December 2010

` 150 DEC 2010 VOL 24 (4)

Focus: The Aga Khan Award for Architecture - 2010 International: MAXXI by Zaha Hadid

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Tangible, Intangible & Human Sarita Vijayan, Editor & Brand Director, IA&B talks to Li Xiaodong, Principal Architect, Li Xiaodong Atelier and the recipient of The 2010 Aga Khan Award for Architecture on his work, interpretations of context and ‘contextuality’ and the award winning design of ‘The Bridge School’.

Photograph: courtesy Li Xiaodong Atelier

let’s partner Li Xiaodong is a practicing architect, educator and researcher on architecture. He graduated from the School of Architecture at Tsinghua University (1984) and received his Ph.D from the School of Architecture, Delft/Eindhoven University of Technology (1993). He established Li Xiaodong Atelier in 1997. His design work ranges from interiors and architecture to urban spaces.

His work has won national and international design awards in China, Germany, the United States and the Netherlands. He is currently Chair of the architecture programme at the School of Architecture at Tsinghua University, in Beijing. Li is the recipient of The 2010 Aga Khan Award for Architecture for his project ‘The Bridge School’.

SV. We congratulate you on receiving The 2010 Aga Khan Award for Architecture for your design of ‘The Bridge School’. How do you see the impact of this recognition on your work?

Li. It is an important recognition worldwide due to the publicity and fame of the award, which reconfirms that my practice is on the right track.

SV. What according to you are the fundamental elements of your architecture?

Li. A reflexive model of design thinking which sees architecture product as a process of constant conversation between designer and the overall condition (including tangible and intangible, human and physical environment) that he is designing with.

SV. How do you define your practice? Do you see your work as a ‘niche’ or as mainstream design practice?

Li. I share with the classic cannon that it is the responsibility of the architect to strive for the highest order of the human environments. Each project is unique and should add uplifting spiritual characteristic of the project to the built environment.

The design should reflect an overall balance of aesthetic quality, tectonic order and precise detailing with the program.

My design strategy starts with a careful analysis of the program and site in relation with the resource which will play central role in the overall integration of ideas. The concepts are conducted by both cultural and climatic environment of context and seek to capture the spiritual essence of “place”. The designs strive for tranquility and harmony suggested by space, light and structure order. Fixed architectural styles are avoided, as they limit potentials to be unique and creative. However, studies of the precedents of past experiences and knowledge are important for us to provide a solid background to solve new problems in hand.

I believe that a good design product is the result of spiritual exploration of ideas with rational thinking, it engages with both technical knowledge and artistic judgment. The richness of a good design rely on how the matrix of detail, scale, proportion and common sense are carefully orchestrated.

SV. Do you see your designs as sustainable models?

Li. Definitely. I see especially my design as a mean to sustain not just itself but the community.

SV. You identify your work with spirituality. What connection do you see between your work and your spiritual explorations?

Li. Peace, harmony and dialogue.

SV. What parallels in terms of philosophy do you see in all of your projects? Do all your projects take form from a singular approach?

Li. A multi-disciplinary discussion among all the components of design subjects in hand.

SV. The Aga Khan Award citation explains the design of ‘The Bridge School’ as having very little influence of the area’s traditional building style. How do you interpret the role of the context in your architecture?

Li. De-familiarisation is an intended effort in this case. A declining community needs strong dose of “medication” to pinch the consciousness.

Yet, context is not ignored, integration is done through communication with the context (rather than aping the existing model).

SV. You are closely connected to academics. What significant and emerging attitudes you see in students towards architecture?

Li. I am a Professor of History and Theory of Architecture at the School of Architecture, Tsinghua University. Fortunately, the students’ attitudes towards architecture are much more diversified than before due to a much open environment of educational system as well as social and physical conditions.

SV. India and China have a lot in common in terms of development and emerging urban scenario. What would be your approach while designing in India?

Li. There should not be any existing model of design to be copied. Each design problem is a unique one which requires independent thinking, design is not about choices of styles, but ideas, concepts and philosophies which should be generated through a process of discussion with the condition to be designed.

To read more on The 2010 Aga Khan Award for Architecture and ‘The Bridge School’, refer to the article titled ‘Reconciliation and Conviviality’

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LET’S PARTNER Tangible, Intangible & Human In a discussion with Sarita Vijayan, Editor & Brand Director, Indian Architect & Builder, Li Xiaodong, Principal Architect, Li Xiaodong Atelier elucidates on context driven concepts that enhance his architectural practice and his Aga Khan Award winning design of ‘The Bridge School’.

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CURRENT Featured are the latest updates on events, exhibitions, competitions and news.

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PRODUCTS

TECHNOLOGY Alternative Trajectories

Innovative and au courant products from the world.

Seoul-based architectural firm Planning Korea is changing the rules of conventional bridge building with the state-of-art design of ‘Paik Nam June Media Bridge’.

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TRIBUTE Seeing, Believing

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2010 Aga Khan Award for Architecture

A special tribute to commemorate the demise of Padma Shri Dashrath Patel,

Reconciliation and Conviviality

an artist, a teacher, an innovator, and above all, one of India’s foremost

The 2010 Aga Khan Awards for Architecture acknowledge projects that excel in special strategies and interventions in the built environment, culturally and spiritually.

creative thinkers.

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POST EVENT ‘Ideas to Reality’ Armstrong, a multi-national pioneer in floorings and surface finishes, conducted

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Using materialistic interpretations of light, linearity and elements, Bengaluru-based Khosla Associates have composed the architectural language of Cliff House, Kerala and Arts and Media Centre at The Doon School.

environment-friendly solutions, in four cities.

CONSTRUCTION BRIEF International Management Institute, Orissa

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ARCHITECTURE Contextual Architecture

seminars titled ‘Ideas to Reality’, a platform to showcase design, innovation and

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FOCUS

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INTERNATIONAL

Kolkata-based architectural firm, Abin Design Studio, revolutionises the concepts of

‘Confluence, Interference and Turbulence’

campus design with its design for International Management Institute, Orissa.

With fluid lines and fragmented geometry, a team led by Zaha Hadid creates a sculpturesque and interactive space for MAXXI – National Museum of XXI Arts.

Vitra, Sau Paulo Generating a new spirit for condominium living within the vibrant neighbourhood of Sau Paulo, Daniel Libeskind designs Vitra, a high-end residential building.

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Guangdong Tower, Tianjin Transforming the skyline of Tianjin, China, is the Guangdong Tower, a super tall building by Chicago-based architecture firm Goettsch Partners.

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Lotus 300, Noida Lotus 300 developed by the 3C company in Noida introduces a new residential typology aspect to greener considerations.

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Extension Castle Quay Complex, St. Helier, Jersey Restyling the small island of St. Hilier, Jersey, into a business and tourism hub, is SOM London’s new design proposal for the Extension Castle Quay Complex.

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Baan

Chairman: Jasu Shah Printer & Publisher: Maulik Jasubhai Editor & Brand Director: Sarita Vijayan Deputy Editor: Sujatha Mani Senior Writers: Ritu Sharma Writers: Rati Singh, Maanasi Hattangadi, Namrata Rao, Rashmi Naicker (Online) Visualisers: Mansi Chikani, Nikhita Gadkari Web Designer: Sandeep Sahoo Editorial Co-ordinator: Namita Bandekar Events Co-ordinator: Abhay Dalvi, Abhijeet Mirashi Subscription Co-ordinators: Sheetal Kamble, Kapil Bhanushali Production Team: V Raj Misquitta (Head), Prakash Nerkar, Arun Madye Brand Manager: Sudhanshu Nagar Head Key Accounts: Meha Shrivastava

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ART Passing Through the Flux Converging for the first time in India, Anish Kapoor’s works displayed in Mehboob Studio, Mumbai recreate the essence of emptiness through illusory visions, volume and metaphysical concepts.

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CULTURE COUNTS Civic Activism in Mumbai Nayana Kathpalia, activist and author, expounds on the multitude of issues that Mumbai faces in the present day – each aspect being saved by the holistic and co-ordinated approach of NGOs.

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26 IA&B - DEC 2010

current Water Tower Project / PDX Category : Type : Deadline :

International Open to all Registration: February 15 th, 2011 Submission: March 31 st, 2011

Category : Type : Deadline :

International Students and professionals Registration: March 11 th, 2011 Submission: March 25 th, 2011

This project rethinks water towers and tank structures within the urban landscape.

The use of 2D media can convey and explore how these industrial structures have impacted the city when decommissioned from their modern functionality.

Participants may either improve or introduce new ways of using water storage facilities. The participants are encouraged to explore designs that go beyond the confinement of practical use. Portland contains over 100 water storage facilities throughout the city. The oldest water tower in Portland was built in 1909 while the newest was constructed in 2002. These water storage facilities serve the metropolitan area under severe drought conditions and power outages. Participants should come up with concepts or proposals to improve water tower in Portland metro area.

The OISTAT Theatre Architecture Competition (TAC) is an international ideas competition organised by the Architecture Commission of OISTAT (International Organisation of Scenographers, Technicians and Theatre Architects). The aim is to create a theatre space. It should explore how a performance space could be designed to reflect the cultural ethos of the 21st century and whether performances in our time are best housed in purpose designed theatres or can take advantage of more open and flexible settings, to meet the needs of artists and respond to an increasingly global information culture.

For further information, contact: Web: http://www.mergestudiolab.com/

For further information, contact: Web: http://www.oistat.org/content.asp?path=depb63vd

AIANY 2011 Design Awards Category Type Deadline

: : :

International Students and professionals February 4 th, 2011

The American Institute of Architects New York Chapter’s annual Design Awards Program recognises outstanding architectural design by New York City architects and also honours exemplary work in New York City done by architects from around the globe. The purpose of the awards program is to honour the architects, clients, and consultants who work together to achieve design excellence. Now in its 30th year, the AIANY Design Awards honours exemplary work in four categories: Architecture, Interiors, Urban Design, and Un-built Work.

For further information, contact: Web: http://aiany.aiany.org/index.php?section=awards

Bentley Student Design Competition 2011 Category Type Deadline

COMPETITIONS

8th OISTAT Theatre Architecture Competition 2011

: : :

International Students March 18 th, 2011

The 9th Philippe Rotthier European Prize for Architecture Category Type Deadline

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International Open to all April 30 th, 2011

This triennial architectural prize is one of the rare prizes that reward projects that consciously identify with the traditional concept of the town or city. The prize has a twofold objective :(1) to draw attention to contemporary urban architectural work which is often ignored by critics and the specialised press and, (2) to raise the expectations of the public, elected representatives and sponsors.

The 9 th Phillippe Rotthier European Prize will reward notable renovations carried out in Europe during past five years.

For further information, contact: Web: http://www.fondationpourlarchitecture.be

2011 Student Design Competition: Design a Steel Residential Tower Category Type Deadline

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International Students and professionals June 10 th, 2011

The Bentley Student Design Competition gives students an opportunity to explore the crucial and rewarding work of designing, building, operating, and sustaining the world’s infrastructure. At the same time, it encourages them to pursue a course of study that emphasises math and sciences, which are fundamental to every infrastructure discipline. The Bentley Student Design Competition recognises innovative and technically advanced projects created by university, technical college, and high school students using Bentley software. Through their hands-on participation in this design work, the students acquire the software knowledge and hone the skills they will need as future members of the infrastructure community.

This competition encourages students to explore innovative ways of creating an original design for loft-style residential living, conceived entirely in structural steel, that utilises innovative systems allowing column-free clear spans with reduced floor thicknesses, and is integrated with an energy-efficient curtain wall enclosure that emphasises the frame’s slenderness, strength, and transparency in a way desirable for modern loft living.

The goal of the competition is to encourage students to gain experience in the integrated design of structural steel framing with curtain wall enclosure systems.

For further information, contact: Web: www.bentley.com

For further information, contact: Web: www.siny.org/events

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current Infrastructural Tissues; AA Sydney Visiting School Date : Venue :

Januar y 17 to 28, 2011 Sydney, Australia

This studio-based design workshop will explore the potentials of spatial performance in the dynamic setting of the contemporary distributed urban campus. This setting includes the pressure to develop iconic institutional architecture and centralising infrastructures that will stitch the city together. In phase one of the workshop participants will engage directly with these conditions through the use of indexical, emergent, and parametric based mapping techniques. Phase two will see the participants developing performative spatial prototypes based on their relational mappings and through the development of design models.

For further information, contact: Web: http://www.aaschool.ac.uk/STUDY/VISITING/sydney.php

Atmosphere 2011 - Mediated Cities Date : Venue :

February 03 to 05, 2011 Manitoba, Canada

Atmosphere 2011 will focus on MEDIATED CITIES , the image of architecture, space, and place in cinema and other media. There is a long history of “city films” which have portrayed the experience of urban life. Today it is supplemented by new forms of media including video, internet and portable media. These new forms of media emerge from and articulate shifts and developments in architecture, landscape and cities as well as global geographies, technologies and politics. They are also incorporated into the practice of all design disciplines. The conference will build bridges between disciplines, between research and creation, between the academy and the community—contributing to the production of a truly mediated city.

For further information, contact: Web: http://umanitoba.ca/architecture/atmosphere/e/

Informality: Re-Viewing Latin American Cities

EVENTS

Date : Venue :

February 17 to 19, 2011 Cambridge, England

Cognitive Cities Conference Date : Venue :

February 26 to 27, 2011 Berlin, Germany

The Cognitive Cities Conference (#CoCities) is a platform for discussing the intersection of urbanism and technology. CoCities is a two-day event: Day 1 is a full-on conference (ticket required, start selling within next 2 weeks), Day 2 is dedicated to exploring the city through workshops, guided tours and exhibitions. The intention is to bring together people from a variety of backgrounds, in order to discuss, envision and work on developments for urban living. The conversation at the Cognitive Cities Conference will include a range of topics such as the future of mobility, the internet of things, urban gardening, location-aware web services and the smart grid. Of course, architecture and design will be main aspects at the Conference.

For further information, contact: Web: http://conference.cognitivecities.com/

Safety in Design and Construction: A Lifecycle Approach Date Venue

: :

February 28 to March 03, 2011 Boston, MA

Safety in Design and Construction was developed using “Design for Safety” theories, which recommend that safety considerations be initiated early in the construction lifecycle rather than at the construction phase of a project. This proactive approach results in a decrease in accidents and injuries. Beginning with the concept, through design, construction and operation phases of a new facility, the program considers elimination of hazards to workers and mitigation of environmental compliance requirements. The program will cover accepted strategies and best practices related to every phase of construction.

For further information, contact: Web: www.ccpe.sph.harvard.edu

Ecobuild London 2011 Date : Venue :

March 01 to 03, 2011 London, UK

The continued study of Latin American cities, their urban heterogeneity and the size of the territories that they occupy, has led to the development of alternative strategies to tackle continuous growth. This conference examines different ways to approach and to study urban informality in architectural, urban and anthropological terms. The speakers will discuss the theories and critical methodologies that are currently being used in order to study urban informality in Latin America (and in other parts of the world).

The conference will offer an opportunity for scholars and practitioners to learn about a wealth of work that is often produced in isolation and in distant parts of the world.

The biggest event in the world for sustainable design, construction and the built environment will run at London’s ExCeL exhibition and conference centre. The conference will expand to three concurrent streams—Making sustainable construction happen, Beyond construction: achieving a sustainable future and Design, architecture and sustainability—whilst the seminar programme now offers over 130 seminars, plus dozens of interactive attractions and demonstrations taking place. It is a show addressed to all those companies dealing with products and services for sustainable design, construction, refurbishment and maintenance.

For further information, contact: Web: www.crassh.com.ac.uk

For further information, contact: Web: http://www.ecobuild.co.uk/

30 IA&B - DEC 2010

current Mumbai architect wins award at World Architecture Festival in Barcelona Sanjay Puri Architects, the Mumbai-based firm headed by renowed architect Sanjay Puri, has won the prestigious ‘World Architecture Award 2010’ in the future projects-commercial category, for his upcoming project ‘Offices 63’ in Gurgaon. The project ‘Offices 63’, shortlisted along with entries by Will Alsop and RMJM from UK, Woha from Singapore, Henning Larsen architects from Germany and others, was adjudged the winner of the category, making it the world future project - Commercial Building of the Year at WAF’10. ‘Offices 63’ designed for a location in Gurgaon, Delhi, won against hotels, shopping centres and other office buildings designed in Germany, Portugal, China, Turkey, Spain and Singapore.

First indoor stadium designed in Worli progresses well onsite The new Sardar Vallabhai Patel Indoor Stadium across from the Haji Ali Mosque in Worli has been designed as a fresh architectural focus point for Mumbai. Shashi Prabhu & Associates are the architects and interior designers for this 10,000 capacity indoor stadium. The stadium complex is composed of three structures - a large indoor stadium with a 90m diameter arena together with four surrounding ancillary halls which support the function of the arena. A much smaller adjacent ‘Sports Annex Building’ houses three badminton courts, four squash courts, table tennis tables and a large multi-purpose hall in addition to the Sports Administration Building. After having designed over 60 stadia in India, the architect’s challenge was not the size of the structure but the sheer location and the impact this complex would make on the city’s skyline. With over 900 cars entering/exiting at a given time, the entry and exits to the basements had to be strategically located which would distribute the traffic and load on city roads.

NEWS

Wipro Lighting wins the ‘Design for Asia Merit Recognition Award 2010’ Wipro Lighting wins the coveted ‘Design for Asia Merit Recognition Award 2010’ in Product Design category for the most influential good design in Asia. The Award was won for Wipro’s designer LED streetlight, Orio. Orio is designed for illuminating secondary roads for large software campuses, IT/ITES facilities, industrial parks, educational campuses, commercial buildings and residential townships. This LED streetlight is a futuristic luminaire that harnesses the advantages of LEDs. It is dynamically sculpted and highly function driven. Orio LED streetlight’s contemporary aerodynamic form harmoniously gels with modern urban landscape and aids in city beautification. It uses high power, high efficiency LEDs and is offered in 12 W, 18 W and 24 W. Orio offers sustainable lighting solution for years to come and reiterates Wipro’s commitment to eco sustainability.

Foster + Partners has unveiled its designs for the new Zayed National Museum in Abu Dhabi Conceived as a monument and memorial to the late Sheikh Zayed bin Sultan Al Nahyan, the scheme features five solar thermal towers which ac t as thermal chimneys to draw cooling air currents naturally through the museum. According to the prac tice, these light weight steel struc tures are ‘sculpted aerodynamically to work like the feathers of a bird’s wing’ - a deliberate analogy with falcons relating to the Sheikh Zayed’s love for falconr y.

Norman Foster said:”It has been a great privilege to work on the Sheikh Zayed National Museum, to carr y for ward Sheikh Zayed’s vision and to communicate the dynamic charac ter of a contemporar y United Arab Emirates. We have sought to establish a building that will be an exemplar of sustainable design, resonating with Sheikh Zayed’s love of nature and his wider heritage.”

Piano’s Shard becomes UK’s tallest building Renzo Piano Building Workshop designed the 310m-tall, 72-storey mixed-use tower, which will become the tallest building in the EU when completed in 2012. Planned as a small ‘ver tical city’ in the sky, the design features eight glass shards which will form the building’s shape making it look like ‘one flake of glass.’

The Shard will contain 54,500sqm of office space, Europe’s first five-star rated Shangri-La Hotel, residential apar tments, retail space and restaurants. The top of the building will include a multi-storey public viewing galler y.

The height of the Shard currently exceeds 235 metres, taking the title of Britain’s tallest building from the César Pelli & Associates-designed One Canada Square, commonly known as Canary Wharf Tower, which held it for 18 years.

John McAslan + Partners’ Indian nursing institute starts on site Construction is now under way on the Indian Institute of Advanced Nursing (IIAN) in Chennai, India-a comprehensive training facility specialised in the field of HIV prevention and care. Designed by John McAslan + Par tners for the Clinton Health Access Initiative, the IIAN will be the first educational facility of its type in the countr y and aims to train 15,000 nurses over the nex t two years to treat the 2.31 million people currently living with HIV in India. The two buildings - The Institute for teaching and The Hostel for student accommodation - the IIAN is spread over a five acre site, dotted with indigenous plants and local trees with medicinal proper ties. These structures are both anchored by individual cour tyards and arranged around a collegiate square, with landscaping - also designed by JMP, connecting the campus with the local community.

INNOVATION IA&B -DEC 2010

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products

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products

Designers Shay Carmon and Ben Klinger; Israel.

TECHNOLOGY

Contact: 102 Ehad Ha’am St. Tel Aviv-Yafo, 65207, Israel Email: info@studiove.com

Designer Dave Hakkens; The Netherlands Contact: Dave Hakkens, Tonge lresestraat 411a5641 AV Eindhoven, The Netherlands Tel: +31 (0) 612833188 Web: www.davehakkens.nl

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products

GRAPHIC

Designer Zaha Hadid; UK

Manufacturer Marburg Wallcovering; Germany.

Contact: Web: www.marburg.com

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FORM

IA&B - DEC 2010

products

Designer Fung Kwok Pan; Singapore Contact: Email: fungkwokpan@gmail.com

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products

OBJECT

Contact: Yonoh Creative Studio, Juan Llorens, 10 pta 15, 46008 Valencia Spain Tel: +34 96 323 11 93 / Cel. +34 650 603 071 Web: www.yonoh.es

42 IA&B - DEC 2010

Seeing, On the demise of Padma Shri Dashrath Patel, IA&B pays tribute to an artist, a teacher, a dedicated innovator and an individual who will be remembered as one of India’s foremost creative thinkers.

Seeing, Believing

tribute tribute

On the demise of Padma Shri Dashrath Patel, IA&B pays tribute to an artist, a teacher, a dedicated innovator and an individual who will be remembered as one of India’s foremost creative thinkers.

Text: Ruturaj Parikh Photographs: courtesy Pinakin Patel

Ceramics by Dashrath Patel blend sophisticated design with fluidity of a potter.

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Mystery and vibrancy reflected through his artworks – paintings and collages.

D

ecember 1 st 2010 marks the day on which one of India’s most respected and admired teacher passed away. His work; an exhaustive collection of paintings, ceramics, photographs and an array of designed and improvised objects chronicled in the Dashrath Patel Museum in Alibaug, present a plethora of styles, techniques and mediums that he mastered and experimented with. Through his work, one can understand the tangible connection he has with the Indian aesthetic and his exper tise in combining the ‘Indianness’ with sophisticated and at times, avant-garde design. As one of India’s first multimedia ar tists, his connection to the Indian soil is reflected in all his endeavours through an almost surreal grasp of space, light, colour and texture.

Born in 1927 in a small village in Gujarat, Dashrath Patel studied Fine Ar ts under Debi Prasad Roy Chowdhr y at The College of Ar t, Chennai followed by a Post Graduate study in Fine Ar t at Ecole de Beaux Ar ts, Paris continuously experimenting with painting, sculpture and ceramics. His works bear a resemblance to the likes of photographer Henri Car tier Bresson, designer Charles Eames, architect Louis Kahn and furniture designer George Nakashima with whom he closely

interacted. His paintings, ranging from his early experiments with the Impressionist vocabular y to his abstract expressions of Indian colour and textures followed by his mixed-media collages stand testament to his nature of constantly developing ideas. The ceramics he produced, on one hand, dwell in formal explorations of the industrial aesthetic like the ones produced by Bauhaus while on the other, champion the use of colour and fluidity of a traditional potter. His drawings reflect the discipline of the modernist while his products por tray a frolic of an inquisitive child. The ar t and photography of Dashrath Patel successfully amalgamates the mystique and vibrancy of the Indian way of living with masterful design sensibilities.

In the formative years of the National Institute of Design (NID), Dashrath Patel ser ved as the institute’s Design Director for nineteen years with a constant foresight to de-limit design education and thinking design

His connection to the Indian soil is reflected in all his endeavours through an almost surreal grasp of space, light, colour and texture.

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An endless search for colour and light - Photography of Dashrath Patel.

as a product of the context. As a teacher, he emphasised on the impor tance of design to go beyond styling and focus on issues like public need, local materials and methods, economically sustainable models and the crafts of the people. He is known to improvise on various ar tisan-produced objects like leather bags and footwear to add design value and to transform the other wise ‘kitsch’ objects into refined product designs. His students fondly remember him as an open, frank and honest man always ready to share his knowledge. He was opposed to an idea of India being a dumping ground for outdated western culture and believed in the potential of India to not only achieve self-sufficiency but to design for the world.

In his nineteen year period at NID, Dashrath Patel also ser ved as a chief designer, project coordinator and conceptualiser of all major Indian exhibitions abroad. His landmark designs for the Gandhi Centenar y Exhibition, ‘The World is My Family’ (1969) and the inaugural events of the ‘Festival of India’ in France (1985) and USSR (1987) set standards in

exhibition design to follow. Dashrath Patel was the first Indian designer to be honoured with the ‘Padma Shri’ for his contribution to design in 1981. In 1998, the National Galler y of Modern Ar t (NGMA) showcased his work as an exhibition titled ‘In The Realm of The Visual’ profiling his works from 1948 to 1998. The exhibition showcased his paintings, photographs, ceramics and designs as a retrospective to a life of a constant creative search.

Ver y few Indians have an influence on the creative practitioners in India to equal that of Dashrath Patel. The life and work of Dashrath Patel is exemplar y not just as work of an exper t indigenous personality but as work that celebrates the vibrancy of the Indian life. In the coming decades, his contribution to ar t and design will be seen as defining insight into the way design can be and should be practiced in India.

He will be remembered as a teacher, an academician, an institution builder and an individual who taught a generation of designers in India, the ar t of ‘seeing’.

Dashrath Patel masterfully captures the Indian way of life.

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The Marine Drive pathways paved with PAVIT overlooking the sea.

S.Gopakumar

Marine Drive Creating interesting patterns by using different vitrified tiles by PAVIT CERAMICS, Cochin-based architect S. Gopakumar succeeds in infusing new life in Marine Drive, Cochin.

Architect’s profile: Cochin-based architect S. Gopakumar, the principal architect of Kumar Group Total Designers’ believes in design process that incorporates all the aspects. His projects are reflecting his vibrant, volatile and viscous approach towards the development of design.

T

he view of the setting and rising sun over the sea mouth, and the gentle breeze from the Vembanad Lake has made Marine Drive an important tourist destination in Cochin. The Walkway, extends from the High Court Junction and goes on to the Rajendra Maidan.The 140 meter Walkway on Marine Drive, starts from behind the Children’s Park to the end of the Shanmugham Road and is laid down with black-dotted, red carpet tiles which provided a character to space by infusing life in the public space. Users mentioned “the bold and bright paving patterns on the walkway are quite inviting and gives the whole space a very modern character”. Designers mentioned “the wide range of pavers and tiles supplied by the PAVIT vitrified tiles gave them the freedom to experiment with design and create innovative patterns for the Marine Drive.

more accessible because of the presence of PAVIT vitrified tiles on the floor. Architects with various combinations of different PAVIT vitrifiedtiles have generated an everlasting impact on the user’s senses. The product lines from (uncertified) 100x100, 200x200mm and (rectified) 300x300, 400x400, 200x400, 300x595mm in various colours, thickness and finishes can be used in interiors as well as exteriors.

The Marine Drive is lined with weather-proof seating, cast-ironed and wooden benches and several boat jetties. The spectacular view of the harbour, along with two beautiful bridges namely – ‘Rainbow Bridge’ and ‘Chinese Fishing Net Bridge’. These cable suspended bridges becomes

from abroad and it has been a pioneer in the country to manufacture

PAVIT CERAMICS PVT. LTD. PAVIT CERAMICS PVT. LTD., the vitrified tiles vertical of VPJ Group, is located at Bharuch in Gujarat. The corporate headquarter is based at Ahmedabad. The Company imported the entire plant and machinery Vitrified Tiles, a concept known only to the European and American countries. PAVIT CERAMICS PVT LTD believes in reducing the impact of technology on the nature and environment in particular.

PAVIT vitrified tiles overlooking the building

Hafeez Contractor

Infosys campus- Bengaluru With the proper placement of PAVIT vitrified tiles, Infosys campus-Bengaluru enhance its landscape character.

Architect’s profile: Hafeez Contractor was born in 1950. He did his Graduate Diploma in architecture from Mumbai in 1975 and completed his graduation from Columbia University New York (USA). He is a member of the Bombay Heritage Committee and New Delhi Lutyens Bungalow Zone Review Committee.

Infosys campus- Bengaluru strikes some immediacy in its architecture. This campus comprises of various blocks which are properly planned based on the function. All these blocks are connected with open landscaped spaces like food courts, courtyards, gardens, water bodies and sculptures at different junctions creating an interest in the open space.

It is interesting to notice how the landscaped spaces are governed with the series of organic pathways which act as a linking factor in the campus. Application of PAVIT

vitrified tiles on banks of water bodies, pathways and driveways has provided vibrant character which contributes in enhancing the campus design. Architects with various combinations of different PAVIT vitrified tiles have created an interest among the working professionals to explore the campus. The product lines from (uncertified) 100x100, 200x200mm and (rectified) 300x300, 400x400, 200x400, 300x595mm in various colours, thickness, finishes and can be used in interiors as well as exteriors.

PAVIT CERAMICS PVT. LTD. PAVIT CERAMICS PVT. LTD., the vitrified tiles vertical of VPJ Group, is located at Bharuch in Gujarat. The corporate headquarter is based at Ahmedabad. The Company imported the entire plant and machinery from abroad and it has been a pioneer in the country to manufacture Vitrified Tiles, a concept known only to the European and American countries. PAVIT CERAMICS PVT LTD believes in reducing the impact PAVIT pavers adding an aesthetic value to the building block.

of technology on the nature and environment in particular.

50 IA&B - dec 2010

Continuing its multi-city endeavour ‘Ideas to Reality’, which explores the connections between innovations, design and environmental sustainability; Armstrong, a multinational pioneer in floorings and surface finishes, hosted seminars across Bhubaneswar, Lucknow, Ahmedabad and Indore.

‘I

deas to Reality’, an initiative launched by Armstrong in association with Indian Architect & Builder magazine, brought together eminent architects, academicians and professionals of the AEC industry across four cities in India— Bhubaneswar, Lucknow, Ahmedabad and Indore, to explore the notions of ideas, their implementation and reality.

Arjun Shahani (M.D., Armstrong World India Pvt. Ltd.) addressing the guests at Bhubaneshwar.

Dr. Rajagopal Sridhar(Executive Director,Flooring, Armstrong World India Pvt. Ltd.) sharing Armstrong’s products at Bhubaneshwar.

Kumar Ravindra, Design Director, Venkataramanan Associates, talking about his projects and practices at Bhubaneshwar.

The seminar, convened at Bhubaneswar on 22 nd November 2010, was addressed

by Arjun Shahani, Managing Director, Armstrong World Industries (India) Pvt. Ltd. and Dr. Rajagopal Sridhar, Executive Director Flooring, Armstrong World Industries (India) Pvt. Ltd. who spoke on the latest highlights in the ceiling and flooring industry and also presented Armstrong’s contribution to the green movements in the construction industry through their product innovations.

Kumar Ravindra, Design Director, Venkataramanan Associates engaged the audience with a showcase of sustainable works of his practice.

Connecting with the architecture community at Lucknow on 26 th November 2010, Omprakash Karnaney, Executive Director, Flooring, Armstrong World Industries (India) Pvt. Ltd and V. Subramaniam, Sr. Product Manager, Ceiling, Armstrong World Industries (India) Pvt. Ltd. talked about the sustainability aspects of Armstrong and its latest product trends. The keynote speaker, Ninad Tipnis, Executive Architect, JTCPL elaborated on the evolving concepts of his practice.

The architectural congregation at Ahmedabad on 3 rd December 2010 was preceded by Omprakash Karnaney. He spoke on Armstrong and its products’ alignment with contemporary architectural scenario. Gayathri Shetty, Principal Architect, Gayathri & Namith Architects, spoke on her perception of converting ‘Ideas to Reality’ and shared case studies of her work that span design capabilities ranging from traditional structures to cutting edge technology.

The eventful journey concluded at Indore on 11 th December 2010. Omprakash Karnaney presented on Armstrong’s products and green objectives. G. Jyothiram, Sr. Architect, C. R. Narayana Rao Architects & Engineers(CRN), Chennai being the keynote speaker expounded on current practice challenges and how CRN has innovated on solutions to create commercial workspaces for corporate India.

post event

Arjun Shahani, Managing Director, Armstrong World Industries (India) Pvt. Ltd., in conversation with a guest .

Ninad Tipnis, Executive Architect, JTCPL, walking the audience through his design projects at Lucknow.

V. Subramaniam, Sr. Product Manager, Ceiling, Armstrong World Industries (India) Pvt. Ltd., briefing the audience about the innovations in Armstrong products at Lucknow.

Omprakash Karnaney(Executive Director, Flooring, Armstrong World India Pvt. Ltd.) initiating the seminar at Ahmedabad.

G. Jyothiram, Sr. Architect, C.R. Narayan Rao Architects & Engineers, CRN talking about the evolving concepts of his practice. at Indore .

Commenting on the occasion, Arjun Shahani says “This seminar is one in a series sponsored by Armstrong, which will regularly bring renowned architects and interior designers to a joint sharing forum. The series is designed to share with the architecture community about the latest practices, design and technology involved in the interior design field. Armstrong will be holding these meets across the country.”

Gayathri Shetty, Principal Architect, GNA elaborating on her firm’s work at Ahmedabad.

‘Ideas to Reality’ is an interactive forum that shared the vision of transforming ideas to reality from various perspectives. Reaching out to wider paradigms, the multi-city platform focuses on showcasing the realms that are leading the society to a better future.

IA&B - DEC 2010

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construction brief

Aerial view of IMI.

International Management Institute, Orissa

Kolkata-based Abin Design Studio consciously explores the realm of institutional architecture with the International Management Institute in Orissa.

Text compiled by: Sidharth Gupta

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aying a holy tribute to the golden past and rich culture of Bhubaneswar, the campus for International Managment Institute has been planned to be built in three phases. The site has been zoned incorporating all the site constraints and considering the functionality of the design.

The academic block is placed between the student hostels and faculty residences acting as a buffer between them as well as making them easily accessible to both areas. The main interactive zone has been designed as a central plaza of the academic block with courtyards and water body.

A shaded walkway connects the plaza to the hostels, creating a strong visual link between the two traditionally inclined spaces.

Local elements of design induced with modern consciousness have retained its vernacular character which is well captured in curved faรงade of the library building in the academic block that will have sculptures, inspired from Khandagiri caves and stone embedded into the faรงade.

Some key features like overhanging roofs, pergolas and colonnades have borrowed their inspiration from the past. Presence of buffer spaces between the blocks in the form of courtyards, a water body and stepped plaza contributes in natural exhaust cooling with the air passing over it churning the middle court a solace in the hot summer.

A combination of brick cladding and painted surfaces have been used throughout the campus, giving it a very earthy and sober feel during summer. A strong vertical axis is created in the form of a tower as a feature, with a visibility from three kilometers away, making the campus a landmark in the surrounding areas.

FACT FILE: Project Location Architect Design Team Project Area Project Estimate Civil Contractors Carpentry Contractors Initiation of Project Completion of Project Photographs

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International Management Institute Bhubaneswar, Orissa Abin Design Studio Abin Chaudhuri, Jui Mallik, Kaushik Mazumder 4, 20,000sqft ` 37 Crore Mfar Constructions Touchpoint December 2009 2011 courtesy the architect

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construction brief

Rendered urban canvas of Sao Paulo.

Vitra, Sao Paulo Merging Brazilian optimism, vibrant culture and dynamic possibilities, Daniel Libeskind designs Vitra in Sao Paulo, a high-end residential building.

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HSF, one of the largest companies in Brazilian real estate, launches Vitra in Sao Paulo, a high-end residential building designed by Daniel Libeskind. It will be the first project in South America by the award-winning Polish-born American architect. Vitra is a multifaceted luminous glass tower with a sculptural shape. According to the architect,” it represents the unfolding dynamism of a unique place and an energetic population full of optimism and potential, gesturing openly to a wide panorama of Sao Paulo.”

Libeskind mentions that inspiration for the design came from Brazil’s natural and urban beauty and from its people who have been able to show the world their shared humanity. “It was with this spirit that I designed a residential tower which expresses that optimism, the vibrant culture and the dynamic possibilities of a truly pluralistic world,” he says.

The building will include 14 apar tments - one per floor plus a two-floor penthouse ranging from 565 to 1,145sqm. The main distinction is that each of the unit’s floor plan will be unique. “Vitra radiates a new spirit for condominium living within a vibrant urban neighbourhood and is a celebration of an open culture with energy

and life of an evolving city and region. A sculpted cr ystalline form, inspired by the dramatic beauty in the power ful natural resources of Brazil, Vitra creates a new icon for the city of Sao Paulo, ”Libeskind explains. The development is committed to sustainable practices that will contribute to overall environmental conser vation.

SITE PLAN

Vitra will stand on Horácio Lafer Av., in the Itaim Bibi district, between Salvador Cardoso St., Lopes Neto St. near Presidente Juscelino Kubitschek Av. and Brigadeiro Faria Lima Av - one of the city’s main thoroughfares. The site offers quick and easy access to several leisure sites such as the Ibirapuera and Do Povo parks.

FACT FILE: Project Location Architect Client / Developer Completion of project Photographs

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Vitra Sao Paulo, Brazil Daniel Libeskind JHSF 2013 courtesy the architect

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construction brief

Guangdong Tower, Tianjin

Chicago-based architecture firm Goettsch Partners designs high-rise building making a mark in the skyline of Tianjin, China.

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ccupying a central parcel in the city’s newly planned business district, Tianjin, R&F Guangdong Tower will be one of China’s tallest buildings at 439 meters. Total builtup area achieved will be 294,570sqm out of which 134,900sqm will have Class A office space, a 400-key five-star hotel, 55 condominiums, and 8,550sqm of retail. The tower is designed to establish a signature visual profile in the city skyline and provide a destination for the people of Tianjin and beyond.

The building’s design responds to the programmatic needs of each function, as well as to the decreasing size of the core. The tower unwraps around its vertical axis as it ascends, similar in nature to a shell or an ancient scroll. In this manner, the form relates to the historical context of the site’s location in the Tanggu district, a point of sea trade.

The unwinding form also creates unique opportunities to introduce multi-storey atria into the program in each vertical zone. These landscaped interior spaces provide ideal circulation for multi-floor tenants, daylighting for deeper lease spans, and invite social meeting spaces within the building’s upper floors. The landscaped interiors are an instrumental part of the overall environmental sensitivity to the new downtown’s iconic centerpiece.

Clearly defining the building’s circulation pattern is critical in achieving a successful mixed-use project. The site’s vehicular circulation is divided by function for efficient access to the tower from the main roads. Access from the ground floor to each of the primary building functions is provided by a network of 55 elevators, which quickly and efficiently deliver guests to their destinations within the tower.

The material palette of high-performance glass and metal is employed for the exterior design of the building. Floor-to-ceiling glass maximises views and ambient light. Landscaped roofs and interior atriums provide visual and energy benefits. The design promotes material and façade approaches that are integral to the performance of the building systems, and not decorative. Above all, the architectural “skin” seeks to positively impact the pedestrian scale through transparency and texture, while minimising the project’s environmental footprint.

FACT FILE:

Render making an attempt to scale the height of the building.

Project Location Architect Client / Developer Completion of Project Total Built-up Area Photographs

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Guangdong Tower Tianjin, China Goettsch Partners R&F Properties Co. Ltd 2015 294,570sqm courtesy the architect

construction brief

The view of Lotus 300.

Lotus 300, Noida

Crafted within the framework of advanced green architecture; Lotus 300 developed by The 3C Company in Noida marks the herald of new world luxuries.

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he project of residential realm developed by The 3C Company is the new entrant in the series of green building designs executed in this neighbourhood. With its boundaries sprawling over 10 lush green acres, this project will have only 300 exquisite condominiums.

Lotus 300 showcases condominiums and penthouses in varied options to fulfill various needs of its residents with varied family structures and needs. On each level only two apartments are designed which are open from three sides. The design and orientation of the towers ensures maximum use of natural light, the insulated roofs, solar lighting systems and energy efficient mechanical and electrical equipments, aid in making Lotus 300, one of the most technically sound green housing project.

“Lotus 300 has been designed keeping in mind the expectations of the niche segment of the society. It will bring a new level of elegance to NCR and will fortify our vision of providing greener and healthier living by creating sustainable habitats for all sections of the society”, says architect Vidhur Bhardwaj.

Added to the amenities of residential apartments, a facility in the form of a club has been proposed in this residential complex to pamper the residents with world class amenities under the sublime meditative healings of the green abode that ease away the stress of hectic urban life. The club allows an urban lifestyle through amenities like heated pool, kid’s pool, golf, squash court, billiards, gymnasium, coffee shop, cnvenient shopping, yoga, aerobics, dance room, tennis court, etc.

FACT FILE: Project Location Architect Client Photographs

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Lotus 300 Noida, India Design and Development The 3C Company courtesy the architect

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construction brief

Render showcasing the future of the waterfront.

Extension Castle Quay Complex, St. Helier SOM London’s design proposal for the Extension Castle Quay Complex, St. Helier, Jersey shall transform the small island into an internationally recognised business and tourism region.

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OM London has been awarded the design proposal for three landmark buildings in St. Helier, Jersey. The 25,500sqm residential development is an extension of the Castle Quay Complex, part of St. Helier’s prestigious waterfront that includes 280 new residences. Castle Quay Phase II will be the focal point of Jersey’s regeneration initiative for the St. Helier waterfront, which is transforming the island into an internationally recognised business and tourism region.

Architects have designed the complex to attract public activity and events to the area and to enhance the existing identity of Castle Quays as a premier destination. The design team imposed view corridors on the site in order to protect views between the town centre and historic Elizabeth Castle, the island’s most prominent heritage building. The design is a distinctive new civic ‘gateway’ that strengthens the connection between the town centre and waterfront. Over 50 per cent of the site is dedicated to public space and new pedestrian avenues that will activate the waterfront for residents and visitors.

The Complex consists predominantly of one and two-bedroom flats with over 80 per cent of residences having marina and sea views. Each residential

unit features a balcony and is structured as an individual building, inspired by spiral geometry similar to that found in the marine nautilus shell. The design is a highly textured stone and glass facade which reduces solar radiation. The articulated roof-line for the complex accents the skyline of the marina, and each building features a shared terrace for residents and bio-diverse green roofs.

SOM London collaborated with artist Stephen Cox to integrate a large public sculpture into the urban spaces of Castle Quay. The artwork will be extending the existing St. Helier Art Walk cultural program along the waterfront.

FACT FILE: Project Location Architect Client / Developer Total Built-up Area Completion of Project Photographs

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Castle Quay St Helier, Jersey SOM London Dandara 25,500sqm 2015 courtesy the architect

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Indian Architect & Builder magazine enters its 12th year of serving a platform to launch designers of tomorrow by featuring their designs in February 2011 issue.

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Architecture Interior Design Urban Intervention Landscape Product/Industrial Design Entry Criteria: • Only projects built in the past three years will be eligible to participate in the competition and which have not been published in any other national/international journal.

• Conceptual design proposals and projects under execution are not qualified.

EXPLORE

Submission Requirements: • A power-point presentation about the firm and designer’s profile and the submitted project.

• Soft copies of drawings, photographs and conceptual sketches. (image size -140mm, resolution - 300 dpi or in tiff format) • Concept note about the project not exceeding 800 words.

• Material specification and Fact File of the project.

Material and queries to be sent to: Namita Bandekar, Editorial Co-ordinator, Indian Architect & Builder, Jasubhai Media, Taj building, 3rd floor, Dr. D.N. Road, Fort, Mumbai-400001.

Tel: +91-22-42136400, Fax: +91-22-42136301.

Email: namita_bandekar@jasubhai.com

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60 62 IA&B - DEC 2010

AlternativeTrajectories An asymmetrical fluid envelope convolutes to form the ‘Paik Nam June Media Bridge’ in Korea—an aesthetic and cultural infrastructure designed by Seoul-based architectural firm Planning Korea.

Text: Maanasi Hattangadi Photographs: courtesy Planning Korea

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bridge is an intriguing architectural typology, following a drive to differ in structure but embedded in the same tradition of connecting spaces. Rarely do bridges derive architecture through sensitivity to multiple purposes. They have just begun to mark an aesthetic presence, a trend that is catching on across the metropolises of the world. Not to be left behind, Seoul introduces a transformative change not only in its skyline but also in the way bridges are perceived. The ‘Paik Nam June Media Bridge’ will be an interaction established between culture, structure and the community at large.

Designed to connect city’s cultural and infrastructural precinct, the bridge will expand over the Han River between Dangin-li Power Plant in the North and The National Assembly Building in the South. Byung Ju Lee, Creative Director, Planning Korea developed this public realm concept as an example to contemplate on the thought of “a city expanded to the river.” The solution is not only aesthetically sound but also acknowledges the needs of a cultural space.

Site Plan

An expanse of 1080m length, 89m width and with a maximum arch height of 72.5m, the Paik Nam June Media Bridge will enjoy a renewed

technology

The Paik Nam June Media Bridge will be a space-age design that connects Dangin-li Power Plant in the North and The National Assembly Building in the South.

status amongst the existing ones—as a testament to the way in which the entire city stands linked. Modest in their design approach, the architects have elaborated on concepts like water-striders, sustainability and inventive looks. The central fulcrum of the design lies in the movement of the bridge. Subtly moving in and out, the skin of the bridge will morph into knots, twisting and turning to maximise the convenience of its users.

Despite its fluid form, the curves will fold over themselves to fill most of its allowable envelope. The scale, the mass and the design will all portray a capability to facilitate car, bicycle and pedestrian access. The structure, from its ability to curve fluidly in plan and section, will become an important addition to the pedestrian experience. At night, its complex streamlined façade will become a visual contest for media and videoartists from all over the world—as a canvassed celebration of the world famous video/media artist, Nam June Paik. From outward to inwards, the design will thread moments of a cultural space—weaving the context as that of diversity.

The structure will be produced by individual curves working in isolation but unifying as a single function. Considering the functional aspect, the spaces will communicate through a network of crossing points. Not constrained by

the logic of a linear plan, the spines will overlap to create focal points along the space. Operating on an original principle, the homogeneous sculpted form will provide additional opportunities for informal gatherings like tourism facilities, The Han River Museum, a public library and an IT mall.

At the base, the boundaries will dissolve to reveal a dock, implementing a spatial allocation for water taxis, yachts and cruise ships. Housing so many activities, the bridge will frame a deviant appeal, closer to a singular gesture of enriching direct experiences at the same time. Overall it will celebrate continuous interaction and exchange with transparency.

Constructed around an ergonomic approach, it will consider greener aspects also. The organics of the bridge will showcase a skin covered with solar panels that will regenerate the entire energy supply. A manifestation of horizontal and vertical gardens will paint a vital connection; not only between the two shores but also nature and technology. The sustenance of the garden will be organised through simple local resources module like the river, rain water, natural light and ventilation. The project is currently being reviewed to be materialised as a BTL (Build-Transfer-Lease) project.

The effect will be a journey within an interesting shell, interspersed by cultural spaces illuminated with filtered light. The success of the unusual

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A green space will be provided over the bridge, articulating horizontal and vertical gardens.

Planning for a dock to facilitate water taxis, cruises and ships’ parking will also be implemented.

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The artist’s rendition of the perspective view of the bridge.

ELEVATION

SECTION

project will lie in the architect’s team coming together to produce an amplified functional space that not only will connect the city but also make a creative statement about Seoul. Whether a striking visual statement or an unobtrusive one that will blend into the environment, the Paik Nam June Media Bridge will rise as a convergence of art and structure; a bridge that is about and from Seoul.

FACT FILE: Project : Location :

Architect : Design Team : Project Area :

Initiation of Project : Completion of Project :

Paik Nam June Media Bridge Seoul, Korea (Between Dangin-li Power Plant and The National Assembly Building) Planning Korea Planning Korea & Estream Architects Total Floor Area: 103,620sqm Area for road: 18,190sqm Area for building: 85,430sqm 2012 2016

66 IA&B - DEC 2010 Objects like this fountain creates an element of surprise to the space.

Kapil S. Bhalla

Swissôtel

With the use of Everest Fibre Cement Boards, Mumbai-based architect Kapil S. Bhalla succeeds in meeting design flexibilities and eco-friendly environment in his project Swissôtel.

Architect’s profile:

Kapil S. Bhalla obtained his B. Arch from Sir J.J. College of Architecture, Mumbai and his M. Arch from University of Illinois at Urbania, Champaign, USA. He co-founded Studio for Environment and Architecture, SE-ARCH, in 1990, a practice that functions as a studio which strives for simple and environmentally responsible designs that are elegantly executed. Kapil Bhalla brings to the firm, direction, guidance, integrity, and above all, accountability.

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he design of Swissôtel takes its inspiration from the Sunderbans, one the most unique ecosystems in the world. Kapil Bhalla explained, “We came with ideas for the project by combining tradition and innovation, with an appreciation for nature while capturing the essence of West Bengal’s culture and craftsmanship.”

Swissôtel consists of 147 contemporary guest rooms and luxury suites some with spectacular jacuzzis, four restaurants and bars, a fitness centre, two spa treatment rooms, a rooftop swimming pool and meeting space. Everest Fibre Cement Boards have been used for dividing the walls between pantry/banquet and to create an aisle for services. The Fibre Cement Boards were also used for internal cladding with post lamination of veneer, ceramic tiles and stones in different patterns. It is also used as a waterwall base to water bodies, terrace top swimming pool as well as a base wall to mount the hotel logo and the main entrance gate pillars.

Everest Fibre Cement Boards has also been used for external façade cladding and window seal cladding.

The hotel has been designed in a way to improve the building’s performance by providing energy efficient interiors. Everest products such as Fibre Cement

Boards have been extensively used in various applications. Everest Fibre Cement Boards are approved member of IGBC and perfect durable green material for energy efficient green buildings. Due to their inherent Fire/ Thermal/ Sound insulation/ High impact resistance, Everest Fibre Cement Boards’ values meet typical building requirements such as acoustics, fire and thermal insulation and impact resistance.

everest industries: Everest Industries Limited established in the year 1934, is one of India’s fastest growing building solutions company. Its integrated consumers approach has enabled the company to provide building products and building solutions for housing, commercial and industrial sectors.

Everest industries has a turnover of Rs 650 crores and is listed on the Bombay Stock Exchange (BSE) and the National Stock Exchange (NSE).

The company’s endeavour is to provide housing and building solutions provider even in the remotest of areas and to deliver ‘Strength, Speed and Safety’ to its customers in all its target markets.

advertorial

Interior decorations created from different kinds of exotic textiles.

The interior spaces overlooking the hall .

Vibrant colours are used to define the spaces.

68 IA&B - DEC 2010

The 2010 Aga Khan Award for Architecture Going beyond recognising excellence in architecture, The 2010 Aga Khan Award for Architecture honours people whose projects emerge from a profound response to cultural and spiritual aspirations of a pluralistic globalised world.

Text: Ruturaj Parikh Photographs: courtesy The 2010 Aga Khan Award for Architecture.

focus “We believe that these projects collectively tell a story of hope matched with perseverance, pride, tempered with humility and unity without sacrificing diversity” (The 2010 Master Jury, 10 th June 2010)

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he recipients of the 2010 Aga Khan Award for Architecture can be seen as unique not only in their conception but in the sensitivity with which these projects are executed. The diverse collection of shortlisted nominations represent ‘plurality’ in the various physical, social, economical and political contexts of their execution. In a rapidly industrialising world, globalised visions seldom represent and respect the local realities in which they are bound to exist. The resultant fabric of compression accompanied by forces of development and external influence produce environments which are seen as ‘machines’ that alienate the communities for whom they are built. The obsession with the ‘world class’ model of development creates an image-barrier between the architect and the place for which he designs. The shortlisted projects ranging multiple typologies reflect a strong connection between the ‘visualiser’ and the place for which the idea is visualised.

The idea of reflecting a pluralist society thus is taken beyond demography to represent philosophical pluralism and assimilation of diverse cultures, regions and thoughts. The citations do not just reveal architecture as an abstraction of the way of living but architecture as a gesture towards human occupation. The 2010 Aga Khan Award honours architecture which is a human experience in its truest sense.

The recipients of the Award and the shortlisted projects are difficult to categorise owing to the variety of their scale, function and the nature of intervention. With the challenge of classifying works that resist categorisation, we are presented with an opportunity to view these projects in a new light. The projects profiles collectively serve as role models which stress on clear definitions of priorities, emphasise on ‘sensitive understanding of their immediate and broad contexts’, portray ethical restraint and ‘tread lightly on earth’.

The Wadi Hanifa Wetlands, Riyadh, Saudi Arabia.

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The Wadi Hanifa wetlands rejuvenated with minimal landscape interventions.

In Dialogue with Nature Interventions which portray exemplary sensibility towards environmental concerns and emerge as models of alternative social spaces that counterbalance the infusion of malls and amusement parks are honoured for their ecological innovations. These interventions contribute to the local landscape through a rational approach of thinking combined with extreme restraint to rejuvenate associated identities.

Wadi Hanifa Wetlands, Winner, 2010.

The Wadi Hanifa (or Hanifa valley) is the longest and most important valley near Riyadh, Saudi Arabia. This unique geographical feature is a natural water drainage course for an area of over 4,000 square kilometres; an important green patch in an otherwise arid landscape of the Najd Plateau. The Wadi Hanifa was being abused owing to an aggressive surge of development in an environmentally insensitive manner. In an effort to redress the balance between the resources of the ‘wadi’ and the people living around it, the Arriyadh Development Authority implemented a comprehensive development strategy, a programme with an aim to restore and develop Wadi Hanifa as an environmental, recreational and tourism resource. The project exhibits exceptional environmental sensibility and innovation by conservation of the natural resources, development of recreational areas, strategic and minimal landscape interventions and creation of a responsive water treatment facility to serve the affected urban and rural communities. The project can be seen as a landmark landscape intervention successfully combining ecological design with social infrastructure.

The promenade overlooking the water.

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Series of natural stone weirs control the pollution in the Wadi.

The Wadi as a social space for recreation and interaction.

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The Award has been given in recognition of the project’s vision and persistence in developing a sustainable environment. Using landscape as an ecological infrastructure, the project has restored and enhanced the natural systems’ capacity to provide multiple services, including cleaning the contaminated water, mediating the natural forces of flood, providing habitats for biodiversity and creating opportunities for recreational, educational and aesthetic experiences

The Wadi as a public open space.

The surreal image of the new landscape.

73 Shortlisted Project

Ngibikan Village Reconstruction On May 27, 2006, an earthquake hit Indonesia in the region of Yogyakarta in the southern portion of central Java. The village of Ngibikan, located less than 10 kilometres from the quake’s epicenter was destroyed. More than 5,700 people died and more than 140,000 homes in the immediate region were severely damaged. With financial assistance from a local newspaper, and design input from local architect Eko Prawoto, the villagers of

Ngibikan, led by community leader Maryono, reconstructed 65 homes in less than 90 days. The project represents the reconciling nature of architecture. The re-building efforts in Ngibikan present an alternative approach of post-disaster reconstruction wherein the process of design starts at the grassroots level, borrows substantially from the vernacular building processes and pragmatically involves the affected community in the process.

New houses in Ngibikan based on the design of the traditional ‘limasan’ houses.

Block Plan before earthquake -2006

Block Plan after reconstruction -present condition (2009)

Detail of the structure of the roof.

The village before earthquake and after the reconstruction—notice the adaptation of old footprints in the process.

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View of the central building marketplace after restoration.

Protecting the Past Concepts that take the idea of preservation beyond the physical object and indulge in safeguarding and rejuvenating historic patterns of life and activity to challenge the conventional discussion on conservation are honoured for their exemplary sensitivity towards history. These projects are seen as promising civil initiatives which aid revitalisation on local economies and generate local employment. These projects restore more than just the building.

Revitalisation of Hypercenter of Tunis, Winner, 2010.

Multiple significant transformations took place in the cities on the North and South of the Mediterranean owing to a growth in trade and thus cultural exchange during the late nineteenth—early twentieth century. The architecture and urban fabric near and around the old ‘Madinas’, resultant of this confluence, lies majorly in neglect. The ‘Ville Nouvelle’ of Tunis, which was built when Tunisia was a French Protectorate, reflected a move from the urban patterns of the old medina to a grid plan that changed the character of the city. The Association de Sauvegarde de la Médina de Tunis (ASM) initiated a process of re-structuring this recent heritage by multiple small interventions of restoration of buildings and regeneration of pedestrian precincts and markets. These practices propose a method for bringing about significant positive change in such heritage precincts, by upgradation of the overall quality of the built environment and stakeholder – centric policy making.

The revitalisation of the late-nineteenth and twentieth century built heritage in the Hypercentre district-Bab B’Har-of Tunis, is an important and inspiring contribution to our changing understanding of the recent history of the Islamic world, particularly of the cultural legacy of the colonial era.

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Restored 1902 Art Nouveau faรงade of the Municipal Theatre.

Avenue Bourguiba, one of the heritage streets.

PLAN OF THE AVENUE BOURGUIBA.

The central covered market after restoration.

76 Shortlisted Projects

Conservation of Gjirokastra The town of Gjirokastra in Southern Albania is a well-preserved example of an Ottoman Balkan town with one minaret (rare for an Ottoman town). Declared a ‘museum city’ in 1960, The Gjirokastra Conservation and Development Organisation has, for the better part of the last decade, attempted to reverse the decline of Gjirokastra’s built heritage through a grassroots programme that emphasises the development potential of conservation: Preservation projects are designed with a focus on adaptive reuse and sustainability, integrating training, business development and community outreach. The multiple projects to date include restoration, rejuvenation and preservation through a focused step – by– step process.

Proposal model of Gjirokastra for restoration.

Aerial view of Gjirokastra after restoration.

A restored medieval street in Gjirokastra.

The Armaments Gallery in the castle.

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Rehabilitation of Al-Qaraouiyine Mosque Since 859 AD, when construction commenced, and especially since the twelfth-century expansions under the Almoravid Dynasty, the Al-Qaraouiyine mosque has been a vital presence at the heart of the medina of Fez, not only as a place of worship but as one of the world’s oldest universities. The aim of the rehabilitation project was not only to preserve the historic fabric of the mosque but also to revive its cultural and social role in the life of the citizens of Fez and to enhance its use as a place of worship and a place of learning.

The rehabilitation team, relying entirely on Moroccan experts and professionals, adopted a strategy wherein critical examination of the process of degradation was followed by removal of insensitive interventions and finally, the physical processes of restoration were commenced. The project presents a successful potential precedent to reverse the processes of decay, both physical and those of memory.

The main prayer hall with the restored wooden ceiling.

Restored ceramic tiles in the courtyard and the minaret.

View of the tile roof from the minaret; the dazzling ceramic-tiled court.

GROUND FLOOR PLAN, AL-QARAOUIYINE MOSQUE.

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Rubber Smokehouse after restoration.

Restoration of Rubber Smokehouse Located in the small town of Lunas, in Kedah district near Penang, the Rubber Smokehouse stands as an example of Malaysia’s industrial heritage and the rubber industry that was of vital importance to Malaysia’s economy for much of the twentieth century. The preservation project brought together the different communities living in the area and created an awareness of their shared history. Sponsored by a local telecommunications company, the project was led by the architect Laurence Loh, whose

Exhibition room with display on local culture.

family is originally from Lunas. The Rubber Smokehouse has been transformed from an abandoned and forgotten building into an important part of the town’s landscape and a focus for the rural community. It has combined the physical conservation of the historic fabric with youth engagement, intercultural tolerance and civic pride, a unique approach that shows how architectural interventions can play a role in advancing social cohesion in multicultural societies.

Rubber Smokehouse before restoration.

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SITE PLAN, SOUK WAQIF.

Local pet market within a rejuvenated street.

An internal street.

Souk Waqif The origins of the Souk Waqif date from the time when Doha was a village and its inhabitants gathered on the banks of the Wadi to buy and sell goods. The revitalisation project, a unique architectural revival of one of the most important heritage sites in Doha, was based on a thorough study of the history of the market and its buildings, and aimed to reverse the dilapidation of the historic structures and remove inappropriate alterations and additions. Some new features were also introduced, such as a sophisticated lighting

system that illuminates the market’s streets. In complete contrast to the heritage theme parks that are becoming common in the region, Souk Waqif is both a traditional open-air public space that is used by shoppers, tourists, merchants and residents alike, and a working market. The significance of the project is an attempt by the architect to rejuvenate a forgotten layer of history through a conscious reuse of lost building techniques and revival of a forgotten activity pattern.

An ancient ambience recreated using modern means.

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North–West facade of the factory building.

Safety and Security Inceptions that counter the bizarre negative effects of inhuman living and work spaces which arise as direct design manifestations of an increasingly globalised and a rapidly industrialising world are commended for their incredible ingenuity, a sense of responsibility and high levels of understanding towards human occupation. Such projects represent a fresh spirit of architecture which prioritises the purpose more than the form. These projects negate the skewed definitions of safety and efficiency prevalent in a rapidly urbanising world.

Ipekyol Textile Factory, Winner, 2010.

The Ipekyol factory in Edirne, Turkey is a custom-designed facility for a manufacturer of high-quality textiles. The building represents a successful collaboration between a client and an architect in developing a spatial strategy that integrates production goals with the well-being of employees.

The key design objective was to produce an efficient workplace without a hierarchical design for smooth production and wellbeing of the employees.

The glazed Southern facade, five internal courtyards, as well as gardens and light wells give each user access to natural light and views of nature incorporating an element of ‘humane’. The building is an example of the way architecture can create better and desirable work environments by focusing on the people behind the production rather than the functional act of production.

An inner courtyard to allow light and greenery within the building.

At a time when the Muslim world is industrialising rapidly, and many countries, including Turkey, need to develop higher quality products to counter rising labour costs, the Ipekyol Textile Factory demonstrates how enlightened design can create a replicable blueprint of a cleaner, safer, more efficient workplace that can also achieve higher productivity and profitability.

PLAN

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Production area: Architecture for an efficient, non-hierarchical workspace.

The facade floods light through its transparent skin.

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SECTIONS

Gallery adjacent to the glassed North facade.

83 Shortlisted Project

Tulou Collective Housing This pioneering prototype for affordable housing in China is inspired by the traditional ‘Tulou’, the multi-family, fortress-like earth house found in the rural areas of Fujian province. The urban Tolou consists of an outer circular block with a rectangular box within that is connected to the outer ring by bridges and a courtyard. Both the circular and rectangular blocks contain small apartment units; the spaces in between are for circulation and community use. The lower floors contain shops and other community

facilities. Rents are low and apartments are not available to car owners, adding to the homogeneity of the community, many of whom are migrant workers. The self-contained housing block is wrapped by a concrete – wood screen which envelopes the corridor and provides an extended space to the unit. The housing design which stands as a contrast to the surrounding highrises provides an alternative to conventional design by extending the historical concepts of space to create a modern and effective solution.

Wooden Screen Wooden Screen Roof Garden Public Space Wooden Screen

Wooden Screen Public Space Apartment Type 2

Pitched Wood Operable wooden shutter

Apartment Type 2

Concrete Screen Small Inn Courtyard Restaurant Bicycle Parking Fitness Billiard Bicycle Parking

Circular form of Tulou Housing from the street.

AREA PLAN

Shops

Apartment Type 1 Small Inn Central Courtyard Library Bicycle Parking Computer Room

EXPLODED ISOMETRIC

Aerial view.

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The entrance of the unimposing Madinat al-Zahra Museum.

For The Mind and The Eye

Environments that are designed with an in depth understanding of the significance of identity and are reminiscent envelopes for pursuit, preservation and propagation of knowledge are recognised for their eloquent humility and honesty in purpose. Such projects embody faith, belief and memory to develop architecture which enhances the experience of gaining and giving knowledge. These projects establish a connect between the physical and the intangible; the sacred and the profane.

Madinat al-Zahra Museum, Winner, 2010.

The tenth-century palace city of Madinat al-Zahra is widely considered to be one of the most significant early Islamic archaeological sites in the world, and the most extensive in Western Europe. Excavations at the site are still ongoing. The Museum was conceived as a place to interpret the site and display the archaeological findings, as well as to serve as a training and research centre and the headquarters of the archaeological team. A refined and subtle design by the architectural firm ‘Nieto Sobejano’, the Museum complex blends seamlessly into the site and the surrounding farmland - a series of rectangles composed of walls, patios and plantings which, taken together, seem more like a landscape than a building. With a restricted palette of materials, the Museum maintains a focus on the displayed and tries to consciously under-power the object of interest. The Museum is an attempt to take the archaeological findings back to their historical context and landscape.

Archaeological site of Madinat Al-Zahra.

The Madinat al-Zahra Museum is a unique celebration of the link between museology and archaeology. The Museum is a symbol of the ‘convivencia’ evoked by the name Andalusia and bears testimony that indeed, Cordoba is the future, not only the past

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Aerial view of the museum.

The exhibition galleries.

86 Shortlisted Projects

American University Campus The master plan for the American University of Beirut, Lebanon, was developed to shape and guide the development of the University’s century-old campus over the next 20 years. Situated on a hill overlooking the Mediterranean, the existing campus is composed of more than 80 academic, residential and administrative buildings, primarily of neo-Moorish and modern design that represent different eras of architectural development. The master plan provides architectural, landscape and

The 1866 Neo-Moorish entrance to the university.

PLAN OF THE CAMPUS SHOWING EXISTING AND PROPOSED BUILDINGS.

urban design guidelines to serve the existing and future needs of the University. The intervention articulates a subtle topography in order to enhance the existing landscape and open of dynamic views towards the sea. Through a participatory process, new inserts and additions are designed to engage the old buildings on the site in a process of overall upgradation. The generation of the master plan demonstrates acute respect towards the heritage, both physical and intuitive.

Stairs on the North façade of the Charles Hostler Student Centre.

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Chandgaon Mosque This mosque on the suburban periphery of the port of Chittagong in Bangladesh seeks to fulfil the traditional role of a mosque as both a place of spirituality and as a gathering place for the community. The architect began by identifying the essential elements of a mosque to create a new form and articulation for a typology that goes back for a millennium and a half. Giving form to age old elements, the Mosque sits as an abstract expression of the collection of elements essential to a place of worship.

The two monolithic cuboids contain a court which is seen as a place of community gathering apart from its function as a space to pray and an indoor area with a ‘Mirhab’ wall balanced by a cut dome. The dome allows light to filter through during the day while creating an iconic image at night. With structural clarity, geometric integrity and clear forms, the Mosque stands as a contemporary expression reflecting universal values and their honest manifestations.

The mosque from the adjacent approach road – a modern expression.

PLAN OF THE MOSQUE WITH TWO IDENTICAL SQUARES FOR THE COURT AND PRAYER HALL.

View of the front prayer court.

Low openings aid views to the landscape – a humble gesture.

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Conceptual image of ‘The Bridge School’.

Small yet Significant Innovative small scale projects that are models of modern inserts in fragile contexts and exhibit great clarity and control from conception to completion are acclaimed for their lightness, naturalness and a respect they extend to the immediate and the next to come. Architectural devices like these ascertain a continuous dialogue with their surroundings and allow the local cultures, for whom they were designed, to assimilate their presence. These projects personify the sensitivity of the architect in building in a non-intrusive manner such that the built form contrasts but does not contradict the way of life.

The Bridge School, Winner, 2010.

The ‘Bridge School’ bridges the two parts of the small village of Xiashi in the Fujian Province, China that lie on either side of a small creek that runs through the village.

The structure is created by two steel trusses that span the creek with the space between them housing the functions of the School. Suspended from the structure and running below it is a pedestrian bridge for the people of the village to use. As a modernist expression, the School attempts to distance away from the local building methods but is cautious not to alienate the user communities. Physically connecting the separate villages, the School has emerged as an alternative social space for an otherwise declining village. The two ends of the School open up to act as stages that can be used for meetings and performances thus integrating the public spaces on either side. The project thus sustains itself not only as a building but as an idea encouraging cohesiveness.

The Bridge School achieves unity at many levels: temporal unity between past and present, formal unity between traditional and modern, spatial unity between the two riverbanks, social unity between one-time rival communities - as well as unity with the future

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A class in progress.

‘Tulou’ houses in the villages on either side of the creek connected by the school.

Northern entrance of the building, in front of the Hakka Castle.

Southern entrance of the School.

90 Shortlisted Projects

CBF Women’s Health Centre Set in one of the poorest suburbs of Ouagadougou, West Africa, the CBF Women’s Centre provides health and educational services and builds awareness about women’s rights. The building consists mainly of two separate but closely related blocks. A number of passive cooling measures reduce the need for air conditioning and provide a prototype that can be replicated across the region: the two buildings are raised on a platform to encourage natural ventilation and

protect the interiors from dust, mud and humidity; a lightweight PVC canopy on steel trees shades the whole; and exterior openings are fitted with glass louvres.

Constructed from interlocking, compressed, soil-cement bricks made on-site, the Centre has its own well and photovoltaic cells. The Centre has been able to develop a sense of belonging owing to its multifunctional program facilitating the use of the space for interaction and celebration.

View from south with the raised PVC canopy.

PERSPECTIVE OF THE HEALTH CENTRE, A FUNCTIONAL YET DIVERSE PROGRAM

Entrance with raised platform and a floating canopy.

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Dowlat II Residential Complex Designed by Arsh Design Studio, this project in Tehran, Iran, counters the two-dimensional facade and level open-plan floors of the typical Tehran mid-rise with a building that seeks a three-dimensional approach.

The facade—a wooden grid—is punctured with a variety of openings that extend the building’s volume beyond the main envelope and allow unpredictable configurations dictated by the preferences of the inhabitants.

At the same time, each apartment is split level, allowing the creation of a roof garden that is directly accessible from the top-floor apartment.

In addition to being responsive to its users, the building adds a sense of excitement to the public streetscape that it overlooks. The design is flexible to individual needs and imaginations rendering a quality of personalisation to the feeling of possession.

Garden in the rear lightwell.

Street facade of the building – a contrasting element against the street.

STREET PLAN AND LOCATION IMAGE OF THE RECTANGULAR HOUSING BLOCK

Terrace with a vista to the mountains.

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Nishorgo Oriabot Nature Interpretation Centre The main objectives of this Centre, located in a protected forest and nature reserve in Chittagong District in the South of Bangladesh, are nature education and interpretation tours; an effort to create awareness and promote biodiversity, conservation and eco-tourism. ‘Nishorgo’ means environment in Bengali, and the central concept driving the project is to cherish the sanctity of nature. The building itself is sensitively placed within

the landscape: the reinforced concrete platforms of the ‘pavilion shelter’ float above the ground on structural walls; the concrete slabs are pierced by tree trunks where necessary, reflecting the project’s aim to create as little impact on the environment as possible. With walls of burnt clay bricks and wooden lattice screens, the building sits lightly on the soil and is designed to allow nature to reclaim the site once it disappears.

Pond

Plane Field

SITE PLAN

Night view of the Nishorgo Oriabot Centre.

Exhibition area on the first floor; the sensitivity of cutting the slab and not the tree.

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Palmyra House This two-storey timber house, built as a weekend retreat, lies in the shade of an extensive coconut grove; a heritage plantation on coastal agricultural land facing the sea, near the fishing village of Nandgaon, South of Mumbai.

The functions of the house are placed within two oblong masses slightly offset from one another, whose facades are predominantly characterised by louvers made from the trunks of the local Palmyra palm. The structure is

The living area visually connects to the dining and the pool.

made of ‘ain’ wood; local basalt was used to make boundary walls, plinths and paving. Plaster finishes were pigmented with sand from the site. The project is executed by a close working collaboration between Studio Mumbai and the craftsmen. Wooden louvers allow breeze and sight alike to pass through the house rendering it a weightless identity against the sky and the sea. The house blends with the landscape by its presence, not dominance.

Night view – The reversal of the image.

Two lightweight cuboids and a water body – The Palmyra House.

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The Green School Environmentalists and designers John and Cynthia Hardy wanted to motivate communities to live sustainably. Part of that effort was to show people how to build with sustainable materials, namely bamboo.

The Green School, a giant laboratory built by PT Bambu, is located on a sustainable campus straddling both sides of the Ayung River in Sibang Kaja in Bali, Indonesia within a lush jungle with native plants and trees

growing alongside sustainable organic gardens. The campus, which houses classrooms, gym, assembly spaces, faculty housing, offices and a cafe, is built mostly in bamboo and is powered by alternative sources of energy. The School can be viewed as an endeavour to create a green community thereby inducing a passionate, curious and honest engagement between the students and nature.

‘Heart’ of the School campus with a spiralling bamboo roof.

‘Kul Kul’ Bridge – an element that has no footprint.

A class in progress.

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Yodakandyia Community Centre The Centre is a three-building complex at the heart of the Yodakandyia housing reconstruction scheme, in a new village outside the town of Tissamaharama in south-eastern Sri Lanka that was developed for 218 families affected by the 2004 tsunami. In addition to the Community Centre, there is a pre-school, library, medical centre, and a cricket pitch and volleyball court. The Centre was designed in close collaboration with the community and with technical assistance from

Yodakandyia buildings made of vernacular material and techniques.

UN-Habitat. The programme engaged the beneficiaries directly; the residents not only acted as client, they also prepared a design brief, implemented the construction and continue to operate the facilities. Available budget and hot climate drove low-cost construction techniques, with the extensive use of local materials and passive cooling measures; architecture that represents its context by all means, harvests precious water, and engages a community to reconcile and create an environment of well-being.

The three multifunctional blocks.

Interior view of the library facilities.

The Last Word The recipients and shortlisted projects of The 2010 Aga Khan Award for Architecture portray an overall inclination towards the ‘alternative’. The Award recognises the importance of meaningful architecture which goes beyond the obsession with form and image and finds its motivation from the reason, the rationale and the region. The projects shortlisted and awarded by the jury strive to achieve a balance between desires, wants and needs, and the act of looking back – looking forward. Progressive architectural models like the ones illustrated, project a strong clarity in terms of priorities and justifications, and share a distinct quality of dealing with space as a resource rather than a commodity.

The Aga Khan Award for Architecture was announced in 1977 by His Highness the Aga Khan to recognise examples of architectural excellence which encompass diverse contexts and go beyond the needs to address cultural and spiritual aspirations of their inherent context. In its eleventh three-year cycle, The 2010 Aga Khan Awards for architecture recognised projects which successfully resolve issues of environment in the context of rapidly deteriorating urban life, neglect of rural concerns and problems of rapid industrialisation. Out of 401 nominated projects, the Aga Khan Jury Panel shortlisted nineteen remarkable projects. Five projects were awarded. The Aga Khan Jury observed that the projects ‘represent the diversity of the Muslim world in its Diasporas, as well as being innovative in their own right’.

IA&B - DEC 2010

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architecture

Creating a canvas, connecting to the contextual realm of design, Bengaluru-based architectural firm Khosla Associates has designed ‘Cliff House’, Kerala and ‘Arts and Media Centre at The Doon School’, Dehradun.

Text: Sidharth Gupta Photographs: courtesy: Khosla Associates; Bharath Ramamrutham and Amit Pasricha

F

ocusing on the contextual tropical architecture, supporting it with local materials and concepts, but reinterpreting them with an innovative and contemporary design sensibility, Bengaluru-based Khosla Associates’ versatile body of work ranges from architecture and interiors of residences, corporate

offices, retail, hospitality spaces and institutional buildings. The two projects showcased from their varied palette of projects depict their aspiration to reinterpret the design brief in their own design sensibility and weave a whole new design story which invokes a contemporaneous invoice.

An interesting detail showcasing traditional wood door fixed on skewed wall.

Image: © Bharath Ramamrutham

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Arts and Media Centre at The Doon School

“W

hen the new Art School was conceptualised, it was decided that the structure should look into the future and provide spaces that would become more relevant educationally in the years to come, that it should be inspirational in its looks, and that it should be informed by the tenets of ‘green’ architecture”, reads the brief on Doon School website. The architect, Sandeep Khosla, an alumnus of the School, and a ‘regular’ at the Art School in his days at Doon, has created a building and surrounding garden area that gives expression to these concerns—through a competition winning design.

Integral to the concept of the new Arts and Media Centre is the journey of an artist, interpreted as a central spine that runs east-west along the entire length of the site; dissolving into the ample lung space of a landscaped garden. The artist traces the path but is encouraged to break away from it

in the all-important process of self-discovery. The axis encourages one to traverse, pause, take a turn, wander and reflect.

The building is contextual in terms of its orientation and materiality as it interfaces the iconic 100 year old English Renaissance inspired main school building and the rest of the brick architecture of the campus. The new building design demanded a creative engagement of old English Renaissance in new contemporary mould. The two buildings of the art school–one for art instruction primarily housing painting, ceramic, sculpture, and textile studios, and the other, with a lecture hall, film studio, publications room, and display galleries, are connected by an internal bridge. In the quest of presenting a balanced act, architects proposed a building design containing bold, contemporary and abstract massing. The building is viewed from the outside as a composition of abstract sculptural forms of varying material

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LEGEND 4

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1 Double Height Foyer 2 Textile Studio 3 Space For Loom 4 Wet Area 5 Courtyard 6 Hod’s Cabin 7 Inspiration Space 8 Library 9 Studio- II 10 North Skylight 11 Sculpture Studio 12 Studio - Iv 13 Interaction Space 14 Pottery

15 Ceramic Studio 16 Studio - I 17 Clay Store Room 18 Av Control Room 19 Lecture Hall 20 Green Room 21 Auditorium Store 22 Lift 23 Toilets 24 Editing Room 25 Recording Room 26 Film Studio 27 Area For Shooting 28 Equipment Storage

FLOOR PLAN

Monotonous nature of curved edges of building breaks with sunlight.

Image: ©Bharath Ramamrutham

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Bold and abstract massing in the Arts and Media Centre.

Image: Š Amit Pasricha

Side courtyard acting as a breathing space in the building.

Image: Š Amit Pasricha

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Entrance foyer inviting pupils.

Image: Š Bharath Ramamrutham

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Connecting bridge and centrally located staircase between the two blocks.

Image: ŠBharath Ramamrutham

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Art gallery, flooded with natural sunlight, displaying student’s artworks.

Image: © Bharath Ramamrutham

and texture, emerging from a central spine. Internally, the axis is a double-height 6 meter wide gallery leading from both sides into studios, a lecture hall, a library and other functional requirements of the art department. The internal volumes are filled with a wonderful quality of North light via a series of skylights, while all studios open into courtyards allowing easy interaction with the outdoors and ample cross ventilation.

Local stone is used generously in the courtyards and the internal flooring is predominantly grey kota stone–blending effortlessly with the lush natural surroundings yet being highly durable. The curved façades soften the corners of the building and are detailed finely with bands of brick-on-edge. The natural topography and foliage of the site is well preserved and negotiated, like the level difference between the building and the landscaped garden and existing trees are accommodated in the building design.

The building is also climate sensitive. The long spine of the building running east-west takes advantage of maximum amount of North light so as to minimise to use of artificial lighting during the day. The temperature within building is kept between a minimum of 16°C and a maximum of 27°C by several devices: Adequate cross ventilation of all the studios and galleries, filtered north light through the skylight system and indirect yet ample light through the courtyards. Exhaust systems in the skylights flush out the hot air and humidity in peak summer via a stack effect. Large overhangs on the South and West side protects the internal volumes from the fierce summer sun. The building has a TERI (The Energy and Resource Institute) Griha Green Rating.

The landscaped garden forms an exciting quadrangle with the aqueduct on its south side; the new art school to its east, the main building to its North and the old bakery to its West. The new art complex thus attempts to infuse the spirit of creativity into the heart of the campus, taking The Doon School forward into the next century: A bold contemporary building that sensitively weaves the past with the present and dynamically leads the school into the future.

FACT FILE: Project :

Location : Architect : Design Team :

Project Area : Structural Engineer : General Contractors : Electrical Consultant : Plumbing Consultant : Acoustics : Building Green Analysis :

Completion of Project :

Arts and Media Centre at The Doon School Dehradhun, India Khosla Associates Sandeep Khosla , Amaresh Anand , Subodh Divekar and Dhaval Shellugar 25,000sqft Manjunath & Co. Sawhney Builders Lyle Lopez S.K. Consultants KLM Designs The Energy and Resource Institute (TERI) 2010

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View from the Cliff House overlooking fronds of coconut plantations and Arabian sea Image: Š Bharath Ramamrutham

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Cliff House

T

he modern village home was designed by architects Sandeep Khosla and Amaresh Anand for their client who lives in London and wished to have a house as a holiday residence. The house located in Chowara, a fishing village in Kerala, called ‘The Cliff ’ due to its location, rests 200ft above an expansive stretch of green along the Arabian Sea coast, at the edge of a cliff. The most prominent feature is an asymmetrical sloping roof set against the fronds of a coconut plantation. The house which covers an area of 1397sqm, designed keeping the 180 degree panorama of the sea constantly in mind, embraces the warm sea breezes.

The response to the site was a bold and emotional one as the designers imagined the dramatic wall and roof bringing the sea, air and the sky in without barriers. True to the context, only half of the 1,400sqm of built area is actually defined by four walls. The rest is kept open and intelligently permeable to the elements. A skewed 45m long shear concrete wall supporting the single lightweight triangulated canopy roof lunges out towards the view.

The external and internal finishes are polished cement, concrete and rough slate juxtaposed against warm slatted timber and natural local kota stone.

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LEGEND 1 ENTRANCE FOYER 2 CLOCK ROOM 3 PEBBLE COURT-I 4 FOYER 5 REFLECTING POND 6 PEBBLE COURT-II 7 DINING/DECK 8 LIVING ROOM 9 DECK 10 BEDROOM-II 11 WASHROOM 12 OPEN-TO-SKY SHOWER 13 LILLY POND 14 BEDROOM-I 15 O/D SHOWER AREA 16 DECK 17 KITCHEN 18 WINE CELLAR 19 SWIMMING POOL 20 LAUNDRY 21 POOL ROOM 22 SERVANT ROOM 23 SERVANT TOILETS 24 ELECTRICAL ROOM 25 COURTYARD 26 SERVANT KITCHEN 27 GARAGE 28 MEDITATION DECK 29 MASTER BEDROM 30 BEDROOM-II 31 WALK-IN CLOSET 32 BEDROOM-IV

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ground floor PLAN

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Juxtapositioned forms create an interesting panorama of this abode.

Image: Š Bharath Ramamrutham

Lotus pond softening the scale of the spaces around and proving to be visual treat.

Image: Š Bharath Ramamrutham

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“The response to the site was bold and emotional one and as designers we imagined the dramatic wall and roof bringing the sea, air and the sky in without barriers” - Sandeep Khosla

Entry foyer overlooking skewed shear concrete wall and louvered wood.

Image: © Bharath Ramamrutham

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Open-to-sky courts visually integrated with the bedroom.

Image: Š Bharath Ramamrutham

Dining visually connects to the infinity pool.

Image: Š Bharath Ramamrutham

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Skewed shear concrete wall supporting the lightweight triangulated canopy.

Image: ŠBharath Ramamrutham

Furniture and accessories are kept to a minimal, so that the focus does not stray from the natural environment.

and master bedroom connect to each other on the upper level via a walkway and terrace.

In the interest of keeping the view foremost and the ambience pleasant in Kerala’s tropical heat, large openings were essential to all spaces, which allowed the penetration of seasonal winds. Ample overhangs were provided to protect the main roof against the fierce western sun and monsoon rain.

Since large expanses of glass would trap the heat in this environment, the architects devised a system of louvered wooden sliding and folding shutters for the doors and windows. These slatted shutters can be modulated and allow for uninterrupted air circulation.

The house is climate-sensitive and allows for light, air and breeze to flow right through. All bathrooms have tropical open-to sky courts that are integrated visually with the bedrooms, several open courts and water features punctuate and soften the scale of the foyer. The overriding canopy roof is clad on the underside entirely with eco-friendly timber that offsets with warmth the large expanses of kota flooring, concrete and polished cement.

FACT FILE: The entrance faces northeast and the entry walkway is made of a straight line of monolithic stone steps flanked on either side by lush tropical water bodies.

The concrete wall to the right and mysterious louvered wood screen wall deliberately conceal what lies beyond. On entering the house, the voluminous foyer not only separates the private and public spaces but also extends all the way from the front entrance to the rear deck, where you can wade straight into the 420sqm infinity pool. The double height foyer separates the two wings and separates public and private spaces. Guest bedrooms and shaded decks lie to either side of the outdoor pool whose prominent position and expanse compensate for the missing beach access. Additional guest rooms

Project Location Architect Design Team Client Site Area Completion of Project Built- up Area Structural Engineering Landscaping Interior Design

: : : : : : : : : : :

Cliff House Chowara, Kerala, India Khosla Associates Sandeep Khosla, Amaresh Anand and Praveena A Mike Manwaring 4,046sqm 2010 1,397sqm Manjunath & Co Hariyalee Consultants Khosla Associates

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‘Confluence, Interference and Turbulence’ Creating an unusual form with the use of usual materials and sinuous notion of design, the team led

by Zaha Hadid idealised the much celebrated MAXXI.

Text: Sidharth Gupta.

Photographs: © Helene Binet, Iwan Baan, Roland Halbe and Werner Huthmacher ; courtesy Zaha Hadid Architects.

international

Aerial view of MAXXI- Campus for Culture.

Image: Š Iwan Baan.

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“MAXXI, a building for the staging of art, whilst provocative at many levels, shows a calmness that belies the complexities of its form and organisation. It is the quintessence of Zaha’s constant attempt to create a landscape as a series of cavernous spaces drawn with a free, roving line.The resulting piece, rather than prescribing routes, gives the visitor a sense of exploration. It is perhaps her best work to date”, commented the judges of RIBA Stirling Prize 2010.

View of MAXXI in the evening.

Image: © Helene Binet

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M

isconception about Rome – a city frozen in time has been challenged by the bold, demanding and provocative form of MAXXI museum. Designed by Zaha Hadid who is known for the ‘true to form’ architecture, is all about form and flash at the expense of the physical, phenomenal and experiential. Standing in a drowsy neighbourhood surrounded by early 20 th Century apartment buildings, Zaha has consciously attempted to integrate the museum complex with the ancient urban fabric. “I see the MAXXI as an immersive urban environment for the exchange of ideas, feeding the cultural vitality of the city”, enthuses Hadid.

The main concept of the project is directly linked to the purpose of the building as a center for the exhibition of visual arts. The complex which houses two institutions: MAXXI Arte and MAXXI Architecture comprises an auditorium, library and media library, bookshop and cafeteria, spaces for temporary exhibitions, outdoor spaces, live events and commercial activities, laboratories, and places for study and leisure. “The MAXXI should not be considered just one building - but several.

The idea was to move away from the idea of “the museum as an object” and towards the idea of a “field of buildings”, the revolutionary creator explains.

Site plan of this campus for culture has been drafted on the similar ideas in which she designed BMW plant Leipzig, Germany. The geometrical plan of the project aligns itself with the two urban grids that regulate the town planning structure of the area. The interior of MAXXI can be seen by visitors and pedestrians through the numerous openings in the MAXXI’s curvilinear walls that on the one hand, protect its contents, yet beckon the visitor through the broad glazed surface on the ground floor. Zaha mentions, “The walls of the MAXXI create major streams and minor streams. The major streams are the galleries, and the minor streams are the connections and the bridges. The site has a unique L-shaped footprint that meanders between two existing buildings. Rather than

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Entrance porch acting as an interactive space.

Image: Š Iwan Baan

Longitudinal aerial view focusing on roof plate conceptually.

Conceptual render showcasing floor plate massing.

Conceptual imagery speaking about the urban context of the building.

MAXXI- curved brutal concrete wall balancing steel trusses in the roof.

115 seeing this as a limitation, we used it to our advantage, taking it as an opportunity to explore the possibilities of linear structure by bundling, twisting, and building mass in some areas and reducing it in others—threading linearity throughout both interior and exterior of the MAXXI.” The walls that cross the space, and their intersections, define interior and exterior spaces of the MAXXI. This system acts on all three levels of the building, the second of which is the more complex—with various bridges that link buildings and galleries. The visitor is invited to enter into a series of continuous spaces, rather than the compact volume of an isolated building.

Legend 1. Landscape 2. Entrance Hall 3. Reception 4. Temporary Exhibition 5. Graphic Collection 6. Exhibition Suite 1 7. Auditorium 8. Shop 9. Coffee-bar 1

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GROUND FLOOR PLAN

Legend

1. Entrance Hall 2. Exhibition Suite 2 3. Exhibition Suite 2 4. Exhibition Suite 4 5. Auditorium 1

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FIRST FLOOR PLAN

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The interior spaces, defined by the exhibition walls, are covered by a glass roof that flood the galleries with natural light filtered by the louvered lines of the roofing beams.

These beams underline the linearity of the spatial system, aid in articulating the various orientations of the galleries and facilitate circulation through the museum. “After many studies, our research evolved into the concept of the confluence of lines, where the primary force of the site is the walls that constantly intersect and separate to create both indoor and outdoor spaces. It is no longer just a museum, but an urban cultural centre where a dense texture of interior and exterior spaces have been intertwined and superimposed over one another. It is an intriguing mixture of galleries, irrigating a large urban field with linear display surfaces”, says Patrik Schumacher, who co-designed the building with Hadid. Two principal architectural elements characterised the project: the concrete walls that define the exhibition galleries and determine the interweaving of volumes; and the transparent roof that modulates natural light. The roofing system is composed of integrated frames and louvers with devices for filtering sunlight, artificial light and environmental control.

Materials like glass, steel and concrete gives the exhibition spaces a neutral appearance, while movable panels ensure the flexibility of

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Atrium showcasing the vertical moment at MAXXI. Image: Š Iwan Baan

117 exhibition layouts. The fundamental character of the architectural and structural project consists in the use of walls as spatial ordering elements. The interiors of the galleries, almost linear, are delimited by couples of parallel walls that follow the building’s longitudinal movement. The plasterboard connected with concrete walls creates the technical cavity that contains the museum’s complex mechanical systems. The glass roof is protected on the exterior by a steel mesh that screens light and ensures easy maintenance. The fluid, sinuous shapes, the modulated use of natural light lead to a spatial and functional framework of great complexity, offering constantly changing and unexpected views from within the building and outdoor spaces.

Merging natural and artificial light to enhance the foreground and background of art and gallery.

Image: © Werner Huthmacher

FACT FILE:

MAXXI gallery- displaying contemporary art.

Image: © Werner Huthmacher

Project Location Architects Design Project Architect Site Supervision Team

Total Site Area Planning Consultant Structural Engineer

M&E

Lighting Acoustic Project Estimate

: : : : : :

MAXXI : National Museum of XXI Arts.

Rome, Italy Zaha Hadid Architects Zaha Hadid and Patrik Schumacher Gianluca Racana Paolo Matteuzzi, Anja Simons & Mario Mattia : 29,000sqm : ABT (Rome) : Anthony Hunt Associates (London), OK Design Group (Rome), Studio S.P.C. S.r.l. (Rome : Max Fordham and Partners (London), OK Design Group (Rome) : Equation Lighting (London). : Paul Gilleron Acoustic (London) : € 150 Million.

118 IA&B - DEC 2010

Passing Through the

Flux It becomes essential to engage with the work and look beyond the hype of Anish Kapoor’s exhibitions at the NGMA and Mehboob Studios to understand the omnipresence of ‘emptiness’.

Text & photographs: Ruturaj Parikh

Smooth surface of the ‘(Pole)’ and the concave fractured plane of Anish Kapoor’s 2010 piece balance the surreal space within and around.

art

Y

ou wait for long for a spectacle to happen.

The anticipation creeps up your spine as a man in a jumpsuit calmly slides a palette of wax in a cannon-like object aiming at a corner of a spatial volume bound to contain and echo a sound. Then it comes with a sudden boom and splat and in an instant; a fraction of a second, a ‘process, painting, installation and sculpture’ happens as a performance of art.

Then there is silence. The instantaneous shock of the shooting projectile and the primordial reaction it evokes is replaced by calm; the at times desirable – at times unsettling calm which consumes and contains majority of Anish Kapoor’s artistic endeavours.

An understandable surge of interest envelops the homecoming of Anish Kapoor, an artist of Indian origin and recipient of the prestigious Turner Prize. With two parallel shows at the NGMA in Delhi and the Mehboob Studios in Mumbai, Anish Kapoor’s work comprising of sculptural objects, non-objects and processes impress through the scale and simple beauty of wax, pigment and mirrored surfaces.

The Counter-Space In an impressively raw volume of the Mehboob Studios in Mumbai, the nine pieces of art, including ‘Shooting into the Corner’, create an elusive sense of an alternative space; a mythical place which not only binds the nine works of art together but becomes generative of the myth and the idea which developed these forms. The illusion of space created within and outside the flawless mirror surfaces aid the generation of the emptiness. The reaction invoked by Anish’s

Impressive volume of the Mehboob Studios containing a metaphysical space created by the non-objects and the performance of ‘Shooting into the Corner’.

The four ‘Non-Objects’ – The Door, The Pole, The Plane and The Spire.

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The act of counter-balance between the unpredictable (Plane) and the (Spire).

works of art goes far beyond the mere illusion of void engendering a sense of hollow that inhales and exhales the space around. The uncanny experience of travelling through non-spaces reminds us of a forgotten role of art which is to bring to expression more than to express; to engage and invoke a reaction more than to react.

Anish Kapoor’s preoccupation with the mythical and the metaphysical is reflected in the successful orchestration of visual and sensory apprehension followed by an anticipation of something unusual, something shocking, something present and something absent. One is reminded of the huge chromatic expressions of Mark Rothko which evoked an uneasy sense of emptiness and a seeming extension of time-space but failed to suck the passerby into the void. The sculptures in the Mehboob Studios, on the other hand, evoke anxiety, unease and restlessness through the metaphorical possibilities they present. The virtual space thus created, takes one through a binary of affirmation and negation.

Various works at the exhibition strive to achieve implied meanings and convey abstract parallels to a presence of the singular line where the material meets the non-material

The ritualistic mythical transformation of the fork-lift by the crudeness of the wax rendering the instrument of commodity a sacred quality.

The Non-Objects Eight objects and a performance define the space within the gallery. The flawless reflective surfaces placed against the crudeness of wax, as pure material expressions, define the dualities which have always served as philosophical narratives behind Anish Kapoor’s art. The metaphorical duality is captured within the objects in the space. The stainless steel ‘S-Curve’ camouflages in the environment and proposes a paradox of solid steel adapting a fluid image.

The two ‘Untitled’ concave mirror surfaces are read as a diptych with one reflecting an inverted image of the studio space creating an opposite landscape while the other taking a similar image and fracturing it into multiple planes giving form to the disjunct in time-space. The surface of the ‘Non-Object (Pole)’, a continuation of ‘Turning the World UpsideDown’ reflects its companion pieces creating a united image of divergent forms while the surface of a seemingly cuboidal ‘Non-Object (Door)’ is sucked-in as an act of inhaling giving rise to an uneasy impenetrable space that paradoxically contains you.

The two ‘Non-Objects’; the (Plane) and the (Spire) balance the space between them re-creating the reflected volume to contain the space and the other object within these metaphysical landscapes. While on one

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‘S-Curve’ in the foreground with the ‘Non-Objects’ (Plane) and (Door) in the back.

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hand, the Spire – a freeze frame of a vertical pull of a diaphragm produces a kaleidoscope of repeated reflections as you move closer and away from the piece, on the other hand, the parabolic plane creates an unreliable reflection by changing polarities as you move closer and farther from it.

Emptiness

The art of Anish Kapoor transcends the modernist perfection of an aesthetic form prioritising the conceptual source of work over style.

The various works at the exhibition strive to achieve implied meanings The two works of wax placed at opposite vertices, ‘Shooting into the and convey abstract parallels to a presence of the singular line where Corner’ and the wax clad forklift-‘Stack’ balance the fluidity of the the material meets the non-material. The act of passing by and passing counter-space created by the reflecting surfaces by giving stable through Anish Kapoor’s work thus comes across as an experience of points of reference to the collection of pieces in the studio. As ‘Stack’ discovering signs of emptiness and extensions of time-space till one is read to be a transformation of a mechanical object into a mythical comes across a frame where the void is discovered and lost. Through object, the ‘Shooting into the Corner’ is read as a myth reincarnated the travel, one realises that the ingenuity of execution of these works in material reality. The collection of these objects together create an is an endless endeavouer towards creation of the calm, the sacred and anti-environment of emergence and disappearance, balance and non- the ritualistic. Then it comes with a sudden boom and splat and again, a balance, calm and unease and the duality of the illusion of space against fraction of a second pulls back the realisation that anything is possible but nothing has actually happened. the creation of emptiness.

The ‘Non-Object (Pole)’ in the foreground and the two ‘Untitled’ pieces (2010 and 2008) in the background.

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A wax palette shoots out of the cannon with a boom and a splat.

124 IA&B - DEC 2010

Civic Activism in Mumbai

Nayana Kathpalia, in this column curated by Amita Baig, investigates the spirit behind the struggles of Mumbai’s Citizens’ Groups and NGOs in a remarkable persistence through an exemplary stance to ‘save’ their city.

Text: Nayana Kathpalia Photograph: courtesy Chirodeep Choudhari

H

istorically Bombay - now Mumbai - has always been a cosmopolitan city with several diverse communities having their roots in it, giving it its vibrant and progressive ethos. This turned it into a magnet which attracted a cross section of people from across India.

Until the1960s, Mumbai was a ‘contained city’ with the population and infrastructure largely supporting each other. Ironically, most of this infrastructure was laid by the British, still serving the Island City well, compared to what has been undertaken subsequently post independence.

There were no major problems. Citizens had good pavements to walk on, traffic was smooth and well-controlled, suburban trains had not reached the super crush stage, the Police Force was respected and dependable.

Water and electric supply was adequate. Citizens had no real need to interact with the Municipality at the ward level for day-to-day problems.

With the exponential growth of population and a break-down of services and infrastructure, the city’s decline slowly began. With this reality a civic conscious citizenry began questioning the reason for the city’s deterioration and demanding what they felt was their due. This was the beginning of Civic Activism undertaken by enthusiastic volunteers.

The topography of this narrow peninsular city brought forth huge problems mainly because of the shortage of land. The city grew northward in a basically unplanned manner. No social housing of any consequence was constructed since the 1960s, hence all those who came looking for

culture counts

jobs could not rent a place resulting in slums mushrooming on open land.

This was illegal but happened with impunity as the authorities either turned a blind eye or encouraged them. Politicians saw this as a way to grab land by promoting schemes in the name of the poor but in reality it is only a money making opportunity. The unscrupulous builder-mafia nexus joined the fray and Mumbai’s scarce land became free-for-all. This was vote bank politics at its worst.

The result of this downward spiral was that the once renowned Bombay Municipality, now the Municipal Corporation of Greater Mumbai (MCGM) began to fail and was unable to tackle efficiently the new demands.

Corruption became a way of life where land, which should have been

held in trust for the citizens of Mumbai by its guardians, was being bartered and sold by them. They did not care that once ‘sold’ it could never be recovered and that their future generations would be deprived of their legitimate inheritance. They did not want to accept that a well-planned humane public space is no luxury, but a necessity for the physical, mental and social health of people. Without it, cities become a collection of crowded, unhealthy neighbourhoods, depriving especially its children and senior citizens, of outdoor recreation. It also makes a city of poor quality - for living, business or investment. The National Building Code laid down an ideal ratio of 4 acres per 1000 persons of open land; Mumbai has a dismal ratio of 0.03 acres and shrinking. Alas, it is the short-sightedness of immediate gain driving this!

126 Regarding Mumbai’s civic services and governance, the less said the better. Garbage (solid waste), was being badly managed, making the city stink and look grungy. The shortage of housing led to land prices soaring.

There was a political and builder onslaught on the rich built heritage and reserved public open spaces. Politics began turning competitive at community and religious festivals creating its own frenzied and noisy reality without caring for those who suffered the consequences. Traffic control deteriorated as did all police services dealing with law & order.

Sadly nothing except the spirit of Mumbai’s citizens was left to commend the city once called “URBS PRIMA IN INDIS” (First City of India).

Concerned citizens began forming themselves into groups to tackle the problems they saw before them. Two of the first such groups were – Save Bombay Committee (1970-71) and Bombay Bachao Committee (1977) which subsequently became the well-known Bombay Environmental Action Group (BEAG 1979). These citizens were obviously alarmed with what was happening to their city and wanted to ‘SAVE’ it. These groups were followed by the rise of Resident Associations which were local in nature and concerned about their immediate neighbourhood. More organisations were formed - each one to engage in civic issues. Besides the practical problems of their areas that they wanted to solve, these organisations realised that looking into poor governance and policy issues was also vital for long term solutions. One could see that even without the 74 th Amendment of the Constitution of India devolving power to the citizens having been put into effect, citizens had become pro-active and began pushing the Government and the Municipality to hear them and deliver unto them their rights. They were no longer willing to accept the adage that Government was the ‘Mai-Baap’ doing its best for the citizenry.

gave an impetus to both BEAG and others to take up many more heritage issues. Shyam Chainani, one of the founders of BEAG says in his book ‘Heritage & Environment - An Indian Diary’ that “the real significance of the Old Yacht Club story lies in what it triggered off ”.

The story of the listing of Mumbai’s built heritage is a long and successful one. Once the Heritage List was in place it was an uphill task getting all of it to be accepted and notified. Facing many ups & downs, working with as well as opposing the senior bureaucracy, enlisting sympathetic politicians and bureaucrats is what was done by members of BEAG and others. They realised that to get the State Government to finalise the Heritage List, go through the procedures to have it notified, to include it in the Development Control Regulations and get the Mumbai Heritage Conservation Committee formed was going to be an arduous task. If they did not pursue this with the single-mindedness of a terrier, known to set his teeth into what he wants, it would never get done – and this is exactly what they did. The Government often does appreciate such commitment and Mumbai got its “Heritage Regulations for Greater Bombay, 1995” —the first in India. It includes the Heritage List and Precincts.

Fifteen years on, a revised and expanded Heritage List has been prepared and is with the MCGM awaiting notification. In the mean time many other laws have been promulgated which will dilute some heritage norms and needs to be battled.

Public Open Spaces

Heritage

The Oval Cooperage Residents’ Association (OCRA) established in 1978 was one of the earliest Resident Associations to be formed in terms of localised issues. Their buildings overlooked the deteriorating 22-acre Grade Oval Maidan. This vast open space attracted several construction proposals by the State Government which includes club houses, gymkhanas, shopping centres, stadia, a two-tiered underground parking lot and much more.

That these proposals did not take shape and the Oval remained an open green was the result of the strong protests and objections raised by OCRA supported by members of the public. Simultaneously OCRA had proposed to the State Government that either the Government restore the ground or allow OCRA to do so at its own expense. This struggle continued for 15 years. Finally in 1997, the Government gave permission to the O.V.A.L. Trust (set up in 1994 for this purpose) to restore the Oval Maidan. It was restored in 1999 and continues to be maintained by the Trust. The Trust has recently restored the adjacent Cross Maidan Garden. Later on several other similar stand-alone projects followed all over Mumbai.

One of the first sustained campaigns in Mumbai to preserve a heritage building was the one undertaken by BEAG for the Old Yacht Club. This building was saved after a long and hard struggle with the highest in the land, including the Prime Minister Shri Morarji Desai, Dr. Raja Ramanna and several politicians and senior bureaucrats. It was saved and is being restored by a conservation architect engaged by the Department of Atomic Energy which was once keen to demolish it. This successful campaign

In 1998, an NGO named CitiSpace was formed which began looking into the open space issues in all of Greater Mumbai. It discovered many problems related to specific plots. More importantly at the policy level, things were looking really bad. Between the State and the MCGM there seemed to be a determination to gobble up all open spaces for construction purposes.

Reserved Public Open grounds were being given over for construction of private clubs under the dubious ‘Caretaker Policy’. CitiSpace has been

Campaigns and Projects There are far too many instances, campaigns and projects. Some would well illustrate how activists worked together, as well as opposed and litigated against the authorities. What became apparent was that, as corruption and greed increased, activists were as determined to oppose it. Their motivation was to protect their neighbourhoods and thereby Mumbai from bad, rapacious and anti-citizen policies and to make Mumbai a livable city. The Right to Information tool has been very useful in this battle and Mumbaikars have used it to great advantage.

127 extremely active in spreading awareness amongst the citizens of Greater Mumbai on how to protect their open spaces and battle such policies that impinged on designated reserved public open spaces such as parks, gardens, recreation grounds, playgrounds and no development zones.

CitiSpace’s success has been in the awareness created and is able to have certain policies stayed by Government itself and by the Courts. Recently CitiSpace released a book “Breathing Space, A Fact File of 600 Reserved Open Spaces in Greater Mumbai”.

The story of Electronic Waste (E-Waste) seems to be going the same way. This comes under the Central & State Government’s Ministries of Environment and Pollution Control Boards. It is believed that the rules for E-Waste disposal have still not been formulated. CLEAN-Sweep Forum, an NGO which has taken up this issue is struggling to be heard so that Mumbai’s enormous E-waste is collected and disposed off scientifically and professionally and not go the way of solid waste.

Conclusion

The Nariman Point Churchgate Citizens’ Association (NPCCA) formed in 1981 had to tackle a problem on a different kind of open space—of roads and pavements in their locality which used to be taken over by strikes and morchas. Hundreds of people would come and squat on the pavements and roads for days, making it impossible for any movement on them, besides messing up the area as there were no toilet or water facilities available. Pedestrian and vehicular traffic had to be diverted causing immense hardship to the office–goers and the residents of the area. It was NPCCA that had to move the Bombay High Court to get an Order in 1996 that directed the State Government to find an alternate place for strikes and morchas and prohibiting any morcha to take over any other road in Mumbai. Surely this could have been solved instantly by an executive decision of the Government.

Solid Waste Management Solid Waste Management (SWM), or Garbage, was an issue easy enough to have been tackled by the MCGM. But this did not happen despite being taken up enthusiastically all over the city by Resident Associations in the belief that they would partner MCGM and that there would be no confrontation with the authorities. In hot and humid Mumbai, the stink of putrefying garbage on streets and buildings was something citizens could not bear. They realised that the MCGM’s systems had broken down. In the beginning the MCGM encouraged a partnership with NGOs, then they backed off, then they came in with Bye-Laws and invited suggestions/objections from citizens, then they backed off again. This ‘blow hot blow cold’ relationship with NGOs continued. Many Resident Associations valiantly carried on following the mantra of Reduce, Reuse and Recycle. Their aim was to create zero garbage areas and reduction of the approximately 6000 tonnes of garbage and 2000 tonnes of debris going daily to the already overfilled dumping grounds. The citizens’ enthusiasm was based on the National Urban Waste Management Policy of 2000 and a Supreme Court Order regarding it. But the State of Maharashtra, and Mumbai in particular, was unable, or unwilling, to tackle this problem.

The cartel in Mumbai that controls SWM and its disposal has the MCGM in its grip and an NGO has taken the MCGM to court on aspects of this issue. With all that citizens have tried to do individually and collectively, this is an area where success has not been easy and the movement seems to have almost died.

What has been written about is only a very small fraction of the city’s problems and the role of activist NGOs. I have chosen to write about some early campaigns illustrating the early beginnings of activism in Mumbai.

It has continued and grown exponentially all over Greater Mumbai and is very exciting and heartening to see. The Activists are having to deal with a multitude of issues, namely, poor governance, mangroves, MCGM’s plan to convert the Botanical Garden (Rani Baug), turning 150 years in 2011, into a fancy overbuilt Zoo, Heritage, Noise, Air and Water Pollution, Skywalks, the Monorail, the Metro, and much more. With 16 authorities in charge of the Administration and Planning of Greater Mumbai, a holistic and co-ordinated approach with a proper time-schedule is a pipe dream and has been given a go-bye. In addition, political chauvinism is driving decisions which a cosmopolitan band of citizens have to combat. NGOs of the entire city have had to become the proverbial David to battle the mighty Goliath—the State! Their intervention as activists has ‘SAVED’ Mumbai from even a bigger disaster!

About the author Nayana Kathpalia is an activist and convenor of ‘Citispace’, an NGO that works towards the basic civil rights of citizens of Mumbai. Nayana has proactively intervened and resurrected dilapidated public maidans, forced the BMC to begin clearing footpaths and regulate hawkers, and stopped the Government from allowing buildings to be constructed on land reserved for public open spaces. She has actively organised citizens’ associations to commit to various issues concerning provision of civic amenities, governance and management.