May 2018

TOTAL NUMBER OF PAGES INCLUDING COVER 92 MUMBAI ` 200 MAY 2018 VOL 31 (9) CAMPAIGN A perspective by Julian Treasure on acoustically designed spaces ARCHITECTURE Muraba Residences, RCR Arquitectes Skewed House, Studio Lagom Artrovert: Conversations in Grey, Anagram Architects The SHACK, The Side Lane – Design Co. INTERIORS Terracotta, tHE gRID Architects

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industry news

6

New Brand Name, Same Excellence in Quality and Service Dow Consumer Solutions Rebrands its Silicones Portfolio as DOWSIL™

D

ow Consumer Solutions, a business unit of Dow India, has launched the new DOWSIL™ range of solutions for its heritage Dow Corning silicone-based products. The new name emphasizes the legacy silicone expertise spanning many markets, paired with the company’s unmatched R&D capabilities and global reach.

With more than a century of experience, the newly re-branded DOWSIL™ portfolio of Dow Consumer Solutions has delivered awardwinning solutions and technologies in home and personal care, high performance building and construction, electronic and lighting, textile, labelling as well as automotive markets.

Dow Consumer Solutions has transformed the way formulators and brand owners create products by enhancing performance, product sensory and delivering value to consumers around the world.

DOWSIL™ will build upon this legacy to help brands maintain a competitive edge in several highly-concentrated markets with its multi-functional solutions.

“India is currently a development hotspot in the global economy given its vast consumer market and increasing per capita income. Dow India has been enabling the consumer-driven products market through our innovative and focused solutions, partaking in India’s economic growth since the past 60+ years. DOWSIL™ is not just a new brand name, it also signifies a new vigour and enthusiasm while we continue to deliver the same excellence in quality and service with our best-inclass solutions”, said Sudhir Shenoy, CEO, Dow India.

“Silicones is the most versatile material that is gaining momentum across industries and geographies. Integrating all our silicone offerings under one umbrella brand DOWSIL™ brings together our expertise in this high-value, high-demand segment. This integration further strengthens our commitment towards our value chain to seamlessly offer customer focussed solutions”, said Massimo Rebolini, Commercial Director, Consumer Solutions, Dow Europe, Middle East, Africa and India, Customers can enjoy a simpler online search and buying experience, driven by a new Consumer Solutions website. Customers can find

Indian Architect & Builder - May 2018

implementation updates, integration activity materials, FAQs, as well as a tool to generate a chemical equivalency certificate for specific products.

To learn more about Dow Consumer Solutions and how its proven silicone-based home and personal care solutions fit in to its already impressive portfolio, visit www.consumer.dow.com.

About Dow India

Dow Chemical International Private Limited (Dow India) combines the power of science and technology to passionately innovate what is essential to human progress. The Company is driving innovations that extract value from the intersection of chemical, physical and biological sciences to help address many of India’s most challenging problems including the need for clean water, clean energy generation and conservation, and increasing agricultural productivity. With 800+ employees in locations spread across the country, Dow India is continually finding ways to make people’s lives healthier, safer and more convenient through exploring sustainable solutions based on technology development and application research in areas of infrastructure, transportation, energy, consumer and, lifestyle.

As a responsible corporate citizen, the company uses its technology expertise and employee volunteerism to partner with the communities in which it operates. Dow continues to support Jaipur Foot through free distribution of prosthetic limbs along with BMVSS, building homes for the underprivileged through ‘Habitat for Humanity’ and supporting scientific thought and environmental awareness among the future generations through ‘Multiply the Message’ and ‘Mobile Science Lab’ programs.

For more, visit www.dow-india.com / http://in.dow.com

For further information contact: Sharvari Abhyankar Tel: +91 7506278015, Email: sabhyankar@dow.com Pragati Tiwari Tel: +91 99305 01748, Email: pragati.tiwari@astrum.in

EXPLORE

EXPLORE

VOL 31 (9) | MAY 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 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

POST EVENT 20 Paradox to paradigm - The international conference

‘Architecture in the Age of Network Society’

CAMPAIGN 26 Sound in Schools

A perspective by Julian Treasure on acoustically designed spaces

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ARCHITECTURE The subtleties of aesthetics Muraba Residences by 2017 Pritzker Laureates RCR Arquitectes, envisioned as a watch tower is an ideal mix of functional beauty infused with serene elegance.

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Imbibing nature into built spaces Skewed House by Studio Lagom is the firm’s debut project that has all the makings of impeccable design and aesthetic; but a zoom-in on the details reveal avant-garde minutiae and workings of design.

INSTALLATION Architecture adjunct art Artrovert: Conversations in Grey by Anagram Architects operates in multiple capacities as it manoeuvres the many facets and functions of art.

PRODUCT DESIGN Theory to practice: The case of Bamboo The SHACK by The Side Lane – Design Co is the realisation of a thesis dissertation translated to an experiment that graduated to its full-fledged built-form.

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INTERIORS Natural materials, contemporary vibe Terracotta by tHE gRID Architects took shape with intent to conserve resources and translated to a space devised from traditional craft against a natural palette.

RESILIENCE 78 The need to question

An audience perspective on the 11th Edition of the 361 Degree

Design Conference – Resilient City convened at Mumbai on 16 th & 17 th February 2018 by Ar. Mukul Damle.

Cover Image: © tHE gRID Architects

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

industry news

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VitrA introduces it’s exclusive : X- Line Faucet Series

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About VitrA:

S t a n d in g o u t in fa u c e t c a te g o ry w i th i ts an g u l ar d e s i g n s a n d a so lid b u ild , X-Lin e pro m i s e s to offe rs s up e ri or p e rfo rm a n c e a n d q u a lit y f o r y o u r fam i l y a t an affo rd a b l e pri c e . Co m p ri s e d o f b u ilt - in w a s h b a s i n an d ba th mo d e l s a n d k i tc h e n s i n k f a u ce t s, X - Lin e s eri es d e fi es th e y e a rs w i th i t s s o l i d b u i l d , d u r a b ilit y a n d s oft c on to u re d de s i gn . X -L i n e s e ri e s is e co n o m ic t o u se a n d i s en v i ron m en ta l l y -fri en d l y th a n k s to Vit r A’s w a t e r sav i ng ae ra to r.

About Eczacıbaşı Group:

itrA, the leading bathroom solutions brand of Eczacıbaşı Building Products Division in Turkey introduces exclusive range of X- Line Faucet Series. You can express your style in your home with the confidently, smart design and high quality with VitrA’s X-Line Faucet Series.

This New series is also available in dazzling gold shade. This series offers various alternatives, stands out with its soft contoured and self-confident appearance.

Also have stylish aesthetics, sophisticated details and infinite product range, X- Line faucet series has backed the Red Dot Award and truely is the choice of people who are on a lookout for a bathroom series to complement prestigious households.

And all that is left for you to do is to pick the right product for yourself and let your bathroom reflect your style.

Indian Architect & Builder - May 2018

VitrA is a leading brand of Eczacıbaşı, a prominent Turkish industrial group. Eczacıbaşı, core sectors are building products, healthcare and consumer products. VitrA manufacturers 5 million units of sanitary ware, 350,000 bathtubs, 370,000 units of bathroom furniture, 3 million faucets and 2.5 million bathroom accessories every year. 50% of production is exported to over 75 countries worldwide for sale in 150 exclusive showrooms and 2,000 sales points across the world.

Founded in 1942, Eczacıbaşı is a prominent Turkish industrial group with 48 companies, 11,730 employees. Eczacıbaşı, core sectors are building products, healthcare and consumer products. Globally, Eczacıbaşı has established itself among the world’s top providers of bathroom and tiling solutions for homes and commercial venues with its VitrA, Burgbad, Villeroy and Boch (Tiles) and Engers brands.

For further information contact: VitrA Store Address: 1st Floor, Premises No:B-102, Durolite House New Link Road, Andheri (West) Mumbai, INDIA 400053.

VitrA Delhi: A-288, Bhishma Pitamah Marg, Block A, Defence Colony, New Delhi, Delhi 110049.

Website: http://www.vitra-india.com/ Toll Free Number : 18001231134 / 750670039 Follow us at VitrAglobal on Facebook, Instagram, Twitter, Pinterest and subscribe us on YouTube.

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industry news

14

CERA launches premium brand SENATOR

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Unveiling of SENATOR by CERA by Mrs. Deepshikha Khaitan, Vice Chairperson, CERA Sanitaryware Limited. Also seen are (left to right) Mr Abbey Rodrigues, Senior Vice President Sales, Mr Bharat Mody, Corporate Strategy Consultant, Mr P K Shashidharan, Senior Vice President Marketing and Mr Atul Sanghvi, Executive Director.

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rs. Deepshikha Khaitan, Vice Chairperson, CERA Sanitaryware Limited, unveiled SENATOR by CERA, the premium offering from CERA stable, at a glittering function held at Ahmedabad, in the presence of trade associates invited from all over India.

CERA, the fastest growing brand in sanitaryware, faucet and tiles, has been established as the leader in the mid and upper segment, while SENATOR will cater to the premium segment.

SENTOAR by CERA is conceived by CERA’s own core team consisting of designing, manufacturing, sales and marketing and is curated by the famous Italian designer, Mr Ettore Giordano. He is based out of Milan and runs a successful design company.

The SENATOR range currently consists of sanitaryware, faucets, wellness and mirrors. The range would gradually be expanded to include more products.

Speaking to media, after the launch, Mrs. Deepshikha Khaitan said that CERA is filling and vacuum and moving up the value chain with the new range.

Mr Atul Sanghvi, Executive Director, CERA said that the distribution of SENATOR would be through select outlets from among existing CERA distribution network. He said that with SENATOR, CERA would now be able to garner a larger share from the premium segment and put the company on a faster lane of growth.

Indian Architect & Builder - May 2018

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Photograph of few ranges.

For further information, contact: Mr. P.K. Shashidharan, Senior Vice President Marketing, CERA Sanitaryware Limited, Ahmedabad on 9327674111 or pks@cera-india.com

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industry news

Hitachi’s CMD Gurmeet Singh grabs “Most Promising Leader of the Year”

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h a ir m a n a n d Ma n a g i ng D i rec to r o f J o h n s o n Co n tro l s Hit a ch i Air- C o n d i ti o n i ng I nd i a L td . , G u rm ee t Si n g h , w a s r e ce n t ly r e co g n i zed an d aw ard e d as the “Mos t Prom is ing L e a d e r o f T h e Ye a r” i n C om me rc i al A i r C on d i ti o n i n g a n d R e f r ig e r a t io n ca teg o ry s eg m en t by Wo rl d B u s i n e s s Re v i e w C o r p o r a t io n (W B R C orp ) .

Appliances Manufacturers Association). RAMA and CEAMA are two industry bodies that closley monitor the Air Conditioning Industry and are also working with Government bodies in industry related policy formation. He has also won the “Man of Appliances” award by CEAMA for his outstanding contribution to the appliances industry.

“The Most Enterprising Brands & Leaders of Asia 2018” award ceremony by WBR Corp was held in Mumbai on 28th Feb’18. WBR Corp which is one of the topmost Brand Management Consulting and Researching firm in Asia, evaluated and shortlisted more than 1500 companies in different categories for these awards. Some of the previous winners of this award includes names like Delhi CM Mr. Arvind Kejriwal, Ms. Chanda Kochhar (MD – ICICI Bank), Mr. Rana Kapoor (CMD – Yes Bank), Singers – Ms. Kavita Krishnamurthy, Mr. Kailash Kher, Authors – Mr. Amish Tripathi etc.

“It is a great honor to be recognized at such a big platform where brands and leaders of international stature are involved.

I dedicate this award to my journey with Hitachi.

Gurmeet Singh who has more than 25 years of Industry experience and has been associated with brand Hitachi for more than 15 years, is President of RAMA (Refrigeration and Air Conditioning Manufacturers Association) and Executive Committee member of CEAMA (Consumer electronics and Indian Architect & Builder - May 2018

Backed by innovation, technology and industry leading expertise, we are all set to take Hitachi to new heights. And that day is not far away when the technology leader will also become the market leader because we believe “Every Home deserves Hitachi’s Cooling”.

Hitachi is India’s leading and 3rd most selling air-conditioner brand in India. From its manufacturing unit located in Kadi, Gujarat, Hitachi manufactures a wide range of products, such as room airconditioners (Split & Window ACs) to commercial air-conditioners including VRF system, Chiller, Cassette Air conditioners, Ductable air-conditioners and Telecom Air conditioners.

industry news

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Viega opens manufacturing facility in India On course for growth

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wo years after the ground-breaking ceremony, Viega, one of the world’s leading manufacturers of plumbing and heating installation technology, has opened a manufacturing facility in India. The company has invested 20 million euros in the approximately 1,60,000-squarefeet facility which also includes a logistics centre, research & development department, and a customer experience centre. The new facility is an important building block in the growth plans of the international group. At the new Viega location in Sanand, around 30 km from Ahmedabad, floor drains and toilet cisterns are currently being manufactured for the Indian market. At the opening ceremony, Manoj Maithani, Vice President Sales and Marketing, at Viega India Pvt. Ltd., welcomed customers and employees of Viega India along with the representatives of the executive board of the Viega Group.

Speaking on the occasion Manoj Maithani, Vice President Sales and Marketing at Viega India Pvt. Ltd. says, “’Make in India’ is not only the eponymous Indian government initiative but also the mark of quality that will characterise ever more Viega products for the Indian market from now on. In the coming years, we want to locally manufacture products that we currently import into India. To this end, we have designed the plant so that it can always be adapted to changing production requirements and market needs.”

Additionally, the company’s own research and development at Sanand will also focus on local product requirements. In this way, Viega intends to become a driving force for the plumbing and heating industry in India.

Family business bears responsibility “The opening of the plant in Sanand is a major highlight in our 119-year company history, which began in 1899 with three employees in a backyard in Attendorn, Germany,” says Anna Viegener, Chief Strategy Officer and Viega Shareholder.

Adding further she says, “Today, Viega is an internationally successful group of companies that has nevertheless remained a down-to-earth family business. We want to continue to invest in the future and reinvest the profits generated in our company. This cycle has proven itself over decades and has had a lasting impact on our success.”

With 4,300 employees, worldwide, Viega now sells piping systems for plumbing and heating, drainage technology and flushing systems for toilets and urinals.

Indian Architect & Builder - May 2018

“To Viega, Hygiene for sanitary facilities in general and drinking water in particular is one of the core competencies, to which we dedicate ourselves with passion and great commitment,” stresses Anna Viegener.

Since 2016, the company has been supporting the ‘Team Swachh Bharat’ initiative, which is the official partner of the Indian government’s ‘Swachh Bharat Mission’. ‘Team Swachh Bharat’ has set itself the task of increasing the awareness of children at 3,500 schools in India on the topic of hygiene and the use of sanitary facilities.

India is a strong pillar for Viega’s global growth plans The Viega Group has been active in India since 2005. Following the opening of the first sales offices in Gurgaon and Mumbai in 2009 and 2012 respectively, the subsidiary Viega India Pvt Ltd. was founded in 2015 with headquarters in Ahmedabad and currently employs around 85 people. Moreover, a 30-strong sales team ensures proximity to the customer.

“India is a major pillar for our global growth plans. With 1.3 billion inhabitants and a rapidly growing economy, offers enormous potential for us to grow in the Indian market. In line with our sales growth, we intend to expand the local team by 120 employees over the next few years.” emphasizes Claus Holst-Gydesen, CEO of Viega Holding GmbH & Co. KG. About the company: Viega was founded in Attendorn, Germany, in 1899. Worldwide, more than 4,000 people are employed by the Viega Group, which is among the leading manufacturers of installation technology for plumbing and heating. The range consists of approximately 17,000 articles in the product categories of piping systems as well as flushing and drainage technology. They are used nearly everywhere: in building services installations, in utilities or in industrial plant construction and shipbuilding.

Since 2005 Viega has operated successfully in the Indian market. After several years with independent sales representatives, in 2015 the legal entity Viega India Pvt. Ltd. was founded in Ahmedabad, Gujarat, to foster the company’s local footprint in India. This includes investments in a production facility in Sanand to better serve local market needs. Sales and service teams are present in all the major cities in India.

For further media queries contact ITW Playworx (PR) @: Namrata Aswani - 09920710261 Sushil Panigrahi - 09930634197 Amar Kirale - 9892459300

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Paradox to Paradigm Architecture in the age of Network Society

An International Conference held on 9th & 10th of March at Nagpur at Radisson Blu, Nagpur Organised by: Smt. Manoramabai Mundle College of Architecture, Nagpur

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Inaugural address by Shri Biswaranjan Nayak, President, Council of Architecture.

Indian Architect & Builder - May 2018

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Keynote Speech by Haig Beck, Australia.

Keynote Speech by Jackie Cooper, Australia.

Keynote Speech by Ar. James Law, Hong Kong.

post event

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mt. Manoramabai Mundle College of Architecture, Nagpur transformed from a dynamic young department established in 1993 into a full-fledged College of Architecture in 2008-09, serving the needs of professional education in architecture for women. The Institute celebrated 25 glorious years of its existence in the session 2017-18.

(USA), Architect Nela de Zoysa (Sri Lanka), Architect Vishu Bhooshan (UK), Architect Sebastiano Brandolini (Italy), Architect Ryoichi Misawa (Japan), Architect Ben Nakamura (Japan), Architect Narendra Dengle (Pune), Architect Shirish Beri (Kolhapur), Architect Snehal Shah (Ahmedabad), Prof. Kulbhushan Jain (Ahmedabad), Architect Sameep Padora (Mumbai) and Architect Habeeb Khan (Nagpur).

The International Conference ‘Paradox to Paradigm’: ‘Architecture in the Age of Network Society’ was the grand culmination of the yearlong silver jubilee celebrations through various events by the college.

An overwhelming response of around 125 abstracts was received towards the call for papers, out of which 60 were accepted and published in the conference proceedings with ISBN number. Three best papers on each sub-theme (total of 18 papers) were presented in the conference, and prizes for Best Paper were conferred. Posters were also invited from researchers and students and Best Poster prizes were also awarded.

This conference was helmed by Dr. Ujwala Chakradeo (Organising Chairperson), Dr. Sampada Peshwe (Organising Secretary) and Dr. Priya Choudhary (Jt. Organising Secretary); with Prof. Kulbhushan Jain, Ar. Snehal Shah, Ar. Sunil Degwekar and Prof. Shriram Marathe being the advisors.

The Theme and Sub-Themes Paradoxes and paradigms are seen in history whenever technological, social and cultural changes affected life and architecture immensely.

Architects with their works transformed the paradoxes into paradigms which then became traditions. With the information revolution and the consequent rise of Network society, the architecture fraternity is again posed with many paradoxes about the building typologies, design process, materials, technology of designing and construction.

The ‘net-working logic’ has led to tremendous transformations in the social and economic processes, radically changing many basic human operations such as working, shopping, communicating, designing, meeting and several more. This transformation of the society is causing a tremendous change in architecture, resulting in the blurring of boundaries between virtual and real spaces; radically changing the role of built spaces and the modes to generate them.

The conference theme neither endorses nor opposes this transformation in the society and architecture. Network Society is the harsh reality of today and the objective of the conference theme was to address this reality and to look at all angles pertaining to it; to create a platform for taking a pause and pondering on how architecture today is evolving in response to the Network Society and how we could shape the future of architecture through radical thinking.

The scope of the theme was vast, which included a spectrum of six sub-themes ranging from philosophical stances to materials and technological aspects – • Historicity and Modernity: An Emerging Order in the Age of Network Society • Architecture as a Social Art in the age of Network Society • New Directions in Architecture Education and Profession • Addressing Changing Cultural Contexts through Architecture • Computational Design Paradigms • New Technologies and Emerging Architecture in the Age of Network Society.

The Conference An array of illustrious international speakers were invited to deliberate on the theme of the conference – Haig Beck and Jackie Cooper (Australia), Architect James Law (Hong Kong), Architect Shubhra Raje

Session I: Inaugural session The Conference was formally inaugurated on the 9 th of March 2018

by Shri Biswaranjan Naik, President, Council of Architecture. The conference commenced with two Keynote speeches. The first keynote speech by Haig Beck and Jackie Cooper, Australia titled ‘Back to the future’ was the introduction to the Paradox to Paradigm conference talks and touched every sub theme of the conference, initiating the possibilities in each one of them. The second keynote speech

by Architect James Law, Hong Kong, was on Çybertecture – New Horizons for the Architect’ which explored the personal journey and paradoxes of James Law from childhood to professional architecture that led to his life time work towards developing a revolutionary philosophy of architecture called Cyber-tecture.

The announcement of Pritzker prize being awarded to Architect Balkrishna V. Doshi was made just the previous day and this moment of great pride for the architecture fraternity of India was acknowledged during the inaugural session, receiving a standing ovation from the entire audience.

The two day conference had a total of 8 sessions with six sessions dedicated to a sub-theme each. Every such session had two ‘Lead Speakers’ and three paper presentations by researchers, professionals and students.

Session II: Historicity and Modernity: An Emerging Order in the Age of Network Society Architect Narendra Dengle, Pune presented on ‘The Self & the Other: Fragmentation, Connections, Controls and Freedom’ & Architect Shirish Beri, Kolhapur spoke on ‘Beyond modernity and historicity’. The session was chaired by Prof. Kulbhushan Jain.

Session III: Architecture as a Social Art in the Age of Network Society Architect Shubhra Raje, USA, gave her presentation titled ‘Intimacy and Live-Ness: Exploring Context through Documentation and Disappearance’ & Architect Nela De Zoysa, Sri Lanka, presented on ‘Changes of the Cultural Context in Sri Lanka, from the Pre Colonial Period to Date: With Special Reference from Paradox To Paradigm’.

The Chairperson for this session was Dr. Ujwala Chakradeo, Principal of SMM College of Architecture. This being the occasion of International Women’s Day, Ar.Shubhra Raje, Ar.Nela De Zoysa and Indian Architect & Builder - May 2018

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Dr. Priya Choudhary acknowledging Ar. Balkrishna V. Doshi for being conferred the Pritzker Prize.

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Standing ovation to Ar. Balkrishna V. Doshi.

Organising Team with the Speakers and Advisors.

Ar. Jackie Cooper were felicitated for their contribution in the field of architecture.

Session IV: Computational Design Paradigm Architect Vishu Bhooshan, UK, introduced the concept and evolution of CoDe through his talk ‘CODE Tectonism: Research < -- > Practice’. The session was chaired by Ar. Paramjeet Ahuja, Chairman of IIA Nagpur Center.

Session V: Addressing Changing Cultural Contexts through Architecture Architect Snehal Shah, Ahmedabad, spoke on ‘Architecture and Cultural Context’ while Architect Sebastiano Brandolini, Italy, Indian Architect & Builder - May 2018

presented on ‘From Fatality To Reality: Can Information Make Cities?’.

The chairman for this session was Prof. Uday Gadkari, Past President of Council of Architecture.

Session VI: New Directions in Architecture Education and Profession Architect Ryoichi Misawa, Japan spoke on ‘New -Vernacular Architecture’, while Architect Habib Khan, Nagpur presented on ‘Contemporary Vernacular: The Only Design Paradigm for a New World’. This session was chaired by Shri M. P Rawal, Head of ‘JK Cement Architect of the year Award’.

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Panel discussion moderated by Prof. Kulbhushan Jain.

Ongoing panel discussion.

Formal Valedictory session helmed by Dr. Sampada Peshwe, Organising Secretary.

Session VII: New Technologies and Emerging Architecture Architect Ben Nakamura, Japan presented on ‘New-Vernacular Architecture’ & Architect Sameep Padora, Mumbai spoke on ‘New technologies’. The session was chaired by Prof. Abhay Purohit.

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Ongoing panel discussion.

Ongoing panel discussion.

Address by Honourable Shri Nitinji Gadkari.

must aim at affordable housing for all using alternative and low cost materials.

Session VIII: Valedictory Session The last session commenced with a panel discussion with all the speakers, moderated by Prof. Kulbhushan Jain from Ahmedabad.

Prominently present on the occasion was Dr. Panna Akhani, Secretary & Director of Women’s Education Society. JK Cement was the Platinum sponsor & CERA was the Silver sponsor for this event, Nagpur Metro, Jaquar, NITCO and Plasto also supporting the event through sponsorship.

The Guest of Honour for the valedictory was Hon’ble Shri. Nitin Gadkari, Minister for Road Transport & Highways, Shipping and Water Resources, River Development & Ganga Rejuvenation in the Government of India. He emphasised that Architects and planners

The conference was very well attended by a host of dignitaries including Ar. Divya Kush (All India IIA President); Ar. Satish Mane (Chairman of IIA Maharashtra Chapter) and his team; Prof. Shirish Deshpande, and many more. There were a total of around 750 Indian Architect & Builder - May 2018

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Organising Team with Honourable Shri Nitinji Gadkari.

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Student poster competition judging.

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delegates from all over India and outside of India which included academicians, architects and students. The conference received great appreciation from all quarters.

Best Paper and Poster Awards The esteemed juries for the competitions were as follows –

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Best Student Poster Award to Navaneeth P.

second prize to Maria Akhtar. The first prize for Best Delegate Poster was awarded to Nikhil Kohale and second prize to Alamas Mirshikari. The first prize for Student Poster was awarded to Navaneeth P. and second prize to Mrunal Chouhan.

Student Poster Competition – Ar. Narendra Dengle and Ar. Shirish Beri Delegate Poster Presentation – Prof. Vijay Minshi and Prof.

Shriram Marathe.

The Conference is just the beginning where everyone came together to start the efforts to channelise the thought process to deal appropriately with the current situation full of paradoxes, and emerge with the much needed paradigm shift for ‘Architecture Profession in the age of Network Society’.

Best Paper – Prof. Snehal Shah and Ar. Sebastiano Brandolini The first prize for Best Paper was awarded to Rupali Gupte and

The interesting deliberations during the conference will be taken further academically.

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SOUND IN SCHOOLS Sound in schools is damaging millions of childrenâ&#x20AC;&#x2122;s health and education.

Architects have the power to change this.

Text & Images: Julian Treasure Ltd

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rchitectural design decisions influence how productive and healthy our schools are. Many architects will know, for example, that good natural light can improve learning and health (Loisos, 1999). Sound has an equally powerful effect on educational outcomes and health, and yet this crucial environmental factor is largely ignored by architects.

Noise in schools has been a recognised problem for over 100 years (Canning & James, 2012). Study upon study has revealed unbearably noisy classrooms and poor acoustic conditions. Indeed, experts state that poor classroom acoustics are the number one overlooked problem in schools (Harmel, 2000). Noise is schools is an epidemic, and it’s hurting our children and teachers in three serious ways.

Speech intelligibility Sound matters fundamentally, because pupils must be able to hear their teacher in order to learn. When noise levels are too high, often because classrooms are too reverberant, pupils find it hard to understand their teachers.

If education is like watering a garden, much of the water is evaporating before it even reaches the plants. Pupils on the back row of a traditional classroom hear just 50% of the teacher’s words (Siebein, cited in Harmel, 2000; Leavitt & Flexer, 1991). This affects young children in particular, who have great difficulty understanding speech even with low levels of noise (Elliott et al., 1979; Neuman & Hochberg, 1983).

Cognition Noise disrupts cognition, so even if the students can hear the teacher, their work is adversely affected. Noise compromises many tasks, including memory, motivation, reading, mental arithmetic, and problem solving (Cohen, Evans, Krantz, & Stokols, 1980; Evans, Hygge, & Bullinger, 1995; Jones, 2010).

As a result, children in noisy classrooms learn less well. Acoustics expert Trevor Cox played the babble of a noisy classroom to a group of teenagers. He found that it lowered their cognitive abilities by an average of three years (Cox, 2014). Likewise, a 10 decibel rise in noise level caused primary school exam results to drop by between 5-7% (B. M. Shield & Dockrell, 2003). In the UK, a 5 decibel increase in aircraft noise resulted in a 2-month reading delay for children (Stansfeld et al., 2005).

Unfortunately, research suggests that children cannot habituate to typical classroom noise (Matsui, Stansfeld, Haines, & Head, 2004): the negative effects continue even if the noise is experienced over long periods.

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Health Noise has wide-ranging, serious effects on health for both pupils and teachers. Numerous studies link noise in schools with hearing loss (Chen & Chen, 1993), increased blood pressure, and higher levels of adrenaline and noradrenaline (Jones, 2010). Chronic exposure to noise at just 65 decibels (a very common level in modern schools, especially with group work) has been firmly linked by multiple studies to an increased risk of heart attack. Mental health is also affected. Children exposed to chronic noise at school have higher levels of psychological stress (Evans et al., 1995), annoyance, and disruptive behaviour (Jones, 2010).

So what are the causes of these problems? Noise from school equipment is one issue. Acoustics expert Gary Siebein recalls, “One of the first times I went into a classroom to observe what was going on, I noticed that the teacher had to turn the air conditioner off just to speak to the class, which is a good indication that, acoustically, something is very wrong” (Siebein, cited in Harmel, 2000). External noise sources, such as aeroplanes, trains, and cars, are another.

Combine these noise generators with growing class sizes and the effect is obvious.

And of course poor classroom acoustics will emphasise any noise.

Bexley Academy was designed by Fosters + Partners, an awardwinning British firm. Most of the classrooms had no back walls, opening out onto a large central atrium to dramatic visual effect.

However, when the school opened in 2003, the noise was so disruptive that the local authority had to spend $850,000 on makeshift back walls to reduce noise. Despite this, the building was short-listed for a prestigious Royal Institute of British Architects’ Stirling Prize, which emphasises how little noise appears to be taken into account by the profession.

Improved awareness of acoustics can make all the difference. Sound energy behaves in one of three ways when it encounters a material: it either reflects back (increasing noise levels), or passes through (compromising privacy), or is absorbed and turned into heat energy.

Materials that reflect light usually reflect sound too. Sometimes this is desirable. Cathedral music would sound far less impactful without its reverberant qualities. But in classrooms, reverberation muddies speech with unwanted reflections, and simply worsens noise. Unfortunately, architects and interior designers tend to favour the most reflective materials, like glass, metal, stone, concrete, polished wood. They may look great but they can create appalling acoustics and make spaces simply unfit for purpose.

Reducing reverberation time in classrooms is a top priority.

Improving noise insulation will also help block outside noise and Indian Architect & Builder - May 2018

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minimise distraction between rooms. Bringing in an acoustician from the outset is the easiest and most cost-effective solution.

Simple ways of improving acoustics include sound absorbing ceiling materials; using acoustic plaster; laying carpets or LVT with acoustic underlay; including irregular shapes like plants or bookcases; avoiding reflective parallel surfaces; including soft furnishings like curtains and soft chairs; and installing wallmounted acoustic panels which can now have graphics printed on them without compromising their performance. Itâ&#x20AC;&#x2122;s also important to select appliances that have low noise output (ideally less than 50 dB at one metre).

The effect of acoustic improvements is tried and tested. In Los Angeles, architectural interventions significantly improved school achievement levels (Cohen & et al, 1981). Another treated classroom saw teacher absence through illness drop from 15% to 2%.

After a brief spell of traditional design, open plan schools are back in fashion in some countries, bringing with them all the same challenges faced by workers who try to concentrate in open plan offices (B. Shield, Greenland, & Dockrell, 2010).

Only architects can change things for the better: itâ&#x20AC;&#x2122;s time to start designing with and for the ears as well as the eyes. Architecture that integrates great sound with the traditional architectural palette of light, colour, form and texture can transform the education of many millions of children.

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Julian Treasure is an author and international speaker on sound, speaking and listening. His five TED talks have been viewed an estimated 50 million times, including one in the top 10 TED talks of all time. Julian is founder of the Sound Agency, which has been proving that good sound is good business worldwide since 2003.

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The subtleties of aesthetics Muraba Residences, Dubai

An ideal mix of functional beauty infused with serene elegance, Muraba Residences in Dubai by Priztker Laurates Rafael Aranda, Carme Pigem and Ramon Vilalta of RCR Arquitectes are timeless, artistic living spaces. Envisioned as a watch tower, the project not only overlooks the sea but also makes it a part of the overall living experience by maintaining a constant visual link.

Text: Sharmila Chakravorty Images: Airey Spaces Drawings: RCR Arquitectes Indian Architect & Builder - May 2018

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ast year, for the first time ever, the coveted Pritzker Prize was awarded to three individuals of a firm, instead of its more traditional, ‘single laureate’ format since the inception of the Prize. The three principals of Spanish architecture firm RCR Arquitectes – Rafael Aranda, Carme Pigem and Ramon Vilalta – were named the 2017 Pritzker Prize laureates. This major digression in the Pritzker Prize’s historic ways, in terms of splitting the award between multiple individuals, sparks a heightened interest in their work. What exactly is it that led to the Pritzker program to change its longstanding tradition? The Jury attributes it to the firm’s continued endeavor to poetically fulfill architectural requirements, blending physical and spatial aesthetics with functionality and craftsmanship. But as an onlooker, can this winning quality be nailed down to one project, or is it a thread that runs along their entire body of work?

Against this backdrop, as we look at the Muraba Residences in Dubai, the jury’s assessment of blending aesthetics and functionality becomes increasingly evident. The development is located on the Eastern Crescent of the iconic Palm Jumeirah. Incidentally, it is the firm’s first ever residential project. The façade seems like a boxy arrangement of glassy fenestrations.

This use of wrinkled glass allows another vibration and density to the building. From the outside, the building rises high up into the sky, revealing very little of what one should expect within. The inside, however, is a completely different story. Each residence has an air of artistic refinement; an artwork for living, as the architects term it. Though the overall design treatment brings out a minimalistic flavor, the positioning ensures that views from within the residences are optimally maximized. At the same time, views inside the residences are restricted owing to the staggered placement of the buildings as well as the arrangement of the floors.

The Z-shaped composition enhances spatiality and affords double views. Thus, the 46 apartments and 4 penthouses that make up the Muraba Residences enjoy unobstructed ocean views flanked by the iconic skyline of Dubai, from the floor-to-ceiling windows. In addition to brilliant views, the floor-to-ceiling windows wash the rooms with abundant natural light, maintaining the visual and emotional link with

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the outside world and the environment. At the same time, the harsh sunlight is avoided while ensuring the possibility of cross ventilation that brings in fresh air.

Aptly named Muraba that roughly translates to watch tower, the project overlooks the sea in a similar fashion. This metaphorical idea is explored in the way the building stands witness to the ebbs and falls of the sea, and the use of materials and colours to reflect this closeness. The residences are bright, with hues of blue reminiscent of the sea, establishing a strong link for what lies beyond the walls of the residence. What lies beyond merges with the residences, and vice versa. The transition, thus, from inside to the outside is as seamless as can be. And that is perhaps the most striking aspect of this project.

The artful blurring of the otherwise stark divide between the indoors and the outdoors. The glass windows constantly connect the indoors with glimpses of the sea beyond, thereby establishing a constant visual link. The innovative louvred glazing system integrated into the exterior of every façade ensures this link while maintaining privacy. The sea, therefore, somehow becomes a part of the residences even though it lies far, far beyond. One is constantly watching the sea – from every part of the residence – paying homage to the idea of the watch tower which the project aspires to invoke.

A project of this magnitude by a firm of such repute often falls prey to the follies of extravagance. Only experienced, mature minds can exercise the kind of restraint that this project exhibits. And yet, the design of the apartments and penthouses embodies every imaginable trait of ‘the good life’. The architects mention that the design revolves around its end-users – the inhabitants. Having carefully considered how the inhabitants would use the spaces, the design focuses on giving its users a wholesome, pleasant experience. Though every residence is a unit in itself, the design bind them with a common thread, so as to make them all a part of the whole, like a jigsaw puzzle that comes together to form something meaningful – a serene existence, a calming life.

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Skewed House by Studio Lagom.

Imbibing nature into built spaces Skewed House, Surat, Gujarat Indian Architect & Builder - May 2018

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A debut project seldom emulates or sets benchmarks in the conventional milieu. The Skewed House is a conventional and proficient endeavour that progresses beyond benchmarks. When viewed in entirety, the project has all the makings of impeccable spatial qualities, planning and aesthetic; but a zoom-in on the details reveals a departure from common practices to avant-garde minutiae and workings of design.

Text: Sukanya Bhattacharjee Images: Photographix | Sebastian + Ira Drawings: Studio Lagom Indian Architect & Builder - May 2018

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The entrance ramp.

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The circular void in the concrete ramp overlooking the boundary wall renders a seamless transition and reduces the visual mass.

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he Skewed house is an amalgamation of ingeniously built spaces along with elements of nature in abundance, making it a striking piece of art and architecture. Being the architect’s debut through his firm Studio Lagom, the design mainly revolves around functionality, simple aesthetics, minimal material palette and connections to nature. The mansion merely doesn’t fit into the conventional plan of a residence, establishing an escape to tranquillity, setting it apart from the typical urban structures of Surat. Contrasting the monotonous ‘fort’ like compound wall, the designer opted for a wall involving vertical Valsadi teak battens, mitigated by lush green creepers which intrigue the onlooker. The spatial planning was dealt with a different perspective by placing the garden on the forefront and the residence beyond it. The architect conjured a concept of creating an unknown narrative for the visitors – a journey that keeps the user occupied, anticipating the space to unravel. There are two access points which define the entry to the residence. The former is a ramp which directs the user to the garden. The walk through the ramp is a journey accompanied by soft-scape and interesting shadow patterns.

A transitional concrete wall with a circular void is set between the ramps. The composition is a visual treat. The latter, being the entrance through the main door is designed on similar principles via a series of steps and a small entrance lobby that hinders the direct view of the living room.

The overall zoning of the plot, the design programme of the villa and the level differences created were also dictated by the sudden floods which the city experiences. The ground level consists of private spaces related to leisure and unwinding. The first floor consists of public and semi-public spaces including the living, kitchen, bedroom and the garden area. Atop lies the private spaces including the other bedrooms. As per the client’s suggestion, the connections between the top and the bottom have been achieved through double height spaces and skylights, incorporating nature into the built spaces and the play of light and shadow together form the spatial layout of the villa.

The level difference formed in the living-dining space gives a predominant distinction to both the areas with designated functions, with the dining area slightly raised and the living area sunken, keeping both the spaces visually connected. A massive double height puja tower is set close to the entrance which is enclosed within a water body. The continuous sound of the tiny water fall along with the sunken water body and the height achieved above together create an auspicious aura all around. A small sunken courtyard is accommodated opposite the living area with more seating. These little corners of seating with various formations create gathering spaces for various age groups.

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A massive yet subtle Kalamkari-inspired artwork is observed on the staircase wall which is definitely one of the design highlights of this space.

Though minimal forms and materials have been incorporated in the design, the elevations have been developed with utmost precision.

The protrusion of the facade is deliberately developed to highlight the crucial areas such as the master bedroom being cantilevered and given a separate identity through the material change. Similarly, the other areas have been recessed and protruded accordingly. Though concrete is the prominent material, other materials such as white plaster, stone and wood have been adequately used in order to give the space a more residential appearance.

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The residence established strong connections to nature with the help of suitable fenestration. For instance, the nine feet cantilever of the master bedroom is bordered in glass, to imbibe the greenery, light and the magnificent sky into the space. Again, the L-shaped glass addition right behind the puja tower creates a bond with the outside by incorporating the lawn and deriving a visual contact between the interior water body and the outer lotus pond. The wooden louvered doors and windows pull in the light right inside the built space forming shadows. The play of light and shadow is another noticeable character of the villa. An artistic feature was added to the Gazebo such that the vertical stripes on the floor breakouts into an organic pattern into the lush green forming a bond between the two. The lawn has a sectional profile which is slightly sunken and has been inspired by the Ghats of Varanasi and Ujjain.

The entrance emanating from steps.

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The dining area.

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The outdoors framing the dining area.

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Ground Floor Plan.

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First Floor Plan.

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Second Floor Plan.

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The internal staircase with the ‘kalamkari’ artwork on walls.

The internal staircase framed by the outdoor space.

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FACT FILE:

This project, despite being the first, is definitely a milestone in the designer’s work. The architect visualized this project as a journey of images in harmony and derived a symphony known as ‘The Skewed house’. The design elements were expressed by infusing nature with an attempt to create life within the structure.

The standalone mansion is an outcome of thoughtful ideas.

Every detail runs on similar lines without overdoing with the elements, colors or materials. The villa stands as an example of architecture, illustrating that time and again concept driven designs have always managed to find their place and that architecture is the medium that can create the right balance between less and more.

Project Location Architecture & design firm Principal architect Design team Landscape architects Artists Area of plot Built-up area Structural consultant Contractor Plumbing consultant Electrical consultant Carpenter Home Theater & Acoustics Flooring Color Photographs

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Skewed House Surat, Gujarat Studio Lagom Hardik Shah Sweta Gajiwala Doriwala & KrutiSheta-Patel (Interior Styling) Umesh & Prachi Wakaley (Roots Designs) Kruti Sheta-Patel, Satyadip Vadnere & Hemant Saho (Artitude) and Grishma Verma 14,000 sq. ft.

11,000 sq. ft.

Jayesh Dalal Parsottam Gajjar & Kalpesh Patel Burhanali Shaikh(Bhai bhai Contractor) Satish Patel Surjit Suthar Jignesh Khatiwala(Absolute Sound) & Rolins Roy Jyoti Marble Art Bhupendra Thakur (Surat Painter) Photographix | Sebastian + Ira

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Architecture adjunct art Artrovert: Conversations in Grey, Greater Noida, Uttar Pradesh The function of architecture is manifold. While a noted architect has termed architecture as the â&#x20AC;&#x2DC;mother artâ&#x20AC;&#x2122;, Artrovert: Conversations in Grey by Anagram Architects investigates architecture as it manoeuvres its function for the arts. Designed for an art critic, historian, practicing artist and curator of the Kochi-Muziris Biennale 2018, Artrovert works in multiple capacities.

Text: Shriti Das Images: Suryan//Dang Drawings: Anagram Architects

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Artrovert: Conversations in Grey by Anagram Architects.

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he intent of art oscillates across the spectrum of function and purpose to the abstract and subjective; continuing till the realm of purposelessness. Yet this scale is only its short-sighted depiction. Art can be unconnected as it can be a voice and tool of compelling affirmations. And within its infinite spectrum, art has donned many roles since time immemorial; of oppression, freedom, expression and so on. And while art has the freedom to refuse the realms of rationale, architecture adheres to a tangible function of shelter and occupancy. Hence an abode that is created to house the artist, her art â&#x20AC;&#x201C; its creation and display, annotations of art in architecture comes to the fore. Artrovert: Conversations in Grey

by Anagram Architects, the studio and residency designed for the artist Anita Dube, steers clear of labels. It delivers function independent of annotations.

Artrovert is located in Kaladham in Greater Noida, Uttar Pradesh.

Kaladham is a development promoted by the Uttar Pradesh Government for Indian artists. Land is allotted to artists to create and exhibit art, host workshops and gatherings pertaining to allied activities. While each plot has a pre-approved plan, a cookiecutter module is far from desirable in a space that is envisaged to translate into an art village.

Artrovert is located on a similar plot, one of 216 trapezoidal plots arranged in an octagonal grid. Doing away from the preapproved designs, the clientâ&#x20AC;&#x2122;s brief called for a residency wherein

its activities is shared by and engages the public and precinct. It is a common opinion that artists live and produce in seclusion, detaching themselves from the public view till the work is ready to be unveiled. While the aforementioned is in practice for pragmatic reasons of avoiding distractions or simply a prerogative of the artist, the client made a conscious decision of being involved with the public and the spaces that envelop the building while she worked. It entailed that the artist, her studio is in communication with the exteriors rather than shielded or sheltered from it.

While most construction is deemed stationery and permanent, Artrovert appears in continuous motion, flux, transition and progress. Almost like a piece of art in process and in use. This response stems from the concept of creating a disentangling space that travels and transverses. The character is attributed to the volume and series of spaces created inwards.

The studio necessitated a voluminous space that creates an engulfing experience of creation and ideation. The interiors are robust to handle production. The entrance leads the user to studios on the basement, a lower ground floor, and an upper ground floor.

A mezzanine floor above the aforementioned is a study space that overlooks the studios underneath. This vertical volume is emphasised by vertical openings that bring in light and offers diverse perspectives and vistas through the play of levels from the lower ground till the mezzanine.

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Artrovert: Conversations in Grey by Anagram Architects.

The volumes created within the building.

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The vertical slits that allow in light and break the ‘boxed’ effect of the building.

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The material palette - distressed concrete, mosaic and wood.

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Basement Floor Plan.

Upper Ground Floor Plan.

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First Floor Plan.

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Terrace Plan.

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A movie screening in progress.

The upper floor and terrace is intended for private residence and stay. Buildings, especially residences are commonly conceived as fortifications to activities that transpire ‘inwards’. Fenestrations are introduced to then bridge this division of the inside with the outside.

The design firm stepped away from this practice and created the unravelling vertical space across floors that overlook one another, and continuous fenestrations that travel across this verticality allowing deep sightlines into the building.

The building is conceived within the trapezoidal plot wherein setbacks are provided on the tapered and widened sides. The wall that is a hypotenuse of the tapering sides and the longitudinal side is a common wall for the neighbouring plot. The longitudinal side along the road accommodates swivel panels that are detailed to turn outwards. They can exhibit art on them or even open up the building as a vantage to the outsiders. It also holds the possibilities of compositions on multiple panels. The panels also regulate sun and climatic elements during summers and monsoons. The volume creates a stack effect that allows cooling in the interiors during summers.

A private garden at the back is designed for help and staff as a spillout. The sloping front lawn is intended to accommodate people and gatherings for movie screenings and similar activities. While the building assumes a lofty scale in its interiors, the exterior is humane and inviting, almost comforting. The open gaps that visually break open the building from being a closed ‘box’ also facilitate a perception of the building being participatory and inviting communication.

A material palette of grey distressed concrete, mosaic and wood work in tandem to devise an aesthetic that is raw, in transition and robust. The grey dominates and is an effective backdrop to view the building and its activities. The mosaic offers movement and wood is akin to Zen. Amidst all the textures, the greys are oddly comforting.

This is maybe, because, seldom does any colour elicit as much context or connotations in grammar as ‘grey’. From ‘grey areas’ and ‘grey matter’ to ‘grey suits’; grey holds tremendous command within artistries of English vocabulary. While the intent of grey is not defined, it does lend itself into the role of an effective catalyst.

Perhaps that is the crux of Artrovert: Conversations in Grey!

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

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Artrovert: Conversations in Grey Greater Noida Madhav Raman, Vaibhav Dimri Madhav Raman, Vaibhav Dimri Anita Dube 300 sq mt Build Techno Consulting Engineers Various Sub Contractors Dsr Engineering Service Squaretech Engineering Pvt. Ltd 1,00,00,000 INR Jan 2013 Sep 2016 Suryan//Dang

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The SHACK by The Side Lane – Design Co.

Theory to practice: The case of Bamboo The Shack, Nashik, Maharashtra The SHACK is the realisation of a thesis dissertation translated to an experiment that graduated to its full-fledged built-form. The narrative is an inspiration on many levels. And while the tales may fade away or alter their course with over time, the craft and architecture stands testimony to accredit its makers.

Text: Shriti Das Drawings: Ar. Akshay Ashok Jadhav Images: Mahesh Ahire & Keyur Oke Photography Indian Architect & Builder - May 2018

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Plan and elevation.

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Details of joineries.

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amboo is as novel as it is common. From an aesthetically alluring décor element to a structural member of immense tensile strength; bamboo has been investigated immensely and intently. The material is relevant to Indian cultures since bamboo based communities inhabit South Asian countries with treasure troves of indigenous knowledge. It is earthquake resistant, economical andeasy to cultivate. Yet, bamboo has not gaineda copious momentum or recognition of a being a mainstream construction material in cities or contemporary spaces. The aforesaid qualities and the exhaustive varieties of bamboo that prevail in India is a boon and a bane. There are 1450 species globally out of which 125 grow in India. Bamboo calls for intense study before deployed into building construction. And these attributes of the bamboo bequeaths it an interesting area of research and investigation making ‘Bamboo’ a common subject of dissertations amidst students of architecture. A similar tryst with the material compelled the architect at The Side Lane – Design Co. to travel the breadth of the country, from Maharashtra till Assam in endeavours to realise The SHACK, the restaurant crafted almost entirely from Bamboo.

The architect began his tryst with bamboo during his final year thesis.

His dissertation project entailed a resort constructed in Bamboo. Though he was armed with theoretical foundation of techniques with bamboo, owing to the thesis research, the project was a result of speculations over business prospects in Nashik. Nashik is a historic and religious Indian Architect & Builder - May 2018

city with many holiday destinations in its proximity. It is home to the Sula Winery which attracts tourists. Deliberating upon hospitality and tourism prospects in the city, they devised plans for a restaurant that would be ‘different’ and first of its kind in the city. Architecture and design being primarily associated with form, function, space or material; they decided to investigate bamboo as the core feature in the project.

They apportioned the key challenges towards working with bamboo – material research, craftsmen and budget. While bamboo is economical and abundantly available; the research and craft entails tribulations.

1450 varieties of bamboo are grown across the world, out of which India has 125 varieties. Out of these, the architects used 3. The first leg of research transpired for 2 weeks in Assam; in factories, farms and jungles. Armed with knowledge of indigenous joinery techniques, the architect procured most structural bamboo from Assam – bamboo that would be used for the columns, beams, trusses and the railings.

Back in Nashik, the architect conceived an organic form for the restaurant. The restaurant is planned in a series of spaces, commencing from a welcoming hut that leads to the family dining and party area and terminating with 5 machaans. A central circular structure serves as the family dining and party area. The roof span measures 70 feet and the height of it is 25 feet. The roof is an aerodynamic convex curve that follows the natural tendencies of bamboo to bend and curve.

The 5 double height Machaans and smaller dining huts flank the

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The family dining and party area flanked by the kitchen and bar.

The family dining and party area.

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The service space flanked by the machaans.

The family dining and party area overlooking the machaans.

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Machaan

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central dynamic area. The kitchens and toilets are not constructed in bamboo; however their roofs are bamboo roofs. They are on opposite ends of the family dining and party area. The bamboo used at organic bends and curves are procured from the Konkan regions of Maharashtra and Goa. Craftsmen from tribal areas of East India were deployed in the making of the structure. Drawings seemed an inefficient mode of communication. Hence each detail and joinery was modelled on 3D-softwares and conveyed to the craftsmen. To test the strength of the bamboo, formwork and models were built and tested manually for strength. This included applying weight and pressure, bending them, etc. Post experiments and tests, the resultant design system of sorts was then constructed on site.

It is commendable to note that the structure as it stands today is a result of trial and error methods and collaborative experiments. While the narrative appears effortless and undemanding, the architect had his doubts over the successful implementation of the project. Post the completion of the project, the question, or the rhetoric that prevailed. was not ‘why not bamboo’ but ‘how to’ with bamboo. From theory to practice, this rite of passage with bamboo is as much as a challenge as it is novel.

FACT FILE: Client name : Architect :

Project area : Project cost :

Bamboo Roofing Area : Bamboo Supplier : Project Duration : Project completion : Landscape Consultant : Civil Consultant : Electrical Consultant : Photographer :

Mr.Shivraj Nitin Wavre (Co-Designer) Mr. Akshay Ashok Jadhav (The Side Lane – Design Co.) 40,000 sq.ft.

Overall – INR 1,00,00,000.

Bamboo cost – 30lacs 12000 sq.ft.

Sagar Traders, Kamakhyaguri, Assam Approx 1 year, Bamboo Construction – 4 months February 2017 Young Ideas Consultants Waghmare Civil Consultants Kiran Patil & Asso.

Mahesh Ahire & Keyur Oke Photography

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Terracotta by tHE gRID is a restaurant wherein the natural, earthy brown tones of the terracotta have been masterfully deployed to create a contemporary aesthetic.

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Natural materials, contemporary vibe Terracotta, Gandhinagar, Gujarat A restaurant in Gandhinagar by tHE gRID Architects is a living example of the wonders one can do with a natural palette and age-old crafts, without any of the ‘modern’ materials that one associates with contemporary design. While it creates a stunning visual background for a delightful dining experience, it also appropriates the lately ignored craft of terracotta, giving it a new lease of life in our increasingly modernizing world.

Text by: Sharmila Chakravorty, Bhadri Suthar Images: PHX India Drawings: tHE gRID

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t the mention of Terracotta, a restaurant designed by tHE gRID, with terracotta work as the theme, as well as the name of the restaurant, it is habitual that one scans the internet to assess restaurant reviews.

Not by accident, or habit, but out of deliberate curiosity to assess the impact and impression the design and décor may have had on its users.

Dining out is an overall experience, no doubt. But it is always for the food, and then the ambience, usually in that order. A majority of the diners will not excuse a slightly unaesthetic décor if the food is excellent; after all restaurants are transition spaces, where you spend a limited amount of time for a specific purpose – to eat, celebrate, connect with friends and family. And thus, the star of the show undoubtedly will, for most, be the food. The taste, the quality, the variety, the service, the kind of crowd the restaurant draws etc. will always, for most of us, take over the design and décor.

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The main feature is the use of humble clay to create a fine-dine restaurant.

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The burnt sienna-grey rustic ceramic tile floors are analogous to the natural weathering of the hung Corten steel screens.

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The ceiling is partially covered with recycled wood to compensate for its low height and creates visual grandeur.

And yet, when every single review on a popular restaurant discovery and rating website mentioned the décor, one knows that the designers have not just delivered, but also delighted. The restaurant, Terracotta, is designed to reflect a perfect balance between the old and the new.

Old-world charm is gently woven into modern, minimalist luxury, and it envelopes the space creating a sophisticated, chic aura. The natural, earthy brown tones of the terracotta have been masterfully used to create a contemporary look that is central to fine-dine restaurants that want to make a bold statement, and set the tone for the delightful experience the user is about to have.

The material palette is simple – terracotta, recycled dark wood, ceramic floor tiles, and Corten steel screens. These are punctuated by natural-dye-sort of paints that establish the medieval look. The wooden tables, and the bright red chairs too fit right into the larger scheme of things – making it look as if all the elements coming together seamlessly was a serendipitous event. The architect has excelled creating an aesthetic that was not rigorously planned, managing to maintain the effortlessness and spontaneity alive.

Spatially, the plan ensures that movement and flow is maintained by effectively assigning spaces for specific uses. The restaurant zone is free from the service pathway. All services including the restroom and kitchen and banquet access are artfully planned so as not to disturb the food sector. The uncluttered seating layout creates a secluded and private dining experience. A terracotta pendant over each table emphasizes this sense of seclusion. The ambient space is semiilluminated wherein the pendant light emits soft pools of light over its respective table. The pendants are crafted from terracotta with perforations in the body. Another feature crafted from terracotta is the Indian Architect & Builder - May 2018

upturned pans on wall. They are upturned as to the convex shape is fixed to the wall. A light source is installed between the wall and the convex side of the pan. The indirect lighting creates luminosity around the pan. LED lights and black stickers are used to reduce the lumen as per the requirements to achieve the aura envisioned.

While the choice of material is excellent for a variety of reasons; there were budget constraints which the architects converted to an aim of utilizing economical and organic materials which led them to clay. But it also revives and appropriates the art and craft of terracotta; perhaps losing its relevance in our age of automation and digital technology.

The tactile material invokes feelings of nostalgia; everyone has seen mud houses in villages, or movies – harking back to simpler times.

There is also the attribute of its malleable properties, imparting an ease of working. It is moulded in many forms and used significantly in domestic lives, almost ceasing to be an ordinary object, yet with much aesthetic value. To be able to use the raw, rustic craft of terracotta into precedence something that changes the quality of the space it exists in, that is the where the design, and the architect’s vision and execution, shine.

In a typology such as this, the food is the central character and the décor plays a supporting role. Be it grand like a palace or a castle, theme-based recreating the likes of jungles, village life, huts, cocoons, ice hotels and igloos, or futuristic visions that are reminiscent of airplanes and space shuttles, the design is always a complementary function. Here too, the design stays in the background, but makes it presence felt. It manages to complement the program to create a rather unique experience.

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The largely earthy colour scheme is punctuated by wall expanses painted in red ochre and bright red upholstery of the chairs.

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Deploying the raw, rustic craft of terracotta changes the quality of the space it exists in, that is the where the design and the architectâ&#x20AC;&#x2122;s vision and execution shine.

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The play of light and shadow on the terracotta surfaces, the plan and the layout that maximize the space in the restaurant, the use of jaalis and laser cutting as partitions while still maintaining a visual link throughout the aesthetic and experiential quality of the space enriches the dining experience no doubt. And while doing so much, it still doesn’t interfere or unnecessarily steal the limelight from the food and ambience. It doesn’t try to horde the user’s attention; perhaps it doesn’t have to. Like they say, beautiful things don’t ask for attention, and it couldn’t be truer in this case.

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

: : : : : : : : : : :

Terracotta Restaurant Gandhinagar tHE gRID Architects Snehal Suthar, Bhadri Suthar 2700 square feet NA NA INR 37,80,000 15-06-2017 1–08-2017 PHX India

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THE NEED TO QUESTION An audience perspective on the 11th Edition of the 361 Degree Design Conference – Resilient City convened at Mumbai on 16th & 17th February 2018.

Author: Ar. Mukul Damle

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ndia being a rapidly developing nation faces many challenges, especially in its burgeoning cities. Right from civic issues to our outlook towards future development, India is at a confluence of a mixed bag of big ideas, fundamentals principles, heritage & recent development models of neighbouring countries. The question that prevails amidst the many ideas and arguments is what path may be best suited for us? We have an ambitious program by the Indian government called “100 Smart Cities” that hopes for a direction and action-plan to fast-track development in India. However, the question remains, are these cities being viewed in the backdrop of “Resilience”? In the razzmatazz of “SMART CITY” how does one acknowledge our ground realities to examine changes and interventions required within our present cities and prevent their further deterioration; to render them habitable for present and future generations? Shouldn’t this be a pivotal fulcrum for sustainable development in the future?

Our cities are not only emerging denser but also expanding as rural population flock to urban centres. The primary argument here is that shouldn’t our nation’s developmental model focus on equitable growth of the rural areas? The solution to this may help in controlling the socio-economic upheaval in metro-cities, inherently caused by ever-increasing gap of demand & supply. The development patterns in our cities indicate an affinity towards highrise development due to market forces and the commerce driven real estate thumb-rules.

However, it is debatable whether high-density high-rise pattern of development is absolutely required to satisfy the market demands, or even the traditional high-density low-rise pattern of development is feasible and appropriate. City neighbourhoods are seeing a rampant transformation from the 2 to 3 storied residential typologies to multi-storied high rise blocks on the same foot-print. This is a notion that a high-rise building takes more land area to accommodate ancillary support functions and comparatively one requires only 10-15% of extra land area for a low rise building to accommodate a similar density. If the above claims were confirmed, this could present a promising alternative to the high-rise pattern for residential typologies. Also, if one views the current high-rise practice as unsustainable at the very first place then the claims of most of the high-rise Towers built in fancy cities even with Leadership in Energy and Environmental Design (LEED) certification could be challenged. This is a concern as the world takes LEEDS certification system for sustainability including India seriously. And if the above conundrum stands true then has it been a MIS-LEED for us all this while.

Another issue concerning design and form in architecture is to decipher demarcations which distinguishes a building from a functional sculpture or a product which may be aesthetic but extremely impractical in terms of execution and consumes more embodied energy beyond economic and ecological viability. Even if it within the permitted principles or measures of ‘sustainability’ or energy rating scales, are such products a responsible solution or parameter? Or are they merely symbols of concentrated wealth & power, seeking attention and diverting focus from the grave global issues at hand? Cities have consumed hectares of forest lands and greener pastures in the process of their being. In some areas wildlife has entered and mingled with human settlements mistakenly or as a reaction to their habitation encroached by the humans. An ecologically sound response to this could be giving back in a little way by recreating forests in our backyards. However, with forest comes wilderness and along with flora comes fauna. On one hand it may be pleasing to see dense leafy outlook with birds sitting on the branches or a couple of toads hopping across our back lawns but will we be all right with the sight of a snake or a leopard hanging down the bark across our bedroom window? Is there a selection process for the type of flora that may repel such wild life away and if so then are we doing full justice to intent. Being a resource rich nation and Indian Architect & Builder - May 2018

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one of the very valuable resources we have is water. We have innumerable water bodies, flowing and stagnant in the form of canals, rivers, ponds, lakes but generally most of them are polluted or remain neglected. Treating the fringe areas where water meets the land can be effective in changing the landscape of how we re-connect to these water-bodies.

However, in the Indian context using innovative techniques like Root Zone treatment, which is also low on cost & maintenance, may further auto-cleanse these waters apart from merely providing natural beautification.

While trying to reach Mars and exploring possibilities of settlements on other planets, it is imperative to pause and reflect upon our responsibility towards our own world. Today, what we need perhaps is education coupled with a scientific as well as spiritual outlook that could possibly lead us this path to correction. Fortunately, we do have precedents emerging around us for which may have hidden clues for the way forward. One such example is in the Ladakh region of India where efforts of locals coupled with a practical understanding of regional problems under the wise leadership of Sir Sonam Wangchuk has paved the way to a unique building strategy which is sustainable and holistic in approach. The building community at large has been introduced to strings of ideologies for years. In a spirit to better our societies and habitat at times we blindly accept certain principles and ideas that have been either taught to us or floating around, without investigating or even studying their practicality or feasibility.

Conferences like the 361 Degree Design Conference make us pause, re-think and stimulate our minds to question such notions and attempt to facilitate finding alternative answers for our built environment through a sustainable approach. According to common belief, architecture is subjective and there is a very fine line between the right or the wrong way â&#x20AC;&#x201C; one needs re challenge such talismans. After all, the task of building has serious sciences behind it. So there has to be a more or less right approach or direction towards this subject of designing and building in a sustainable way. Today we are on a path to self-destruction due to our high dependency on fossil fuels, non-renewable sources of energy and deforestation. This has already caused alarming concerns like global warming and dangerously depleting oil resource.

If we still do not wake up, it wonâ&#x20AC;&#x2122;t be long when our own existence as human race will be endangered way before any other entity could pose a threat.

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Archcember’17 – storytelling through Illustrations

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Word - Urbanism.

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Word - Memory.

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ost designs objects, whether conceived by an architect, artist, graphic designer, industrial designer, or landscape architect, narrate a story. Some are discernible; some are discovered through thoughtful consideration. Their narrative can be as simple as a metaphor or as complex as a novel.

Architects are innate storytellers – it’s a process that is inherently assimilated into their creative process and it is one of the best tools in their tool bag. The Archcember challenge was about narrating a story through illustrations sketches/doodles/paintings or computer generated illustrations and graphics) related to architecture. It engaged architects, designers, students, academicians and the whole fraternity of architecture & related fields.

Participants were given 3 words every week, starting in December and they had to devise a story built around the words. The story entailed an illustration and a 200 word essay over the same.

Presenting the top illustrations and stories by the final Top-5 winners of the competition: Word - Urbanism Homogeneous reality incubator by Jowin Foo Urbanism is nothing but a machine now, all living beings are forced to be the actors or the proletariat to sustain the machine’s seductive nature. Nevertheless, localism has become a myth even since globalised capitalism become the hegemony to govern the standard of living of all being on earth. Hence, the most efficient way is to make them all the same. However, it does not only provoke the sense of utilitarian but also tyranny from the man with power. Alas, the homogeneity can be only seen via the eye of a creator.

Word – Memory Stories and memories by Edmund Tan A being without memory would not have any conscious of its self-identity. A place without identity would not be any different.

Reflecting on our current society, the dark side of controlling and regulating might not seem obvious, we were told what is right and wrong from the very beginning. We are told how to navigate in cities and what actions are prohibited. With the notions of controlling and identity, the city if Anamnesis is formed.

In the city if Anamnesis, citizens are provided with memories that will bring them into their ideal world, while navigating the memory palace with their own subconscious muscle memory. In the labyrinth, the feeding device will fall once they are on their designated area.

The processing unit from above acts as an artificial hippocampus, but instead of feeding the memories that you own, it erases bad memories from the past and provide recreational joyful experience to the user.

It might be an inhumane ritual, but does the citizen of Anamnesis think so?

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Word - Perspective.

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Word - Scale.

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Word – Perspective Memory is past, inspiration is future and perspective is today

by Shailesh Gupta Capitalism is shaping out architecture which is immediate and less humane.

In today’s context, the folk politics of the radical left is focused through a lens of immediacy. Implicitly – and often explicitly – the radical activist and academic left sees a return to immediacy as the best way to respond to the problems posed by global capitalism.

This takes the form of various localisms (ecological, agricultural, monetary) as well as a preference for types of political organisation that only work in immediate contexts (consensus, direct democracy, pure horizontalism).

Word – Scale The scale paradox by Kruthika Maddipoti It is fascinating to see how a pattern repeats itself at different scales; it inspires us to think beyond. When my grandfather said ‘look around, you have everything you need’, I thought I knew what he meant but I understood it only years later when I was introduced to the concepts of bio-mimicry and astrology in architecture.

We have bio-mimicry on one side which talks about how something as small as an atom can inspire to innovate and we have astrology on the other side which talks about the science of vaastu and about the infinite sky as a metaphor for infinite possibilities around. So here we exist somewhere between these paradoxes of scale, finding patterns and evolving to get better at it.

Word/Concept – Online Architectural Marketplace The architect goes to market by Andrew Robertson Online market places give today’s designers a platform that would never have been thought possible in the past. Whereas, before young designers struggled to show their content to the general public; these online places allow for more exposure which in turn leads to more opportunity.

Word - Radial by Edmund Tan Throughout the centuries, urban planning has been constantly changing, from viking settlements to the lattice Manhattan grid.

Now in our current Capitalist world we were constrain by the system and order. By overlaying the radial grid that uses totems as catalyst, we can then speculate the results of vertical cities and the changes of social sustainability.

To view more submissions by the participants and winners on the website www.sqrfactor.com.

SqrFactor aims to become one stop social network website and architectural marketplace benefiting the architects and the community – sign up on the SqrFactor portal and stay connected with the members of the community.

SqrFactor’s new community run initiative ArchSqr is an amazing platform for the designers and artists in the architecture community aiming to benefit these amazing artists – you design, you sell and you earn. If interested, please write to them at create@sqrfactor.com with subject ARCHSQR. Indian Architect & Builder - May 2018

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

MUMBAI NOVEMBER 2017 VOL 31 (3)

` 200

TOTAL NUMBER OF PAGES INCLUDING COVER 88

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

TOTAL NUMBER OF PAGES INCLUDING COVER 96

TOTAL NUMBER OF PAGES INCLUDING COVER 92 VOL 31 (6)

VOL 31 (7)

FEBRUARY 2018

MARCH 2018

` 200

` 200

MUMBAI

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!

` 200

` 200

MUMBAI

TOTAL NUMBER OF PAGES INCLUDING COVER 90

18

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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TOTAL NUMBER OF PAGES INCLUDING COVER 104 MUMBAI ` 200 JANUARY 2018 VOL 31 (5)

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 = 92

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.”