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TOTAL NUMBER OF PAGES INCLUDING COVER 82 MUMBAI ` 200 AUGUST 2017 VOL 30 (12)

IN CONVERSATION Manit Rastogi, Morphogenesis ARCHITECTURE The British School, Morphogenesis Bright Horizon Academy, DesignAware Pixelet, AKDA SUSTAINABILITY Vedanta Centre, CFIA URBANISM Tenri Station Plaza, Nendo STRUCTURE AND ARCHITECTURE Chennai Airport INTERIORS The ReBar Office, PVDRS

A SHINING DISPLAY OF GERMAN ENGINEERING. A modern stainless steel piping system that matches even the highest quality standards.

When you are driving quality forward it is essential to have a partner you can rely on. Over 30,000 feet of Viega Sanpress stainless steel pipes and roughly 50,000 gunmetal connectors make it possible to provide 15,000 Audi employees with clean drinking water and thereby enable impeccable work – right to the very last detail. Viega. Connected in quality.

Audi AG, Böllinger Höfe factory, Germany

viega.in/About-us

170523DU_Image_Audi_IN_270x420_Indian_Architect_Builder_F39.indd Alle Seiten

03.04.17 12:31

A SHINING DISPLAY OF GERMAN ENGINEERING. A modern stainless steel piping system that matches even the highest quality standards.

When you are driving quality forward it is essential to have a partner you can rely on. Over 30,000 feet of Viega Sanpress stainless steel pipes and roughly 50,000 gunmetal connectors make it possible to provide 15,000 Audi employees with clean drinking water and thereby enable impeccable work – right to the very last detail. Viega. Connected in quality.

Audi AG, Böllinger Höfe factory, Germany

viega.in/About-us

170523DU_Image_Audi_IN_270x420_Indian_Architect_Builder_F39.indd Alle Seiten

03.04.17 12:31

industry news

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Legrand India announces its experiential centre Innoval in the country

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Mr. Jean Charles Thuard, CEO & Managing Director, Legrand India & Mr. Sameer Saxena, Director- Marketing, Legrand India at the launch of INNOVAL Studio in Mumbai

First such studio by the company in Asia Pacific which shows India’s importance to business • Product showcase under one roof for all trade partners • An enhanced training offer to give practical support to the electrical trade

L

egrand India, a global leader in electrical and digital building infrastructure inaugurated their state of the art experience centre Innoval in Mumbai . Innoval will host its India group company products – Legrand, Numeric & Valrack. Globally Innoval’s are present at France, Greece, Chile, Brazil, Colombia, Dubai, and now for the first time it is making its entry in the Asia Pacific region with India. The Mumbai launch is expected to be followed by openings in Ahmadabad and Chennai.

Innoval is Legrand’s global brand of products showcases. The name Innoval is a reflection of Legrand’s brand value of developing ranges of innovative products (Valley of Innovation). The narrative at Innoval is based on the concept of ‘Source to End Usage’, where the products are arranged in relation to each other and according to where they fall on the energy and data distribution grid. Keeping in mind the vastly different profiles of visitors, the products are arranged as per the business verticals, namely - Home Automation, User Interface, Energy Distribution, Structured Cabling, UPS and Cable Management.

The design approach is based on the concept of Designeering. It has all the technicalities of engineering, but put forth in an intuitive and easy to understand communication system. With the interactive product displays, fully automated experience, educational infographics and clean minimal visual language, Innoval has been designed to provide its visitors with a hands on experience that can help them make an informed choice. Innoval is also built from the perspective of providing training for all players in the electrical trade, from investors to installers. Legrand has been known industry wise for its innovation, value adds to solutions, and in helping these professionals adapt to a constantly changing business. The purpose of Innoval, the Legrand Group’s training provider for the Indian Architect & Builder - August 2017

residential and commercial markets, is to support all of these partners (investors, system integrator, architects, panel builder, end customer etc) by helping them to acquire new skills in order to better understand the market.

Mr. Jean Charles Thuard, CEO & Managing Director, Legrand India said, ‘The breadth of Legrand’s offer has diversified over the last 20 years in India. It has developed product solution for various industries and its user (investors, system integrator, architects, panel builder, end customer etc.) To speak to these new aged customers and to consolidate its credibility with regards to the new offers and expertise, Legrand has updated its approach.”

It is the first time in country that any electrical company has presented combination of highly technical nature in consumer products in an attractive way for understanding their usage with ease.

About Legrand Group in India: Legrand is the global specialist in the electrical & digital building infrastructure. Be it residential, commercial or industrial, Legrand proposes a complete solution for every project. It also enjoys leadership positions in at least one of its major business areas in a number of countries including France, Italy, Russia, Brazil, Mexico, China, and of course India.

For further information, contact: Legrand Laxman Tari Email: laxman.tari@legrand.co.in

industry news

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Saint-Gobain India Pvt. Ltd-Gyproc Business becomes first Indian manufacturer in Gypsum Industry to receive ISI certification Saint-Gobain India Pvt. Ltd- Gyproc Business has been awarded the license to use the ISI mark by the Bureau of Indian Standards (BIS) for its robust quality, safety and assurance standards for its Gypsum plasterboards

S

aint Gobain India Pvt. Ltd – Gyproc Business announced the grant of license to use the ISI mark for its Gypsum plasterboards from the Bureau of Indian Standards for its Wada plant, Palghar district, Maharashtra.

plants in India strategically located in North, West and South India.

The plants are considered a class apart, delivering superior products to provide solutions for ceilings, drywall partitions and plastering.

ABOUT SAINT-GOBAIN

This is the first time that a manufacturer in India has received the sought-after ISI mark for its gypsum plasterboards, a recognition for the highest standard of manufacturing in the country. The certification is valid via IS No: IS 2095: Part 1: 2011 for gypsum plasterboard manufacturing of various thickness boards.

A pioneer in light weight interior construction practices, Gyproc India is the market leader in India, known especially for gypsum based plasterboards. ISI Marked boards are the most preferred choice for all sectors and are becoming increasingly prevalent in the growing urban clusters across the country.

Speaking about the BIS certification Mr. Venkat Subramanian – Regional CEO – Construction Products India, Managing Director – Gyproc India said “We have always believed that Gyproc India has the potential to play a noteworthy role in shaping the future of the Indian construction landscape. This certification is a significant milestone for us to continue our commitment to the highest quality standards whilst becoming the reference for sustainable habitat in India.

We, at Gyproc India, aim to further strengthen our India footprint by spearheading innovative and technology-driven solutions with highperformance and superior products.”

Gyproc India, aims to develop the gypsum industry across the country through distributed manufacturing, skill development and market development initiatives. Currently, the company has three manufacturing Indian Architect & Builder - August 2017

In 2015, Saint-Gobain group celebrated its 350th anniversary. Backed by its experience and its capacity to continuously innovate, Saint-Gobain Gyproc, the world leader in the habitat and construction market, designs, manufactures and distributes high-performance and building materials providing innovative solutions to the challenges of growth, energy efficiency and environmental protection. With 2016 sales of €39.1 billion, Saint-Gobain group operates in 68 countries with 8 research centers and has nearly 170,000 employees. For more information about Saint-Gobain India Pvt. Ltd – Gyproc Business.

For further information, contact: Saint-Gobain India Pvt Ltd, Gyproc Business Leela Business Park, 5th Level, Opposite Leela Hotel, Andheri-Kurla Road, Bori Colony, Vijay Nagar Colony West, Marol, Andheri East, Mumbai - 400059 Website: www.gyproc.in

industry news

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Honda Two wheeler Expansion Project at Narasapura, Bangalore

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he Project Site is Located at Narasapura in the outskirts approx. 65km from Bangalore. The Manufacturing Facility is an expansion to existing Facility, to manufacture 2400 units per day of Activa Scooters.

Engineering to Perfection Tiger Steel Engineering (India) Pvt Ltd, India’s leading PEB Company used its state of the art manufacturing facilities for carrying out the structural steel works for the Honda Two Wheeler Expansion Project at Narasapura Bangalore.

The Honda Two Wheeler Expansion Project was to be used for manufacturing Purpose & Design Loads covered Live Loads, Dead load, Wind & Seismic Load, as well as Mezzanine, Conveyor, Pipe rack, crane Loads. The project was a challenging one and consisted of number Areas with Widths varying from 31 meters to 149 meters and length of 544 meters. The Buildings Heights were 12 meters and 13.03 meters. Since the Building. One of the highlight of the building was that it was designed to AISC / IS 1893 standards.

The Building has many offsets, and unsymmetrical with Special requirements of Hanging Conveyor Support System, Roof Monitors across the width of Buildings, north light Systems for High and Low Bays area, Mezzanine Structure with Grid Spacing of 15mx10m. The Challenge was in terms of completing the Design and detailing work to support the Project time lines. This was overcome through Design using State of the Art Metal Building Software (MBS, Fargo, USA) and Modelling on TEKLA. The Miscellaneous structures Like Piperacks, Cable Tray and Pipe rack Supporting Structure, Conveyor Supporting structure were Design on STAAD PRO. The Metal Decking System used in Mezzanine areas were designed as Composite system using Master Series software. The Design of main Columns and Beams were done using Built up Sections, while the Secondary Members were Cold Formed Z purlins and cladding runners. The bracings were designed using Pipe and rod sections.

Fabrication works The Fabrication of the Structural Steel works of this project was carried out at Tiger Steel State of the art manufacturing facilities at Murbad near Mumbai and Haridwar near Delhi. For this project, 4500 Tons of High strength Quality Steel Plates meeting ASTM A 572 Standards and Galvanized Steel with Coating of 275 GSM and Yield

Indian Architect & Builder - August 2017

Strength of 345 mpa were procured from reputed Steel Mills like JSW, JSPL, Essar, TATA and others companies.

Fabrication was done as per the AWS Standards and all the members were shot blast, cleaned to SA 2.5 standards, and Primer and Finished paint was applied at Shop, such that members arriving at site can be installed immediately. All the Building Components were subjected to thorough Quality Checks from Raw material Stage to Finishing Stage to ensure the members perfectly fit the Site requirements. More than 300 Trailer Loads were dispatched to meet the Project requirements, with Daily Monitoring & tracking of vehicles.

Erection of the Buildings The project work was executed with Highest Safety Precautions, using 6 Hydraulic Cranes, 16 Man lifts, and more than 100 skilled workman to erect and Deliver Buildings.

The Project Installations were carried out as per Tiger Erection Methods and safety Procedure.

FACT FILE: Client : Contractor :

PEB Vendor :

Scope of Works :

Quantity of Steel : Area Covered :

Honda Motors Sumitomo Construction Company Ltd Tiger Steel Engineering (India) Pvt Ltd Design, Engineering, Fabrication and Project Execution 4500 Tons 48750 Sq.m.

EXPLORE

VOL 30 (12) | AUGUST 2017 | ` 200 | MUMBAI RNI REGISTRATION NO. 46976/87, ISSN 0971-5509 INDIAN ARCHITECT AND BUILDER

Chairman & Editor: Maulik Jasubhai Shah Printer, Publisher & Chief Executive Officer: Hemant K Shetty Writers: Shriti Das, Sharmila Chakravorty, Sahiba Gulati Email: iabedt@jasubhai.com Design: Mansi Chikani Subscription: Dilip Parab, Prakash Powar Production Team: V Raj Misquitta (Head), Prakash Nerkar 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

26

INCONVERSATION Architecture for an Emergent Landscape In conversation with Manit Rastogi of Morphogenesis, about architecture in India – an emerging nation still in a state of architectural flux.

32

ARCHITECTURE Drawing on The Past to Redefine The Future.

The British School by Morphogenesis draws from Indian traditional techniques for an international school in New Delhi.

42

A Commercial Machine Pixelet by AKDA is an energy efficient design that reflects the urban landscape in its façade.

48

Tailored by Design.

Bright Horizon Academy by DesignAware emerges discreetly within a disorganised urban fabric and many challenges.

SUSTAINABILITY 54 Simple, Sensible and Sustainable.

The Vedanta Centre by CFIA is built on practical and vernacular

principles to accommodate a contemporary Vedic-Ashram.

URBANISM 60 Leisure in The New Age.

Tenri Station Plaza by Nendo adapts spirituality into a

recreational space.

66

STRUCTURE AND ARCHITECTURE Engineering Amalgamated with Architecture.

Chennai Airport achieves the largest cantilever of 24 meters, largest in India.

70

INTERIORS Refined Rawness ReBar Office by PVDRS relooks at workspaces by means of an open plan.

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BOOK ABSTRACT Morphogenesis: The Indian Perspective. The Global Context.

Cover Image: © Morphogenesis

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industry news

12

Geberit announces “One Million concealed cisterns installed in India” First ‘Made for India’ product meeting tough local conditions manufactured in Pune Technical team trains plumber fraternity at its state of the art Plumbing Lab

E

uropean leader in the field of sanitary technology and bathroom ceramics, Geberit today announced that it has successfully installed One Million Concealed Cisterns across residential and commercial properties in India.

Talking on the occasion Mr. Abubaker Koya, Managing Director, India shared “Concealed Cisterns were a new concept to India when we entered the market. From addressing the fear of how hidden cisterns would work, to practising the concept of water and space saving benefits, the team had to articulate and educate both the trade partners and end customers.”

“We have come a long way since and are today proudly celebrating the one million installation of the same system across industries from IT parks, Malls to Manufacturing plants and of course hi end residential building.

We enjoy the patronage of leading Indian corporates and developers across the country. In Mumbai about 150 projects are underway which are over 40 floors each and in about 60% of these Geberit has installed its plumbing and flushing products,” Mr. Koya added.

“Geberit in India (as a fully owned subsidiary) started in 2010 with its headquarters in Bangalore and a production facility for concealed cisterns in Pune. The company has since followed the Constraint based Product Innovation - best of modern technology, design and India’s mind-set in designing products exclusively for Indian customers.” said Mr. Koya.

Geberit products are available across the length and breadth of India with over 1500 dealers and distributors in its network. While Geberit forayed into India with concealed cisterns and piping (behind the wall) products, the company has moved on to ‘in front of the wall’ products viz. Mera Shower Toilets, Urinals, Sensor Taps etc. “The sanitaryware industry size in India is about 15,000 crores INR and the space Geberit operates is in about half of it, very specifically at the premium end of the segment.

Interestingly the Sanitary Industry in particular, has kept pace with the reality industry (real estate) growth in India at about 10-15% per annum.

Indian Architect & Builder - August 2017

However, the premium segment within this, where companies like Geberit are major players, has grown at a higher rate >20% per annum.”

“Within the toilets segment, one is seeing a major shift to wall-hung toilets. Due to this change, the new flushing systems (concealed cisterns) market is evolving in a big way and Geberit is a major player in that area today,” said Mr. Koya.

Geberit has helped establish a first-of-its-kind plumbing lab at the Pune University, and is working with institutions such as the Indian Plumbing Association etc. to create customised learning and knowledge sharing programmes. “In lines of what we have established at Pune University, we are in talks with JJ Institute in Mumbai, IIT Delhi and with skill sector councils in Delhi and Kerala to create similar platforms on knowledge sharing. We are happy to share that Geberit technical faculty trains about 5000 plumbers every year at its lab,” added Mr. Koya.

About Geberit The Geberit Group is the European market leader in sanitary technology with global presence. From the time of its establishment in 1874, the company has always been a pioneer in the sector, consistently setting new trends with its comprehensive system solutions. Geberit Group is headquartered in Switzerland at RapperswilJona and has been listed on the Swiss Stock Exchange since 1999. Geberit touched 2.8 Billion CHF in net sales in 2016, the company employs more than 12000 people worldwide and has its own representatives in over 50 countries.

Geberit in India is committed to meet the existing and prospective customers’ emerging needs in the field of Sanitary & Piping Technologies. Anticipating the needs of the Customers / Clients, the Geberit product range is designed for use in new buildings as well as in renovation and modernization projects.

For further information, contact: The Lalit Ashok Bangalore, Kumara Krupa High Grounds, IN-Bengaluru 560 001. Tel: +91 80 3925 1101, Fax: +91 80 3925 1133, Email: sales.in@geberit.com

www.Lntecc.com

Touching people.

Transforming lives.

By building some of the most defining infrastructure of recent times, we, at L&T Construction, have been constantly transforming lives for over seven decades. Through our strategic business verticals, we use our excellence in construction to bring people closer, create wonderful spaces for recreation and rejuvenation and healing.

places to stay, pray or play - all our projects have one thing in common. They all carry the signature of excellence of L&T Construction.

As ‘builders of nations’, we take pride in making our stakeholders proud and bringing smiles on millions of faces every day!

Be it our end-to-end capabilities in turnkey construction of iconic airport infrastructure, high-rises, health centres or

A brand of Larsen & Toubro Limited Regd. Office: Larsen & Toubro Limited, L&T House, N. M. Marg, Ballard Estate, Mumbai - 400 001, INDIA. CIN: L99999MH1946PLCOO4768

industry news

14

↑

MPF Aerial View.

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MPF Plaque Unveiling.

Multi-Purpose Facility, Chakan- A new milestone for thyssenkrupp Elevator in India

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MPF launch press conference.

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erman company thyssenkrupp inaugurated recently its elevator manufacturing facility in India at Chakan near Pune. This plant, rightly called Multi-Purpose Facility (MPF), is built on 84,000 square metres of land with an investment of about INR 300 Crs. It includes manufacturing & logistics centre, customer showroom cum experience centre, training centre and R&D centre.

The MPF is aligned with the Government’s ‘Make in India’ vision, aimed at making India a global manufacturing hub. It will enable the company to cater to increasing demands from the local market and also explore exports in near future.

Speaking at the press conference in the inaugural ceremony, Mr. Bharat Vishnani, Managing Director, thyssenkrupp Elevator India said, “This MPF inauguration is a culmination of our dreams nurtured for the past few years. With this facility we are now in a much stronger position to serve the second largest elevator market in the world. And the future looks promising with hopes of good market growth fueled by positive developments on the Government policy front. Noteworthy of these are the Infrastructure status awarded to affordable housing, drive on Urbanization, Smart city concept and GST rollout. All these factors will directly or indirectly give a strong impetus to our industry”.

The initial annual production capacity is planned for 6,000 units, which will get extended to 10,000 units in next few years. Elevators produced here are based on German technology and engineering design, adapted for local standards and market needs across various segments.

The learning centre here, called the seed campus (Specialised Employee Education & Development), integrates into thyssenkrupp Indian Architect & Builder - August 2017

↑

Customer Experience Centre.

Elevator’s global network of 17 seed campus locations. Apart from the usual classroom and AV training, this centre is well equipped with the latest digital technologies and simulators to deliver quality learning to not only the management and office staff, but also to the field technicians who are responsible to install and maintain our elevators.

The customer showroom cum experience centre is a visual tour displaying the company’s latest products and reference projects using 3D mapping and VR technology. These interactive presentations enhance the overall experience and in doing so, thyssenkrupp has created a world class experience centre to showcase its innovative products such as the TWIN® elevator. This showroom also displays the various design options for operating fixtures, cabin finishes and ceiling options.

Market sentiments are picking up and thyssenkrupp with its MPF is now poised much stronger to reap its benefits.

For further information, contact: thyssenkrupp Elevator (India) Private Limited, 1007, Windfall, Sahar plaza, J.B. Nagar, Andheri East, Mumbai, Pin 400059, India T: +91 022 4042 9429, Email: in.info@tkeap.com Web: www.thyssenkrupp-elevator.co.in

industry news

16

Agile Workplace by Haworth I

FMA India is dedicated to promoting and advancing the profession of facility management. As the pioneer in educational, informational and networking resource for facility professionals; IFMA enables you to contribute to and benefit from the rising opportunities open to FMs locally and globally. In order to harness maximum output from the office space; companies are moving towards the concept of “Agile Working”.

Agile Working is a way of working in which an organisation empowers its people to work where, when and how they choose with maximum flexibility and minimum constraints to optimise their performance and to do their best work. Agile Working brings people, processes, connectivity and technology, time and place together to find the most appropriate and effective way of working. Implementing agile workplace increases workspace utilization, productivity, efficiency and innovation. The principles of Agile Working can be adapted, customised and implemented in many ways to suit different spatial configuration for businesses.

In this context; Haworth recently hosted IFMA Chapter on “Smart Workplace” at their showroom in Andheri; a smart and agile abode for the discussion. Haworth showroom is an organic workspace and open for client, architect to utilize for internal meetings (sharing of space concept) & networking. Discussions were oriented on Future workplaces, trends, agile workplaces and nature of office is evolving and adapting with time and developers or owners of office are getting prepared for evolving work culture concept.

The event unfolded with presentation on “Smart Workplace” by Deepali Mahajan-Regional Space Planner APAC/MEA CBRE in Support of Deutsche Bank Group & Vishal Gupta - Associate Director; Jones Lang LaSalle. In words of Deepali Mahajan; “Agile Working is the Synergy of innovative interiors, mobile technology and flexible working that liberates people from traditional desks and offices, empowering them to choose their workplace, thus enabling work satisfaction and work life balance. It is the future of global workplace, dynamic and transforming, allowing us to work from anywhere, bringing us closer and heralding an era of energy, efficiency and empowerment.”

The Essential Elements of Agile Working are Open Plan office, Breakout Areas, Quiet Zones, Touchdown Spaces and Resources / Facilities Area.

Agile Working Spaces include Team Tables, Phone booths, Informal meeting areas, Cafes, Think Tanks, and Focus Rooms etc. The crux of the discussions was that commercial spatial design and planning cannot be looked in silos by design professionals and solution providers. They must develop an integrated holistic approach in designing for the current and prospective needs of the occupants and provide flexibility to the owners to re-design the space without much effort. Be Smart is being Agile.

About Haworth Over the years, our company has grown and evolved, investing in research, design, and acquisitions that expand our portfolio and network to meet changing market dynamics. We align our strategies to ensure we’re providing our customers with the workplace knowledge, innovation, design, and global expertise required to enable their success. We design and manufacture product solutions that help you create inspiring spaces.

Indian Architect & Builder - August 2017

About Ifma IFMA is the world’s largest and most widely recognized international association for facility management professionals, supporting 24,000 members in 104 countries.

Provides a wide range of educational courses from entry-level programs to those for highly experienced facility managers<http://www.ifma. org/professional-development/educational-opportunities>.Produces World Workplace<http://www.worldworkplace.org/>, the world’s largest series of facility management conferences and expositions, and Facility Fusion<http://facilityfusion.ifma.org/>, a more intimate gathering of FM professionals with powerful networking and a fusion of education, leadership training, best practices and an exposition.

For further information, contact: Jyoti Patil Email: Jyoti.Patil@Haworth.com Haworth India Pvt. Ltd. 105, 1st Floor ,Windfall, Sahar Plaza, J.B Nagar, Andheri Kurla Road, Andheri (East) Mumbai Pin - 400 059, Maharastra, India Web: haworth.com/ap

18

Viega Advantix Vario Shower Channel The First Tailor Made Shower Channel that is made to Measure No matter how big and what shape, now shower channels in the bathrooms are possible in all design variations. Up to now, this was not the case with the shower channels. From long to short, in L-shape or in a U-shape, three connecting elements gives the Viega Advantix Vario shower channel a high level of flexibility. The strength of the Viega Advantix Vario Shower Channel is its individuality. It is the first shower channel that can be shortened exactly to the required length.

On the other hand, even at a low installation height, it gives an impressive drainage capacity of 24 litres per minute. This is sufficient to reliably drain high-performance wellness showers.

F

or its flexibility, minimalism and top performance, the innovative Viega Advantix Vario shower channel designed by Artefakt Industriekultur, the Darmstadt design agency has been recognized by many prestigious entities. It won the “red dot” award for high design quality, the renowned “Design Plus powered by ISH” and the German Design Award 2013 to name a few.

Indian Architect & Builder - August 2017

Discreet appearance The water inlet of the shower channel grate which is only 20 millimetres wide overall, has a centrally adjusted grate made of stainless steel offering clear design identity and an impressive, yet minimalist appearance. The new Advantix Vario-shower channel from Viega sets trend without creating an overpowering ambiance. Stainless steel

industry speak

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surfaces are available in highly polished and brushed matt finish. The drain Is deliberately concealed from the userâ&#x20AC;&#x2122;s viewpoint thanks to the subtle design of the shower channel. After the laying of the tiles, only a narrow drainage gap can be seen that is optionally surrounded with polished tile edges or a tile border rail.

Tailor-made solutions The shower channel can be installed as a straight line from 30 to 280cm as well as in a corner design in L-shape and U-shape. The basic unit made from special chemical-resistant plastic is open on both sides where the grate can be shortened to the desired size and using the supplied saw guide, it is quick and safe to shorten on the building site. Elegant caps stylishly conceal the interfaces of the grid.

The Viega Advantix Vario, on other hand has lots of leeway in terms of its height as well. Fine-tuning adjustments of the grate are also possible using the similar height-adjustable grate supports.

Permanent insulation water tightness Viega construction specialists paid special attention to the safe and watertight seal of the channel edge. The caps, which are fitted with a double-lipped seal, are connected immediately after plugging on to the channel edge.

Self-cleaning drain Depending on the installation, the drainage capacity is 0.4 to 0.8 litres/second and can be doubled by combining two shower channels.

A dirt trap which can be removed for cleaning keeps the drain and drain pipe free of hair. The new shower channel is also fitted with the self-cleaning drain Advantix. This flat drain has already been successfully used for many years in various drainage solutions from Viega. Its special construction and the flow speed of the drainage water mean that there is no opportunity for dirt to collect in the body of the drain thereby special cleaning is no longer necessary. This allows a good individual bathroom design without compromise.

About the company Viega was founded in Attendorn, Germany, in 1899. Worldwide, more than 4,000 people are employed by the Viega Group, which is among the leading manufacturers of installation technology for sanitary and heating. The range consists of approximately 17,000 articles in the product categories of piping systems as well as pre-wall and drainage technology. They are used nearly everywhere: in building services installations, in utilities or in industrial plant construction and shipbuilding.

Since 2005 Viega has been successfully present in the Indian market.

After several years with independent Sales Representatives, in 2015 the legal entity Viega India Pvt. Ltd. was founded in Ahmedabad, Gujarat to foster the Indian local footprint. This includes investments in a production site in Sanand to better serve local market needs. Sales and service teams are present in all the major cities in India.

For further media queries contact: 1005 DLH Park S. V. Road, Goregaon West, Mumbai - 400062 Namrata Aswani - 09920710261 Sushil Panigrahi - 09930634197 Amar Kirale - 09892459300

Indian Architect & Builder - August 2017

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10+

professionals in each edition

editions

India’s Biggest Architecture symposium ICON LECTURERS OVER THE YEARS Richard Meier, USA

“I think, any work of architecture that has, with it, some discussion, and some polemic, is good. It shows that people are interested and people are involved.”

Fumihiko Maki, Japan

“Time was able to give us the ability to reflect on what we had done and became the mediator between the city and its architecture.”

Pritzker 1984 Laureate

Pritzker 1993 Laureate

One of the oldest and most respected design forums in India, the 361° Conference is an initiative by Indian Architect & Builder, under the aegis of Jasubhai Media, to inspire a truly relevant discussion on architecture.

The Conference establishes a thought – exchange program with lectures and discussions chronicling a multitude of ideas and innovations that have had a significant impact on our habitats.

Through the years, the conference has connected various disciplines of design, by offering dialogue opportunities across essential themes like Architecture and the City, Architecture & Identity, Architecture of Purpose, New Spirit in Architecture, Design & Informal Cities, Earth Matters, Imagining Urban Futures, Material Innovations & Discourse, Intuition & Syntax in Architecture.

Late Charles Correa, India

Padma Vibhushan, Padmashri, RIBA Gold Medal

Dr B V Doshi, India

Padmashri, Aga Khan Award Winner

“Place represents that part of truth that belongs to architecture.”

“India is diverse economically, socially, culturally and climatically. We need to stop talking about buildings and talk about a sense of community. That is what identity stems from.”

Massimiliano Fuksas, Italy

“Architecture is probably the easiest and simplest interpretation of art and culture.”

Peter Rich, South Africa

“You cannot reinvent the wheel with architecture; it has all been done before.”

Toyoo Ito, Japan

“Asian Architecture and cities have inherited the culture of integrating with nature and are opened to nature.”

Sir Peter Cook, UK

“History of architecture seems to be preoccupied by the form of the window, the decoration of the window, the acknowledgement of the window.”

Crystal Globe IAA Grand Prix 2015

Building of the Year award at WAF

Pritzker 2013 Laureate

Royal Gold Medal of the RIBA

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ARCHITECTURE FOR AN EMERGENT LANDSCAPE Architecture in India – an emerging nation still in a state of architectural flux – presents a world of exciting opportunities, as well as overwhelming challenges. Do we look to the future and modernize, or draw from the rich traditions of the past? Do we concentrate on affordability, or invest in high-end, futuristic building technologies? And where does that leave sustainability?

Working in this dramatically dynamic context, Manit and Sonali Rastogi have taken to nature’s design-book for inspiration – for a design philosophy that shapes their firm Morphogenesis.

In this interview, Manit Rastogi talks about everything architecture – right from the need to develop a ‘Brand India’ design identity, to how architecture is more of a state of being than merely a profession.

Manit Rastogi Founder Partner, Morphogenesis Known as an architect who consistently pushes the boundaries of sustainable design, Manit Rastogi is the Founder Partner of Morphogenesis, one of India’s leading award-winning Architecture and Urban Design practices which has won numerous international and national awards. Manit is known to create a sustainable architecture through the framework of an evolutionary practice inspired by nature, with an emphasis on passive design.

Morphogenesis is globally recognized for its diverse work that encompasses a range of typologies across Architecture, Interiors and Landscape Urbanism and has been ranked among the Top 100 Architectural Design Firms worldwide for sixth consecutive time.

IA&B: Can you take us through your journey as an architect? How did the Architecture Association (AA) help in shaping your design outlook?

MR: Sonali and I got our undergraduate degrees from School of Planning and Architecture, New Delhi. It has a pedagogy of very competent, technically oriented, contextually situated architecture and this in the late 80s made for very interesting education. However it did not benefit from a global exposure because that wasn’t the way India was at that time. One of the reasons for going to the Architecture Association (AA), London for our Masters was this pressing need to understand what the architectural conversation was like around the globe, what were people thinking, what were the debates, what were the influences; and I think that was the biggest learning for us, at the AA. There were people from different nationalities carrying latent within them, knowledge from their own countries, however, part of a larger global discourse. In that way, our time there helped us develop our vision of taking Indian architecture global.

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IA&B: How much has Morphogenesis evolved since its inception? Is there an ideal, final form that you want Morphogenesis to take?

MR: The Morphogenesis philosophy has not changed, but has evolved, as should everything. The vision stays the same yet the tools keep progressing, where experience adds to thought and the canvases grow larger. ‘Learning’ is Morphogenesis’ strongest value, and each Morphogenesis member learns and contributes to learning in equal measure. We strongly believe that practice must solve ‘real’ problems that can feed back into academia rather than purely the other way round. That is how we position our practice and our work as the bridge between academia and research. An ideal final form would be to see Morphogenesis as an institution in perpetuity – a living, thriving ecosystem, a repository of data, information, knowledge and wisdom.

IA&B: What factors influence and inspire your design process/design philosophy?

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Apollo Headquarters © Jatinder Marwaha

MR: We are inspired by nature’s evolutionary processes. The rule of nature is that form follows function with very clear causes and effects; when something is out of step with its environment, it does not survive. We never started from a movement standpoint or a style; being inspired by nature is about being inspired by simplicity – not complexity.

While Morphogenesis takes its cues from the natural world, the firm’s architectural principles are based on four distinct pillars: Sustainability, Affordability, Identity and Livability.

These parameters define the enquiry process that shapes the architecture of Morphogenesis.

The main question that continues to pervade our design philosophy is the notion of how do we redefine sustainability by thinking systemically? How do we celebrate identity and diversity versus homogeneity, how do we think of our buildings and cities as bazaars (places of human interaction) rather than only as machines (places of human habitation), how do we redefine our urbanism as an emergence of interwoven networks?

IA&B: Morphogenesis has consistently won awards and accolades. But which of your projects are you most proud of, and why?

MR: As an architect, it’s very hard to look at the entire career of over 20 years and pick a favourite project. Every project, at the time it was built, had certain learning, had a certain newness and freshness that challenged your abilities then.

Having said that, there are some projects that have truly been milestones in either our success or in helping shape our firm’s philosophy, or both. Apollo Headquarters (1999) is memorable for being our first significant commission. It won us our first Indian Institute of Architect’s award and gave us conviction in our chosen path. Pearl Academy (2008) won us India’s first WAF Award, as it caught the global imagination. Having to stretch resource optimization to its limits due to budgetary constraints, through the use of using of regional ideas, it defined the direction of every project since – where we look at each from the perspective of having no energy, no water and no material. How then, do we approach design? Ever since Pearl, Indian Architect & Builder - August 2017

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Pearl Academy of Fashion © Andre J Fanthome

Delhi Nullah © Morphogenesis

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we have also been able to rejuvenate and use traditional crafts in a contemporary format in almost all our work.

IA&B: You are actively involved in academia. Do you see a disconnect between the theory and practice of architecture? How can we bridge this gap? Also, how does being an academician inform and influence your work?

MR: The Indian architectural educational system comprises of 350 schools of architecture; but the curriculum of schools, the methodology, the pedagogy of teaching is not suitable to the idea of sustainability being at the core of India’s modernity.

It creates architects who are in some sense divorced from the process of how a building is put together, because the nature of our buildings has completely changed in the last 20 years. Morphogenesis has worked as a consultant to a school of architecture where we have contributed to rewriting the curriculum, to bring sustainability to the heart of the programme and not as a separate subject. It is integral to all the subjects being taught; the underlying glue that connects structure and MEP, lighting and landscape, etc. It must be ingrained in the consciousness of the students. And that is the biggest challenge right now because a whole bunch of kids coming out of schools of architecture still see sustainability as something external to their project which they have to layer on.

That needs to change.

IA&B: The work Morphogenesis produces is almost always sustainable architecture. Is this a conscious effort? How difficult is it to design and build sustainably in a price-sensitive market like India?

MR: Indian architects of the past, to a large extent, have always built sustainably. Almost all our traditional buildings were a response to the local climate and materials, and a lack of resources. Unlike other nations, local resources and methods of construction are still easily available to us.

As architects sensitive to our environment, addressing the need for optimization in deployment of limited resources of various types has been a constant, in the two decades of practice at Morphogenesis.

The firm takes inspiration from the processes in nature, in how nature has no waste, uses and consumes everything, using the least amount of material for maximum impact. As a rapidly developing nation with the urbanized population set to grow

from 30% to 50% over the next two decades, this approach becomes even more critical in future urban and public projects in India. Sustainable architecture and urbanism is imperative, but can only mitigate environmental impacts so long as it is conceived with economic adequacy. Affordability derived from resource optimization is as crucial to sustainable urbanism as environmental protection and socio-cultural sustainability.

Through each successive project, the firm refines its design approach such that there is no energy and resource mismanagement, to be able to add maximum value to a project for its intended capital cost. The approach to reducing resource consumption extends into the project’s operational lifecycle as well.

IA&B: Do you work with craftsmen and/or local techniques? How can architects attain an ideal mix of technology and tradition to design more efficiently?

MR: India has a wealth of master craftsmen, who are the knowledge bearers of the tradition of building with limited and local resource, and it is that architecture that has caught people’s imagination worldwide and has been India’s ‘Identity’.

We look at rooting our design solutions in the local, physical, and geographical character, ensuring to further strengthen the urban fabric of the region. With the projects that we undertake at the firm we consciously invest efforts in using traditional methods and materials while working closely with many crafts-based industries in India that are at risk of dying out.

In the last 20 years we have locally engaged with traditional craftsmen and artisans to re-energize and re-interpret local materials in several projects. What we see as commonplace is an ultimate luxury that we must continue to sustain and use to our competitive advantage.

IA&B: The book Morphogenesis: The Indian Perspective.

The Global Context was recently launched. What prompted the decision to publish the book? Why do you think a lot of architects are actively documenting their work these days?

MR: 2014 was an interesting year for us, particularly when we were named Laureates of the Singapore Institute of Architects SIA Getz Award for Emergent Architecture. It was quite the honour and set us reflecting on what we had learned and how we had evolved as a practice over that time. Coincidentally, it was also the time that Images Publishing got in touch about having us pen down a monograph to include in their Master Architect Series.

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GYS Vision © Jatinder Marwaha

Surat Diamond Bourse © Morphogenesis

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It seemed like an interesting way to formalize our reflections post SIA Getz and a nice way to commemorate our two decades of practice by the time the book would be out in 2016. The deconstruction of our methodology, approach and learning from each project we included, gave us far greater insight and understanding of our own personality, character and purpose than ever before. An analysis of the past 20 years has made our vision for the next 20 so much clearer.

IA&B: What do you think of architecture in India today?

Is there a practice/architect - it could also be a global one - that inspires you?

MR: I would pick a country that I am inspired by, rather than a specific architect, and that is Japan. It’s difficult to think of another place where the culture, philosophy, religion and lifestyle of the people permeates through and finds such deep expression in design and architecture. The design fundamentals of simplicity and minimalism, integrated with cutting-edge technology and material innovation is manifested in the works of architects like Toyo Ito, Shigeru Ban, Tadao Ando and others, who use empty space and material to represent the essence of simplicity, yet their work is embedded with great complexity of thought. Crucially, this high-design sensibility is not limited to an elite set of product portfolios; it’s all pervasive. A common vein in all the design that emerges from Japan an unmistakable ‘Brand Japan’, something we crucially need to develop collectively here – ‘Brand India’ for design.

IA&B: What are your views on the state of urban planning and development in contemporary India? How can we improve the situation? What, accordingly to you, is the future of our cities?

MR: An assortment of problems of migration, traffic, pollution, water, electricity, sewage, governance and global warming are prevalent in most of our cities. The idea of sustainability should now move on from buildings to our cities as well.

What is crucial is finding the correct sustainable urbanism, industrial and rural models for the Indian subcontinent –

not something imported from industrialized nations, not exclusively dependent on globalization, but one that renders itself appropriate to our condition. Our master plans for our cities have to be master plans for the environment, with all our material requirements as a subset of the larger environmental vision.

IA&B: What kind of architectural future do you foresee for India, considering the dynamic changes and global influences? What challenges does this bring, and how do you think architects should address them?

MR: I see plenty of architectural opportunities in future, given that we still have to shape our built fabric to the extent that other global economies have done. We have multiple typologies to explore – a lot of public architecture is yet to be built, institutions to address the educational needs of our youth which is the youngest demographic in the world today, building catering to public health, and of course, housing.

Due to rapid urbanization, we are also seeing the evolution of many townships and we have completely taken on board the Smart City mantra. As much as India is in a phase of forging its identity on the global stage, this is equally an opportunity to collectively define Brand India for Architecture. The challenges and corresponding opportunities are to do this in a highly qualitative and sustainable manner. These are exciting times we live in!

IA&B: Lastly, what message would you like to give to students pursuing architecture and young architects in practice?

MR: I love what I do and I’m glad to have chosen this profession.

It is also a profession where it is impossible to separate oneself from one’s work… you live and breathe architecture in every waking moment. So my only message is that if you can embrace if fully with passion, and be a lifelong learner, you will have a fulfilling career as an architect!

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Drawing on the past to redefine the future The British School, New Delhi Text: Sharmila Chakravorty Drawings & Images: Morphogenesis

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The pavilion opening into the street and bringing people in © Randhir Singh

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In today’s increasingly competitive world, schools are constantly under pressure to provide the best for their students – be it in curriculum or in their physical environment and facilities. This becomes even more pronounced when the students happen to come from around the world, making the school a melting pot of cultures. What, then, is a culturally appropriate design for a school that is inclusive, state-of-the-art, and yet embraces sustainability? As a response to these musings, and catering to the diverse expatriate community in New Delhi’s diplomatic enclave, The British School by Morphogenesis draws inspiration from Indian traditional architectural techniques to offer a truly world-class learning environment that is yet rooted in its context.

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© Randhir Singh

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here is no dearth of research and reports that indicate the importance of holistic education. Plus, there is unprecedented competition today, not only for our children but also their schools.

Naturally, schools are stepping up their game like never before. This includes both, the way they design their curriculum, and the physical infrastructure they provide. And so it comes as no surprise that there is now an increasing demand for an architecturally appropriate school building, complete with well-thought-out, well-designed spaces that aid students’ all-round development.

students from over 55 nationalities, making it a truly diverse assortment of curious minds eager to be shaped. Thus, the design had to be socio-culturally inclusive, creating an atmosphere that fosters social cohesion. The design thus resonates with the School’s motto – An international education with an Indian soul. With this motto as the guideline that informed and shaped the design, the architecture makes a compelling case for a renaissance in the school-building typology.

And yet, there is a paradox here. Often, the response to this demand is a building that scores high on aesthetics, guzzles up energy to offer an air-conditioned, sanitized environment that is typically associated with an ‘international’ feel. But is this the best type of school for our children? Moreover, is it the best possible option in terms of terms of sustainability, architecture and design?

The school sits on a tight site in space-constrained central Delhi. In order to double it student strength of 650 to 1300, a new building was to be constructed. However, this new building had to be built on the existing site, without disrupting the existing school which would be eventually phased out. And so, the design of the new building was developed in phases, around these constraints, enveloping the existing building.

Morphogenesis’ design for The British School in New Delhi presents a design thinking that attempts to defy the norm. The school has

The perimeter block was constructed in the first phase, transferring and accommodating in it, the existing operations. Then, Phase

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Façade © Morphogenesis

II was built on the vacated old school building site, housing additional classrooms, laboratories, sports facilities, arts wing and a Performing Arts Centre.

The school’s design excels in a number of areas, but resource optimization is where it shines the most. There is a conscious effort to minimize the reliance on mechanical systems. What are we trying to convey through the design of most buildings today?

That we are incapable of surviving without air conditioning? Sure, it gets hot, it gets cold. But is that something so significant that we are willing to risk our environment, and eventually our planet, just so that we are at a comfortable 24-degree C? Perhaps with these questions in mind, Morphogenesis advocated that 50% of the school be non-air-conditioned. To that end, their expertise in traditional passive methods has been used to temper the non airconditioned environment, create transition spaces to manage the indoor - outdoor temperature differential and hence optimize energy consumption. This creates an environmentally experiential learning environment. The design intersperses a

system of courtyards throughout the school, carefully planned so that they enjoy shade throughout the year. Thus, these spaces can be used not only as transition spaces but as extended learning environments. Similarly, the school has a number of semi-enclosed breakout spaces, constantly transforming the way students interact with one other, and their surroundings. This sensitivity in design opens up a whole world of chance-encounter opportunities for children to form friendships, bonds, and make memories. After all, schools aren’t only about academic learning, are they? Especially in a school that has students from 55 nationalities, there is possibly more to learn about social skills and multicultural nuances outside of the classroom!

These breakout spaces have been consciously placed along transition areas, such that the activities they facilitate become an integral part of the student experience, enhancing their holistic socio-cultural awareness and demonstrating the school’s outreach philosophy at the same time. Also, the multi-functional nature of these spaces helps immensely in optimizing the use Indian Architect & Builder - August 2017

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Model © Jatinder Marwaha

Site Plan.

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â&#x2020;&#x2018;

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Organisation & Circulation.

Design process & Morphology.

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Window Jali Sun Shading.

Fenestration.

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Structural Innovations.

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Ramp to Nursery Block © Jatinder Marwaha

Reception © Randhir Singh

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Courtyard © Randhir Singh Indian Architect & Builder - August 2017

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© Randhir Singh

© Morphogenesis

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© Randhir Singh

Auditorium © Randhir Singh

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Sports Hall © Jatinder Marwaha

of space in the space-challenged urban context. Thus, indigenous architectural elements such as internal courtyards, chajjas (deep overhangs) and verandahs are employed to provide opportunities for students to engage with the environment and nature. Similarly, inspired by traditional chaupals (outdoor gathering spaces) in India, some of these courtyards are designed for students to sit beneath the shade of mature trees. Special care has been taken to ensure that these trees were saved and protected during and after construction, illustrating a conscious decision to build sustainably. Similarly, bioswales, rain gardens, and a visible rainwater harvesting system are also telling signs of a deep, unswerving commitment towards sustainability.

What is a consistent, commendable feature of any work that comes from Morphogenesis is that sustainability is always at the core of the design. Not peripheral, not a layer added to appease certification boards. Sustainability is the very central idea around which the design evolves. And once you assign ‘sustainability’ the most important, central role in design, the other aspects seamlessly fall in place, much like pieces in a puzzle.

In designing this school with sustainability at the heart of the approach, Morphogenesis expertly delivers a tangible testament to their design philosophy. The student-centred approach of the school

too is brilliantly reflected in the school building. Not only that, the school also demonstrates how design doesn’t have to shy away from traditional building knowledge to create a modern, futuristic building that provides a holistic, inclusive environment for young minds that will go on to shape the world of tomorrow.

FACT FILE: Project Name : Typology : Location : Completion Year : Client : Built-up Area : Site area : Climate : Credentials :

The British School Institutional New Delhi, India 2014 (Phase 1) / 2016 (Phase 2) The British School Society 2,97,000 Sq.Ft. 5.30 Acres Composite Consultants Structure: Optimal Consultants HVAC: AECOM Plumbing: AECOM Electrical: AECOM Landscape Design : Design Cell Fire Fighting: AECOM

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A Commercial Machine Pixelet

The Pixelet building is a case in efficient design for productive commercial spaces, of architecture enabling a smooth orchestration of daily activities.

Architect’s Note: Within the industrial context, this building is a refreshing change - whether in the high quality of surface finish, or in the attention to construction detail.

Courtesy: Text: Sahiba Gulati Drawings & Images: AKDA

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Consolidating manufacturing in a single facility.

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Incorporating the local context into design.

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Plan.

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he Pixelet building designed by AKDA is a demonstration of how, the architecture of our everyday buildings, offices and commercial spaces can add value to an urban landscape. The industrial area of Kirti Nagar in Delhi is a frenzied cosmos. It bustles with labourers, and entrepreneurs who want to benefit from this easy availability of workforce in this central location within the city after having overcome initial challenges of a largely failed public infrastructure of roads, sewerage and water.

In this scenario, abutting the railway line, but separated from it by an informal settlement of ragpickers and garbage sorters, was a halfacre site, housing nothing but a disused cement godown that had to be turned into a manufacturing facility for export-oriented garments.

Productivity focussed around the movement of materials from their raw state to the finished product and packaging had to be a prerogative of the design. Long-term maintenance would need to be limited and materials appropriate for a sustainable solution.

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Façade Evolution.

Limiting the columns to the periphery.

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â&#x2020;&#x2018;

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A complex geometry as per organic pattern of the adjoining informal settlement.

Column Free Floor Space.

The godown was done away with to capitalize on the new building regulations that allowed for the construction of nearly one lakh square feet of production space. Thus, two identical buildings were created for this purpose. The raw material enters the building through the 20,000 square feet basement, above which the building is divided into two blocks, as there are two production verticals. A diagrid system has been used to achieve column-free spaces throughout. The ground floor gets free vehicular movement, while the spacing of the columns along the periphery enables daylight to pour in through large windows.

Circulation cores housed at either end of the building are equipped with ducts that provide cooled air to production floors, eliminating the need for air conditioning, thereby reducing electricity load.

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The Stripped Aluminium Ceiling.

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A six thousand square foot office space sits on the ground floor. The prime feature of this all white office is its aluminium ceiling with LED strip lighting. The office also has a large showroom that opens to a garden terrace and a cafeteria in bright orange.

While all facades of the building had received a strictly climatic treatment, the road-facing North facade was allowed to have a glass front, designed with respect to the local context. The organic pattern of the adjoining formal settlement is reflected in the complex geometry created with varying sizes and colours of glass. â&#x20AC;&#x153;The different colors catch and reflect light differentially, yet harmonize into a uniform texture when seen from a distance,â&#x20AC;? proclaim the architects.

FACT FILE: Project Location Architect Design team Project Area Structural Engineer Civil contractors Initiation of Project Completion of project

: : : : : : : : :

Pixelet Delhi,NCR Amit Khanna AKDA 100000 Sq. Ft. Space Consulting Engineers Adhunik Infrastructure 2014 2016

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â&#x2020;&#x2018;

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The site overlooks the Golconda Fort, the Qutb Shahi Tombs, the skyscrapers of Lanco Hills and the unchecked low-rise, high-density houses beneath.

The site, with boulders and rubble, before construction.

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Tailored by Design Bright Horizon Academy, Golconda, Hyderabad, Telangana

Amidst obstinate terrains and with limited resources, a school emerges discreetly within a disorganised urban fabric. The architecture cuts across socioeconomic challenges, budget constraints and heritage legislations but respects each with equanimity.

Text: Shriti Das Images: Takbir Fatima, Abeer Fatima, Syeda Arshiya Sultana, Spoorthy Myneni, Samarin Zahoor and Mahesh Baisani Drawings: DesignAware

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The boulders on site, incorporated into the built form as a structural and aesthetic feature.

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he Bright Horizon Academy in Hyderabad, Telangana is embedded within a set of challenges. Challenges that are often perceived as hindrances but the built-form express no such notions. The funds for construction were limited as the school is run by ‘Zakah’ funded, a notfor-profit educational trust. The school functions solely on donations which set a tight budget and demanded economical and durable choices.

The chosen site is located in the Golconda Fort Precinct and overlooks the Golconda Fort, the Qutb Shahi Tombs, the skyscrapers of Lanco Hills and the unchecked low-rise, high-density houses beneath. But the vicinity is rife with unorganised development. The walled precinct is highly contoured and covered with sheet rock and boulders. Such terrains are a topographic trait of the Deccan Plateau. The boulders cannot be blasted due to proximity to heritage structures and the dense urban fabric. Chemical disintegration or manually breaking the rocks was economically unviable. Furthermore, blasting, chemical disintegration or manually breaking the rocks may result in weakening the terrain and hard strata.

The economic and topographical constrains posed a major challenge.

The site being located in a Heritage Zone gave rise to height restrictions in design. But these deterrents were incorporated seamlessly into architecture. They lend the building a unique character and identity.

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The school encompasses lofty volumes and abundant natural light even though it shares its exterior walls with adjacent residences. The prevailing boulder rocks were amalgamated in the building design.

They are deployed as footings to the structure. Some rocks are incorporated into classrooms and the undulating floor of the library.

The school is designed and divided into three vertical levels – lowerground, middle-ground and upper-ground. The school has entrances at the lower ground and upper ground levels.

The lower-ground level accommodates kindergarten students. It houses kindergarten classrooms, play-pens, sandpit along with bathrooms, a storeroom and the reception. The building entry at the lower-ground is enclosed by courtyard houses. The entrance is small in response to the scale of the adjoining houses as well as the young kindergarten students. Upon entering the school building, the structure opens onto a wide space with a staircase leading to the middle-ground. The staircase is finished in a vibrant red shade that contrasts the grey unfinished concrete walls. Reds, blues, yellows and greens create pops of colour as accents in contrast with the grey concrete. Pastels of the same colours are re-incorporated the classroom interiors. These colours are borrowed from the surrounding locale – from grills, doors, windows and even vehicles.

Colours used in the school building interiors are borrowed from the surrounding locale – from grills, doors, windows and even vehicles.

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Lower-ground floor.

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Middle-ground floor.

Upper-ground floor.

Section a-a’.

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↑Transverse section through the entrance at lower-ground level, demonstrating

the scale of adjacent residences.

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↑Transverse section - Through the library and computer lab on the middle-ground

level and playground on the upper-ground level.

Longitudinal section.

↑The entrance at lower-ground level. The space opens up as the building is

ventilated from the top.

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↑The lower-ground level passage leading to the sand-pit.

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The building is ventilated from the top. Light wells run through the height of the structure. A series of skylights and voids bring in light and air and expand the space vertically. The flight of stairs and the landing on each level is aligned along a large atrium. It progresses in a straight flight from the lower-ground to upper-ground.

The middle-ground level houses classrooms for class-1 till class-5, a library computer lab, bathrooms, staffrooms, and lockers. The roof of the middle-ground converts itself to a playground on the upperground. The upper-ground level houses a science lab, science garden, mosque, playground and play-court, multi-purpose hall, assembly area, flagpole, bathrooms and an entry for the senior students. The upper-ground is left bare. Permeable hollow block walls and trussed glass roof enclose the space.

Entrances at two levels; lower-ground for kindergarten students and upper-ground for senior students; reduce vertical circulation traffic and segregates students by age group. Each entrance offers a different spatial quality to its users. Those who enter the building from the lower-ground level experience the space opening into a voluminous mass, something inconceivable at the entrance. At the same time, those who enter from the upper-ground level experience the initial space as an open and flat land. It is only when one descends down the stairs, do they fathom the depth created by the levels. The upperground and lower-ground levels encompass a 20 feet vertical span between them.

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The flight of stairs and the landing on each level is aligned along a large atrium.

It continues in a straight flight from the lower-ground to upper-ground.

The spatial quality is enhanced by the rock boulders at various junctures. The boulders are incorporated not only in the foundation, but also into the built-form as walls. Their undulated form and texture break away from the monotony of regular walls. The curved surfaces with indents add a tactile quality to the rooms and the space ceases to be boring or overly authoritarian. It is remarkable that ‘barriers’ in the form of boulders and other limitations have added and enhanced the built space, making it conducive for learning and fuelling curiosity and creativity. It goes a long way to ascertain that often, problems lead to the most ingenuous designs!

FACT FILE:

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The middle-ground level.

Project : Location : Architect : Lead Architect :

Urban Designer : Junior Architects :

Interior Designer : Interns :

Client :

Project Area : Structural Engineer :

Civil Contractors : Site Engineer : Photography :

Project Estimate : Initiation of Project : Completion of project :

Bright Horizon Academy Golconda, Hyderabad DesignAware Takbir Fatima, Director, DesignAware Syeda Arshiya Sultana Rachana Yerapothina, Mohammed Saad Ahmed Abeer Fatima Sasank Ivs, Aishwarya Sonthalia, Spoorthy Myneni, Hari Teja Afia Rasheed Khan, Managing Trustee, Mohammadia Educational Trust 30,000 square Feet Zedcon Consultants, Wali Quadri & Associates Managed by charitable trust Mohammed Zahid Shareef Takbir Fatima, Abeer Fatima, Syeda Arshiya Sultana, Spoorthy Myneni, Samarin Zahoor and Mahesh Baisani INR 1 crore approximately.

July 2014 January 2017

↑The upper-ground level. The upper-ground is left bare. It is enclosed with permeable

hollow block walls and trussed glass roof, and surrounded by different play areas.

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Simple, Sensible and Sustainable Swami Dayananda Saraswati Vedanta Centre, Chennai

Centre for Indigenous Architecture (CFIA) illustrates simple and sensible vernacular techniques incorporated into a modern day Vedic-Ashram.

Text: Ar. Aarthi & Anthony Raj Compilation: Shriti Das Images: Charles Brian & Anthony Raj

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The Vedanta Centre.

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The open air amphitheatre and lotus pond.

Villa cum studio apartment with Madras Terrace.

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orm follows function, articulated architect Louis Henry Sullivan.

But it seldom transpires that function follows form. The Vedanta centre, designed and executed by Centre for Indigenous Architecture (CFIA) was formerly a ‘Veda Patshala’ (Vedic School). The brief entailed a residential precinct; a dormitory for children and an apartment for the ‘guruji’.

The students would attend their respective day schools but live and learn about the Vedas at the ‘school’. The clients desired a campus that harked back to the ‘Gurukulam’ concept and create a refuge away from the cacophonic metropolis of Chennai city. The site is located on the outskirts of Chennai city. The site sprawls across 2.5 acres and the built mass occupies 0.5 acre.

The original design included a bungalow for the teachers and another building for the student residents. The Bungalow consists of 4 studio apartments, two on each floor. Each apartment contained a living room, a kitchenette and a washroom. 9 months into construction, the clients, upon grasping the architecture and form, declared that the precinct would function as a Vedanta Centre, to cater to a larger community.

The Ashram today conducts courses, camps and retreats based on the timeless knowledge of Vedanta (Bhagvad Gita, Upanishads), Hatha Yoga and Sanskrit, and allied disciplines.

The new brief entailed a villa cum studio apartment, Lord Dakshinamoorthy temple, lecture hall, Yoga Centre, larger kitchen and dining area, guesthouse with 7 rooms and attached bathrooms and

Stairs leading to the first floor of the villa cum studio apartment.

bathrooms for visitors. The site also incorporated a 13 feet X 13 feet waste water recycling pit. At the epicentre of the property, lies a circular open air amphitheatre wrapped around a lotus pond. The lotus pond was originally a PCC curing tank.

The amphitheatre is designed as the heart of activities and engagement in the campus. It is the focal point of the precinct, the ‘bramhasthan’ as per Vastu-shastra principles. The lotus pond creates a micro-climate that reduces ambient temperature by evaporative cooling.

The amphitheatre is flanked by the studio apartments cum villa on the east and the lecture halls and yoga studio to the west. The kitchen is located behind the lecture halls and yoga studio. The toilets are placed further away, behind the kitchen. The site layout is uncomplicated and executed in a simple, sensible and sustainable fashion. The simplicity and sensibility is perhaps its most salient feature.

The building incorporates traditional and vernacular elements of architecture local to the land fused with techniques popularised by Laurie Baker. Filler slabs, exposed brick walls with rat-trap bonds and Madras roofs are the primary techniques used in construction.

Filler slabs with precast terracotta pots are used in the kitchen and dining area. The steel reinforcement is laid over shuttering and terracotta pots are placed amidst the steel bars over which concrete is poured. This reduces concrete consumption, cost and the dead Indian Architect & Builder - August 2017

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Villa overlooking the open air amphitheatre, Lecture Hall and temple.

The Yoga Hall with ‘thinnais’.

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The Yoga Hall overlooking the open air amphitheatre.

are left unfinished and exposed owing to its undulated surface that shades the wall. Bricks are porous in nature and leaving them unplastered ensures faster heat dissipation.

These techniques are not only vernacular but also practical. If there is one thing that binds vernacular architecture in a diverse country like India it is, practicality and common sense. The architecture showcased at Vedanta Centre is lucid and simple. Aesthetics and ornamentation fall in place seamlessly. Perhaps, that is the idea that needs to be driven back and taken away; of simple, sensible and sustainable!

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Guesthouse designed like row-houses.

weight of the slab. ‘Madras Terrace’ is used in the villa cum studio apartment. The roof is constructed with palm rafters, quarter bricks (acchukal), lime, jaggery, Kaddukai (Ink Nut in English and Haritaki in Hindi) and terracotta tiles. Besides being energy-efficient, it does not utilise cement or steel. The roofs create a 5 feet overhang to buffer the interiors from the exteriors. The Madras Roof with its overhangs is a derivative of vernacular architecture.

The ‘thinnai’ is another element that borrows from vernacular architecture. Thinnais are inbuilt brick benches on the veranda periphery.

Brick used extensively in the building is evident in the built form.

The parapet walls are also constructed in brick. The bricks are used to create patterns and punctures to facilitate wind movement. They

FACT FILE: Name of Project :

Site Location :

Architecture Enthusiast : Design team :

Client :

Project Area : Project Estimate : Initiation of Project : Completion of project : Photo Credit : Text Credit :

Swami Dayananda Saraswati Vedanta Centre Somangalam , West Tambaram, Chennai.

Anthony Raj Centre for Indigenous Architecture, Chennai.

Sishyas of Swami Dayananda Saraswati 25000 square feet INR 1.5 crores approximately September 2013.

August 2015 Charles Brian & Anthony Raj Ar.Aarthi (M.Arch. – Sustainable Architecture) & Anthony Raj

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Leisure in the new age CoFuFun: Tenri Station Plaza

The design of the CoFuFun plaza is the result of a unique spatial element that brings about the character of leisure in a space seemingly effortlessly. This spatial element is the adaptation of a built form of a spiritual nature that has been reinvented for recreation.

Text: Sahiba Gulati Drawings & Images: Collaborator: awn, oni, vac IWATAYA ARCHITECTS, Nippon Design Center Irobe Design Institute, izumi okayasu lighting design, studio mons

Architect’s Note: The project goal was to encourage local community revitalisation by providing a space for events, tourist information dissemination and leisure facilities for local residents.

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© Takumi Ota

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n a different time, only a couple of decades ago the world as it is known today was unimaginable to the common person. And so were all the ways in which we experience our environment today, unanticipated.

With the advancement of time the way in which we experience leisure has advanced as well. The CoFuFun Plaze at Tenri Station is a manifestation of an exploration of leisure in today’s day and age.

The ambiguous nature of the plaza aims to captures the delight and interest of people by being able to adapt to a variety of activities.

The 6,000 square meter local community revitalisation project includes bicycle rentals, a cafe and other shops, an information kiosk, a play area, outdoor stage and meeting area.

Nendo has achieved this by representing the very nature of the geographical context through the design. The urban landscape of Tenri includes a number of beautiful ancient Japanese tombs, known as ‘cofun’. These cofun grace the plaza in several numbers, and blend into the spaces around them with ease. This is reminiscent of the Nara Basin that is surrounded on all sides by mountains.

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These round tomb mounds, also known as ‘empun’ cofun have been constructed by fitting together pieces of a precast concrete mould that resembles a huge pizza. As a result, the structures are precise, and with the same mould being used multiple times, the cost-performance is excellent. Massive cranes used to build bridges carry and fit together these parts to form the whole, without any columns and beams. The round shape of the cofun results in balance and stability against forces from all directions.

Arranging the cofun at four different heights as per their function, minimises noise levels. “The cofun’s different levels serve a variety of purposes: they’re stairs, but also benches for sitting, fences to enclose playing children, the cafe and stage roofs, shelves for displaying products and the night time lighting effect, which floods the plaza with light. This variety creates an environment that encourages visitors to explore and spend time in different spaces within the plaza, rather than limiting their movement to one place. It’s an ‘ambiguous’ space that’s entirely a cafe, a playground and a massive piece of furniture, all at once.”

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© Takumi Ota

Sketch.

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Wooden Furniture © Akihiro Yoshida

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Lounge & Shop © Kokuyo

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© Takumi Ota

© Takumi Ota

The materials and colours of the interiors also match those of the plaza. Furniture and fixtures have been customised from wood and designed around a cofun theme as well.

This main design motif comes together with colloquial Japanese expressions in the plaza’s name CoFuFun. ‘Fufun’ refers to happy, unconscious humming: the design for the plaza should offer a convivial atmosphere that unconsciously leads visitors to hum, happily, while they’re there. The spelling, ‘CoFuFun’, also brings in the “co-” of “cooperation” and “community”, as well as – of course – ‘fun’ itself.

The result is a name whose Japanese and English spellings mean similar things, so that foreign visitors to the plaza will understand it in the same way, too,” said the architects.

FACT FILE: Project Location Architect Design Collaborator Project Area Completion of Project ↑

: : : : : :

Tenri Station Plaza, Cofufun Tenri City, Nara Prefecture, Japan Nendo Iwataya Architects 6000 M² 2017

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Engineering Amalgamated with Architecture Creative Group has provided Comprehensive architectural & engineering consultancy services for the construction of Domestic Terminal & International terminal along with associated substation buildings at Chennai Airport and also created an intermodal hub, a first time in India where four modes of transport are interconnected â&#x20AC;&#x201C; Rail, Air, Road and Metro â&#x20AC;&#x201C; on the same site.

Text & Images: Creative Group

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he Chennai Airport showcases the Engineering Innovation through an architectâ&#x20AC;&#x2122;s vision in terms of achieving the largest cantilever of 24m as well as using large diameter of circular pipes for the first time in this part of the continent. Hot bending of 508mm 16mm thick hollow pipes, used for the first time the eastern part of the globe.

Steel as a building material enabled the architect to deliver unrivalled sustainability performance. The buildingâ&#x20AC;&#x2122;s steel structure rises from a

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Curved roof to form a natural lit, column free terminal with highly insulated transparent glass curtain walls that create a feeling of spaciousness.

Skylights follow the geometry of the trusses, further opening the structural framework to allow natural light to permeate the terminal.

Its superior strength to weight ratio means a little steel goes a long way, giving architects complete flexibility to achieve their most ambitious design.

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Architecturally Exposed Structural Steel AESS. The triangulated truss like structural members result in maximum efficiency from engineering, fabrication and construction considerations.

By continuing the trusses at the garden facades, the large forces generated at the base of these elements are transferred directly into the foundations. The great cantilevered curve of the front (landslide) roof structure is supported on large, paired â&#x20AC;&#x153;Vâ&#x20AC;? positioned full height columns.

FACT FILE:

Intelligently designed, a conscious effort has been compassed to provide shade to external walls from strong sun by the 30m high trussed roof. Double skin glass with specification to provide less heat gain and maximum light penetration is being adopted on air side as well as city side. With specifying steel for the building, zero waste generation is ensured.

The steel roof consists of roofing trusses with all steel being

Project Name : Location : Architect : Design Team :

Client : Project Area : Structural Engineer : Initiation of Project : Completion of Project :

Chennai Airport Chennai, Tamil Nadu Creative Group Prof. Charanjit Singh Shah, Founding Principal, Creative Group.

Ar. Gurpreet Singh Shah, Principal Architect, Creative Group Er. Prabhpreet Singh Shah, Executive Director, Creative Group Airport Authority of India 1152 Acres Creative Group January 2008 April 2012

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Refined Rawness The ReBar Office, Ahmedabad, India

The minimalist nature of the design, the overall delayering of finishes, and the use of reclaimed steel emphasizes PVDRS studioâ&#x20AC;&#x2122;s focus on sustainability. As highlighted by Dr Keyur Vadodaria , the project critically looks at the role interior design can play in workplaces and how people will respond to and interact with elements and spaces.

Text, Drawings: PVDRS Architects and Interior Designers Images: Radhika Pandit

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Plan, Section & Details

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VDRS were approached by one of India’s largest supplier of ET TMT reinforcement bars to carry out the interior design of their new office. Over their fifteen years of business, the company had grown substantially and was operating from three separate offices. The primary brief was to relocate and house the entire team under one roof in a manner that it would express a feeling of one ‘family’.

Significant amount of research has been conducted to investigate the advantages and disadvantages of open-plan offices. The advantages are manifold, including savings in space and hence capital costs, ease of communication and exchange of ideas, improved employee and employer relationship and building up of team spirit, ease of carrying out group work as well as supervision of staff and reduction of recurring expenses. On the other hand, disadvantages of open-plan offices range from having a lack of privacy, concentration being hampered and seniority being overlooked. Noise could also possibly be a problem.

Hence, in response to the brief, PVDRS developed an interior layout Indian Architect & Builder - August 2017

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Open Plan layout.

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with a combination of open-plan and segmented work spaces.

The employee work desks were located in an open-plan layout, allowing them to communicate and interact with each other in a more effective way and thereby evoking a spirit of ‘family’. The core team was located in the centre of the open-plan, their work desks arranged such that they faced each other without any partitions, thus generating a feeling of ‘togetherness’. The senior team of accounts were located along the peripheral wall. They were a part of the entire team and yet their dedicated work desks facing the tag boards ensured their seniority was not compromised. Likewise, Directors were provided dedicated cabins, so that their privacy was maintained. The frameless glass partition separated the director’s cabin and the open-plan work space, thus ensuring ease of supervision. The glass partition was characterised by a the ‘yellow band’ which not only took care of health and safety issues but also expressed in abstract, both the company’s initials and its branding in colour. It also served as the door handle as well as a strengthening members for the frameless glass doors and panels.

Glass partition characterized by a ‘yellow band’.

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Full length-height storage.

A multipurpose space was provided adjacent to the reception. This space serves as breakout space for team meetings, a place to have lunch and tea breaks, a quite space for conversations that require privacy, a waiting area for visitors. One of the walls has a graphic that describes the motto and work ethics of the company, whilst the other wall is designed as a storage element with a space for exhibiting the achievements of the company.

The entrance area is characterised by a reception table that is multifaceted, thus enhancing the proportions of an otherwise small and tight space.

The structural interior design as well as the design of furniture and fittings was aimed at achieving a raw yet refined interior. Overall, minimum changes were done to the existing shell of the office.

The flooring in all areas (except the director’s cabin) is grey cement tiles, customised in collaboration with the developers of the building.

Rustic burma teak LWF flooring was used in the Director’s cabin to differentiate it from rest of the office areas.

The ceiling was left exposed and painted black with exposed electrical conduits and services to create an intense environment, focusing on the work desks.

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Floorings & Ceilings.

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Full length-height storage in lacquer polished saw cut veneer was provided along the peripheral walls in common work areas. The detailing of these units is such that there are no cabinet shutter knobs or handles, thus providing a seamless surface.

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Use of Reinforcement bars in furniture.

Reception Wall.

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Breakout space for team meetings.

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The reception wall was finished in travertine marble, with its pores left unfilled and unfinished, in line with the overall palate of raw and refined interiors. A bespoke lighting profile was designed and installed on the travertine wall to receive digitally printed glass panels of the logos of the products that the company deals with. The profile was designed such that as the company grows further and offers more products, further glass panels can be added on with ease.

The work stations and overhead storage elements were custom designed by PVDRS. Directors’ work desk are differentiated by the use of travertine stone tops whilst core team work desk tops have been given a white laminate top. Modesty panels of all work desks are from lacquer polished marine grade WP plywood.

Megha Patel-Vadodaria highlights,“The project innovatively uses reinforcement bars, reclaimed from construction sites, as compression and tension members in furniture. We have also used reinforcement bars as knobs in pullout drawers of the pantry! Through a careful selection of materials and detailing, this project explores ‘rawness’ in interiors”.

FACT FILE: Project : Location : Interior Designer :

Design team :

Client : Project Area : Carpentry contractors : Electrical contractors : Initiation of Project : Completion of project : Photographs :

The Re-Bar Office Ahmedabad, India PVDRS Architects and Interior Designers Megha Patel-Vadodaria and Dr Keyur Vadodaria Mukesh Shah (Vishal Sales Pvt Ltd) 1100 sft Laxman bhai Mistry Hitesh bhai August 2016 May 2017 Radhika Pandit

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Morphogenesis: The Indian Perspective The Global Context

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book abstract

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M

orphogenesis is the first Indian architectural practice to become a part of the IMAGES’ Master Architect Series. The monograph traces their journey of two decades; from its commencement in a garage to a workforce of 125 individuals with offices in New Delhi and Bengaluru. Set up at a time when India was at the cusp of globalisation with liberalised economy initiated in 1991, the practice aligned their aspiration and values with the financial, social and environmental ambitions of the country. It delves into ideas that were crucial to India’s foray into the globalised world that would facilitate a new world image that carries forward its legacy and learnings from traditional and vernacular architecture in India, aids local arts and crafts and addresses issues that are not only design centric but also pertaining to identity in rapidly changing times.

The last narrative, Sustainability: Contextual Identity interestingly intersects identity with sustainability. Identity not in terms of image-ability or iconic-ism but character and uniqueness. A country as diverse, where snow-clad regions to scorching deserts co-exist within the realms of the nation. Yet, with easy and fast information and mass-produced techniques buildings cease to lose indigenous identities. While it is an indicator of progress, perhaps, it has never been as essential or urgent to incorporate contextual identity. And often, the endeavour falls in place seamlessly if resource optimisation and passive design are taken into account. Here, the monograph introduces its outreach event series called, ‘Manthan’. Morphogenesis encourages ‘cross-pollination of ideas’ between professionals from allied creative vocations.

The first part of the monograph is divided in four parts. It starts with the foreword by Michael Webb. It outlines challenges faced in a developing country to briefly describing the firm’s belief systems.

It is followed by an article by Professor John Frazer who reinforces Webb’s word that the firm has showcased a ‘new architecture’ which is a substantial success. Christopher Benninger’s essay – ‘Design as a Continual Search for Excellence’ and Vikramaditya Prakash’s – ‘The Ethos of work’ throw light on the same spirit. The introduction follows.

It addresses the idea of sustainability not as a rating system but a holistic approach that incorporates environmental, cultural, social and financial responsibilities.

The book concludes with an end-note on the firm’s founding and functioning principles – ‘The Knowledge practice’. As a system, an organisation, it details the mentorship offered to young architects in finding their niche across the varied typologies, developing skillsets and eventually take on higher responsibilities and leadership. It reaffirms its idea of sustainability - one that is not only solely focussed on design but also building future professionals.

The next part is the chronology of projects that are arranged along three narratives – Sustainability: Passive Design; Sustainability: Resource Optimisation; Sustainability: Contextual Identity.

Sustainability: Passive Design addresses the core issue of building for local conditions with limited resources and the firm’s stand on green buildings. It emphasises on design interventions that take away the need for providing artificial cooling and heating. It borrows from age-old design concepts, materials, construction techniques that help in creating a comfortable micro-climate within the structure and achieve energy optimisation with equanimity. Projects covered under the category explain themselves lucidly with detailed drawings. The focus is on zero waste, minimal water dependence and adheres to their founding concept of ‘no is more’. The most interesting is perhaps the Infosys Campus, wherein the client’s brief specifically and literally asks for ‘the world most sustainable office building.’

The second part, Sustainability: Resource Optimisation stresses upon the responsibility as makers to constantly question every resource consumed; from floor-space to capital. Simple plans and lucid designs are advocated over complex ideas. It addresses the role of architecture and design interventions to deploy rural crafts, clusters and community as resources. At the same time, it is highlighted that withholding and preserving resource, focussing on affordability is not an indicator of low quality space or living. Of all the projects featured under Resource Optimisation, The Amarnath Shrine is a beautiful example as the project is built in an environmentally sensitive zone, located in a precinct only accessible by mules or by foot and is submerged in snow for extended periods. The precinct allows work to commence and close within three months.

FACT FILE: Book

Authors Publisher Language ISBN

Text by

: Morphogenesis: The Indian Perspective. The Global Context (The Master Architect Series) : Manit Rastogi and Sonali Rastogi : Images Publishing : English : ISBN-10: 1864706627 and ISBN- 13: 978-1864706628 : Shriti Das Indian Architect & Builder - August 2017

EXPLORE

RNI No: 46976/87 Registered with Register of Newspaper of India, ISSN 0971-5509. Publishing Date: 1st of every month.

Postal Registration No: MCS/183/2016-18. Posted at Patrika Channel Sorting office, Mumbai 400001, on 7th & 8th of every month.

Total Pages = 82

S&A

Structure & Architecture Conference 24th November, 2017, India Habitat Centre, New Delhi

RECONNECTING INDIA ALLIGNING WITH “SETU BHARATAM”

A Government of India Initiative Focus: Technology & Challenges in Bridge Modernisation & Maintenance CHIEF GUEST

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Some of the Advisory Board Members

Mr. Mahendra Raj, Mahendra Raj Consultant Pvt Ltd

Mr. A.K. Singhal, ED (B&S), Railway Board, Ministry of Railway, Government of India

Mr. B K Sinha, Chief Engg, (B) S&R, Ministry of Road Transport & Highways, Government of India

Prof Mahesh Tandon, Tandon Consultants

Architect Balbir Verma

Ms Vanja Samec, PhD MD, Allplan Infrastructure GmbH

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Profile of Attendees The conference will be attended by over 200 Professionals comprising Architects, Urban Planners, Structural Engineers, Construction Professionals, EPC Companies and Project Consultants, Various Government Bodies & Authorities, Relevant Ministry Officials, Association, Institutes, Academicians and Researchers.

It includes: • Structural and construction Engineer • Building consultants • Architects • Construction industry persons • Project management Companies • Product manufacturers, material suppliers, project managers • Government authorities of infrastructure development and others • Association of Architecture, Structural Engineering • Academics, researchers, students Organized by

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