IA&B June, 2018 Issue

TOTAL NUMBER OF PAGES INCLUDING COVER 100 MUMBAI ` 200 JUNE 2018 VOL 31 (10) IN CONVERSATION Martha Thorne, Executive Director, Pritzker Architecture Prize ARCHITECTURE Sattva Galleria, Sudhakar Pai Associates 5 Element House, Studio PKA Rhizome Residence, matra architects The Kumaon, Zowa architects Lanka Learning Centre, feat.collective INTERIORS Resq, Studio Osmosis MuseLAB Office, MuseLAB

industry news

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Birth of a new brand

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Mr Shobhan Mittal, Jt. MD & CEO unveiling the brand.

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he Engineered Panel Division of Greenply Industries Limited, that manufactures Medium Density Fibre Boards (MDF) and Wooden Flooring, has undergone a change in identity. Keeping in line with the company philosophy, that change is a catalyst for opportunity and progress, the company has rebranded itself.

The rebranding builds on many improvements that have been made to the products and services. This continuing evolution builds a franchise whose value to everyone, increases by the day.

The diverse product portfolio of MDF, Wood Floors, Veneers and Doors will now be marketed and sold under the brand name GREENPANEL. The company has also launched Plywood under the brand name, GREENPANEL. This new generation plywood is a product par excellence, and will further endorse the brands position as the industry leader in the interior infrastructure space.

The new identity - GREENPANEL - has the logo stemming from G & P merging together to form an infinity. The new logo has a design that symbolises infinite future possibilities in wood panelling. The colour “Green”, immediately brings to one’s mind Growth, Prosperity, Sustainability and Harmony. With a new brand and vision, Greenpanel promises to open endless possibilities in the wood panelling industry.

Mr. Shobhan Mittal, Jt. MD and CEO, said “ This is an exciting time for us.

The rebranding builds on many improvements we have made to our products and services in recent years. This continuing evolution builds a franchise whose value increases by the day. In fact, it is more about our customers, than it is about us! Our new identity reflects change, growth and a brighter tomorrow for GREENPANEL as well as for our entire community. It fortifies our commitment to provide even more value to all our stakeholders“

Indian Architect & Builder - June 2018

Being the largest manufacturer of wood panel in India with a strong retail network across the country, Greenpanel is committed to provide quality products to its customers through more than 3000 + outlets across the country. Equipped with the best European technology in the fully operational plant in Rudrapur (Uttarakhand) and a new plant in Srikalahasti (Andhra Pradesh), which also happens to be the largest MDF plant in Asia, Greenpanel is positioned to be India’s largest wood panel manufacturer.

industry news

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The Build & Design Exhibition 2018 (6th Edition)

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rom office blocks to high-raised constructions; from residential buildings to embassies; the number of forthcoming infrastructure and construction projects across India is vast and wide-ranging. This exhibition aims at attracting prestigious brands across the globe to provide the end user the opportunity to understand, learn and familiarise itself with the latest developments in the world of building construction and architectural design. CAI brings to you an amalgamation of exquisitely informative collection of modern technologies and materials in the field of the construction, architecture and interior designing. Carefully assessed and thoughtfully put together, the event provides an excellent platform to exhibit your products and services, amongst the best business market and helpful for people planning to add new designs and features to their living space. From top quality exhibits, to insightful demonstrations and more, you will discover thousands of smart, stylish and cost-effective ways to design, build or renovate, conserve and develop resources.

Networking opportunities with industry peers:

We Focus on Inviting the following kinds of professionals:• Architects & Planners.

• Purchase Managers of Relevant Companies.

• Structural & Civil Engineers, Lighting Consultants.

• Universities, Colleges, Research Institutions & Others.

• Air Conditioning Consultants, Mechanical & Electrical Engineers.

• Industry Professionals, Real Estate Developers, Interior Designers.

Indian Architect & Builder - June 2018

• Alumini Associations of Architectural, Engineering & Interior Designing Academies.

• Building Contractors, Project Managers, Consulting Engineers, Hospitality Airport & Metro Authorities.

• Manufacturers of Building Material & Components, Government Agencies / Building Authorities.

• Environmentalists & conservation experts.

industry news

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Presenting 3D Walls by Insta Build Instant Make-over of Walls with Insta Build’s Insta Walls

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nsta Build will be dealing with any and every interior product which is Instant, their debut to the industry is with Insta Walls which is a 3D Foam Wall Cladding. This comes in as a fresh and innovative product to instantly have a make-over of your interior space. Insta Walls brings to the fore, some extremely important benefits that cannot be ignored.

The Foam Cladding sheets come in comfortable sizes starting at 71 cms x 38.5 cms upwards and has an adhesive layer that can be stuck on applied to any dry and smooth surface, be it walls or ceiling.

Some of the key advantages of using the claddings are as follows: • It has the actual 3D Look and feel • Impact & Noise Resistant • Water & Stain Resistant • Insulative • Quick Application - extremely viable option for Commercial/ Retail Spaces • Budget Friendly • Multiple Designs & Textures • Opportunity to use Creatively

Case 2: A nursery wanted to ensure that kids do not get hurt when they are playing and accidentally fall. They tried various materials, but this took away from the look and feel of it being a nursery. Moreover, kids would time and again damage the soft material, needing a makeover once in every 2-3 months.

Result: They tried Insta Walls and have been using the same for a while now. They now simply need to replace the damaged portion as compared to the entire wall. Even if this is a different colour, it looks more like a design.

Case 1: A retail shop having 17 outlets across the country wanted to launch its stores on the same day and with the same look and feel of the store. They procured the sheets centrally and distributed to the 17 stores across the country and were able to get the highlighted Wall up and ready on the same day.

Result: 17 stores across the geography was able to cut the ribbon on the same day all having the same look and feel!

INSTA WALLS THE INSIDE STORY, IN 3D

3D FOAM CLADDING FOR INTERIOR SURFACES

Brick shaped Insulating Foam Interior, thermal insulation with shockproof functionality PE Adhesive Layer Insulating Foam Thermal insulation with shockproof functionality PE Adhesive Layer Aluminium Foil Layer Prevents electromagnetic waves and mold with thermal insulating functionality PE Adhesive Layer Releasing Paper

For Further Information: Email: info@instabuild.co.in No. 5, Meenakshi, S. V. Road, Vile Parle (W), Mumbai- 400056 Tel: +9122- 2671 5762 / 4645 / 6103

Indian Architect & Builder - June 2018

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VOL 31 (10) | JUNE 2018 | ` 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 Sub-Editor: Shriti Das Writer: Sharmila Chakravorty Design: Mansi Chikani Subscription: Dilip Parab Production Team: V Raj Misquitta (Head), Prakash Nerkar Email: iab_editorial@jasubhai.com

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IN CONVERSATION Martha Thorne, Executive Director, Pritzker Architecture Prize Martha Thorne, Executive Director, Pritzker Architecture Prize, articulates her professional journey, the selection process for the Pritzker Prize, why Dr. Balkrishna V. Doshi won this year, and more.

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ARCHITECTURE The icon and the city Sattva Galleria by Sudhakar Pai Associates embodies the literal and figural aspirations of Bengaluru city.

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The whole that is greater than the sum of its parts 5 Element House by Studio PKA encompasses poetry of the 5 elements in nature to celebrate space, nothingness and the language of silence.

Head Office: JMPL, Taj Building, 3rd Floor, 210, Dr D N Road, Fort, Mumbai - 400 001.

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

Tel: + 91-22-4037 3636, Fax: +91-22-4037 3635, Mobile: +91 9833104834 Email: sudhanshu_nagar@jasubhai.com Delhi: Suman Kumar 803, Chiranjeev Tower, No 43, Nehru Place, New Delhi – 110 019 Tel: +91 11 2623 5332, Fax: 011 2642 7404 Email: suman_kumar@jasubhai.com

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The making of a metaphor Rhizome Residence by matra architects metaphors the rhizome and investigates the annotations of the namesakes.

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The quest for true tranquility The Kumaon by Sri Lankan firm Zowa architects finds an ideal balance between luxurious modernism and the rustic charm of natural, serene village life.

Kolkata: Sudhanshu Nagar Mobile: +91 9833104834, Email: sudhanshu_nagar@jasubhai.com

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Structures that help build futures Lanka Learning Centre by feat.collective renders architecture as a catalyst that enables human betterment in war-torn and tsunami afflicted Batticaloa in Sri Lanka.

Chennai / Coimbatore: Princebel M Mobile: +91 9444728035, +91 9823410712, Email: princebel_m@jasubhai.com

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INTERIORS Happy spaces for happy faces Resq by Studio Osmosis is an outhouse, a multi-purpose space that imbibes and exemplifies the spirit of empathy and compassion.

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Of fins, facades and fenestrations Faced with the challenge of designing its office space with the prerequisite of a grill on the façade of, MuseLab turns to the allure of a jaali and executes it with the practicality of the grill.

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RESILIENCE Forgotten waters: Reviving the Light and Life of Dhanushkodi, Tamil Nadu, India A thesis design project authored by Aditi Dogra attempts to provide disaster resilience - with local materials that encompass its rich history, tradition and preserve the culture of the people.

Cover Image: © Studio PKA

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

Pune: Sudhanshu Nagar Mobile: +91 9769758712, Email: sudhanshu_nagar@jasubhai.com

Indian Architect & Builder: (ISSN 0971-5509), RNI No 46976/87, is a monthly publication.

Reproduction in any manner, in whole or part, in English or any other language is strictly prohibited. We welcome articles, but do not accept responsibility for contributions lost in the mail.

Printed and Published by Hemant K Shetty on behalf of Jasubhai Media Pvt Ltd (JMPL), 26, Maker Chamber VI, Nariman Point, Mumbai 400 021.

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

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

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industry news

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Architectural Lighting

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-LITE INDUSTRIES an ISO company, manufacturing indoor and outdoor luminaires have launched a new series of LED Architectural Lighting. Being the trend setters in outdoor lighting and inspired by the “Make in India� vision, K-LITE, through their innovative outlook, have showcased an all new product portfolio under Architectural Lighting.

The application includes Facade Lighting,Pathway Lighting, In-ground Luminaire, Uplighter, Up-down Lighting, Billboard Lighting, Vertical Light Bars, Wall Washers, Area Lighting poles and above all popular sleek polar lighting solutions.

impression. Compact without visible mounting equipment and optimised integration, Polar Lighting is in perfect continuity with the geometric lines of the square column. These assemblies are ideal for surroundings of contemporary architectural constructions.

The solutions offered are backed by extensive understanding of illumination in urban spaces and the expertise gained over a period of three decades. The fixture are designed to provide value technology, ideally suited to Indian Conditions. The LEDs used comply to LM 80 testing requirements and from Internationally reputed makes such as Nichia / CREE. The luminaires are RoHS, LM 79 and CE certification compliant.

The luminaire efficacy (lumens/ per watt) is much above 100 for all luminaires. Varied optical options for lighting distribution and correlated colour temperature (CCT) for cool white, neutral white or warm white are available to suit specific requirements.

The outstanding item of the series viz., the Sleek Polar Lighting Solutions is a contemporary design that is both timeless and unique in its Indian Architect & Builder - June 2018

For more details visit our website: www.klite.in

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UltraTech Cement Ltd announces winners of IndiaNext 2018 10 winning ideas themed on ‘Building for a Billion’ finalized out of 4,250 registrations Every Indian should have a home of their dream UltraTech’s aspiration builds solutions to having home to every Indian - Mr. K K Maheshwari, Managing Director – UltraTech Cement

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ltraTech Cement Ltd, an Aditya Birla Group Company, today announced the winners of IndiaNext 2017-18 - Building for a Billion. This is an annual initiative that brings alive the company’s endeavor to present the best concepts and designs to fulfill every Indian’s dream of owning a worthy home.

Speaking on the occasion, Mr K K Maheshwari, Managing Director – UltraTech Cement Ltd says “At UltraTech Cement, our endeavor is to build solutions for the ever-evolving infrastructure challenges that our country faces. We believe that every Indian should have a home of their dream. ‘Building for A Billion’ – an engineering and

Indian Architect & Builder - June 2018

design competition launched under the aegis of UltraTech’s IndiaNext initiative is a testimony to this belief. In keeping with this vision, we developed the idea of IndiaNext to bring together the best and brightest minds of the world to collaborate and devise solutions.

Going by the number and quality of entries, the competition seems to have energized the engineers and architects worldwide. This year’s theme is driven by our insight that housing is and shall remain one of the biggest challenges that modern society faces – rural or urban.

We look forward to the winning ideas as an opportunity to fulfill every Indian’s dream of owning a home. And since the competition is judged by an eminent jury from within the architectural and engineering

industry news

fraternity, we can be rest assured that the winning ideas are indeed path breaking.”

IndiaNext aims to help revitalize the ecosystem by bringing the best ideas, suitable for India, and mobilize the wealth of world-class experts including practicing engineers and architects. The theme for the year 2018 is Building for a Billion, the endeavor being to meet not only the needs, but also aspirations of consumers in the emerging affordable housing segment in India. The competition, inspired by The Government of India’s ambitious Pradhan Mantri Awas Yojna (PMAY), invited entries under two distinct categories – Housing for the urban poor and Housing for the rural poor.

Following a successful first edition, IndiaNext attracted over 4,250 registrations from architects and engineers globally this year. In the second stage, an eminent jury led by award-winning architect Mr. B V Doshi and engineer Mr Mahendra Raj judged the entries.

The panel also had luminaries like Prof. AGK Menon- Academician Architect Urban Planner Conservation Consultant, Sheila Sri Prakash - Founder and Chief Architect, Shilpa Architects, G. H. Basavaraj - Civil Engineer, Structural Engineer (IIT-Bombay) & CMD Chetana Consultants, Ph. D (Structural Engg.) M. Tech. (Marine) B. E. (Civil), and Hirante Welandawe - Head and Chief Architect, HW Architects Academician. The panel shortlisted the entries and zeroed it on the 10 best.

• The National 1 st Prize Winner was FHD Consultants Private Limited – Pradeep G. Kedlaya (Engineer), Nagesh Battula (Architect) and Dhurgai Kumaran (Architect). They presented their ideas on The Bottom-Up Approach • The National 2 nd Prize Winner was Sameep Padora & Associates – Rajeev Shah (Engineer), Sameep Padora (Architect) whose project was based on the theme of Match The Following The Jury Commendation prizes went to: • Dinesh K. S., Architect Eisha Nagpal and Architect Syed Sarmad from Engaging Spaces • Kailash Solanki, Architect Puneet Dua, Architect Rameez Raza from M A Architects • Sonali Phadnis, Engineer Dr. Arndt Goldack, Architect Yashoda Joshi, Architect Dr. Anupama Kundoo from Anupama Kundoo Architects • Sameer Sawant and Architect Rohan Chavan from R C Architects Pvt Ltd • Vasant K, Architect Revathi Sekhar Kamath from Kamath Design Studio

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On the academic front the National 1 st prize was awarded to Indubhai Parekh School of Architecture’s – Mansi Pitroda and Jaya Hariyani. Their presentation was on Opening up Spaces. Alongside the jury commendation was accorded to: • Adhiyamaan College of Engineering, Hosur, Tamil Nadu – Kamaal Basha, Maddhumitha, Akshaya and Leander • Jamia Millia Islamia, New Delhi – Arshmah, Devansh Chauhan, Farheen, Masroor, Fatima, Sharukh and Ashar Khan The key note speaker for the evening was Hong Kong-based architect and founder of the international award-winning design practice EDGE, Gary Chang. Mr Chang held forth on the topic – Smaller space needs bigger thinking. Alejandro Soffia - Architect and Academician, guest speaker, spoke on Value Housing. The evening was also marked by an engaging panel discussion that brought the best minds together to express their view on the topic of ‘Housing for a Billion - Strategic Solutions and Possibilities’. The panel moderated by Prof. AGK Menon – Academician, Architect, Urban Planner and Conservation Consultant, comprised of Rajesh Krishnan - CEO at BrickEagle, Girish Dravid Director at Sterling Engineering Consultancy Services Pvt. Ltd, Sheila Sri Prakash - Founder and Chief Architect, Shilpa Architects, Gary Chang and Alejandro Soffia.

About UltraTech Cement

UltraTech Cement Limited, an Aditya Birla Group company, is among the leading producers of cement in the world and the largest in India with an annual capacity of 96 million tonnes per annum (MTPA) of grey cement. With over USD 4.2 billion in revenues and more than 14,000 employees, UltraTech has 19 integrated units, 21 grinding units and six bulk terminals in India. Overseas, UltraTech has two grinding units and one clinkerisation plant in United Arab Emirates, one grinding unit each in Bahrain and Bangladesh, and a bulk terminal in Sri Lanka.

UltraTech is also the largest producer of white cement, wall care putty and ready-mix concrete in India. UltraTech offers solutions for the construction industry with its presence in building products including dry mix mortar, concrete blocks and water proofing. A consumer validated Superbrand, UltraTech stands for premium quality, reliability, sustainability and innovation, making it the choice of every discerning engineer and customer.

For further information contact: Vinay Rajani | +919167642913 | vinay.rajani@pprww.com Ushang Sheth | +919819901464 | Ushang.sheth@pprww.com Meera Warrier | +919820486177 | meera.warrier@pprww.com

Indian Architect & Builder - June 2018

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Mumbai witnessed most spectacular Awards extravaganza, CREDAI – MCHI - The Golden Pillar Awards • Hon’ble Governor of Maharashtra, Shri C. Vidyasagar Rao, Chief Guest addressed the august audience, lauds CREDAI-MCHI’s role in the process of nation-building • Hon’ble State Cabinet Minister of Housing, Shri Prakash Mehta, Hon’ble State Industries Minister Shri Subhash Desai and Hon’ble Member of Legislative Assembly Shri Mangal Prabhat Lodha presented the coveted Awards • CREDAI – MCHI rendering unparalleled services to the real – estate industry, Mayur Shah, President, CREDAI – MCHI

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he OSCARS of real – estate industry had a thunderous opening, which had all the makings of the Biggest and Brightest Awards Ceremony of the industry. The impressive line – up of Who’s Who from the Government and Industry, across the spectrum, spoke volumes about the strength of Golden Pillars, leaving the august audience with several WOW moments. Anchoring by celebrities Mandira Bedi, Aman Varma and exuberant Ritvik Dhanjani was an interesting concoction of grace, wit and excitement. Dome @NSCI was packed to the full capacity with 1500+ guests, comprising of top Executives of Banks, HFCs, IPCs, Educational Institutes, Architectural Firms, International brands and allied industry players, thus representing entire spectrum of real – estate industry.

I would like to congratulate for your role in building cities & smart cities and thereby contributing to the process of nation-building and CREDAI – MCHI for instituting Golden Pillar Awards for honouring excellence in various fields associated with real-estate.”

Amidst gracious presence of His Excellency, Governor of Maharashtra, Shri C. Vidyasagar Rao, Shri Prakash Mehta, State Cabinet Minister of Housing, Govt. of Maharashtra and Shri Subhash Desai, Minister of industry and First Lady of the State, Mrs Amruta Devendra Fadnavis at the first Awards ceremony by CREDAI – MCHI witnessed several eclectic moments.

Mr Jaxay Shah, President, CREDAI National and Mr Getamber Anand, Chairman, CREDAI were present on the occasion along with Managing Committee members of CREDAI – MCHI

In his address to real-estate fraternity, Hon’ble Governor said, “In the gathering comprising of Who’s Who of the real-estate industry, Indian Architect & Builder - June 2018

I.A.S. officers Mr Ajoy Mehta, MCGM Commissioner, Dr Malini Shankar, Director General Shipping, Govt. of Maharashtra, Shri S.S.Sandhu, Additional Chief Secretary, Cooperation, Govt. of Maharashtra, Mr Gautam Chatterjee, Chairman, MahaRERA and Dr Vijay Satbir Singh, I.A.S. (Retd.) Member, MahaRERA presence in the biggest real-estate Awards ceremony was another feather in the cap.

Mr Mayur Shah, President, CREDAI-MCHI said: MCHI is one of the oldest association with more than 30 years of existence, has been rendering unparalleled services to the Real Estate Industry and all other stakeholders, thus touching upon lives of millions of Mumbaikars providing housing and workplaces for decades. With

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Golden Pillar Awards we are celebrating excellence in the entire spectrum of real estate industry and this is the ultimate recognition of the efforts put in by the industry players.

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Mr S.B. Nahar, Chairman, Awards Committee, CREDAI – MCHI, said the awards are the culmination of a dream to celebrate excellence in real – estate industry.

sand art, kept the audience mesmerised. Stand-up artist Dr Sumedh Shinde had the audience in splits with mimicry of Varun Dhawan, Hrithik Roshan, Aamir Khan and Nawazuddin Siddiqui. Emcee Ritvik Dhanjani, la Film Fare style picked up developers from the audience for some interesting conversations. The performance of Karishma Tanna on the medley of Bollywood melodies added appropriate glamour to the Awards.

The awards were presented across all-encompassing and most comprehensive categories in the entire spectrum of real – estate sector.

Mr Domnic Romell, Secretary, CREDAI - MCHI proposed the vote of thanks, said: Golden Pillar Awards couldn’t have got bigger than this.

Mrs Amruta Fadnavis gave away Women Achiever of the year award and appreciated the efforts made by developers in creating Mumbai of today.

Mr Rajnikant Ajmera, Chairman, Ajmera Group and Past President, CREDAI – MCHI was bestowed with coveted “Lifetime Achievement of the Year Award.”

Renowned Sand Artist Kaushik in a most outstanding Jugal Bandi of classical rendition by Vishal Kothari of Indian Idol fame and classic

For further information contact: Bienu Vaghela | bienu@mchi.net | Mob: 9767141962 Indian Architect & Builder - June 2018

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Creating New Experiences through Technology and R&D Inconversation with Mr. Massimo Rebolini, Commercial Director – Dow Consumer Solutions, Dow Chemical International – Europe, Middle East, Africa and India, he highlights about brand transition from Dow Corning to DOWSIL™, DOW Innovation Technical centre and Sahyog Centers, Training & Skill Development and Research and Development.

Can you elaborate on how Architects & Building Developers will further benefit with brand transition from Dow Corning to DOWSIL™ ?

Merging of Dow Corning with DOWSIL is actually bringing together of two sets of R&D’s of two different corporations which will further develop endless solutions and opportunities. In essence having the opportunity to mix organic chemistry with inorganic chemistry, we are in position today to develop hybrid technology which is going to benefit the endless creation of architects & builders. For us from Dow Corning to DOWSIL is just a name change and architects & Developers would get even higher and greater support from new Dow Customer Solution than ever in the past.

Dow Corning has always revolutionized the way architects and fabricators design commercial facades, with 50+ years of proven performance in Silicone Structural Glazing (SSG) and Weatherproofing Sealants (WP). Will there be new additions in product portfolio under DOWSIL™?

We have been leader for over 73 years since the creation of Dow Corning and we believe we will be the leaders for next several years in Structural Glazing & Weatherproofing Sealants with around 50% market share and with number of innovations which we are bringing in the market on regular basis. R&D organizations today are able to count on chemistry not just based on ethylene and propylene but also on silicones. Today we have three backbones- ethylene, propylene and silicones interacting together to bring in new discoveries and new applications in the building and construction industry.

How is DOWSIL planning to align with Make in India, Digital India & Make in India, an important initiative of Central Government?

Dow already has very strong presence in manufacturing in India.

Indian Architect & Builder - June 2018

We will shortly announce on how DOWSIL would be aligning with Make in India initiative. Apart from Make in India, there are many other initiatives like Specify in India which we are working on with our technical team in India having capabilities to service the customers.

We have recently launched the DOW Innovation Technical centre and with over 120 experienced peoples sitting under one roof with different experiences , we would be able to develop new technology solutions for the rest of the world in the future.

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Dow India Technology Centre in Navi Mumbai.

Can you elaborate on Training and Skill set development of fabricators to keep them updated on new technology solutions and materials?

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The Sahayog Building Solutions Centre in Mumbai.

DOW has been holding training academy for more than a decade wherein we also invite fabricators to our technical centres. The training program is for 1-2 days which starts with Silicon chemistry and then further elaborates on application of materials. The fabricators are invited not only from India but from other countries, and it provides a platform for exchange of ideas and sharing of experiences on best practices followed across the globe. There are separate training program conducted for applicators as well as for specifiers which is part of our initiative to align with Skill India initiative.

We specially run an initiative in India named “Sahyog”, which means cooperation. Through this initiative we really want our customers and associates in different target segments to experience, come and touch feel the different materials and share their problems with experts, thus takings labs to masses. We already have two Sahyog Centres in New Delhi and Mumbai .

Dow Corning had an online buying platform- XIAMETER? What are the future plans of the company to further enhance buying experience under DOWSIL™?

We have recently launched the new digital platform, counsumer.dow.com, an advanced and much improved version of old - Xiameter platform.

DOW is also among very few chemical companies in the world which processes majority of its orders digitally. The new platform is enriched with visuals, information, expertise and contacts. In the new online

platform, we are focussing on “Choose and Use”, where our potential customers can go on the webpage and search for all his relevant information without contacting anyone. The Online platform has been made such that it is accessible to all the target audience- architects, builders, fabricators as well as end consumers.

Sustainability has always been core at any innovation plans at Dow. Can you elaborate on the ambitious 2025 Sustainability Goals of the company?

Sustainability & Safety are core values in all our initiatives which we are driving at DOW and also in all our manufacturing plants. It is in our DNA. We set the first generation of Sustainability goals from 1995-2005 which were basic goals - more on Carbon Footprint, reduce, conserve.

The second generation of our Sustainability goals from 2005-2015 was more on Handprint, going into our materials, how we can deliver value into our solutions as part of our business proposition. We are now in the third generation of our sustainability goals from 2015-2025 which is all about Blue Print, looking at whole approach of doing business.

How we can be sustainable in every step of our business and make our community and customers’ part of our business. Have sustainable evolution into using of our resources, energy and time.

All our manufacturing sites in India are Responsible Care Certified, an important initiative of Indian Chemical Council and we follow global guidelines in terms of safety, environmental protection.

Indian Architect & Builder - June 2018

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Assessing the quality and impact of architecture Compilation: Sharmila Chakravorty Images: The Pritzker Prize, Indian Architect & Builder

The first Pritzker Laureate from India, Dr. Balkrishna V. Doshi has been eminent in not only shaping the architecture of contemporary India but also a shaping the future of architecture and architectural education and discourse. An alumnus of JJ School of Architecture, he is the first founder Director of the Centre for Environmental Planning and Technology. His work includes Sangath, Amdavad Ni Gufa, Aranya Low Cost Housing, etc. to cite a few. His work is socially relevant to the context of India, boasting of a practice where he never designed a sky-scraper.

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Dr. Balkrishna V. Doshi

Indian Architect & Builder - June 2018

in conversation

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Indian Architect & Builder - June 2018

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IA&B: The Pritzker Architecture Prize is the most coveted recognition for architects across the globe. Could you tell us about your journey from being an architect, academician, curator, author and eventually the Executive Director of the Prize, a key decision-maker for architecture’s biggest accolade?

Martha: My career has been one that has involved a variety of professional roles. My formal training was in the field of cities and urban planning. I have always been fascinated by how cities work their essential role as a backdrop for all sorts of life’s activities.

Today, cities are even more critical than ever because of the speed and scale of urbanization throughout the world. Although I studied city planning, I became involved in architecture when I made my first move from the United States to Spain. The first steps of my career briefly involved collaborating on urban planning projects, but quickly I moved on to working with architectural journals and then curating and producing exhibitions. Analyzing and interpreting architecture and then communicating it is something that I feel is necessary for both architects and the general public alike. My work contributing to the understanding of the built environment while living in Spain and in the United States, while at the Art Institute of Chicago, has been a very fulfilling part of my profession over the years.

When I returned to Madrid in 2010 to work at IE School of Architecture and Design, it seemed like a very logical step in my career. It was a new and exciting challenge to be within a formal academic institution.

It is rewarding to work with faculty colleagues and students as we endeavor to educate, create knowledge, undertake research and advance the discipline. My responsibilities as dean, of course, involve administrative work but the most exciting aspect has to do with strategically looking to the future and setting goals and strategies.

My work for the Pritzker Architecture Prize began in 2005, and it has always been a gratifying part of my professional life. It is truly a privilege to be able to work with and listen to the experts on the Pritzker Prize jury. I have the opportunity to visit numerous examples of the highest quality architecture throughout the world and listen to insightful discussions, and also meet many outstanding architects in my work for the Pritzker Prize.

Having aced a variety of professional roles in architecture, urban planning and related fields, Martha Thorne – Executive Director of the Pritzker Architecture Prize and Dean in the architecture school at IE University in Madrid – has, to a certain extent, observed the evolution of architecture and been instrumental in shaping its future.

In this interview, she takes us through her professional journey, the selection process for the Pritzker Prize, why Dr. Balkrishna V. Doshi won this year, and more.

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IA&B: There are surely a number of architects working on a variety of projects, innovations and social causes that are considered every year as potential candidates. How does the jury deliberate on which architect to award the Pritzker Architecture Prize?

Martha: The deliberations process for the Pritzker Architecture Prize is one that involves deep conversations by the jury. The two goals of the Pritzker are to reward excellence in architecture and also to recognize consistent contributions to humanity as exemplified in built work. These are broad goals that, established in 1979 when the prize was founded, allow a certain amount of evolution and interpretation by the jury. Therefore, the jury members speak a lot about the role of architecture, the context, current events that might be affecting the city, etc. The jury often talks about the role of architecture in society before any specific names are discussed as potential laureates.

IA&B: Are there any qualities, principles or ideologies that architects must possess in order to create projects that are Pritzker-worthy? What are the absolute essentials?

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Martha: The Pritzker Architecture Prize was established by The Hyatt Foundation in 1979 to honor a living architect or architects whose built work demonstrates a combination of those qualities of talent, vision, and commitment, which has produced consistent and significant contributions to humanity and the built environment through the art of architecture.

The prize is international and does not discriminate against any architects or based on nationality, religion, creed, gender or any other attribute. The jury looks exclusively at built work and seeks to understand its quality and its impact or ability to move the discipline forward and make a contribution to humanity.

IA&B: This year, Dr. Balkrishna V. Doshi won the Prize. What distinguished his work from the other contenders? What unique qualities of his work won him the award?

Martha: To understand the reasons that Balkrishna Doshi was selected for the Pritzker Prize by the jury, it’s probably best to look at the jury citation. In this case, some of the comments talk about an architecture of responsibility and a desire to contribute to his country and its peoples. Doshi is acutely aware of the context in which his buildings are located. His solutions take into account the social, environmental, and economic dimensions and therefore are wholly engaged with sustainability. The citation also states that his buildings are fully integrated with the natural characteristics of the site, showing his a deep understanding and appreciation for the context.

IA&B: Could you tell us what projects of Dr. Balkrishna V. Doshi were determining factors, winning him the award?

Martha: The jury looked at many examples of the work of Doshi over the years. Some of the ones that they highlighted include; his own studio in Ahmedabad, the School of Architecture (CEPT) which he founded, and the low and middle-income housing which he undertook. However, the jury looks at the entire scope of the work for the essence of that work, and also to see how it evolves and progresses over the years.

IA&B: This is the first time an Indian architect won the Pritzker.

In the past, were there other architect considered for the award?

Martha: The Pritzker Prize never reveals the names of the nominees or a short list or architects discussed by the jury. This is for two reasons; it is to protect the jury from undue pressure from the outside, and the second reason is that those who don’t receive an award one year are eligible for future years. Therefore, keeping the deliberations completely confidential is the best way to ensure a fair and independent process.

IA&B: As someone who has closely observed the architecture and design community for a long time now, what are your thoughts about the state of architecture today? What aspects need to be improved?

Martha: If I had to explain how architecture and design need to be improved, I would first state that we need to expand the role of architects to be more actively involved in the significant global and societal challenges that we are facing today. The education of architects and designers allows them to tackle complex problems and envision ideas for the future. They can make a considerable contribution to proposing solutions, not only for buildings but for all aspects of our environment.

IA&B: What trajectory do you think architecture is headed on in future? What will be the architecture of the future like?

Martha: It is hard to look into the future with certainty. However, I think that architecture will become more flexible in its approach to construction. I believe we will employ different manufacturing processes and materials for buildings. Perhaps we will locate movable factories closer to the sites where we are constructing. We will use more technology not only designing but also constructing buildings. I think we can look forward to new materials and new ways of using old materials to make our buildings more sustainable. Of course, these changes affect other sectors of society and evolution is also needed in the construction industry, manufacturing, and public policy.

IA&B: What are your thoughts on architecture in India?

Martha: I have only visited India on two occasions so far. Therefore, to meaningfully comment on Indian architecture is not possible at this time. I can just make a few observations. I can appreciate that there is a long, very interesting and profound cultural legacy in India. There are over 400 schools of architecture throughout the country. There is a lot of building and development going on. And there are governmental policies trying to advance the country in areas such as of housing or smart cities. India has the potential to be an example for the rest of the world if it can undertake development that is environmentally conscious and sustainable and if this development leads to a more equitable and democratic society. This is a complex challenge, but there are many in India who are ready to work towards a positive future for all.

IA&B: How can architects make the best use of the unique opportunities developing nations present, while also building a Pritzker-worthy oeuvre?

Martha: In my view, there are not different categories of architecture.

Good architecture is that which serves people, functions well, is environmentally responsible, creates places of beauty, comfort, safety, and contributes to the culture and context of a place. Architects who strive for this need not worry about creating an oeuvre to win a prize.

IA&B: What aspects of architecture and design should students especially focus on in order to someday achieve their dream of winning a Pritzker?

Martha: Students should not focus on winning a prize any prize.

This would be a mistake. Students should concentrate on learning absolutely all they can to become the best Architects and best citizens that they can become. Education is so important, but traveling and experiencing architecture are also important. Students should strive to understand “context” in the broadest sense. Architecture is both a service for people but also an expression of creativity and the highest values of a culture. It is not created overnight in a superficial matter but requires a considerable effort, deep thought and lots of perseverance.

IA&B: What message would you like to give to students, and young practicing architects?

Martha: My message to students and young architects would always be to use a wide-angle view when looking at architecture. It is important to see the broad context. We must remember that architecture impacts both the people who will inhabit it as well as on our global community and environment. Therefore, architects must be able to understand these different layers of impact and act responsibly.

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The icon and the city Sattva Galleria - Office cum Retail Building, Batarayanapura, Bengaluru Initiated at a time when Bengaluru was at the cusp of development with the Silicon Valley era ushering in, the Sattva Galleria by Sudhakar Pai Associates stands on the locus of a literal and figural conflux of development and aspirations for the city.

Text: Ar. Sudhakar Pai Images and Drawings: Sudhakar Pai Associates

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Sattva Galleria by Sudhakar Pai Associates

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n the early nineties, as Bengaluru developed into the ‘Silicon Valley’ of India it escalated passenger traffic into the city. The existing airport was unable to cope and a new international airport was proposed to the north of Bengaluru at Devanahalli, a village about 40 kilometers from heart of the city. Operations at the new airport commenced in 2008. Sattva Galleria is located on Bellary Road, which leads on to the Kempegowda International Airport. The Office-cumRetail (ORC) building is equidistant from the city center and the airport.

The building programme was aimed at mixed-use format, allowing for quality retail on the lower floors and office spaces on the upper floors.

In business district environments of a growing suburban setting, it was deemed essential to bring in an optimum mix of commercial and retail spaces which are best suited within that location. Design on the project was initiated in 2009. At the crux of all design ideas was creation of a simple, functional and responsive building that was not only efficient and sensitive to its surroundings, but also a piece of iconic architecture that reflected the city in spirit.

as a metaphor of a sailing ship. The solar shading ‘sails’ behave as ‘brise soleil’ keeping out the harsh western sun, while filtering slivers of north light that bounce off the inner wall surface onto the main work spaces. The sails are also punctuated with methodically placed smaller slits, a representation of Corbusian aesthetics that create synchronised sequences of light and shadow throughout the day on the work floor.

Located on a trapezoidal site, the building takes on the shape of site to maximise the usable areas. The design intent to provide functional and usable rectangular floor plates for offices resulted in the triangular extensions on building rear forming circulation and service cores on all floors, and on front as podium of lower retail floors. While the building form took cues from both need of preferred rectilinear floor plate as well as the angular site lines, the built form is imagined

All surfaces exposed to harsh weather have been covered with Fundermax HPL panels with a rear ventilated system that improves functional performance of the façade with respect to heat reduction, noise reduction, increasing weather protection, thereby improving the overall sustainability of the building. Double glazed units have been used on the western facade to further increase the thermal efficiency and significantly reduce energy costs over the life of the building.

The form was design fitted with a high performance façade that takes its prompt from building orientation. Glazing on the harsh west and south of the structure has been restricted to a minimum. The northern facade of the building however presents an inverse face, as it looks to allow to as much light as possible. The minimal glazing is treated with foliage pattern ceramic frit which helps to diffuse light and heat while alluding to the reputation of Bengaluru as ‘Garden City’. The rear eastern façade with walls and cost effective strip windows is shaded by running service balconies.

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Master-plan – Ground Floor.

Typical Floor Plan.

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The building form borrows from the preferred rectilinear floor plate as well as the angular site lines. The built form is imagined as a metaphor of a sailing ship.

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The sails are also punctuated with methodically placed smaller slits, a representation of Corbusian aesthetics that create synchronised sequences of light and shadow throughout the day on the work floor.

The combination of these two façade systems also results in efficient sound insulation, which was one of the priorities given the location of the building next to a national highway. The net effect is a well-lit and quiet indoor environment.

The project was completed in 2018 and was awarded LEED Gold certification.

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

The north face of the structure opens up with a large glass facade to allow north-light to flood the floor and reduce heat gain.

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Sattva Galleria - Office cum Retail Building Batarayanapura, Bengaluru M/s. Sudhakar Pai Associates Sudhakar Pai, Girish S, Sivaraja Pragada, Vinaykumar B.H. SalarpuriaSattva Group Total BU Area 27,011 Sq. mt.

M/s. DesignTree Gammon India Fundermax HPL 2009 2018

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The whole that is greater than the sum of its parts 5 Element House, Pavana, Maharashtra Text: Shriti Das Images: Amit Pasricha Drawings: Studio PKA

5 Element House by Studio PKA. Indian Architect & Builder - June 2018

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Form and space can be shaped and navigated, defined and labelled. It is easy to control built-form and endow it a language as desired. But it is the void, or the absence of space, the navigation and reading between the lines that speaks the loudest. What becomes of the undefined, the nothing, its evolution and the meaning it takes on?

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Lower Level Plan.

Upper Level Plan.

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Context Plan – With an overview of the precinct – the Pavana Lake and the overlooking forts.

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ities like Mumbai are criticised as impressions of apathy and realestate driven pursuits. When this city is perceived as an organism, one comprehends the maze of sky-rocketing structures, brimming boundaries; the mishmash of built-form, infrastructure and human densities. While the role of cities in nation building and economic progress is irrefutable, the quality of life they offer to their citizens is laborious and taxing. The individual’s being is a balance sheet where their time and real estate is constantly evaluated against the capital they generate. This citizen is a consequence of the city; of a place that was initially shaped by the people that thereafter shapes them.

And there is always a hold that the place commands over its people, perhaps as a matter of habit or subconscious pattern that evolves even when opportunities arise to break away from set routines. For instance, holiday homes that are emerging in the Sahyadris are an interesting case in example to study how people produce places and then how the place shapes its people.

The Sahyadris Ranges of the Western Ghats is an oasis to citizens that has evolved as an antithesis to Mumbai and its likes. While Mumbai mushrooms and manoeuvres as a big mass of commercial development, the Sahyadris have witnessed slow and gradual growth, almost akin to an emergent system where weekend holiday homes have thrived in its diverse landscapes. But on evaluating most of the buildings, they exhibit an inherent similarity to homes back in the city.

They are enclosed homes that host large openings to frame rolling hills and greenery yet confined to the notion of space as subsisted in the city. The idea that home or shelter must be all-encompassing, family must reside in close quarters and a roof must continue across the built–form stays inherent. Perhaps it is a deliberate choice or the ‘city’ that expends a hold over its citizen. Nonetheless, the homes are functional, aesthetic and aspirational.

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Section AA.

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The project in its precinct.

The main entrance.

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The Guest Block.

The Guest Block overlooking the Sahyaris and the Pavana Lake.

The Living Block.

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The inside-outside connect.

The 5 Element House by Studio PKA is not a reform or a rebuttal to the aforementioned. The project set out to create a second home at the picturesque precinct of Pavana Lake. The home has evolved over an extensive course of time, progressing manifold on the architect’s drawing board and then some more before it moved to site. Its unhurried pace and timeline, the refusal to abide by norms of ‘shelter’ and the restraint in its built-form is a refreshing departure. Unlike a single roofed structure, the 5 Element House is a cluster of 4 units oriented to frame the faraway Sahyadris into vistas and encompass the Pavana Lake into the built-form, albeit visually. The home designed for a family of 4, a couple and their children, was formerly conceptualized as a single unit on the contoured plot. A few years later, the design was revisited to translate to working drawings and implement the project on site. At that juncture, given the passage of time, for retrospective and intuitive reasons; it seemed logical to rework on some aspects of the design. It may have been an attribute of personal growth, larger aspiration for the project or something beyond at the architects at the studio. The plan was devised, altered and modified. It then dawned upon the architect that the children were transitioning to grown-ups and perhaps the concept of ‘under one roof’ can be done away. This allowed the design to split away and saunter, but in a disciplined fashion. The 5 Element House intentionally restricts opulence in form but brings the vantages indoors. The units – an entrance and Living

Block, the Master Block, the Kid’s Block and the Guest Block constitute the 5 Element House. Each unit were initially composed as a single structure under one roof. The singular form was split and detached to create independent structures entitled to each block. Each responds to the natural contour, rising and falling as it follows the play of levels that the site offers.

The structure sits on a nestled crevice, flanked by the rising land, hidden from view as the user approaches it. The structure consciously and inconspicuously emerges from the land. It meanders and follows the natural terrain, mirrors the shades of earth. In such locales, architecture can eclipse the landscape and become the context of the place rather than borrow from it. As the user approaches the Living Block from the main gate, they walk alongside the Guest Block. The offset between the two structures allow the vision to astray towards the expansive lake and mountains. A trail emanates from the ‘offset space’ that leads the user to the pool and deck area. This path celebrates the panorama and expanse of the Sahyadris and allows the user to revel in the spatial qualities of the built-form. At this connexion, the house is no longer ‘emerging’ or blending into the landscape but is set against a backdrop of bright blue skies. It is here that the architecture builds a strong context, independent from the landscape. Yet there is connect with the landscape.

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View of the Kid’s Block and Master Block on either side with the Living Block.

The living Block - The central alignment of the living block captures the Tikona Fort in a frame.

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View towards the Master Block.

The Dining Area.

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The built-form and the un-built unspoken voids that navigate within it.

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View from the Master Bedroom.

The swimming pool is cantilevered that extends towards the lake. The edgeless pool merges with the lake and renders the mountains visually closer to the home, almost within the grasp of an extended arm.

On the other hand, the formal entrance foyer and lounge are aligned on a straight axis that continues outward to lead to the Master Block and Kids Block. Each of these blocks spills onto decks and patios. Here the pathway that commences from the entrance lounge frames the lake and the mountains, but in a controlled fashion. They appear afar, almost provoking the user towards itself. These un-built open spaces that nestle and emerge amidst the blocks convey the polarity of space. They bring together the units as unabridged entities and bring the expanse and scale of the sprawling structure to a humanised scale.

The scale comes in play when the user manoeuvres within it, as one tends to lose track of where the structure commences and concludes. This is particularly true of the living room, where central alignment of the living block captures the Tikona Fort, almost in a larger than life canvas. The line-out plan was tweaked and altered at various occasions to achieve the configuration and maintain minimal cut-and-fill in the contours. The structures reveal similar frames and focal points at various junctures.

Inevitably, the place never appears to cease. Beyond movement, the ‘splitting’ of the unit allowed air to penetrate the voids. The Living Block and the Master Block are double–height structures. It allows the sun to intermingle and cast shadows across the home throughout the day.

This relationship with skies, air, earth, water and sun was not deliberate but a reflection that emerged as the architect built, lived and worked

through the project. There is a ‘split’ amidst the masses, a void that appears to separate function and lives. But this void does not exist in vacuum or isolation. The 5 elements emanate, imbibe and immerse the void. They weave together the units into a home as each space does share a common connexion with the ‘Elements’. The implications of rain, privacy and safety are perhaps debatable but are in fact ruminations of residing in boxed apartment homes. Wherein buildings are clustered in inhumanely close proximities, the poetics of sun and rain are forgotten and life is contained in built and un-built boundaries. 5 Element House breathes and allows the user to breathe, live and grow with the precinct. One can only hope, that such ‘places’ thereafter shapes the ‘person’ who heads back to the city rejuvenated, to shape the city back to something more habitable and fulfilling.

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

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5 Element House Pavana, Maharashtra Puran Kumar Preethi Krishnan, Sonali Nimbalkar, Revina Soni 10,000 sq. ft.

Ranavat Buildcon Mehta Associates Jaswant Enterprises Vora Electricals January 2014 October 2017 Amit Pasricha Indian Architect & Builder - June 2018

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The making of a metaphor Rhizome Residence, New Delhi Text: Shriti Das Images: Ankit Jain & matra architects Drawings: matra architects

The Rhizome Residence is built-form that derives from a seemingly subtle metaphor but translates to an aspirational piece of architecture.

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he metaphor is the architect’s pet muse of annotating their work.

Metaphors enable and endow meaning, relatability, method and an additional lens to purview or approach built-forms. And then there are those metaphors that arise when a building or subject is critiqued or overviewed. Metaphors augment experiences and perspectives to the extent of controverting reality. And this process, at the risk of seeming overtly romantic, discovers new realities within existing contexts. Within this premise, matra architects turned towards imbibing nature for a residential project.

Architecture is commonly compared to or is aspirational with natural forms. Or at most, built-forms attempt to encompass nature within it. These commonly steer towards loftiness of the mountains wherein the built-form creates yet subdues its impact as it appears and disappears into the landscape; or of water as spaces meander organically merging, evolving and terminating within one another.

Then there are the literal metaphors where physics and structures are derived from nature, be it bio-mimicry or a house that orients around a single tree and unravels from there on. And then, there is there is the Rhizome Residence, which investigates and deduces from a seemingly simpler and singular entity - the ‘rhizome’.

A rhizome is any horizontal stem that grows underground. Its roots sprout from nodes. The rhizome has a peculiar quality of proliferating even if it is cut or separated. So if a rhizome is indeed dismembered, a new plant can develop from each piece.

This quality endows the rhizome and its metaphors an attribute of self-repair, resilience and even independence. And there are the added characteristics of activities seething under-the-surface, hidden from purview and so on.

The architects however, drew deliberations from a slightly disparate perspective of the rhizome. The design conception began from evaluating site conditions. The 2.5 acre plot is divided into one-third and two-third parts by trees on site. To avoid constraining the builtform to any singular part or plot the architects developed an organic shape that navigated the trees. The plan deploys a central core which is also the entrance to the residence. From this ‘core’ there are ‘stems’ that branch out onto vantages. Secondary projections from the stems are deployed as windows.

The core is often lent a function of the courtyard or a space where various activities transpire. However, within the Rhizome Residence, the core is a transition space, much akin to a passage.

The living area bifurcates away from the entrance in the form of one stem. Two more stems emanate from the core that house bedrooms and family areas. While the structure is one or a whole in cohesion with the site and the client’s function, the stems are easily reckoned as detached and almost autonomous, revelling in unfettered identity. The windows again branch outwards from these stems and communicate a similar narrative.

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Rear Garden View Model.

Rhizome Residence by matra architects.

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The main-branch and the sub-branch emanating outwards from the core.

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The wood is used in shingles that accentuates its texture and is juxtaposed against exposed concrete.

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Cedar wood on the upper level is deployed in shingles that accentuates its texture.

The trees on site posed concerns over creating an expansive footprint wherein the foundation could affect the roots and vice versa. Hence the ground floor plan is generated within a tight and dense layout and the upper floor is cantilevered over it. The cantilevers are constructed in steel tubular trusses over courtyards that culminate in a large ‘brise-soliel’. The robust ground floor that supports these cantilevers is a double wall cast in exposed concrete. The upper floor is clad in Red Cedar wood shingles.

The wood is used in shingles that accentuates its texture. This is juxtaposed against exposed concrete. The use of the materials in cohesion is common, but it is the dynamic nature of the builtform that renders the residence a striking demeanour. The use of material is an amicable ancillary to the geometry. Here again, even externally, the rhizome metaphor emerges because the form refutes to be perceived as a whole. Each fragment that tears off the core creates a frame of reference for the user. And this transpires even as a singular material scheme and construction system is throughout. This is not to say that the building does not function as a whole, which it does, yet there is a very strong presence of the ‘I’ and the self. And that is the story of the rhizome that translates tenaciously into Rhizome Residence.

FACT FILE: Project title : Residence Type of residence : Farm House Location : New Delhi Construction year : 2014-2016 Architectural firm : matra architects Principal in charge : Verendra Wakhloo Project team : Priyank Jain Vinay Saxena

Suchet Gurwasheesh Amrita Matharu

Sanjay Devrani

Mukesh Kumar, Model Consultants : Structure - Mithran, Prof.L.S.Jayagopal Earth Cooling : Atam Kumar, Kanak Raj

HVAC : KD Singh

Plumbing - Deepak Associates

Electrical & Lighting - Lirio Lopez Structural system : RCC Wall & Tubular Steel Construction Major materials : Lightweight steel frames Robertson decking system

Insulated drywall and glazing systems

Insulated alloy roof RCC wall & “thun” wood shingle cladding Site area : 2.5 acres Total floor area : 12,500 sq. ft.

Image Courtesy : Ankit Jain & matra architects

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The quest for true tranquility The Kumaon, Kasar Devi Village, Uttarakhand Designed by Sri Lankan firm Zowa architects, The Kumaon attempts to find an ideal balance between luxurious modernism and the rustic charm of natural, serene village life. Using simple, natural materials the design involves minimal interventions to retain the ethos of the site while creating a hidden-gem that offers a holistic experience in the lap of nature that aspires to try and fulfill our age-old search for tranquility.

Text: Sharmila Chakravorty Images: Akshay Sharma Drawings: Zowa architects

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The Kumaon by the Sri Lankan firm - Zowa architects.

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f human race ever advances so much that we manufacture feelings, pack them up in pretty bottles and sell them, peace and tranquility would probably be bestsellers. But that’s just wishful thinking. In reality, our search for peace and tranquility has been historically documented. And much of this quest has lead us back into the lap of nature more often than not. And yet, ironically, we’ve never been shy of destroying nature in the name of development. Our cities and increasingly rural areas too, are being stripped off of their green cover at an alarming rate; of course, we realise this and are taking measures to reverse the years of damage we have unleashed on

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the planet. But to relax and rejuvenate, we often retreat to areas untouched by man, to bask in their bountiful glory, reconnect with the earth, the crisp air, and the sky.

This need has given rise to a variety of nature retreats and resorts all over the world. Especially in India, hill stations are not only a great way to escape the hustle and bustle of unorganised urban life, but also an ideal way to beat the harsh heat, pollution and stresses of daily life. The higher altitudes, thick natural cover, lush greens, clear skies, lesser people… everything contributes to a holistic

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The Kumaon is a small hotel in Uttarakhand, about 1600m above sea level and enjoys scenic views of the mountain range it overlooks.

experience, even if for a short while. But more often than not, the so-called nature resorts are not so natural. Often, you are enclosed in concrete boxes with views opening into other concrete boxes. In such scenarios, the search for tranquility often translates to urban luxuries in a semi-natural setting.

And this is where The Kumaon differs. It is a small hotel in Uttarakhand, about 1600m above sea level. Named after the region, the hotel is located in the Kasar Devi village near Almora and enjoys scenic views of the mountain range it overlooks. At first look, the

site looks like any other, indistinct terraced agricultural land seen all over the region. The access to the site is sort of a steep track, off the main road, to be walked through a narrow village. The programme of The Kumaon includes 10 rooms, lounge and dining facilities, library, spa and services. The rooms are designed in pairs, one atop the other, and are scattered across the site. In doing so, the architects successfully reduces the footprint and the visual bulk of the buildings. The lower rooms are built out of stones that have been quarried from nearby, while the upper rooms are built in fly ash and clad in bamboo, imparting a sense of lightness to the buildings.

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At first look, the site looks like any other, indistinct terraced agricultural land seen all over the region. The access to the site is sort of a steep track, off the main road, to be walked through a narrow village.

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LEGEND 1.

ENTRANCE 2.

WALK WAY 3.

CHALETS 4.

LOUNGE AND RESTAURENT 5.

RAIN WAWTER HARVESTING PONDS 6.

SERVICE QUARTERS 7.

FOOT PATH

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Main Building Ground Floor.

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The materials used here are local – bamboo, pinewood, copper, and stone accessories – most made on site by local craftsmen.

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Taking advantage of Almora’s rich tradition of weaving, all woolen fabric for bedding and furnishing is custom designed and produced locally.

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The project treads carefully, ever so slightly so as to not disturb the beauty and perfection of nature that already exists all around it.

There is a rustic charm, simple yet elegant.

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The highlight is perhaps the main building which is located at the highest point of the site. This building houses the lounge, library, toilet and admin facilities. The first floor is placed diagonally above it, finished in a cantilevered steel structure which houses the dining space. It is oriented to maximize views of the Nanda Devi, India’s second highest peak. The roof of this space becomes a terrace for outdoor dining and other activities.

The materials used here are local – bamboo, pinewood, copper, and stone accessories – most made on site by local craftsmen. Taking advantage of Almora’s rich tradition of weaving, all woolen fabric for bedding and furnishing is custom designed and produced locally. The landscape is left undisturbed as much as possible, and at times used for privacy – for instance, a row of planted bamboo trees are used to cover the view of the rooms beyond and obscure the mountain views heightening the sense of expectation.

Here, the design very thoughtfully lets go of the desire and expectation to stand out, create a structure that dominates the landscape it sits within. Instead, it treads carefully, ever so slightly so as to not disturb the beauty and perfection of nature that already exists all around it.

There is a rustic charm, simple yet elegant. The local materials and accessories highlight this aspect of the design more. So, for a change, at The Kumaon, when you seek a nature retreat, you get a nature retreat. The design is extremely sensitive to the environment, careful to not disturb the delicate balance between rusticity and comfort.

The visual impact is minimal, and highlights its surroundings as opposed to being at the centre of the limelight. Upholding local traditions, materials, and culture, The Kumaon is a significant attempt to frame the stunning views that the site overlooks, while not restricting the inhabitants to the ‘indoors’ where they are cut off from the surroundings and the environment that they so desperately seek.

FACT FILE: Architectural firm Principal Architects Project Architect Structural engineers Contractor Site area Total floor area Design phase Construction phase Client name

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Zowa architects Pradeep Kodikara, Jineshi Samaraweera Kshitij Agrawal Harsh Kakar/Swati consultants Harsh Kakar 2.5 Acres 1160 sqm Nov 2013-june 2014 Aug 2014-may 2017 Savikalpa Hospitality Pvt Ltd.

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Structures that help build futures Lanka Learning Centre, Batticaloa, Sri Lanka In a disadvantaged region, architecture is often effectively used as a tool for intervention and social pictographs 1:1000 empowerment.

On similar lines, the Lanka Learning Centre by feat.collective focuses on social aspects of Lanka Learning Center DIN A2 human life by building a school in a warn-torn, tsunami-affected region in Sri Lanka as a means to give its children a promising future, as well as cultural and religious harmony in the region a chance to blossom once again. feat.collective LLC

Text: Sharmila Chakravorty Images: Lichtbildarena Jena – Germany; feat.collective Drawings: feat.collective

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ften, and especially in today’s market-driven, price-sensitive atmosphere, architecture is forced to essay the role of a ‘facilitator of profit’ first, and then progress. This kind of progress too is deeply influenced and shaped by the economic aspects of it all, and as a result, sometimes, caters only to a certain section of the society. The rest, as always, are ignored, often shrouded into oblivion owing to the lack of a voice. And yet, as a silver lining to this dark cloud, there are some out there who care enough to make a difference – and not just the economic kind. The Lanka Learning Centre is one such project by a group of such change-makers. And the idea of making a difference here is one of vision, foresight and empowerment by means of education and skill development.

The Lanka Learning Centre comes with a distinctive context – almost an emotional baggage of sorts. The site – Parangiyamadu – is a small fishing village to the south of Kalkudah in the Batticaloa district of Sri Lanka. The region has been unfortunate enough to bear the brunt of natural and manmade calamities, namely the civil war as well as the tsunami of 2004. In order to affect change in the region, and empower the community on a long-term basis,

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education presented itself as the ideal foundation to structure the project around. Thus, by creating a platform for disadvantaged children of different, and often at-war, ethnicities and religions, the project aimed at reconciliation and creation of affiliations through communal education, and bonding activities such as sports. Thus, in building this project the architects were also building a future for these kids through cultural exchange, and a chance to get to know ‘the other’ better in order to avoid future friction.

In order to give the project a sense of belonging, and its users a sense of ownership, the project – a school and training centre – was designed with ample local participation during the design process, as well as the building and execution. Employing local traditions and principles to the design, as they were best suited for the cultural characteristics and climatic conditions of the region, a contemporary building was envisioned that would be complemented by the existing natural landscape and architectural fabric. Moreover, the building was constructed with local entrepreneurs, craftsmen, and workers so as to create a sense of pride, and perhaps means of employment.

Local, natural materials are used not only to relate the projects to its site, but also perhaps as a cost-effective measure.

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Ground floor plan.

Axonometric view.

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The design keeps in mind the greenery in the area, and takes maximum advantage of the trees on site. In order to create a covered open space, the design consists of five pavilions to house an administrative office, a classroom for girls and one for boys, a kitchen and canteen space, and a workshop for training and skill development. Thus, the buildings are arranged in a circle, with an open space in between. Much like the planets and the sun, the central open space is perhaps designed to be the hub of all activity and intermingling, fulfilling the basic premise of the school – to provide a platform for inter-ethnic and interreligious exchange and understanding. The multipurpose space is thus the ‘mitochondria’ that powers the future the project sets out to create for the children and perhaps the adults as well, of this community.

What stands out in the project, apart from the architectural design, is the attempt to give the project roots. The materials are local, the building techniques are local, the workers are local, and thus the local inhabitants can relate to the building as something that is natural to them and their environment. The school building thus becomes a part of their life and surrounding as naturally as the landscape. And thus, eliminates any hesitation, or mistrust of an otherwise ‘alien’ non-contextual building.

The building is open, almost designed as an extension of the environment it is located in, creating strong visual links to the outside and the sky. It also welcomes the natural light and ventilation, blurring the distinction between indoors and outdoors, bringing in not just natural elements into the design, but also taking into account the most important aspect – human-emotional wellbeing that comes out of a sense of security and the assurance of a promising future. feat.collective LLC

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The Lanka Learning Centre endures a distinctive context. The site, Parangiyamadu, is a small fishing village to the south of Kalkudah in the Batticaloa district of Sri Lanka that bore the brunt of natural and manmade calamities - namely the civil war as well as the tsunami of 2004.

The Lanka Learning Centre by feat.collective focuses on social aspects of human life by building a school in a warn-torn, tsunami-affected region in Sri Lanka.

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The buildings are arranged in a circle, with an open space in between. The central open space is perhaps designed to be the hub of all activity and intermingling, fulfilling the basic premise of the school – to provide a platform for inter-ethnic and inter-religious exchange and understanding.

The design keeps in mind the greenery in the area, and takes maximum advantage of the trees on site.

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The building is open, almost designed as an extension of the environment it is located in, creating strong visual links to the outside and the sky.

The project communicates an underlying intention of giving back to the community, helping people, and architecture taking on a greater social responsibility that, in an ideal world, it ought to.

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The building was constructed with local entrepreneurs, craftsmen, and workers so as to create a sense of pride, and perhaps means of employment.

The school building becomes a part of their life and surrounding as naturally as the landscape.

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ment.

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The materials are local, the building techniques are local, the workers are local, and thus the local inhabitants can relate to the building as something that is natural to them and their environment.

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What stands out in the project is the attempt to give the project roots. The materials, the building techniques, the workers are local. The local inhabitants can relate to the building as something that is natural to them and their environment.

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The project may also remind some of the Friendship Centre by Kashef Mahboob Chowdhury of URBANA in Gaibandha, Bangladesh.

As such, both projects were also built around the same time, signifying perhaps a shift in the architectural approach to nonarchitectural, social problems. Both projects are rather unassuming in their distinctive milieus – lush greens in Bangladesh, as against the arid landscape speckled with greenery in Sri Lanka – and yet, they make, or at least intend to make, a deeper impact and muchneeded contribution to their respective users. There is a similar yet unique underlying intention of giving back to the community, helping people, and architecture taking on a greater social responsibility that, in an ideal world, it ought to.

FACT FILE: Project Location

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Architect & Design team :

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Carpentry contractors : Electrical contractors : Project Estimate : Initiation of Project : Completion of project : Photographer :

Lanka Learning Centre Parangiyamadu, Sri Lanka, Eastern Province, 7°51’39.5”N 81°33’25.4”E feat.collective: Felix Lupatsch (architect), Matthias Both (architect), Carolin Lintl (Communication designer), Noemi Ott (architect), Valentin Ott (architect), Stefanie Schwemle (interior architect), Spela Setzen (pol. sciences), Felix Yaparsidi (architect) www.feat-collective.net Steps of forgiveness e.V. – NGO based in Germany and Sri Lanka 750 sq. meters Transsolar, Stuttgart – Germany; MBKI Mueller Bauingenieure, Stuttgart – Germany feat.collective in cooperation with local entrepreneurs, craftsmen, workers local entrepreneurs, craftsmen, workers local entrepreneurs, craftsmen, workers 150.000 EUR (Approximately) 2013 2016 Areal views: Lichtbildarena Jena – Germany; All other pictures: feat.collective

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RESQ by Studio Osmosis.

Happy spaces for happy faces ResQ, Chandni Chowk, Pune Designed by Studio Osmosis for the ResQ Charitable Trust, the ResQ Outhouse is a multi-purpose space from where the trust can continue rescue and rehabilitation of injured and sick animals, conducting awareness and education programs and conservation of the environment. A pro-bono project, it is a reminder of what our world could be if we all put more heart, and empathy, into everything we do.

Text: Sharmila Chakravorty Images & Drawings: Studio Osmosis Indian Architect & Builder - June 2018

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The living room and the kitchen.

The courtyard space.

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Doorway.

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nimal rescue work can be quite challenging. And no, it is never the animals that are the cause of the stress. It is the lack of empathy in our society for animals. People wouldn’t think twice about a limping dog on the street. Or a cat that’s perhaps bleeding from an obvious accident. One can never be sure what the reason for this empathy is it could be the school of thought that animals are lesser beings and not as important as human life, or even the struggles of human life itself that makes us immune to the pain of other humans, let alone animals.

Regardless, this widespread lack of empathy is disheartening.

And yet, there are few who go out of their way to reach out to destitute animals, and help them. They personify the saying “You have not lived until you have done something for someone who can never repay you”. But animals do repay you. With endless love and affection, in most cases. If not, in case of say a rescued snake perhaps, it is the satisfaction that one did not stand by and watch the helpless animal die. One did what one could; one did everything one could. And thus, it isn’t a selfless thing. It is a very selfish thing – animal rescue work Indian Architect & Builder - June 2018

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Floor-plan.

gives one unparalleled satisfaction, love and affection. Thus, in a way it is a very positive selfishness, if there was ever such a thing!

But, in addition to heart and dedication, animal rescue work needs support. It could be in terms of money, for supplies, treatment and rehabilitation etc. It could be in terms of help, volunteering hours, donations etc. But for the ResQ charitable trust, support came in the most unexpected format – architecture. Perhaps moved by the work the trust was doing, perhaps finding resonance in the love for animals, Studio Osmosis joined hands with ResQ to design a multipurpose space that could be used for research or an outhouse.

It was a pro bono project and the architects got it built for the ngo in the best possible, cost-effective manner. The architects worked closely with Neha Panchanmiya, the Founder president of RESQ to take her vision forward. They designed this space so as to create a sustainable, ecologically and environmentally friendly haven that aspires to reduce carbon footprint. The architects are especially proud

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of the project, and rightly so, as it not only facilitates the good work ResQ has been doing for years, but also gives it a tangible space from where to continue rescue and rehabilitation of injured and sick animals, conducting awareness and education programs and conservation of the environment.

The outhouse is designed around an existing tree, drawing from the Indian tradition of placing a courtyard at the center of all activity in the house. The C-shaped building around this courtyard is laid out simply and it not only optimizes usage of space, but also acts as a cooling verandah that is washed in natural light and ventilation.

The design also takes into account water harvesting, weaving in elements like the air, the light, the rain, the sky, etc. into the project.

A connected walkway around the courtyard screens the rooms from the elements. The design makes heavy use of local and eco-friendly materials, reused, recycled or scrapped materials. Exposed brick walls, IPS flooring, old antique and recycled wooden furniture, and doors, eclectic lighting come together to impart a casual and earthy ambience to the place, making best use of local labour and techniques.

Jali patterns in the brick were created initially to allow for ventilation and natural light. But owing to the natural environment giving easy access to small moving creatures, those were eliminated. Ledges were built in the walls for cats to perch on. The green area is used to grow herbs and local produce. The entire concept of the space was to depict independence, flexibility and nature - something that the animals at ResQ and everywhere else deserve. Overall, the animalfriendly end product is something that the ResQ trust can proudly call their own.

The project is definitely not a run-of-the-mill architecture project where the emphasis is on creating something beautiful or lavish.

The ResQ Outhouse is modest yet striking, creative yet meaningful.

The architects invested themselves, much like the ResQ volunteers, knowing well that there would be no monetary benefits, fame or glory in the traditional sense. And yet, the outcome is something that would bring immense satisfaction, and remind everyone of the change that positive selfishness can bring about. In a world where architecture is increasingly seen as a means to create profits, the ResQ outhouse is

a reminder of what could be if we put more heart into what we do. It is not a remarkable building in terms of design or innovation as we understand them today, but it is a significant building for ResQ and the animals they help. The design goes beyond the physical elements and infuses the project with empathy, emotion, heart and soul to create bright, happy spaces for caretakers of those animals that often lead dark and troubled lives.

About ResQ Since 2007, RESQ under the guidance and vision of founder Neha Panchamiya has been working towards the rescue and rehabilitation of injured and sick animals, conducting awareness and education programs, which focus on impacting society with respect to reducing human-animal conflict and conservation of the environment. Every year RESQ provides medical aid to over 6000 animal lives in and around Pune.

Today, with a team that’s dedicated their lives to helping these voiceless animals, RESQ has grown into a place of giving and hope, where animals which come in the worst of conditions are met with love and the best possible medical care; where volunteers and visitors come in with open hearts and time to devote‌ all for the love of animals.

FACT FILE: Project Location Architect Design team Client Project Area Civil contractors Carpentry contractors Electrical contractors Project Estimate Initiation of Project Completion of project Photographer

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ResQ Outhouse Chandni Chowk, Pune Studio Osmosis Shilpa Jain Balvally, Sameer Balvallly Neha Panchamiya , Founder President, RESQ Charitable Trust 4000 sq. ft.

Absolute Systems Absolute Systems Absolute Systems 20 lakhs Feb 2017 May 2017 ResQ Charitable Trust

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Filtered Light by MuseLAB.

Of fins, facades and fenestrations Filtered Light, Mumbai, Maharashtra Semantics can either make or mar annotation. Take for example the semantics of grills and ‘jaalis’. While the former is an obstruction, the latter has been a muse of light, shadow and its poetics. When faced with a mandate to provide a grill on the façade of their architectural studio, MuseLAB married the function of a grill with the expressions of a ‘jaali’.

Text: Shriti Das Images: Sameer Tawde Drawings: MuseLAB

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The screen or ‘jaali’ is punctured with 3 variations of circular openings - the regular aperture, hinged cut-offs and pivoted cut-offs.

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he grill is perhaps as antagonised as much as the ‘jaali’ is romanticised. They both accomplish similar functions of barricading openings with a see-through quality either for security or privacy. Grill is derived from the French word ‘grille’ that translates to ‘grating’ – a screen of metal bars. Always perceived as barricade or blockage, the grill is often accompanied with much ornamentation. The grill is almost borderline apologetic; for its presence often mars facades. It is reminiscent of confinement, limitations and barricades. Unless one refers to vintage European balconies, the grill is seldom an object of desire. Even then, their profiles are bent, curved and embellished and dotted with plants for aesthetic additions. The ‘jaali’ in architecture, on the other hand, is reminiscent of perfect geometry and calligraphies. Stemming from Indo-Islamic architecture, ‘jaali’ has been a muse for much artistry, especially for its significance in the play of light and shadow. While ‘jaali’ evocates ardour and nostalgia of forts and palaces, the grills steers the mind towards crammed metros, warehouses, factories and industrial precincts.

And in cities like Mumbai, the metal grill is a prerequisite in many commercial estates for security reasons. MuseLAB, an architecture studio in Mumbai is housed in a similar industrial estate. The office is one of many units arranged in a row, akin to a typical commercial

building. Their façade design; the fenestrations and treatments are pre-mandated by a governing authority. In this case, the entrance fascia of each unit was a T-shaped opening enclosed by metal grills.

Faced with the challenge of designing an office space with the prerequisite of a grill on the façade, MuseLab turned to the allure of a ‘jaali’ executed it with the practicality of the grill.

To replace the conventional grill, the architects devised a mild steel (MS) screen with punctures. The prerequisite beyond the aforementioned prerequisite entailed crafting an identity for the design studio.

The screen or ‘jaali’ is punctured with circular openings. Not the mainstream apertures or patterns but 3 variations; the regular puncture, hinged and pivoted. The hinged opening hosts the circular cut-off akin to a door opening from the hinged end. Similarly, the pivoted cut-offs are placed slightly perpendicular to the circumference or periphery of the apertures. The low tensile strength of Mild Steel enabled the architects to punch and fold the apertures with ease. The façade filters light and manipulates it into circular patterns that travel across the office interiors. They shift position as the day progresses, interrupted, or even amplified and accentuated by traffic and activities that transpire on the road.

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The office interiors.

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This aesthetic of circular patterns is continued in the interiors by creating circular punctures in the office furniture.

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Lower Level Plan.

Mezzanine Level Plan.

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Screen elevation.

This aesthetic of circular patterns is continued in the interiors by creating circular punctures in the office furniture – mainly on the wall storage units. The furniture is made in Birchply wood. There exists a loft ceiling in Kadappa stone with supporting MS plates which has been retained. The staircase treads are finished in polished Kota stone. The backdrop in the office interior is predominantly beige. It is offset by the pixelated screen that adds texture and contrast to the space. The use of black and fuscia peppers the office with an amicable vibe. The office décor is clean and minimal with specks of colour that facilitate creative discourse; be it with clients, amongst the designers and collaborating with vendors. The office is designed to accommodate an open layout. There are 4 workstations and a six seater multi-purpose conference table which also doubles up as a dining table or a discussion table on the lower level. The upper level accommodates 4 workstations and a library-cum-material unit. Being a rented space the office is designed akin to a contraption that can be disassembled easily and relocated. The office was fabricated and executed in 3 weeks.

Located on a busy street in Mumbai, the MuseLAB office is a seemingly quiet bystander to cars, people and commotion typical to Mumbai.

Home to an architect’s studio and host to the work that transpires within it, the façade reinterprets not only the notions of light and shadow but also of textures. The texture of the screen transcends from a physical and appealing element to one that invites the user to touch and explore the surface. It incites curiosity, conversation and creativity. And somewhere summarises the intent and aspiration of every design firm.

FACT FILE: Project Location Architect Design team Client Project Area Structural Engineer Civil contractors Carpentry contractors Electrical contractors Project Estimate Initiation of Project Completion of project Photographer

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MuseLAB Office Mumbai MuseLAB Huzefa Rangwala, Jasem Pirani, Namrata Tidke MuseLAB 190 sft - NA Shree Interiors Shree Interiors Ram Bachchan Yadav INR5,00,000 May 2015 June 2015 Sameer Tawde

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Forgotten waters: Reviving the Light and Life of Dhanushkodi, Tamil Nadu, India About the author - The author of the thesis, Aditi Dora, graduated in Architecture with honors in 2017 and is the achiever of the dual gold medals for her final year performance and thesis, also completed in 2017. She is the winner of several other competitions, like NIASA organized by CoA for thesis projects excellence, NASA Thesis Trophy, Surat Urban Design Competition etc. This thesis also got shortlisted in the 50 Best International Theses’18 by UniATA Unfuse recently. At present, she works as an Architect and Researcher with Ar. Yatin Pandya in Ahmedabad. Having lived in Sri lanka and traveled extensively, her writing forms an integral part of her perception of Architecture and practice, along with photography and research.

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Dhanushkodi - Positioned as the nearest point from India to Sri Lanka (28 kms).

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n the rapidly changing environments of the 21st century, where a number of natural disasters have unleashed nature’s fury over mankind in the past decade or so, storm-proofing communities is becoming an increasingly urgent need of the hour. At the same time, mapping communities and their distinct traits has often proved to be a challenge in housing projects, which reflects on the people & their lifestyles. This project aims to combine both these objectives, in order to sensitively respond to the various characters of present day Dhanushkodi, and provide a meaningful solution to the 135 fishermen families inhabiting the ghost town. On December

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23, 1964 an estimated 7.6 m (25 ft) storm surge struck the town of Dhanuskodi on the south-eastern edge of the island, submerging the town and overturning the Pamban-Dhanuskodi passenger train killing all 150 passengers on board. The town was completely destroyed and has not been rebuilt since. It was estimated that tidal waves were 7 metres (23 ft) high when it crossed Rameswaram. Over 1,800 people died in the cyclonic storm. 800 people were killed in Dhanushkodi alone.

All dwellings and other structures in Dhanushkodi town were marooned in the storm. A port that had been functioning since 1 March 1914 was entirely destroyed.

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Analysis of the existing conditions.

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The existing house typology maintains small scaled individual units in the same plot used for different purposes, not larger than 2.7 by 3.5 metres with a modestly pitched roof not exceeding 2.8 m in height. Vaults, both different for living and storage purposes have been found. Construction is done with juliflora branches and palm mats. Brick vaults that have stood the test of time and the cyclone are unique to this place, for it speaks of the traditional construction and as a continuum has been taken forward in the design process.

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Plot area derivation People with no plot will be provided with minimum plot area of 50 sq. mt.

Derived minimum plot area for people involved in fishing: 65-70 sq. mt.

Remaining plot sizes are inferred from existing plots. ↑ Types of Houses 1) Residence 2) Residence + Shop 3) Residence + in-house eating 4) Residence + guest house

Existing Cluster A (houses = 43) Existing built up = 800 sq. mt.

Existing plot area = 2200 sq. mt.

Minimum standards for housing Housing guide derived 2 rooms + sanitation = 25 sq.mt.

Cluster B (houses = 70) Existing built up =1800 sq.mt.

Existing plot area =6700 sq.mt.

Sustainable Urban Housing : Design Standards = 40 sq. mt.

Cluster C (houses = 22) Existing built up = 600 sq.mt.

Existing plot area = 2100 sq.m TOTAL BUILT UP : 3200 SQ MT. TOTAL PLOT AREA :12000SQ MT.

SITE AREA = 15 ACRES = 60,000 SQ.M

Total number of trees: 2475 ( Density 5 trees per100 SQ. M) Number of units: 135 (500 people) Indian Architect & Builder - June 2018

Guidelines for Reconstruction of Houses affected by Tsunami in Tamil Nadu - Min. plinth area per dwelling unit = 23-25 sq.m

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Vision - Transformation - The idea of re-establishing identity of the place its people, and transforming it into its original glory.

SITE AREA = 15 ACRES = 60,000 SQ.M. TOTAL NUMBER OF TREES: 2475 ( Density 5 trees per100 SQ. M) No. of units: 135 (500 people)

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4 POINT S T R A T E G Y

CONCERNS 1. SAFE HABITAT: One of the starting points for this thesis was the provision of adequate ‘shelter’ for the 500 people inhabiting the town, a place they can again call ‘home’ and their ‘own’.

2. IDENTITY: The necessity for man to call something his ‘own’, it should have his mark, his choice of aesthetic and his individuality, his identity in making.

3. DISASTER MITIGATING STRATEGIES: Keeping in mind the sensitive nature of the site, using effective disaster resilience strategies to provide a ‘safe habitat.

4. RETAINING COMMUNAL COASTAL LIFE: Taking clues from the local living patterns, coastal life, Tamil culture etc. to provide design

strategies and open space varieties accordingly that connect to the people.

5. RETAINING INORGANIC GROWTH PATTERNS: Studying local street patterns to understand nodes, junctions and people’s connection to the streets.

6. EFFECTIVE SITE RESPONSE: Retaining the natural character of the site, the feeling of moving through a natural-scape or jungle, developed but still having its original, raw beauty.

7. INCREMENTAL: IN-HOUSE AND IN-HOUSING: An incremental nature to the houses and the overall housing gives it the potential to pull back the still displaced people, revive Dhanushkodi of its original glory.

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The Process: Picking the straws from the place to form a responsive design.

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Community open spaces are shaded and provided in a manner so festivals / processions can be celebrated, leading directly to the sea.

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Green buffer separates the market & houses, while being internally connected.

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The feeling of going through a forest is still retained as one passes through the main road, the layout allows flexibility to retain the natural-scape as well as provide room for future expansion, horizontally and vertically, with nodes forming in accordance with street patterns.

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An average of 3 trees per 100 sq. mt. is retained. The trees are crucial to resist soil erosion through expansion of sea and storm surges, while acting as a natural buffer in case.

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↑ Built relationship and zoning with internal street.

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Residence + guest house typology.

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Residence + shop typology.

Residential unit typology.

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The structure.

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Material and elemental options.

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The construction details take into account the local know-how of vault making, bamboo and thatch construction, wooden joinery, palm matting and toddy fibre as the primary ‘kit’ available to the user to choose and derive his home aesthetic. Certain introduced details include that of ferrocement construction and earthen smokeless chulha, both with the intention of adding value to their existing lifestyle of outdoor kitchen and ease of construction. Eco-sanitation has recently been widely adopted in the Indian state of Tamil Nadu, especially for post disaster constructions with the government having constructed more than 150 such toilets in the past year.

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Details.

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Details.

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CONCLUSION Security for the future may not always be provided by concretising a settlement. This project was about looking at storm-proofing in a different manner, while addressing the core needs and lifestyles of the people it was meant for.

Dhanushkodi has been long neglected being labelled as a ‘ghost town’, for more than 50 years now. Its 500 inhabitants still decided to re-settle at their ‘ruined’ home than go someplace where they had no job, no attachment, no identity, no history.

Identity for a people is an unfettered need - we largely live in a world where identity crises’ are rapidly taking the meaning out of people’s lives.

It is what provides them some semblance of their own - their customs, life, people, ancestry, etc.

The aim of this project was to take into account the social, environmental, socio-cultural, physical factors of the fishermen community of Dhanushkodi town – and give them their ‘identity’ back from dusts of ruins and neglect.

To respond sensitively and with utmost care, to a place which seems so delicate in nature but has withstood the worst of calamities. The housing, with its multi-dimensional approach to incorporate sustainability, incrementation – in house and in housing, while responding to nature of site and place, people and their lifestyle, materials & construction technology available and judgement of the future hazards that might come, would give them confidence to re-start their lives, reviving the ‘life and light’ of the town.

Units Generated by Panel 15 sq. ft. gives 1.2 units........(2) Therefore ......1 panel roughly fulfills 1 house needs Cost per panel = 15000 INR (without batteries) per housing unit TREE STATISTICS Trees that are cut (1) Used for flooring (2) Used for firewood (3) Used for construction Total area inhabited by trees: 50,000 sq. mt.

Density of tree = 5 trees per 100 sq. mt.

Total number of trees: 2475 Area reduced for streets: 300 trees cut entirely..... (1) If 40% of plot is cleared, i.e. 2 out of 5 trees Trees in 10,000 sq. m of plot area = 10,000 x .05 = 500 40% of 500 trees = 200 trees...........(2) (1) + (2) = 300 + 200 = 500 trees cut = 1975 trees left untouched COSTING Pile + pile cap = 1.13 sq. mt. x 5500 = 6215 Buttress = 2.7 m cube x 780 = 2106 Permanent room = 15 sq. mt. x 4500 = 67500 Vault = 18 sq. mt. x 1500 = 27000 Flooring = 15 sq. mt. x 500 = 7500 Door = 2.1 sq. mt. x 1500 = 3150 Window = 1.2 sq. mt. x 1500 = 1800 Plinth = 25.5 sq. mt. x 1650 = 42075 Total = 1,57,346 INR ..............................(a)

OLAR CALCULATIONS Orientation of panel: south/ west angle of panel: 18 degrees Size of residential panel: 5’ by 3’ = 15 sq. Ft

Incremental room = 10.5 sq. mt. x 4500 = 47250 Incremental vault = 12.6 sq. mt. x 1500 = 18900 Flooring = 10.5 sq. mt. x 500 = 5250 Door and window = 4950 Total = 76350.........................................(b)

Installation over washroom slabs/ staircase canopies Per housing unit,

Solar panel = 15000 rs Eco san toilet = 20000 rs .................(c)

Units consumed per day per unit = 1825 watt or 1.82 Unit ..... (1)

Grand total a+b+c = 2,68,696 inr per unit

Indian Architect & Builder - June 2018

TOTAL NUMBER OF PAGES INCLUDING COVER 104 MUMBAI ` 200 DECEMBER 2017 VOL 31 (4)

MUMBAI NOVEMBER 2017 VOL 31 (3)

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TOTAL NUMBER OF PAGES INCLUDING COVER 136 MUMBAI ` 200 OCTOBER 2017 VOL 31 (2)

IN CONVERSATION Patrik Schumacher, Zaha Hadid Architects

ARCHITECTURE Celebrating Mimar Sinan: An exhibition of selected works Mausam: The House of Seasons, Zero Studio Design Studio of Architect Dhananjay Shinde, Dhananjay Shinde Design Studio

ARCHITECTURE Salerno Maritime Terminal, Zaha Hadid Architects Retreat in the Sahyadris, Khosla Associates INTERIORS The Bengal Rowing Club, Ayan Sen Architects Urban Designers and planners The World Resources Institute, Biome Environmental Solutions The Matt House, Studio Course

INTERIORS Mobile Retail Space, I-Con Architects and Urban Planners Artist Zoë Le Ber’s Residence, Sophie Dries Architects

RESILIENCE Building resilience, essay, Architect Abin Chaudhuri

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VOL 31 (7)

FEBRUARY 2018

MARCH 2018

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MUMBAI ARCHITECTURE Twin Houses, Spasm Design The Pool House, IORA Studio Haveli Dharampura, Spaces Architects@ka New headquarters for Société Privée de Gérance, Giovanni Vaccarini Architetti

INTERIORS Versatile Decadence, Hsc Designs White Edge Architects’ office, White Edge Architects Cream Affair, Architecture_Interspace Pitchers Cafe Bar, Architecture Basics

ARCHITECTURE 15°, .warp The Pavilion, ARUR Vikarna Basement, Studio 4000

INTERIORS Baradari at City Palace Jaipur, Studio Lotus Apple Kids Play School, NAAMS Architectural Workshope

INSTALLATION Time Machine, Studio acrossZero

ARCHITECTURE INTERIORS CASA LUX, Studio WhiteScape Phantom House, UDAI

PRODUCT DESIGN GoT Window, MyInnoSpace

TOTAL NUMBER OF PAGES INCLUDING COVER 90

SONAM WANGCHUK

MUMBAI

YAMA KARIM PREM CHANDAVARKAR SANJAY PRAKASH

MAY 2018

RAHUL SRIVASTAVA MATIAS ECHANOVE AMIT PROTHI

For the next 100, we need architects who believe in architecture

VOL 31 (8)

APRIL 2018

SHAUN KILLA

VOL 31 (8)

We have modernists, deconstructivists, situationists, new-media interpreters, post-modernists, neo-brutalists, rationalists, minimalists and revivalists… they have defined the past 100 years of architecture!

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RESILIENCE Building resilience within Indian craft clusters and communities: Kashmir

SUSHANT VERMA YASHWANT PITKAR G. V. SREEKUMAR ISHAAN DIXIT S. VISHWANATH GLENN BERRILL ASHOK B LALL AROMAR REVI

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POST EVENT Third Edition of Structure & Architecture Conference, New Delhi

RESILIENCE Imagining a Resilient City: Varanasi, essay, Architect Ritu Deshmukh

Presents

Resilient City Powered by

CAMPAIGN A perspective by Julian Treasure on acoustically designed spaces

SHUBHENDU SHARMA PRASOON KUMAR

ARCHITECTURE Muraba Residences, RCR Arquitectes Skewed House, Studio Lagom Artrovert: Conversations in Grey, Anagram Architects The SHACK, The Side Lane – Design Co.

SANJAY PATIL

INTERIORS Terracotta, tHE gRID Architects

Editorial Inquiries: iab_editorial@jasubhai.com Subscriptions: subscription_iab@jasubhai.com

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 = 100

8400+

201+

attendees till date

lectures till date

700+

11+

professionals in each edition

editions

India’s Biggest Architecture symposium ICON LECTURERS OVER THE YEARS Dr B V Doshi, Pritzker Laureates, 2018

India

Richard Meier, USA Pritzker 1984 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.

Fumihiko Maki, Japan Pritzker 1993 Laureate

Late Charles Correa, India Padma Vibhushan, Padmashri, RIBA Gold Medal

Massimiliano Fuksas, Italy Crystal Globe IAA Grand Prix 2015

Peter Rich, South Africa Building of the Year award at WAF

Toyoo Ito, Japan Pritzker 2013 Laureate

Sir Peter Cook, UK Royal Gold Medal of the RIBA

“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.”

“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.”

“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.”

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

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

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

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

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