ideas to innovate‌designers to deliver
VOL 25 (6) FEB 2012 ` 200
18 IA&B - FEB 2012 Anna Heringer is an Austrian architect and a recipient of the Aga Khan Award for Architecture. Anna has worked and continues to work with communities in third-world economies to create meaningful architecture from a thorough understanding of the local culture, climate and capacities. Her engaging designs make use of and innovate on local materials and techniques. Her extensive work in Bangladesh and subsequent teaching in Austria and USA have brought her much acclaim. She and her studio, BASEhabitat, work with governments and NGOs in many countries developing architecture fundamental to the region in question. She presently teaches in Harvard University.
let’s partner
Architecture in Public Interest
Anna Heringer talks about her ideas of practice at the grassroots of innovation in third-world economies and tells IA&B about her ideas on beauty and sustainability. Image: courtesy The Curry Stone Design Prize
IA&B: “For me, sustainability is a synonym for beauty,” does this statement summarise your practice? Tell us about your passion for working at the grassroots. AH: Beauty for me is beyond form and shapes. When a building is in harmony within it’s socio-cultural context, the place, the environment, appropriate regarding usage, climate and material use, when the building process doesn’t exploit people but supports small local economies and enhances skills it is sustainable, has a lasting value. And to me that harmony in that greater context is beauty. IA&B: How do you find working in developing countries like Bangladesh and South Africa? What drew you to work in such contexts? AH: I think the greatest happiness is to do something that is truly needed and meaningful. Working in Bangladesh is greatly joyful. There is so much potential all around with all this fascinating craftsmanship. What drew my work in this context was my passion for development work. I had the great luck to be volunteer with a Bangladeshi NGO Dipshikha when I was 19 years old and I learnt incredibly much from them – I wanted to give something back. The lesson that I learnt from my Bangladeshi friends is that the most sustainable development strategy is to make the best out of existing, locally available and one’s own resources. That is what I tried to translate into architecture. I personally find it much more interesting to be forced to concentrate on very limited material resources and to form the architecture out of the material’s language rather than having a wide choice of unlimited resources. It makes it so much more authentic. IA&B: You have worked with technologies that are fundamental and contextual. Do you find people responding pragmatically to your efforts or do they resist the innovation? AH: Innovation always takes time, but in the end what counts is what makes sense. We have a great learning environment at the site, everyone is learning from each other. We have a lot of mutual trust and that is the basis for a profound learning process.
IA&B: You have been educated in the most formal architecture schools. How did you diversify in thought and in practice to create this incredible niche? AH: At the University of Arts in Linz, we were trained to be useful architects not star architects. But I also didn’t learn about architecture only in school, my time learning from Dipshikha and the people in Bangladesh was as important for me as the formal studies. It taught me about life and that’s what architecture is about. IA&B: When working in a country like Bangladesh, how do you manage to interact with and influence local crafts? AH: The users are part of the building process, that is very important for me. Therefore they understand the concept and are part of it. And I’m not afraid of the creative input of others, it is welcome! The local crafts are a great source of inspiration. I always walk through the villages collecting ideas. For example the verandah of the DESI building is inspired by the local basket weaver. It is just a bigger scale. To me it is very important to bring in a lot of craftsmanship in the buildings. I think you could compare it with giving tenderness to a building. Craftsmanship needs time and passion, yes also love to a material, a product and that is, what makes it precious. IA&B: Your projects are highly acclaimed and appreciated. What lies ahead? AH: Coming March we will build a temporary extension of the Harvard’s Graduate School of Design in Boston with students. The project is called ‘Mud Hall – a different shade of green’. We need a reflection on the common thinking and practice of sustainability in the industrialised countries. It can’t be an exclusive thing, that again only a minority of the worlds population can afford. High-tech is not the only solution and we need to find some global approach for sustainable development that is meaningful and appropriate for the global South and North. And hopefully in future there will be also more projects on the Sub-Indian continent – I love it here!
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LET’S PARTNER Architecture in Public Interest Anna Heringer shares her notions of practice and pragmatism related to grass-roots of innovation in third world economies, beauty and sustainability.
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CURRENT Au courant updates on competitions, news and events.
Chairman: Jasu Shah Publisher: Maulik Jasubhai Chief Executive Officer: Hemant Shetty
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Grassroots The 54 th Annual NASA Convention hosted in Ahmedabad explores the theme
EDITORIAL
Assistant Editors: Maanasi Hattangadi, Ruturaj Parikh Writers: Rashmi Naicker (Online), Sharmila Chakravorty, Shalmali Wagle Design Team: Mansi Chikani, Prasenjit Bhowmick Events Management Team: Abhay Dalvi, Abhijeet Mirashi Subscription Team: Dilip Parab Production Team: V Raj Misquitta (Head), Prakash Nerkar, Arun Madye
‘Celebrating the past while designing and protecting the future’.
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SALES
On the demise of Sharda Dwivedi, architect and conservationist, Brinda Somaya pays homage to a historian, a veteran cultural stalwart and a lady who loved her city.
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In its 13th edition, Young Designers, an initiative by IA&B to promote emerging talent and fresh innovations, through its entries reflects the growing sensibility and sensitivity of the design fraternity.
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A physical manifestation of sensory and experiential exultation, the KalpageResidence at Rajagiriya by Indika and SamanthiSamarasinghetraces the repository of Sri Lanka’s architectural legacy.
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Delhi: Priyaranjan Singh/ Suman Kumar/ Manu Raj Singhal/ Ankit Garg 803, Chiranjeev Tower, No 43, Nehru Place, New Delhi – 110 019 Tel: 011 2623 5332, Fax: 011 2642 7404, E-mail: pr_singh@jasubhai.com, suman_kumar@jasubhai.com, manu_singhal@jasubhai.com, ankit_garg@jasubhai.com
Discipline is a careful curation of an intuitive understanding of the site and a restrained material palette.
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Dialectics of Nature Zynorique, an architectural firm based in Kohima, takes the unique materiality and innovative possibilities of Bamboo as a point of departure to define the fabric of its own office.
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Frozen Music Embodying an engagement with linear designs and an illusion of continuity rooted in
Hyderabad: Sunil Kumar Mobile: 09823410712, E-mail: sunil_kulkarni@jasubhai.com
the ancient concepts of ‘Gurukul’, the Gangubai Hangal Gurukul in Hubli designed by Thirdspace Architecture Studio evolves as an ideal premise for a Hindustani Classical
Kolkata: Kumar Hemant Sinha Mob: 09930336463, E-mail: hemant_sinha@jasubhai.com Pune: Amit Bhalerao/ Sunil Kulkarni Suite 201, White House, 1482, Sadashiv Peth, Tilak Road, Pune 411 030 Tel: 020-24494572, Telefax: 020-24482059, Mob: 09823410712 E-mail: amit_bhalerao@jasubhai.com, sunil_kulkarni@jasubhai.com
Bare & Draped ‘Mana’, a retreat in Ranakpur designed by Delhi-based architectural firm Architecture
Bengaluru: Giri Shekar Mobile: 09600077161, E-mail: giri_shekar@jasubhai.com Chennai / Coimbatore: Giri Shekar “Saena Circle“ No: 31/6, Ist Floor, Duraiswamy Road, T-Nagar, Chennai 600 017 Tel: 91-044-42123936, Mobile: 09600077161, E-mail: giri_shekar@jasubhai.com
ARCHITECTURE Beauty, Beholder & Bawa
Ahmedabad: Samarth Vohra 64/A, Phase I, GIDC Industrial Estate, Vatva, Ahmedabad – 382 445, Tel: 079 2583 1042 Fax: 91-079-25831825, Mob: 09898010142, E-mail: samarth_vohra@jasubhai.com Baroda: Samarth Vohra 202 Concorde Bldg, Above Times of India Office, R C Dutt Road, Alkapuri, Baroda 390 007 Telefax: 91-0265-2337189, Mobile: 09898010142, E-mail: samarth_vohra@jasubhai.com
FOCUS Young Designers 2012
General Manager, Sales: Amit Bhalerao, E-mail: amit_bhalerao@jasubhai.com Prashant Koshti, E-mail: prashant_koshti@jasubhai.com Brand Manager: Sudhanshu Nagar, E-mail: sudhanshu_nagar@jasubhai.com MARKETING TEAM & OFFICES Mumbai Godfrey Lobo/ V Ramdas/ Kumar Hemant Sinha / Viresh Pandey/ Parvez Memon 210, Taj Building, 3rd Floor, Dr. D. N. Road, Fort, Mumbai 400 001, Tel: +91-22- 4213 6400,+ 91 -22-4037 3636, Fax: +91-22-4037 3635 Email: godfrey_lobo@jasubhai.com, v_ramdas@jasubhai.com, hemant_sinha@jasubhai.com, sam_sharma@ jasubhai.com, viresh_pandey@jasubhai.com, parvez_memon@jasubhai.com, shabnam_sharma@jasubhai.com
TRIBUTE Remembering a Warrior
Head Office:
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POST EVENT
music school.
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In Situ The best of local design, an indistinguishable involvement with nature and socio-sustainability – factors that form the framework of Ramgarh Residency Villas by Delhi-based firm Space Matters.
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INTERIOR DESIGN Any Colour You Like The Smokehouse Room; a plush restro-bar designed by a Mumbai-based firm, the Busride, explores the dynamic potential of a stark, white and fluid shell to take on animated ambience through psychedelic projections.
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All Work, All Play Beyond being just a workplace, Tag Worldwide Office, Gurgaon, designed by sensen designs emerges as a light and open space crafting an environ of creativity, efficiency, leisure and fun.
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Renaissance Rendezvous An eclectic mix of opulence, antiquity, vibrance and the aura of Italian Renaissance characterises the spirit of CIBO – Fine Dining Restaurant, Lounge & Bar in New Delhi by 42mm ARCHITECTURE.
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URBAN INTERVENTIONS Anyone in Wonderland? The celebratory vocabulary of ‘Sway ‘D’ induces the vibe of mystery, curiosity and fun in an empty urban space through an experimentative material expression.
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Point of Convergence ‘Green to Blue’, by Sack and Reicher exhibits a playful approach to music and public participation as a composition of nature and technology; all the while underlying a sustainable growth strategy.
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LANDSCAPE DESIGN On Simplism Pune-based architect Shruti Humane applies the principles of showmanship and adaptive reuse by converting a terrace in a residence into a lounge for business dealings.
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SPACE FRAMES Reflections… In this column curated by Dr. Deepak John Mathew, Meehaj Thakkar builds on the perceptions of living environment by exploring our relationship with time, culture
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 at M.B.Graphics, B-28 Shri Ram Industrial Estate, ZG.D.Ambekar Marg, Wadala, Mumbai 400031and Published from Mumbai. JMPL, Taj Building, 3rd Floor, 210, Dr. D. N. Road, Mumbai 400 001. Indian Architect & Builder: (ISSN 0971-5509), RNI No 46976/87, is a JMPL monthly publication. Reproduction in any manner, in whole or part, in English or any other language is strictly prohibited. We welcome articles, but do not accept responsibility for contributions lost in the mail.
and place.
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t, B h at e t a h Aks iplin r t e s y t u re D i s c u o c e: ec I m a g A rc h i t o ve r
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current A Place to Call Home: Where we live and why
Light+Building 2012
Date Venue
Date Venue
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Until April 28, 2012 London, UK
Homes are essential to each one of us. They could be houses, flats, tower blocks or estates, but their importance is just as much as an extension of our everyday lives. They are practical places - buildings for us to eat or sleep in - yet for most, home is the most expensive thing that they ever buy, a complex thing offering a lifetime of investment and preoccupation. On these lines, RIBA’s exhibition ‘A Place to Call Home: Where we love and why’, charts the story of the design and appeal of everyday homes in the UK. It explores the advent of mass building from the late 18 th century, through to the present day via suburban expansion and post-war experiment. It reveals the experiments that have shaped how and where British people live. For further information, log on to: Web: www.architecture.com/WhatsOn/Exhibitions
Frank Lloyd Wright: Organic Architecture for the 21st Century Date Venue
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Until April 29, 2012 Phoenix Art Museum, Phoenix, USA
Frank Lloyd Wright: Organic Architecture for the 21st Century explores the tenets of Wright’s organic architecture, appropriateness to time, place and people, through the current perspective of green building; specifically the concepts of energy, materials, site, climate, space efficiency, pre-fabricated technology, transportation and urban planning. The exhibition highlights many triumphs of Wright’s career including Unity Temple (Oak Park, IL, 1905), Fallingwater (Mill Run, PA, 1936), Johnson Wax Administration Building (Racine, WI, 1936, known today as the SC Johnson Administration Building), Taliesin (Spring Green, WI, 1911-59) and Taliesin West (Scottsdale, AZ, 1937-59). For further information, log on to: Web: www.phxart.org/exhibition
Architecture and Design Film Festival, 2012
EVENTS
Date Venue
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April12-16, 2012 Chicago, USA
: :
April 15-20, 2012 Frankfurt, Germany
One of the worlds biggest trade fair for lighting and building-services technology, Light+Building presents solutions that cut down on the energy consumption of a building while at the same time, increase the comfort level. At Light+Building, everything from LED technology, via photovoltaic and electro-mobility, to intelligent electricity usages with smart metering and smart grids shall be represented. The combination of lighting and networked building-services technology will be a boon for companies that present an integrated spectrum of products and services, making a decisive contribution to exploiting the energy-saving potential of buildings to the full. The most important visitor target groups are architects, interior architects, designers, planners, engineers, artisans, the distributive trades and industry. The main theme at Light+Building 2012 is energy efficiency. For further information, log on to: Web: www.light-building.messefrankfurt.com
Electric Currents, 1900–1940 Date Venue
: :
June 20-22, 2012 New York, USA
MoMA’s latest installation ‘Electric Currents, 1900-1940 focuses on electricity, a source of clean, efficient power and brilliant, reliable light, that epitomised the very spirit of modernism in the early 20th century. Electricity began to transform every aspect of modern life after decades of research and competitive experimentation following the development of the first arc lamps and incandescent filament bulbs in the mid-19th century. Electric light brought a revolutionary innovation to daily existence, literally redefining day and night; first in the city streets and then in homes. This installation features a variety of posters from MoMA’s collection used in this period to promote electricity, which offered astounding possibilities for progress but was not universally accepted. For further information, log on to: Web: www.moma.org/visit/calendar/exhibitions/1261
AIA Expo2012
The annual Architecture and Design Film Festival will be held in Chicago this year. Founders of the film festival have always recognised the strong connection between film and Architecture. Thus, the film festival was conceptualised and identified as an opportunity to educate, entertain and engage all people who are excited about architecture and design, be it professionals from the architecture of design field or the general public who appreciate the aesthetics associated with architecture and design. The festival will return this April with a completely new selection of feature length films, documentaries and short films. Also, there will be lively discussions with filmmakers, architects, designers and other industry leaders on a variety of topics about the design process, architecture in film, and the brilliant designs we see and use every day.
Date Venue
For further information, log on to: Web: www.adfilmfest.com
For further information, log on to: Web: www.convention.aia.org
: :
March 28-September 30, 2012 Washington DC, USA
The American Institute of Architects, AIA, will be hosting the 2012 annual AIA expo in May. The AIA Expo2012 will be a lively showcase of architecture and design products, materials, technologies and services. These shall be introduced and demonstrated by industry experts and vendor. The theme for this year’s Expo is Design Connects, aptly titled since the event aims to be a platform for buyers, sellers, suppliers and customers of architecture and design-related products to meet under the same roof and locate resources that will inform and enable them for their future projects. The AIA Expo2012 will also offer attendees the ability to connect with other attendees in ways that will have a positive impact on their respective businesses.
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current China’s Wang Shu Wins Pritzker 2012 Wang Shu, a 48-year-old architect whose architectural practice is based in Hangzhou, The People’s Republic of China, has been chosen as the 2012 Pritzker Architecture Prize Laureate. The formal ceremony for what has come to be known throughout the world as architecture’s highest honour will be in Beijing on May 25. In announcing the jury’s choice, Thomas J. Pritzker, Chairman of The Hyatt Foundation which sponsors the prize, elaborated, “The fact that an architect from China has been selected by the jury represents a significant step in acknowledging the role that China will play in the development of architectural ideals.” The purpose of the Pritzker Architecture Prize, which was founded in 1979 by the late Jay A. Pritzker and his wife, Cindy, is to honour a living architect annually whose built work demonstrates a combination of those qualities of talent, vision and commitment, which has produced consistent and significant contributions to humanity and the built environment through the art of architecture. As with any great architecture, Wang Shu´s work is able to transcend that debate, producing an architecture that is timeless, deeply rooted in its context and yet universal. In response to being honoured, Wang Shu said, “This is really a big surprise. I am tremendously honoured to receive the Pritzker Architecture Prize. I suddenly realised that I’ve done many things over the last decade. It proves that earnest hard work and persistence lead to positive outcomes.”
BIG Wins Kimball Art Center Competition BIG + Architectural Nexus + Dunn Associates + VBFA + Envision Engineering + Big D have designed the winning proposal for the renovation and expansion of Kimball Art Center in Park City, Utah, which shall be completed by mid-2015. The Kimball Art Center, home to Sundance House during the Annual Sundance Film Festival, invited an international group of architects to submit designs for an interior renovation of the existing Kimball Art Center and the construction of a new building directly adjacent to the original, located centrally in Park City. The winning project, announced by The Wall Street Journal, was selected by an official jury while giving voice to the visitors of the Kimball Art Center. The construction is expected to begin in mid-2013, with completion by 2015. BIG’s design for the new Kimball Art Center, inspired by the urban development of Park City, the Kimball site, and the city’s mining heritage, envisions the building as an anchor for the street life on Main St. and as a gateway and landmark for Park City.
NEWS
Art Chennai to Make Art Reach Out to People Art Chennai 2012 will be launched with the single-minded aim to take art to the people, rather than make them come to galleries. Therefore, photographs on show in railways stations, installations in IT parks and artists creating work in the sand and water at Marina Beach will be important aspects of the Art Chennai 2012. The summit, which will be held from March 11 to 18, is being conducted for the second year in the city. The idea behind Art Chennai is to improve the visibility of visual arts in south India. This year, apart from seminars, art camps, auction and residency programmes, organisers are accepting photographs on city life from amateurs and professionals. These will be judged by a panel of photographers and the works be displayed in six MRTS stations.
CEPT Forms Alumni Body For the first time in the past 50 years, an alumni association has been set up at the Centre for Environmental Planning and Technology (CEPT). The endeavour is a part of CEPT’s Golden Jubilee celebrations. Alumni of School of Architecture, from several batches have joined hands and formed a formal alumni association. The first activity of the association was an exhibition called ‘Wall of Works’ (WOW) on January 26. The exhibition displayed works by around 250 alumni from across the batches. The exhibition also marked the beginning of the golden jubilee celebrations of the school, which was founded on July 24, 1962. Following the exhibition, School of Architecture will be hosting a series of other events throughout the golden jubilee year at its campus. Travelling exhibitions, talks, seminars, faculty felicitation, film screening, garba night, music and lots of other festivities will rock the university’s campus during the year. The golden jubilee celebration will end in December 2012.
ASI to Use Monuments for Cultural Events The Archaeological Survey of India (ASI) is now taking the effort to promote the use of heritage monuments in a positive manner by hosting cultural events at some of these sites. This way, the ASI claims, both the community and the monuments will be benefited. A few of the monuments have hosted school-level events and competitions. The 14 th-century Khirki Mosque, the first to be taken up for such adaptive reuse, hosted an exhibition and a painting contest for schoolchildren recently. With the programme successfully concluding here, the ASI is planning to open the mosque for similar events from now on. Mazar-e-Ghalib in the Nizamuddin Basti too was taken up on a similar initiative by the Aga Khan Trust for Culture and following a massive conservation effort, the site is now used for holding cultural programmes. The Red Fort and Old Fort continue to host sound and light shows and the latter also hosts cultural events. The ASI has also been considering extending the initiative to Tughlaqabad and Adilabad, which went through substantial conservation work during the Commonwealth Games.
Rose Garden to Twinkle by Night The Rose Garden in Chandigarh is set to get a fresh lease of life. The garden is said to be the biggest of its kinds in Asia. As a part of the project “Chandigarh by night” taken up by Chandigarh College of Architecture (CCA) faculty members and students, six bridges located in the garden will soon be illuminated. Aimed at boosting night tourism in the city, this collaborative effort of eight students of Bachelors of Architecture (8 th semester) and CITCO is currently at execution stage. The side of the garden facing Jan Marg will be illuminated the most. The specifications of the project have already been worked out. Tourists at times find it tough to visit prominent places, including the Rose Garden, during late evening hours. Thus, illuminating different corners will make the place more vibrant. While doing so, utmost care will also be taken to preserve the garden’s flora. The illumination is being done in a manner that it does not affect those areas of the garden where clusters of trees or flower-beds are.
42 IA&B - FEB 2012 Students gather together for an insightful seminar.
GRASSROOTS
The 54th Annual NASA Convention hosted between 27th and 30th January 2012 in Ahmedabad brought together students from across the country to respond to its theme of ‘Celebrating the past while designing and protecting the future’.
Images: courtesy NASA
The spirit that is NASA.
1993 Pritzker Laureate Fumihiko Maki at the inauguration.
B.V. Doshi and Christopher Charles Benninger – ‘In Conversation’.
T
he memory of NASA - National Association of Students of Architecture is etched in the mind of every individual who has ever attended it. The energetic fervour of the gathering with its slogans and cheer, flags and drums, bitter sweet interactions and flawless design and documentation sheets is simply unparalleled. Celebrated as a forum to share knowledge, learn and interact, the National Association of Students of Architecture (NASA) was started in 1957 with an aim to bring student architects from all over India together. NASA, with the help of its member colleges, each
post event year, organises multiple events for its various zones and the Annual NASA Convention at the national level. The 54 th Annual NASA Convention was organised by the council, the unit secretaries and the committee members between the 27 th and 30 th of January 2012 at the Gujarat University Ground in Ahmedabad with the theme ‘Celebrating the past while designing and protecting the future’. Owing to its association with the South Asian Association for Regional Cooperation (SAARC) this year, the convention not only brought together students from different parts of the country, but also hosted a delegation of students and academicians from the neighbouring countries of Pakistan and Nepal. The convention was inaugurated by 1993 Pritzker Laureate Fumihiko Maki in the presence of Bijoy Jain, Principal Architect – Studio Mumbai, Mumbai and Nimish Patel, Principal Architect – ABHIKRAM, Ahmedabad. As is the tradition, designs, documentations and proposals of participating colleges were put on display under prestigious trophies which cover various aspects of architecture: NASA Rubens Trophy 2011, NASA UNESCO IHCN Louis I Kahn Trophy 2011, NASA HUDCO Trophy 2011, NASA Nari Gandhi Trophy 2011, NASA G. Sen Trophy 2011, NASA Journalism Trophy, NASA ISOLA Landscape Trophy and NASA ADI Product Design Trophy.
The convention was extremely insightful with regard to its seminars and included a lecture by Fumihiko Maki and by Caroline Bos, Principal Architect, UN Studio, Amsterdam. Another significant highlight was the interactive ‘In Conversation’ session with B.V. Doshi and Christopher Charles Benninger, which revolved around their experiences and struggle with the field of architecture and their unbreakable bond with design. An interactive open-mike session brought to light the inhibitions of the students with regard to the industry and prompted comforting advice from the icons. The workshops on ‘Photography’ by Rahul Gajjar, ‘Stop Motion Photography’ by Kushan Dave and Nouman Malik, ‘Typographical Representation’ by Parth Kaneriya and Charuta Bhatt, ‘Sketching’ by Irfan Tabani, ‘Barrier Free Architecture’ by Anita Narayan, ‘Dance’ by Tarun Barot and ‘Styling and Texture’ by Ken Fernandes were interactive, insightful and enjoyable sessions. The evenings saw energetic live band performances and entertaining cultural routines as the students cheered and danced into the night. It is a delight to note that, over the years, the association has grown such that it not only boasts more than 120 colleges as its members, encompassing almost all the schools of architecture from India, but also
Lecture by Christopher Charles Benninger.
Live band performances and cultural nights.
The participation saw young talent present ideas and concepts for the future with sincere enthusiasm. The jury panel included the likes of Nimish Patel, Anil Laul, Anupama Kundoo, Jagdeep Desai, Darpana Athale, Jaimini Mehta, Punita Mehta, Vikas Dilawari, Bakul Jani, Shalini Mahajan, Milind Telang, Pragnesh Shah and Sushir Telang, amongst others. The convention aims to utilise the ideas that materialise during this conglomeration to provide further assistance to the society in terms of development.
is successful in spreading its aims and objectives abroad. It creates a good platform for intellectual and cultural exchange, for creative minds to work together for the society, to aid the assessment of architectural training at the grassroots and to document the rich heritage and architectural developments in the country. It provides a common point of convergence of work, fun and interaction. NASA is no longer merely an association, but it is the passion that has helped the community of architects and students learn, grow and thrive. NASA is now more of a spirit.
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tribute
Remembering a Warrior On the demise of Sharada Dwivedi, architect and conservationist Brinda Somaya pays tribute to a historian, a veteran cultural stalwart and a lady who loved her city.
I
cannot remember how long I have known Sharada because it feels that she has always been a part of my life. We served for many years, together, on the Mumbai Heritage Conservation Committee, where I saw how devoted she was to ‘Bombay’ as she always called it and how fearless she was to fight for what she believed should be protected. Always there to support anyone who loved our city, I was privileged to have her as my friend. There was never a dull moment with her. She had a great sense of humour and made any topic interesting. “When are we having lunch together?” she would laugh and say when she met me.. “so we can catch up on all the local news”. The city will miss her terribly. She was generous in spirit and also in sharing her knowledge and amazing archival collections with architects, historians,
students and researchers. Whenever she heard I was going to restore a heritage building she would call me to say how glad she was that it was going to be restored and that she would be happy to help in any way she could. Whoever thought that a day would come when Sharada would not be with us. She is always present through the numerous books and publications that she brought out over the years, each one more amazing than the last. She is as permanent as the stone buildings that she helped preserve and whose stories she shared with us. - Brinda Somaya Brinda Somaya directs Somaya and Kalappa Consultants - a highly acclaimed architecture practice based in Mumbai. She is one of the few people who have had the privilege of knowing Sharda Dwivedi closely.
YOUNG
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focus
I
nnovation is often confused with rebellion. It is only incorrectly assumed that, that which sins against the ordinary and boggles the mind is innovative, while the true essence of innovation simply lies in enhancement. The end being one, the approaches may be diverse. IA&B’s Young Designers 2012 demonstrate a fresh and insightful sensibility in their approach to design. Strongly rooted to their basics, innovation as ambitions, they seem to carry with them a rejuvenating breeze of the much-missed sensible architecture. It is pretty simple in the end. If you want to innovate, you simply have to design better. “To provide meaningful architecture is not to parody history, but to articulate it.” The Young Designers 2012 has seen a plethora of exceptional designs, and encompassing them in a single issue has been rather difficult. Owing to this overwhelming response from young, enthused designers, the CITATIONS celebrated this month will be accompanied by COMMENDATIONS in our monthly issues that follow as an extension of ‘Young Designers 2012’.
DESIGNERS ‘12
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Because we’re never going to be as young as we are tonight We’ll let the world know we’re alive!
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ideas to innovate‌designers to deliver
Beauty, Beholder & Bawa Indika and Samanthi Samarasinghe Architects, Sri Lanka
Based in Rajagiriya, Sri Lanka, Indika and Samanthi Samarasinghe Architects believe in thoughtful architecture that bridges nature and culture. With emphasis on the impact on the physical and psychological well being of its user, the design prides on the maximum involvement of clients to reflect their requirements in reality.
Five primary senses govern the nature of human response to experience. The Kalpage Residence at Rajagiriya by Indika and Samanthi Samarasinghe is a testimony to the crucial role that minute sensory detailing can play in defining the popular romanticism of tropical architecture. Text: Shalmali Wagle Images: courtesy Waruna Gomis
A testimony to the Sri Lankan legacy of tropical romanticism.
architecture
“Architecture cannot be totally explained but must be experienced” – Geoffrey Bawa
A solitary off-centred tree forms the focal element in the court.
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rchitecture is an emphatic art, an instigated progeny of the designer’s imagination that propels his mind’s eye to conceive the probable experiences of every occupant who will absorb its surprises in the course of routine living; of every visitor who will embrace it by moving around and through its fabric, and of every inhabitant who will let it govern moods owing to a time it reminisces or a story it reveals. Beauty does not lie in the eye of the beholder. We architects often forget that there is more to architecture than visual dialogue; what we wish to hear – chirping birds, rustling leaves, flowing water, conversation and laughter; what connects spaces to moments and moments to memories - the smell of rain, the dampness of earth, the intoxication of chamomile flowers; what conversation creates the utmost impact - the warm sun rays on a winter morning, fingertips and texture, the wind rushing through one’s hair. We architects often forget that the fusion of nature with architecture can result in unparalleled sensory experiences. But on the small tropical island of Sri Lanka, where colossal talent grows, this idea of architectural stimulus still survives. Here, irrelevant terms like exterior and interior lose all meaning and sensory experience dominates. The country’s architecture breathes in beauty, breathes out Bawa and a modest Kalpage Residence in Rajagiriya by Indika and Samanthi Samarasinghe Architects salutes the Sri Lankan legacy of expressive romanticism.
A grey wall and a solitary blue window.
There is something about traditional architecture that instantly puts one at ease, the humble salutation of a sloping roof, shaded courtyards, delicate carvings on slender timber columns, or the casual laziness of scenic verandahs. The residential neighbourhood of the Madinagoda Road in Rajagiriya boasts of many such intimate traditional homes. Here, nestled covertly behind a high, exposed granite wall, is a 5000sqft introvert residence abutting a marshland. The entrance, flanked with landscaped courts on either side, leads to a single grey wall with a solitary blue window. A single ‘firangi-paani’ tree peeps out bashfully from within. Strategically placed,
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A sensory surprise unveiled.
The traditional courtyard - the water, the sky and the protagonist.
Nature – Tradition – Modernity – Nature, a seamless merger.
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DW2 5'-0"
DW4
DW1
B
20'-0"
+12'-0"
6'-9"
6'-9"
UP
3'-11"
D1
D3
+12'-0"
DW3
10'-9"
14'-11"
11'-2"
+12'-0"
D2
+11'-10"
W7
W6
+11'-8"
8'-4"
OUT
W5
19'-0" W7
A
W6
W6
W4
+0'-2"
W4
W3
D3
DW2 12'-0"
+0'-6"
8'-2"
D6 12'-0"
+0'-6"
D5
W2
D4
D4
4'-0"
FW
4'-3"
14'-7"
12'-0"
+12'-0"
D4
D5
W1
W3
W8
±0'-0"
B
DW1
+0'-6"
28'-6" 18'-6"
W1
±0'-0"
FW
4'-3"
UP
4'-3"
+0'-6"
UP
D12
D8
5'-0"
+11'-10"
D4
W1
18'-7" 4'-3"
14'-0" W8
SLOPE
D1
-2'-6"
G1
-1'-0"
B UP
+1'-6"
18'-9"
DW3
+1'-6"
10'-9"
+1'-6"
15'-5"
+1'-0"
+1'-0"
GD
-1'-6"
23'-11"
D9
8'-9"
4'-9"
12'-0"
8'-3"
6'-0"
19'-0" 3'-6"
W4
W4 8'-2"
+12'-0"
W2
28'-6"
D2 UP
29'-0" 6'-5" 5'-7"
14'-0" 6'-0" 13'-2"
12'-0"
SLOPE
B
35'-11" 5'-7"
18'-7" 8'-8" 14'-0"
7'-0"
First FLoor PLAN
UP
+0'-6"
+1'-0"
W5
D7
W5
W5
D10
D11
19'-9"
A
Ground FLoor PLAN
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+12'-0"
+12'-0"
Verandha
Courtyard
Verandha
+0'-6"
±0'-0"
SECTION THROUGH THE CENTRAL COURTYARD
Maid’s Room
7'-0"
6'-11"
9'-1"
Office
7'-6"
11'-0"
25'-3"
Open to Sky Shower
8'-9"
Bedroom 3
11'-0"
9'-0"
Walk-in Closet
+1'-0"
-0'-2"
+0'-6"
Roof Terrace +22'-6"
10'-0"
Pergolas
Courtyard
Varendah
+1'-6"
+0'-6"
±0'-0"
20'-0"
Living
12'-0"
Dining
8'-2"
10'-10"
Varandah
11'-0"
+12'-0"
21'-11" 10'-11"
Garden
Family Living
Entry
-0'-6" -2'-6"
SECTION SHOWING THE SINGLE LINEAR VISUAL AXIS
the window forms an axis of vision that pierces the built form through and through with visual green, thereby eliminating any distinction between the inside and the outside, between nature and architecture. The freshness of ‘firangi-paani’ draws one in. The water sings rhythmically under the clear blue sky. “Architecture cannot be totally explained but must be experienced”. As one proceeds, a traditional courtyard reveals itself. A solitary off-centred tree stands as the focal element in the courtyard; a proud protagonist on its rippled stage. The surrounding water body respects the deliberate urns and the iron chains sway gently with the breeze in the pebbled courtyard. The soothing sound of flowing water resonates through the whistling wind and the orchestra is complete with the chirping of birds from the sky above, seeping in from between the sloping mangalore-tiled roofs. The axis carries with it a series of mergers, as nature from the entrance merges into the traditional court, which in turn blends into the contemporary living spaces and finally withers out into the verandahs and the marsh beyond. Large sliding French windows visually melt this architectural drama into the arms of nature, almost as if pleasurably surrendering to it. This passive link seamlessly unites the traditional wooden columns and copper gutters with the ultra modern decor of the surrounding rooms under the pretext of nature. Just as the spaces inside the house cluster around the traditional courtyard, the house itself huddles over the marsh ensuring uninterrupted framed vistas. The modern titanium cement floors silently complement the previous comfort
A visual axis pierces the built form eliminating any distinction between the inside and the outside, between nature and architecture.
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The contemporary decor with tastefully selected details.
The traditional verandah and nature beyond.
The orange wall connects to the floor above.
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French windows visually melt the architectural drama into nature.
The living area on the first floor overlooks the marsh on one side and the courtyard on the other.
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The contemporary living room blends effortlesly with the traditional courtyard.
of traditional grey stone flooring and pebbles. While the entertainment and living spaces enjoy nature, the office and service areas face the road, keeping it rooted to reality, for if not, the entirety would be too blatantly dream-like. A bold orange wall guides one along as nature smudges into tradition and modernity and nature again. “Architecture cannot be totally explained but must be experienced”.
Truly, we architects often forget that there is more to architecture than visual dialogue; that architecture, more than anything else, is a complete sensory composition. Motionless and mute, it is a story that should take one instantly back to a moment, or a song, or a person. It is about art and music, perfume and texture. It is about all that and more. It is about experiences. We architects often forget that. Where architecture is concerned, beauty does not lie in the eye of the beholder. Beauty lies in the imagination of the architect.
A single, straight flight of contained steps leads to the floor above. The spaces distributed here are almost meditative, overlooking the marsh on one side and the courtyard on the other. Two bedrooms with a common bath in between, a sprawling family lounge and an elaborate master bedroom suite comprise this portion of the experience. A large walk-in wardrobe leads to a lavish bathroom with an open shower that overlooks a courtyard below and the marsh beyond. The roof terrace with its bar and barbecue gaze dreamily into the surrounding natural setting of the marsh and culminate triumphantly with the sky above. Simple and surreal, the architecture strikes a peaceful chord with the inhabitant, inspiring silence while guiding them through a sensory journey. Conversations stimulated by architecture are common. They revolve around style, layouts, elements and details. They plunge into issues and concerns. They celebrate innovations. Actual beauty, however, is that which inspires silence, that which instills serenity and provokes thought. The residence, with its sensibility to traditional style and contemporary aspirations accompanied with its union with nature, does precisely that.
Nature speaks, but the architecture sings. Beauty lies in the fusion of the two. “Architecture cannot be totally explained but must be experienced”.
Silent and still, the architecture connects with the soul, almost consuming. “Architecture cannot be totally explained but must be experienced”.
FACT FILE: Project Location Architect Client Structural Consultant Contractor
: : : : : :
The Kalpage Residence Rajagiriya, Sri Lanka Indika and Samanthi Samarasinghe Eshani & Praveen Kalpage Ranjith Wijegunasekera Nielan William (Siem Construction)
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Bare & Draped Architecture Discipline, New Delhi Architecture Discipline is a multi-disciplinary practice that engages in architectural dialogue at various scales. The firm works on planning & strategy, tactile details & products, lighting design, furniture, upholstery, installation art beyond architecture etc. The studio has an impressive eye for detail. They believe that ‘Architecture is for people: it communicates through experiences’.
Architecture Discipline, a Delhi-based studio, designs ‘Mana’, a retreat in Ranakpur intuitively assimilating the forces of the context and expressing architecture through restraint and elimination. Text: Ruturaj Parikh Images: courtesy Akshat Bhatt, Architecture Discipline
Cottage wall and extensions of the roof structure – a nice mix of opposites.
The glass box framed by heavy stone walls at the hotel entrance.
Light and shadow play on the rubble wall as a harsh sun filters through a canopy.
architecture
Twin cottages mirrored in plan share a small common OTS while the walls retain privacy.
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Designed and made light fittings illuminate the spaces subtly.
Common areas and waiting lounge in the main block enjoy daylight and natural ambience under a double – layered, latticed glass roof.
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R
ajasthan can almost be a land of hidden heritage. The beauty of the apparently barren landscape, the extremities of climate and the roughness of terrain inspires a ruthlessly rebellious architecture that blends seamlessly with life. This counterpoising of architecture and landscape creates opportunities that would make architecture a point of balance. The site for ‘Mana’ is a linear strip of land that overlooks a seasonal ravine and the re-adapted Haveli in Ranakpur. Not very far from the revered Jain Temples, the context is deciduous, sparse and in a natural enclosure of the hills. One can glimpse the Haveli from the site. The presence of architecture that is instinctively natural yet intuitively radical surprises and intrigues. In the first encounter, the idea of vertical, robust walls in local stone overwhelms the conceptual intent of the design. Slowly though, the details come into focus. The slender steel, the lightweight glass and the visibly minimal objects that complete the vocabulary act as complementary elements to the walls. The opposites of controlled construction in steel and glass to a completely organic arrangement of stone in the walls stabilise the structure giving it integrity and austerity in equal measures. “Architecture comes alive at all scales,” says Akshat. The contrast is intentional and the effect is delightful. At night, when the place is illuminated, the importance of restraint is highlighted as a wealth of carefully selected elements and dedicatedly designed objects reveal themselves. Architecture Discipline designed and made the lighting elements, the furniture of rubber-wood, and an intricate pattern on glass that shields the indoor space from the harsh sun, acting like a mesh that cuts glare.
The softness of wood is balanced by the apparent hardness of steel. The transparency of glass is negated by the heaviness and opacity of stone.
A fine blend of stone, steel, glass and wood – the composition that balances landscape.
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A view from within the cottage at twilight – a simple assortment of intricately designed objects and customised furniture.
A staircase in steel and glass latches to the heavy wall weightlessly.
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Common areas and waiting lounge in the main block enjoy daylight and natural ambience under a double-layered, latticed glass roof.
Changing Room
Rooms
Gaming Zone
Restaurant
Waiting Lounge
Staircase
Reception
Entrance Court
INTERNAL ELEVATION
Entrance Court
EXTERNAL ELEVATION
Reception
Staircase
Elevator
Washroom
Service Core
Kitchen
Rooms
Rooms
Barh Court
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1 2 3 4 5
Conference Hall Reception Corridor Viewing Deck Service Corridor
SECTION THROUGH ATRIUM
1 2 3 4 5 6
Restaurant Buffet Area Kitchen Corridor Room Terrace
SECTION THROUGH ROOMS
The softness of wood is balanced by the apparent hardness of steel. The transparency of glass is negated by the heaviness and opacity of stone. Carefully placed openings distinguish accidental and surprising scenes of the landscape by framing them. The sky is framed by the glass roof. To cut heat, a massive stone wall on the west is introduced as an element. Selected objects of art mark points of interest in the scheme. When the architects say “the walls tower over and the entrance is nestled between two 12m-high walls within a glass cube which feels delicate and fragile”, the intentional juxtaposing of materials, objects and spatial elements is understood. The same juxtaposing is extended to the planning of the site. As the main block with a three-storey hotel occupies the central space, the villas are organised in a separate row. The plantation is controlled but apparently random which adds to the idea of surprise. Vantage points are subtly defined but carefully treated for effect. On a closer and a retrospective observation, one understands that the architecture did not happen by permutations and combinations.
The complete design from planning to completion is a result of intense strategising - starting initial sketches on site to detailed analysis the term involves in; from choosing a material palette to pondering on design of objects and ambiences. Innovations on similar lines are extended to encompass lighting, landscape and furniture. “The daytime temperature of Ranakpur is lower than most of Rajasthan, yet the direct sunlight had to be dealt with. In response to the climate, the entire west facade has thick cavity walls. The sloping roofs posed a greater challenge, to allow a view of the sky through the day yet mitigate heat gain. Perforated film was pasted on multiple layers of glass to create a pattern reminiscent of traditional Jaalis,” says Akshat. A significant innovation in the HVAC system which re-directs the air from an underground network of designed ducts to naturally cool air was an innovation worked upon for three years to substantially reduce air conditioning loads. An apparently simple system, the improvisation becomes a significant detail of the overall design planning. The fresh air system in the public areas use the underground water table as a heat reservoir wherein, a heat exchanger cools
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SITE PLAN 1 Guard Room 2 Drop Off 3 Water Body 4 Entrance 5 Hotel Block Reception 6 Conference Hall 7 Court 8 Service Court 9 Court 10 Barh Court 11 Cottages 12 Activity Court 13 Spa 14 Swimming Pool 15 Parking 16 Driver’s Dorm 17 Service Block 18 Service Yard
SITE PLAN WITH HOTEL AND COTTAGES
SITE SECTION
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The material palette: stone, steel, glass and objects in wood.
air passing through the ducts re-directing cool air to the public areas. The roof acts as a structural system for solar panels. The furniture is simple, modern and the effect of wood humanises the space. These objects are lovingly crafted and one can appreciate the detailing and effort that would have made this possible. Detailing is, on the whole, the strength of design and architecture of Mana. Mana is thus experienced as whole and in parts making each experience complementary to the intended effect. The sum is a very refreshing built environment and architecture that does not impose but impresses through the energy and effort that would have gone in the making.
FACT FILE:
Custom-made piece of furniture in rubber-wood seemingly humanises the spaces.
Crafted with care, the objects complement the obsessively detailed architecture.
Project Location Client Architectural Structural Engineers Electrical Engineers Plumbing Engineers Landscape Design Furniture Design Lighting Design Acoustics Engineering Design Team Project Area Site Area Civil Contractors Carpentry Interiors & Glazing Electrical HVAC Plumbing & Fire Project Estimate Initiation of Project Completion of Project
: : : : : : : : : : : : : : : : : : : : : : :
MANA at Ranakpur Ranakpur, Rajasthan Sheevam Comfort Hotels Architecture Discipline: Project lead: Akshat Bhatt AD Studio: Sneha Gurjar, Nidhi Khosla, Stuti Sahni, Debbayoti Dey Isha Consultants Pvt.Ltd.: Project lead: V.P.Aggarwal Lirio Lopez: Project lead: Linus Lopez Deepak Kumar & Associates: Project lead: Deepak Kumar Plan Loci Architecture Discipline / Manufacturers: Ahuja Furnishers Pvt Ltd Rahul Singh & Akshat Bhatt / Manufacturers: Decon Lighting Viren Bakhshi & Akshat Bhatt Akshat Bhatt, Sneha Gurjar, Nidhi Khosla, Stuti Sahni, Debbayoti Dey 65,000sqft ~ 3 Acres Naveen Construction Co. Dular Chand Essar Glass & Metals Johnsons Engineering Khems Engineers Galaxy Engineers `14.5 crore 2009 2011
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ideas to innovate…designers to deliver
Dialectics of Nature Zynorique, Kohima
In April 2002, ZYNORIQUE (pronounced as zai-no-reek) was started by Architect Richard Belho and Associate Architect Kezhagwetuo (Ato) Peseyie. Apart from their involvement with Bamboo construction from 2004, Zynorique is also appointed as co-opted members for Nagaland Bamboo Development Agency and are actively involved in research & development of various Bamboo Products such as Bamboo Toys, Bamboo Boards etc. At present, it is actively engaged in various Governmental Projects as Architectural Consultant and frequently conducts series of work-activities and training in Partnership with Government of Nagaland with an objective of creating job opportunities amongst the Naga Youth .
The design of Zynorique’s office, an architectural firm based in Kohima, elevates a comfortable contained architecture that is indelibly inscribed by an inherent mark of a subject – the spatial and material qualities of Bamboo that builds the premises of the very architecture that fosters and endorses it. Text: Maanasi Hattangadi Images & Drawings: courtesy Zynorique
The entrance wall uses Bambusa Gigantus for its conception.
architecture Lawn Shelf Work Station
Mezzanine
Entry
Seating
Shelf
Shelf Shelf
Shelf
Kitchen cum Dining Lawn
Toilet Work Station
Shelf Counter top
GROUND FLOOR PLAN
doesn’t come from theory. You don’t think your way through “A rchitecture a building,” said Arthur Erickson. You feel your way through. When the object of contemplation is of your own, the fervour is heightened. The events of our life take on the shape of known narrative structures. We tell stories about ourselves, define experiences, give voice to our feelings and yet, the spaces built around us give away the little that we withhold. We imagine the walls of our own spaces the shadow of our ideals, a cinematic melodrama of the life we live. Ready souvenirs name our sentiments and the meaning of our individualism is conveyed in simple arbitrary ways. In the far east of India, a practice quietly gathers its bearings to activate a new kind of enterprise. Exploring the all-pervading goodness of Bamboo, the unique initiative of Richard Belho and Kezhagwetuo (Ato) Peseyie, Zynorique, encourages and trains skills of permaculture, agroforestry,
FIRST FLOOR PLAN
organic farming to Bamboo crafts, Bamboo constructions etc. amongst the youth of Nagaland to promote employment. To understand the objective, one can look at two parallel threads. In the context of the first thread, they aim for that utopia where a system of forms will grow directly from the youths’ needs and those needs’ interactions with the environment. The inception developed from a method of creation - that of Bamboo objects and construction techniques - already prevalent in the region. The other thread which needed pursuit was to deviate away from the empty set of stylistic patterns that the contemporary architecture of India is falling prey to. What they seek in the vernacular is a form of building without resorting to formal norms; it is more in the terms of materiality. The built environment of any space is made of two principal and complementary elements – the object (the structure) and the user. It
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Spread over two levels, the design forges an intimate bond with nature.
is an exercise both in restraint and excess. It is new yet feels familiar. The architecture does not follow a pre-established language, it is their own, and it is them. The sensitive eclecticism triggers intimations of another style, an idyllic persuasion of another thought on the horizon of contemporary consciousness. There is a changed perception of a subject and its relationship to an architectural object. Like Samuel Butler says, “Every man’s work, whether it be literature or music or pictures or architecture or anything else, is always a portrait of himself ”. For the design of their own office, Zynorique derives an excellent synopsis of their principles. Containing the architecture in a small area of 1200sqft, the architects have designed a Bamboo Lounge that breaks away from the normal advocacies of a design studio. Richard Belho says, “From my experience, architects can be more creative in an unrestrained environment where the ambience reminds them more of nature than of work. Unlike conventional architectural offices that decorate their interiors with architectural forms, models and drawings, we wanted our space to be like an organic green environment which reminds us less of work.” The consciousness of this idea plays into the layout so much that it is almost like an unmediated trace or record of the serene nature, outside albeit using the humble characteristics of Bamboo. The focus is on sensorial and more experiential aspects of Bamboo with the floorings made from the architects’ own customised Bamboo Board and walls from Nagaland Bamboo Resource Centre, Dimapur. The tangibility of each use is significant with regard to the original concept of the design.
“From my experience, architects can be more creative in an unrestrained environment where the ambience reminds them more of nature than of work.” - Richard Belho, Zynorique
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The ground floor comprises of the workspace and toilets while the upper floor constitutes of the library, kitchen and dining.
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Mezzanine
Work Station
Section
On approach, the eye is presented with multiple options in practice – colours of Bamboo contrasting gently, the plants infusing the calm in the silence of the surrounding and the automatic connection to a rough-hewn Bamboo door beckoning inside. The proportions shift away from ideal geometries to create a continual changing passage of sensation. The use of Bambusa Gigantus greets the visitor as an initial encounter. Light slants in from the walls of the two-storeyed structure onto the ground, playing within its bobbing patterns. Once inside, the scale of visibility grows; peeping through the flowing sequence of spaces that are subdivisible through partitions. It continues in an incremental way where the ground floor comprises of the workspace and toilets and ascends to the first floor to accommodate the library, kitchen and dining areas. The architectural intentions are various and multifold. Each fragment is thought of as to fit in the possible whole. The designers describe their efforts saying, “We replaced our old computers with Dell Inspiron One 2310 which eliminated the space for CPU and also reduced the working table
height to 2’-2” so that the key board can be placed with the keyboard tray. This enabled us to have two computers back to back within 20”. Moreover, the organic form of the table gave the user freedom to sit anywhere and in multiple orientations. This was an intentional attempt to create a natural seating arrangement.” One sees objects and spaces closer to the sources of nature, to that of comfort and the same sensitivity. The representation of each detail exists in the same continuum. It has a deliberate pragmatic cast that fundamentally moves with the design. The streaks of warmth filter the view and the office is progressively revealed. The parti is simple and based on the application of material. Scale is a matter of perception. The main structural work was executed in treated Bambusa Balcoa. The dialectical idea of bamboo is also extended to use of Dendrocalamus Strictus for the ceiling. Offering a generous suite of insulation and acoustic control, multiple orientations of paper egg crates treated with boric acid were used as ceiling infill set against a Bamboo weave. The articulation of time taken for the total construction lasted for an approximate timeframe of six months.
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Inspite of the functionality, the space exudes the feel of a Bamboo lounge.
The planning is open and sequential, visually separated by partitions.
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At its barest and truest to its natural existence, the architecture is receptive to its surroundings and refines a comfortable working environment.
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The visual connect between the two stories is rendered through double-heighted spaces.
The entire dressing of Bamboo anticipates the scale of the site. The designer was able to construct an architectural metaphor of the connection between an idealised order of architecture and the order of a material subject to different sensations – visual and experiential, both. These components of circulation follow the logic of free planning and are distinct from the regular structure of architecture. Not only is it lightweight and flexible, but also adds to the green credentials in its truest form. Upholding both preservation and innovation, the art of using Bamboo is of weaving domestic tradition to define design. The aesthetic overall also attaches its own relationship to that notion. The architecture is a spontaneous process and receptive to the surroundings – exploratory not only in its being as it is, but even as it could be. The classic vocation of “green gold” is deftly handled in scale, location and adaptability. It is a manifesto of the studio’s beliefs; of architecture stripped to its barest and the manifest truth of Bamboo – resulting into the musical order of space.
FACT FILE:
The entire dressing of bamboo anticipates the scale of the site.
Project Location Design Team
: : :
Construction Team
:
Cost of Construction
:
Zynorique’s Office Kohima Richard Belho, Kezhagwetuo, Keneilhusa, Noto and Neibodzelie Alibo, Neiketu, Sikho, Rokosielie, Lelen, Achan, Kiusang, Sunup, Mughato and Bamboo Team `15 lakhs approx.
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ideas to innovate‌designers to deliver
Frozen Music
Thirdspace Architecture Studio, Belgaum Based in Belgaum, Praveen S. Bavadekar’s Thirdspace Architecture Studio constantly aspires to innovate, while maintaining a sense of continuity between projects, conceptually as well as through strategies; a consistent progression of ideas and strategies that are deployed across a range of scales and different typologies.
Designed by Thirdspace Architecture Studio, the Gangubai Hangal Gurukul in Hubli is an interesting architectural premise for a Hindustani Classical music school, engaging with linear designs and the illusion of continuity. Text: Sharmila Chakravorty Images: Rahul Deshpande; courtesy Thirdspace Architecture Studio
Sloping lawns, continous walls and interlocking roofs dominate the site.
architecture
The design has been based upon a water channel that flows through the site, roughly dividing it.
I
s it possible to draw some sort of a parallel between music and architecture? Going by the aphorism ‘Architecture is Frozen Music’ by Frank Lloyd Wright, there seems to be a deeply intertwined relationship between both the art forms. Both art forms share the concepts of harmony, rhythm, structure, texture, theme and variations, form, symmetry etc. even if in independent contexts. However, if one was to really create architecture for music, what would it look like? This was probably what the architects at the Thirdspace Architecture Studio must have pondered upon while designing the Gangubai Hangal Gurukul, Hubli. And clearly, they have the answer, in the form of the 5-acre Hindustani Classical music school that they have managed to create. Located in the picturesque Unakal village in Hubli, the Gangubai Hangal Gurukul’s site is perfectly distant from the deafening chaos of city life. The fairly flat site located amidst the scenic, exquisite greens overlooking the Nrupatunga Betta is perhaps the most ideal location for a music school which aspires to impart education by means of a rather traditional method - the ‘Guru-Shishya Parampara’. This parampara, or tradition, forms the very soul of the oral musical tradition in India, laying utmost importance on the learning and living relationship between the master and the pupil. The tradition calls for complete surrender - emotional, intellectual and spiritual - towards the Guru. The design is distinctive in its approach and aesthetics, while being contemporary and sensitive to the pristine setting it belongs to.
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The design is anything but rigid, adjusting and adapting to how one intends to use it; the sloping roof becomes a raised riyaz garden, when required.
FUTURE EXPANSION
SITE PLAN
View of the Gangubai Hangal Gurukul.
1 2 3 4 5 6 7
Guru House Riyaz Platform Student House Faculty House Guest House Parking Oat
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3D image showing the lyrical movement in the design.
The more or less squarish site is roughly divided by a water channel, which the architects have used to their advantage; resourcefully locating the Gurukul on one side of the conduit and the other utility and facility buildings on the other. This water channel has also been remodelled as a visually aesthetic water body, collecting rainwater and creating a pleasant micro-climate for the school. Placing the Gurukul on the other side of the conduit also cuts out unwanted noise from the adjacent road on the western side and nearby rail line towards the southern side of the site, radiating a sense of tranquillity and calm. The design for the Gurukul seems to draw inspiration from a mat, with strands of cloth interwoven with each other; the architects’ engagement with linear designs. In a strikingly similar fashion, one can see the design interweaving communal spaces, student and teacher housing spaces as well as the riyaz areas; the school has six Gurukuls arranged north-south, with communal spaces and academic facilities integrated east-west. It evolves to adapt to the requirements of the school, providing demarcated areas for riyaz, student-teacher interaction as well as solitude. Thus, the site becomes a traditionally rooted Gurukul when one perceives it in a north-south axial context, whereas it is a modern musical institution when read east to west. Up until this point, the architecture and the design might seem to be usual; nothing out of the ordinary. However, the placement of the design on the site is what makes the architecture stunningly unique. The architects have played with the element of depth to create a rather interesting pattern that dips into the earth and rises up again, creating plush turfs that reach up to the roofs. Lawns between the student and Guru houses rise up into the inclined roofs, generating a fascinating assortment of roof and ground lines. The rooflines of the Guru housing units merge into the landscape, making the design rise and fall like a wave; echoing the lyrical and musical nature of education that is imparted at the school. The design creates an illusion of continuity with its interlocking roofs and lawn-roof mergers. The architects have designed a typical Gurukul block to include housing for the Guru, the students, a communal area and a riyaz garden. Within a Gurukul, the housing blocks for the Gurus are located up north, whereas the student housing facilities are placed at the southern end of the site. The modest student accommodation houses about six pupils, with riyaz
gardens scattered in close vicinity. From the student housing area, one can see grass-dotted pathways lead up to the lawns, which innovatively slope upwards to reach the roofs of the Guru’s residence; like a continuous walkway with different textures. The pathway, laid with porous pavers, is a pleasant green and brown mosaic that seems to transform into a lush green gradient, sharply contrasting with the deep reddish-brown hues of the terracotta roofs of the Gurus’ residence. From here, one can see the colourful yet harmoniously peaceful scheme of structures and textures projecting a serene aura, apt for the music school. On the other hand, houses for the Gurus open into the faculty street, which forms the faculty communal space. There is visibly less lawn space in the faculty communal area as compared to the one for students, perhaps because the students would use green spaces as riyaz gardens more often than the Gurus. The roofs of the Guru housing quarters interlock with each other, breaking the monotony with flat, white roofs at regular, rhythmic intervals. Continuous walls from north to south distinguish each of the six Gurukuls, each one symbolising a ‘gharana’ of Hindustani Classical music. These walls act as a shading mechanism for the spaces arranged east-west, while
The site becomes a traditionally rooted Gurukul when one perceives it in a north-south axial context, whereas it is a modern musical institution when read east to west.
View of the courtyard in the accomodation for the Gurus.
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The interlocking roofs of the Gurus’ houses.
The students’ accomodation overlooking the riyaz gardens.
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Guru Houses
Riyaz Gardens
Student Houses
Water Ponds
Guest Houses
Faculty Street
Guru Houses
Riyaz Spaces
PLAN FOR AN INDIVIDUAL GURUKUL
Student Houses SECTION
The pathway, with porous concrete pavers, leading up to the Guru’s accomodation.
also channelling winds; controlling the micro-climate in the process. Furthermore, portions cut out from these walls project a pleasant display of light and shade, changing positions as the sun moves. The six Gurukuls, located parallel to each other create visual interest with their sloping lawns amalgamating with the roofs, creating raised lawns for students to practice their art. Visually, parallel walls of varying heights, sloping lawns, grass-speckled pathways, and inclined, interlocking terracotta roofs define and dominate the campus; mostly following a pastel theme in terms of colour. The terracotta roofs help in keeping the interiors comfortable enough to be independent of air-conditioning, making the school energy efficient too. Similarly, the water bodies scattered around
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GURUKUL STREET Open Court Living Bedroom Dining
Toilet
Open Court
Bedroom
Utility Utility
GURU’S ACCOMODATION PLAN
Sloping lawns that reach up to the roofs of the houses for Gurus.
the site, in addition to the central water conduit, grassy lawns etc. create a satisfying ambience and micro-atmosphere; apt for the perusal of a creative quest for musical excellence. Beyond the Gurukuls are the faculty housing areas and the guest house, similar in design and construction like the rest of the buildings on site. One would think only 36 students being accommodated in a premise as vast as this makes the school a rather exclusive, reclusive club; or even wastage of space. However, the design of the school gives its students the kind of spatial freedom that such a creative pursuit would require. The vast and uncluttered design also presents the perfect ambience for better concentration during riyaz. Similarly, the design is anything but rigid, adjusting and adapting to how one intends to use it; the sloping lawn becomes a raised riyaz platform, when required. This flexible aspect of the design seems to mirror the traditional Guru-Shishya mode of education, which has no set, rigid curriculum. The design provides ample spaces for interaction between the students and the teachers, providing opportunities for the students to imbibe values and precious knowledge by spending
The sloping lawn makes for a spontaneous riyaz platform.
time with their Gurus; learning the nuances of life, and of music under their sought-after tutelage. As per the client’s brief, the architects were expected to create a Gurukul campus where Gurus would impart Hindustani Classical music training to their students in a traditional manner. The campus was expected to be an idyllic setting where students could immerse themselves in music with augmented passion, without resembling a ‘college’ where one could walk away with a degree without having absorbed the intended knowledge. The Gangubai Hangal Gurukul is all that and more. All in all, it is a modest arrangement of thoughtfully designed structures and landscapes for an
For a school this unique, the design is delightfully simply; the architecture takes the backseat, letting the unique concept draw applaud and admiration.
81 unusual concept of a school in this day and age. It is the only school in India that exploits the traditional Guru-Shishya parampara, and for a school this unique, the design is delightfully simply; the architecture takes the backseat, letting the unique concept draw applaud and admiration. The architects’ usage of ample landscaping and efficient materials, and a detailed understanding of the psyche and requirements of the users of the structures have clearly resulted into architecture that is striking, simple and remarkably functional.
The grass-speckled pathway leading up to the stairs to the students’ accomodation.
Entrance to the guest house.
FACT FILE: Project Location Architect Design Team
Textured walls of the guest house.
Client Structural Landscape and PHE Electrical Area Built-up Area Project Completion
: : : : : : : : : : :
The Gangubai Hangal Gurukul Hubli Thirdspace Architecture Studio Praveen B, Pankaj C, SatishS, Rajeshwari R, Mrudhula K, Kartik, Venkatesh A Gangubai Hangal Gurukula trust, Dharwad Dileep Kulkarni and Associates, Belgaum Thirdspace Architecture Studio Unique Consultants, Belgaum 5 acres 40,000sqft March 2011
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In Situ
Space Matters, New Delhi After graduating from School of Planning and Architecture, Delhi, Amritha Ballal, Moulshri Joshi and Suditya Sinha established Space Matters in 2005 as a multi-disciplinary and collaborative design practice. Part of a generation that witnessed the shifts brought about after India’s entry into the global economy, their work thrives in the challenges of this global-local zietgiest intersecting architecture, urbanism, landscape, art and technology across scales and contexts with a stress on collaborative, research-based interventions. Winning international acclaim and awards, the key projects of the firm include the Bhopal Gas Tragedy Memorial in Bhopal, the integrated development plan for an urban village in Delhi, participatory planning for heritage precincts in Goa and Jaipur and urban infrastructure upgradation in the mountain town of Almora.
Two encounters, one of context, one of space caught between two landscape adjacencies – of culture and place; Ramgarh Residency Villas by Space Matters, an architectural firm based in Delhi, sets up a gentle mediation to all the elements in one frame. Text: Maanasi Hattangadi Images: ©Sanjeet Wahi; courtesy Space Matters Drawings: courtesy Space Matters
The design of each unit is sculpted in the slope of the terrain itself.
A linear winding staircase leads unto each villa, following the 60° inclination of the site.
architecture
On Poetics of Space “To express is to drive. And when you want to give something presence, you have to consult nature. And there is where Design comes in.” - Louis I Kahn
F
or those who have gotten accustomed to the burgeoning cities of India, a sleepy little town of Ramgarh settled in the hills of Uttarakhand can only mean luxury of space. But for Delhi-based architectural firm Space Matters, it meant an effort to put across a kind of simple beauty that lies to it. The architects had the chance to experiment with an unexpected but narrow strip of land overlooking a deep valley; the objective to build a stunning living experience in a series of private villas nestled in the greens of the surrounding.
The most potent form of expression of the built is when it embraces its site physically and in consequence. When it becomes the agenda rather than a bonus, the outcome is what Ramgarh Residency Villas has turned out to be – a composition of authentic structures rooted to their location. It is about architecture which episodically basis itself around traditional and modernist attitudes, shaped, co-mingled and reshaped to refine a new language of its own. On Continuity “The way of architecture is the quiet voice that underlies it and has guided it from the beginning.” - Arthur Erickson Hilly regions have a very rare attribute - a commanding and even, at times, a monumental presence. Set in a wide, tree-lined part of such an area, this
Situated in the hills of Ramgarh in Uttarakhand, the project is a composition of six villas across a site of one acre.
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“We responded to the challenge by creating a footprint that would be least intrusive to the surroundings reinterpreting the form and material which built on the organic and traditional buildings of the region with the use of contemporary technology and sensibility.�
Overall view of one villa.
SITE PLAN
PLANS
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Each built expression is effortlessly natural and responsive to the context.
Instead of a monolithic construct, the design is an assembly of spaces.
Locally available materials like stone dug from the site and pine wood from the region are used to compose the materiality.
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The layered approach of the design allows for a series of terraces overlooking the panoramic scenery.
rambling site of one acre enfolds Ramgarh Residency Villas, visually leaving behind little of its existence. The project, designed in the depths of the steep gradient was tailor-made to the clients’ aspirations of holiday homes for clients who are based in Delhi and as an alternative to offer a guest house on rent when not in use. Away from the main town, the orientation of the site is northwest facing, lending a depth that is independent of the southern sun. The arrival is marked by a winding ramped-down route angled at 60° that connects to the entire depth of the site – an analogy of the contours that shape the geology of the region. The complex landscape was both the inspiration for the design as well as a contributing aspect of the minimal impact of the footprint. Although, the lesser usage of area can be narrowed down to the
The simplicity emerges from tactile and textural detailing used in some parts of the expanse.
The layout pauses in between volumes to frame the vistas outside.
hilly terrain fraught with challenges for an architectural execution, the design integrates a lazy sprawl of six villas ascending the slope; albeit built on an intimate scale. “The site itself,” the designers say, “was the key determinant for the placing of the units as well as form of individual units. The steep site was mapped for areas where the gradient provided enough relatively flat areas which could provide proper footing to anchor the units with minimum excavations.” The extent of the visual connect is cavernous in the sense that a layered approach was realised in sync with the terraced nature of the site. As one moves forward, one may get accustomed to the undisturbed rhythms of the place. Branches of fruit trees compose the complete picture of the ambience. Each unit, with a minimal footprint of 1750sqft, catches glimpses
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A courtyard, sculpted amidst the assemblage of volumes in the villa, enhances the ease of circulation.
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Nestled in the hilly surface, each house comprises of earth-sheltered terraces and roofs.
of each other and themselves in pursuit of the slope where it adapts as per the rise of the ground and the structure – “…partly sitting on the slope, partly inserted within the slope and partly jutting out of the slope, seemingly suspended above the valley…”. The architecture reads as a geometric interpretation of the traditional settlements of the hills found in the detailing of the materials and basic form. In a move that justifiably retains the natural resources, materiality and social order of the prototypical buildings in the hills, Ramgarh Residency Villas asserts its presence as a congruous personality to the humble constructions in the context. The volumes are linked by a unique concepts, “We responded to the challenge by creating a footprint that would least be intrusive to the surroundings reinterpreting the form and material which built on the organic and traditional buildings of the region with the use of contemporary technology and sensibility,” as stated by the designers. When there is a design consciousness, simplicity can inspire wonders. The indigenous thought of carving into the earth not only affords a diaphanous edge to the interiors by framing panoramic views of the valley below but also awakens an understanding of the local ecological preservation. The thought is ineffable; the realisation much more formal. A lined route amidst the flowering plum, apple and peach trees leads to the bit of space that hangs in the earth and sky both. In each villa, the specified
Classic colours and warm wooden elements enliven the modest interiors.
elements of design complement the comforting quality of nature. Earthy tones have been chosen and the surrounding echoes in the detailing itself. The layers slowly emerge and they transcend in materiality, from the roofs, to the stone walls and to the earth. The villa has been sculpted to choreograph views from within and to bring the landscape into the heart of the structure. Silently and stolidly, the surrounding wraps itself gently around the functions so that it forms individual private gardens and earth-sheltered roofs in the structure. A lot has been demanded of the site, and the interiors also recall the memory of the outside. The walls seem to attain the texture of the locale at some places and otherwise, seek a shifting vocation of colours. The plan ambles along meandering staircases, a series of terrace gardens and private courtyards, all the while as a continuous coextensive of the outside. Light washes in the cool spaciousness through designed skylights. The domical language of the roof is robust in a traditional wood and galvanised iron covering as a protection against snow loads - the focal points cognizant in the metallic glint. It also addresses social sustainability by employing local carpenters to ingrain local motifs to the rafters. The striking thought put in the roof that stands out is the designers’ belief that the ‘roof form retained slopes from the functional aspects but a play of forms again created an appearance of organic ‘incrementality’ rather a singular dominating form.’ An element of unpredictability that each site offers gives the buildings freshness, spontaneity and a possibility for new ideas. The combining of natural scales and materials create the informal character of the space. The restrained material palette is enlivened with the stark detailing evolved
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The roof is conceived as a traditional wooden and galvanised iron covering.
from the stone dug from the site, locally available pine wood and strategic manipulation of glass for visual connectivity to the panoramic views of the valley and the internal intermediary levels. The intuitive understanding of the site led to an apt placement of units aligning to its natural gradient. At the same time, the construction was carefully engineered to minimise intrusion wherein foundations were isolated footings and random rubble stone walls offered stabilisation. In this translation of the site, achieving sustainability arrive from the rethinking of resources like preserving the tree cover and solar passive design elements. Boundaries dissolve; at one part, the earth shelter renders a moderate temperature throughout the year and on the other hand, the rooms directly establish a relationship with the valley and the sun. The diverse reality of the environment is discovered inside the building and the various forces at work serve as a window to sustainability. In its mellow quality lies the same serenity that can be found in nature. On the Epoch & Expression “And in architecture the experience comes first. That has the deepest effect on us.” - Thom Mayne Of individual buildings, some are more expressive and some are more experiential or dynamic. Each building is fixed in a moment. All those moments read together take on the narrative of architecture. This project
Warm sunlight dapples in through the huge openings offering a visual connect outside.
doesn’t tell one story but becomes a part of the unfolding of several. Architecture, here, encounters every plane of the earth in an unexpected way. Effortlessly, it drifts into naturalness in a continuous and measured manner. Extending the fragile metaphorical notions, it speaks unsentimentally of the latent spirit of vernacular dwellings of the region. The architecture is equivocal ininvestigation of form and material – the duality responding to both built and unbuilt scape. It captures an essence of intrigue and the slow reinvention of the context on a small scale; the kind of pragmatism where a built expression can actually write a piece of the story of the site that it celebrates.
FACT FILE: Project : Location : Architect : Client : Area : Scope : Completion of Project :
Ramgarh Residency Villas Ramgarh, Uttarakhand Space Matters Rohit Sethi and Nischint Chawla 6 villas, 1750sqft on 1 acre site Master Plan, Architecture, Interior and Landscape Design, Project Management Phase 1 of two villas complete
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ideas to innovate‌designers to deliver
Any Colour you Like The Busride Design Studio, Mumbai The Busride Design Studio is a team of young, multi-disciplinary designers who work on everything from graphics to architecture to materials to products. Operating from their Mumbai studio, they have designed architectural and interior environments that include competitions, corporate and retail experiences as well as intricately detailed products. They have also created interesting atmospheres and ambiences through lighting and graphical content.
The Smokehouse Room, a plush restro-bar in New Delhi designed by a Mumbai-based firm, The Busride, attempts to invigorate senses through a psychedelic mix of white and colour, all the while hovering over a historic landscape like a silent spaceship. Text: Ruturaj Parikh Images: courtesy The Busride Design Studio
A seemingly neutral ambience takes a very different form once light is washed on it.
O
verlooking the historic Qutub Heritage Precinct, the 12,000sqft space of the Smokehouse Room is carved in a matrix of white, organic forms. The strikingly white space of the room forms within a stark shell. For the first time, the experience is similar to one of the star-trek ensembles. The fluid forms of objects, the whiteness of the walls, and the lack of angles and the sculptural nature of the cellular lounges feel quite saint-like and pristine. Till of course, the music plays.
Overlooking the green heritage precinct, the restro-bar hovers like a spaceship with a spectacular view.
The Qutub Minar rises from a dense, green landscape of the historic estate. Many significant views of the precinct are framed by the organic openings along the façade. The seating, carved in white, is designed to expose these views. The pieces of furniture, also in white are moulded and designed to add to the overall theme. A seemingly neutral ambience takes a very different form once light is washed on it. The various textures and material finishes take the colour of the light, transforming the place
interiors
The Qutub Minar is seen from a frame in the Smokehouse Room – a private niche is formed to create an organic enclosure.
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PLAN
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The green contrasts starkly with the saintly white of the interiors.
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ELEVATIONS – VIP LOUNGES
White surfaces take colour from the ambient lighting slowly transforming into a vivacious lilac – the ambience keeps on changing.
Psychedelic projections and colours transform the white, neutral space.
An eccentric extension of the space, the floor, the wall and the ceiling dissolve into one smooth, white, multi-dimensional surface that accommodates many functions.
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into a psychedelic, alternate space to be experienced with music and alcohol. The forms reflect the colours of light in a fluid, seamless, velvety space, virtually changing the entire experience. “The Cocktail bar introduces schizophrenia into the offering, being a pristine white space in the day, and becoming an intensely coloured, constantly changing environment by night,” say the architects. An audio-visual indulgence, the objects within the space extend the realm of the experience to each detail that meets the eye – the chair, the screen, the spoon and the plate, etc.
The lounge at night – an immersive mix of audio-visual attires.
An eccentric extension of the space, the floor, the wall and the ceiling dissolve into one smooth, white, multi-dimensional surface that accommodates many functions. These surfaces form an inhabitable screen where projected images float and colours drape. Niches are formed to create semi-private spaces. The Smokehouse Room is a Technicolor space created for an immersive, ever-changing experience. The idea of a neutral space which forms a backdrop for an ambient, energetic atmosphere inspires a trans-generic experience. Design devotes a significant attention to the detail, while the spirit of ‘eccentricities’ is upheld and pampered.
A cellular projection point – light filters and forms a cell-like point and forms patterns in moving colours; an ever-changing atmosphere.
FACT FILE: Project Location Architects Design Team Client Project Area Contractor
: : : : : : :
Smokehouse Room (SHROOM) New Delhi The Busride Design Studio Ayaz Basrai, Zameer Basrai, Ipsit Patel, Farzin Adenwalla Impresario (Riyaaz Amlani) 18,000sqft Evam contractors (Vijay Madaan)
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All work, All play
Rahul Sen, New Delhi
Based in Delhi, Rahul Sen engages in comprehensive architecture and interior design projects. The design approach grows naturally from a quest of ideas and answers, evolving from the rigorous enquiry into the particulars of location and programme; devoid of a rigid ‘signature’ style.
Delhi-based Rahul Sen creates an interesting workspace for Tag Worldwide office, Gurgaon, making the interiors conducive to creativity, efficiency work, leisure and fun, all in one go. Text: Sharmila Chakravorty Images: courtesy Rahul Sen
D
esigning the interior space for an organisation that enables global giants create and reinforce their brand value and equity is something that requires more than just a keen eye for aesthetics and positioning of office furniture and utilities. Making interior spaces come alive enough to speak volumes of what the organisation is all about requires a thorough understanding of the organisation, its values, goals, vision, work culture, employee dynamics, the way the space would be utilised etc. and using these attributes as pointers while conceptualising the design. The office for the Indian arm of Tag Worldwide in Gurgaon is one such experiment, with the architects designing the interiors for the international advertising agency to be as user-friendly and interactive as possible, retaining and highlighting all aspects of the brand ‘Tag’ while doing so. Walking through the passageway to the office, one is greeted by white walls with a massive image of the Tag: brand name on it in a rather dull shade of grey; a subtle yet effective means of introduction to the organisation. Beyond the glass doors of Tag, one can see the helpdesk; the first point of contact with the office ahead of it. The helpdesk is a striking mix of bright yellow and white, with a quirky ‘hi!’ on the yellow raised portion, taking off from the traditional ‘helpdesk’ notifications that are usually used. Apart from adding a cool and funky feel to the usually drab waiting area, the ‘hi!’ also adds an element of excitement and anticipation to what lies beyond this point. The lack of partitions also creates visual interest in the space, as one can see the workspaces that lie ahead; a glimpse into the way people work and interact on an everyday basis. Past the reception, the office opens out into a huge 3000sqft space; the sense of enormity is emphasised and reinstated by
the sheer lack of floor-to-ceiling partitions. The space is separated and demarcated mostly by glass partitions for meeting and conference rooms. Similarly, customised storage units that double as partitions make the space functional and adaptable as per requirements of the office. To the right of the glass-walled conference room, behind the reception area, lie the workspaces which are clearly devoid of any hierarchical separation and placement. The open workspace plan seems perfect for an advertising agency as it facilitates easier communication between the various employees and teams working on various projects, while also emphasising on the element of spaciousness. Beyond the workspaces, on the right, lies the employee lounge; a new trend in creative workplaces that employ an informal approach to work. On the other side of the reception, towards the left, lies the second lounge as well as the Tag bar. The bar has wooden tables and bar stools, akin to regular lounge bars, where employees deliberate on ideas and strategies over drinks; hardly something a traditional organisation would have. The director’s cabin separates the lounge area and the conference room, with the projection wall acting as a visual barrier. These cabins metaphorically separate the formal and the informal spaces within the office. The interior design focuses on employee comfort to a great extend, making available the best of facilities for both work and leisure. The brand’s colour yellow is liberally used across the entire office space to maintain continuity. The space has been designed efficiently using modular elements which can be altered and utilised to make it flexible. The visual connect to the outside is maintain with large windows on the east side, also letting in sunlight to use as much natural lights as possible, increasing efficiency.
interiors Apart from adding a cool and funky feel to the usually drab waiting area, the ‘hi!’ also adds an element of excitement and anticipation to what lies beyond this point.
The yellow colour distinctively visible from the entrance emphasises the brand ‘Tag’.
The quirky ‘Hi!’ on the helpdesk gives the waiting area an interesting and exciting feel.
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1 2 3 4 5 6 7 8 9 10 11 12
LAYOUT OF THE TAG OFFICE
Entry Passage Reception Director’s Room Conference Room Meeting Room Workstation Lounge Tag Bar Pantry Toilets Server Room Mural Wall
Plan@ LVL B
Plan@ LVL C Plan@ LVL A Toughened Glass with Patch Fittings
Toughened Glass with Patch Fittings
DETAIL
Shutter
1.5” THK Board with Rounded Edge and Oak Finish
SECTION D
Adjustable Shelves
Shutter Shutter
Toughened Glass with Patch Fittings
Toughened Glass with Patch Fittings
TV Niche withe Duco Paint Finish
Recessed Skirting white Duco Paint Finish
SECTION E
Clocks set within murals are a brilliant way to integrate the Indian office within Tag’s international business context, while being extremely interesting and intelligent.
Bright yellow colour is used generously throughout the office to connect the it to the Tag brand.
One of the most innovative and creative aspects of the office design is the rather quirky wall mural painted across the entirety of the west walls. Fascinating handmade-style murals of all the time zones and countries where Tag has its offices in adorn the plain walls, distinctively making them stand out as a central attraction piece in the vast office space. Also, wall clocks showing times in various countries are ingeniously positioned within the murals, which probably come in handy to arrange conference calls etc. while also adding a fun element to the otherwise clean, white walls. Clocks set within the murals, for instance the clock showing Greenwich Mean Time set within a painting of the clock tower of the Palace of Westminster or the local time for Germany on a car wash signboard, are a brilliant way to integrate the Indian office within Tag’s international business context, while being extremely fascinating and intelligent; “giving the India office a sense of belonging to larger
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Toughened Glass
Plan@ LVL C
Storage
Niche Plan@ LVL A
Niche
Corner Window
Plan@ LVL B
Toughened Glass with Rounded Edge and Finish Toughened Glass Door with Patch Fittings
Customised storage units and sound-proof glass walls are the only partitions within the office space.
Niche with Tag Yellow Colour Glass Toughened Glass Door with Patch Fittings
Niche with Tag Yellow Colour
ELEVATION G
White Duco Paint Finish
Niche withe Duco Paint Finish
ELEVATION F
SECTION D
Storage
Glass Shutter
Niche
Niche withe Duco Paint Finish
White Duco Paint Finish
Niche
Glass
Tag Yellow Colour
1.5” THK Board with Rounded Edge and Oak Finish
Glass Shutter
SECTION E
DETAIL
The open, clutter-free workspace of the Tag office.
global Tag community”, as put by the architects. The murals are definitely the most conspicuous design feature the architects have used to focus attention on something fundamentally functional to the ad agency, rather than plainly for aesthetic reasons. The interior design is very minimalist, reducing clutter and offering a truly open space for employees. The architects believe that the “deliberate minimalism allows for a blank canvas for imaginative thoughts to fill the space”. As with most advertising agencies, Tag does not follow a hierarchical structure, and this is made evident by the non-rigid structure of interior workspace design; promoting healthy interaction and an informal exchange of ideas. The overall interior design encourages creativity, without obstructing thought process with loud colours or distracting, unnecessary decorative objects. The architects explain, “Reflections on the glass surfaces, the streaming natural light through wooden blinds, rich textured wooden floor with warm rugs and the idea of a truly democratic space
The large windows on the east let sunlight in, while connecting to the outside.
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The Tag bar and open kitchen, with pub-style wooden barstools, tables and benches.
A conference room and the waiting area, flanked by graphic murals on the wall behind.
Graphic murals depicting the global offices of Tag with specific time zones span the length of the office.
The clock set within London’s Big Ben shows the time in the UK.
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The architects have intentionally kept the spatial elements of the interiors “simple and basic”, yet drawing out a “surprising and rich” overall experience.
makes the office always feel fresh and with a positive vibe.” The architects have intentionally kept the spatial elements of the interiors “simple and basic”, yet drawing out a “surprising and rich” overall experience.
The mural, depicting Tag’s worldwide presence, integrates the Indian office within Tag’s global context.
Throughout the huge office space, each and every aspect of the office is evocative of what Tag stands for; as if almost a theme for the design. Be it the generous use of the yellow that defines the brand, or the use of murals on the walls depicting the various time zones Tag has offices in, or the wall-less interior space that shows the lack of a rigid hierarchy and intermingling of ideas and people that the organisation encourages, or the Tag bar and lounges, they all combine to highlight Tag’s brand identity. The architects have used aspects intrinsic to Tag worldwide, adapted them to the Indian context, and designed the space to give out a very relaxed, ‘funky’ feel to the advertising agency office, without going over-the-top as most ad firms prefer to. Simple is effective, and the architects have efficiently managed to demonstrate the same with the sophisticated, elegant yet fun office space. After all, all work and no play indeed makes life dull, doesn’t it?
The Director’s cabin, separating the formal and the informal areas within the office.
FACT FILE:
The dim lights and the bright yellow create an engaging visual contrast when the office is not in use.
Project : Location : Principal Architect : Design Team : Graphic Design - Wall Mural : Client : Project Area : Civil Contractors : Project Estimate : Initiation of Project : Completion of Project :
Tag Worldwide Office Gurgaon Rahul Sen, Sambuddha Sen Sambuddha Sen, Rahul Sen, Faizan Choudhary, Ghanshyam D. Bachhas Tag Design Team, Headed By Kriti Monga Tag Worldwide 3000sqft Apex Decorators, Satyam Electricals `90 Lacs 2010 2011
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Renaissance Rendezvous 42mm ARCHITECTURE, New Delhi Formed by principals Adreesh Chakraborty, Priyanka Khanna, Rohit Singh and Rudraksh Charan in New Delhi, 42mm ARCHITECTURE aims to understand design as a non-linear, continually transforming process between need, desire, functionality and responsibility in dynamic social and economic backgrounds.
Vibrant with the aura of the Italian Renaissance, the CIBO – Fine Dining Restaurant, Lounge & Bar in New Delhi by 42mm ARCHITECTURE celebrates the golden spirit of the unforgettable ”grandeur that was Rome”. Text: Shalmali Wagle Images: courtesy 42mm ARCHITECTURE
An imposing water feature comprising of stone monoliths washed with a water cascade at the entrance.
interiors
T
he Renaissance Style, in architectural history, signified a renewed interest in the culture of classical antiquity. It represented the then new-found clarity in thought as opposed to its previous ‘darkness’ and ‘stagnation’. It depicted the artistic ‘rebirth’ of architecture with an emphasis on the previously demonstrated symmetry, proportion, geometry and regularity. In modern times, Italy is a destination that instantly brings to mind the classic imagery of intimate, crowded Roman streets, unparalleled canvases of heritage buildings, and the pulsating excitement of public piazzas. An undeviating interpretation of a fusion between the two, the CIBO – Fine Dining Restaurant, Lounge & Bar in New Delhi by 42mm ARCHITECTURE, with the city of Florence as its inspirational cue, is an inviting Italian bistro that attempts to capture the comprehensive essence of Italy in an elite hotel in the national capital.
A single line of vision pierces the courtyard layout as an axis along which a majority of the elements dutifully mirror themselves.
A low-pitched roof with terracotta tiles and boxed roof eaves sits on the ‘loggias’.
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Kitchen
22'-0"
9'-6"
9'-6"
9'-6"
9'-6"
9'-6"
3'-0" 51'-7"
Open to Sky Pergola
Open to Sky Pergola
+1'- 8" Lvl.
Landscape Area
Open to Sky Pergola
+ 4" Lvl.
Free Standing Colonnade
+ 8" Lvl.
±0.0 Lvl.
+ 8" Lvl.
Stone Monolith Free Standing Colonade
Stone Paving
Open to Sky Pergola
+1'- 8" Lvl.
+ 6" Lvl.
Water Channel
Open Fountain
Water Channel
+ 6" Lvl. + 4" Lvl.
Open to Sky Pergola
+ 6" Lvl.
PE
O
SL
Free Standing Colonnade
+ 8" Lvl.
Open to Sky Pergola
Open to Sky Pergola
Open to Sky Pergola
Open to Sky Pergola
+1'- 8" Lvl.
±0.0 Lvl.
+ 2" Lvl.
±0.0 Lvl. 9'-6"
9'-6"
9'-6"
9'-6"
9'-6"
9'-6"
PLAN LAYOUT
4'-6"
+1'-8" lvl . 4'-6"
1'-0"
±0.0 lvl.
±0.0 lvl.
2'-0"
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Finished Floor LVL. Central Courtyard
±0.0 lvl.
+2'-2" WT. lvl .
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Grape Fountain
Water LVL 1'-6"
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Water
+2'-2" WT. lvl .
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Stone Monolith Finished Floor LVL.
1'-6"
7'-1"
7'-1"
1'-6"
9"
1'-10" 2'-2"
1'-1"
2'-4"
2'-0"
1'-6"
+1'-0" WT. lvl.
Water LVL Finished Floor LVL. Central Courtyard
1'-10" 2'-2"
Water LVL 9"
Water LVL
1'-1"
2'-4"
4"
9"
4"
1'-10"
1'-5"
1'-6"
2'-10"
2'-0"
1'-10"
1'-1"
1'-1"
1'-10"
1'-5"
External Road
2'-2"
1'-6"
9"
1'-1"
1'-6"
1'-10"
1'-0"
2'-10"
2'-0"
1'-10"
1'-1"
Water LVL
9"
Grape Fountain Finished Floor LVL. Central Courtyard
1'-10"
1'-1"
1'-6"
2'-4"
1'-10"
1'-0"
9"
1'-1"
4"
1'-10"
1'-5"
1'-6"
2'-10"
2'-0"
1'-10"
1'-1"
1'-10"
1'-0"
EXTERNAL SECTIONS
Water LVL
+1'-0" WT. lvl.
+1'-10" WT. lvl.
Water LVL Water LVL
Finished Floor LVL.
+1'-0" WT. lvl.
+1'-10" WT. lvl.
1'-6"
2'-0"
Water LVL Finished Floor LVL. Central Courtyard External Road 2'-0"
Water LVL
+1'-10" WT. lvl.
Grape Fountain
External Road 7'-1"
105
Details like elaborate marble sculptures and fish-scale paving patterns, typical of the Renaissance Style, employed in the design.
An island bar with stone fireplaces, gold-leafing, bevelled bronze mirrors and diffused lights.
106
THE COURTYARD LAYOUT
A SECTION THROUGH THE ‘LOGGIA’
DETAIL OF THE STONE MONOLITHS
The typical elements that feature in Italian Renaissance include orderly plans, symmetrical façades, integrated systems of columns, pilasters and entablatures, semi-circular arches, painted or decorated interiors, coffered ceilings and a generous usage of sculptures and frescoes. Deducing its design preferences from these, the entrance of the 14,000sqft restaurant, lounge and bar, CIBO, announces a warmly lit eclectic representation of an Italian courtyard. A quick glance at the layout declares its adherence to the archetypal approach suggested by the mathematical order of Filippo Brunelleschi’s linear perspective, quite frequently employed in the architecture of the time. A single line of vision pierces the courtyard layout as an axis along which a majority of the elements dutifully mirror themselves. The design picks up components that essentially define this celebrated style and interprets them to suit the function in order to bring Italian experiences miles away to India’s doorstep.
one at the entrance. Water, being an important element in the design, has been spatially interspersed throughout the courtyard with a complex system of channels. The axis finds its manifestation on the ground in the form of internally lit water channels which also trace the periphery of the surrounding ‘loggia’ and enhance the outdoor dining experience with the tranquil sound of flowing water. An intricately ornamented cast iron railing and customised outdoor metal furniture follow this axis created, and replicate the simple tradition of street-dining popular in Florence. An element of intrigue is rendered by the overlay of non-conforming elements like the large metal grape fountain unexpectedly making an appearance. The 20-feet-high grape fountain with its rustic brass finish forms the central focus in the courtyard with colonnaded ‘loggias’ of exposed circular brick columns surrounding it and accentuating its significance. Together, the assortment of intricate details like marble sculptures reminiscent of Renaissance Art and fish-scale paving patterns typical of public squares combine to prompt an aura of an authentic Italian setting.
A majestic and imposing central water feature comprising of a cluster of five 28-feet-high stone monoliths washed with water cascades welcomes
107
Exposed brick walls with tasteful displays and an elaborate, coffered ceiling in the interior.
Semi-circular brick arches representing the austere proportions of Italian Renaissance welcome one into the ‘loggia’ which serves as a pre-function area to the bar. A low-pitched roof with terracotta tiles and boxed roof eaves, again typical of Renaissance homes, sits delicately on it. Designed using wedge-shaped bricks to achieve structural stability without the introduction of reinforcements, these free-standing, true arches rest on circular brick columns. Each of the bricks used has been handcrafted individually to achieve the accurate profile of the columns. An important feature in the design, these arches enhance scale and provide a sense of enclosure to the space. An array of carefully crafted wood and stained-glass French doors make an impressive statement, while connecting the indoor and outdoor spaces. These linear doors with fanlights on top allow ample soft light into the hallway which further creates a dramatic play of coloured shadows during the day. The space within reveals a 15-feet-long island bar decorated with an inlay of customised stone fireplaces and an affluent combination of gold-leafing, bevelled bronze mirrors and diffused lights as its central focal element. Pale coloured glass panels accentuate the antique handmade tiles that adorn the walls. Almost the entire set of interior detailing, including the distressed metal chandeliers and wall sconces, has been custom-fabricated to replicate the lighting fixture of the style. One may simply think of the overall design as a unique time-travel device that lifts one from the present time and location to a golden era centuries ago, and a beautiful locale miles away.
An interesting idea begins to take shape as an architectural after-thought. Design now appears to be breaking moulds of local regionalism and attempting a gesture beyond its ordinary notion of creating shelters that merely host functions. It attempts to reject the previous notions of mere combinations of form and function and becomes a medium or a tool that carries real-time experiences, across the globe and across time, to one’s doorstep, to amaze, to entertain, and to keep the spirit of a glorious past alive in the commercial heart of today.
FACT FILE: Project Location Architect Design Team Client Interior Contractor Project Duration
: : : : : : :
CIBO – Fine Dining Restaurant, Lounge, Bar New Delhi 42mm ARCHITECTURE Rohit Bal, Priyanka Khanna, Rudraksh Charan Alok Aggarwal & Rohit Bal Build Kraft India 8 months
108 IA&B - FEB 2012
ideas to innovate…designers to deliver
Anyone in Wonderland? Daniel Lyman, University of Utah Daniel Lyman is a Master’s degree student of Architecture at the University of Utah College of Architecture + Planning. Sway’D, is the realisation of a winning entry towards temporarily occupying an open piece of land conceived by a collaborative effort of AIA (American Institute of Architects) and the Salt Lake City on an open urban plot with involvement of the owner. Daniel has worked on a wide variety of projects with many firms.
An engaging urban space, an experimental material expression and an intervention that brings wonder, ‘Sway’D’ invokes the right amount of mystery and curiosity to transform an empty piece of urban land into fun. Text: Ruturaj Parikh Images: courtesy Daniel Lyman
View of the site – the 1000 verticals form a matrix of swaying rods.
urban interventions
I
n rapidly growing urban environs, the fabric of the city undergoes unstable and erratic changes driven by a process of building and re-building. There are a lot of in-between stages where the sites in question remain unattended and thus, neglected. Rapidly developing cities or cities undergoing a drastic phase of development face the recurring issue of unattended urban land. The Salt Lake City and AIA Young Architect’s Forum decided to find a solution for a site that was to be unused for two years. In the process, Sway’D was conceived and executed through a competition. 1000 nylon rods on a 30” grid respond to the gentlest of breezes. The verticals, almost 10 feet high, are made of molly-filled nylon that gives them good strength and easy malleability to imitate the effect of wind on a grass field. This set occupies an empty square space next to the Capitol Theatre. Contemporary landscape combined with an element of art, the
The relative scale and feel of the place from within the matrix.
View from the street – the empty piece of land between the two buildings is ‘installed’ with the public-art element.
The square at night – lights and activity create a positive urban space.
A delirious, surreal landscape of the 10-feet-high Nylon rods that respond to the most gentle of breezes.
Frolic and curiosity capture the attention and imagination of adults and children alike.
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SECTION
SITE PLAN
The site under construction – a simple process with minimal invasion.
DETAIL OF THE VERTICALS
From within the maze.
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View from the street – the empty site which would have been otherwise, empty.
The design takes into due consideration of the temporary nature of intervention. The foundations are shallow and once the site is put to its future use, the installation will disappear. fusion of man-made and natural, underlines the concept. The idea of wonder, frolic and inquisitiveness is woven in the design.
children run around the spaces between, the adults have been observed to use the space to relax and stretch.
Reminiscent of the field of grass, the installation proposes to create a surreal space that intersects the idea of public art with landscape. For the community of the Salt Lake County, the intent was to take the challenge of the site – to be empty for two years – and transform it into an opportunity to create meaningful public space. The concept of participation was furthered by the 60 entries that were received for the design-build competition. Daniel Lyman’s Sway’D was chosen to be built.
Sway’D is quite simply conceived and executed but it proposes potential to act as a precedent for under-used urban land. Moreover, the freshness and the simplicity of the design inspires thought for the empty pieces of land dotted across our cities. It is, after all, an act of reclamation.
The design takes into consideration the temporary nature of the intervention. The foundations are shallow and once the site is put to its future use, the installation will disappear. Surprisingly, the uncanny of such an intervention on a site that is generally not paid much attention to, has generated many interesting responses. The design manages to create good curiosity and inspire children and adults alike to interact with it. While the
FACT FILE: Project : Location : Architect : Client : Project Area : Contractors : Project Estimate : Initiation of Project : Completion of project :
‘Sway’D 50 West 200 South, Salt Lake City, UT, USA Daniel Lyman Salt Lake County Center for the Arts Salt Lake City Arts Council 9,000sqft empty city lot Stallings Construction USD 46,000 September 2010 May 2011
112 IA&B - FEB 2012
ideas to innovate…designers to deliver
Point of Convergence Sack and Reicher, London/Tel Aviv Sack and Reicher, headed by principals Matanya Sack and Uri Reicher are mainly concerned with how architecture and landscape can contribute towards sustainable growth. Based in London and Tel Aviv, they aim at acquiring the best solutions for sustainable development, emphasising on the local characteristics of each site and its users.
An attempt to help the existing city adapt to sustainable growth, ‘Green to Blue’ combines nature and technology, with music and public participation to result in an equitable space that is related to the landscape, environment and the society from which it grows. Text: Shalmali Wagle Images: courtesy Sack and Reicher
The cost-effective ecological pedestrian walkway crosses the car park.
urban interventions
U
rban interventions in an existing and functioning town get rather complicated at times owing to the various considerations that require attention during their conception. For instance, response to landscape, formative aspects of micro-climate, energy generation, public policies, public uses and transport, environmental and cultural sensitivity, response to historic surroundings, open space strategies and infrastructure management are a few factors that play a significant role in design decisions. They define the extent of intervention, function and expected response of the design making sensitive innovation rather complex. ‘Green to Blue’ by Sack and Reicher proposes an appropriate approach in a situation as this, with a unique point of convergence at its crux. Located on the Mediterranean Coast in Bat Yam, in a dense and relatively poor satellite city of Tel Aviv, is a car park which separates the promenade from the coast. What usually happens with a car park so placed is that it is seldom used for actual parking and assumes the role of a public square for pedestrians. Taking cues from this natural pattern, ‘Green to Blue’ by Sack and Reicher has been developed as a cost-effective ecological pedestrian walkway to deviate and channelise the human traffic. Its route crosses the existing car park to
The ecological landscaping starts with a simple white painted path.
A modular, lightweight structural system frames the path and the view of the horizon.
114 CITY HALL
Marine Wind Turbine 0.6
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LED Street Lights
WHITE PATH Flexible Thin-Film Photovoltaics on PVC membrane
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Site plan - The link between the city and the sea.
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Typical Street Cross SectionC
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GREEN TO BLUE SACK AND REICHER
Typical street cross section, 1:200
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CONNECTING THE PROMENADE WITH THE COAST AND THE SEA 9 South Elevation 1 1
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GREEN TO BLUE SACK AND REICHER
PLAN, 1:2000, 1:1000 - A white path from the Bat-Yam City Hall to the Fishing Pier reduces temperatures by albedo effect.
PROMENADE PROMENADE
D D 4.7 +4.15
+5.91
+4.15
4.7
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C C 4.7 4.7 B TO THE FISHING PIER
EXISTING CAR-PARK
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EXISTING CAR-PARK
B 5.45 5.45
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South elevation and plan, 1:250 South elevation and plan, 1:250
‘Green to Blue’ is an example for efficient land use and renewable energy distribution, which creates a new public space, sustained by green technologies, aimed towards the blue sea.
A connection between the city and the sea.
4.5
8 8
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The layout of the steel columns and flexible9 9 2 1 thin-film photovoltaic panels 2 1
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GREEN TO BLUE SACK AND REICHER GREEN TO BLUE SACK AND REICHER
115 connect the city with the sea and extends to the Bat Yam Fishing Pier which is an important historical landmark in the city. A pleasant micro-climate and an appealing agenda are essential components of pedestrian-oriented environments, for they are meant to attract pedestrians owing to their agenda and maintain their count due to their relatively higher comfort level. The ecological landscaping starts with a simple white painted pathway that reflects sunlight, is less heated, and hence contributes against global warming owing to the ‘Albedo effect’. A modular, lightweight structural system frames the path and the view of the horizon beyond. The steel columns are mounted with special marine wind turbines, and flexible thin-film photovoltaic panels are tensioned between them to shade the street. Vines are allowed to grow on cables around the path to further cool the street and provide shaded zones. The modular system enables optimisation of the design to other similar sites and circumstances. Besides being able to attract audience, an urban drama as this is required to sustain itself so as to have minimum impact on the resources of the city. Apart from utilising the water and the horizon to provide unparalleled views, the design explores other possibilities available within nature including the wind and the sun for energy generation, suggesting the dependence of human interventions on nature. The resultant environmental-economic modelling secures a carbon-negative identity ensuring that the design will sustain itself with the electricity produced. The renewable energy generated is supplied to street lights and the outlets installed on the columns, while that generated by the wind turbines and photovoltaic panels is used to operate a group of wireless robotic ‘Darbuka’ or ‘Goblet’ drums, mounted on the columns on both sides of the path during festivals and gatherings. The inhabitants of the town participate in the design of the musical landscape, through an intuitive digital interface, wherein, a unique, spatial, musical experience is created combining traditional and digital techniques. A combination of nature and technology with music the design attempts to rejuvenate a public space to help the existing city adapt to sustainable growth. The result is an equitable space that relates to the landscape, environment and the society.
Wind turbines are mounted on the steel columns and flexible thin-film photovoltaic panels are tensioned between them.
Sometimes, one assumes, quite nonchalantly, that there exists no point where the streams of nature, technology and society could possibly merge into a harmonious union, a point where a cordial chord is struck between nature, modernity and necessity. Design forms one such point and a simple walk through a bustling white painted pathway, surrounded by green, blanketed by blue and sustained by simple brilliance captures it in a perfect frame.
FACT FILE: Project Location Architect Design Team Musicology Robotics Client Civil Contractors Project Estimate Project Duration Electricity produced
: : : : : : : : : : :
Green to Blue - Cost-Effective Ecological Infrastructure Bat Yam, Israel Sack and Reicher Matanya Sack, Uri Reicher Assaf Talmudi Liat Segal, Jonathan Rubin Bat Yam Municipality Interdan, AACI Electricity, Paturiz Faprics, Neruim USD 41,000 1 Year 12.75 kWh per day
Wireless Darbuka or the Goblet drums, mounted on the columns utilise the generated electricity.
116 IA&B - FEB 2012
ideas to innovate…designers to deliver
On Simplism Shruti Humane, Pune Having graduated from BNCA Pune, Shruti Humane moved on to obtain her MLArch Degree from CEPT University, Ahmedabad. Her professional experience includes a stint of two years under the expert guidance of Ravi & Varsha Gavandi in Pune. Alongwith her husband, she has an established practice Design Edge since 2006 comprising of an integrated team of six members working on a multitude of projects ever since.
Reinvigorating a terrace in a domestic residential sector, Pune-based architect Shruti Humane defines a lounge offering a fresh alternative space for business dealings. Text: Maanasi Hattangadi Images: courtesy Sunil Humane
across 350sqft on the seventh floor of a residential apartment, the layout is reflective of the client’s aspirations to recreate an ambience for his real estate clients to frequent the lounge and finalise property deals. The project was built up from an existent terrace which was woven in as a part of the circulatory spine. As one is announced into the residence, one can visually connect to the created dimensionality framed through a glass fixed near the main entrance of the house by the designers.
The landscaped terrace, albeit on a small scale, designed as a lounge evokes a relaxed aura.
D
own an unassuming residential apartment, a curving corridor might open unto a fresh burst of space overlooking the cityscape. One might think of these fit-outs as introspection spaces or designation for gatherings of quiet family evenings. An interesting point of difference is established in the design of one such volume for Harish Shroff by Shruti Humane from Design Edge. Everything that leads to it is domestic, but everything that is designed for it is to perform as an enabling space for business.
The overall feel is contemporary but subdued at a humanistic scale.
The inspiration for visual identity seems to stem from their appropriate coining of the description for it as a “lounge” more than a mere terrace. Sited
The original furnishings were shelved and the interiors shell was manipulated to usher in changes in accordance to the design. The complete idea developed as an island of curious objects with a strikingly different aesthetic of glass, fins, pergola etc. While the cohesion usually lies between the spaces, it banks on a decidedly deviant look by tying the elements together. The composition delves upon stylistic but simplistic textures and an enclosure was created by the covering half the terrace. The focus of the place reads as a water body that settles into an existing niche in the wall. The starkness of beige sand stones contrast with a shimmering sheen of water cascading from it. It draws attention in the compactness, asserting itself in its own informal ways, while the flowing water facilitates attention of the engagement and interaction of the user. The linear staircase on the side that was shrouded in the domestic character of the residence takes on a makeover. The architect has dissolved the domesticity of the formative framework of metal by cladding the lower portion with sleeper wood planks.
landscape Main Entrance
Living Rooms
The area before renovation
LAYOUT PLAN
The cosiness is enhanced in the warm glow of lights, tropical plants and foliage like Bamboos, caladiums, drooping grasses, lilies, heliconias, umbrella palms, etc. that accentuate the outside setting and the twinkling of city lights beyond. The materiality of the seating perfectly balances the environment. The final layering of the texture is seen in the floor finish that includes stone grit with stepping stones. Sculptures adorn the area and peripherals like the music system, basin etc. are carefully crafted into the scene. The overall feel is contemporary but subdued at a humanistic scale. It is conceived in a tranquil and homely atmosphere on an albeit different basis. The restrained material palette and thoughtful inclusion of elements compose the dynamic space.
The main effect of this spatial inversion is to constitute that part of the house as a type of miniature public realm. It is a hybrid of sophistication, opulence and urban grit but in a controlled juxtaposition of space without any demarcations. With bold effortlessness, the space generates a relaxed aura with decadence of intimacy and simplicity.
FACT FILE:
A water-body, illuminated appropriately, is fashioned to be the main focus of the spatiality.
Project : Location : Landscape Architect : Project Team : Consultants - Water Body : Contractors : Furniture : Year of Completion : Cost of Construction :
Lounge Pune, India Shruti Humane Manjusha Mohite Prateem, Aquarius, Pune Sameer Avhad Carpenter Satyanarayan May 2011 `5 lakh
120 IA&B - FEB 2012
Meehaj Thakkar captures moments in space as the camera thinly slices time. He thinks about our intrinsic relationship to our environment in this column, Space Frames, curated by Dr. Deepak John Mathew. Text and Images: Meehaj Thakkar
space frames urban villages
I
have been fortunate enough for letting myself wander ‌
Whenever I visit a certain place or a living environment, I feel very strongly about it which, most of the times, I fail to express verbally. Meanwhile, after having taken up architectural education again, which once I had left, I realised that my focus, subconsciously, is always towards understanding the built environment and the quality of life it generates. I like to ponder and reflect on certain issues that are close to my perception of our environment; few of which, at times, are even my personal confusions.
122
123 I do feel that we, at times, have to learn to stop being designers and let our sensitivity decide what kind of environment we wish to organise and preserve. Don’t we, at times, feel that we let ourselves stay away from little, but beautiful, moments of happiness? Why don’t we let ourselves chase pigeons when we want to? Why not strive for a living environment which may not be perfect, but is happy, sad, lonely, dramatic and nostalgic? Is being simple really that difficult?
124
Meehaj Thakkar Meehaj Thakkar is an architect and a passionate traveller. He photographs to capture a certain feeling or an emotion to which he personally relates. His images are evocative and intimate as he explores environment through his lens. He works as a junior architect in Panika, a firm based in Ahmedabad.
Dr. Mathew can be reached on dr.djmathew@gmail.com
Space Frames February 2012: ‘Reflections...’ by Meehaj Thakkar Indian Architect & Builder Magazine
Dr. Deepak John Mathew can be contacted on dr.djmathew@gmail.com
Meehaj Thakkar Meehaj Thakkar is an architect and a passionate traveller. He photographs to capture a certain feeling or an emotion to which he personally relates. His images are evocative and intimate as he explores environment through his lens. He works as a junior architect in Panika, a firm based in Ahmedabad.