Febuary 2011 by Indian Architect & Builder Magazine

Free supplement: ASSA ABLOY Structured Gateways

VOL 24 (6)

FEB 2011

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Multimedia Architecture In a stimulating dialogue with Sarita Vijayan, Editor & Brand Director, IA&B, Usman Haque, Director of Haque Design + Research Ltd, gives an insight into understanding of systems, design of interphases and the architecture of interaction.

Photograph: C â&#x20AC;&#x201C; HAQUE Design + Research Ltd

let’s partner Usman Haque, the Director of Haque Design + Research Ltd, Founder of Pachube.com and CEO of Connected Environments Ltd has created responsive environments, interactive installations, digital interface devices and mass-participation performances. His skills include the design and engineering of both physical spaces and the software and systems that bring them to life. His work has been exhibited widely throughout the world.

SV. “Dynamic, responsive and conversant”, how do you describe your practice? Do you maintain a particular language to your work? UH. In the last couple of years or so I have become once again very interested in non-monetary economies and, more specifically, in twisting prisoner’s dilemma for useful and practical outcomes. This means I’ve been looking at cooperative systems and altruism (in an economic sense) and how offering the option to be non-altruistic has, anecdotally, often seemed to be more successful in encouraging altruistic behaviour than systems in which the only other option is to ‘opt out’. Our consumption (and creation) of energy is of course particularly poignant in these kinds of systems. SV. Can you elaborate on the theoretical base or the core idea behind your work? UH. How do all of us, as citizens, contribute to the data collection process? How do we learn and understand our environments through the data that we create, or rather craft, as data collection is at its heart a craft? How can it help us question the standards of evidence that we are asked to believe and comply with by authority figures, politicians, scientists, media personalities and religious leaders? This isn’t to say that what they say is wrong; it’s to say that it’s more important for us to be active participants so that we understand much better and can also be part of the process of improving things. SV. What are the key differences between the early and later stages of your work? In your vision, is it an inclination towards the conversant and the ‘performative’? UH. I am more interested these days in encouraging direct participation by citizens in understanding cities. With respect to conversations and ‘debate’ around climate change and the environmental crisis, I have become particularly interested in how members of the public can themselves contribute to the evidence gathering process; how people can convince themselves of what’s going on, so that they do not have to rely on merely selecting which authority figure (scientist, religious leader, politician) to believe -- they all disagree on major and minor points anyway. I want to find ways to encourage people to learn to question the standards of evidence that are thrust upon them. When authoritative sources cannot be trusted, then citizen-led data acquisition/collection/creation/crafting is the only means of making sense of a situation. SV. How do you achieve a kinetic relationship between your work and the surrounding built fabric? UH. The question, ”Will technology change the way we interact with cities?,” contains the idea that we can somehow interact with cities as abstract entities that are separate from ourselves. On the contrary: cities are the accretions of interactions. They are not some static solidified entity that we, as consumers, simply interact with. We create and recreate our cities with every step we take, every conversation we have, every nod to a neighbour, every space we inhabit, and every structure we erect. Clearly, what we consider “conversations,” “neighbors,” “spaces” and “structures” will continue to change The question is not “Will things change?,” but “How do we want them to change?”

SV. What is the ‘software of space’? Can you elaborate on the nature of such a system? UH. It’s an old phrase, I do not often use it anymore. But I used to use it to contrast the systemic relationships of a city with the physical fabric of a city. SV. What will be the look and feel of this new era of technology and dynamism? Do you believe that interactive architecture is an emerging concept? UH. Technology changes our relationship to our cities. Cities accrete technology, and technology is a manifestation and definer of social relationships. SV. Your recent endeavour ‘Pachube’ is becoming an established platform with responses similar to Facebook and Twitter. Can you elaborate on that? UH. Pachube (www.pachube.com), is a realtime data infrastructure for sensors, devices and environments around the world. Some have called it the “twitter for machines”. It is not simply about making data open. It’s about developing a platform that makes it as easy as possible for everyone—citizens, organizations, companies and city managers alike—to produce, aggregate, share and compare environmental data, sensor data, energy data and any other sort of arbitrary data you want—data that may be generated by devices, buildings, energy meters or even virtual environments. SV. What kind of response do you receive towards your experiments? How important is it to connect with a user while engaging in these interventions? UH. This kind of engagement is vital for us (i.e. humanity) to make sense of our situation, and is essential if any solutions are to be found -- Science (note the capital letter) is not the only arbiter of truth, nor is it the only framework for empirical analysis. We are all -- scientists, non-scientists, artists, non-artists (much as I hate those false-dichotomies - but I think that covers everybody, right?) -- in it together. SV. For a young architect, you have had quite a distinguished career. Where do you see your practice in the future? UH. It is often said that it is the task of designers to “make things simple for people” - which I find patronising and counter-productive. If anything it is the task of designers to show how ‘complex’ things are, and to help build tools for dealing with that complexity... ‘not’ just simplifying it (which is the basic function of the perceptual systems we are endowed with, so it’s definitely possible!). I see myself continuing to build ‘tools’. SV. Do you envision India to be a future platform for your experiments? Any specific idea or project that you have in mind for India? UH. No particular plans at the moment, but it would be very interesting to consider holding a workshop similar to the urban design workshop I held last year in Pakistan, the outcome of which was, for me, a set of “Notes on the Design of Participatory Systems – for the City or for the Planet’.

LET’S PARTNER Multimedia Architecture In a conversation with Sarita Vijayan, Editor & Brand Director, IA&B, Usman Haque, Director, Haque Design + Research Ltd. shares his views on digital interface and architecture of interaction.

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

PRODUCTS An update on the contemporary and innovative designer products.

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CONSTRUCTION BRIEF China Wood Sculpture Museum Architectural firm MAD showcases contrasting elegance in the design of China Wood Sculpture Museum. Namaste Tower Reinterpreting symbolism, WS Atkin’s design for Namaste Tower is all set to create an outstanding impact on the skyline of Mumbai. Manthan Connecting corporate spaces with nature, Aedas designs Manthan as an eco-friendly office hub. Soul Space Arena By designing Soul Space Arena mall, Chisel Architects provide Bengaluru with a new leisure destination. Nitco Biz Park Architect Deepak Mehta’s design for Nitco Biz Park frames a new corporate space in Thane.

SPECIAL FOCUS: YOUNG DESIGNERS 2011 RETROSPECT

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Revisiting the practices and ideas of design firms and designers previously featured in ‘Young Designers’ issues.

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Anagram Architects, New Delhi Manthan Architects, Kolhapur mayaPRAXIS, Bengaluru Ochre Architects, Bengaluru Planet 3 Studios, Mumbai Sandip & Suhasini Paul, Delhi Shatotto, Dhaka Vinnu Ponnappa Architects, Bengaluru Farmhouse Organic Architecture, Mumbai

YOUNG DESIGNERS 2011 Presenting 14 fresh designers and collaboratives doing remarkable work in architecture, interior and product design.

ARCHITECTURE Space, Time and Reconstructs ‘the bodhi tree’, a Bengaluru-based architectural firm defines a whole new identity for 40-yr-old Kanaka Villa in Coimbatore. The Skin and the Box Coimbatore-based Arun & Associate’s design for Introvert House explores fundamentals of architecture and geometry in its design sensibilities. Elemental Upgradation Living up to the traditional integrity of old residential architecture, Kamat & Rozario refurbishes Sharma House. Material Contradictions Hyderabad-based Nandu Associates tabulate cautious architectural language of composure and material balance in Raju Residence. Fractured Frames Jewel Box - a retail and office space designed by Bengaluru-based SDeG showcases an approach to explore geometry from systemic experimentations.

INTERIORS Playful Dynamism Orienting the refurbishment of Footloose by creating transitional spaces and infusing diffused light, architectural firm SALIENT negotiates a drama devised of curves. Timeless Expressions Creating the aura of French bistro, the design of Chez Vous’s by SHROFF+LEoN sculpts a whole new experience. Vernacular Narratives Tropical Palimpsest designed by Square Consultancy Service incorporates a contextual sensibility.

n, B a l a t re e n u r A hi e: © the bod g a r Im Co v e

Chairman: Jasu Shah Printer & Publisher: Maulik Jasubhai Editor & Brand Director: Sarita Vijayan Deputy Editor: Sujatha Mani Senior Writers: Ritu Sharma, Hina Nitesh Writers: Rati Singh, Maanasi Hattangadi, Sidharth Gupta, Ruturaj Parikh, Rashmi Naicker (Online) Visualisers: Mansi Chikani, Prasenjit Bhowmick, Mansi Virkar, Ranjan Pathak Web Designer: Sandeep Sahoo Editorial Co-ordinator: Namita Bandekar Events Co-ordinators: 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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PRODUCT & INDUSTRIAL DESIGN Swivelling Radiance Abhishek Majumder’s design for Triple mode Lantern-cum-torch showcases a new perspective in the design of the conventional products. Crafted Luminance A Cube Inc. line-up for lamps provides a new experience to residential space. Proportioning the Scrap Birju Patel’s scrap project is an exploration for reformulating industrial waste to produce simple and meaningful furniture objects. Variation and Amalgamation Mirage, a modular furniture prototype designed by Rajan Hakhu, has a unique capability to arrange in various permutations and combinations. A New Experience Retaining the age-old mechanism of cycle rickshaw, designer Uttam Kumar remodels a whole new experience by an alternative model. The Long Sip Product designer Vivek Sasidharan showcases ‘It’s Hot...’- a tea cup stand as product to prolong the hot beverage experience.

ART Balancing the Interface In an attempt to establish a cognitive connection between art and space, Prof. Percy Pithawala’s art installation titled ‘Constructions’ explores the possibility of a cohesive non – denominational matrix to contain objects.

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SOS D’sign less Delight full The Nargis Dutt Memorial Charitable Trust collaborates with Indian Architect & Builder’s Social Studio to refurbish a crèche for underprivileged children.

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CULTURE COUNTS Should Cultural Institutions Adopt Modern Management Practices? Sunil Nehru, in this column, curated by Amita Baig, focuses on the feasibility for cultural institutions to adapt modern management methods.

Editorial & Marketing Office: JMPL, 210, Taj Building, 3rd Floor, Dr. D. N. Road, Fort, Mumbai 400 001 Tel : +91-22-4213 6400, Fax : +91-22-4213 6401 Mumbai: Assistant Regional Sales Manager: Viresh Pandey Sales Executive: Kavita Jharolia Sr. Executive - Sales and Collection: Manoj Gorivale Bengaluru: JMPL Nanda Gokula, # 96, Osborne Road, Ulsoor, Near Lakeside Hospital, Bengaluru 560 042 Tel: 080 2554 6371 Chennai: Saena Circle No 31/6, 1st Floor, Duraiswamy Road, T-Nagar, Chennai 600 017 Tel: 044 4212 3936 Fax: 044 4242 7728 Secunderabad: JMPL Cabin No 37, Reliance Business Centre, 303, Swapna Lok Complex, 92, Sarojini Devi Road, Secunderabad – 500 003 Tel: 040 5522 1050 Delhi: JMPL Assistan Regional Manager: Rohit Chhajer, Preeti S Mundra Sales Executive: Abhishek Dhyani 803. Chiranjeev Tower, No 43, Nehru Place, New Delhi – 110 019 Tel: 011 2623 5332 Fax: 011 2642 7404 Email: Rohit_chhajer@jasubhai.com, preeti_singh@jasubhai.com Pune: JMPL Suite 201, White House, 1482 Sadashiv Peth, Tilak Road, Pune – 411 030, Tel: 020 2449 4572 Fax: 020 2448 2059 Ahmedabad: JMPL 64/A, Phase I, GIDC Industrial Estate, Vatva, Ahmedabad – 382 445, Tel: 079 2583 1042 Processed at M B Graphics Tel: 91 22 2413 8980 Printed & Published by Maulik Jasubhai on behalf of Jasubhai Media Pvt. Ltd (JMPL), Taj Building, 3rd Floor, 210, Dr. D. N. Road, Mumbai 400 001. Printed by him at M.B.Graphics, B-28 Shri Ram Industrial Estate, ZG.D.Ambekar Marg, Wadala, Mumbai 400031and Published from Mumbai. Editor: Sarita Vijayan

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current 2011 Burnham Prize Competition Category : Type : Deadline :

International Open to students, architects, planners, landscape, architects, artists and designers Registration - March 15, 2011 Submission – April 4, 2011

The Chicago Architectural Club is pleased to announce the 2011 Burnham Prize Competition. This year’s competition is co-sponsored by the Chicago chapter of the American Institute of Architects Chicago and Landmarks Illinois. The 2011 Burnham Prize Competition is an international single-stage ideas’ competition, which is open to students, designers, architects, planners, artists and landscape architects. The entry fee is estimated to be USD 90, the first place awardee would be compensated with USD 3000 while the second and third position holders would be granted USD 1500 and USD 750 respectively. For further information, log on to: E-mail: burhamprize2011@gmail.com

Final call for sustainable construction projects Category Type Deadline

: : :

International Open to all March 23, 2011

Registrations in the USD 2 million third International Holcim Awards competition to promote sustainable construction will be closing on March 23, 2011 (14:00 GMT). The competition encourages building solutions and visions that go beyond convention to address the challenges of sustainability. The Holcim Awards (main category) is open to architects, planners, engineers, project owners, builders and construction firms with current projects that showcase sustainable responses to technological, environmental, socio-economic and cultural issues of contemporary building and construction. Submissions in the Awards competition are evaluated by independent juries from across five regions of the world. They will assess each submission against environmental, social and economic performance. For further information, log on to: Web: www.holcimfoundation.org

COMPETITIONS

NASA Art Contest 2011 – The Future of Flight Category Type Deadline

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International Open to all students April 15, 2011

Music in Architecture – Architecture in Music, Design and Composition Competition Category Type Deadline

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International Open to students and professionals Registration – April 15, 2011 Submission - May 17, 2011

This is a call for entries by both the composers and architects, working in collaboration, in order to explore the deeper relationships between space and music. Entrants are invited alternatively, to compose music and propose design interventions for particular sites. Winners of the first stage will be asked to introduce and perform their respective musical pieces on the campus of the University of Texas at Austin on October 19 – 20 (2011), as part of the ‘Music in Architecture - Architecture in Music’ symposium, organised by Sarah and Ernest Butler School of Music. For further information, log on to: Web: soa.utexas.edu/caad/mia-aim/

One Prize 2011: Water as the Sixth Borough Category Type Deadline

: : :

International Open to students and professionals Registration - April 30, 2011 Submission - May 31, 2011 by midnight EST

The ONE PRIZE committee invites the most talented and imaginative architects, landscape architects, urban designers, planners, engineers, scientists, entrepreneurs, economists, artists, students and individuals to propose ideas for the NYC Blue Network and the world’s largest Clean Tech Expo in 2014. These proposals must include expanding waterborne transportation, linking the five boroughs with transit hubs, incorporating ferries, water taxis, bike shares, electric car-shares, electric shuttle buses etc. Submission requirements include sufficient visual information to clearly communicate your design intent, adequate annotations to guide viewers through the visualisation and an abstract statement of no more than 150 words. USD 10,000 has been allocated as the grand prize. For further information, log on to: Web: www.oneprize.org

Treehouse Competition: Concept Design Category Type Deadline

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International Open to all Submission – August 29, 2011

The National Aeronautics and Space Administration (NASA) invites high school and college students from all areas of study, including the arts, industrial design, architecture, computer design and the fine arts, to enter the NASA Art Contest 2011. Students are asked to submit their work on the proposed theme ‘Future of Flight’. Artists are encouraged to collaborate with the science and engineering discipline students. Entries will be accepted in four categories – namely, twodimensional, three-dimensional, digital, literature (poetry and short stories) and video. Entries will be evaluated on creativity and artistic qualities, the prizes would include awards and exhibition display opportunities.

The Treehouse competition is aimed at creating a perfect design of a perfect structure in a perfect place, wherein everything one needs is accessible. These high-tech, low cost treehouse structures will allow a glimpse into an architectural future yet being deeply respectful of their surroundings. They also reflect a current trend, well on its way to attain a benchmark in the future of building design. The entries must include plans, sections, and elevations along with sketches, significant details or any other written information considered to be valid. The competition sites are supposed to be the beach areas of Fiji, Vietnam, China and Maui, where there are no existing trees. The winners will be receiving a cash prize of USD 5000 for the first place, USD 4000 for the second place and USD 3000 for the third spot.

For further information, log on to: Web: http://artcontest.larc.nasa.gov/

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

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current Interiors 2011 Date : Venue :

March 24–29, 2011 Netaji Indoor Stadium, Kolkata

Interiors 2011, eastern India’s largest show for Interiors Designers & Architects showcasing the finest ideas in interiors, to be held on March 24-29, 2011 at Netaji Indoor Stadium, Kolkata. The show, organised by ABID Kolkatta (Society of Architects, Builders & Interior Designer), will hopefully attract crowds, who are in search of the qualitative attributes of value and choice, displayed in the innovative ideas in interiors provided by high quality exhibitors. The introduction of this five-day show will provide the exhibitors an equal opportunity to meet and do business with thousands of enthusiastic consumers, who all are interested in finding new ideas for their homes and lifestyle. For further information E-mail: abid.kolkata@gmail.com

Ceramics China 2011 Date Venue

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Mar 29 - Apr 1, 2011 Shanghai, China

In Ceramics China (2011), one can gain a varied access to China’s unique ceramics, tiles and sanitary wares. The event will be showcased in New International Expo Centre. The event is a one-stop platform for the building and hospitality industries in a 165,000sqm venue exhibiting colourful mosaic designs along with different traditional and modern textures. This is an annual exhibition and free admission will be granted to traders and professional visitors only. Ceramics China has maintained a high success rate through many consecutive years. Ceramics China 2011 will be focusing this year on featuring green, creative and premium designs. For further information, log on to: Web: www.ceramics-china.cn

LIGHTTECH Fair

EVENTS

Date Venue

: :

31 March – 03 April, 2011 Istanbul, Turkey

The fourth consecutive LIGHTTECH Fair is going to be held between the March 31 – April 03, 2011 in the most crowded city of Turkey, Istanbul. Given the increasing importance of the environment technologies and the energy efficiency concept, new technologies have been developed in the lighting sector. The energy efficient lights and LED lighting systems are gaining increasing significance day by day. In parallel with the revival of the Turkish construction industry in 2005, the lighting industry has enjoyed a good recovery after the years of recession following the 2001 economic crisis. Construction, the manufacturing industry, booming tourism industries and a shift towards energy efficient products are creating a bright future for the Turkish Lighting Industry. There are about 50 large scale companies and 300 medium and small scale companies in the industry dealing with mass production, with most of these concerns being in Istanbul while some others placed in Ankara and Izmir. For further information, log on to: Web: www.ceramics-china.cn

15th International Building Fair Brno 2011 Date Venue

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April 13 - 17, 2011 Brno Exhibition Centre, Brno, Czech Republic

The 15 th International Building Fair Brno is the only building fair of international renown in Central and Eastern Europe with a high proportion of industry professionals (69 per cent) among its visitors. The International Building Fair covers practically all areas of construction and the building industry – the performance of construction, building trades and technologies, building materials and products, construction machinery, building constructions and so on. Building Fairs Brno always makes sure that a stable and highly professional visitor structure (55 per cent of visitors work in the field or a related field) is maintained all through. For further information, log on to: Web: www.bvv.cz

Lifestyle Vietnam 2011 Date Venue

: :

April 18 - 21, 2011 Hochiminh city, Vietnam

Vietnam Handicraft Exporters Association (Vietcraft) in association with Vietnam Trade Promotion Agency (Vietrade), is holding one of the largest home decor and gift fairs in South-east Asia - ’Lifestyle Vietnam 2011’, which is to be held on April 18-21, 2011, in Hochiminh City, Vietnam. Lifestyle Vietnam 2011 will be looking to accommodate over 1,000 booths from Vietnamese and overseas exhibitors, in order to meet the specific requirements of international buyers, who are increasingly sourcing for Vietnamese home decor and gift products. Lifestyle Vietnam 2011 will be held prior to the Hong Kong Houseware and Canton Fair. For further information, log on to: Web: www.lifestyle-vietnam.com

TECHNODOMUS, 2011 Date Venue

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April 20 – 24, 2011 Italy

After a successful first year, the second season of TECHNODOMUS - the one-stop expo of wood technology for the furnishing and construction industries will be returning to Rimini (Italy) from April 20 - 24, 2011. During the five-day event, the exhibition will be focusing on woodworking machinery, parts, accessories and tools. TECHNODOMUS 2011 will also be highlighting the use of wood in building, encompassing technologies for structural wood, carpentry, load-bearing structures and homes. The exhibition will once again feature a programme of professional conferences and workshops organised in conjunction with universities, organisations, magazines and industry experts, thereby allow all the industry practitioners to expand their knowledge, update their skills and discuss the application of the latest techniques and methodologies. For further information, log on to: Web: www.en.technodomus.it

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current MMRDA to seek 6th extension for Chembur link The under-construction Santacruz-Link road (SCLR) is set to get yet another deadline extension. If granted, this will be the sixth time that the completion date of the key east-west connecting road would be changed. The country’s first double-decker bridge is behind schedule as the agencies faced several hurdles, ranging from religious structures to housing colonies and slums. The latest deadline for the completion of the project was June 2011, but the MMRDA is now seeking an extension till the year-end. The MMRDA, the nodal agency for World Bank-funded Mumbai Urban Transport Project of the SCLR, is all set to put forth the request for the extension during the review mission of the World Bank officials. “We had sought the extension till December 2011 during the last review mission, but somehow they (bank officials) did not agree. Even the government of India had recommended the extension, but now we are hopeful of securing it,” said SVR Srinivas, Additional Metropolitan Commissioner-I, MMRDA. He said the “hurdles” such as clearance from the Central Railway, the issue of the tenants in the buildings at Netaji Nagar have been sorted out.

Delhi designer Ritu Varuni unveils range of Northeastern artefacts Designer Ritu Varuni has come up with a range of artefacts that have a touch of traditional Northeastern craft and yet are contemporary in design. She hopes to create sustainable livelihoods for craftsmen in the region. Her brand, E’thaan, is a Naga word meaning new. Although based in Delhi, Varuni’s romance with the northeast began when she was very young. Some of the crafts at E’thaan are tableware like cane ice tongs, wooden tortoise coasters, trivet and napkin holders, furniture like beds, side cabinets, chairs and shelves, Naga bamboo lamps, accessories and potteries. However, E’thaan’s crafts have not been limited to the northeast. Sanjhi or the ancient art of cutting paper stencils and wood block carving of Uttar Pradesh, walnut wood carving of Kashmir, wood jaali carving of Delhi, black pottery of Rajasthan and Tankha painting - an old Buddhist art form popular in Sikkim, Himachal Pradesh and Ladakh, also form part of the collection. While the products are displayed at the brand’s store in Defence Colony in south Delhi, other brands like Fab India also source some of their products from it. Its designs are also displayed in exhibitions.

NEWS

Benoy wins major contracts in India Benoy has won a string of major contracts in India after joining business secretary Vince Cable on a trade mission to the country. According to Chairman Graham Cartledge, Benoy would consider opening as many as three studios in India on the back of the increasing workload. The new contracts in India include a 30,000sqm retail centre at Delhi Airport and two mixed-use schemes of 80,000sqm and 50,000sqm in Gurgaon, near the capital. A fourth deal, for a prime site in Mumbai, will see the firm designing a premium mixed-use development with two five-star international hotels, offices and a 35,000sqm shopping mall. Benoy has been in India since 2005 and, though the property market dipped during the recession, the practice has enough completed projects to convince clients it is a solid “brand”.

Shimla’s chimneys fade from skyline They once reminded homesick sahibs of their beloved England. But the European style masonry chimney, a legacy of the British colonial era, is fast disappearing from Shimla’s skyline. Residents are opting for modern house designs and consider traditional chimneys and fireplaces a waste of space and money. Besides, they say, the weather too is much warmer, obviating the need for these. Builder P.K. Sood said grand fireplaces were once built in both small and large buildings. “People are now saying chimneys and fireplaces are just a wastage of space. In the newly built houses, there is no provision for them. Moreover, the climate has changed much and these are no more required,” he said. Shimla, fondly called the “Queen of Hills” by the British, has 91 British-era heritage buildings, most of them with traditional chimneys. Planners say changing climatic conditions and use of modern high-efficiency heating appliances have played their part in the disappearance of the European-style masonry chimneys. According to the meteorological office here, besides two mild spells of snow Dec 31, 2010, and Jan 14, there was no snow at all in Shimla this winter. The harsh winter is fading and with it the fireplaces and chimneys.

Prez Obama announces plan for better buildings President Barack Obama has announced a ‘Better Building Initiative’ for commercial buildings in the United States to be more energy and resource efficient over the next ten years. The plan will catalyse private-sector investment through a series of incentives to upgrade offices, retail facilities, schools and universities, hospitals and other commercial and municipal buildings. The President explained that commercial buildings consumed over 20 per cent of all the energy in the US in 2010, affirming that the plan will ensure that these buildings will be 20 per cent more efficient by the end of the next decade. The move has been applauded by the US Green Building Council, with President, CEO and Founding Chair of the organisation, Rich Fedrizzi stating, “For all of those committed to the idea that green buildings can create jobs, save energy and save money, this is a great day, and the entire green building movement is incredibly grateful for President Obama’s leadership in this critical step forward for America. It is major steps like these that are necessary to address the challenges facing our environment.”

Delhi hosts first ever ancient Chinese heritage expo India refreshed its cultural linkage with China by unveiling an exquisite collection of ancient artistic heritage in the first ever Chinese art and craft exposition of its kind at the National Museum in the capital. The ‘Treasures of Ancient China’ exhibition was inaugurated by Culture Minister Kumari Selja. The exhibition showcasing a historic panorama of 95 stone, bronze, jade, pottery, ceramics, gold, terracotta and glazed porcelain Chinese wares and solid sculpted art from 3rd century BC to 18th century AD is a first-of-its-kind collaboration between the Archaeological Survey of India and the State Administration of Cultural Heritage of China. This is the first ever showcase of ancient Chinese art is in the country, according to organisers.

IA&B - FEB 2011

products ACOUSTABLE An ultimate space-saver, Acoustable is a convergence of a coffee table with a sound system. As a way to integrate music more seamlessly into the ubiquitous routine of life, a full sound system is built in the interiors of the table. The table creates a multifunctional centre-point to the room. Measuring four feet in diameter, the table is composed of polymer concrete. The fluid form is generated by tension of a circular elastic sheet and is anchored on three legs. The exterior of the table is a smooth finish with no visible interfaces on the surface. The intrinsic detailing of the inside comprises mainly of a base shell and top surface, lined with polypropylene foam on which the sound system is nestled. The sound system includes teac speakers, woofer and stereo amplifier with USB and Ipod connection ports. In addition, a remote extender increases the range at which the device’s remote control can be used. Embedded with a bigger purpose, the table also strikes a visual balance. Designer: Jérôme Spriet and Wolfgang Bregentzer Contact: Daniel Becker Design Studio Chodowieckistr. 9/I, D-10405 Berlin, Germany Tel: +49 (0) 157 759 749 59 Web: http://www.danielbecker.eu Email: info@danielbecker.eu

CHASIS

furniture

The Ring lamp is a concept based on the movie ‘Tron:Legacy’. It uses bioluminescent polymers to emit light, and the light intensity can be set by rotating the disk. The power is transferred via brush contacts to the outer copper ring. The polymers need a very low voltage to operate, so there is no danger of being shocked by touching the copper ring.

Designer: Loris Bottello Contact: Tel: +39 377 1034373 Email: loris_bott@tiscali.it

IA&B - FEB 2011

products SNOWJOB The Snowjob chair evolves from a sustainable agenda. The chair mainly is composed of two components, the main frame and a slip-on cover. The main frame in its entirety is manufactured in FSC certified wood with a vegetable-based bio-degradable finish. The frame is then wrapped with an intricate cover woven with rectangular pieces of post-industrial waste from the candy-wrapping industry. Obsolete labels and papers are cut into small sections and folded into rectangular pieces form this component. The wrap is further reinforced with post-consumer recycled paper. The idea remains as an inventive approach to develop recyclable furniture that is aesthetically appealing.

Designer: Emiliano Godoy Contact: GODOYLAB Zacatecas 180-E, Roma Sur, 06700 DF, México Tel: +52 (55) 5574 9301 Email: info@godoylab.com Web: www.godoylab.com

TRÄULLIT HEXAGON

innovations

Swedish design studio ‘Form Us With Love’ have created the Träullit Hexagon sound absorbing panels from wood slivers, cement and water. An amalgamation of woodwool, cement and water, this light weight material is simple and eco-friendly. Träullit, the only manufacturer of woodwool cement board in Sweden decided to develop this idea into a product. The simple process of producing these hexagons makes this material environment-friendly, water resistant, moisture and sound absorbent.

Designer: From Us With Love Contact: Sankt Eriksgatan 106 SE-11331 Stockholm Tel: +46 821 8002 Email: info@fromuswithlove.se Web: www.formuswithlove.se

IA&B - FEB 2011

products SPILL The title of the piece(s) is ‘Spill’ and each pair measures 27’x8’ made of steam bent White Oak. The pieces have an area for seating with upright support and wide expanse area for bench seating. They sit in the lobby (between the entrance of the building and the entrance of the Riverpark restaurant) of the Alexandria Center, a new building on the New York City east side. The structures were inspired by the human form, geometric flow, furniture functionality, and the interior space itself.

Designer: Matthias Pliessing Contact: Email: info@matthias-studio.com Web: www.matthias-studio.com

KINEMA PENDANT LUMINAIRE

inceptions

Kinema Pendant Luminaire is an interactive light installation. The unique factor lies in the control it offers to the users to regulate the light’s character to match the ambience. This feature is enabled by a multitude of louvers , that can be individually flipped to render a cinematic effect of shadow and lights. Though an unusual shape, it comes with an added advantage of custom colours and finishes.

Designer: Stuart Fingerhut Contact: Tel: 323.963.3393 Email: stuartfingerhut@gmail.com Web: www.stuartfingerhut.com

IA&B - FEB 2011

products ARKETIPO, FASHION AND METTALIX Sunrise Bath & Kitchen offers a new series of luxury tiles namely Arketipo, Fashion and Mettalix. Each series has an identifiable style element that appeals to a range of consumers. The Arketipo collection is a series representational of elegance that can be used to tone subtle ambiences. All Arketipo range tiles are rectified and available in the size of 600 mm x 300 mm. Arketipo series is available in 3 colours i.e. Beige, Grafite and Nero. Price range of Arketipo is Rs. 279/ sqft. As the name suggests, the Fashion range classifies an essence of luxurious living. It uses a classic colour range like Nero, Tobago, Beige & Perla. WallArt is an additional element to the collection. The collection is priced available in the size of 2’x1’ and priced at Rs. 81 to 91 per sqft for the base colours and Rs. 675 per piece for the Wall Art. The most vibrant range is the Mettalix range of tiles with gold motifs and glittering look for a luxurious decor. Available in the size of 2’x1’, its affordability ranges from Rs. 81 to 91 per sqft for the base colours and Rs. 675 per piece for Wall Art. The innovative taste and the broader price range appeals to a wider class of people. Designer: Sunrise Bath and Kitchen Contact: 531, Amariyothi, HSBC Layout, Kormangala Intermediate Ring Road, Domlur, Bangalore. Tel: 9164 00 4560

THE KNOT CHAIR

classics

Composed of solid beech wood, plywood and paper-code, Knot-chair is an arm-chair with a simple framework. The extensions of the chair’s front and back legs are joined to form its armrest and backrest. The entire framework is connected by woven paper-codes around the wooden parts. The construct is simple, elegant and subtle.

Designer: Tatsuo Kuroda Contact: Email: info@tatsuokuroda.com Web: www.tatsuokuroda.com

IA&B - FEB 2011

products FIRE FEATURES New York based architectural designer Elena Colombo creates work that extends the realm of architecture further into the landscape by createing forms that are simple, elegant, modern as well as ancient, which address our primal need for the elements like earth, fire, water and wind. Elena works in bronze, steel, stone, concrete and bone. Colombo is currently manufacturing a series of interior and exterior fire features, the first of which is the outdoor firebowls. The standard four to six-foot diameter bowls are fitted with a 150,000 or 300,000 BTU burner, a connection for propane or natural gas, and a manual pilot ignition system for safe and controlled ignition.

concepts

Designer: Elena Colombo Contact: 342, Park Avenue, Brooklin, New York 11205, US Tel: +718 399 2233 Email: info@firefeatures.com Web: www.firefeatures.com

IA&B - FEB 2011

construction brief

China Wood Sculpture Museum An interior of China Wood Sculpture Museum.

Construction work in progress at China Wood Sculpture Museum.

SECTION

The magnetic aura of China Wood Sculpture Museum, designed by Bejing-based architectural firm MAD, is poetry in itself. Text compiled by: Debajyoti Samal

s the main city of Northern China, Harbin is in the process of defining itself as a regional hub for the arts at a time when the historic city is rapidly expanding. Inspired by the unique local winter landscapes, the China Wood Sculpture Museum designed by Bejing-based architectural firm MAD is a contrast between the elegance of nature and the speed of daily life. Its 200m-long body is shaped as a frozen fluid that reflects and explores the relation between the building and the environment. The museum linear organised interior is connected by a centralised entrance, which both separate the two museums, while simultaneously joining them, achieving a symbiotic relationship. The exhibition spaces are organised around three atriums with skylights that are designed to capture the northern low solar path. This fine balance between light and shadow guides visitors through the exhibitions, forming a poetic space which binds nature, art and people. In line with the continuous nature of the exterior, the museumâ&#x20AC;&#x2122;s circulation flows uninterrupted between two exhibition spaces. Connected by a central entrance, curved wall forms open up to the skylights above, filling the voids adjacent to the

galleries with natural daylight. Pockets and openings between levels provide visual transparency, connecting the energy of the buildingâ&#x20AC;&#x2122;s activities together. The museum, which will be dedicated to Chinese wood sculptures, is the first of a trio of cultural buildings in the city designed by MAD. Construction work on the museum is already underway and an opera house and a cultural centre, both designed by MAD, will also be built in Harbin.

FACT FILE: Project Location Architect Client Site Area Building Area Completion Year Photographs

: : : : : : : :

China Wood Sculpture Museum Harbin, China MAD Inhabit Group 9,788sqm 18,110sqm 2011 courtesy the architect

IA&B - FEB 2011

construction brief

Namaste Tower Dubai-based design studio WS Atkins aims to design Namaste Tower at Lower Parel, which could be the picture postcard of Mumbai.

amaste Tower, designed by the Dubai-based design studio WS Atkins, is a 300m, 62-storeyed mixed use tower that will encompass a hotel, office and retail space at Lower Parel, the business hub of Mumbai. The traditional Indian greeting of â&#x20AC;&#x2DC;Namasteâ&#x20AC;&#x2122;, where the hands are clasped together in greeting, is the inspiration for the design of this tower. The architecture of the Namaste Hotel builds on this ancient Indian expression shows two wings of the hotel are clasped together like hands greeting the city of Mumbai. The tower, which will be visible from a distance of more than 40km, will boast itself as a major landmark. Views from the tower will extend to the south over the Mahalaxmi Race Course towards the Mumbai Peninsula and to the south west over the Arabian Sea. The orientation and massing of the tower have been designed in order to make the very best of these visual relationships. The tower is comprises of two separate wings (or hands) and the space between the wings forms the corridor spaces. At either end of the corridor space a pair of open atria will offer hotel guests dramatic framed views of the city. This atrium serves to bring natural light deep into the built mass. At the different floor levels these atria are broken with internal gardens that serve to bring greenery into the corridor and atrium spaces. It was a central design aimed to ensure the circulation areas in the hotel. The geometry of the podium is designed to integrate fully with the design of the tower. Thus it is a highly symmetrical form that responds to the wing like canopies above the drop off. Containing mostly retail, the facade of the podium is activated with water features and fountains that cascade down to street level. At the summit of the building a generous quadruple height atrium space encloses a sky restaurant and bar, which will provide a unique vantage point for patrons to gain panoramic views over the city.

The aerial view of Namaste Tower, a landmark structure which will represent the burgeoning economic & cultural significance of India.

FACT FILE:

The architectural design of the Tower provides the ultimate symbol of hospitality.

Project Location Architect Project Area Photographs

: : : : :

Namaste Tower Lower Parel, Mumbai WS Atkins, Dubai 120,000sqm Courtesy the architect

IA&B - FEB 2011

construction brief

An aerial view of ‘Manthan’, the eco-friendly office hub.

Manthan Designed by a leading international design practice Aedas, Manthan, Greater Noida, fulfills the need of a state-ofthe-art eco-friendly office hub, which connects the corporate with the nature. ‘Manthan’ is an eco-friendly office hub that reduces environmental impact with its intelligent use of land, energy and water consumption. ‘Manthan’, conceptualised by experienced real estate developers has evolved customer friendly approach towards IT/ITes office space. At ‘Manthan’ the developer makes diligent efforts to conserve resources like water and electricity, preserve natural habitats and prevent pollution. Access to natural light reduces 30 per cent of electricity requirements. High efficiency windows with coated glass reduce energy cost. ‘Manthan’is fully furnished ready to move state-of-the-art offices with facilities like food court, terrace garden, open restaurant manned by 24 hrs maintenance staff with customer friendly manager. The project entails two 18-storey buildings with 51000sqft of single floor space each. The design of the building ensures world-class amenities for a business environment. The design incorporated by the architects are of international standards that gives the building an asthetic feel. From reception, waiting

lounge, conference rooms, designated smoking zone, expansive parking space etc. to new-age conveniences like five-star lounge, waiting areas, multi-cuisine food court, multiple fine-dining restaurants, fitness centres with spa and office automation room, the architects left their indelible elusive designs keeping the environment in mind, where the nature can bond effectively with the corporate culture and still have its own self.

FACT FILE: Project Location Architect Client / Developer

: : : :

Initiation of Project Completion year Project Area Photographs

: : : :

‘Manthan’ Greater Noida, Uttar Pradesh Aedas Mr. Kapil Agarwal of AMR Infrastructures Limited 2010 2012 25 acres courtesy the architect

46 IA&B - FEB 2011 A view of Soul Space Arena – Bengaluru.

Soul Space Arena From the house of Bengaluru-based architectural firm Chisel Architects, Soul Space Arena mall, Bengaluru, is an ultimate destination for shopping, food and family entertainment.

ne amongst many malls upcoming along the Outer Ring Road, Bengaluru, Soul Space Arena’s seemingly innocuous small frontage belies the volume of public spaces contained within it. Working on a design brief of a mall offering shopping, food, family entertainment and cinema to the ever burgeoning professional population living and working around it, Arena was designed in a linear format in response to its site constraints. Its proximity to the road with its noise and pollution led to an introverted design. The main entry opens into a five floor high indoor entry plaza - with sit outs and cafes - with a complete glass front to connect to outside spaces. As one walks down the shopping area, large atrium staggered cutouts in the centre of the mall effectively provide a visual connectivity to the various shopping levels. This atrium overlooks the road and again establishes a visual connectivity with the outside through the glass fronts. The project reveals itself in layers as one travels upwards. Both the atriums lie at the end of a meandering bazaar of small shops at the upper level. The last two levels overlook into these atriums and have various options for food and family entertainment ending with cinemas at the topmost levels. Parking and other services have been provided in two basements. The project has been envisaged to recreate the outdoors with warm earthy finishes. The exterior walls are to be treated with textured plasters. The interior ceilings are minimalistic in design with wooden elements to give the touch of an exterior informal space. Ample informal spaces with sit outs and landscape form an integral part of the interior design. A survey done by a Bengaluru-based retail real estate consultancy points out that as many as 40 new malls are under construction or have been planned in the Garden City.

Construction work in progress at Soul Space Arena – Bengaluru.

FACT FILE: Project Location Architect Client Building Area Site Area Initiation of Project Completion Year Photographs

: : : : : : : : :

Soul Space Arena K.R.Puram Hobli, Bangalore East Taluk Chisel Architects Pvt.Ltd Soul Space Projects Limited 4.5 lakh sqft including two basements 2.4 acres December 2007 March 2011 courtesy the architect

construction brief

A view of the Nitco Biz Park, Thane.

Nitco Biz Park

Nitco Biz Park is tastefully designed by Mumbai-based architectural firm Deepak Mehta Architect to bring life to corporate space in Thane.

itco Biz Park is a state-of-the-art commercial property located in Thane. The project has been designed by Deepak Mehta Architect and developed by Nitco Realties Pvt. Ltd., a 100 per cent subsidiary of the Nitco Group. A Rs. 120-crore project, the Nitco Biz Park is a six-storey building and spread over 2 lakh sqft of plush (office) space. This project boasts of a beautiful landscaped grand atrium rising three floors high. In addition to being environment friendly, the building is well equipped with modern amenities like hi-tech security surveillance systems in every corner, dedicated security control room, an Intelligent Building Management Systems (IBMS) with 100 per cent power backup. What is truly special about the building, however, is that as a mark of its environmental friendliness and energy efficiency, it has a precertified â&#x20AC;&#x2DC;SILVERâ&#x20AC;&#x2122; LEED (Leadership in Energy, Environment and Design) certification standard. LEED is a green building rating system developed by the U.S. Green Building Council (USGBC) and provides different rankings according to various levels to which constructors adhere to very specific and stringent guidelines set out by the USGBC.

The project Nitco Biz Park boasts of a beautiful landscaped grand atrium rising three floors high. The structure of the building has been designed so as to rely mainly on natural flow of fresh air as opposed to fanned ventilation, thereby reducing electricity usage. The building uses Variable Refrigerated Volume (VRV) air-conditioning, which is 25 per cent more energy-efficient which leads to a savings of appx Rs. 15 per sqft per month. In order to conserve water, all water required for landscaping is treated as waste water which can be recycled which is provided by a Sewage Treatment Plant (STP).

FACT FILE: Project Location Architect Client Building Area Completion Year Photographs

: : : : : : :

Nitco Biz Park Thane , Maharashtra, India Deepak Mehta Architect NITCO Group Two lakh sqft 2011 courtesy the architect

IA&B - FEB 2011

retrospect

YOUNG DESIGNERS I

n its 25 years of publication, IA&B has constantly sought fresh ideas, concepts and designs providing a platform to young designers and practices by showcasing their work and chronicling their ideas. The magazine has, over a period of 12 years, launched many designers and design firms doing innovative, energetic and original work through â&#x20AC;&#x2DC;Young Designersâ&#x20AC;&#x2122;; a platform in the form of an annual magazine publication through which we present the best of the new every February. On the eve of our 25th anniversary, we recognise a necessity to look back and retrospect on the work of architects, designers and firms who were a part of this initiative in the past and revisit their practices and ideas at present in a process of mapping evolution. The idea is not to evaluate and put things in a comparative frame but to showcase the work in the context of its present relevance. We take this opportunity to revisit the work of nine such design firms bringing into focus their current design endeavours to establish a frame of reference as a prelude to the Young Designers 2011 feature. Explore. . .

50 IA&B - FEB 2011

Anagram Architects, Delhi Delhi-based Anagram Architects, featured in Young Designers 2006, present Gariola House, a contemporary, multi-family residence as an expression of functional simplicity and identity. Text: Ruturaj Parikh Photographs: courtesy Anagram Architects

Front elevation with staged masses and materials.

The modulated surfaces provide privacy and individuality to units within.

Fragrant â&#x20AC;&#x2DC;champakaâ&#x20AC;&#x2122; tree in the courtyard.

retrospect

Toilet Toilet

Bedroom

DN TOILET

Dining Area

Open Court

Servant’s Room

Living Area DN Up

Sunken Court

The courtyard as a cohesive space for congregation.

Terrace

Bedroom

TERRACE

Balcony

Bedroom

Living Area

Balcony

Open Court Living Area

Toilet

Dresser

Bedroom

Sunken Court

SECTION THROUGH THE COURTYARD

esigned to be a multi-family suburban home, the Gairola House develops from an atypical programmatic requirement of a single unit catering to multiple tenants with distinct and unique space and functional requirements. The design addresses a

core functional aspect of taking maximum advantage of the area available while providing for individuality and privacy to independent units. The restriction on experimental freedom imposed by a compact brief is challenged and addressed through introduction

Gate

GATE

GROUND FLOOR PLAN

of elements in the form of a designed staircase and a courtyard as a cohesive space in the design. The possibility of creating an extrovert module but an introvert environment is explored to the fullest with each unit opening up in the courtyard and the exterior of the house – a design innovation for multi-residential units of this scale. The design also exploits the possibility offered by volumetric experiments making the courtyard and the terraces formed by permutations of floors, shared resources. A fragrant ‘champaka’ tree in the courtyard and landscaped terrace gardens become landscape elements woven within the design. The surfaces are modulated using various materials and textures. A simple residence thus develops from straightforward but effective explorations of formal and volumetric possibilities.

FACT FILE: Project Location Site Area Built-up Area Firm

: : : : :

Gairola House Gurgaon, India 300sqm 523sqm Anagram Architects

52 IA&B - FEB 2011 The transparent and permeable facade of the house.

Manthan Architects, Kolhapur Manthan Architects present their design for Medsinghe House, a lucid free-flowing space opening up vistas of the Deccan landscape in Panhala. Text: Ruturaj Parikh Photographs: courtesy, Manthan Architects, Mr. Girish Patil

The dichotomy of the rough limestone wall against the austere finish of the house

The swimming pool and the annex as an extension and the house â&#x20AC;&#x201C; physical and thematic.

retrospect

House

Connecting bridge

Annexe bed & pool side deck

s. pool

Forest plantation

SECTIONAL ELEVATION

View of western ghats

Valley

Valley side deck

View of western ghats

View of panhala fort

natural mounds

Natural mounds

natural mounds

Viewing deck Swimming pool below

Pool side deck

Verendha

Natural mounds

Verendha Bedroom

Living dn.

Verendha

Deck

Buruj side deck

Kitchen

toilet

Bridge connecting annex

Existing mango tree

Parking Up

Annexe/ guest bed

Toilet

stone paved court

View of panhala fort bastion

SITE PLAN

his weekend home designed by Kolhapur based Manthan Architects stands on a cliff in Panhala, a historic hill-station with a breathtaking panorama of the Deccan ranges. A limestone wall which derives its material qualities from the historic fortress anchors the building to the contoured site. The rough, stark finish of the wall is countered by the

lucid, transparent, free-flowing spaces of the outhouse. The residence has two formal components to it â&#x20AC;&#x201C; firstly, the main block that contains an open living space, a kitchen and a bedroom space and secondly, the extension to the unit in the form of an independent annex containing a bedroom and connected to the house through an open to sky courtyard space.

The design takes into due consideration the topography of the site and respects the aged plantation on and beyond the site. The fabricated lightweight roof structure envelopes this simple amalgamation of forms into a cohesive whole. Overall, the residence maintains a composed calm and a balance between heavy and light, subtle and bright.

FACT FILE:

The balcony to the annex bedroom â&#x20AC;&#x201C; open and unhindered views

Project Location Site Area Floor Area Firm

: : : : :

Medshinge House Panhala Fort, Kolhapur 13,000sqft 3000sqft Manthan Architects

88 54 IA&B - FEB 2011

mayaPRAXIS,

Bengaluru

Secluded landscape of the Yoga Nikaya centre.

mayaPRAXIS, a Bengaluru-based practice featured in Young Designers 2007, design Yoga Nikaya, a modern yoga and meditation abode by intuitively integrating the fundamental forces of nature. Text: Ruturaj Parikh Photographs: courtesy, mayaPRAXIS

The cottages and dormitories designed for solitude.

retrospect

Austere and minimal nature of the interior spaces.

integrated energy systems. The Yoga Nikaya makes a profound design statement through sensitivity towards its context and its user creating a space for contemplation and wellbeing.

MASTER PLAN

oga Nikaya is a modern space for practicing and learning the art of Yoga and Meditation. Located 60 kilometres from Bengaluru, this modern interpretation of a ‘sankul’ derives its formal language from the concept of form and balance in a ‘yogasana’. The complex is a cohesive landscape with spaces for meditation, spaces for living in the form of cottages and

dormitories and auxiliary spaces for dining and other group activities. The buildings set within this discreet landscape are poised as a gesture of movement. The poetics of the five elements – earth, fire, water, air and space are dealt with in terms of perception and detail. The project makes a sensitive use of resources through waste treatment, rain water harvesting, recycling and

FACT FILE: Project Location Site Area Floor Area Firm

: : : : :

Yoga Nikaya Wellness Retreat Bengaluru, Karnataka. 10,000sqm. 2460sqm. mayaPRAXIS, Bengaluru.

SITE SECTION

88 56 IA&B - FEB 2011 Woodrose club central green â&#x20AC;&#x201C; a contemplative green space.

Ochre Architects, Bengaluru Deriving their design from the forces of the site, Bengaluru based Ochre Architects, featured in Young Designers 2003, render a modern image to Woodrose Club with refined formal and material language. Text: Ruturaj Parikh Photographs: courtesy, Ochre Architects

Modernist and at times minimal aesthetic of the spaces.

A contemporary material palette and subtle lighting design in interior spaces.

retrospect

SKETCH SHOWING THE CONCEPT OF THE CENTRAL GREEN ON FIRST FLOOR LEVEL

he Woodrose Club, situated in one of the posh suburban localities of Bengaluru is built on a site with an age old plantation with due consideration to the quality of green on the site. Multiple forms and elements are brought together in a balanced composition such that the spaces flow into one another forming informal and intuitive boundaries between them. The porous volumes of the built spaces connect the spaces visually dissolving boundaries and binding the space in whole with uninterrupted spatial quality. The stacking of floors and the plantation as a part of an extended landscape shade the building through casting of own shadows. Green cover is taken to the first level of the building thus making the earth on top of a floor slab prevent induction of heat and provide an incubating surface. Natural light penetrates to most of the designed spaces through a relatively transparent facade. The building thus explores various geometries to create formal compositions and modern material aesthetics.

FACT FILE:

PLAN

Project Location Year Floor Area Firm

: : : : :

Woodrose Club J.P. Nagar, Bengaluru 2005 1,10,000sqft Ochre Architects

88 58 IA&B - FEB 2011

Planet 3 Studios, Mumbai Revisiting the work of Planet III Studios, featured in Young Designers 2005, we present the Vidyalankar Annex as a adaptive reuse of an industrial space designed to create a unique identity for this progressive learning space. Text: Ruturaj Parikh Photographs: courtesy, Planet III, Mrigank Sharma - India Sutra

The building exterior with multiple matt and reflective dynamic surfaces.

Materials that wrap, twist and turn form functional and physical barriers.

retrospect

FACT FILE: Project Location Site Area Firm

: : : :

Vidyalankar Annex Institute Wadala, Mumbai 35,000sqft Planet 3 Studios

ELEVATIONS

PLAN of the introvert campus

Interactive space surrounding the faรงade

88 60 IA&B - FEB 2011

Sandip & Suhasini Paul, Delhi Adapting to frolic simplicity, Delhi Based industrial designers Sandip and Suhasini Paul, Young Designers 2007, design two fresh and distinct new-age furniture pieces in the form of ‘Mr. Chair’ and the ‘Sweetheart Chair’ exploring user experience through evoking inquisitive reactions. Text: Ruturaj Parikh Photographs: courtesy, Paul Sandip, differentialdesign & Paul Suhasini, Pinkelefant.

‘Sweetheart’ chair

s more and more products fill up the market as versions of the offshoots of the deviations of the modernist vocabulary, the two design prototypes by Sandip and Suhasini Paul emerge as fun alternatives with fresh and vibrant colour palette and contemporary material and production techniques. The ‘Sweetheart Chair’, a young concept furniture piece is a

A chair for couples to sit in each other’s lap

“manifestation of a poetic connection with and a fun way of looking at human relationships” according to Sandip Paul. The chair, complete with its adjustable height and tilt, is meant for a couple to sit on each other’s laps. The Mr. Chair, designed as homage to legendary designer Philippe Starck, adapts to a discipline of material sensibility and simplicity of thought

develops into three versions – Mr. Scientist, Mr. Painter and Mr. Magician develop to address the inquisitiveness, curiosity and enigma of a child in all of us. Although the designs develop from oblique stories and revolve around tangential narratives, the objects evoke a delightful affinity towards the refreshing cohesive language of visual appeal.

retrospect

Mr. Magician

Mr. Painter

Mr. Scientist

Polystyrene balls embedded in the design move by generative electrostatic energy as the chair is used.

62 IA&B - FEB 2011 Terrace pool designed as a ‘ghat’ overlooks the vertical landscape.

Shatotto, Dhaka Dhaka based Shatotto, Young Designers 2006; reinterpret the urban green in Meghna Residence through an understanding of traditional typologies. Text: Ruturaj Parikh Photographs: courtesy Md. Rafiq Azam and Hassan Saifuddin Chandan; Shatotto.

Stacked floors of the Meghna Residence – permutations and combinations

retrospect

FLOOR PLAN with landscape interventions

DIAGRAM SHOWING AIR FLOW AND SUN PATHS IN RELATION TO THE U-SHAPE OF THE PLAN

he Meghna residence, situated in one of the most densely populated neighbourhoods of Dhaka where the urban green cover is less than 5 per cent is designed as a stack of multiple configurations of floors incorporating the green into architecture of the house. The south face of the building allows minimum exposure to the sun owing to the geographical location of the building. The design adopts a U-shape to respect the North-South orientation and to open up maximum area on the ground. The â&#x20AC;&#x2DC;Stackingâ&#x20AC;&#x2122; of floors enables self-shading patterns to form and the permutations and combinations of spaces create a facade arrangement allowing cross ventilation and visual connectivity of various spaces. The design of this brick and concrete house displays cautionary sensitivity of the architects towards the immediate and the experiential context.

Diagram showing air flow and sun paths in relation to the U-shape of the plan

FACT FILE: Project Location Site Area Floor Area Firm

: : : : :

Meghna Residence (living in delta) Dhanmondi, Dhaka, Bangladesh 14,400sqft 20,000sqft SHATOTTO- architecture for green living

64 IA&B - FEB 2011 Entrance to the institute humbled by the scaled down sloping roof.

Vinnu Ponnappa Architects, Bengaluru

Bengaluru based Vinnu Ponnappa Architects featured in Young Designers 2005, design a contemporary institute taking cues from vernacular design ideals.

Text: Ruturaj Parikh Photographs: courtesy Vinnu Ponnappa Architects.

PLAN SHOWING BASIC GEOMETRIC COMPOSITIONS

retrospect

Courtyards keep the interior spaces well lit and ventilated.

wo courtyards placed on a diagonal axis organise the spaces that comprise the campus of Treamis World School, a modern learning facility in Bengaluru. The three blocks â&#x20AC;&#x201C;the administration, the library and the arts & crafts centre are articulated through addition and subtraction of volumes from a cuboid. The low tiled roof at the entrance can be seen as a deliberate attempt to scale down the courtyard. The courtyard assimilates and reflects the light inside the classrooms making the spaces within naturally lit throughout the day. The amphitheatre; a congregational space is envisioned and landscaped to act as a multipurpose place for groups to interact and introspect. By adapting a vernacular material palette of clay blocks and stone masonry, the architects make the interior spaces of the building thermally efficient and passively cooled. The formal rigidity and sequential hierarchy of the built mass renders this institute a distinct sense of discipline and functional clarity.

FACT FILE:

The amphitheatre as a multipurpose congregation space.

Project Location Builtup Area Site Area Firm

: : : : :

The Treamis World School Electronic City, Bengaluru 70,000sqft 1,12,000sqft Vinnu Ponnappa Architects

ELEVATION

66 IA&B - FEB 2011 Shayadri hills and Moonlight in an immortal frame.

Farm House Organic Architecture, Mumbai Mumbai-based architect Mahesh Naik featured in 2006 Young Designers issue, designs â&#x20AC;&#x2DC;Moonlightâ&#x20AC;&#x2122; - A Contemplative Retreat through his contextual approach towards architecture. Text: Sidharth Gupta Photographs: courtesy Asim S. Wadkar and Mahesh Naik

The swimming pool overlooking the view.

The raw and vernacular material sensibilities of the architect..

retrospect

PLAN

ahesh Naik, believes that to invent future we have to go back to past, designs “Moonlight”; a farmhouse as named by the architect that induces ancient methods and technologies in its process of construction to build a cost effective and conducive abode. The site for this residence is surrounded by undulating landscapes of Shayadri hills. The plan of the residence limits itself to pure forms of a rectangle and a circle making it functionally efficient. The built form of the farmhouse portrays the architect’s conquest of evolving the formal composition from its surroundings. Moonlight draws its spirit from an

honest use of natural local materials depicting itself as an expression of a “purist model”. The built mass incorporates essential architectural and structural elements like arches, dome vaults and a concrete shell roof to enhance aesthetic value, structural stability and vernacular character.

Moonlight, in its sense of belonging, does not replicate any pre conceived architectural style. It is a conscious attempt to convey a design derived from and for its contextual location.

FACT FILE: To cope with the hot humid climate, all the spaces in the Moonlight open in the verandah. All the openings are strategically placed to capture the breeze passing through the swimming pool and water-fountain as a measure of passive cooling.

Project Location Built-up Area Firm

: : : :

Moonlight Retreat Kot, Ratnagiri,Maharashtra, 15000sqft Farmhouse Organic Architecture

88 58 IA&B - FEB 2011

The building exterior with multiple matt and reflective dynamic surfaces.

Materials that wrap, twist and turn form functional and physical barriers.

retrospect

The design exploits the double height interior space by introducing a mezzanine.

he Vidyalankar Annex was envisioned to be a physical and an intellectual extension to the Vidyalankar Institute, a space designed as a retrofit within an existing industrial structure. The new structure faces the old institute but differs in scale and significance. By introducing a mezzanine floor within the shell of the existing structure, the building takes form in an introvert space deriving its symbolic meanings and functional organisations through lightweight interior elements made of materials that wrap, twist and turn to become large student work displays, graffiti strips, light sources, whimsical lotus petal cladding over a learning centre, colorful organic patterned laminate skins, ventilators as signage letters, a couple of ‘Peepul’ trees with a hammock to hang in between, large leaf like partitions, cellular screens and more. The building façade is an interpretation of the sway of tall grass and resolves in a playful geometry of glossy and matt surfaces. The overall idea represents very unusual fusion of symbolic representations with frolic of an inquisitive youth.

FACT FILE: Project Location Site Area Firm

: : : :

Vidyalankar Annex Institute Wadala, Mumbai 35,000sqft Planet 3 Studios

ELEVATIONS

PLAN of the introvert campus

Interactive space surrounding the façade

68 IA&B - FEB 2011

the bodhi tree Arun & Associates Kamat & Rozario Architecture Nandu Associates SDeG SALIENT SHROFF+LEoN Square Consultancy Services Abhishek Majumder A Cube Inc. Birju Patel Rajan Haku Uttam Kumar Banerjee Vivek Sasidharan

architectural i nterior product industrial

de sign

focus

Presenting the works of fourteen firms and designers chosen for their originality, innovation, design sensibility and sensitivity towards the purpose. The works chronicled this year portray progressive design attitudes and unsullied design ethics demonstrating clarity in thought and meticulous judgement.

70 IA&B - FEB 2011 The external facade is simple yet subtle; a grid of Jaisalmer stone, complemented by timber pergola and white walls.

Space, Time and Reconstructs... the bodhi tree, Bengaluru & Goa The evolved identity of Kanaka Villa, Coimbatore, realised by Bengaluru & Goa-based architectural firm the bodhi tree is imbued with an open-ended contemporary re-interpretation of its 40-year-old derelict existence. Incepted in August 2002, ‘the bodhi tree’ is an architectural firm based in Bengaluru and Goa. The firm has created a niche for itself in designing a wide range of projects from residences, community housing projects and factories to commercial spaces. Their work ideology stems from the dire need to create sensitive and intelligent spaces — a paradigm shift from passive architecture. Text: Maanasi Hattangadi Photographs: courtesy the bodhi tree

he relatively relaxed programme of renovating a residence affords the flexibility to refine a range of ideas. Simultaneously, it stands as a testament to the architect’s nuanced skill that the building is plausible in a regenerative setting while also being highly responsive to its exiting domesticity. The challenge lies in the extent of borrowing/ sharing ethos of the existing dwelling, while the new expression, mood and colour blend in seamlessly with the retained peripherals. Kanaka Villa, a residence in Coimbatore, had dissolved to be a web of derelict setbacks, linearly added rooms; a shell of poorly ventilated spaces from which grandeur and quality had been subtracted over time. “Inspite of the large footprint of the house, there was a lacuna of large well-lit spaces within. This was the primar y reason for the inter vention in the house. Delineating the brief given by Balamurugan, the client, Arun Balan, Principal Architect, the bodhi tree says,“Bala came to us asking how we could infuse life and energy to these spaces without tearing the building to the ground. The challenge for us was to open up the house from within, keeping in mind the sentiments attached to the house by his parents.” Putting forward a prototype for everyday living as an architectural response to this brief, Bengaluru & Goa-based architectural firm, the bodhi tree cultivated a visual leap — from the closeted intensity that the house exuded to monolith of openness.

architecture

The elevation of house manipulates a play of lnes and planes to express a modernist statement.

A singular sense of entry to the 8750sqft house â&#x20AC;&#x201D; the exterior space entertains its own visual relationship to the site with the deeply framed view. Dominating the elevation, is a play of lines and planes to express a modernist expression. Viewed from a material agenda, with the dramatic transition [between old and new] driven by the use of Jaisalmer stone in a subtle grid pattern; the agenda was to amplify it through context. The accompanying pergola of non-forest timber, flanked by white wall planes, stylistically complements depth of sensitive aesthetics. While the facade is understated, the interiors relate to the design concept on the whole. In deference to the 40-year-old existing house and the current lifestyle of the family, the core of the house was carved out to spatially diffuse the concentration of dark tones by day. The light gently washes down on the rock and visual paths created by inlaid stones, from the pergola above. As a perfectly choreographed ascent from this point, the introduced architectural structure frames skylights and large windows, as a directness clearly speaking a different language from the classic and florid recess.

Inlaid stones in grooves mark a visual path to the entrance of the house.

1. Entrance Foyer 2. Living 3. Bedroom 4. Home Theatre

5. Courtyard 6. Kitchen 7. Dining 8. Staff Room

12 10

7 9 12

11 3

The architects literally pushed the envelope to infuse an outpouring of spaces, ventilation and light. The intent combines simple geometry and subtractive gestures to activate an introverted dialogue to balance the climatic pulse of Coimbatore. The house operates on many scales and lifts the existing rules of arrangements via a series of structural manipulations to create new interior alignments. The spaces move through with certain smoothness â&#x20AC;&#x201D; the events of each area, changed yet enmeshed in the overall architectural language.

9. Store 10. Utility/Services 11. Puja 12. Toilet

8 4

3 1

The sense of belonging in the interior gets character from the rich tone, sculptural figures spotted in the framing and thoughtfully-placed cabinetry. The perception of depth in these materials is heightened by playful interventions and elements. These are formal, material and spatial ideas in the consolidation of an idiosyncratic language GROUND FLOOR PLAN

FIRST FLOOR PLAN

The state house had dwindled to a derelict state after 40 years.tructural changes were manipulated with the help of consultants to form new and open spaces in the existing linear house.

The hall before renovation.

The bedroom before renovation.

The hall after renovation. The interiors of the house were the main challenge, overcome by shifting of volumes to allow ventilation..

The character of the bedroom develops from the rich finishes, sculptural figures and strategically placed cabinetry. after renovation.

Developing an introverted structure, the architects carved out a spatial core that filtered in light.

of design elements. A layer of detailing has been added to the existing palette, as a solution to infuse a fairly conventional programme for living in the rigidity of the previous structure. Using muted tones and timber as a visible material, the overall composition maintains a sense of unity. Light and space are used as materials which render the house in a rhythmic flow. The design is facilitated by the sense of opportunity and informed by the objective of creating a tactile construct, but not over-detailed quality. Despite the contemporary overlay, the house acknowledges and retains hints of the original essence. The deployment of materials, finishes and textures – above all – details, conveys the belief that a residential realm cannot be packaged into a single statement, but is an expansive spatial continuity. Sculptural, suspended and supported as a thoughtful, well-detailed response to the most common of design projects, a single family’s home - it is indeed a realm of their place, their time.

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

Kanaka Villa Coimbatore Arun Balan, the bodhi tree Georgi Jose, Reshmi Vasukuttan, Sumam Sebastian G, Rohit Lunawath Balamurugan Prabhu, Sri Janani Builders Kailash Suttar `1.2 Crore August 2005 October 2007

74 IA&B - FEB 2011 Front view of the house.

The Skin and the Box

Arun & Associates, Coimbatore

Exploring fundamentals of architecture and geometry, Coimbatore based Arun & Associates design Introvert House, a modern residence with functional clarity and minimal design sensibility. Text: Ruturaj Parikh Photographs: courtesy Arun & Associates & Photo Center, Coimbatore

Arun & Associates is a Coimbatore-based firm, which was created in 1998 by Mr. Arun Prasad P, a gold medalist from School of Planning & Architecture, New Delhi. The Firm experiments with various design typologies and ideas exploring architecture in its contextual framework.

Semi-open Court with the swimming pool.

The formal and the informal spaces connect visually owing to a transparent interior.

architecture

Spaces within have impressive volumes that borrow light from the court.

he house develops from an exploration of rigid geometries brought together in a cohesive composition in white. The focus of the composition is swimming pool and the space around the pool. Designed as a space for contemplation and congregation, the double height semi- covered volume of the pool assimilates natural light for the adjoining spaces of living and dining. The full height glazed facade that separates the cour t and the spaces within, permeates ex traordinar y quality of light within.

GROUND FLOOR PLAN

FACT FILE:

Passage

Toilet

The formal organisation of spaces exploit the negative space around the built form making full use of the site offsets making them positive green and open spaces. The outer skin wrapped around the box allows light to penetrate within from the nor th and the south sides keeping the east and the west protec ted from harsh sun. The interiors of the house follow a minimal language with contemporar y st yling.

Dining

Project Location Site Area Built-up Area Firm

Deck Pool

SECTION THROUGH THE COURT

: : : : :

Introvert House Karur, Tamil Nadu 8860sqft 6720sqft Arun & Associates, Coimbatore

76 IA&B - FEB 2011

Elemental Upgradation Kamat & Rozario Architecture, Bengaluru

Respecting the tradition and the integrity of an old residential space, Bengaluru Based Kamat & Rozario Architecture refurbishes the Sharma House through sensitive additions and improvisations. Text: Ruturaj Parikh Photographs: courtesy Lester Rozario, Kamat & Rozario Architecture

Kamat & Rozario Architecture was set up in 2007 in Bengaluru by Lester Rozario and Smruti Kamat. Over the past 4 years the firm has accomplished a diverse selection of residential, commercial, institutional and retail projects.

Before (top) & after (bottom) photographs of the house.

Fusing the old with the new â&#x20AC;&#x201C; a concrete hanging wall covers an old cantilever.

architecture

Diagram showing structural additions, alterations and improvisations

Designed positive open spaces in the setbacks reflect ample natural light within

Contemporary material sensibility - concrete and exposed brick.

to penetrate within. The new envelope thus formed consists of two basic alterations. The first being the old staircase block moved to north side in accord to Vaastu and the second being an introduction of a hanging wall to envelope additional spaces on the first floor.

GROUNG FLOOR PLAN OF THE NEW HOUSE

onverting a thirty year old residence to upgrade it to a modern living space, the architects, through a step – by – step process of alteration, upgradation and addition render a modern aesthetic to an old structure. The clients wanted to convert this old house having a load bearing structure into a contemporary residence maintaining the principles of ‘Vaastu’. The architects initiated the process of design from a basic idea of decongesting the small spaces of the old house and opening up the thick load bearing walls to allow natural light

These primary alterations subsequently make way for secondary additions of spaces like the study as new volumes latch to the old extending and adding to the old spaces within. The open spaces around the house are converted into positive outdoor spaces through landscape interventions and stylistic upgradations. Exposed concrete and brick are used as materials for the renovation completely altering the sensibility of the original structure. The aesthetic language of the residence is thus changed through introduction of new elements and improvisation of old. The architects exercised discrete restraint reusing the salvage from the old house thus conserving material and cost. The language of the old openings is retained with improvisations in detail and technology. This project represents a successful attempt by the architects to negotiate both – the aspirations of the clients and the intent of the design team.

FACT FILE: Project Location Site Area Built-up Area Firm

: : : : :

Sharma House Bengaluru 2400sqft 2550sqft Kamat & Rozario Architecture, Bengaluru

78 IA&B - FEB 2011 Front view of the Raju Residence.

Material Contradictions Nandu Associates, Hyderabad Responsive to the landscape â&#x20AC;&#x201C; both natural and designed, the Raju Residence designed by Hyderabad based Nandu Associates adopts a cautious architectural language of composure and material balance. Text: Ruturaj Parikh Photographs: courtesy B. Nanda Kumar

Established in 2001 by Hyderabad-based architect B. Nanda Kumar, Nandu Associates is a professional architectural consultancy firm, which deals in architectural designs, interiors and building engineering.

Designed to retain all existing trees on the site, the house responds to the existing natural features.

he house is designed on a site with old trees and existing rock formations in a way that architecture not only respects the natural landscape of the site but also builds on and around it incorporating the natural context within the design. The design thus consciously avoids disruption of the existing features on the site by using them as forces to model the architecture around. The organisation of spaces of the house on the linear site with service areas at the back deal with the negative areas of the setbacks to landscape them into positive outdoor spaces responding to the architecture and the interior spaces within. The walls of the house are designed to be semi-permeable allowing a partial visual connection to the landscape while maintaining privacy and seclusion. The material palette of the house is restricted to exposed concrete, wood and glass giving rise to matt surfaces and raw aesthetic sensibilities. Discrete landscape elements create a cohesive continuity with the design philosophy of the residence. The house resembles a sensitive design approach of the architects and portrays an idea of caution and consideration while dealing with the forces of the site.

architecture Lawn

Servent Atrs. 10’-6” x 10’-1/2”

Toilet

Servent Atrs. Servent Atrs. 10’-6” x 10’-1/2” 8’-0”x 10’-1/2”

Electrical / Gas bank Wash 5’-0” x 9”-3” Lawn Utility 16’-0” x 8’-6”

Store 11’-0” x 8’-6” Half Wall - 4’-0” High with Glass

Daily Dining 16’-9” x 12’-6”

Master Bed Room 18’-0” x 21’-9” Kitchen 11’-0” x 12’-6”

Powder Room

Lawn

Dress 8’-4 1/2” x 21’-9”

Toilet 13’-3”x 8’-3” UP

Drawing Room 16’-0”x 15’-9”

Living Room 28’-0”x 21’-41/2”

CONCEPTUAL SKETCH SHOWING THE ELEVATION OF THE HOUSE AND THE BASIC MATERIAL PALETTE Verandah 13’-9”x 8’-3”

Water Body

UP Car Porch

10’-6”lyl Lawn

UP Still Water Body Lawn 10’ - 8” M

Still Water Body

Lawn

Water Body

10’-0”M Drive way Lawn

12’Wide Entry

Security Cabin 7’-0” x 7’-0”

Wicket Gate Mount 50’ W

Mount Road ( Road

N o. 3 3 )

Plot Area - 12294 sq. ft Ground Floor Area - 3699 sq.ft

SITE PLAN WITH THE RESIDENCE

FACT FILE:

The formal landscape is designed to supplement the informal natural landscape features on the site.

Project Location Site Area Built-up Area Firm

: : : : :

Raju Residence Hyderabad 12,300sqft 6697sqft Nandu Associates

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Fractured Frames SDeG, Bengaluru

Developing a refined geometry from systemic experimentations, Bengaluru based SDeG generate a distinct geometry for Jewel Box; a retail and office space through exciting surface modulations. Text: Ruturaj Parikh Photographs: courtesy George, SDeG

Founded by Bengaluru-based architect Sujit Nair in 2007, SDeG – Sujit Design Group is a young, inventive practice focusing on generating investigative design solutions for projects at different scales.

Front facade of Jewel Box.

ewel Box, a retail and office space for trading precious stones, is devised by SDeG from the form of the crystals. The architecture of Jewel Box develops as two distinct elements – a frame and a wrapped surface. While the frame supports the programmatic requirements, the lightweight skin of the building is modelled from the bevelled and fragmented geometry of a crystal. The positioning and configuration of glazed surfaces reflect a fractured image context generating a surreal landscape of broken images making the facade malleable both in terms of aesthetics and functionality.

The original idea of fractured geometries went through stages of refinement to rationalise the facets of the facade. The 75mm in-situ lightweight fibrocement facade anchors on to the concrete frame of the building through simple metal joinery. The ‘bevels’ camouflage multiple reflections and produce variety of edge conditions within. Jewel Box characterises a systemic process of transforming an abstract and scientific observation into a tangible design element through a series of geometric developments thus generating exciting forms and facades.

architecture

STAGES OF GEOMETRIC EXPLORATIONS GENERATIVE OF THE FACADE

The ‘bevels’ with multiple edge conditions from within.

FACT FILE: Fractured images of the context reflected in the facade.

Project Location Built-up Area Firm

: : : :

Jewel Box Bengaluru 1350sqm SDeG

82 IA&B - FEB 2011 The dramatic composition evolves from an interplay of light, material palette and elements.

Playful Dynamism

SALIENT, Kolkata

Kolkata-based architectural firm SALIENT negotiates a drama devised of curves, transitional spaces and diffused light to characterise the revamp of Footloose. Text: Maanasi Hattangadi Photographs: courtesy SALIENT

Salient is a Kolkata-based design setup which aims at evolving design concepts which have a rich base from intensive research. They design and execute architecture, interiors and landscape projects.

interiors

Poolside Cafe

Her

Concierge

His Pantry

Combined Dish Wash & Pot Wash Area

Liquor Store C

Cutout In Slab Above

To IMT 1st. Floor(UP)

GROUNG FLOOR PLAN

Lobby

T.T. Lounge

Glazing Upto HT. 2400MM (Each Panel Width 200mm)

A 12 00 Wide

Railing

Co rri do r

Terrance Lounge MS Black Railing

C B

Terrance

Elec. Room

To Reflection (UP)

The entire space focuses on a double-heighted dance floor. FIRST FLOOR PLAN

he theatrics of a dim-lighted decor with vanishing black walls are in perfect accord as a retrofit in the high visibility and energetic zone of an existing 12 year old structure. Embarking on the note of a visual surprise, ‘Footloose’ is an imagery of the free rein of a river before it sets free into the bay. Apart from structural constraints, the architects also manipulated a budgetary restriction. The unfolding spatial narrative, about 5000sqft, over three floors is a carefully construct of “sensorial experiences”. Layered into three floors, each section shifts to accommodate different activities. The functionality is staggered over as a lounge area in the first floor and gaming zones in the other two. The wrapping of the interiors is a softer progression of black to white with a tinge of colours. It engages in geometrics for a simplified but effective presence. The curved forms add accent to the makeover as a repose to the hidden negative volumetric dialogue induced by the existing structure. Sculptures, printed cushions, bubble lights, blue glaciers, china mosaic, frills, mirror panelled walls, projector screen silver sofas and white curtains exaggerate the whimsical decorum with an overlaid acoustic influence. The fluidity extends to the seating, a sculptural staircase and the wash of light on the drapes. The floor like the walls is predominantly black; however, the framing nucleus is a double-heighted dance floor that sets the ambience tone. The design unravels as a space of spirited

enthusiasm- each shade representational of a mood. The discovery lies in the captive of emotions through an outpouring of lighting and deployment of the apt material palette. The architects have infused a refreshing attitude to the building—a place wherein functionality is amplified and the appeal is read in its apt materialistic settings and budget-solution stylised ensemble.

FACT FILE: Project Location Architect

: : :

Footloose Raichak ( a resort near Kolkata) SALIENT

84 IA&B - FEB 2011

Timeless Expressions

SHROFF+LEoN, Mumbai

Sculpted and incised with strokes of sophisticated detailing and rich experiences, Chez Vous’s design by SHROFF+LEoN recalls the character of a French Bistro. Text: Maanasi Hattangadi Photographs: courtesy SHROFF+LEoN

SHROFF + LEoN is a young architectural design and research initiative currently active in the fields of urban design, landscape urbanism, architecture, interior design and installations.

The restaurant connects visually to the exterior via a translucent layer of glass.

nformed by an enviable French Bistro Theme, the design of Chez Vous indulges in the basic concepts of, as put by the architects,” physical manifestation of the requirements, whilst optimising spatial concerns”. Between the exterior and interior, the space shifts its character. From outside, an obscure glaze of diaphanous textured glass frames the visual connect. The interiors unfold as an engaging sequence of sleek, yet differentiated spaces. The utilitarian plan wraps requirements within like seating 70 covers with integration of a long serving bar. The attempt is to distinguish the stretch of 1385sqft into volumetric spills of experiences through level changes. The planning is scripted on intersection of two main areas- The Absenthe Lounge and the Bar area. A mezzanine level ties with the ensemble as an interstitial abstract of exclusivity in the decor. The tangible connect is threaded in the contemporary

typifying of French Art Nouveau motif through manifestations explored in a variance of scales, textures and usages. The indulgence of the cinematic element traverses from the chesterfield fabric wall used as a backdrop to the seatings, molding on the ceiling to back-lit patterns carved in the barface. Completing the expression, the backdrop of the bar is a luminescent wine-rack. The design choices of engaging motifs and a play of elements like have been beautifully realised. As both an image and tonal composition, it composes the fragments into a strong verticality in the limited space. The gentle lighting washes the space with a classic French Bistro feel, but with a contemporary twist. The honest expression is translated into one cohesive layer guided by the attention to detail and variety within. By starting the demarcation of space with a mezannine level, then carrying lines through

interiors

SECTION

The interiors render a classic feel of a French Bistro, lightly layered by a play of elements and light.

The Absenthe Loungeâ&#x20AC;&#x2122;s experience is enhanced by the dichotomy of the Chesterfield Fabric wall and furniture.

multiple interactions, the designers have created an effect that is more atmospheric than a special focus. It captures the spirit of the place while neatly avoiding the look of a 20th Century suburban restaurant of Paris. The feature is as poetic as pragmaticâ&#x20AC;&#x201D;evolving not as tracery of a French Bistro but as an expanding interpretation.

FACT FILE:

Faint outlines of bottles are revealed through a luminescent glass front to augment the backdrop imagery of the bar.

Project Location Architect

: : :

Chez Vous Mumbai SHROFF+LEoN

86 IA&B - FEB 2011

Vernacular Narratives

Square Consultancy Services, Kolkata

Tapping into the contextual realm of North Bengal, architectural firm Square Consultancy Service’s design for Tropical Palimpsest expresses a natural aesthetic sensibility. Text: Maanasi Hattangadi Photographs: courtesy Square Consultancy Services

Started in October 2008 with a partnership of Kolkata-based architects Ranit Maiti and Subhrajit Gunakar Mitra, Square Consultancy Services has grown gradually over a period of time dealing with architectural consultancy, interior design, landscape and graphics.

The entrance lobby, composed of earthy furniture, exudes simplicity.

PLAN

n a comparatively modest envelope, the design for Tropical Palimpsest exploits the panoramic vistas atop the Chlasa hill. Square Consultancy Services have woven the 4675sqft resort as a spatial and temporal dialectic that succinctly describes its independence from the conventional design in the hospitality sector. The concept was the clients brief as the generator of quality—a basis that warranted transformation of the original design’s into a subtle and elegant play of shifting intersecting volumes suggestive of the local essence. The layout reflected on the inclusion of reception lobby, lounge, restaurant, common areas, and a triplet of suites housed in cottages. The entry faces a sweep of lush greenery of the hills, from wherein a double-heighted lounge beckons one forward. Large glazes invite the outdoors in and bamboo windows paint a rustic feel; the design intent is subtle but clear, of traditions in a contemporary insert. ‘Bamboo Grove’, the restaurant, flaunts contrast and character in form of a geometrical celebration of bamboo. The textural walls and wooded furniture exude simplicity to the ambience. The sensibility extends to the lobbies where handmade paintings enliven the experience. The language of the suites unfurls the vernacular architecture in three coded environments, ‘Burra Sahib’. ‘Bandook

interiors

Bamboo Grove’, the restaurant unfolds apt to its name, as a setting of furniture interpretations of bamboo and wood.

In contrast to their usual use, the lobbies in the resort liven up owing to the use of vibrant handmade paintings.

SECTION - A-A

Each suite is a stylised expression of a theme- the three being ‘Burra Sahib’, ‘Bandook Babu’s Kothi’ and ‘Noveau Ville’.

SECTION - B-B

Babu’s Kothi’ and ‘Nouveau Ville’. The decorum rhythm of each cottage follows a thematic dialogue—the ‘Burra Sahib’ recalls the colonial period style, the ‘Bandook Babu’s kothi’ evolves as a hunters lodge and the ‘Noveau Ville’ is a contemporary niche. The aesthetic order of the environment is stylised on local available materials like ‘Dhoopi’ wood, bamboo, sal, rattans, straw mats etc. A cultural orientation of materials and details, it sets the tone of implicit familiarity with the area. The classic analogy can be read both in a literal and visceral sense—a mix of luxury and ethnicity. It creates, through modest means, a narrative of relaxed delight.

FACT FILE: The design sensibility of the decor relies highly on the vernacular, customised according to the theme.

Project Location Architect

: : :

Hotel Sinclairs Retreat Dooars Chalsa, Jalpaiguri, West Bengal Square Consultancy Services

88 IA&B - FEB 2011

SwivelLing Radiance Abhishek Majumder, New Delhi Twitting a simple product requisite with generation-next design, product designer Abhishek Majumder develops Triple mode Lantern-cum-torch for the suburban sector. Text: Sidharth Gupta Photographs: courtesy Abhishek Majumder

Triple mode Lantern-cum-torch in various colour options.

Three different positions in which handle can be swiveled.

atering to the growing needs of the suburban India, product designer Abhishek Majumder designed a low cost lantern-cumtorch for Andslite, a leading manufacturer of LED lights. The design of the product adopts a minimal design approach which designer has consciously maintained with its invariably recognisable form. Handle of the Triple mode Lantern-cum-torch can be swiveled into three positions orienting it with function and need. On the engineering front, designer has accommodated the reflector dome of the torch and the LED cluster of the lantern in a single body. Functionally Triple mode Lantern-cum-torch will be a much preferred option for mountaineers and eco tourists due to the multi-functional options of generating light from various sources.

Designerâ&#x20AC;&#x2122;s profile: Abhishek Majumder, an Industrial Design graduate from the School of Planning and Architecture, New Delhi, is one of the co-founders and principal designer of designdaku, a multidisciplinary design studio in Delh. He had worked with organisations like Samsung Design and Honda R & D before co-founding designdaku.

Prototype of the product.

product & industrial design

Crafted Luminance

A Cube Inc., Ahmedabad

Ahmedabad-based designer duo Anand Ambalal and Anuj Ambalal design a deries of modern lamps for residential spaces with sophisticated detailing and execution. Text: Sidharth Gupta Photographs: courtesy A Cube Inc.

Lamp shade in PVC corrugated sheets resting on MS rods - Earth I Floor Lamp

Earth II Floor Lamp

Spiral Floor Lamp

hmedabad-based product designers Anand and Anuj borrows inspiration from elements of nature to craft a lamp for the residential realm of spaces. The look and feel of this lifestyle product series draw its inspiration from water to depict tranquility. As Anuj mentions, ”The challenge was to take water as an element of inspiration and use it in place of fire (light) - its antithetic element. The big idea thus generated was to fuse the functionality of a paper lantern with the transcendental quality of water to create hybrid vessels that were traditionally used as water containers, to store light.” The designer has conveniently attained duality by translating and figuring out small aspects like basic shape, form and spatial impact on its surroundings. To achieve all these aspects, the designers intentionally opted for thin skin materials like PVC corrugated sheet, cotton cloth and mica sheets for the outer core and even to fastened the inner core. Other special features of the lamp include its collapsible nature and detachable base for easy transportation.

Detail focusing on lampshade in corrugated sheet.

Designers’ profile: Anand Ambalal and Anuj Ambalal founded A Cube Inc. – an Ahmedabad-based design studio, in 2004, The studio strives to explore the subtle Indian sensibilities by infusing associative forms, feels, textures, materials, colours and postures in designs. Their approach towards design is quite vernacular and materialistic.

90 IA&B - FEB 2011

Proportioning the scrap Birju Patel, Ahmedabad Exploring the possibility of reincarnating products from industrial scrap, designer Birju Patel explores varied options in furniture made of scrap for the residential realm. Text: Sidharth Gupta Photographs: courtesy Birju Patel

Elevation view of book & magazine rack.

Isometric View of the book & magazine rack customised from the industrial scrap.

craps collected from industrial waste have formed the basis for design of this piece of furniture. In execution, designer Birju Patel consciously attempts to produce a series of furniture designs for various residential storage spaces; precisely cabinets and kitchen shelves. The industrial scrap accumulated for the lineup provides sustainable solution and at the same time proves to be contemporary, innovative, and provides ample variations which are quite apt for the present age users and their lifestyles. As Birju Patel describes, “The whole process of design initiated with five boards of varied dimensions I started playing with the arrangements in respect to the proportions, which will soothe the eyes. I applied the numbers in design – Golden Section Theory & Art in Design – De Stijl Movement for the perfect proportioning of the pieces”. Incorporating design concepts from modern school of thoughts, which focus on the geometry and proportion of various furniture forms. The multiple sizes of different components used in the product are based on multiples or factors of golden number 1.618, which allow attaining visual harmony. Designer’s profile: Birju Patel is a product and industrial designer. He graduated in the stream of furniture & interior design from NID, Ahmedabad. His designs focus on functionality, scale and explore fundamental design concepts.

Explorative model with pieces of scrap aligned at an angle of 45°.

product & industrialinteriors design

Variation and Amalgamation Rajan Hakhu, New Delhi Exhibiting various permutation and combination in simple modular furniture, Rajan Hakhu, a New Delhi-based furniture designer, creates â&#x20AC;&#x2DC;Mirageâ&#x20AC;&#x2122;; a multi-combinational design. Text: Sidharth Gupta Photographs: courtesy Rajan Hakhu

Renders showcasing two basic units of the product.

Option -1, obtained by aligning two pieces of unit-1.

Option -2, obtained by clubbing four modules of Option -2, obtained by clubbing four modules of unit-1 and two modules of unit-2. unit-1 and two modules of unit-2.

Option -3, obtained by clubbing four modules of unit-1 and two modules of unit-2.

ajan Hakhu, a Delhi-based furniture designer creates Mirage, a multi-purpose seating system, which has a unique ability to transform itself in various permutations and combinations in sync with the mood and comfort of the user and with the availability of space and convenience. The basic furniture module comprises of two units. First unit has seating with back rest and a second unit has only seating available without back rest. The essential framework for the construction of these units required metal tubes, the outer surface has synthetic plastic fiber (like rattan weave), which is completely recyclable and the seat, made of PU foam, provides ample comfort to the user. Overall the flexibility achieved in design retains the interest of the users and makes the furniture feasible.

Option -4, obtained by aligning two pieces of unit-1.

Designerâ&#x20AC;&#x2122;s profile: Rajan Hakhu is a Delhi-based architect & industrial designer. He currently leads a design team for Product Development at DORSET and also works as an interior designer dealing with residential and office spaces.

92 IA&B - FEB 2011

A New Experience Uttam Kumar, Hyderabad

With an intention to make the classic rickshaw ride more comfortable Uttam Kumar’s proposal for ‘Plastic Rickshaw’ is a step towards making a difference in perception of public transport. Text: Sidharth Gupta Photographs: courtesy Uttam Kumar

Side-view of the Plastic Rickshaw focusing on the advertisement panel.

Rear-view of the Plastic Rickshaw showcasing the newly created space.

iserable state of human-powered transport systems in India gave rise to the idea of improvising the existing rickshaws in a contemporary design frame. Product designer Uttam Kumars proposal concentrates in providing and improvising user’s amenities to achieve maximum comfort for rider and commuters. These design interventions include decreasing the existing boarding height, providing extra luggage space below the seat, common hood for the driver and passengers and a cushion for the rider to rest in his leisure time. Materials played a major role in this intervention. Material like HDPE (High density polythene) employed for the new age rickshaw is based on the following parameters like light weight, durability and high tensile strength. HDPE also contributed in reducing the weight of the body of the existing rickshaw by 50 per cent. Designer’s profile: Uttam Kumar Banerjee is currently working in Hyderabad as industrial designer in Dhama Innovations Pvt. Ltd. A mechanical engineer by background, Banerjee did his Masters in Industrial Design from IIT Delhi in 2010.

Top-view of the Plastic Rickshaw space.

product & industrial design

THE LONG SIP Vivek Sasidharan, Calicut Its Hot...- Tea cup stand; a product by Calicut-based designer Vivek Sasidharan, to increase the shelf life of hot beverages, explores a simple idea through intricate design development. Text: Sidharth Gupta Photographs: courtesy Vivek Sasidharan

Tea cup stand a product to retain the taste of hot beverages for longer period.

Tea cup with metallic base.

he tea cup stand is a luxury product conceptualised to indulge its users to defy time factor that is always tagged with hot beverages. The tea cup stand is a device which maintains the temperature of the beverage inside the cup and allows its users to enjoy the beverage for a longer period of time. The curvilinear design of the stand is quite slender in its appeal and looks quite elegant. The stand has a flat base for the cup to rests. The base is electrically heated to maintain the temperature which keeps the tea hot. The technology is based on the principle of electromagnetic induction. Current is generated through a variable magnetic field after running through the wire coil. The base of the holder and teacup has metallic base for the easy transfer of heat. The outer body of the cup and stand is made in plastic with high melting point. This product is designed to cater to the needs of writers, executives and all hot beverage lovers.

Slender design of the tea stand made in plastic.

Designerâ&#x20AC;&#x2122;s profile: Vivek Sasidharan, an M.Sc in Engineering Product design from MSRIT, Bengaluru always believes in integrating his design sensibilities with advanced technologies. This aspect can be traced in various products he has designed.

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Balancing ‘Constructions’ multimedia installation in the Hutheesing Visual Arts Centre gallery space.

the interface

Through layering of multiple mediums, materials, matrices and mechanisms as artworks and an installation collectively titled ‘Constructions’, Prof. Percy Pithawala attempts to establish procedural parallels between art and space. Text: Ruturaj Parikh Photographs: courtesy Prof. Percy Pithawala and Nishant Vishwa.

rt has fundamental theoretical parallels to spatial thinking as a field of creative expression, representational abstraction and subjective reaction. The idea of the oppositions between meaning and non-objectivity in art has always appealed to artists and aesthetic practitioners including architects. Concepts of art that deviate from the traditional norm of representation develop as alternative models of exploration cutting loose from the restricting brackets of reason and meaning. Juxtaposing representational and non-representational, objective and non-objective on a tangible field of a schematic continuum, Prof. Percy Pithawala; artist, architect and academician, develops a series of two and three dimensional ‘Constructions’ – a multimedia art installation. Revisiting the non-objective graphical language of Russian artist Kasimir Malevich and superimposing multiple Suprematist mechanisations of aesthetic forms, Prof Pithawala generates an orchestrated Non-Euclidean space that contains two and three dimensional works bound together in non – denominational matrix as a structural and theoretical framework

underlying the installations and artworks in the sterile space of a gallery. These works of art collectively define a conceptual mathematical space or the ‘Fourth Dimension’ like that defined by mathematician P. D Ouspensky who influenced the works of Russian Avant-garde painter El Lissitzky. The collection of objects in the gallery space are fundamentally geometric explorations wherein this virtual experimental space is defined by non-hierarchical structuring systems of points, planes and grids that not only define a finite space, but also form an ordering framework for the works to exist in an interface. Controlled Compositions ‘Constructs – I’, a structured series of drawings, photographs, montages, film overlays and small installation pieces inspired by the Suprematist geometry are read as flat picture planes; etched and disjointed surfaces in perpetual motion. The cohesive compositions, though disjunct in thematic representations, combine to establish a perceptual third dimension; a sign of depth and a void and a sign of extension of that void beyond the confines of the medium.

art

‘CALIBRATE’, composition in ink and pencil on paper.

RECAPITULATE - Collage & Watercolour.

The work of Prof. Pithawala positions itself in an interface between art and three dimensional space having cognitive relationships to both in terms of conceptual framework and representation.

‘CITY SENSE’, pen & ink on tracing paper.

‘FORTIFICATIONS’, composition in pencil on paper.

Abstract compositions ‘RECAPITULATE’ & ‘SUPERNATURAL’ as disjunct thematic representations in CONSTRUCTS – I.

‘Constructs – II’, a set of images that are excerpts of an analytical design process, depart from the same non-denominational matrix of Constructs – I, but address perceptions and realities of space in an extended dimension similar to the previous but more continuous and contextual than the previous. The Braille boards, textual references, proportion studies and doodles for a project under conception “dwell in the precarious realm of non completion and offer immense possibilities for being complete in the future”. ‘Assemblages’ are installations consisting of abstract models and improvisations on found objects, master art works of Salvador Dali, Libbus Woods and Marcel Duchamp and fragments of city plans in figure – ground

‘Inscriptions’ as a frame of a continuous conceptual process in CONSTRUCTS – II.

An ‘ASSEMBLAGE’ of metal cubes and figure-grounds of cities forming a diptych of chaos; common to both.

placed alongside compressed scrap-metal cubes as a condensation of intangible ideas into tangible and readable diptyches. The de-materialised metal cubes encased within acrylic boxes with a frame-grid encasement relate to the figure – grounds of the cities and represent the common chaos they share.

De-materialised cuboids of compressed metal in ASSEMBLAGES.

Representational Matrices The artworks displayed within the gallery space of Hutheesing Visual Arts Centre are bound by basic and common ordering components. The spatial, structural and symbolic narratives of balance and imbalance, abstraction and representation, conflicts of utopian ideals against the real chaos and sets of disparate elements are woven in an ordering matrix of intersecting grids, points and planes that are used as devices to grip the otherwise

diverse collection of objects in perpetual motion and form a cohesive structure for the idea and the intent. The gallery space thus becomes a laboratory of visual experiences in multiple forms arising from a quest to overcome the unbelievable, the un-buildable, the unthinkable and the sublime, prioritising the evolution of thought over the final product. The objects in the gallery are thus contained within this conceptual void having Euclidean organising elements. The extension to the fourth dimension is thus contained within a three dimensional matrix.

The art installation – CONSTRUCTS – I, CONSTRUCTS – II and ASSEMBLAGES in a sterile space of the gallery.

Feints A diverse set of materials and mediums are brought to use for this collection of work. Each material, object and image in that space possesses an individual personality and character through textures, colours and finishes. Scrap-metal cubes, pieces of wire, nuts & bolts, discarded automobile parts, scissors, strips of film, cuts from old postcards, pieces of text etc. are taken away from their functional context and placed in a conceptual context of the work. This frantic visual accumulation of objects requires a stable and finite container. The idea of things frozen in a state of movement is extended beyond the container through a diagrammatic continuation. Thus, this finite set of objects, placed in an infinite and multi-directional space are confined by the kinetics of a sculpture, a painting, a bass relief, a light box, a multimedia projection, a model, an installation, a collage, a montage, a frame and an overlay. The perceptual space thus confines and stabilises the objects in a theoretical whole. The work of Prof. Pithawala positions itself in an interface between art and three dimensional spaces having cognitive relationships to these experiments. The attempt is not to re-discover the non-objective in art or to revisit an art movement, but to establish a position of objective conceptual thought and experimental process as a fundamental point of departure of all creative processes. The non-objective in art now searches for new meanings and contemporary manifestations.

Prof. Percy Pithawala Prof. Pithawala is an artist, architect and an educator based in Vadodara. He has studied architecture and urban design from India and USA. His work has been presented in numerous solo exhibits in India and U.S.A. Since 2005, he is the Principal of Arvindbhai Patel Institute of Environmental Design, Vallabh Vidyanagar and is currently pursuing PhD researching influence of Russian Avant-garde on New Modernist art and architecture. This exhibition contains some works done as a part of this PhD. He actively explores new boundaries on design related issues and involves himself in writing, painting, designing installations and public art. The diptych held in diagrammatic continuation.

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elight full Envisioning an expanded role for architecture beyond the formal, The Nargis Dutt Memorial Charitable Trust collaborated with Indian Architect & Builder’s Social Studio to refurbish a crèche for underprivileged children at the Urban Community Development Centre (UCDC) in Bandra, Mumbai. Text: Maanasi Hattangadi Photographs: courtesy Social Studio

rchitecture, as an expression of social value, embraces a fascinating mix of necessity and imagination. The design scene evolves then as a sense of belonging, a tool, a stance or personal engagement to ‘do one’s bit’ for a cause. These designs signal a renewed sense of commitment to the social responsibilities of architecture. The potential realm for architectural intervention which addresses the complexities of the society is expanding in this country; be it in the suburbs, urban fringes, rural towns or small communities. Re-engaging with the ability of architecture to make life better, Social Studio, an initiative by Jasubhai Media’s Indian Architect & Builder Magazine, explores how realistic contributions might instigate a paradigm shift in the society. It aims to generate sustainable design programmes for deficient environments and clientele, where it will not only provide design, but also sustainable financial and management processes. It brings together professionals, academia and material

providers to realise such projects; the impetus of these efforts being ‘Building for Life’. Though this stance echoes socially engaged movements on a small scale, their commitment to pragmatism and positivity can be seen in the projects they have realised. The Urban Community Development Centre (UCDC) contributes to community development and poverty alleviation by running a day-care centre and crèche for the children of domestic helps and other working women from the lower-income group areas in Bandra. Niched in three-storied building in a residential area, the children’s space is set on the first floor comprising a main hall and adjunct functional spaces. Over the years and due to continuous use, the spatial charm had dwindled. About 86 children between the age group of 8 months and 4 years patronise this level, which has a play pen area, a general hall and the balwadi for study. The Nargis Dutt Memorial Charitable Trust approached Indian Architect & Builder Magazine’s Social Studio to assist with the upgrade, resourcing and beautification of the crèche.

sos

The childrens space is set on the first floor.

Over the years, owing to time and use, the quality of space had worn off.

The flooring was an interactive base of deep red and blue squares set off on an ochre yellow base

The Metamorphosis Good design has always been about meeting the users’ needs and desires. Visualising the bland empty space and transforming it into a reanimated atmosphere appealing to the children’s mindscapes was not an easy task. The Social Studio team contemplated all child-friendly furnishes and additions that would render more vibrancy to the space. Material partners were sought for minor repairs to be carried out for its leakage and cracks. To realise the project Indian Architect & Builder Magazine offered it as a CSR initiative for its Building Industry partners. Asian Paints Pvt Ltd and Armstrong World Industries Pvt Ltd pitched in their enthusiastic support for the walls and the floors, respectively, to create a material palette conducive to the reanimated environment for the children. The Social Studio also teamed up with a group of students from Pillai’s College of Architecture to compose remarkable wall designs. An interplay of colour, light, textures and graphics was harmonised to conceive the entire makeover. The

The grafitti on the wall reflected the pixelated pattern of the floor.

The whole space exuded vibrancy owing to the bright colours and furnishings.

flooring was an interactive base of deep red and blue squares set off on an ochre yellow base. Armstrong offered vinyl flooring which was resilient enough to withstand playful activities. From an insight into several possibilities and various visits to the Asian Paints Colour Centre, the students developed a concept reflecting the pixelated pattern of the floor as background graffiti on the wall. Enthused to be a part of the process, the children of the crèche, actively posed to have their outlines traced for animated human profiles in the wall designs. Merging old furniture with new theme, the colourful portal rejuvenated the entire décor of the place, remodelling all the spatial intricacies. Trivial creatives like kites and animal murals were embodied to pique curiosity in the young minds. The graphical artwork took the students over two days and two nights to effectuate the unrecognisable transpose. The place was then enlivened by the ‘kiddie shopping’ the Social Studio team had indulged in. An array of toys, bean bags, traditional furnishings, strings of butterflies

Strewn soft toys matched the mood of the renovated place.

The graphical artwork was a material continuity that defined the identity of the place.

Creatives like animal murals were painted to pique the curiosity of the children.

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Merging old furniture with new theme, the colourful portal rejuvenated the entire décor of the place

The celebrations were inaugurated by cutting of a cake.

and swinging mobiles highlighted the effort. The outcome of the thoughts reveals the combination of spirited enthusiasm and modest scales. Extraordinary not just for the way it was executed, but for the way they appropriated an architectural language of unexpected pleasure and intervention. The Launch Ushering in a surprise launch on February 6, 2010, the Social Studio team led the puzzled yet inquisitive kids upstairs, unveiling their refurbished hall. Their awe-struck gazes turned to complete wonderment as they explored the transposition of the familiar spaces. Father Joseph, the head of UCDC, inaugurated the celebration with a few words and by cutting a cake. A

The children explored the transitioned space with unbound enthusiasm.

big box of assorted gifts was opened followed by the children dancing spiritedly to animated music. The team also joined in the revelry, marking the official handover. While this delightful response, the smiles of the children in this instance, should have no need to justify its existence, it threads the connects and contexts of this purpose despite the ordinary scales. A similar project had been taken up by the magazine group to rejuvenate the play-pen at the Dongri Remand Home for juveniles. ‘Better spaces nourish better minds’ expresses the basic idea behind these experiences. This element takes on an integrated and holistic definition profiling a spatial approach to address the various issues affecting the needy.

Father Jospeh, the Head of UCDC, helped the children open a big box of assorted gifts.

The success of this project, a great fusion of creative and community-based people, inspires the Social Studio to address more environmental and psychological principles through social architecture, benefiting human attitudinal and cultural systems in a positive manner. This is architecture, not as we know it. These works reveal an exciting shift in the longstanding dialogue between architecture and society. These undertakings not only offer practical solutions to known needs, but also aim to have a broader effect on the communities in which they work, using design as a tool. The imperative is to produce outcomes that are innovative and utilitarian, provocative and pragmatic—all that justifies why architecture matters.

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Design Partners A group of students from Pillais’ College of Architecture, New Panvel

Omkar, a student of PICA, painting graphics on the wall .

THE PARTNERS

Nargis Dutt Memorial Charitable Trust “The Nargis Dutt Memorial Trust was established in 1981 by my father Sunil Dutt in the memory of my mother, Nargis Dutt. This foundation is dedicated to the cause of humanity and our goal is to bring relief to those who are in harms way in what ever possible way we can. This Trust, an offshoot of the Nargis Dutt Cancer Foundation, set up by my father dedicates a large part of its resource to medical aid and research, especially in the field of Cancer, the dreaded disease, to which my mother fell a victim. In her last days, she expressed her desire to see India, even in its remotest corners, equipped with substantial medical facilities. This is one of our key objectives. We do all we can to keep this dream alive. We welcome all who want to contribute to and live this dream....” - Priya Dutt

The vibrant colours that set the tone of the ambience were contributed by Asian Paints Pvt. Ltd.

Paint Partners: Asian Paints Pvt. Ltd. Asian Paints is India’s largest paint company and ranked among the top ten Decorative Coatings Companies in the World with a turnover of INR 54.63 billion. Asian Paints along with its subsidiaries has operations in 18 countries across the world and 26 paint manufacturing facilities, servicing consumers in 65 countries through Berger International, SCIB Paints-Egypt, Asian Paints, Apco Coatings and Taubmans.

Armstrong offered vinyl flooring in variant colours which was attractive but resilient enough to withstand playful activities.

Flooring Partners : Armstrong World Industries Pvt. Ltd. Armstrong World Industries, Inc. is a global leader in the design and manufacture of floors, ceilings and cabinets. Armstrong markets the most extensive portfolio of Theresidential installationand spacecommercial contains floor products available - hardwood, laminate, linoleum, vinyl sheet and tile, ceramic and BioBased Tile® – under the brand names Armstrong®, Bruce® and Robbins®. Based in Lancaster, PA, Armstrong operates 37 plants in nine countries and has approximately 11,000 employees worldwide.

The partnerships resulted in a great fusion of creative and community-based people, that composed the space into a realm of colours, positivity, and re-animated atmosphere for the children.

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?Should Cultural ? ? Institutions Adopt Modern a ? Management ? ? Practices? ? ? Sunil Nehru, in this column curated by Amita Baig, discusses the predicament of ‘soft’ institutions to adapt to modern management practices. Text: Sunil Nehru

s a management consultant, I am regularly involved in helping my clients become more effective and successful in their businesses. This is a well-accepted process – everyone seems to have desire to achieve bigger profits, higher sales and beat their competitors. Conversation in the corridors of management and even amongst white and blue collar staff is about vision, mission, purpose, customer focus, customer satisfaction, quality, employee engagement, innovation and so on. Behind each word lies a depth of meaning, which eventually translates into the way things are done – systems and processes, management practices and leadership styles.

I was recently involved in a consultancy assignment for a semi-governmental cultural institution, which must remain nameless. To my delight, the leadership was keen to do a complete makeover – to re-work its activity with a new perspective, adopt modern business management practices, embrace new technology etc etc. The assignment was my first brush with the world of government, its cultural institutions and the challenges of managing culture. It went off well enough and the team puts together a rather impressive roadmap for the makeover. The proposal lay in the hands of decision-makers for over a year, before I learnt that some action had been initiated. When I was told what was actually being done it seemed to bear very little relationship to the document that had so painstakingly been prepared. In the course of discussions during the project, I learnt that the typical time frame for decision-making was measured in months; that projects languished with very little progress for years together, and nobody appeared unduly concerned about the public money was being irresponsibly and gratuitously squandered away through inaction. Was this the general state of affairs in many cultural institutions, I wondered? If this was true, was it doomed to stay that way? Culture, as a universe, is quite different to that of business; it is a ‘soft’ universe, where it is very hard to pin anything down with certainty and where success is difficult to define or measure. However, its importance and criticality are intuitively felt by everyone. Should cultural institutions not be expected to operate with the same vigour and rigour as their

business cousins? Should they not be expected to perform to high standards and deliver quality results in the same way that commercial organisations are expected to? I feel they certainly should!

I believe there are three fundamental principles that underpin successful business organisations. The first of these is ‘clarity of purpose’. Of course, this must translate into financial success, but ‘purpose’ must first be described in practical, market-oriented language that customers can understand and relate to. Products and services must address real problems, something must be made easier, faster, better or cheaper or some concrete new need must be met or opportunity exploited. Organisations without a clear ‘purpose’ – a market-driven reason for existence – communicate confused messages to the marketplace, which compromise effectiveness and customer connectedness. The world of cultural institutions (museums, libraries, academies, archaeological sites etc) is of course quite different, for a start there is no concept of “return on investment”. Funds are obtained from both governmental and private sources in the form of budget allocations, grants or donations, driven largely by the government policy. Government policy is created based upon an over-arching National Vision for Culture, then translated into broad schemes which it (the Government) is prepared to fund. Cultural institutions then develop and execute projects which seek to deliver results in line with the goals of the schemes. It is thus, the clarity and quality of this national vision for culture and the role it requires cultural institutions to play is the foundation of everything that follows. If the National Vision for Culture and the role that cultural institutions are expected to play in national development are made explicit, and strongly communicated in a way that stirs hearts and minds, individual cultural institutions will be able to define their organisational “purpose” with greater clarity to serve that vision. This will provide a sound foundation for the delivery of desired results. A second fundamental principle of business is that those who provide the funds (shareholders, owners etc) and

archaeological sites culture counts

academies museums libraries those who apply those funds to address the purpose of the organisation, must be quite distinct. Without this, a basic principle of accountability stands violated. There are numerous examples of semi-governmental institutions that are supervised by a Governing Council of eminent government officers and specialists, much as a business organisation would be supervised by a Board of Directors representing the shareholders. However, too often, the institutions are then managed on a day-to-day basis by a small Executive Committee dominated by members drawn from the very same Council. It should therefore come as no surprise that such organisations are unable to perform as effectively as those where the executive role is truly autonomous and separate. A third fundamental principle of business requires decision-making power to be clearly delegated by the Board to the Executive which, in turn, acknowledges the right of the Board to monitor and manage the business as it considers fit. Decision-making power is never delegated without clearly defined limits, which if exceeded, require the delegator to intervene. The best mechanism for doing this is to ensure that the Executive proposes an Annual Business Plan in line with its ‘purpose’ to the Board. This sets out the resources that are proposed to be consumed and the results that are committed to be delivered. Once such a Business Plan and Financial Budget is jointly debated, refined and approved, the Executive is empowered to execute the plan, and to take all day-to-day decisions related to it as it deems fit. The Board keeps its distance, periodically monitoring the activities of the Executive arm and the results being delivered from afar, providing guidance and advice occasionally and exercising its right to intervene only if felt absolutely necessary. This ensures that decisions are taken by those nearest the ‘coal-face’, competently and speedily. It stands to reason that the Executive would be staffed by full-time professionals with demonstrated competence in the field of activity, who would then be accorded the stature and respect appropriate to their role. Only then will the Executive be truly effective and deserving of the respect of the Governing Council and the cultural diaspora at large. I am sure there are many examples of cultural institutions operating in this country which have implemented the three fundamental principles outlined above. I

would wager that these institutions stand head and shoulders above the rest of the field in terms of effectiveness. It would be valuable, if some rigorous field research is conducted to identify the best practices that have helped make some of our cultural institutions highly respected and admired. The results would provide a sound basis for the reform of less effective institutions in order to make them better. Is anybody listening?

Amita Baig, the curator of ‘Culture Counts’, is Heritage Management Consultant with experience in managing conservation projects and the management of historic sites in India and the Asia Region. In its third cycle, this column, curated by Amita Baig addresses issues related to the non - governmental initiatives in the field of conservation. This column, over a period of three years has addressed core issues intrinsic to conservation, heritage and culture. The column has continuously debated on interlinked questions of public-private partnerships, role of nongovernmental bodies, role of citizen activists and institutes as well as ethical discourses related to heritage.

About the author : Sunil Nehru graduated as a First Class Mechanical Engineer from Imperial College, London in 1968, and specialised in machine design. He spent the first twenty years of his career working in hard core machine design in well known multi-nationals including ICI (Plastics Division), Molins of India Ltd, Hindustan Unilever and Max India Limited. For the next ten years, he diversified into quite unrelated fields, taking up senior responsibilities in HR, Business Development, Service Operations Management and eventually retired in 2001 as Chief Operating Officer of AFL Pvt. Ltd. His solo consultancy venture, Insight Business Consultancy, focuses on Business Strategy and Change Management for small and medium companies in the NCR region. Sunil is married with two grown up children and enjoys travel, trekking and scuba-diving.