Dye & Dustscapes: Madder Than Ever - Design Report by Jack Parmar

DY E & DU S T S C AP E S MADDER THAN EVER ESALA | 2019 - 2021 Design Report | PARA-situation [Ahmedabad] Kevin Li & Jack Parmar

DYE & DUSTSCAPES The Sabarmati Riverfront, Madder than ever. Isometric, originally drawn at 1:1000 @ A0

DYE & DUSTSCAPES

Film can also be viewed here: https://www.youtube. com/watch?v=uQpElC5j6oY Double click on video to pause/stop prior to moving onto next page

Dye & Dustcapes, Madder than Ever. Film

PREFACE

THESIS:

AGENCIES:

DYE & DUSTSCAPES: MADDER THAN EVER Gujarat Dye Institute School of Dye Technologies Sabarmati Dye Pavilions Marigold Seller’s Garden

[PARA] SITUATION:

Sabarmati Riverfront Kalupur Darwaja

MEASURED INTENSITY SITE OF INQUIRY:

Kalupur Darwaja

AUTHORS:

Kevin Li Jack Parmar all drawings are co-authored unless stated all photos are by author unless stated

TUTORS:

Dorian Wisniewski Kevin Adams

Scale that Dye & Dustscapes operates at: THE LOVING METROPOLITAN LANDSCAPE [TLML]:

Gujarat State, City of Ahmedabad

SET OF ENZYMATIC TERRITORIES [SET]:

Sabarmati Riverfront

BUILDING [BDLG]:

Gujarat Dye Institute, School of Dye Technologies, Sabarmati Dye Pavilions, Marigold Seller’s Garden

BODY [BDY]:

Dust screens, louvres, doors

FOLIO REFERENCE NO.:

Please refer to folio for full size drawings

DD-[XX]-[XX]-[XX]-0X

DYE & DUSTSCAPES Sabarmati Riverfront. January 2020

Madder Powder feathered. Madder on black paper

DYE & DUSTSCAPES

DY E & D U ST SCAPES MADDER THAN EVER ABSTRACT Dye & Dustscapes provides a methodology for the urban design of Ahmedabad, responding to the arid desert of the Gujurat climate, the new imperforate edges of the Sabarmati Riverfront Development and the desire to redistribute the water, economy, and culture according to enriched ecological relations. A city regarded as one of India’s industrial and economic hubs is at risk of submitting to the abysmal edge of its New Walled City. The Riverfront project has created a void in the terra, overwriting the temporal flows and fluctuations of the Sabarmati River during the three main seasons, of Summer (March to June), Monsoon (July to September) and Winter (November to February), to a static condition of wet-dry opposition. Nicknamed ‘The Manchester of the East’, we understand the significance of the traditional processes used in the

manufacture of textiles, and the natural dye processes which have been lost with the introduction of automation and synthetic dyes. We use Madder, a plant dye native to Gujarat, as an apparatus to realise a new enzymatic urbanism that reinvests in the textile industry and the historical rhythms of the now overly regulated Sabarmati. We view Ahmedabad as a cloud of dust, exacerbated by both the crumbling walls of the Old City and the dry landscape of the New Walls. The dust cloud is harnessed by rhythmic redistribution of wetness, with patterns of adherences formed by fragments of the Old Walls, kite strings and stained ground. Through the process of tooling and wetting the dust, the Dustscape becomes a sublime, moist, fecund, and yet productive landscape.

Dyeing of Kite strings in the Old City. January 2020

DYE & DUSTSCAPES

GLOSSARY OF TERMS

AGENCY*

An Enzymatic Territory or any part of it. An Enzymatic Territory is the fluctuating fecund ground on which folk, ground, sky, buildings and Ganga’s descent continuously work in parasitically productive relations.*

MONSOON

The season during which the southwest monsoon blows, marked by heavy rains (July to September).

KITE FESTIVAL [UTTARAYAN]

The Kite Festival marks the end of Winter and beginning of Summer in January. It is celebrated in Ahmedabad with the act of flying kites from the rooftops of the pol houses. We observed this spectacle during our visit to Ahmedabad in January 2020.

AQUASCAPE

The Aquascape is ground soaked with wetness. It is saturated with the Monsoon, becoming lush and fecund.

BRUSH

The act of removal of dust through passing strokes.

OCEANS OF WETNESS*

A (new) visualisation of the ground from the priority of wetness rather than dryness.*

DYE [& DYEING]

A natural or synthetic substance used to change the colour appearance of textiles.

PARA-SITUATION*

An unfamiliar co-existent “other” situation that necessitates as a different appreciation of a host situation.*

DUST [& DUSTING]

Dust is the presence of absence, it is formed from the crumbling Old City, created by the crumbling of that which no longer is. The dust is suspended over the city in a cloud, which falls and settles onto the landscape. Dusting is the process of moving and removing Dust.

SET

A set/series of Enzymatic Territories.

STAIN

A penetrative dye that colours or marks an object that is difficult to be removed.

SUMMER

The season of dry and warm weather (March to June).

THE LOVING METROPOLITAN LANDSCAPE [TLML]*

The Loving Metropolitan Landscape holds a non-risk averse speculative impulse that situates enzymatic territories in a Biopolis in networks across the Metropolitan scale.*

TEMPORAL

Enduring for a time only; not permanent or eternal.

WINTER

The coldest season that takes place from November to February. The annual kite festival occurs during this period in January.

WET

Consisting or saturated with water.

DUSTSCAPE

MADDER

MEASURED INTENSITIES

The Dustscape is ground void of wetness. It is covered with a layer of dust infinitely thick, obscuring the landscape beneath. The Dustscape is created by the intense heat of the sun, drying and forming cracks in the terra(ground). Madder is a plant dye extracted from the root of the Madder plant, Rubia Cordifolia, native to Northern India, specifically Gujarat. It is used in the traditional process of dyeing fabrics, mainly cotton and silk. Madder dye has a rich, earthy red colour. Intense sites measured through visiting, documenting and surveying. Results in a deep understanding of site.

*Terms and definition from PARA-Situation Project Brief 1

Kite Festival in the Pols. January 2020

DYE & DUSTSCAPES

CONTENTS

Film

Abstract

Glossary of Terms

APPARATUSES OF THE DYE & TEXTILE INDUSTRY

Madder Written Thesis PARA-situations

SUMMER [GRISMA] | THE OLD CITY

Kalupur Darwaja Tooling the Dust Marigold Seller’s Garden

MONSOON [VARSA] | THE NEW WALLED CITY

Madder Territories of the Sabarmati Gujarat Dye Institute School of Dye Technologies Sabarmati Dye Pavilion

WINTER [HEMANTA] | THE MADDER CITY

160

Madder City

EXHIBITION

184

Bibliography and Acknowledgements

198

APPARATUSES OF THE DYE & TEXTILE INDUSTRY

MADDER

Dyed yarn hung to dry, India. *Credit: “Washington Post”, Jayanta Dey

Until the late 1960s, the process of dyeing clothes and textiles utilised natural products and dyestuffs. Indigo, turmeric and madder were some of the natural sources of dyes. Synthetic dyes cause damage to the local ecosystem. Issues arise at almost every stage of the process - the ubiquitous genetically modified seeds that strain farmers’ budgets, the pesticides used in cotton fields, the harsh chemicals used in dyes, the toxic waste that pollutes rivers, and the chemically treated clothing that ends up in landfills.

Madder plant. **Credit: “Köhler’s Medizinal-Pflanzen”, Franz Eugen Köhler

Madder is a prevalent plant grown in the Gujarat state. The sandy loam soil lends itself to the madder plant’s growing conditions. A minimum of three years is required before the plant’s root can be harvested for the dye. Typically harvested by hand - it is best to harvest the plant during Winter with the Monsoon season impractical for harvesting. The madder is generally cut up and dried before being ground to a powder and used to dye fabrics.

*[online] Available at: https://www.washingtonpost.com/business/thedirty-secret-about-your-clothes/2016/12/30/715ed0e6-bb20-11e6-94ac3d324840106c_story.html **[online] Available at: https://trc-leiden.nl/trc-needles/materials/ dyes/madder

DYE & DUSTSCAPES

“In fact, some of the dyes, namely Indigo, MADDER and Kermes were introduced all over the world by the Indians during very early periods.” Indian Dyes and Dyeing Industry during 18-19th C. H.C Bhardwaj K. K Jain

Madder Powder laid. Madder on black paper

TEXTILES AND DYEING

Rani No Hajiro Market. January 2020

Ahmedabad, in the state of Gujarat, was a key part of India’s booming textile industry dating back to the 19th Century. The textile trade flourished during the First World War, and benefitted from the influence of Gandhi’s Swadeshi movement, promoting the purchase of Indian-made goods and the use of traditional techniques. Together, this earned Ahmedabad the nickname, ‘Manchester of the East. The city, now the 5th largest in India with a rapidly growing population of around 6 million people, is the country’s largest producer of denim. As India goes through its industrial revolution, the automation of cloth manufacture and synthetic dyes have driven out traditional techniques that made Ahmedabad the key hub of India’s

textile industry. Many of the cotton mills that flanked the Sabarmati River and the Old City are now empty or have long since been demolished, and largescale fragmentation has seen much of the factories and mills move out of the city. Situated on the western bank of the Sabarmati River, Le Corbusier’s Mill Owner’s Building sits overlooking the river, once framing the view of the cloth dyers washing fabrics in the water. The building was designed to house the Mill Owner’s Association, a palace on the Sabarmati riverbank for the influential Mill Owners to gather and govern the city’s textile industry.

*[online] Available at: https://anglegrinderdotorg.wordpress. com/2015/04/10/building-the-revolution/

DYE & DUSTSCAPES

“The Chippas, traditional dyers would lay their printed cloths out on the banks of the Sabarmati. In early twentieth-century photographs taken from the air, they looked like bright tops spinning on the sands.” Ahmedabad, A City in the World, p36 Amrita Shah

Mill Owners’ Association Building. *Credit: “Le Corbusier, Architect of the Century”, 1987

KITE FESTIVAL [UTTARAYAN]

During our visit to Ahmedabad in January 2020, we were privileged to witness the spectacle of the International Kite Festival [Uttarayan], marking the day when Winter begins to turn into Summer. During the weeks running up to the festival, the streets are tangled with folk making manjha, cotton strings are pulled between walls and posts, where a mixture of glass powder, rice starch and brightly coloured dye is applied to them, creating an abrasive surface which helps cut down other kites during the battles on the festival day. The road is stained with the falling dye, creating a vibrant, ethereal glow in the narrow streets. On the day of the festival itself, millions of people flock to the rooftop terraces of the pols. The sky becomes dense with the

kinetic energy of the flying kites, swooping and soaring in the wind. Music blares out from massive speakers, people dance and shout and sing. Food is shared and the kite battles take place, cries of ‘KAPYO CHE!’ [I cut it!] can be heard amongst the din. The riverfront plays host to a paradox of the Uttarayan. The dusty edge of the river is adorned with a stage and huts for the competitors of the International Kite Festival to attend. Booming music is pumped out over the Sabarmati River, and huge, colourful kites of varying shapes are hauled into the air by teams from all around the world. The bureaucracy of the organisation cuts through the splendour and chaos of the festival, overwriting the rhythm of Ahmedabad, creating stasis on the abysmal edge of the Sabarmati.

DYE & DUSTSCAPES Kite Festival in the Pols. January 2020

TERRITORIES OF THE TEXTILE INDUSTRY

Mapping the ground territory of the textile industry in Ahmedabad, once known as the Manchester of the East for its production of fabrics.

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DYE & DUSTSCAPES N

BDY BLDG SET TLML Territories of the Textile Industry. Plan, originally drawn at 1:25000 @ A1

School of Dye Technologies Workshop, Sabarmati Riverfront. Visualisation, Jack Parmar.

DYE & DUSTSCAPES

DYE & DUSTSCAPES Written Thesis

We view Ahmedabad as a cloud of dust, particles intrinsically belonging to their origin, exacerbated by both the crumbling walls of the Old City and the dry landscape of the New Walls. When viewed from a certain perspective, we are able to see the reality within which Ahmedabad exists. There are an infinite number of possibilities created by changing the perspective, and thus we can imagine different universes coexisting within the city. Dust is the presence of absence, created by the crumbling of that which no longer is. It is harnessed by a rhythmic redistribution of wetness, with patterns of adherences formed by fragments of the Old Walls, kite strings and stained ground. The cloud of dust is swept across the city, landing upon what is the arid desert of the Sabarmati Riverfront Development, a fissure cutting through Ahmedabad, transforming it into a Dustscape. The Dustscape obscures what is beneath, making soft what is hard. It settles on the concrete walls of the riverfront, bringing architectural notations which descend on the earth as if visitors from the parallel universe of the Old City. Spaceships land on the dusty ground, they have the ability to extend legs into the softness, deep into the substrata. Where there is hardness, they sit on the surface,

cantilevered, and delicately balanced on the New Walls of the Sabarmati River. A city regarded as one of India’s industrial and economic hubs is at risk of submitting to the abysmal edge of its New Walled City. The Riverfront project has created a void in the terra, overwriting the temporal flows and fluctuations of the Sabarmati River during the three main seasons, of Summer (March to June), Monsoon (July to September) and Winter (November to February), to a static condition of wet-dry opposition. Nicknamed ‘The Manchester of the East’, we understand the significance of the traditional processes used in the manufacture of textiles, and the natural dye processes which have been lost with the introduction of automation and synthetic dyes. We use Madder, a plant dye native to Gujarat, as an apparatus to realise a new enzymatic urbanism that reinvests in the textile industry and the historical rhythms of the now overly regulated Sabarmati. Through the process of tooling and wetting the dust, the Dustscape becomes a sublime, moist, fecund and yet productive landscape.

DYE & DUSTSCAPES Dyeing of kite strings, The Old City. January 2020

A CIRCUMAMBULATION OF AHMEDABAD

“Here and there someone ventures to dream of the city’s future; but having commonly no clear knowledge of the past, and often still less of the present, he is inevitably discounted alike by antiquarian and “practical man” as a “mere Utopist”; while if he ventures experimentally to test his Utopia in practice, he too readily neglects essential factors and is set aside as a “mere crank”. Such is and has too long been, the dissociation of citizenship into its separate elements, each and all ineffective while alone. The analogous types in politics and religion are a like not far to seek; or similarly in art, in education also; whereas it is of the very essence, significance and purpose of that renewal of civics and civic life which the Cities and Town Planning Exhibition express, to reunite all these points of view, and to insist that the very name of each city should carry with it all these three interests, past, present and future, and in their threefold unity, their inseparable continuity. Thus the coming “Civic Survey of Ahmedabad”, as we may call it during its preparation, should, when ready for exhibition, be set forth as “Ahmedabad Past, Present and Possible”. In this way the responsibilities and possibilities of town planning become more clearly realised and understood - those immediate and those remote alike. Thus, instead of the piecemeal irresponsible changes, to which our generation, and its predecessor, have been peculiarly prone, and too often without foundations in the past or foresight in the future, we may gradually plan out a civic policy

for the opening generation, in which the heritage of the past may be respected, the best activities of the present maintained and increased, yet the free expansion and activity of the enlarging future found fuller and fuller scope also. Here then, in this renewal of citizenship, we are entering upon a long fallowed field of thought and labour, of social science and social art. This change has of late years been manifest throughout the leading European countries, and the United States, etc., and the Town Planning Movement is but the practical aspect and first-fruits of this Civic Renewal. This Civic Movement is destined to an increasing uplift with the conclusion of the war, and the manifold need of reconstructive activities (not material only) which this will make manifest. That India, in each recent generation, and increasingly decade by decade, absorbs the thought of Europe and applies it, will not be denied. But if so, her opening future is not of the politics of the Victorian age, still less the sporadic dreams and deeds which have now vanished from Russia; the trend of social thought and life is towards regional and civic constructiveness, rustic and urban alike.” Excerpt from Note on Ahmedabad, 1915 Patrick Geddes

DYE & DUSTSCAPES The New Walled City, Ahmedabad Walls Exhibition. *Credit: Robert Stephens

The Old City, Ahmedabad Walls Exhibition. *Credit: Robert Stephens

A. Mill Owners Building, The New Walled City. B. Kalupur Darwaja, The Old City. C. Rani No Hajiro, The Old City.

*[online] Available at: https://scroll.in/magazine/900418/fromthe-skies-an-architect-retraces-a-century-old-survey-of-ahmedabads-city-walls

Ahmedabad, City scale. Originally drawn at 1:20000

PARA-SITUATIONS

Kalupur Darwaja, The Old City. January 2020

Kalupur Darwaja Sections, The Old City. Section, originally drawn at 1:100 @ A2

THE OLD CITY

“Once contained by its walls and gates but now contained by what the walls and gates contained – the pols and the interconnecting streets between gateways.” Project Brief 2 Dorian Wiszniewski

The Old City, once contained by a 6m tall defensive wall which has since been partially demolished and removed as the city has developed and grown. Fragments of the wall and its gates still remain, marking the invisible boundary of what Ahmedabad used to be.

DYE & DUSTSCAPES Sabarmati Riverfront, The New Walled City. January 2020

THE NEW WALLED CITY “The Neo-Liberal City as defined by the new subway network currently under construction but also and especially the Sabarmati Riverfront Project with its great expanse of concrete retaining walls making the river a permanent basin rather than a temporal river, but providing many kilometres [11.25] of riverfront for potential real estate development, most of which currently seems undeveloped and the walls already looking like a vast ruin of an implausible future.”

The Sabarmati Riverfront Project started construction in 2005, with some sections opening in 2012. The development has led to the river being dammed and sluiced, with new concrete walls resulting in an empty expanse of dusty ground, awaiting the arrival of commercial real estate development.

Mill Owners Building Section, The New Walled City. Section, originally drawn at 1:100

Project Brief 2 Dorian Wiszniewski

Kalupur Darwaja. January 2020

SUMMER [GRISMA], THE OLD CITY

The Ahmedabadi Summer begins in January, lasting until June. It brings a harsh dryness, soaking up any and all moisture from the ground, leaving eviscerated bodies and scorched earth in its wake. Ahmedabad becomes desert. The Dustscape manifests itself, covering every surface with sand and silt. Folk are parched, seeking shelter wherever they can find it, hiding in the black shade of the pols.

THE MARIGOLD SELLER’S GARDEN

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DYE & DUSTSCAPES

BDY BLDG SET TLML The Marigold Seller’s Garden. Isometric, originally drawn at 1:100 @ A3

“In summer, temperatures in Ahmedabad shoot up to the forties. Often touching fifty degrees Celsius, the heat leaps out, like an eager pet, felling you with its fiery breath. Occasionally, it builds and builds into the effulgent, dizzying heatwave known as the loo, sapping every droplet of moisture in its way, leaving limp and eviscerated bodies in its wake. Then there is the sand, sweeping in from the salt marshes of Kutch in the west or from the bleak Thar in the north. The light grains swirl and skitter on the sides of the wide streets and blow in gusts coating everything furniture, cars, people - with a brittle second skin. It was this relentless assault, against which no weapons could succeed, which led the Mughal prince Jehangir, a few hundred years ago, to exasperatedly decry Ahmedabad as ‘Gardabad [abode of dust]’. Like the sea, the desert is at the penumbra of the Ahmedabad consciousness. The lure of abundance emanating from the blue rim is permeated by intimidations of parchedness and sterility, creating, it would seem, a terror of complacency.” Ahmedabad, A City in the World, p36 Amrita Shah

DYE & DUSTSCAPES Dust Suspension Series. Suspension of dust and architectonic pieces

THE OLD CITY

Situated on the East side of the Old City, Kalupur Darwaja was often used as a gateway to bring goods into the city due to its proximity to the railway and nearby textile mills. Intensely measuring the gate enabled a deeper understanding of the situation with which we could align ourselves with, and from this, we were able to form the beginnings of our thesis. Stepping into the space surrounding the bastion, we found ourselves in an urban oasis. The chaos of the junction outside fell away, and the small garden with several tombs nestled inside emitted a phenomenal aura that provided us with much inspiration.

DYE & DUSTSCAPES Kalupur Darwaja Tombs. January 2020

Marigold Seller, Kalupur Darwaja. January 2020

Empirical Measured Intensity from Kalupur Darwaja to Prem Darwaja. Elevation, originally drawn at 1:100 Credit: Kevin Li, Jack Parmar, & Gioia Puddu

MEASURED INTENSITIES

Our measurements were not only empirical but also phenomenological, recording the emotional and ephemeral aspects of the situation. Dust manifests itself everywhere, our path from Rani No Hajiro to Kalupur Darwaja can be measured in the dust we created, moved, and left behind.

“Through the impression one receives and arriving from the railway station, outside alone, maybe of their limiting the town, this is corrected by observation… The town, here especially, stands upon its mound, which the wall largely conceals from the outside… So low is the wall, from within, that it may be broadly affirmed, that these houses are in better, not worse, conditions than they would be in any ordinary street.”

Note on Ahmedabad, 1915 Patrick Geddes

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Rani no Hajiro to Kalupur Darwaja. Plan, originally drawn at 1:2500 @ A1

DYE & DUSTSCAPES

BDY BLDG SET TLML

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Rani no Hajiro to Kalupur Darwaja. Plan, originally drawn at 1:100 @ A2

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DYE & DUSTSCAPES

BDY BLDG SET TLML Kalupur Darwaja East Elevation. Elevation, originally drawn at 1:100 at A2

Originally drawn at 1:100 DD-BLDG-MI-ELEV-02

DYE & DUSTSCAPES

BDY BLDG SET TLML Kalupur Darwaja West Elevation. Elevation, originally drawn at 1:100 @ A2

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DYE & DUSTSCAPES

BDY BLDG SET TLML Kalupur Darwaja Sections. Section, originally drawn at 1:100 @ A2

TOOLING THE DUST PROCESS SERIES

Tooling the Dust Series. Tooling dust to realise architecture

DYE & DUSTSCAPES Tooling the Dust Series. Tooling dust to realise architecture

We manipulate the dust through a process of tooling. Different marks are made by laying, brushing, scraping, feathering, and soaking, allowing us to understand how the Dustscape interacts with a specific situation. Patterns left in the dust begin to suggest architectural notation.

Tooling the Dust Series. Tooling dust to realise architecture

Emerging from the dust, architectural possibilities begin to appear. Pieces of architecture, picked up in the swirling wind are deposited within the dust. Tectonic elements, lines, screens, and roofs come together, coalescing, and attaching to the existing walls.

DYE & DUSTSCAPES Tooling the Dust Series. Tooling dust to realise architecture

DYE & DUSTSCAPES Rani No Hajiro, The Old City. January 2020

THE MARIGOLD SELLER’S GARDEN

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DYE & DUSTSCAPES An intervention in the ancient architecture, the Marigold Seller’s Garden occupies the wall. Nestling under the gate, the small shop provides a space for folk to sell marigold garlands, handing them to passers-by as they ride up to the window on mopeds. The space within the wall becomes a lush garden, a space to relax where marigold flowers and madder plants are growing. A spiral staircase embedded within the bastion takes the visitor up to the roof, where a canopy provides relief from the heat.

BDY BLDG SET TLML The Marigold Seller’s Garden. Isometric, originally drawn at 1:100 @ A3

PROGRAMME 1. 2. 3. 4. 5. 6.

Entrance Tombs Mango Tree Dye Garden Marigold Shop Stairs [4]

[1] A

[3] [1]

[2] [6]

[2]

[5]

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The Marigold Seller’s Garden. Ground Floor Plan, originally drawn at 1:100 @ A1

DYE & DUSTSCAPES

PROGRAMME 7.Dye Garden 8.Dust Screens

[7]

[8]

BDY BLDG SET TLML

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The Marigold Seller’s Garden. First Floor Plan, originally drawn at 1:100 @ A1

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DYE & DUSTSCAPES

BDY BLDG SET TLML The Marigold Seller’s Garden. West Elevation, originally drawn at 1:100 @ A1

Kalupur Darwaja. January 2020

DYE & DUSTSCAPES Kalupur Darwaja shops. January 2020

DYE & DUSTSCAPES The Marigold Seller’s Garden. Kalupur Darwaja Visualisation

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The Marigold Seller’s Garden. Worm’s Eye Isometric, originally drawn at 1:100 @ A3

DYE & DUSTSCAPES

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The Marigold Seller’s Garden. Isometric Column Detail, originally drawn at 1:10 at A1

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DYE & DUSTSCAPES

BDY BLDG SET TLML The Marigold Seller’s Garden. Section AA, originally drawn at 1:50 @ A3

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DYE & DUSTSCAPES

BDY BLDG SET TLML The Marigold Seller’s Garden. Worm’s Eye Isometric, originally drawn at 1:100 @ A3

DYE & DUSTSCAPES The Marigold Seller’s Garden. Kalupur Darwaja Visualisation

Sabarmati Riverfront. January 2020

MONSOON [VARSA], THE NEW WALLED CITY Clouds form without warning, the sky darkening swiftly. They roll in from the South-West, beginning in July and lasting until September. This is all the rain Ahmedabad will get this year, intensely saturating the landscape, filling the rivers and lakes to the brim. There is too much water, it spills over, flooding the streets in just 2 hours.

TERRITORIES OF THE DUSTSCAPE

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DYE & DUSTSCAPES

SET

BDY BLDG SET TLML The Sabarmati riverfront,DD-SET-DYI-PLAN-01 Madder than ever. Isometric, originally drawn at 1:1000 @ A0

THE DUSTSCAPE EDGE

The Sabarmati is a temporal river whose flows are dominated by the monsoon rainfall, with little or no flow outside of the rainy season. The Sabarmati Riverfront Project has dammed and sluiced the river, creating a permanent basin, intending to create 11.25km of real estate potential along the riverbanks. The hard edge created by the concrete walls slices through the city, creating an uninhabited void of nothingness, and an abyss through which the life of the river has fallen. The fluvial patterns formed by the river are overwritten, paved over and covered with dust.

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The Dustscape Edge. Plan, originally drawn at 1:5000 @ A1

DYE & DUSTSCAPES

BDY BLDG SET TLML Sabarmati Riverfront. January 2020

SOFTENING THE ABYSMAL EDGE

School of Dye Technologies Pigment Research Laboratory

Textile Library

Rowi Ravivari

Dye & Dustscapes seeks to penetrate the hard edge of the Sabarmati Riverfront, and excavate the landscape, making it ready for the coming of new development. The Dustscape will change throughout the year, becoming saturated with embodied wetness in the form of lush gardens. As the monsoon season ends and wetness drains away, small pockets will emerge where water is held, and oases nestle within the desert dryscape. to penetrate the hard edges and excavates the landscape, making it ready for the coming of new development. The Dustscape will change throughout the year, becoming saturated with embodied wetness in the form of lush gardens. As the monsoon season ends and wetness drains away, small pockets will emerge where water is held, and oases nestle within the desert dryscape.

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School of Weaving

DYE & DUSTSCAPES Uttarayan Festival Grounds

Gujarat Dye Institute

ing Club

Dye Cultivation Workshop

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Softening the Abysmal Edge. Plan, originally drawn at 1:1250 @ A0

DUSTING THE SABARMATI RIVERFRONT PROCESS SERIES

Dusting the Sabarmati Riverfront Series. Model, 1:2000

Laying dust on the concrete walls of the Sabarmati Riverfront allows us to visualise the Dustscape in a new situation. The dust softens the hard surfaces, creating a new landscape. Dust blows against the walls, settling into cracks and piling onto the uninhabited expanses.

Tooling Dustscapes. Screenshots from Madder than Ever Film

DYE & DUSTSCAPES

BDY BLDG SET TLML

Dusting the Sabarmati Riverfront. Model, 1:2000

AQUASCAPE PROCESS SERIES

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Dust of the Sabarmati Riverfront. Plan, originally drawn at 1:2000 @ A1

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Inscriptions of Wetness. Plan, originlly drawn at 1:2000 @ A1

DYE & DUSTSCAPES Aquascape model. Paper model at 1:2000

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Emerging Agencies. Plan, originally drawn at 1:2000 @ A1

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White card models realised from the Inscriptions of Wetness allow for imagined enzymatic territories, containing both architecture and attached landscape, rupturing the abysmal edge of the Sabarmati Riverfront Project, occupying the ecotone where wet and dry coexist.

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DYE & DUSTSCAPES

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Territories of the Aquascape. Plan, originally drawn at 1:2000 @ A1

“There, there they come— monsoonal clouds— Exhilarating, awesome, moisture-laden, Fragrant, earth-soaked, dense, rejuvenated Dark-hued, somber, glorious— ready to burst! Their deep rumblings quiver dark-blue forests Tense peacocks out on strolls cry out The whole world is thrilled, overwhelmed. Intense, amazing—monsoon is on its way! Oi Ashe Oi Oti Bhairob Horoshe Rabindranath Tagore

Wet indigo model. Indigo powder on acrylic

DYE & DUSTSCAPES Pieces of Aquascape. Paper model

SCHOOL OF DYE TECHNOLOGIES

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BDY BLDG SET TLML School of Dye Technologies. Elevation, originally drawn at 1:200

School of Dye Technologies. Isometric

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The School of Dye Technologies is the first in a series of buildings that occupy the new landscape. It is anchored in the ground by deep concrete walls, which rise up to support a skin of clay tiles, made from the Riverbed Clay found downstream in the Sabarmati River. Internally, the building is hung between the walls, internal spaces are defined by screens that allow air to move laterally through the building without resistance. Internal spaces lead outside, with stairs leading out into dye gardens for the growing of natural dye plants, and to a covered external workshop with dye baths for practical teaching. School of Dye Technologies Jack Parmar

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PROGRAMME

1. Entrance 2. Office 3. Seminar Room 4. Practical Workshop 5. Dye Baths 6. Plant Room 7. Lobby 8. Kitchen 9. Toilets 10. Circulation 11. Lift 12.Dye Garden Access

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School of Dye Technologies. Ground Floor Plan, originally drawn at 1:100 @ A1

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PROGRAMME 1. 2. 3. 4. 5. 6.

Classrooms Seminar Room Office Mezzanine Learning Space Circulation Space Dye Garden Access

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School of Dye Technologies. First Floor Plan, originally drawn at 1:100 @ A1

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School of Dye Technologies. Roof Floor Plan, originally drawn at 1:100 @ A1

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BDY BLDG SET TLML School of Dye Technologies. Section AA, originally drawn at 1:50 @ A1

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BDY BLDG SET TLML School of Dye Technologies. Section BB, originally drawn at 1:50 @ A1

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School of Dye Technologies Workshop, Sabarmati Riverfront. Visualisation.

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School of Dye Technologies. Front Elevation, originally drawn at 1:100 @ A2

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School of Dye Technologies. Rear Elevation, originally drawn at 1:100 @ A2

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The School of Dye Technologies. Roof and louvre detail, originally drawn at 1:20 @ A3

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The School of Dye Technologies. Worm’s Eye Isometric

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BDY BLDG SET TLML School of Dye Technologies. Exploded Isometric, originally drawn at 1:200 @ A1

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MODELLING TERRITORIES

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DYE & DUSTSCAPES Modelling Territories Series. Card Model, 1:500

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TOOLING DUSTSCAPE

We applied the methods of tooling at the SET scale, revealing territories and landscapes on the white card models which are situated along the Sabarmati River.

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Tooling Dustscape Series. Madder on Card Model, 1:500

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SABARMATI DYE PAVILIONS

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Sabarmati Dye Pavilions. Isometric, originally drawn at 1:100 @ A3

Nestled within the sublime landscape of the Sabarmati Riverfront are small pavilions, providing a space for the farmers and workers to rest, and to store the plants as they are being cultivated. Timber canopies provide shade from the heat, and shelter from the monsoon, with an internal courtyard providing an oasis to retreat into.

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Sabarmati Riverfront SET Agencies. Plan, originally drawn at 1:200 @ A2

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Sabarmati Dye Pavilions. Isometric

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PROGRAMME 1. 2. 3. 4. 5.

Well Courtyard Storage Otla Lounge

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Sabarmati Dye Pavilions. Plan, originally drawn at 1:200 @ A2

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Sabarmati Riverfront SET Agencies. Plan, originally drawn at 1:200 @ A1

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Paan Seller at Kalupur Darwaja. January 2020

DYE & DUSTSCAPES Flower seller in the Old City. January 2020

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GUJARAT DYE INSITITUTE

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BDY BLDG SET TLML Gujarat Dye Institute. Elevation, originally drawn at 1:200

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Gujarat Dye Institute. Isometric

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The Gujarat Dye Institute seek to act as the hub in the series of building that occupies the new landscape. Mimicking attributes that the Mill Owners Building embodies, the Gujarat Dye Institute will consist of office spaces for specialist Dye experts that look to celebrate and study natural dye such as Madder and Indigo, with the dye gardens in the foreground of the building. The Institute seeks to engage with the public with dyeing equipment and textiles on display through its exhibition space.

Structurally, the building is anchored deep into the ground with the steel and concrete structural system whilst it reuses material from the Sabarmati River in the form of bricks. A series of revolving doors and louvres act as dust screens and solar shading devices; creating multiple layers of the building. Through the pivot doors, the internal space leads into the external area of the dye gardens creating a dialogue between the fields of madder and the dye archive on display within the building. Gujarat Dye Institute Kevin Li

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PROGRAMME 1. Pool 2. Entrance 3. Reception 4. Lift 5. Circulation 6. Cafe 7. Exhibition Room 8. Exhibition Hall 9. Toilets 10. Plant Room 11. Dye Garden Access

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Gujarat Dye Institute. Ground Floor Plan, originally drawn at 1:100 @ A1

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PROGRAMME 1. 2. 3. 4. 5. 6. 7. 8.

Circulation Breakout Zone Seminar Room Lift Office Balcony Toilets Plant Room

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Gujarat Dye Institute. First Floor Plan, originally drawn at 1:100 @ A1

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Gujarat Dye Institute. Roof Floor Plan, originally drawn at 1:100 @ A1

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BDY BLDG SET TLML Gujarat Dye Institute. Section AA, originally drawn at 1:50 @ A1

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Development Sketches. Ink on tracing paper

DYE & DUSTSCAPES Development sketches & Summer project pamphlet. Ink on tracing paper

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Gujarat Dye Institute Exhibition, Sabarmati Riverfront. Visualisation.

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BDY BLDG SET TLML Gujarat Dye Institute. Front Elevation, originally drawn at 1:100 @ A2

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BDY BLDG SET TLML Gujarat Dye Institute. Rear Elevation, originally drawn at 1:100 @ A2

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BDY BLDG SET TLML Gujarat Dye Institute. Worm’s Eye Isometric

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Beam pocket

timber slats Anodised aluminium frame Teak operable louvre (25mm x 250mm)

100mm insulation

25x50mm Floor spacer Teak floorboard

insulation membrane

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one way concrete slab

DYE & DUSTSCAPES teak soffit

100mm insulation

aluminium track pivot pin

clay roof tiles 45mm x 20mm timber cross batten 40mm timber counter batten folded flashing 500mm deep painted steel rafter Anodised aluminium frame

500mm concrete shear wall metal framed,teak pivot door

Teak operable louvre (25mm x 250mm)

ventilation grille

BDY BLDG SET TLML Gujarat Dye Institute. Office pod detail, originally drawn at 1:20 @ A1

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BDY BLDG SET TLML Gujarat Dye Institute. Exploded Isometric, originally drawn at 1:200 @ A1

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BUILDING PACKAGE

Skin is impermeable. It provides shelter from wetness and protection from heat. The skin is a layered membrane creating pockets of dryness within the aquascape.

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School of Dye Technologies Skin Package. Section AA, originally drawn at 1:50 @ A1

Screens are permeable. They are suspended between solid elements, allowing the building to breathe. Screens allow the facade to ripple and adjust to maintain comfort levels within the building.

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School of Dye Technologies Screens Package. Section AA, originally drawn at 1:50 @ A1

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School of Dye Technologies Structure Package. Section AA, originally drawn at 1:50 @ A1

Structure is solid. It rises from the substrata and dives deep to anchor the building. Structure holds the pockets of dryness above the Wetscape, withstanding forces of wind and gravity.

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Gujarat Dye Institute Skin Package. Section AA, originally drawn at 1:100 @ A2

Gujarat Dye Institute Screens Package. Section AA, originally drawn at 1:100 @ A2

Gujarat Dye Institute Structure Package. Section AA, originally drawn at 1:100 @ A2

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ENVIRONMENTAL STRATEGY

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BDY BLDG SET TLML School of Dye Technologies environmental strategy. Section.

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BDY BLDG SET TLML Gujarat Dye Institute environmental strategy. Section.

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BDY BLDG SET TLML Dust screens, louvres and doors. Isometric, originally drawn at 1:1000 @ A0

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SCREENS, LOUVRES & DOORS

Frame [Anodised Aluminium]

Fixing Plate [Copper]

Louvre Operation Rod [Copper 10mm]

[SCREEN] Louvre Array

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DYE & DUSTSCAPES Louvre Operation Rod [Copper 10mm]

Louvre Fin [Treated Teak]

Screws [Brass]

Fixing Bracket [Copper]

BDY BLDG SET TLML Louvre detail. Isometric, originally drawn at 1:5 @ A3

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Frame [Anodised Aluminium] Pivot Pin

Metal Framed Teak Door

Aluminium track

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Door detail. Isometric, originally drawn at 1:10 @ A3

DYE & DUSTSCAPES Frame [Anodised Aluminium]

Timber Slats

Teak Louvre

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Louvre detail. Isometric, originally drawn at 1:10 @ A3

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Development 3D printed model. 3D printed & plaster cast model

DYE & DUSTSCAPES Peter Salter Review, Matthew Gallery. March 2020

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Kite Festival in the Pols. January 2020

WINTER [HEMANTA], THE MADDER CITY

Between November and February, Ahmedabad is calm. The winter is fair and pleasant, and the ideal time to visit. After the rain, the city enjoys the moist, fecund ground and the fruits it provides. The dust becomes pregnant with the [Madder] possibilities of new architecture, soaking deep into the terra and emerging throughout the sublime landscape. In January, kites soar into the sky, and we start again.

MAPPING OF AHMEDABAD

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Dynamics of the Temporal Sabarmati. Plan, originally drawn at 1:25000 @ A1

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Territories of the Textile Industry. Plan, originally drawn at 1:25000 @ A1

DYE & DUSTSCAPES We understand the relationship of Ahmedabad and the Sabarmati through the presence of 3 things, the temporality of the river, the territories of the Textile Industry, and the aura of ancient Ahmedabad manifested through the mosques and tombs hidden inside, and outside, of the Old City. DD-TLML-03

The Aura of Ancient Ahmedabad. Plan, originally drawn at 1:25000 @ A1

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ANCIENT ARCHITECTURE, VACANT SPACES & STAINED TERRITORIES

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BDY BLDG SET TLML Ancient Architecture, Vacant Spaces & Stained Territories. Plan, originally drawn at 1:25000 @ A1

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STATE OF MADDER

Gujarat is located in the North-West region of India, it is one of the places where Madder is native, and the sandy loam soil makes it the ideal environment for growing Madder. We surround Ahmedabad with fields of Madder, encouraging reinvestment in the Textile Industry in Ahmedabad and across Gujarat.

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BDY BLDG SET TLML State of Madder. Plan, originally drawn at 1:500000 @ A1

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MADDER CITY

Identifying the undeveloped ground on the banks of the Sabarmati Riverfront Project, we propose a temporary reclamation of the land as an area to grow Madder and other dye plants, such as Indigo and Turmeric.

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BDY BLDG SET TLML Madder City. Plan, originally drawn at 1:20000 @ A1

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DYE & DUSTSCAPES Minto House, pre covid lockdown. March 2020

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Territories of the Dustscape. Isometric, originally drawn at 1:1000 @ A0

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Sabarmati Madder Fields. Isometric, originally drawn at 1:1000 @ A0

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As we imagine the possibilities for the Sabarmati Riverfront, we envisage fields of Madder and Indigo amongst the territories. The fertile ground is reinvigorated with lush vegetation, where wetness is embodied throughout the year.

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Resaturating the Temporal Sabarmati, Planting Strategy Plan, originally drawn at 1:1250 @ A0

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BDY BLDG SET TLML Resaturating the Temporal Sabarmati. Section AA, originally drawn at 1:200

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BDY BLDG SET TLML Resaturating the Temporal Sabarmati. Elevation, originally drawn at 1:200

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The Madder City. Sabarmati Riverfront Visualisation

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The Madder City. Sabarmati Riverfront Visualisation

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CEPT University. January 2020

EXHIBITION

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Dye & Dustscapes Exhibition. Isometric, originally drawn at 1:100

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NORTH WALL With no opportunity to produce a physical exhibition due to the COVID-19 Pandemic, we took the opportunity to create a virtual exhibition, using one of the rooms in Jack’s flat as an exhibition space. This allowed us to visualise the thesis how we imagine it would have been presented in a ‘normal’ world.

WEST WALL

EAST WALL

The exhibition is laid out same format as the Design Summer, Monsoon and

SET SCALE WHITE MODELS

FOLIO OF DRAWINGS

in the Report, Winter.

The West Wall represents Summer, showing empirical drawings of the intervention at Kalupur Darwaja, including rendered visualisations, drawings at Body and Building scales, and photos from the field trip to Ahmedabad in January 2020. The East Wall, representing Monsoon, large scale drawings at TLML and SET Scales, displaying the Resaturation of the Sabarmati Riverfront through isometric, plan and sectional drawings.

DESIGN REPORT

FILM

The North Wall displays both TLML and SET Scale drawings introducing the Possibilities we are left with at the end of the thesis. The exhibition is presented around the SET scale white models, laid out as they sit on the banks of the Sabarmati River. At the south end of the room, the Folio of drawings is presented, next to a table displaying the Design Report and Film. For a walk-through of the virtual exhibition, please access the link below and follow the instructions on screen to navigate around:

SOUTH WALL

https://api2.enscape3d.com/v1/ view/5bfb77af-4da6-405f-adfb-cfe6da3c9d01

Dye & Dustscapes Exhibition. Plan, originally drawn at 1:50

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West wall, Summer. Visualisation

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East wall, Monsoon. Visualisation

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North wall, Winter. Visualisation

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South wall. Visualisation

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CLOSING THOUGHTS & REFLECTION

Dye & Dustscapes seeks to provide an understanding and sympathetic response to the fragile situation that Ahmedabad finds itself in. It utilises a deep appreciation of the Indian context, provided through meetings and interviews with folk native to the city, and looks to address issues of bureaucracy and stasis which threaten to destroy the fragile yet beautiful ecosystem of Ahmedabad. From the visit to Ahmedabad in January 2020, we became inspired by the phenomenon of dust, particularly at our Measured Intensities site of interest, Kalupur Darwaja. Dust holds significance in relation to our interest in water and represents a lack or absence of wetness. Through our study into the Oceans of Wetness manifesto authored by Dilip da Cunha and Anuradha Mathur, we can place dust into the water cycle, as a fifth stage. Ahmedabad exists in a state of dryness that is only interrupted by the Monsoon, and thus the focus became how we can utilise the dry landscape to our advantage, using wetness to stain and enrich the dusty ground. The Dustscape provides an opportunity to Resaturate the Sabarmati Riverfront, through a return of the temporal rhythms lost due to the development of the new concrete walls, cutting through the landscape and creating a void in the terra. The resulting architectural proposal takes influence from the Old City of Ahmedabad, bringing the many phenomena found in the pols and walls, and encouraging it to enrich the open,

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empty riverfront, creating a sublime, fecund and yet productive landscape. Working in a pair has enabled us to cover more ground, and allowed for a constant critique of our methods and working practices. We have been able to develop the thesis jointly and equally, assisting one another as we encountered difficulties along the way. Since March 2020 we have been unable to work in the studio and had limited access to the workshops due to the COVID-19 pandemic. This has resulted in a lack of large physical models which we feel would embellish our work and tested materiality and presentation techniques throughout the PARA-situation studio. Our focus on the TLML scale of the riverfront has inhibited the development of the project at the Body scale, and we feel this would have helped us with a more in-depth understanding of tectonic issues highlighted within our designs. We have found productivity in the digital methods of practice, and have presented the thesis in its current state in a virtual exhibition. We began to investigate how the Dye & Dustscapes methodology can enrich and inform the architectures of the Old City, and moving forward, this could have been extended to the wider context of Ahmedabad, and further into the State of Gujarat.

DYE & DUSTSCAPES The Studio, Madder Than Ever. May 2021

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BIBLIOGRAPHY Boesiger, Willy, “Le Corbusier Oeuvre Complete”, vols 6-8, 1952-69 (Zurich: Artemis, 1970). Branzi, Andrea. “Weak Metropolis” and the Projectrive Potential of an “Ecological Urbanism”, in Ecological Urbanism, ed. Mohsen Mostafavi, Gareth Doherty (Lars Mullers Publishers: Baden, Switzerland, 2010) p.155. Branzi, Andrea. “For a Post-Environmentalism:Seven Suggestions for a New Athen’s Charter, in Ecological Urbanism”,, ed. Mohsen Mostafavi, Gareth Doherty (Lars Mullers Publishers: Baden, Switzerland, 2010) p.110-113. Census2011.co.in. 2021. “Ahmedabad City Population Census 2011-2021 | Gujarat.” [online] Available at: <https:// www.census2011.co.in/census/city/314-ahmedabad.html> [Accessed 3 December 2020]. Ching, F., 2014. “Building Construction Illustrated.” Wiley & Sons Canada, Limited, John. Geddes, Patrick, “The Index Museum.” : chapters from an Unpublished Manuscript, Assemblage, No. 10 (Dec., 1989) pp. 65-69. Geddes, Patrick, “Notes on Ahmedabad”, 1915. Environmental Design: Journal of the Islamic Environmental Design Research Centre, edited by Attilo Petrucciolli. Rome: Libreria Herder, 1984. Guattari, Felix, “The Object of Ecosophy”, in Amigo Marras, Eco-Tec, Architecture of the In-Between (New York: Princeton Architectural Press, 1999). pp.11-20 Guattari, Felix, “The Three Ecologies”, trans Ian Pindar and Paul Sutton (New York: Athlone Press, 2000). Irigaray, L. and Marder, M., 2016. “Through Vegetal Being - Two Philosophical Perspectives.” Columbia: Columbia University Press. Lefebvre, Henri. “The Production of Space (extracts)”, in Leach, Neil. Rethinking Architecture: A Reader in Cultural Theory. London: Routledge, 1997, pp. 138 - 146. Lefebvre, Henri. “Rhythmanalysis: Space, time and everyday life”, London: Continuum, 2004. More, Thomas. “Utopia”, Penguin Books, 1965, pp. 75 Shah, Amrita. “Ahmedabad: A City in the World”, New Delhi: Bloomsberg, 2015. Wisniewski, Dorian, “Florence: Curating the City”, ed. Dorian Wiszniewski (Architecture, University of Edinburgh: Edinburgh, 2010) Wisniewski, Dorian, “Bombay City Wise, Parasituation Mumbai”, ed. Dorian Wiszniewski (Ampersand Architecture, University of Edinburgh: Edinburgh, 2016) Wisniewski, Dorian, “Parasituation [Calcutta/Kolkata]”, (Edinburgh: Wedge Publication, 2019)

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ACKNOWLEDGEMENTS

TUTORS Dorian Wiszniewski Kevin Adams Neil Cunning Paul Pattinson Leo Xian GUEST CRITICS Flores & Prats Peter Salter Findlay McFarlane Sam Barclay Robert Stephens CONSULTANTS Andrew Leiper Jonathan Narro SPECIAL THANKS TO A special thank you to Dr Rajesh Shah, and Dr Umesh Shah, who warmly welcomed us in Ahmedabad and gave us a guided tour of the pols during our visit, providing us with invaluable insight into life as an Ahmedabadi. Also to Rachel, Lily, De Rui & Iona for all their help over the last 2 years, showing us the best restaurants in Edinburgh, and for keeping us both sane during lockdown. Walk?

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Dye & Dustscapes: Madder Than Ever - Design Report

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Dye & Dustscapes: Madder Than Ever - Thesis Abstract