of two to three km, reinforcing itself as the newest iconic landmark for the suburb. Located at a convenient distance from prime commercial destinations, hospitals, schools, colleges and malls, in addition to the GCC club, Mira Road and Dahisar railway stations, as well as the Western Express Highway, Sanghvi Clock Tower aims to refine the skyline of Mira Road. With Mira Road being considered as one of the prime residential hubs in the city today, Sanghvi Clock Tower would breathe a fresh scenic air in the busy suburb. The Group has innovated and experimented on style and architecture to come up with a clock tower, a celebrated structure across the world for its old-world charm. Sanghvi Clock Tower aims to be an iconic residential structure, reflecting the innovative spirit of the group’s design aesthetics, with one and two-BHK apartments designed to exploit and utilise maximum space. The project will offer a wide range of themed propositions, in addition to unparalleled features, combining the best of quality, luxury and aesthetic value. Additional security measures like emergency alarms in every apartment connected to the security cabin, CCTV and intercom facilities have also been incorporated to ensure peace of mind for the residents. Also on offer are features like podium parking, private party halls, hi-speed lifts, beautifully designed entrance lobby, generator back-up for lifts, water pumps and staircase light, fully equipped clubhouse with gymnasium, aerobic and yoga rooms and advanced security systems, in addition to a variety of others, redefining qualitative and convenient living. Laying special emphasis on the wellbeing and needs of senior citizens, the project will have leisure spaces dedicated to aged residents.

FACT FILE:

Sanghvi Clock Tower.

Project Location Client

: : :

Sanghvi Clock Tower Mira Road Sanghvi Group

construction brief

Discovery Offices

Nirmal Lifestyle’s Discovery Offices, in association with Discovery Enterprises International, aspires to redefine conventional office spaces and eco-friendly realty.

iscovery Offices is Nirmal Lifestyle’s first venture into green building. The project will be one of the tallest, iconic office towers in Mumbai, while also being a path-breaking innovation in ‘green’ real estate. Designed to be in tune with Nirmal Lifestyle’s philosophy of innovating by unconventional thinking, creating enduring spaces and transforming lives of people, the Discovery Offices project takes office spaces to the next level of efficiency and sophistication. The project, in association with Discovery Enterprises International, which in itself is an unusual combination, aims to contribute as much as possible to nature and science, and incorporate a sense of adventure in day-to-day life. With this project, Nirmal Lifestyle intends to bring the Discovery experience for all its occupants. While being one of the most futuristic offices spaces in Mumbai, the building shall also be environmentally responsible, and optimising and recycling recourses, significantly improving overall productivity. Initiatives and facilities include solar energy for common areas, rainwater harvesting, wastewater treatment, large windows to ensure enough natural light so that external energy consumption for lighting reduces considerably etc. The design of the project makes sure that the occupants are comfortable and therefore ensures maximum performance and productivity. The premises will also have a Discovery gym with steam/sauna, landscaped garden with jogging track, conference halls, a mini food court, 24x7 security services etc. Located in Mulund, it is close to the Nahur station and the Eastern Express Highway. The location makes for convenient commuting and close vicinity to Nirmal Lifestyle malls, an upcoming 5-star hotel and convention centre in Mulund, and the LBS Marg are added advantages.

FACT FILE:

Nirmal Lifestyle’s Discovery Offices.

Project Location Client Architect Project Area Project Estimate

: : : : : :

Discovery Offices Mulund Nirmal Lifestyle Hafeez Contractor 2 acres 600 crore

42 IA&B - AUG 2011 Vivacity Mall.

Vivacity Mall The Vivacity Mall on the Eastern Express Highway in Thane, with its unique and exciting features, is very likely to be the latest hot-spot for young and old alike.

ocated off the Eastern Express Highway on a 50-acre plot in Thane, which also includes a residential complex and an IT park in addition to the Vivacity Mall, the mall will have a total retail built-up area of 10,00,000sqft. The mall’s most unique and exhilarating feature is the Cinepolis, which is one of the largest multiplexes in the country that can showcase over 70 movie shows in a day, seating about 2,400 people. It is expected that an array of brands will throng to the mall given its favourable location, with Hyper City and Shoppers Stop already leasing 85,000sqft and 60,000sqft of floor space respectively. In all, there would be about 160 retail shops in the mall. The food court will have a dining area of over 40,000sqft and can easily accommodate 1,300 people. The mall will also have a two-level basement parking for up to 2,400 vehicles. Vivacity Mall will be designed keeping sustainability in mind, with regional and recycled materials being used for construction as well as design material sizes being planned in a manner that would cause minimum wastage. The façade would be glazed with a ‘low e’ DGU, with frames that have thermal breakers. The paints and adhesives, too, will have low volatile

organic contents (VOCs) and external paint will reflect 90 per cent of the incident heat, reducing the actual energy required for air conditioning. Innovative and efficient water fixtures that reduce fresh water intake by half and soil conductivity-based sensors shall be used to restrict unnecessary water usage. The interiors of the mall will incorporate indoor plants that release oxygen all the time, providing fresh air instead of the usual re-circulated and conditioned air. With its features and offerings, the Vivacity Mall is all set to be a popular destination for shopping, movies and food, without compromising on energy efficiency or obliterating the environment.

FACT FILE: Project Location Architect Client

: : : :

Vivacity Mall Thane Development Design Group Inc (USA) Hankel Switchgear Pvt. Ltd. (Seth Group)

construction brief

ATS One Hamlet.

ATS One Hamlet Designed by Hafeez Contractor, ATS One Hamlet in Noida is touted to be the perfect choice for luxurious and comfortable living, surprisingly close to the city.

TS One Hamlet, located at sector 104, Noida, is set to be a premium, gated residential community that will establish new benchmarks for residential living spaces. Designed by renowned architect Hafeez Contractor, ATS One Hamlet enjoys proximity to Greater Noida Expressway and metro station. The project has been meticulously designed so as to achieve maximum green space, given that the site is linear. ATS One Hamlet has been planned with an eye for spaciousness, greenery and fresh air. Sprawled across 14.5 acres of lush green development, the project will have 12 towers housing over 960 apartments. The arrangement of the towers at ATS One Hamlet is such that every apartment overlooks either the park or lush greenery, or both. At the same time, privacy of the residents is maintained by ensuring that no two apartments face other. The ingenious design makes sure that views for all these apartments remain free of any obstruction. The three and four-BHK apartments are priced between `70 lakh and `1.3 crore. Rustic stones, textured paints, wooden flooring, Italian marble and vertical landscaping lend ATS One Hamlet the style that emphasise its world-class aesthetics.

Facilities like 24-hour power backup, 24-hour treated water, fire fighting systems, modern lifts, jogging tracks, gymnasium, table tennis court, swimming pool, ornamental pools, playing space for children, club, amphitheatre, community hall, bakery, beauty salon, chemist shop and a departmental store will be made available to the residents. A feeling of largeness and green open spaces is a distinctive element of the project. Beautifully maintained parks, flower-bordered walkways, and patches of greens tucked away between the towers will be other unique features of ATS One Hamlet, making it the ideal location for quiet and stylish living; the perfect example of serenity within the city.

FACT FILE: Project Location Architect Client Area

: : : : :

ATS One Hamlet Sector 104, Noida Hafeez Contractor ATS Group 14.5 acres

IA&B - AUG 2011

construction brief

Beirut Residential Building.

Beirut Residential Building Accent Design Groupâ&#x20AC;&#x2122;s Beirut Residential Building project will revolutionise the highrise typology in Beirut, while retaining the old, characteristic urban fabric.

ited close to the central transportation artery for the city of Beirut, and situated at the nexus of two urban fabrics, this design negotiates issues of scale, unit diversity, views and zoning regulations. Stacked boxes of glass emerge aesthetically from a massing, which is positioned strategically so as to maximise buildable area. Cantilevering balconies and terraces take their cue from the character of the old urban fabric, while creating a vertical neighbourhood rich with panoramic views of the downtown, the city and the sea. Shading louvers provide relief from abundant east and west sunlight, while creating zones of outdoor privacy and

facilitating a green screen. Located at the edge of development and demarcation, the project blurs lines, while innovating on the Beirut highrise typology.

FACT FILE: Project Location Architect Lead Architect Project Team Area

: : : : : :

Beirut Residential Building Beirut, Lebanon Accent Design Group (www.accentdg.com) Elie ABS Charbel Karam, Ahmad Khoja, Petia Ratzov 11,000sqm

46 IA&B - AUG 2011 The Stockholm Sphere is symbolic of the constant movement and provision of free visual accessibility.

Emerging Reflections With a multilayered design perspective, the reflective Stockholm Sphere introduces surrealism and coherence in the urban fabric of Stockholm Text: Maanasi Hattangadi Photographs: courtesy Bjarke Ingels Group

hat is exciting about the current design mentality is that it demonstrates how the full force of design can affect the day-to-day complex problems vis-a-vis innovations. The macro trends that are coming out of such initiatives couldn’t be further than the present culture of conventional in terms of ideations and yet they address social and cultural contexts in a positive way. Central to urban developments, these designs were far and few but now urban development is emerging as a global runway for new ideas. For a traffic junction - “Hjulsta” being planned in the north of Stockholm, where the two highways E18 and E4 Stockholm Bypass meet in a three level intersection, this solution comes via a design of thoughtful elements over 580sqm composed by Bjarke Ingels Group. The roads diverge as physical and visual barriers and divide the area into four parts. The proposed Stockholm Sphere exudes a sense of utility and pluralist attitude wherein all the four parts are relevant. It connects the four parts with a landscape loop. It is lofted above a collection of objects that change with the rhythm

of each area. A form of democratic design, it is a representation of external notions which evolves and sculpts this one single sphere. The Sphere hovers above a valley point which speaks of a pie chart park semblance, designed to create multiple experiential zones both, when moving in or around it. In the expansive spectrum of design, attention to specific details or objectives is crafted as the physical representation of movement – through continuous circular pathways in the valley. Trees are shaped as noise and visual barriers. The valley, a crucial juncture, is understated with the art of simplicity forming the crux of the engaging design. It is a transformative landscape of eight wedges, each pertaining to different characters. This multilayered precinct offers the visitor a trail of interactivity – with dense pine forest, air and water purified wetlands and terraced farmlands. The main consideration of design rests on the motorways visibility which depends on location as well as vegetation type and density. The counterbalance of the proposed is intimate to the existing buildings like the mosque on the outskirts of Hjulsta, a sports center in extension of Barkaby, a conservatory at Järvaby, a hammam in the steep slope to the north and eventually a visitor center which is an entrance to

technology

LAYOUT

SECTION

Desired connection

Infrastructural Barrier

The desired city connections that poised as the main consideration for the design.

Key points with Public Buildings

The layout was composed by involving the key points of the existing public buildings.

The green loop

The infrastructural barriers that were addressed in the design.

The green loop was integrated in the layout to overcome noise and visual barriers.

Urban Development

The Central landscape

The developed urban fabric.

The central landscape was framed from the eight wedges formed of the valley.

The space was developed as an interactive zone, understated and in tandem with nature.

“An always updated, constantly changing icon is created” Järva free zone in the east. Contrary to new inserts, the design recognises the introduction of a subtle palette that will blend in. The design is an up-scaling of the current building structure in Hjulsta routed through new facades and buildings. BIG explains,“Focus is on adding small and large apartments to the existing midsize range. Both Järvaby and Barkaby expand towards the landscape loop.” The ideology translates into a design development of Barkaby as an area of a clear block structure with varying ceiling heights, courtyards and terraces. On similar lines, Järvaby comprises of buildings that trace the slope contours to simplify its supply of service functions. Pushing the boundaries of experimentation and strategic implementation is the fact that the Sphere is encased 30 per cent in a reflective layer of photovoltaic film. The project, thus, marks a tangent to the timeless debate of sustainability by providing 235 houses with electricity. The mirror provokes the Sphere to move to create different formations and links the landscape in a dance of light, shadows and reflections.

How do you create a landmark when all you can see is the sky?

THE DESIGN IDEOLOGY

The surrounding as a landmark

The design was created using the surrounding as a landmark.

Wind power

On the tangent of sustainability, wind power will be utilised.

“An always updated, constantly changing icon is created,” say the designers. There is a sense of understanding yet reactionary thought in the design process. Perhaps, a quieter object would have been lost in the fray of the emerging urban landscape. The Sphere echoes this sentiment wholly in design and ideation both. It changes the gears to remind that design is a matter of communication, an act of translating the ideals and ultimately, a reflection of much more than what designers are meant to do.

Solar energy

Solar energy has been included which will supply power to 235 houses.

Circular pathways looped around the greener zones to provide a multifaceted experience to the visitors.

solar covers 30% of the surface

prestressed cables prevents deformation of the sphere on the lines of bicycle wheels principle

PVC film sprayed reflective surface

electric radiators platform

diversion of water at the side of the road bridge

lattice design

anchored steel cable

E4, landbro

Technical section 1:1000 concrete foundations

fan/pump bolted steel plate

bilayer fabric steel o-ring rubber seal adjustable steel collar

A Detail section of the pump and the connection to the lattice on structural damage 1:80

voltage cable connection plate steel turnbuckle steel turnbuckle suspension cable

2 Detail section of the reinforcement wire around 1:40

The landscape unfolds as elements of interaction between the people, natural zones and the external movement.

3 Detailed section of the meeting point between primary and secondary 1:40 wires

STRUCTURAL DIAGRAM

The landscape unfolds as elements of interaction between the people, natural zones and the external movement.

FACT FILE: Project : Location : Architect : Project Leader : Contributors : Client : Type : Status :

The Stockholm Sphere Stockholm, Sweden Bjarke Ingel Group, Partner â&#x20AC;&#x201C;in- c harge: Jakob Lange Hanna Johansson Camille Crepin, Barbora Srpkova, Alessio Valmori, Xiao Xuan Lu, Krista Meskanen, Long Zuo The City Of Stockholm, The Swedish Transport Administration Collaborators Grontmij, Spacescape 1 st Prize, Competition Ongoing

50 IA&B - AUG 2011 Biju Kuriakose, Co-founder and Partner, architectureRED speaking at the series in Bhubaneswar on 7 th May.

Prof. Krishna Rao Jaisim, Founder & Principal Architect, Jaisim– Fountainhead elaborating on his viewpoints on sustainability on 13th May in Hubli.

Nerolac Earth Matters

“Ideaz that count” Kansai Nerolac in association with Indian Architect & Builder convenes a series “Nerolac Earth Matters “Ideaz that count” as a multi-city platform to present different perspectives and angles on sustainability.

In Nasik on 18th May, Samira Rathod, Principal Architect, Samira Rathod Design Associates interacted with the audience and presented on her firm’s involvement with sustainability.

Pradeep Sachdeva, Principal of Pradeep Sachdeva Design Associates walking the audience at Ranchi through his design ideologies on 26th May.

post event

Sachin Bhatt, Director, Edifice Consultants Pvt Ltd. talked about his perspective on sustainability through the firm’s projects and context in Ahmedabad on 27th May.

ensitivity towards ecology is inherent and fundamental to the domain of architecture. Sustainability is understood as an ongoing process through which communities continually renegotiate their common destiny within the limits of nature, their traditions, their understanding of cause and effect and their own creativity. The notions of preservation and sustenance emerge from multiple points of departure; the context, the heritage and the global exposure. With an understanding to address this theme holistically, Kansai Nerolac in association with Indian Architect & Builder presented the first phase of ‘Nerolac Earth Matters 2011 – ‘Ideaz’ that count’ which focuses on the emerging concepts, ideas and innovations aimed at making the future sustainable and eco-friendly. Travelling across nine cities, the first phase was an interesting discourse on varied projects by eminent architects addressing different perspectives on sustainability.

Neeraj Manchanda, Principal, Neeraj Manchanda Architects presented the green practices his firm adopts at Noida on 10th June and Faridabad on 11th June.

Sujit Nair, Principal Architect and Co-founder of SDeG – Sujit Nair Design Group giving an overview of his works in Chandigarh on 3rdJune.

The initiation of the event commenced on 7 th May at Bhubaneswar. The Key Note Speaker of the evening, Biju Kuriakose, Co-founder and Partner, architectureRED presented the practice’s informative journey through the lens-eye of urban planning projects and the emergence of sustainable understanding at the master planning level. On 13 th May in Hubli, Prof. Krishna R ao Jaisim, Founder & Principal Architec t, Jaisim–Fountainhead and the Key Note Speaker of the evening, summarised his viewpoints on sustainability as a short dialogue between his projects and nature. Further travelling to Nasik, the conference hosted Samira Rathod, Principal Architect, Samira Rathod Design Associates as the Key Note Speaker on 18 th May who elaborated on her works and the idea of sustainability relative to basic elements like water, sun, light and air. Led by Pradeep Sachdeva, Principal of Pradeep Sachdeva Design Associates, the Key Note Speaker of the evening at Ranchi on 26 th May, the audience derived points on sustainability from

Vijay Narnapatti, Principal Architect, mayaPRAXIS sharing his perception on sustainability at Jaipur on 15 th June.

IA&B - AUG 2011

the speaker’s own experience in architecture. The architect’s congregation at Ahmedabad on 27 th May attended the Key Note Speaker, Sachin Bhatt, Director, Edifice Consultants Pvt Ltd’s interactive presentation based on the firm’s work and ideologies of sustainability. Sujit Nair, Principal Architect and Co-founder of SDeG – Sujit Nair Design Group talked about his emerging practice and the green endeavours that the practice connects to at Chandigarh on 3 rd June. A multi-faceted overview of projects by the Key Note Speaker - Neeraj Manchanda, Principal, Neeraj Manchanda Architects, was the highlight of the evening on 10 th June at Noida and 11 th June at Faridabad.

Yatnesh Pandey, Head – Planning and Marketing, presenting on Kansai Nerolac and their products’ alignment with sustainability, ideas and innovations at Jaipur on 15th June.

The first phase of the series concluded at Jaipur on 15 th June with an illustrative exemplar of projects by Vijay Narnapatti, Principal Architect, mayaPRAXIS, the Key Note Speaker of the evening. Expressing their own alignment to a greener approach, officials from Kansai Nerolac also explained the initiatives under taken by Kansai Nerolac in their products throughout the series. The audience was invited at each event to voice queries and opinions delineating the green solutions in architec ture as par t of an open-mike session.

The audience enjoying the presentation by the Key Note Speaker at Jaipur.

The focus of the series was to partner with the innovations and ideas by leading architects as a continuous effort to engage the architecture community with their shared expertise in an interactive session on sustainability. Taking this endeavour forward, Nerolac Earth Matters “Ideaz that count” will travel to cities like Cochin, Bengaluru, Hyderabad, Lucknow and Indore in phase 2 commencing from 26 th August 2011.

54 IA&B - AUG 2011 Mancini Enterprises display a gentle design sensibility that works towards combining artistic vision, sustainability and humane spirit.

architecture

S earch, S ensibility S ensitivity

Compelling and cultural, Mancini Enterprisesâ&#x20AC;&#x2122; projects characterise a dialogue between two expressions and two eras - the now and the ideal. Text: Maanasi Hattangadi Photographs: courtesy Mancini Enterprises

Stark granite sculptures rise contrasting gently against the natural surrounds.

ensitivity in design is sublime. In the words of Frank Lloyd Wright, “The solution of every problem is contained within itself. Its plan, form and character are determined by the nature of the site, the nature of the materials used, the nature of the system using them, the nature of the life concerned and the purpose of the building itself”. A miniscule number of us have chanced upon the realism of this statement. In India, sustainability is polarised into two approaches and Chennai-based architectural firm, Mancini Enterprises put faith in the dawning realisation that architecture should not remain an invasive act on the landscape; ‘au contraire’, it should be a part of it. Along these lines, develops a greater understanding of nature. The architects seem to respect ideas around a focused appreciation of artistic vision, rather than an articulation of commercial energy efficiency values that designs of today betray. The simplicity of their ‘designology’ is reflected in their words; “We like to think that the opposite is required. More and more artistic vision will be needed to keep our cities, buildings, landscapes and products sustainable (ecologically, socially and economically) because an environment devoid of the human spirit condensed in artistic vision will not prompt the users to take care of it, let alone protect it…And only if protected, will the lifespan of a building or an object increase, thus drastically reducing environmental impact and lifecycle cost.” Architecture in India deserves a reciprocal architecture. The kind that defines spaces that remind people of humanistic and prosaic complexities that nature

offers. Mancini Enterprises puts together a similar web of disciplines in most of their projects and to cite two; The Park on Vembanad Lake and Ingadi, a South Indian retreat in the countryside. The functionalities are diverse but the essence remains the same. The unique encounter between technique, materials and imagery in different proportions in every fabric in the projects, creates a harmonic visual and tactile story, integrating the rhythm of the woven surfaces with the graphic quality of the natural textures. The landscape and interiors for the luxurious resort of The Park – Kerala were prompted by the reading of the site and evoked a formal expression of Kerala’s backwaters. Pebbled pathways are framed in the landscape that lead out to the water. Dramatic granite sculptures occasionally rise and subside to reveal epic views beyond. One is greeted by these sculptures, nestling into the native garden with a pool lounge and bar – the profile of architecture emanating from the landscape itself. Strategically positioned in the hotel, the reception, fruit and spice garden, pool, tented spa, restaurant and bar in the verandah, 10 rooms, 1 suite, outdoor bar and dining, gym and the jetty maintain a dynamic interaction with each other via the restrained expression of granite, woodwork and exposed lime plaster. Slices of blue, the sky and water blend seamlessly into each other, dressing the ambience in tranquillity and peace. At night, soft light washes the elements in the same feel from the top of trees and under the pathways.

The landscape of The Park â&#x20AC;&#x201C; Kerala evokes the feel of Keralaâ&#x20AC;&#x2122;s backwaters through sculptures, pools and gardens.

The visual elements are dressed in an interplay of natural textures like granite, wood and thatch.

Pathways in the landscape meander along natural settings.

Owing to a transparent ambience, interior spaces like the lounge and restaurant are visually connected to the outside.

Diffused glow illuminates the landscape in the night.

60 The highly atmospheric space, in earthy tones, allows the architecture to retreat. Drawing on the outer richness, the interior finishes have a refreshing generosity, layered with textures of warm lighting and contemporary fittings. Private spaces directly connect to the surrounding landscape through veils of glass and wooden board pavements. The sensibility experiments with idiosyncratic plays of light in bedrooms, graphics branching out on the walls, mirroring the effect and custom-made wall and fabric prints. The aura is a direct match of luxury and authenticity of construction, inducing an environment of character and identity of relaxed setting. All the while, the materials tap into the essence of the firmâ&#x20AC;&#x2122;s design philosophy.

FACT FILE:

Inspired by the natural forms, the walls are adorned with custom-made wall and fabric prints.

Soft lighting and earthy tones render an inviting feel to the spaces.

Project : Location : Client : Landscape and Interior Design : Design Team :

The Park on Vembanad Lake Vembanad Lake Shore, Kerala The Park Hotels Mancini Enterprises Niels Schoenfelder, Dimitri Klein, J.T. Arima, Geethapriya V., Karthikeyan, V.S. Aneesh

The first house of Ingadi, the retreat in the countryside assembles as an exemplar of sensitivity in architecture crafted from materials of the site and manufactured by local craftsmen and techniques.

Wooden louvers compose niches in the facade which open out to the natural terrain.

The design response is not only limited to landscape alone, it traverses to architecture as well. The poetic quality inherent in their projects, alone promises an impulsive perspective to be expected in their other buildings. Unfailingly, Ingadi, a South Indian retreat in the countryside comes as a super-scaled abstraction of their expressive potential. A 4000sqm compound transforms under the creative direction of the firm into a composition of three houses, pools with pavilion, small forest, multiple fairy-tale landscapes like rock-tropical and suspended gardens, a sunken garden around a deep well, outdoor bathrooms, savanna and water-tank across a built-up area of 1000sqm. What finally culminated was a remnant of time â&#x20AC;&#x201C; a souvenir of the site it stands on. The assemblage translates the values of nature into physical space, virtuosic with large roof overhangs. A mud path winds around the angled orientation of the building. The buildingsâ&#x20AC;&#x2122; placings draw on characteristic high thermal mass to protect against the climate of South Indian

The entry passage is unusual and unique, with rock placings connecting the spaces and landscape.

countryside. The architects explore the social role of architecture. Natural elements have been extracted out of their original context and functionalities, and reassembled in order to generate a new entity with new function. One chances upon memory of shapes in unusual places like a chiselled-rock kitchen counter in the main house and the kitchen-dining simply clad in sculpted stone surfaces. Revealing a glimpse of nature contained within the built environ, the rolling topography slowly takes one forward through the design semblance. The architects say, â&#x20AC;&#x153;Sloping roof gardens provide natural connectivity from the living quarters on the first floors down to the common spaces on the ground floor and the visitor discovers a new space or

Pool House

Guest House

Main House

First House

Road

FIRST FLOOR PLAN

SECTION

a new vista around every corner.â&#x20AC;? Overgrown and rock-hewn curves of the site slowly peel away to unveil frames of timber beams that form the main house. The entire house peeps through louvers enfolding an open ambience welcoming an unusual entry of a stone-stepped passage. The materialistic expression combined with the overhangs is persuasive, the effortless idea being relevant use of site materials. Each element is ambiguous â&#x20AC;&#x201C; with an aesthetical appeal and classic detailing. The material palette is perfected with use of limestone plaster and the combinations it takes part in. The furniture is sparse and tasteful wherein the walls fold inward to accommodate shelves and anticipates opportunities to put in earthy modes of expressions in form of low heighted seating and graceful chairs. Further into the site, the first house and guest house reminisce slivers of the same texture. Taking that as a nodal point, spaces like lavish baths set in stone courtyards, swings against a nature centric experience, black oxide staircases and architecture deeply engraved in the rocky terrain emerge. The pool house is ornamental in its being with a reclaimed wooden ceiling, cuddapah deck and a mist control. The landscape scripts a drama of bath and well gardens, through a natural order of spaces. Possibilities in sustainable technicalities are adapted in form of formal and theoretical concerns like thick brickwork structure to induce high thermal mass, 60cm thick soil fill for roof-gardens to shade the mass below and minimise storm water run-off, water channels to expel insects, lime-plaster for improved humidity control, hand-polished black oxide flooring, louvered shutters crafted from reclaimed Burma-teak that span 10ft to control air and light, hand-dressed solid granite sinks and floors, existing

Furniture like the kitchen counter is embedded in stone surfaces render an inventive approach to the design ideology.

Stairs, expressive in their adoption of thoughtful materials like wood, black-oxide and lime plaster, wind upwards to the first floor.

The living room in the main house with stone cabinets and staircase.

The bath is a regal open setting with a skylight above it.

Amongst the three houses and multiple landscapes, the main house with the largest footprint is located with easy access to all elements in the linear site.

Light from the wooden ceiling filters in and bathes the rocky entrance in light at night.

Sparse and tasteful, the furniture is highlighted in a warm yellow glow in the dining space.

The spaces integrate natural boulders of the site to create interesting encounters in the house.

â&#x20AC;&#x153;More and more artistic vision will be needed to keep our cities, buildings, landscapes and products sustainable (ecologically, socially and economically) because an environment devoid of the human spirit condensed in artistic vision will not prompt the users to take care of it, let alone protect it.â&#x20AC;?

The master bedroom of the main house which overlooks the green thicket of the countryside.

Louvers in the bedroom on the first floor open out to a roof garden.

The retreat also offers a poolside for relaxation with an adjacent garden.

A well garden is amongst the many elemental gestures that unfold amongst the site.

granite boulders to align with the house, 100 per cent of recycled waste water used for irrigation and pool and well gardens displaying a diversity of over 150 exotic and indigenous species. The careful understanding embraces the advantage of its site to craft a collection of poetic but performative spaces.

Compact and minimalistic, a guest house rises amidst the natural landscape at a distance from the main house.

Rooted in the co-existence of the animate and the inanimate, the simplicity marks the exclusivity of the project in its niche. Its architecture questions the relationship of built form to the landscape and seeks to innovate in this intersection. The pursuit of rustic elegance is evident in the focus given to topographic particularities and ownership of the site language. It shows how existing shapes in nature can give birth to a concept, a movement and ultimately, a new functionality. It is not about making design better but design matter.

The children’s house accommodates a recreational area like trampoline for the kids.

FACT FILE: Project Location Design Team

: : :

Ingadi – South Indian retreat in the countryside South India Mancini Enterprises, J.T. Arima, Niels Schoenfelder

Every element to its core, like the children’s swing, represents the earthy functional and material ethic of Mancini Enterprises.

The entrance.

IA&B - AUG 2011

architecture

Designer’s Abode A weekend home in Kozhikode, Kerala designed by architect Babu Cherian for himself is envisaged as a place for the carefree mind and contemplative spirit. Text: Hina Nitesh Photographs: courtesy the architect

Inspired by the classic Balinese courtyards, the landscape lends a distinct character to the surroundings of the structure.

The roof lends a distinctive touch to the form.

“Some houses are mute, some shout, others sing and we behold their song”

mmanpuri is a weekend home designed by architect Babu Cherian for himself. Literally meaning ‘place of peace’, the site is located in Karaparamba, about 3km from Kozhikode in Kerala. The design is an amalgamation of the vernacular architecture of Kerala and old Victorian and Georgian styles. The ground floor of the house consists of two bedrooms, a living cum dining room, TV lounge, verandahs, open courtyard, car porch and kitchen while the upper floor comprises of a bedroom, a family room, a TV lounge and a balcony. A staircase in the dining area connects the two floors. The east facing house with its low height and linear volume of the pitch roof structure with rustic stone façade set amidst lush green landscape welcomes the visitor. A passage leads from the entrance porch to the foyer and the verandah outside maintaining continuity with nature. The house is a study in contrasts; while the exterior façade is evocative of traditional Kerala style of architecture, the interiors have been designed in the European style. The climate in Kerala is hot and humid with intense sunshine and heavy rainfall. The architect has respected this aspect and used traditional elements with contemporary detailing. The form and detailing of the elements respect the typical vernacular architecture of Kerala. One is able to comprehend a sense of whole through a sense of its parts. The main construction material is timber which is available locally and has a low thermal mass.

The landscape is inspired by classic Balinese style.

The upper floors look down onto the courtyard.

Inspired by Geoffery Bawa’s school of thought and believing that the roof plays an important role in providing people with a sense of shelter and territory, the roof here is one of the critical elements that is a determinant of form. The dining room is connected to an open courtyard through the verandah. The courtyard acts as a link between the home and the surrounding with views of the pouring rains and water gushing through the hanging chains. This open to sky space brings light, rain, natural draft and a feeling of openness in to the interiors, modulating the spatial effects of the rooms as well as renewing an essential contact with the organic world. The wooden trellis work is a traditional element in Kerala houses that aids in air circulation and imparts the dramatic play of light and shade. “one unchanged element of all building is the roof-protective emphatic and important….the roof, its shape, texture and proportion is the strongest visual factor.” - Geoffery Bawa.

The traditional elements have been stylised in a contemporary fashion.

Inspired by Geoffery Bawa’s school of thought and believing that the roof plays an important role in providing people with a sense of shelter and territory, the roof here is one of the critical elements that is a determinant of form. It gives the most distinct visual impression of the regional flavour. Largely ignored in modern architecture, it is immediately perceivable at the level of the senses, as they reflect in a direct manner the scope and use of the building.

74 It is when one steps inside that the contrast becomes visible. The interiors are a reflection of the architect’s expression of a unique lifestyle through a mix of thoughtful space planning and clean uncluttered detailing. The living space is distinguished by laminated wooden flooring where the upholstery in red brown and burgundy is in sync with the wooden finish. Two layer curtains in the living room match with the European style furniture, carpets, paintings etc. In keeping with the contemporary trend, halogen bulbs are used for lighting the interiors. Inspired by the classic Balinese courtyards, the landscape lends a distinct character to the surroundings of the structure. Stone paving is laid amidst the lush green lawn to form a continuing pattern all around. A stone fence in the side garden is the landscaping feature which adds a water cascade to the scene. An iconic ‘padipura’ structure segregates the private side garden from the front. The evocative formal language of the form sought inspiration in the traditional forms and vernacular Kerala architecture. A walk through the lawns and one is convinced that this is indeed Ammanpuri: ‘the abode of peace’. This designer’s den is a clear evidence of the fact that an invigorating pursuit of traditional archetypes can produce a graceful and totally engaging residence.

FACT FILE:

Blind walls and nooks divide space creating a sense of privacy.

The interiors are in contrast with the external surroundings.

Project Location Architects Structural Consultants Landscape Architect Civil Work Year of Construction

: : : : : : :

Ammanpuri Kozhikode, Kerala Babu Cherian and Associates Design Spectrum Aneesh Nair TropicX Mohammed Yusuf 2008

76 IA&B - AUG 2011

Image of the Junta De Castilla office building with the Zamora Cathedral in the background.

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ogic

Miesian discipline of order and formal articulation converges with fluidity of light in the Junta De Castilla Y Leon building in Zamora designed by Alberto Campo Baeza. Text: Ruturaj Parikh Photographs, drawings and sketches: courtesy Estudio Campo Baeza

international

Sketch showing an intimate space between the facade and the wall.

The historic city of Zamora.

ver the period of his working career, a lot of critics preoccupied with categorisation have called his architecture minimal. The lucid formal articulations of the Junta De Castilla office building propose an alternative understanding of Alberto Baezaâ&#x20AC;&#x2122;s work. The architecture of Alberto Campo Baeza develops from an art of elimination; elimination of everything sans essential. Once, the unnecessary is dealt with, the enigmatic takes charge. In a historic neighbourhood of Zamora in Spain, a crystalline box is encompassed within a stone box to create an intimate, private and secret space of the Junta De Castilla office as an intuitive response to the buildingâ&#x20AC;&#x2122;s natural, historical and built surrounding. Alberto Campo Baezaâ&#x20AC;&#x2122;s architecture departs from the absolute order and geometric discipline of the cube to work with forces of structure and gravity creating, in the process, forms and spaces that stand in perfect harmony with and against the forces of nature they control. On this historic site in Zamora, the peripheral walls of the site are raised high creating a private garden within. These walls composed of the same stone that forms the Zamora Cathedral are made visually heavy to represent the strength and robust quality of the stone. Within these heavy stone walls, a fragrant private garden is conceived creating a buffer between the outside and the inside. The space between the external stone wall and the glass of the built form within acts as a transition. Studies through physical models and three-dimensional views determine minor and

A model showing the Junta Castilla office (in white) within its context.

Idea of a transparent box within a stone wall with visual connections to the outside.

PLAN

SECTION THROUGH THE SITE

Sketch depicting the perception of the stone wall from within the building.

Study models showing the built space within its stone envelope.

Models depict the developing conceptual space of the office building.

Aerial view of the building under construction.

The architecture of Alberto Campo Baeza develops from an art of elimination; elimination of everything sans essential.

Study model.

A small model to study the interior spaces.

precise articulations of elements of space. Calculated openings in the external wall frame views of the surrounding landscape and built fabric. The intuitive process of scaling the external envelope to the height of the built form within ensures a sudden and complete change in privacy levels from the street. The huge punctures in the wall ensure a discreet connection to the outside.

The stillness and order of elements and formal articulations of precise details come together in a perfect balance of rigour and control.

Physical models and sketch-studies show a very simple and direct process of thought. A tireless effort is seen towards achieving a visual balance of a free glass facade and slender vertical concrete columns. A rigid austerity exists in the way of placing staircases, openings and elements of form within the envelope of the external stone wall. The thickness of the external wall is a direct representation of the walls of historic structures of Spain. Qualitatively, the envelope derives from the context and blends within its surroundings. The radical nature of the crystal box within is perceived only once you cross the threshold. Studies and sketches by Campo Baeza also establish a great constraint and elimination of the un-essential to retain only those elements that are fundamental to structure and architecture of the office building. This process of stripping down to the bare minimum reveals architecture that is â&#x20AC;&#x153;essentialâ&#x20AC;? and crucial to functionality and expression.

Sequential models and sketches to understand the interior space.

The axis with the cathedral and the entrance facade of the Junta Office.

The private garden within the stone walls with the built facade.

Solid stone in contrast with the fluid glass.

Sky, as contained within the stone walls.

Starkly opposite elements in perfect harmony â&#x20AC;&#x201C; the architecture of Campo Baeza.

85 There is a lot of silence attributed to architecture of Campo Baeza. The stillness and order of elements and formal articulations of precise details come together in a perfect balance of rigour and control. Space is defined by self-possessed gestures and controlled by austere material and light qualities. The gradients of privacy are very subtle but clear. Although the built form demonstrates a sense of control and clarity, the play of light on and within the built form creates an element of surprise and renders animation to the interior space. The sense of time is achieved as every minor change in the atmosphere outside, permeates through the double-layered facade within the building. Through a series of orchestrated experiences and subtle definitions of hierarchies, the Junta De Castilla building stands in complete stillness at a point where architecture meets poetry.

FACT FILE:

Punctures for skylight with a slender concrete column.

Project : Location : Architect : Client :

Junta De Castilla Y Leon Office Building Zamora, Spain Alberto Campo Baeza; Estudio Campo Baeza Junta De Castilla

View of the Zamora Cathedral from the top level of the building.

86 IA&B - AUG 2011

The Design

Two real-estate ventures by realty firm DBS, challenges the notions of speculative development through a rather oblique yet simple idea that has a potential to revive housing as a central solution to senseless urbanisation and to use design to empower the poor through legitimacy.

We Forgot to Do Two real-estate ventures by realty firm DBS, challenge the notions of speculative development through a rather oblique yet simple idea that has potential to revive housing as a central solution to senseless urbanisation and to use design to empower the poor through legitimacy. Text: Ruturaj Parikh Data and images: courtesy Ashoka and DBS Communities

n the past decade, the dialogue on design and facilitation of urban housing has been largely absent from the realms of architecture and urban design. If we consider housing as a function of availability of land, the figures of our rapidly and haphazardly urbanising cities are abnormally skewed. Speculative growth, land-grab, over-pricing and inflation have induced an un-comprehensible appreciation of the cost of housing in our cities. An unrealistic surge in prices has left almost half of our urban population trapped in the vicious cycle of illegitimacy and informality wherein the alternative to affordable housing is a slum. And it would be hilarious to claim that we have affordable or in politically correct terms, ‘Low Cost’ housing enough to cater this neglected yet contributing population of our city. Also, the development schemes of the government that promise a low-cost alternative housing for the bottom-of-pyramid social sector fail miserably due to mismanagement, corruption and the non-existent idea of charity. The cause is lost in translation. In Ahmedabad, a curious experiment is underway. DBS Communities, a company by DBS Affordable Housing, recently launched ‘Umang Lambha’; a society of affordable housing with 1RK, 2RK and 3RK houses priced between 3.5Lac to 8.5Lac targeting the bottom-of-pyramid sector. The

response was overwhelming. With almost 5000 footfalls at the launch by evening, 220 houses were booked by the next day which comprise of almost 20 per cent of the total proposed development in Phase I. This experiment is the first of its kind where a private development firm has profitably ventured into a market dominated by government schemes and co-operative initiatives. Mind you, this is no charity but a scheme that aims to operate through an ethical filtration system creating opportunities for the families with minimal and unstable incomes to afford and possess a house; legitimately and within their means. The scheme, if succeeds, will be of pivotal importance in the urban housing sector and may hold a solution to the growing problem of delivery of urban housing. The system involves three delivery areas: 1: Design and Production of community housing. 2: Community Development and Empowerment initiatives. 3: Affordable housing finance. The entire scheme departs from a simple thought: If we can legitimately provide our urban low income group with quality housing with individual ownership, the resultant stability will boost the socio-economic standard W.C 3’0”x3’0”

Bath 4’0”x3’0” Bath 3’0”x4’0” W.C 3’0”x3’0”

Kitchen 6’0” x5’10½”

Living Room 4’0”x3’9”

Living Room 9’0”x12’0” Kitchen 5’10½”x6’0”

Wash 4’0”x3’9”

1RK units in multiple configurations based on the cluster orientation.

Wash 3’0”x6’3”

W.C 3’0”x3’0” Bath 3’0”x4’0”

Kitchen 6’0” x5’10½”

Living Room 9’0”x12’0”

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en Op

Plo

SITE PLAN of Umang Lambha with a community space in the centre.

“To establish an efficient, viable and transparent system for large-scale mass production of houses those are affordable and financed through savings and micro-credit systems accessible to the bottom-half of the socio-economic pyramid”. of the affected families and will open the realty market to an absolutely new client – the urban poor. DBS Communities brings together various individuals from multiple fields with an aim to “establish an efficient, viable and transparent system for large-scale mass production of houses those are affordable and financed through savings and micro-credit systems accessible to the bottom-half of the socio-economic pyramid”. As you visit the under-construction site at ‘Umang Lambha’ near Ahmedabad, you witness good quality construction amongst chants of children of the workers attending day school. The units are small, functional and adequately lit. The corridors are well-lit and ventilated and the apartments are airy. Since the buyers are seen as clients and not beneficiaries, the design and quality of construction are automatically standardised and strictly monitored. The families apply for micro-finance through multiple finance institutes that have partnered with DBS and receive counselling towards finance, paperwork and legalities through ‘Griha Pravesh’; a CSR initiative by DBS. SAATH, an NGO working towards

improving urban and rural life of the low income families, filters the target group ensuring delivery of housing to the needy. Though the venture is profitable, investor acquisitions are kept out by the system that ensures building of an effective community and ensuring complete occupancy. This idea is furthered by the fact that women are encouraged to claim ownership inducing a comparative stability and a sense of pride in ownership of the house. The principal stock-holders in the scheme are DBS Affordable Housing – developers with investment capital, SAAR – design and research, Alchemy Urban Systems – urban design and development planning, SAATH – an NGO working in Gujarat and ASHRAM (Academy for Sustainable Habitat Research and Management) – research and development. This multi-disciplinary approach ensures an ethical execution of the scheme and executes a control on delivery of good quality housing. The post-occupancy plan is underway and every community at the completion of the project will have a dedicated community centre where continuous counselling will ensure a smooth occupancy, and will aid repayment of loans. While the design aims to minimise the cost, the architectural peripherals and materials are kept under quality control to ensure standard of delivery. While our cities have alarming rates of rental and property realty, the formal and commercial housing development fails to address this specific

An experiment like the one elaborated here, forces us to rethink the effects of our speculative market and insensitive take on development. sector owing to lack of confidence in credit system and the myth of limited profitability. An experiment like the one elaborated here, forces us to rethink the effects of our speculative market and insensitive take on development. ‘Umang Lambha’ and ‘Umang Narol’ are socially ethical and profitable ventures. DBS Communities presents us with an alternative model of housing development in our cities: an inclusive and effective model based on social entrepreneurship. Such a systemic change can potentially change the realty markets of our cities and open them for all. Although the social and design success of this scheme remains to be looked into post-occupancy, it can bring housing back in the debate of urbanisation and in the imagination of the city.

FACT FILE:

Projects : Architects : Planners : Research Partners : Developers : Infrastructure : Built-Up Area : Cost Estimate: Expected Completion :

Umang Lambha and Umang Narol SAAR (Studio for Art and Architectural Research) Alchemy Urban System Pvt. Ltd. ASHRAM (Academy for Sustainable Habitat Research and Management) DBS Communities Tanya Infrastructure Pvt. Ltd. Umang Lambha - 298842sqft –Total 792 Units Umang Narol - 324040sqft – Total 885 Units Umang Lambha: 41crore (Saleable) Umang Narol: 55crore (Saleable) DEC 2012

5’-0” Passage

TYPICAL CLUSTER PLAN.

IA&B - AUG 2011

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Extreme

Architecture

understanding new tectonics â&#x20AC;&#x153;If everybody is thinking the same thing, nobody is thinking very much.â&#x20AC;?

hat kind of architecture is emerging for the future? Is it chasing realms of unknown out of necessity or piquing for exploration? Contextualising and rationalising for the unknown is probably going to be a never-ending and unresolved story. Some of todayâ&#x20AC;&#x2122;s architecture is rallying to find a good balance between architecture and extreme conditions of localisation and climate. It certainly is a move towards a progressive and radical approach whether in space or underground; emerging in the sidelines not only as a rationale for the over-crowded landmass but also an exciting foray into exploration of the unknown. The buildings in this segment represent insights into the extremes of architectural thinking. These projects are not only innovative for their locations. The architects enlist the attitude of newer possibilities and grapple with unprecedented constraints and few architectural references. The idea, for now, is of an existent territory that one can manipulate or transform such that it becomes actionable. We present a glimpse of different positions and different points of views in architecture that communicate about an architecture that is innovating, not stagnating - a step towards creating a new geography.

90 IA&B - AUG 2011 Located 30m below the granite rocks of the Vita Berg Park in Stockholm, the project is an interesting narrative of natural and spatial elements.

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ise

on Text: Maanasi Hattangadi Photographs: courtesy Ă&#x2026;ke E:son Lindman; Albert France-Lanord Architects

the Inverse

Pionen â&#x20AC;&#x201C; White mountain by Sweden-based Albert France-Lanord Architects abstracts the character, ethnicity and topography of a subterranean context to frame its uncommon identity.

The rock shelter hosts server halls and offices with a dynamic integration of rocky surfaces and architectural finishes.

PLAN 2

PLAN 1

SECTION

1. Entrance 2. Cooling tower 3. Diesel room 4. Tunnel 5. HaII/ Greenroom 6. Vestibule 7. Cooling room and el. central 8. Corridor 9. Storage 10. Office for technicians 11. Datacenter 12. Room for high and low tension 13. Corridor 14. Dining and relax room 15. Kitchen 16. Toilettes and shower 17. Conference room

mbedded in most architectural traditions is the enclosure of space and definition of its territory. There are contexts which play a significant role in the sites but the content becomes unique when the site plays a significant role in the context. The extension of this notion is of emerging domestically scaled areas that can be seen flowing effortlessly into the toughness of natural landscape. A visual can be evoked of architecture gently settling amidst water and land beneath the open sky. What is different here is that the setting is the same albeit 30m underground. So tangibly present and inviting in its own element, Pionen – White mountain by Sweden-based Albert France-Lanord Architects is a startling piece of sculpted form of inhabited space across 1200kvm area, counterbalanced in the rocky expanse 30m beneath the Vita Berg Park in Stockholm. An existing anti-atomic shelter has been converted to provide headquarters of an internet service provider and the rock shelter hosts server halls and offices. For the designers, the starting point of the project was to consider the rock as a living organism. The architecture, which shares its materiality only within sensible finishes, is silent. The existing morphology sublets its space to architecture that sneaks up on users rather than broadcast its presence. “The humans try to acclimate themselves to this foreign world and bring the ‘best’ elements from earth: light, plants, water and technology. We created strong contrasts between rooms where the rock dominates and where the human being is a stranger against rooms where the human being took over totally,” explain the designers. Beyond the collection of seemingly disconnected pieces, the design process was methodically translated into five phases like planning,

The stratum of rock is lighted amply to defy the enclosed feeling of space and time.

A composition of free-standing elements defines the architectural language of the volume.

94 destruction of the former office and blowing up the rock to create extra space, reinforcing the cave with concrete work, technical installations, paints and furnishings. The narrative is a synthesis of the architect’s understanding and the client’s strong vision and persistence. The designers say of the experience that “it has been very exciting to work with a space which at first didn’t offer one square angle: the rock.” Thoughtful variables attain the unique signature of the project. One of their inserts is the sense of seclusion considered in inhabiting the space. A system of combined free standing elements has allowed a possibility of developing a volume not limited by surfaces but defined by the emptiness inside a mass. The individualism of the space is supported by the asymmetry of the rocks that break the linear architectural lines that are introduced. In ones’ visual connect; a few pithy details are highlighted while the context recedes in the mystic darkness. A socially inclusive atmosphere is generated in the lighted niches and corners while still capturing the tentative sensitivity of the stark rocks. The lighting takes its remit in extracting the depth of the contextual poetic and making the space more habitable. The architects configure various lighting maaneuvers to

The textures and feel of the place evoke a natural semblance – where the main room stands out as emptiness in the mass.

The office spaces offer the best elements like nature, light, technology as a cohesion.

“It has been very exciting to work with a space which at first didn’t offer one square angle: the rock.” - Albert France-Lanord Architects

The stark angles contrast wholly to the digital servers that the space is designed to house.

Wallwash 4 St Powerled 3 vita, 1 bla

Powerled 1 vit

Marko Light yellow fluorescent with satin

1500 dimbart Iysror

SECTION B-B

Metal hallid spot

Aluminium ram. Shaped wire

Metal hallid spot

AIuminium ram. Shaped wire

Marko Light yellow fluorescent with satin

Glodlampa

Talo Parete végglampa

SECTION A-A

SECTIONS

refrain from the illusive feeling of time in an enclosed space. They have done well to change this aura and while the area is built around office functions, it borrows its ethos from references of science fiction films like ‘Silent Running’ and Ken Adams’ set designs. Natural light being limited, the dark finishes and furniture by no means associate to a dark interior but instead divulge a unique understanding through these ample light provisions. The tone is a contrast of a light lofty space contained by dark hard rocks. The rawness forms the perfect antidote to the digital servers that the space is designed to house. The project offers a wry commentary on subversive architecture jointly authored by the dynamism of both humans and nature. The precise geometry, both architectural and topographical, speaks volumes. Far from being monotonous, the project takes on a monolithic statement – seeking to create a minimal architecture which directly relates to an outlandish experience and movement of time.

FACT FILE:

The tone stands out as a lofty space contained by dark rocks.

Project : Location : Architect : Client : Completion of Project :

Pionen – White mountain Stockholm, Sweden Albert France-Lanord Architects, through Albert France-Lanord architect DPLG-SAR/MSA and assistants: Frida Öster and Jonatan Blomgren. Bahnhof AB through Kristian Thorin August/ September 2008

The architects have negotiated various lights to brighten up the enclosed feeling that space naturally renders.

98 IA&B - AUG 2011

ransparence

With the serene, temporal and evocative texture of ice simulating the genesis of a revolutionary idea amidst the cold arctic climate, the ICEHOTEL suggests a new agenda of hospitality for both experiences â&#x20AC;&#x201C; to the visitors and the designers. Text: Maanasi Hattangadi Photographs: Christopher Hauser, Leif Milling, Ben Nilsson/ Big Ben Productions; courtesy ICEHOTEL AB

The sculpturesque form of the ICEHOTEL takes on different contrasting views against the ever-changing colours of the sky.

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The structure in its entirety is composed of materials like Torne river ice, natural snow and ‘snice’ (mixture of snow and ice).

t’s not very often that one sees such innovative and engaging work in the vein of ICEHOTEL’s intent, work that challenges the conventional and radically reinvents the familiar. It has brought in numerous possibilities that redefine the way one relates to a retreat. Principally, one thinks of the visitors – about the different atmosphere that they can behold. But it is the artistry, originality and symbolism of the context that brings about the depth in this project. Hues of grey, blue and the cold and a transparent sheen of light reflected in the natural darkness; the visual is an antidote to the increasingly virtual, material and tangible world we live in. The non-tangible has been explored by bringing in a little more life in the area of making. Sited in Jukkasjärvi far north of the Arctic Circle, a small village in northern Sweden with a population of 900 residents and about 1 000 dogs, ICEHOTEL

was the world’s first hotel built of snow and ice. Moving and forming in unexpected ways, it stretches over 6000sqm. It looks and feels familiar, having been derived from 1000 tonnes of Torne River ice and 30,000 tonnes of ‘snice’, a mixture of snow and ice that strengthens the structure, effectively creating a whole new tactile experience. Because of these materials, it forms an immediate relationship with the local terrain – giving the hotel a strong sense of belonging.

“The artists created with imagination and hard work, only to melt away under the unforgiving rays of the sun come springtime. All that remains are our impressions, our memories - and photographs.”

Large clouds of snow that drift along the Torne River are collected and sprayed on huge steel forms. These are allowed to be frozen and removed after a couple of days, leaving behind the basic structure.

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BASIC LAYOUT

Apart from main amenities offered in the ICEHOTEL, the designers have also included a surprise element carved in form of the Ice Church.

Luxury suite Group rooms Snowroom Suites Iceroom

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The transparent forms reflect light and mark the ways and spaces in the icy darkness.

The Gallery Tunnel of the ICEHOTEL.

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The primodal point of social interaction simulated on the same concept â&#x20AC;&#x201C; the ICEBAR in Tokyo.

The surreal interiors of the ICEBAR rely on tactile experience of only snow and ice.

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The architect engaging in the unique creation of ice equipment of the gym.

The suites and rooms are all delineated on different themes.

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ICEHOTEL was a conscious attempt by the founder Yngve Bergqvist, to revive the cultural and tourism significance in the quiet and heavy winters of the town. “Inspired by a Japanese ice sculpture, he invited artists from Norrbotten to participate in a workshop in 1989. Two sculptors from Hokkaido, Japan, were instructors and the first ice sculptures were created on the shore of the Torne River in Jukkasjärvi,” say the designers. The built structure is a compelling collection of propositions contributed by over 100 people involved in the construction displaying a remarkable interconnectedness such as between disciplines that can occur. Sensitive to the communal and creative liveliness of the place, restraints artists and their ideas are handpicked by the ICEHOTEL Art & Design group. The ideation is as an attractor to draw people who might not otherwise frequent the area down to the isolated site, activating the space. The origin masks a sophisticated social and environmental ambition that remains as relevant every winter. With the oncoming of the season, a team of snow builders, architects, designers and artists from all over the world congregate in the little town and collaborate to work towards a

Combined with the outlandish experience of minus five degrees Alessandro Falca & Magdalena Åkerström, Italy & Sweden develop the Ice Fishing suite with an under-‘ice’ perspective.

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new version of ICEHOTEL each year. The structure rises as an icy response to large clouds of snow that drift along the Torne River. The bold gesture onsite is formed by spraying snow on huge steel forms that are allowed to be frozen. The forms are removed after a couple of days, shaping dramatic ways and a maze of free-standing corridors of snow. Branching out beyond the world of corridors, rooms and suites are demarcated by dividing walls. The striking presence is developed from ice blocks, which are harvested at springtime from Torne River. They are then physically manifested as artistic designs by selected artists from all over the world. An environmental sculpture, it simulates a remote naturalness within an urban setting. Thus, despite the apparent solidity of the material, there remains a tenuous and fragile aspect to the entire precinct. To overcome this, the design follows a manner of phased insertions. The built form is wrapped around in several phases; as soon as one section is completed, it is opened to visitors and overnight guests, while the other sections are still under construction. By pushing such boundaries between the possibilities of forms, ICEHOTEL embodies the idea of interactive flexibility. The layout unfolds into sections like the lobby, main hall,

Inspired by the game ‘domino architecture’, David Luxembourg & Jens Dyvik, Netherlands & Norway invoke a play of light to define ‘Dimensional Journey’ suite.

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The Flow suite by Liliya Pobornikova & Viktor Tsarski, Bulgary is created like being in a constant lingering motion.

Rob Harding & Paco Aquilar, Spain designed ‘Between Worlds’ suite whose dome was transpired to captures dreams and bring them into life, allowing one to wander unhindered between the two worlds – the awaken one and the dream world.

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Bubblesuite by Wilfred Stijger & Edith van de Wetering, The Netherlands is a playful atmposphere made of giant bubbles that have been inspired by spheres.

The Art Deco suite by Tomasz Czajkowski & Eryk Marks of Poland has been designed as a homage to a lost part of Polish art history.

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The Ice Room is embedded in exclusive niches formed as bedrooms.

The Retro Drive Suite Natalia Chistyakova & Karlis Ile, Russia & Latvia render an imaginative form â&#x20AC;&#x201C; in form of a car.

109 ABSOLUT ICEBAR, Ice Church and various themed suites. The hotel houses over 100 guests, and every bedroom is designed uniquely. Simple and pure white snow is sculpted to evoke changing compositions with layers of light shimmering and enthralling one’s stay. The possibilities to interact and customise are infinite. It celebrates its existence by allowing one to be still in admiring the time, effort and skill needed to produce such sculptural installations. Temporary and eclectic, spring marks the thawing of the snow walls and melts back into the Torne River by May each year. The designers explain the simplicity of the experience, “The art is created with imagination and hard work, only to melt away under the unforgiving rays of the sun come springtime. All that remains are our impressions, our memories and photographs.”Knotting their creativity, the artists use rustling planes of white to frame intriguing experiences for the visitors – a temporary intervention of three months. It speaks of an environment notoriously hostile to all forms of life transformed into an unusual retreat. The attempt humanises the being of architecture like making use of natural elements that Sweden has in abundance – snow; an experience that it promises to offer to the rest of the world – of uncompromised serenity and simply but

effectively transforming the negative consequences of seasonal changes into a positive - a dynamically site-responsive sculptural installation. It has and will keep on bringing to the area much more than just a temporary possibility.

FACT FILE:

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

: : : : : : : : :

ICEHOTEL Jukkasjärvi, Swedish Lapland Åke Larsson changes every year, just like ICEHOTEL itself ICEHOTEL Torneus såg och traktor ICEHOTEL Art & Design Group October each year December each year

100 artists participate and shape out illusory sculptures in ice like this fish sculpture.

110 IA&B - AUG 2011 Spaceport America â&#x20AC;&#x201C; Top View.

focus

Norman Fosterâ&#x20AC;&#x2122;s Spaceport America for Virgin Galactic gives us a glimpse of how the future will look and feel when one might be able to board a flight for space.

The Point of Departure

Text: Ruturaj Parikh Photographs: courtesy Foster + Partners and Spaceport America

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Aerial image showing the Spaceport with spaceship in the foreground.

nd it will be sooner than you expect. Spaceport America, a commercial launch pad project by Virgin Galactic and designed by Lord Norman Foster will take tourists into space soon. Since a long time, commercial space travel has been much anticipated and discussed realm. The possibilities are endless. From space-’hotels’ on Moon to trips to the outer space, this frontier has captured our imagination since last century.

The prospect of space-tourism is exciting. It is, undoubtedly, the next big leap as far as our imagination as humans is concerned. This design, by Foster + Partners appeals our imagination and lives up to its expectation as at the point of transition between earth and space. As the world’s first commercial spaceport, the design addresses two fundamental issues: the

issue of type and the issue of function. The issue of type is addressed by certain dynamism in the form and creation of an icon. Foster + Partners present us with a subtle yet severe design in New-Mexico. The building takes a gradual shape from the earth as it raises its organic roof slowly from the ground. An energetic and discreet facade opens up to the births and the strip. The building is split in three functional

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PLAN Spaceport America - Level 3 5

levels and opens up to a breathtaking desert landscape as one enters. Though, from the human scale, the building stays elusive as a parting in two mounds of earth takes you within. The idea, as Foster + Partners presents is to “capture the drama and mystery of space flight itself ”. Soon, the first commercial space-tourists will leave earth through this building. In the dry landscape of New Mexico, the built form assumes

SITE PLAN WITH STRIP

As the world’s first commercial spaceport, the design addresses two fundamental issues: the issue of type and the issue of function.

114 this particular form for one more important agenda. The idea of a futuristic built form is furthered by the design incorporating climatic control strategies adopting from its context. The wafer-thin concrete of the roof allows minimal time-lag while the rock labyrinth buried in the mound reduces heat-gain substantially. The facade opens up to the vivid landscape of New-Mexico.

Exploded view showing three functional levels.

This building, when complete, will be the first space terminus accessible for commercial space flights.

WEST ENTRANCE ELEVATION

SOUTH ELEVATION

EAST ELEVATION TO RUNWAY

I whole, the built form attempts to create an unprecedented icon and a global image for this type simultaneously addressing functional concerns and issues of its immediate context. This building, when complete, will be the first space terminus accessible for commercial space flights. Spaceport America will soon take the first contingent of tourists in space. It will prompt the future generations to look back to this historic step and look at an image of avant-garde architecture that represents this paradigm shift.

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Sketch showing the environmental strategy of the built form.

SECTION THROUGH THE BUILDING

Spaceport America - Section 1 0

Image with the Virgin Galactic Ship in the foreground.

Visualisation of the interior space when built.

FACT FILE:

Spaceport America under construction.

Project Architectural Lead Design

: :

Architecture Client Tenant Management and Engineering Environmental Design/LEED Site Area Gross Area No. of floors Highest point

: : : : : : : : :

Spaceport America Foster + Partners Norman Foster, Grant Brooker, Antoinette Nassopoulos- Erickson, Joon Paik, Hiroyuki Sube, See Teck Yeo, Kristine Ngan SMPC Architects New Mexico Spaceport Authority (NMSA) Virgin Galactic URS Corporation PHA Consult 27,880sqm 10,219sqm 3 60ft

116 IA&B - AUG 2011 RAMA Rover visual on an alien landscape.

In the Realm of the Unknown LIQUIFER Systems Group, a multi-disciplinary design and development practice with offices in Mumbai and Vienna, develops RAMA <Rover for Advanced Mission Applications>; a mobile research laboratory to explore Moon and Mars. Text: Ruturaj Parikh Photographs: courtesy Susmita Mohanty and Barbara Imhof; © LIQUIFER Systems Group / René Waclavicek.

e cannot underestimate our obsession with space exploration. Since Star Trek, ‘The Final Frontier’ has captured our collective imaginations the ultimate domain to be conquered, explored and understood. Space exploration is indeed a field that assimilates a diverse array of expertise in design and engineering. It deals with extremities and unknown variables constantly pushing limits of the possible and the comprehensible. Future

ventures in space will present us with an unprecedented opportunity to explore alien landscapes and geographies and will challenge our notions of life. RAMA <Rover for Advanced mission Applications> is a mobile lab designed by LIQUIFIER Systems Group as a self-sufficient pod that will

focus

provide a habitable workspace for manned missions on Moon and Mars. This Rover, designed in the memory of the prolific writer Sir Arthur C. Clarke is seen as a habitat, a refuge, a laboratory and a controlled environment that will enable comfortable surface exploration on alien and at times hostile environments. The Rover also accommodates essential scientific and operational requirements as it adapts to various mission objectives. Primarily built for Surface Architecture Study, the Rover is designed in variants that can inhabit two to four humans for a period of approximately 40 days

Spacesuit lock and hatch on the Rover.

Robotic arm for equipment and assistance.

depending on the nature of mission. This pod uses liquid hydrogen or liquid oxygen fuel cell that allows the Rover to operate with or without sunlight. Standard equipments on board include a guidance system, a navigation system and an obstacle avoidance system. The Rover enables the astronaut to disembark and work on field in a space-suit while having a built-in remote manipulator â&#x20AC;&#x201C; a mechanical arm to recover samples, deploy surface equipments and assist astronautâ&#x20AC;&#x2122;s field activities. This highly manoeuvrable vehicle can also collaborate with a surface station and thus replenish its resources periodically to sustain its crew and energy for longer or multiple missions.

Structural frame and infill of the vehicle.

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RAMA chassis with a capability to turn on spot.

Study of interior space.

RAMA <Rover for Advanced mission Applications> is a mobile lab designed by LIQUIFIER Systems Group as a self-sufficient pod that will provide a habitable workspace for manned missions on Moon and Mars.

RAMA – space requirement ergonomic study for Crew Quarters, Laboratory, Gallery / Kitchen, Hygiene Facilities and Cockpit.

The brief by European Space Agency (ESA) was to develop space exploration architecture for planetary surfaces, transportation and in-space missions. LIQUIFER developed RAMA as a mobile research laboratory for the ‘surface’ segment taking into consideration the political and financial constraints in research and development of such technology. Issues like habitability, technical interfaces, safety, dust mitigation, contamination and radiation were considered and dealt with in the process of design after analysis. As RAMA is designed to operate independently as well as in collaboration with another rover or a base-station, the design integrates technology that enables such interaction. Issues of habitability and interface are thoroughly understood to control the “physical, social and psychological

119 Cockpit Glovebox Workstation

Workstation

Storage

Utility / LSS Galley

Sample Airlock Robotic Arm

Cockpit Suitport

Docking hatch Utility / LSS

Galley Hygiene

Shelter

Docking hatch

PLAN WITH ELEMENTS

SECTION WITH ELEMENTS

issuesâ&#x20AC;? within and around the capsule. The capsule and the work environment within is ergonomically articulated for maximum efficiency in work and in rest through studies in flexibility and adaptability. The environs within and immediately outside are controlled through user-controlled lighting design, provision of strategic windows, and placement and design of furniture. Design measures keep planetary dust and contaminating materials and radiation in control. This pressurised Rover is designed to operate in environs of Moon and Mars thus having versions with minor design variations. Its ellipsoidal body changes dimensions to accommodate the crew of 2 to 4 persons with weight variation between 5500kg to 6000kg. The four wheels of the Rover are independently propelled with its suspension system set on a circular chassis. Though a wide array of technologies and engineering tools contribute to the overall composition of RAMA, design plays a key role in articulation, configuration and operation of the vehicle. As we venture into extreme environments owing to our inherent need to push the limits, design becomes an essential to support human ambition. Architecture of habitation aids human inquisitiveness by giving solutions to the most complex situations. While once we thought that survival is the key to the unknown, logic and research drives us to create bubbles of familiarity and comfort in the most unfriendly terrains. Aggressive detailing ensures safety and a vivid imagination ensures compatibility in unchartered waters. Beyond reason and reasonability, our thirst to understand and explore the forbidden will ensure that we look towards design more often than ever before in time to come.

Multiple movement configurations of the seats in the capsule.

This pressurised Rover is designed to operate in environs of Moon and Mars thus having versions with minor design variations.

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Multipoint views of the Rover.

The Rover has a capacity to collaborate with other vehicles through the hatch.

121 Stroage

Storage

LED lighting Stroage

Workstation

Hygiene

Galley

Suitports

Glovebox

Hatch

Galley

Glovebox

Suitports Cockpit Shelter

Interior view of the capsule.

RAMA – Capable of operations on Moon and Mars.

FACT FILE:

Movement configurations of the seat.

Project : �� RAMA <Rover for Advanced mission Applications> Company : LIQUIFER Systems Group (LSG) Project Team : Barbara Imhof (Architect): Project Management, Concept Development, Detailed Design Waltraut Hoheneder (Architect) : Contract Management, Concept Development, Detailed Design Stephen Ransom (Engineer) : Systems Engineering, Concept Development, Detailed Design Norbert Frischauf (Physicist) : Commercial Evaluation, Technology Roadmap, Radiation Research Susmita Mohanty (Industrial Designer - Engineer) : Dust & Planetary Contamination Research Sandra Haeuplik-Meusburger (Architect): Habitability Research, Suitport Research Kürsad Özdemir (Architect) : Operational Scenario Studies, Concept Development René Waclavicek (Architect) : Detailed Design, 3D Modeling

The project was developed for the European Space Agency’s Architecture Studies (European Exploration Strategy) under a contract to Thales Alenia Space.

128 IA&B - AUG 2011

Architect, academician and an observer of cultural practices, Rahul Mehrotra authors this engaging book as a chronicle of multiple and multilateral thoughts and practices in Indian architecture, since economic liberalisation.

ost independence, India has rigorously tried to identify itself with an image that is not colonial. Contemporary architecture in India is a representation of this unique search of identity that we will be able to relate to as ours. Since the last two decades, and as Rahul Mehrotra points out â&#x20AC;&#x201C; since economic liberalisation, India has witnessed an unprecedented diversity in thought with a kaleidoscope of projects and practices representing, or trying to represent, architecture and design that a rising economic giant can identify with. This book by Rahul Mehrotra is an attempt to understand and make sense of the bizarre and seemingly uncontrolled growth and diversity of the landscape of contemporary architecture in India.

Cover.

A spread from â&#x20AC;&#x2DC;Landscape of Pluralismâ&#x20AC;&#x2122;.

Architectural observation and journalism in India is limited to profiling significant projects. Though many forums, journals and magazines in India have recently taken to courageous and unabashed discussions on the situation of contemporary architectural practice in architecture, confusion still prevails. The book, thus, surfaces at a crucial time in our history as a republic as Rahul takes a retrospective view. Rahul identifies four significant attitudes, that have emerged in the past two decades and discusses each attitude through a surfeit

book review

Richly illustrated, the book supports the narrative with photographs, sketches and drawings.

of projects breathing sense into an otherwise diverse and ambiguous scenario of architectural practice in India. These four attitudes are identified by four segments titled ‘Global Practice’, ‘Regional Modernism’, ‘Alternate Practice’ and ‘Counter Modernism’. The showcase of projects within each category is preceded by an engaging narrative by Rahul that puts things into a cohesive idea that broadly lurks behind the projects and practices in question. Although a great variety of work is documented within the book, Rahul does justice to the narrative with strong argumentation, deep understanding and a tireless strife against the mundane. The essays are insightful and engaging and are supported by meticulous reproductions of drawings, sketches and photographs. A significant aspect of the book is its clarity. The book adheres to a linear formal structure and has many ‘aha!’ moments as the text is simple in its style, spontaneous in its effect and ruthless in its meaning. Although the book is composed in a sequence of portfolios, the focus of the discussion is on the ‘process’ or the ‘method’ rather than the work itself. Significant importance is given to the prevailing attitudes of design in India and questions of style are intentionally kept to a minimum. The book is crucial in its reading of the contemporary architectural scene as architectural expression is discussed as a function of social, political, economic and cultural flux. Rich in illustration and photographic content, Rahul Mehrotra succeeds in bringing order to a confusing and chaotic architectural tapestry. Finally, it all starts to make sense. Book Author Publisher Language ISBN Reviewed by Cover Price E-Order

: Architecture in India Since 1990 : Rahul Mehrotra : PICTOR : English : 978-81-920432-0-3 : Ruturaj Parikh : `2700 : info@pictorpublishing.com

The narrative deals with a broad spectrum of issues – from historical imagery to future projections.

Rahul Mehrotra Rahul is a practicing architect and an academician. His practice, RMA (Rahul Mehrotra Architects) has offices in Mumbai and Boston. RMA has spearheaded many projects of regional and national significance and has established a niche in the field. Rahul has taught extensively and is currently the Chair of the Department of Urban Planning and Design at the Graduate School of Design at Harvard University. Rahul has contributed actively and immensely to the field of conservation, preservation and culture through his pragmatic support to organisations like UDRI and PUKAR.

136 IA&B - JUL 2011

coloured

Vivek Vilasini observes a unique and contagious sub-urban phenomenon in Kerala; a satire and yet a justified image of prosperity in this edition of Dr. Deepak J. Mathew’s ‘space frames’. Text and Photographs: Vivek Vilasini Curated by: Dr. Deepak J. Mathew

space frames urban villages

ulture is an overlaid influence of things we encounter as a society. Our ideas are shaped by the things we see and the influences that impress upon our psyche. Within this immensely rich and varied landscape of the Indian subcontinent, constant and continuous exchange of culture defines out vibrant ways. We constantly live in a phase of transition wherein popular notions of good and bad are under an ever-changing influence of the ancient, the modern and the global. As cultural definitions of beauty come under constant re-consideration, popular notions of prosperity become tools to display well-being.

As cultural definitions of beauty come under constant re-consideration, popular notions of prosperity become tools to display well-being.

138

The houses photographed herein are from a closely knit locale in Kerala â&#x20AC;&#x201C; a significant and rapidly popular pattern in this part of the country. The pattern of richly coloured and aggressively decorated residences symbolise prosperity and exude a sense of security â&#x20AC;&#x201C; both financial and social. Although the vocabular y of aesthetics can be termed kitsch, the idea is understand the underlying patterns of expression in the ostentatiously and vibrantly decorated households. This documentation may come across as an irony to taste and yet registers an impact in the way these houses stand out and express individuality and belonging â&#x20AC;&#x201C; examples of a thriving culture. The camera captures a glimpse of ambition within a culture.

139

140

The pattern of richly coloured and aggressively decorated residences symbolise prosperity and exude a sense of security.

Vivek Vilasini Vivek Vilasini is a self-taught artist and photographer who lives and works in Bengaluru. Born in Trishur, Kerala, he studied sculptural practices from traditional craftsmen. Vivek has presented his work in multiple national and international exhibitions and forums. His work was recently showcased in an exhibition titled ‘Indian Highway’ in MAXXI in Rome. He has an intuitive way of looking at photography and a unique advantage of a self-trained eye. Vivek’s photographs are rich, intriguing and a visual comment in contemporary culture.

‘space frames’ investigates issues related to architecture, space and environment through the medium of photography.

Space Frames August 2011: ‘COLOURED’ by Vivek Vilasini Indian Architect & Builder Magazine

122 IA&B - AUG 2011

Scale, Element, Time

â&#x20AC;&#x201C; A Canvas

The context, scale and the limitless magnitude of Leviathan by Anish Kapoor all lead to an experience captured and contained for the visitors in a moment of transience.

Sketchbook 2009.

Text: Maanasi Hattangadi Photographs: ÂŠAnish Kapoor; model: Dave Morgan

The giant form rests underneath the grand glassy roof of Grand Palais, Paris.

art

Untitled Sketch.

he stage is elaborate and dramatic; the nave of Grand Palais, transparent through a glass roof beneath the skies of Paris. The history is as a marked witness to artistic rendezvous with artists like Anselm Kiefer in 2007, Richard Serra (2008) and Christian Boltanski (2010) as a part of the exhibition ‘Monumenta’ in the sheer expanse of 13,500sqm. The current exhibition of Monumenta is by London-based artist Anish Kapoor as the object “Leviathan” – visible, energetic and engaging, albeit towering lightly at 35m in the massive existent space.

The notion of ‘transexperience’ in art and architecture examines blurring the physical and metaphysical boundaries – the intersection of the two design-centric disciplines well explored by Anish Kapoor in Leviathan. The values in the context translated as heritage and modernity, the existing and the creation. The title of Leviathan was abstracted relative to the biblical monster Leviathan mentioned in the 17 th century philosopher Thomas Hobbes’ book in 1651. The installation is choreographed escalating the intimacy between the user, object and the existing interface. The palatial

124

Untitled Sketch.

The four armed construct puts into perspective the context with its regenerative scale and monochromatic tone.

125

The exterior model developed in the process of creations.

The interior mock-up of the installation.

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Light filtering into the nave descends and stops at the dynamic volume that recedes into the depth of the building.

Sketchbook 2009.

127

The interiors translate into a monumental experience in a dimmed red environment within the bulbous shell.

The limitless magnitude of the space escalates inside with inferences on psychological and physical experience.

space of Grand Palais frames the monolithic giant four armed balloon. Onesâ&#x20AC;&#x2122; eye is led upward through the sheer scale of the visually and spatially dynamic volume into the depths of the building. The contrasting aesthetics depict differences between human interactions with the made and existing environments. The space of openness and connection is framed beyond the reflectance that is contained from the glass roof. It is a luminous experience. The exterior bears no resemblance to the interior. Progressively interactive, the space convolutes inside into a lowly lit encounter. The object breaks down into visuals of divisive edges by laying a generative style that resolves itself into built elements. It acts as a conceptual tool to blur the unexplored physical and mental dimension. The experience is tacit and the scale awe-inspiring. It is the technical challenge that is poised and played with. A dark membrane blocks the flooding light filtering from the Grand Palaisâ&#x20AC;&#x2122; roof and proposes a dimly red- lit engagement in the interiors. The pace is slow and the journey of the explorer is contemplative. The ethereal quality seeping quietly through the magnitude is persuasive. The idea of creativity lies in the absence of elements apart from the form; it lies in the viewerâ&#x20AC;&#x2122;s perception. It is an experimentative setup that has opened up debates for inspirational environments. Between outer light, scale, dark membranes and an overwhelming effect, Leviathan asserts a kinetic presence. It is the physical manifestation of the poetic. It is a monochromatic tone with mirrored shades of psychological transitions. It is a multiplicity of an experiment, a performance, an expression of one moment of awe and the other of relative silence.

130 IA&B - AUG 2011

DESIGN4 BETTERCITY The fourth installment in this series is a compilation of short pieces by authors associated with DELHi 2050, from various design disciplines, discussing how they can help in shaping cities. Curated by: Anne Feenstra and Tanvi Maheshwari Images and Sketches by: Isabelle-Jasmin Roth, Amit Gulati, Ishan Khosla, Nien Siao, arch i

he rapidly growing cities of today and the multiplying challenges they face prove one thing for a fact that architects and urban planners alone cannot deal with our burgeoning urban regions anymore. Design and design thinking can contribute to making better cities, by bringing a new perspective and a new method on the table, to create a more humane living environment. Designers, by virtue of their close working relationship with

DELHi 2050 Workshop Khirki 2050

people, have a unique understanding of social, cultural, and behavioral aspects of the society which is essential to understand the spatial structure of a city. Not only is design thinking crucial to appreciate the existing cities, but it is also crucial in the making of the future city. Just as large scale infrastructure interventions have a large impact on the development of a city, small scale design interventions also create lasting impressions

Idea of creating dynamic streets

Designing Future Cities at â&#x20AC;&#x153;Studio Chishtiâ&#x20AC;? during DELHi 2050 Public Days

delhi dialogues on the city, often of a larger magnitude, but lesser visibility. This idea of big changes through small interventions, strongly supported by the Dutch Design Fashion and Architecture Program, was explored during the DELHi 2050 public day “XL by XS” through lectures, workshops, interactions and panel discussions. When designers and innovators need to come together with architects and planners, the added value of these disciplines is recognised and tapped into, to define the Future Indian city. arch i invited seven professionals practicing in various design disciplines to share their thoughts on the role of design in making cities, from their personal and professional experiences. Designing Future of Cities By Iftikhar-mulk Chishti Design is the means by which we order our surroundings, reshaping materials to suit our purposes. It arises at the interface between human kind and raw environment and expresses human intentions, desires and hopes. City making, in evolutionary terms, is a pretty recent phenomenon. Animating from the innate capacity of humans to order, organise and shape life and living for their betterment, quite like all other human inventions, it is double edged - a blessing and a curse simultaneously. Homelessness, breakdown of human/ social relationships, consumerism, excessive migration, environmental degradation, globalisation, failure of planning processes etc. fall into the curse zone which of late has clearly begun to outweigh the blessing zone. It is no longer enough to just live in a city as a mute witness. There is a need to understand it and develop tools and talents hitherto unknown to make the difference. Engaging with designers representing diverse disciplines, irrespective of their scale and size, to forecast possible design scenarios for DELHi 2050 is one such attempt. Since it is our karma to find solutions - solutions to problems created from solutions - it is natural therefore, for us to want to know, for example, what kind of devices will transport us around, what kind of second skin will we put on and what means of communication will we resort to in response to the emerging social, environmental, technological challenges and complexities. Cities rise and fall and their reading, when living or dead, is the reading of the cultures and civilisations that shape them. What is the new paradigm that design, both at micro and macro levels, is able to project for the city of Delhi four decades hence is the question before us!

unauthorised or illegal colonies. This number is about to grow, as the informal sector is a major source of employment in the economic fabric of the city. Therefore, the question is: How can a (mega) city like Delhi tackle the challenge of its – mostly informal – population growth? Pushing Delhi’s urban development through an ‘old-school’ master plan approach is not the right answer to this dynamic development. Existing governance processes and static planning cannot keep up with the speed of change. At the moment, public decision makers can only react to existing patterns of settlement and usage of urban space practised by the citizens. Our work with the Delhi Ice-cream Wallahs proved that an organic approach to planning can be more effective in addressing the challenges that arise from informality. It showed, that developing small-scale pilot projects, designed and developed in cooperation with the people living and working in defined urban areas, can be a more realistic and socially viable approach. The access to social infrastructure, public transport and resources such as water and electricity differs vastly across different areas in Delhi – therefore, urban planning needs customised designed solutions. Understanding real local needs (e.g. by asking the right questions) and offering necessary urban space for experimenting and co-operating with self-organized communities in the local municipalities should be part of a new, inclusive and more solution-driven planning process. Urban designers, field researchers and technology providers have to work hand in hand with the city dwellers and public authorities to achieve this innovative goal. This has the potential to become a role model for a unique and democratically legitimated change in urban governance – and is therefore the best way for Delhi to prepare for its urban future. Design = Needed By Amit Krishn Gulati

The informal growth in Delhi By Isabelle-Jasmin Roth

Delhi, an eternal city if there ever was one, lives in the penumbra of the past with its breakneck growth constantly redefining what it means to move towards the future…an eclectic, surprising and only sometimes refreshing place and mostly a tense, chaotic stretch of urbanity on hyper-drive, clearly splitting at the seam. One often wonders what the overarching plan could be? Is there one at all? Who wants it?

According to the 2011 census, Delhi grew on average by 21 per cent between 2001 and 2011. Currently, about 45 per cent of Delhi’s population lives in

The first step is really to accept that this organic and frenzied transformation of what were once is a symptom of our economic growth getting far

Prof. Chishti and Rianne Makkink at DELHi 2050 workshop “Studio Chishti”

Delhi Ice-cream Wallahs

132 ahead of our ability to create an ordered framework for our cities. Tidying things up retrospectively is no longer an option – The challenge of design is now to make the unruly construct that is unravelling before us work better and intervene to create a quality of space that provides a semblance of a safe and dignified existence, especially for those without their static and dynamic (air-conditioned) cocoons. Imposing order from outside is another failed proposition – the desire to aspire to a human(e) quality of space will need to come from within each individual, perhaps catalysed by a self image of being sentient citizens rather than transient inhabitants. The same way we aspire towards (and are tempted to acquire) better things and constantly renewed objects of personal consumption, we need to create a desire within each one for a heightened quality of interpersonal interaction in hygienic and comfortable spaces shared collectively – We are really looking at people nurturing a desire for the (spatial) basics before they get on with the mindless acquisition of frills. Social change that precedes design intervention. Consciousness = Needed. So the master planning of individual needs (a fresh, self-motivated force and not a paternalistic diktat from above) will eventually create the collective yearning for a better urban experience. This really starts with the education of teachers and the design of schools. Schools where children will learn to love nature, love cleanliness, love creativity, love participation, love learning, love working with their hands and understand beauty – A place where they will use design thinking and learn to make a difference. A few such places already exist... many, many more are needed, accessible to all and clearly essential to building a foundation for change - driven by a compassionate populace. People who want to share a ‘quality of life’ in a balanced, sustainable and broad-based way. So ‘designing’ a critical mass of sensitive and urbane citizens will precede any visible transformation of the urban fabric. A slow but sure replacement of the heartless, careless, and cynical automatons that populate our city. Great urban design, iconic architecture, vibrant public places, streets with character and expressive living spaces will follow for sure. Why design is needed to create better cities. By Vic Cautereels How can designers contribute to the development and understanding of clustered mega cities and help to create the mechanism that improves

Consciousness=Needed

the overall quality of life in cities? In a creation world that is historically dominated by the architectural profession, the designer needs to simply do what he is best at.The design profession is a relatively young discipline that is seeded in the industrial revolution in the late 19 th century. Design soon became the business partner who could provide beauty to the mass produced products. Today however, the global design community has clearly and uniformly refocused on people. Design is people driven and design thinking has become the new strategic definition of the added value that design can contribute to people’s problems. If there is one thing that design has in common with cities it is - by all means - people. Designers tend to look at cities as an accumulation of people and cultures, not so much as an accumulation of buildings, roads and infrastructure. The functions of cities have changed considerably over the centuries, but today the social dynamics and the degree to which a city is open to culture have become some of the true values of any city. Cities have competed against each other for centuries, with rational elements of infrastructure, and will continue to do so for a few decades. Unfortunately, architects have often been held as a hostage to design the next flashy, screaming piece of “attraction” that not necessarily adds value to the social dynamics of the city. Design and designers have this focus on people and need to unleash their knowledge on this domain to participate with architects and city-planners in the strategic discussions on the future developments of cities, any size. The most obvious, and natural contribution of the designer to the city is the design of the public space and the components that make up these spaces. The creation of a bench in the park or a lighting solution in a public area can surely contribute to the quality of life of individuals, and if it is done with the right people focus, these solutions can surely benefit the social quality of a city. The collaboration between different disciplines in creating the right public space is crucial. While architecture is providing the hardware for the city the designer provides the software. Another important domain is the highly under-estimated field of service design. Services are re-discovered by many private companies, and have now become an important economical asset. The service that any city is giving to its inhabitants is often departing from an administration point of view, those that give the service and not seen from those that receive the service. Designing services are an ultimate people centered matter and cities need to involve designers to help them in realising the right service, with people in mind, not administration.

133 Responsible Fashion & Education By Nien Siao

Design and the Future of the City: Small Ideas, Big Impact By Ishan Khosla

It seemed just yesterday that the world crossed the time line into the 2 nd millennium zone, grappling with the new challenges of economic recessions, terrorism, and social media communication in addition to some other social impacts. Hurtling through this paradigm design thinkers have turned their sights to their immediate working, living and human environment. Design has never felt so useful with a host of practitioners, thinkers and well wishers articulating it, to demystify the word and bring it closer to the users for whom it is meant. Amongst the repertoire of design can fashion design make a difference? Can it take on the responsibility to contribute to a more humane, ethical and sustainable environment? Does education (read: awareness) have a role to play?

We are living in an urban age, where cities are expanding in size and scale as well as density. This fast growth worsens the problems of alienation, selfishness and crime as well as the environmental degradation. In a workshop that held a few months ago, for DELHi 2050 one of the main issues discussed was the lack of compassion among people. Delhi-ites do not have enough public places to understand each other. However small changes sparked by design thinking can change the course of a large city. I suggest some ways of bringing Delhi-ites together.

Connect and Collaborate: Let fashion development be a collaborative process which connects, learns, applies and preserves. Participants, whether consumers, creators, craftsmen, farmers who grow cotton, weavers, tailors, shop keepers all become enthusiastic collaborators and implementers. Let design practitioners ensure that through the process of creation and branding every participant across the development chain get their due credit. Let the resultant value of the product in a fair manner also go to the trader at Kinari Bazar, to the embroiderer in the by-lanes of Sadar Bazar. Education and Awareness: Education brings about awareness, pushes people to seek fur ther answers, provides content to voice opinions and suggest improvements. Awareness is the catalyst for ac tion to change. If ever y fashion consumer, hankering for a fast fashion produc t understood the resultant impac ts of this fashion concept then it also means that this knowledge would empower them to make informed choices. It this way, decisions to buy a produc t which appreciates fair trade, ethical and sustainable prac tices and concern for environment would become a feedback to the c ycle of design, manufac turing, retailing and consumption. Education is about giving power of thoughts to minds and the force that shape thinking minds. Responsible design should be an integral par t of design curriculum in higher education and at school levels to be integrative as strategy for life learning. Fashion can be responsible, can be caring, can conserve.

Responsible Fashion- Connect and Collaborate

Design can make you belong to a city In the 1970s when New York was going through its worst phase of crime, filth and selfishness, Milton Glaser, eminent designer, came up with a simple phrase, “I (Heart) New York”. In the next five years, crime reduced as the people of NY become more proud of their city and till today that symbol unites the city especially after tough times like 9-11. I propose creating city pride in every Delhi-ite through a symbol, a phrase and a colour that represents Delhi. SimpliCity: Bringing the Village to the City The simplicity of Indian village life can teach us all about how to live in a community and to produce and consume less—to live a more simple and wholesome life in a less materialistic society. I call this SimpliCity. This thinking can change the way we plan our cities and design our buildings. Delhi Online I suggest creating an online version of our city—a multi-lingual website that is a microcosm of the city. People can share their grievances and solutions as well as innovative ideas for the future of the city. One could moderate projects to members such as recording the amount of trash one throws out daily and suggest resources to recycle. The site would also help building a sense of community and belonging to the city In conclusion, small solutions through Design is an important method to tackle the big issues of a city because design is one of a few fields that is driven by thought, innovation and action. However, designers need to work in conjunction with people in other fields to create a more holistic view of to solve these issues effectively.

“I (Heart) New York” by Milton Glaser

Mind Map of Delhi made at “The Village Workshop” in Ishan Khosla Studio during DELHi 2050 Public Days

134 Participatory Design of cities in flux By Durganand Balsavar The design of medieval cities (like Shahajanabad, Ahmedabad etc.) was a socio-cultural process that involved a tacit agreement on the structure, elements and the nature of the city. The underlying unity, condensed from an ephemeral, shared cosmological understanding, enabled the creation of relatively homogenous and contained cities evolving from a theme, expressed through a range of locational variations. Urban Planning and design is more complex in the existing context than it was a few centuries back. The primary issue that concerns the Indian city, is its phenomenal growth, which for the last two decades was heralded as a measure of positivistic development. In the absence of dynamic planning and urban design interventions however, unbridled growth has the potential of adversely impacting the quality of urban life. As experienced in New Delhi, within our democratic systems of governance with its checks and balances, with large-scale developments, the Indian city requires public participation and initiatives as an expression of an involved citizenry. In the history of the city over several millennia, totalitarian concepts have rarely survived. The city as a collective artefact, has been a negotiated process over time. The several layers of the city of New Delhi that coexist, indicate three broad design premises: an accretive Shahajanabad, a pre-ordained Lutyenâ&#x20AC;&#x2122;s Delhi, and the unfettered growth of contemporary times. The Indian city calls for a collaborative design process to better understand the changing urban environment and to create new public policies, development paradigms, and technologies that will improve the quality of urban life. The recent DELHi 2050 initiative addresses both the city and its urban regions. It examines ways that they have been designed, planned, and developed in the past, while proposing new visions for the future. The participants bring a commitment to collaborative and reflective practice, to involving those who will be affected by city design decisions, to sustaining the natural and local culture, and to evolving a long term perspective on the consequences of actions that shape the urban fabric.As the Asia-Pacific cities grow beyond ten million, new paradigms of city urban design and planning would be essential. While the Metro-Rail or BRTS may address certain transportation needs, the larger objective of the nature of cities in continual change needs to be articulated through participatory

The accretive Shahajanabad

The pre-ordained Lutyenâ&#x20AC;&#x2122;s Delhi

processes. From land-use patterns and quantifiable regulations, through scientific design processes, cities of the future would require a substantial qualitative transformation of its urban life,to conserve its bio-diversity, consolidate its mnemonic institutions and its ability to provide opportunities for dignified living to the vulnerable. About the authors: Iftikhar-mulk Chishti is a Professor at the School of Planning and Architecture (SPA) in Delhi and founder of Studio iF, whose practice includes architecture, interior and product design and installations. He initiated the Design X Design series of exposes, exhibitions and roundtables in Delhi. Isabelle-Jasmin Roth is the Co-director of Bridge to India, based in New Delhi providing creative business solutions in environmental technologies in the Indian market. Amit Krishn Gulati studied industrial design at National Institute of Design, Ahmedabad and is the founding director of Incubis, a multi-disciplinary architecture and design firm. Vic Cautereels is designer and promotor of design - and brand solutions. He is a strong believer of People centered Design methods. He is also teaching at the Design Academy in Eindhoven. Nien Siao is the Head of Department of Fashion Design at the Pearl Academy of Fashion who advocates education as means to build the design future for the country, Nien evinces keen interest in adoption of sustainable practices in fashion. Ishan Khosla is the founder and art director at Ishan Khosla Design which was established in New Delhi in 2008. Ishan holds a Masterâ&#x20AC;&#x2122;s degree in Fine Arts (MFA) from the School of Visual Arts New York and is the recipient of the Graphic New Talent Award. Durganand Balsavar (Nandan) is the Principal Architect of Artes - Human settlements development Collaborative. Balsavar has been a visiting faculty at CEPT, Ahmedabad since 1990 and SAP, Chennai.

The unfettered growth of contemporary times in Delhi.