IA&B May 2016

TOTAL NUMBER OF PAGES INCLUDING COVER 96 VOL 29 (9)

MAY 2016

` 200

MUMBAI

EXPLORE

TRIBUTE Zaha Hadid IN CONVERSATION Paolo Matteuzzi, ZHA FOCUS Reviving the Past BOOK REVIEW Architecture of Modern India Christopher Benninger

EXPLORE

VOL 29 (9) | MAY 2016 | www.iabforum.com RNI REGISTRATION NO. 46976/87, ISSN 0971-5509 INDIAN ARCHITECT AND BUILDER

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PRODUCTS

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TRIBUTE

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Zaha Hadid The 2004 Pritzker Architecture Prize Laureate.

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IN CONVERSATION

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On Generosity and Approaches In Conversation with IA&B, Paolo Matteuzzi talks about Zaha Hadid Architects and their views on urbanity and parametricism.

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FOCUS

Reviving the Past The four “R’s” of architecture integrating the history while deciphering the narration of its intervention for the future.

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RETROFITTING

Bengaluru / Hyderabad / Gujarat: Sudhanshu Nagar Mobile: +91 9833104834, Email: sudhanshu_nagar@jasubhai.com

Restoration to Retrofitting The gallery, designed by Zaha Hadid Architects, deals with issues of historical restoration and integration of old with new.

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REHABILITATION

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Rejuvenating the City Fabric Designed by Atelier du Pont, the building undergoes a structural reconfiguration while preserving the past.

RE-USE

Adaptive Re-use maximising space and light The activity centre by Design Urban Office Architects expresses the need for adaptive re-use to comply to contemporary usage.

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RENOVATION

Revival in Times Architect Rocco Velentini has blended traditional structures with contemporary styles rejuvinating its original structure.

RESTORATION

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Re-building the past Architects Minakshi Jain, Meghal Arya and Vijay Arya have worked

with conventional means of restoring and preserving its history.

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Renewed Perspectives on Preservation Architect Carlos Quevedo Rojas uses unique processes towards the

restoration of a historic landmark.

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BOOK REVIEW

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SPACE FRAMES

Christopher Benninger: Architecture for Modern India Felicity of the Arts “God is in the details” this quote holds true for the unique Bidri arts.

Cover Image: © Mariano Copete Franco and

Francisco Chacón Martínez

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ERRATUM: Photograph courtesy mentioned in the April 2016 issue is ArchPhoto India instead of Archin Photo.

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Reviving The Past Re-novate | Re-habilitate | Re-use | Re-store Architecture should be rooted in the past, and yet be part of our own time and forward looking.

- Moshe Safdie

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he architecture fraternity in recent times has continuously seen the use of terms, ‘Reuse, Re-store, Re-vive, Re-habilitate, Re-novate’, when one is catering to a structure of immediate or historic past. However, we find ourselves in difficult positions to understand what architecture categorises which term. It is rudimentary to comprehend the fundamental definition of these terms and to further immaculate the projects that define them. It justifies first, to understand the background and its ‘History’ while further deciphering the narration of its ‘Intervention’.

Comprehending the fine line between contemporary, modern and traditional practices, approaches to revive these structures thus propose methods to comprehend an eclectic understanding of history. Subjective in nature, design elements of varied types may derive the ultimate output to stand in between the old and the new, representing each in its own unique way.

This issue of IA&B highlights the various responses and approaches that architects take when they have a historic structure to rebuild corresponding to the context, culture and regionalist character of the locale. Projects from different parts of India and the world put forth the importance of the responsiveness to historical heritage which a designer must attempt while apprehending and annotating the past.

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tribute

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A TRIBUTE TO ZAHA HADID “It is insufficient for architecture today to directly implement an existing building typology; it instead requires architects to carefully examine the whole area with new interventions and programmatic typologies�

-Zaha Hadid From the inception of her venturing into the field of architecture, Zaha Hadid has tackled design with unconventional solutions. Being one of the few architects, at the time, who started looking at architecture beyond the prevailing styles of modernism and postmodernism, she has faced numerous hurdles throughout her career. Although it would have been easy for her to succumb to the pressures of having several unrealised projects, Hadid continued showcasing her drawings as mere works of research till they were recognised for their formidable quality that reflected the traits of their creator.

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ON GENEROSITY AND APPROACHES Paolo Matteuzzi talks about his venture into the field of architecture and what drew him to the practice of Zaha Hadid. Through these works, he elaborates on various lesser known aspects of the practice which reveal the traits of their principle architect and leader.

Text and Images: courtesy Paolo Matteuzzi / Zaha Hadid Architects

Paolo Matteuzzi is a Senior Associate at Zaha Hadid Architects. He joined the company in 2002 working on MAXXI the National Museum of 21st Century Art in Rome, Italy, from design development to completion becoming Associate in 2012 and Senior Associate in 2015. Paolo has been involved, with leading role, in a number of several prestigious projects at ZHA maintaining an active role throughout all design phases. Between others, he led and co-led for Zaha Hadid Architects the design for the Nuragic and Contemporary Art Museum in Sardinia, Italy; the Jesolo 5 stars Hotel and the Jesolo Magica Retail Center in Venice, Italy; he is currently working as Facade Director for the Macau Hotel Tower and as a Project Director on the Yulon City Development in Taiwan.

IA&B: Did you always want to be an architect? Can you share with us your journey through the years while discovering your commitment towards the field of Architecture?

PM: I studied Architecture in Italy at the University of Rome La Sapienza, where I took my graduation with honour, and subsequently, a doctoral degree in Urban Sustainable Development.

I’ve been a visiting professor, teaching Architecture Design, at the Third University in Rome between 1995 and 2002.

I had several other professional experiences, also working as a consultant for the Red Cross Society in reconstruction projects in areas affected by natural disasters in Central America and Turkey. I’ve always been curious in understanding and exploring how a cultural and physical environment can influence people’s quality of life.

↑ Indian Architect & Builder - May 2016

KMR, Zollhoff 3 Art and Media Center – Dusseldorf Harbour – 1989.

in conversation

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MAXXI, Contemporary Art museum – Rome, Italy – 2000 - 2009.

Architects have the ability to shape the future of the built enviroment.

Design is a powerful tool which can be used to re-assess the relationship between the multiple components of the city. Architectural design can be used as the creative tool for working on social and urban issues.

IA&B: Europe has a plethora of architects under whom to work, not to mention a splendid architectural landscape to refer to.

What was it about the work of Dame Zaha Hadid that interested you when you applied to the practice?

PM: I first got passionate about Zaha Hadid’s vision of Architecture when I was a student at the University in Rome: Zaha’s paintings were so powerful and so new, compared to any other contemporary Architect of that period.

I decided to study her sketches, drawings, and her first works, at that time only the Vitra fire station and a small tower in Berlin were built. I managed to become familiar with her way of describing Architecture in the space. Zaha used to combine, in one single painting, several views of the same building; exploding it, distorting it, the perception of it and continuously shifting the meaning of the different components.

Buildings were becoming transparent or colourful, were reacting to light as flames on black backgrounds. Each and every drawing of Zaha’s drawings was a full research in itself, open to new explorations. Her paintings were, at the same time, visions of landscape, of the cityscape, and a vision of the world.

IA&B: The first project you worked on at Zaha Hadid Architects was the MAXXI: Museum for XXI Century Art. Could you expand on your involvement in the design process and your interactions with Dame Zaha Hadid and Mr Patrik Schumacher?

PM: MAXXI has been for me, a unique experience. A magnificent public building, one of the most representational of Zaha Hadid’s earlier works. The MAXXI project landed in my own Town in 2000, with such a new strength and innovative language that surprisingly perfectly merged with the city fabrics. During the years I’ve been working on MAXXI, in Rome, I had the occasion to meet both Zaha Hadid and Patrik Schumacher several times, and I had the luck of sharing with them, both professional and personal moments.

MAXXI has been the first building truly elaborating on the idea of creating a fluid relationship between the building and its connecting programs and the built environment: with MAXXI, the museum “is no longer an object, but rather a field” - Zaha Hadid.

I worked on MAXXI during the design development, tender and construction documentation and site supervision: one of the main packages and one of the most challenging one has been, for sure, the self-compacting in-situ-concrete façade that at MAXXI, was also the main structure of the building. All the walls at MAXXI are structural walls. While cantilevering and bridging, they create 5 exhibition galleries completely column free, intersecting at different levels and in different directions. In Zaha’s design intent, concrete had to result very abstractly, fluidly. Walls had to receive natural light, generating the smooth transition between shadow and exposed surfaces.

Movement joints and phase joints were not following the dynamic of the building, but geometrical and structural constraints. We had to work very hard to ensure their positions were not visible and to guarantee the perfect continuity of the concrete faces according to Zaha’s design intent, and at the same time ensuring temporary structural behaviours.

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External view of the Serpentine Sackler Gallery.

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Restoration to Retrofitting Serpentine Sackler Gallery The restoration and refurbishment of historic buildings not only minimises the use of new natural resources, but also contributes towards the social, economic and cultural upliftment of society at large. The Serpentine Slacker Gallery achieved this with its synthesis of old and new.

Text: Dhwani Shanghvi Drawings and Images: courtesy Zaha Hadid Architects

Š John Offenbach

Restoration is the act or process of accurately depicting the form, features, and character of a property as it appeared at a particular period of time by means of the removal of features from other periods in its history and reconstruction of missing features from the restoration period. The limited and sensitive upgrading of mechanical, electrical, and plumbing systems and other code-required work to make properties functional is appropriate within a restoration project.

Retrofitting involves the installment of new or modified parts or equipment in something previously manufactured or constructed.

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Courtyard after reconstruction.

Rejuvenating the City Fabric Marais’ Housing, Paris Atelier du Pont reconfigures the structural purpose of the building while annexing new functions to preserve the past by injecting contemporary elements for benefits of the future.

Text: Meghna Mehta Drawings: courtesy Atelier du Pont Images: courtesy Frédéric Delangle

Re-habilitation: It is defined as the act or process of integrating use for a property through repair, alterations, and additions while preserving those portions or features which convey its historical, cultural, or architectural values. Reconstruction of the entire structure to reactivate history while anticipating future functionalities.

History Constructed between the 17 th and 20 th centuries, the complex serves as a classic example of the city’s development by subsequent additions of buildings through time. In addition to the rehabilitation of the complex foreseen in the program, Atelier du Pont proposed to reconstruct a new building within the heart of the block. The challenge lied in preserving Indian Architect & Builder - May 2016

the traditional mixed-use development of the neighbourhood, which had historically brought together the private mansion and artisans.

Such projects contribute in balancing social housing throughout the area, by focusing on required development in core regions. It plays a

re-habilitation

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Structure before renewal.

Phases of reconstruction.

Historical development of the structure.

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restoration

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Renewed Perspectives on Preservation Consolidation of the Tower of Matrera Castle, Spain The project by Carlos Quevedo Rojas defies the conventional techniques by creating a unique, controversial yet logical approach towards ‘Restoring’ a historical landmark. It proposes an original thought of addressing preservation, honouring the past to withstand the future by individualising both.

Text and Drawings: courtesy Carlos Quevedo Rojas Images: courtesy Mariano Copete Franco and Francisco Chacón Martínez Compilation: Meghna Mehta

Restoration: Restoration includes preservation, leaving as much material untouched as possible, reconstruction to replace missing elements, and repair work to bring the building to a historically accurate condition in one particular time period. This may include removing some historic building elements (after documenting them) to make the building historically accurate for a specific date in history.

History After the partial collapse that this medieval tower suffered, being a historical landmark for its strategic position in the latest “Nazari” border through the Valley of Guadalete, where it´s cut with Bética range, we project the consolidation of this landscape icon that lost part of its imposing volume, leaving at risk the stability of the rest popup, removing with it not only part from the architectural element, but also the landscape reference of a landmark linked with the iconography and culture of the region. Being cultural models and emblems of our own cities and territories, the crisis has been that they succumb in the abandon for their own economic disinterest that carries their maintenance.

Intervention For the buttresses that guarantee its stability and for the reinforcements/protections of the internal degraded cores that had lost their exterior stonework, the same limestone was re-used which had collapsed. The top was executed in order to consolidate the slender wall that remained after the collapse and that was traversing a serious risk of overturn. In its exterior face, the flesh was removed and in that the original white covering was retained in its interior face as well as an interesting fresco painting of a boat in tonality ochre.

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Felicity of the Arts “God is in details”, this quote holds true for the unique Bidri arts from the small town of Bidar.

Text: Divya Pai Curated by: Dr Deepak John Matthew Photographs: courtesy Asif Jamal and Sweta Verma

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ver since the mechanisms of modern times arrived, local art and culture had to tackle transfusion of their traditional works with present systems. Locally developed generational knowledge passed over time, had to intermingle itself with the present and generate a uniqueness of its own. Bidri work is one such style which enhanced and created an exquisite genre for itself.

Bidar, a hill-top city from where “Bidri” in its art form developed, is situated on the Deccan plateau and lies in the north-eastern part of Karnataka state in India. This city is not only known for its Bidri handicraft products but also has rich history contained. The art form developed here is a hybridisation of various reigns and artistic adaptations from Turkey, Persia and Arabic countries. Bidri work, in particular, is believed to have come from Iran with an artisan called Abdulla-bin-Kaiser, who was an expert in metal work. Along with all the local artisans, this art ware has spread far and wide, handing itself over to generations.

The photographer here has tried to understand and capture every moment of making these Bidri craft works. These frames depict the behind-the-scene tale of creating this culturally rich and preserved art form.

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Asif Jamal Asif Jamal is currently student of Visual Design at Department Of Design, Indian Institute Of Technology, Hyderabad. He is interested in Photography, Drawing, Public Art, Traveling and socially impactful projects. His projects include poster design series for rural public spaces and trucks inspired by colorful Indian truck art. Asif was awarded by the Ministry Of Tourism and Culture, Government of India for three consecutive years of his artwork.

Sweta Verma Sweta Verma is currently studying Visual Design at Department Of Design, Indian Institute Of Technology, Hyderabad. She is interested in Photography, Painting, Traveling, and socially impactful projects. Her recent projects included Bidri handicraft where she tries to ellaborate today’s necessities of contemporary Indian and Mughal art.

Space Frames investigates issues of architecture and environment through the medium of photography. To contribute, write to us at iabedt@jasubhai.com or to the curator Dr Mathew at dr.djmathew@gmail.com.

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