Issue August 2015

www.iabforum.com MUMBAI ` 200 AUGUST 2015 VOL 28 (12) FOCUS Structures IN CONVERSATION Fabrizio Barozzi AEC Godrej One. ENGINEERING Sunshine Tower : Sterling Engineering

INDIAN ARCHITECT & BUILDER

EXPLORE

The Winner of the ‘Frame’Works competition for Under Construction Structures is Mihir Nandan Patilhande

‘FRAME’ WORKS

A Photography competition by IA&B

The initiative witnessed a barrage of exceptional photo entries, judged

by Dr Deepak John Mathew, the winning entry was selected on the following criteria: • Adherence to the theme.

• Interpretation of the theme in a creative way.

• Inclusion of environment to enhance the photograph.

• Visual language falls in to the contemporary photography practices.

• Over all visual quality and technical perfection.

EXPLORE

VOL 28 (12) | AUGUST 2015 | www.iabforum.com RNI REGISTRATION NO. 46976/87, ISSN 0971-5509 INDIAN ARCHITECT AND BUILDER

Chairman: Jasu Shah Printer, Publisher & Editor: Maulik Jasubhai Shah Chief Executive Officer: Hemant Shetty

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CURRENT

The latest news, events and competitions in architecture and design from India and abroad.

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PRODUCTS

Information of state-of-the-art products, from across the globe, which are slick, contemporary and innovative.

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IN CONVERSATION

Script of Simplicity

In conversation with IA&B, Spanish architect Fabrizio Barozzi of Barozzi/Veiga.

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TRIBUTE

Amid Life and Architecture Remembering Charles Correa (1930 -2015), whose work and life is an unending source of ideas and inspirations.

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FOCUS

Structures

This issue of IA&B highlights the important role of structure and form

in the fundamental development of architecture.

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AEC

Godrej One, the group’s new headquarters with its distinctive design prudently integrates architecture, engineering and construction.

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ARCHITECTURE

A Testimonial to the Past The Philharmonic Hall designed by Barozzi/Veiga serves as a musical symbol for the city of Szczecin.

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ENGINEERING

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Editorial: Meghna Mehta, Lavina Bulchandani Email: iabedt@jasubhai.com Design Team: Mansi Chikani, Prasenjit Bhowmick, Kenneth Menezes Events: Abhijeet Mirashi Subscription: Dilip Parab Production Team: V Raj Misquitta (Head), Prakash Nerkar, Arun Madye Head Office: JMPL, Taj Building, 3rd Floor, 210, Dr D N Road, Fort, Mumbai - 400 001.

Tel: + 91-22-4037 3636, Fax: +91-22-4037 3635 SALES Brand Manager: Sudhanshu Nagar Email: sudhanshu_nagar@jasubhai.com MARKETING TEAM & OFFICES Mumbai Parvez Memon Taj Building, 3rd Floor, 210, Dr D N Road, Fort, Mumbai 400 001.

Tel: + 91-22-4037 3636, Fax: +91-22-4037 3635 Email: parvez_memon@jasubhai.com Delhi: Preeti Singh / Suman Kumar 803, Chiranjeev Tower, No 43, Nehru Place, New Delhi – 110 019 Tel: +91 11 2623 5332, Fax: 011 2642 7404 Email: preeti_singh@jasubhai.com, suman_kumar@jasubhai.com Bengaluru / Hyderabad / Gujarat: Sudhanshu Nagar Mobile: +91 9833104834, Email: sudhanshu_nagar@jasubhai.com Chennai / Coimbatore: Princebel M Mobile: +91 9444728035, +91 9823410712, Email: princebel_m@jasubhai.com Kolkata: Sudhanshu Nagar Mobile: +91 9833104834, Email: sudhanshu_nagar@jasubhai.com Pune: Parvez Memon Mobile: +91 9769758712, Email: parvez_memon@jasubhai.com

Engineering surpasses the ordinary Sunshine Tower: The tallest steel-framed building in India.

Turning Point The Signature Bridge, a steel-intensive infrastructure being constructed in Delhi, creates a new social and cultural landmark.

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INTERNATIONAL

Affordable means to an enhanced living Showcases the approach architects take by collaborating, to create improved spaces using inexpensive techniques.

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SPACE FRAMES

Rise An interesting visual array by photographer Isha Vora captures a composition of graphics and silhouettes of the urban street life.

Cover Image: © Godrej Properties Pvt Ltd

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

Printed at The Great Art Printers, 25, S A Brelvi Road, Fort, Mumbai 400 001 and Published from Mumbai - 3rd Floor, Taj Building, 210, Dr D N Road, Fort, Mumbai 400 001.

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

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

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SCRIPT OF SIMPLICITY

In conversation with IA&B, Spanish architect Fabrizio Barozzi of Barozzi/Veiga talks about the dialect between research and reflection as an anchor of their practice.

Images: courtesy Barozzi/Veiga

Indian Architect & Builder - August 2015

in conversation

↑

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Museum of Fine Arts.Lausanne, Switzerland.

Fabrizio Barozzi is one of the founding architects of Barozzi / Veiga, an architectural office devoted to architecture and urbanism established in 2004 in Barcelona. From 2007 to 2009, Fabrizio Barozzi has been an Associate Design Professor at the International University of Catalonia in Barcelona. He is currently an Associate Design Professor at the University of Girona.

Throughout his career, Fabrizio has lectured worldwide at several schools of architecture and the firm’s work has been presented in different exhibitions. The office has won numerous prizes in national and international competitions and its portfolio includes public buildings such as museums, concert halls, schools and offices.

IA&B: Tell us a little about Barozzi/Veiga; the ideas, principles and core philosophies of your practice.

FB: We always try to create an ‘essential’ architecture. We understand essential architecture as a public architecture, an architecture that intends to generate some positive changes in the community for which it is built. An architecture that arises in a context without harshness, specific and inspired by its environment. We believe that this kind of approach to architecture is what brings out the characteristics of each site and therefore the diversity of ideas that exist in the world.

To achieve this, starting from our first projects, the idea of specificity has been a central issue in our reflections. We understand specificity as that which is inextricably able to relate atmosphere with architecture.

Specificity represents a way to escape from the generic, which we think has uniformed and stagnated the current architectural thinking.

Finding the ‘specific’ in architecture means reviving the uniqueness of things, to reencounter and to preserve the diversity and culture of each place. This is the key to join together what starts out as an autonomous approach—the abstract idea behind a project—with the contingencies and the tangible reality of a place.

IA&B: In your several years in practice, what are the major changes contemporary architectural practice has witnessed?

How have these changes impacted architecture in Spain?

FB: The most important change in the current architectural practice has been the change from a local to a global environment. There is clearly a bigger internationalisation, mostly between young professionals.

To read more: http://www.magzter.com/IN/Jasubhai-Media-Pvt.-Ltd./Indian-Architect-&-Builder/Art/ Indian Architect & Builder - August 2015

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Indian Architect & Builder - August 2015

tribute

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AMID LIFE AND ARCHITECTURE

Remembering Charles Correa (1930 -2015), whose work and life is an unending source of ideas and inspirations.

Images: courtesy Jose Campos, Pranlal Patel, Ram Rahman, Mahendra Sinh, Joseph St Anne, Peter Vanderwarker, Sankalp Meshram, Charles Correa Foundation and IA&B Archives.

“Like the trail that a snail leaves in its wake as it inches forward, over the years an architect leaves behind a body of work, generated by the attitudes he gradually accumulates towards the agendas he deals with.”

- Charles Correa

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n today’s time when architecture largely depends on its visual experience, the sensory experience of a built form is often diluted by an ‘unending rainfall of images’. Amidst this society of spectacles, Charles Correa managed to lay the roots of his work encapsulated by a field of research that translated into the enriching spatial experiences he created.

Correa started his academic journey at the University of Michigan and went on to further complete his studies at the Massachusetts Institute of Technology (MIT) in the USA. Correa was stimulated by the growth of his country at the time and unlike others, yearned to return for the betterment of its people. Influenced by professors such as Buckminster Fuller and Kevin Lynch, and inspired by Le Corbusier, his works in India express a unique approach to modern architecture with a vernacular comprehension. His ideas of placing architecture in an environment of varied contexts produced solutions that were simple and sensitive.

Correa’s distinguished practice was set in Bombay for most part of it.

Spread across various scales, typologies, backgrounds and geographies, his projects showcased a vast array of solutions for society through architecture. He contributed to some of the most iconic cultural and civic monuments, institutions, housing facilities and planned cities which bear testimony to his clear understanding of architecture as a medium to transform life’s routines in to an experience.

For Correa, apart from being anchored to the fundamental concerns of climate and material, were other concerns too, that he believed one extracts during the journey of life. He wished to create buildings that became an extension of the indigenous culture and climate while offering a sense of poetry. These principles conceptualised many of his projects like, the Kanchanjunga, the Ramakrishna House, the Tube House, etc. He made people’s lifestyles and idiosyncrasies an integral part of his design. Together, these concerns reinforced the fundamental beliefs that shaped his ideologies towards architecture.

From his earliest works, the notion of creating open-to-sky spaces was of decisive importance. He also displayed the architecture of creating a ‘pathway’ to navigate the user through a project. According to Correa, “this pathway is a universal impulse, in all human beings, and in all cultures and religions”. These elements are clearly reflected in the experience of the Gandhi Smarak Sangrahalaya and the Handloom Pavilion. Correa’s architecture was experienced as an orchestrated rhythm along this navigated pathway that strung together covered, enclosed and open-to-sky spaces. These projects were responsive to one’s instincts rather than being mere objects.

Correa assigned great power to the concept of the ‘empty centre’.

Learning from history, this connotation has several possible interpretations. The idea of an ‘empty centre’ has the capacity to transform the value of the nothingness of a space in to an epicentre of energy. Corresponding to the Vedic principles of the Vastu Purusha Mandala or even the modern day science of the Black Hole, this spatial vortex of energy is seen in his work most distinctly at the Koramangla House, the British Council building, the Jawahar Kala Kendra and the IUCAA campus at Pune.

Transcending these concerns emerged his obsession to create ‘non buildings’. For Correa, the experience of architecture was not that of an object one looks at, but as a field of energy that one moves through. As stated by him, “almost all western architecture, from the Greeks down through Palladio to Corbusier and the modern day conceives of architecture as an autonomous and palpably man-made object that does not imitate nature, but exists in dialogue with it”.

Lasting examples of these ideologies are seen in the architecture of the Bharat Bhavan and National Crafts village museum. Correa added character to his projects by creating a harmonious partnership between art and architecture as one can identify in the Cidade de Goa or the Port Blair resorts.

Correa’s urging apprehension for better infrastructure and city planning in India was evident through his early proposals for the Mumbai’s hawker’s pavements and his huge contribution in the design and development of the new urban city of New Bombay. His continued association to be a part of planning processes which shape the future of our cities shows his urge to address the neglected issues of low income housing and city growth.

His most recent project, the Champalimaud Centre for the Unknown in Lisbon is an ideal amalgam of all his principles and concerns that contributed to his insight as an architect and a visionary. As an extension to the site, the architecture of this masterpiece is revealed through its gestures rather than statements.

Our nation often displays extraordinary inventiveness in its traditional architecture and it was within this environment that Correa emerged as a prophet of a system that bridged the gap between life and architecture. Correa, a light hearted man, was never afraid to put forth his beliefs. He was an architect, urbanist and thinker whose writings and lectures had the capacity to ignite young minds. He has shown how our ancient wisdom and indigenous realities mould the way we think and hence build. Correa’s architecture is silently monumental and a constant reminder of the trail he leaves behind.

To read more: http://www.magzter.com/IN/Jasubhai-Media-Pvt.-Ltd./Indian-Architect-&-Builder/Art/ Indian Architect & Builder - August 2015

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DISTINCTIVE DESIGN THINKING PRUDENTLY INTEGRATES ARCHITECTURE, ENGINEERING AND CONSTRUCTION Godrej One, the 118 year old group’s new corporate headquarters, stands tall as an answer for questioning professionals to achieve collaboration across innovative design, development, execution and construction processes.

Text: Meghna Mehta Drawings and Images: courtesy Godrej Properties Pvt Ltd Indian Architect & Builder - August 2015

aec

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architecture | engineering | construction

To read more: http://www.magzter.com/IN/Jasubhai-Media-Pvt.-Ltd./Indian-Architect-&-Builder/Art/ Indian Architect & Builder - August 2015

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A TESTIMONIAL TO THE PAST Bridging the gap between the past and present, the Philharmonic Hall designed by Barozzi/Veiga serves as a musical symbol for the city of Szczecin.

Text: Lavina Bulchandani Drawings: courtesy Barozzi/Veiga Images: © Hufton + Crow

The new Philharmonic Hall of Szczecin is located on the historical site of the ‘Konzerthaus’, which was destroyed during Second World War. Indian Architect & Builder - August 2015

architecture

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To read more: http://www.magzter.com/IN/Jasubhai-Media-Pvt.-Ltd./Indian-Architect-&-Builder/Art/

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ENGINEERING SURPASSES THE ORDINARY SUNSHINE TOWER: THE TALLEST COMMERCIAL STEEL-FRAMED BUILDING IN INDIA Until recently, developers in India were rather sceptical about using structural steel in large proportions for their projects RCC being the preferred choice. However, due to availability of suitable structural steel sections manufactured to international standards and advancement in fabrication facilities, steel-framed buildings are emerging as viable alternatives. One recent example is the construction of Sunshine Tower, the tallest commercial steel-framed building in India – located on Tulsi Pipe Road, Dadar, Mumbai.

Text: Kamal Hadker, Chairman and Managing Director of Sterling Engineering Consultancy Services Pvt. Ltd. Drawings and Images: courtesy Sterling Engineering

ARCHITECTURAL PLANNING he plot of land available for construction was about 3000sqm of which 15 per cent area was consumed by the narrow approach road itself. The overall dimensions of the tower in plan were restricted to 21m x 27m. Hence, construction of a vertically enhancing building was inevitable to consume the entire permissible FSI. Architects designed a tall and slim building with a total height of 161m above ground level.

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Indian Architect & Builder - August 2015

Considering the severe space constraints, it was decided to minimise the “in-situ” work and to fabricate most of the building components away from the site. This led to selection of a steel-framed building covered with structural glazing and aluminium composite panels. The service core comprises of elevators, fire escape staircases, toilets and air-handling units.

engineering n Road 6M Wide

Boundary of Plot

Drive Way Line of Basement

+900.00 Basement Slab LVL

6M Wide Drive Way

+1350.00 Basement Slab LVL

Line of Porch Above at 7.30M HT.

(Overall) 37.68 M

ti ica un m mm Roo

Plumbing Shaft

Tra ns Ro form om er

Lift

Shaft

Lift Lobby

Lift

WR

Lift

LT Panel Room

AHU BMS Room

WR Service Shaft

DN UP

6M Wide Drive Way

on

0.30 Thick RCC Shear Wall

Lift

Passage

Co

Entrance Lobby

1.50 M Wide Fire Exit Passage

Toilet

6.00 M Wide Ramp

(Overall) 26.00 M

6M Wide Drive Way

SRA Building G+8

SRA Building G+8

Co n HT sum roo er’s m Co Sup n p HT sum ly roo er’s m

Up to 1st Parking Floor

Provided 8% Paved R.G. 517.85 Sq.mt

From Mai

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Lift

DN

6.00 M Wide Ramp

UP Shaft for Fanroom

DN

DN

DN to Basement

Line of Basement

6M Wide Drive Way

SRA Building G+8

WC

↑

GROUND FLOOR PLAN 21000

SB1 / BR C2

3420

SB1 / BR C3

3415

SB1 / BR C4

3415

SB1 / BR C5

SB1 / BR C6 C7 SB1 / BR

SB1 / BR

SB1 / BR C1

3420

T1

1

SB2

SB2

SB2

SB2

T1

C9

T1

T1

T1

1 C11

C12

S2

S2

C13

SB3

SB3

C14A

SB3

C14

UP Lift 3

DN

↑

TYPICAL FLOOR PLAN

Lift 5

Service Shaft

10150 B11

B2 S1

Lift

UP

W7

DN

S1

B11

W6

UP

ST

B2 Lift

ST

B2

S1 B11

ST

↑

B5

B11

W5

DN

A. H. U.

B11

UP

C17

W4

B2

B2

WR

SB3

W3

Lift

B11

DN

ST

W3A

B2

Lift 2

Plumbing Shaft WR

C16

SB3 B4

S1

Lift

S5 Toilet

AHU

B1

Lift Lobby

C15A

SB3

Lift

B11

Lift 4

W2

B11

Lift 1

C15

B11

W1

1.50 M Wide Fire Exit Passage

LV Shaft Elec Shaft

Pantry Store

1.5M Wide Passage

B4

SB2

SB1 / BR

S2

SB1 / BR

(Overall) 26.00 M

C10

5200 26000

Office Area

T1

S2

SB1 / BR

SB1 / BR

C8

S2

SB2

S2

5200

3415

5200

3415

(Overall) 21.00 M Structural Glazing from Outside

B11

W8

B11

TYPICAL STRUCTURAL FLOOR PLAN

To read more: http://www.magzter.com/IN/Jasubhai-Media-Pvt.-Ltd./Indian-Architect-&-Builder/Art/ Indian Architect & Builder - August 2015