Architecture design october 2017 by khushboo Gunjal

CONTENTS

70 34 46

ABOUT THE ISSUE

REFLECTIONS

UPDATES

ARCHITECTURE FOR DIVINITY

Architecture for the Divine

Rajnish Wattas 28

Temple of Light Bahá’í Temple of South America, Santiago, Chile

Hariri Pontarini Architects, Canada 34

CSI Bain’s Chapel, Chennai

Temple in Stone and Light, Rajasthan

Oscar & Ponni Architects, Chennai 70

A oating image…

Revisisting Najd architecture…

Bosjes Chapel, Bosjes Farm, South Africa

AlJabri Mosque in Ha’il, Saudi Arabia

Steyn Studio, London

Schiattarella Associati, Rome 54

Arched Edice

Redening spaces of spiritual refuge

SpaceMatters, Delhi 46

Spiritual inclusivity in the Oasis

Indian Temple Design

Guru Nanak Darbar Gurudwara, Dubai, UAE

Adam Hardy

Hyder Consulting Middle East Ltd, Dubai

CONTENTS

90 PROJECT FEATURES 84

Brutalist revival Chadwick Hall, UK

Henley Halebrown Architects, UK BOOK SECTION 90

Cosmic Dance in Stone…

Review by: Pradeep Sachdeva 103

+ DESIGN RETAIL INTERIORS

104

I Say Organic Store I Say Organic Store, Gurgaon

Delhi Collective, New Delhi 108

A walk to royalty Neeru’s Emporio, Hyderabad

Group DCA, New Delhi

108

114

MATERIAL TALK

116

VERSATILE PRODUCTS

120

For your reference…

H OCTOBER 2017

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architecture for divinity

“Nature is my manifestation of God. I go to nature every day for inspiration in the day’s work” —Frank Lyod Wright

cosmic dance in stone

All drawings and visuals for the projects and articles, unless mentioned otherwise, are courtesy the architects/authors.

umans, right from the initial days of their existence, have always been in awe of the mystic ‘divine’. The fear of the unknown has been the overpowering thrust in evoking the spirit of reverence. In the yesteryears, all cultures internationally embraced religion as a practice, in fact often as an unsaid dictate. However, the contemporary phase, having witnessed greater rationalization and fermentation, has encouraged and initiated discourse that has unwound a more liberal implimentation. And these strings of diversity have also found their inroads to design development of present-day architecture for worship. From a regimented and a more conservative approach, architects aided with modern technology and a broader social acceptance are exploring form and material to generate iconic perceptions in this realm such that the contained spaces further accentuate the spiritual and religious experience. Whether it is a temple, church, mosque or a gurudwara, the sacred instincts of the core design principles are applied with strict discipline. This Issue embarks on unearthing a few recent projects within this typology, that encapsulate newer interpretations that tend to create sanctity through flowing volume of spaces and a larger than life imagery. Noted historian Adam Hardy, who has extensively researched the art of temple design and construction in India, in his article, very articulately explains the complexities and sensitivities involved in the making of a temple with the traditional design criteria laid down. He explains, “Indian ‘Classicism’ has not bequeathed centuries of reinterpretation to the architectural mainstream. It is the architectural tradition as embodied in its built creations that points to a culturally appropriate and practical way to approach.” In contrast, the Bahá’í Temple of Light, Chile, as the architects say, draws its design and spiritual inspirations from a myriad of universal sources, such as “the magic of dappled sunshine beneath a canopy of trees, the rotation of a Sufi whirling dancer, the interwoven strands of Japanese bamboo baskets and the fragmentation of shattered glass. “In continuation to the out-of-the-box-approach, the Aljabri Mosque, Saudi Arabia, is a break-away from the age-old set norm of mosque design. And so is the architecture of the Bosjes Chapel, South Africa, that crosses the boundaries with its playful and sculptural treatment. The magnificent qualities of stone as a unique, powerful and majestic material have been globally acknowledged and appreciated by designers and society at large. Our Book section brings you closer to the truth of how this visually aesthetic mineral matter was contoured and brought to life by the exquisite skills and wisdom of the craftsmen of ancient India.

Play of Cuboids–1. Huge gaint glass cube on the modern city street 2. Pompidou Centre in 2016, Malaga, Spain 3. ‘La Tete Carree’ (Square Head), France

“Organic architecture seeks superior sense of use and a finer sense of comfort, expressed in organic simplicity” – Frank Lloyd Wright

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Entire contents Copyright © 2016 Exposure Media Marketing Pvt. Ltd., Plot No. 378-379, Second Floor, Udyog Vihar, Phase IV, Gurugram- 122015, Haryana, India. All rights reserved throughout the world. Reproduction or translation in any language in whole or in part without the consent of Exposure Media Marketing Pvt. Ltd. is prohibited. Requests for permission should be directed to Exposure Media Marketing Pvt. Ltd. Published by Xavier Collaco from Exposure Media Marketing Pvt. Ltd., Plot No. 378-379, Second Floor, Udyog Vihar, Phase IV, Gurugram- 122015, Haryana, India. Printed at Galaxy Offset (India) Pvt. Ltd. B-83, Naraina Industrial Area, Phase II, New Delhi-110028. Editor: Suneet Paul. Architecture+Design does not take responsibility for returning unsolicited publication material. All disputes are subject to the exclusive jurisdiction of competent courts and forums in Delhi/New Delhi only. Opinions expressed in the articles are of the authors and do not necessarily reect those of the editors or publishers. While the editors do their utmost to verify information published they do not accept responsibility for its absolute accuracy. Unsolicited material is sent at the owner’s risk and the publisher accepts no liability for loss or damage. All correspondence regarding advertising or editorial should be addressed to Exposure Media Marketing Pvt. Ltd., Plot No. 378-379, Second Floor, Udyog Vihar, Phase IV, Gurugram- 122015, Haryana, India.

Reections

Opening all manner of chests in his creative world, sculptor Pankaj Kumar recently displayed his sculptures in a show in New Delhi. He arranges the bricks in the sculptures to look perfect from the outside but crumbled and collapsed from within. This ascertains the quality of the Indian rural lifestyle in its raw form while also comparing it to the sense of conformity that comes with urban-living.

(SIZE: 14”X10”X4”, WOOD/FIBER)

October 2017 ARCHITECTURE+ DESIGN

Updates Fast track Architecture

chmidt Hammer Lassen Architects recently announced their first US project, Monroe Blocks, a major mixeduse development in the heart of downtown Detroit. The new development will combine downtown Detroit’s first high- rise office tower in a generation with over 480 residential units. Schmidt Hammer Lassen have been working in close collaboration with developer Bedrock Detroit, local architects Neumann Smith, engineering firm Buro Happold and landscape architects SLA to imagine a development that re-establishes historic alleyways, introduces new public plazas and green space while prioritising the public realm both indoors and out. The new office tower will offer a combination of large floor plates, tall ceiling heights and access to sunlight currently unprecedented in downtown Detroit. The mix of uses allow space for varied activities complimenting each other to make safe, vibrant 24-hour public spaces. Functions include office, residential, high-street retail, grocery stores and food markets, entertainment, sport and

leisure facilities and the potential for exhibition spaces and performance venues. Kristian Ahlmark, Senior Partner at Schmidt Hammer Lassen, said “Detroit is a unique place, I believe everyone living in the Western World has at some point been influenced or touched by Detroit. We all know or can relate to its legacy: the US automobile industry, the architecture of Albert Kahn and Woodward, and obviously the music. We are honoured that our first US project is happening in this great city. From our earliest visits, we experienced the unique optimism, energy and entrepreneurial spirit that defines Detroit. This project is very much a part of that movement. The challenge has been to create a new way of defining central business districts as a diverse and multifunctional area for the benefit of the wider community.” The Monroe Blocks project will connect some of the key central public spaces: Cadillac Square, Campus Martius, Library Square and Woodward. The development is set to break ground in early 2018 and will complete in early 2022.

Conference

harda University’s School of Architecture and Planning in Education Park III recently organised an international conference on ‘Futuristic Trends in Architecture’. Professional insights by noted architects and planners were combined with experiential wisdom during the sessions. Organised in Greater Noida, the inaugural sessions at the conference saw eminent architects and academicians from across the country interact with students and share their views on the best practices, new techniques and futuristic trends that have made their presence felt in the architectural domain. Prof. Chetan Vaidya, Director of School of Planning & Architecture (SPA), Delhi delivered the inaugural address. Prof. Christopher C Benninger, architect and urban planner, took a session on the main topic, ‘Vision of

October 2017 ARCHITECTURE+ DESIGN

the World’, which covered climate change, resource constraints, insecurity concerns, affinity for traditions and mechanisation of skills and processes. Prof. Manoj Mathur, Head of the Architecture Department at SPA, New Delhi, took the discussion further with his presentation, ‘Critical Determinants of Futuristic Architecture and their Management’. Stressing on the need for India to focus on sustainable living, Prof. Chetan Vaidya said, “We live in a country which is densely populated and diversified in culture. People of different communities and religions live this country and several elements of the country’s diverse culture is displayed or reflected in the architectural styles. There can’t be one common size that fits all in an overpopulated country like ours. Amidst the rapid growth in

urbanisation, there is a dire need for sustainable planning, innovative and eco-friendly solutions. Energyefficient buildings and open spaces can keep people happier and healthier, as it allows them to connect with nature on a regular basis.” Professor Manoj Mathur introduced students to a massive open online course (MOOC), which was created to help students utilise digital technology and connect to teachers on their own terms.

Updates Competition

aha Hadid Architects recently won the Masterplan 2030 competition for the Old City Harbour in the Port of Tallinn. The competition was launched in order to collect ideas for development plans for the Old City Harbour in 2016, with the aim of finding a comprehensive, long-term solution to connect the city and its public spaces with the functions of the port as well as form the basis for the redevelopment in the port area. The new masterplan links together disparate districts of the city, creating a new community near the city center that will provide an alternative to the city’s Soviet-era housing stock. It also re-establishes the links with the Port of Tallinn and the Old Town, as well as the links between the city and the sea, thus providing connectivity from the ferry and cruise terminals to the city center. The new city blocks within the masterplan will continue the existing scale of adjacent districts. The flexibility of the masterplan’s civic zones allows for a rich combination of uses – including culture, entertainment, shopping and hotels – to serve Tallinn’s residents and its growing number of annual visitors. The new pedestrian

quayside incorporates terraces served directly by cafés and restaurants. Ginaluca Racana, director at Zaha Hadid Architects said, “We’re honoured to work with the Port of Tallinn, developing unique solutions to create these important connections for the Old City Harbour’s long-term vision. Supported by its network of new pedestrian routes and public transport links, the masterplan reinvents a familiar space in Tallinn and reconnects the city with its harbour, enabling residents to reclaim a part of the city that is currently difficult to access and designed only for transit.” Valdo Kalm, the chairman of the management board of the Port of Tallinn, explained Zaha Hadid Architects’ masterplan stood out for its innovative and integrated approach to Tallinn’s maritime gateway. The Port of Tallinn and Zaha Hadid Architects aim to complete the masterplan for the Old City Harbour by the end of 2017. On completion, detailed plans will be commissioned and suitable business models elaborated for development implementation.

Exhibition Does Permanence Matter? Ephemeral Urbanism” – the exhibition, based on a long-term study by Rahul Mehrotra at the Harvard Graduate School of Design and Felipe Vera at the Centro de Ecologia Paisaje y Urbanismo in Santiago de Chile, was held in Munich. This research on Ephemeral Cities focused on the systematic analyses of hundreds of cases sharing the same common denominator: they are settlements with an expiration date. Munich’s Oktoberfest, the Kumbh Mela pilgrimage in, the Burning Man Festival in Nevada, and other major events demonstrate that flexible architectural configurations are temporarily deployed around the globe to provide medium-term shelter, often to enormous crowds. Such structures fulfill a range of functional tasks and are used in

October 2017 ARCHITECTURE+ DESIGN

religious and cultural festivals or can take the form of military camps, refugee camps, or even temporary mining towns. This exhibition traced a global phenomenon that has become increasingly topical given today’s current state of mass migration triggered by climate change, political strife, and natural disasters. In the exhibition space, a series of examples were displayed, showcasing situations on different locations and for various purposes. In addition to this variety of settlements, the show dedicated special space to interdisciplinary research developed by Harvard University’s South Asia Institute about “Kumbh Mela: The Ephemeral Mega-City.” The exhibition concept is developed by a team of curators, including Rahul Mehrotra, Felipe Vera, Andres Lepik, Marcelo

della Giustina, and m-a-u-s-e-r, a collaborative studio established by Asli Serbest and Mona Mahall. Supporting the exhibition was audiovisual material that includes work by Dinesh Mehta, MAP Office, Other Markets, Jorge Luis Baca, and Matthias Kestell, as well as photographs by Gregor Sailer, Laurent Gutierrez, Valérie Portefaix, and others. The exhibition architecture and magazine design is being developed by the collaborative studio m-a-u-s-e-r.

Updates Event

he Raw Collaborative and W-Trunk held their first edition of a unique and comprehensive furniture, product and design show in Ahmedabad at The Mill Owner’s Association building, designed by Le Corbusier. Raw Collaborative showcased the works of various Indian designers and Indian handcrafted products.

Tanvi Karia, the show’s conceptualizer, said “In our first endeavor we at Raw Collaborative were able to achieve our aim of bridging the gap between the creators of these products and its audience with a keen eye towards detail, finesse, quality and style.

October 2017 ARCHITECTURE+ DESIGN

It was extremely well received by not only the design fraternity but by the connoisseurs and patrons of fine detailing, exclusive designs and innovations in interior design products.” Priyadarshini Rathore, the presenter of the show, said, “All the designers were absolutely thrilled to be part of a show that once again brought together their community across India to exchange ideas and dialogues in the context of Indian designs and creations. It is truly overwhelming to see marque designers like Rooshad Shroff, Sandeep Sangaru, Ayush Kasliwal, Rebecca Reubens being a part of the show and connecting with fellow designers, students, patrons

and customers. The response across design audiences has been very encouraging and we already have people asking about the next edition.” Prominent industry members from across India participated in the show, including architects, interior designers, product and furniture designers, manufacturers and retailers of interior products. Discussions involving participants entailed and were attended by the students from various architectural, design and engineering institutes in Gujarat. Raw Collaborative focused on scouting proficient furniture designers from across the country, giving emphasis to versatility in terms of furniture designs. The show also sought to build awareness within the Indian design community about local artists and craftsmen, thus urging them to form a support system for the latter.

Architecture for Divinity

Space has always been the spiritual dimension of architecture. It is not the physical statement of the structure so much as what it contains that moves us.

– Arthur Erickson

“It is not architectural achievement that makes the structures of earlier times seem to us so full of signicance but the circumstance that antique temples, Roman basilicas, and even the cathedrals of the Middle Ages are not the works of single personalities but creations of entire epochs.” – Ludwig Mies Van de Rohe

“ Something vital has been lost in Catholic church architecture, obscuring any indication that God is truly present there.” – Henry Hardinge Menzies

“All ne architectural values are human values, else not valuable.” – Frank Lyod Wright

“ When I think of a place of worship, I think of a place where one can sit and be reminded of all the things that are important outside our individual lives. To express spirituality, the architect has to think of the original material of architecture, space and light.” – Richard Meier

“Architects and painters, sculptors and musicians, lmmakers and writers, photographers and poets, artists of every discipline, are called to shine beauty especially where darkness or gray dominates everyday life, they are the custodians of beauty, heralds and witnesses of hope for humanity.” – Pope Francis

“ I don’t want to undress architecture. I want to enrich it and add layers to it. Basically like in a Gothic cathedral, where the ornament and the structure form an alliance.” – Cecil Balmond

“ The practice of architecture is the most delightful of all pursuits. Also, next to agriculture, it is the most necessary to man. One must eat, one must have shelter. Next to religious worship itself, it is the spiritual handmaiden of our deepest convictions.” – Philip Johnson.

ARCHITECTURE+ DESIGN October 2017

Architecture for Divinity

The Hagia Sophia at Istanbul

Architecture for the Divine Rajnish Wattas

Search for the Sublime….

rom times immemorial, the most conspicuous defining architecture of human civilizations, representatives of their era, have been the religious buildings. Sacred architecture has been viewed as a place where the gods dwelled, and therefore always evoked veneration, mystique, awe and wonder. The patrons of religious architecture were usually the rulers or the religious heads – and the best of resources, technology and human efforts of those times went into building them. This is

October 2017 ARCHITECTURE+ DESIGN

perhaps as true today as it was thousands of years ago—maybe a bit scaled down. Religious architecture is the most lofty and impressive outcome created by humanity across different eras. Both in the ancient times and in the present, too, they become theatres for ritual congregation and practices concerned with the core belief of its followers. Since religious buildings in the ancient times were made of the most durable materials – permanent structures strong enough to withstand vagaries of time, climate and stay

protected from marauders for fear of incurring the wrath of the gods—they survive in number. No wonder, in our chronicles of global history of architecture, they are the best markers and evidences surviving today. Most of our concept of classical architecture or the architectural styles representative of varying time spans is based primarily on the religious structures. Location One of the major complaints of visitors driving into Chandigarh from other towns – especially at night time – is the sameness of the urban form with look-alike buildings, making it difficult to find locations. Because there are few distinctive landmarks in the cityscape, leaving aside a rare temple, gurudwara, church or a mosque – people get lost for directions. All neighbourhoods look the same, as do the shops, offices or commercial establishments with hardly any defining landmarks – contrasting so glaringly to the richly diverse urban fabric of the traditional Indian towns. Usually, the ‘house of God’ – always atop the most vantage point in the city, village or even when located amidst natural settings – built with the best of resources, materials and

passionate human fervour. Look at the location of most Hindu temples, Buddhist monasteries or gurudwaras—they have been from ancient times located at hill tops, mountain peaks for ensuring powerful visual presence in the hearts of the pilgrims, climbing up to them arduously for darshans. In the process of physical climb and effort, the symbolic transition from the mundane to the sublime also happened. Being humbled by the mighty forces of nature, pitted against the limited, laboured trudge of human energy, brought this realisation home. The most iconic historic architectural marvel of classical times, the 3000 BCE Parthenon at the Acropolis of the Greek civilization establishes a unique site and structure relationship, by virtue of its location atop the table-top hill. This imparts it a very powerful, prime visual identity overlooking the entire city of Athens. In fact, visiting the Acropolis was a moment of ‘epiphany’ for Le Corbusier on his legendry Voyage de Orient, where he made copious notes, sketches and jottings for future inspirations. And the location of the Capitol Complex of Chandigarh – comprising edifices of the Assembly, Secretariat and the High Court (besides some monuments), chosen by Corbusier to be at the topmost point of the city layout—earned it the metaphor of ‘temples of democracy’ for the new nation. As such, the key point is that the ‘sacred’ component in the built form of a city or in natural surroundings, gains its visual pre-eminence by virtue of its location. The Form One of the key feature of the religious structure

Gurudwara in Chandigarh (Architect: S D Sharma) ARCHITECTURE+ DESIGN October 2017

Interiors of Saint Paulâ&#x20AC;&#x2122;s Cathedral, London (Architect: Christopher Wren)

is that it must tower above the other mundane functions of the city; and this was achieved in the historic times by virtue of its commanding height. This is amply evident in the evolution of the Hindu templeâ&#x20AC;&#x2122;s shikhra in North India and the gopuram in the South. In the Muslim mosque it is manifested through domes and minarets. In the Christian church it is traditionally expressed through elements like the campanile, spires and a dome in some styles. Religious and holy structures usually were completed over a long span of time and such evolved their architectural elements over centuries, and certainly they were the largest and most conspicuous buildings in the world, prior to the modern skyscraper. The sacred architecture of an era on one hand reflected the pervading style of that period, and on the other, it was hugely distinctive by its lofty form rising above other structures. With the rise of Christianity and Islam, religious buildings increasingly became centres of worship, prayer, congregation and meditation. As such they demanded larger common space and structural innovations

October 2017 ARCHITECTURE+ DESIGN

to meet that requirement. The spatial requirements of religious structures were governed by their religious practices and spiritual traditions: longitudinal space as in

Christian places of worship emphasizes the procession and return of sacramental acts. Its auditorium-like seating with a pulpit is suggestive of proclamation and response designed for facilitating first a gathering and then the return of the congregation. On the other hand, the Hindu temple by its belief in the ‘sanctum sanctorum’ as a dark, small space enabling a mystic experience and a direct communion of the devotee with the deity, did not demand a huge space for mass prayers. However, to signify the ‘garbh griya’ or the spiritual core of the temple; a spire like the shikhra rose high above it, towering over other ancillary spaces existing for ritual and other activities. A major structural innovation happened during Byzantine era when the builders developed

of sacred architecture is to make transparent “the boundary between matter and mind, flesh and the spirit.” In fact, entering into a religious building is a “metaphor for entering into spiritual relationship”. However, the Japanese practice of Zen Buddhism does not warrant any elaborate architecture—the emphasis is on natural settings provided by the Japanese gardens and the large number of symbolic elements like water, rocks, lanterns, sculpture, and reflective pools in them. Some suggest that to be psychologically healthy, human beings need to experience their natural settings—which is the garden. Some natural settings are the best for a ‘sacred experience’. The Settings In hot and arid climates water has played a very key role in the settings for a religious

Trilokpur Temple (above left) and Lady of Fatima church (above right) (Architect: Surinder Bahga)

squinches or pendentives that provided for a smooth transition from a square plan at the base to a circular dome at the top required for a church or a mosque. The Hagia Sophia in Istanbul is a prime example of this innovation. The Sacred Experience Norman L Koonce has suggested that the goal

October 2017 ARCHITECTURE+ DESIGN

building and also for its essential rituals. The foreground of many a religious precinct either has an ablutions tank for ritualistic bathing – denoting cleansing of the body and mind – and also to impart an ethereal dimension to the abode of the divine. No better example than the holiest shrine of the Sikhs – the Golden Temple

The Parthenon at Athens

at Amritsar signifies this aspect of design. The huge sarovar or the holy tank surrounding the gold-plated, glittering temple structure enables it to be viewed as a shimmering mirror image reflected in its placid waters. This is one of the most profound and intense spiritual experiences rendered by a landscape element to its focal architecture. Almost all South Indian temples have a sacred pool in their precincts both for ritual and for cleansing of the body and soul. Beyond the hills, in the plains the most preferred location for siting of Indian temples or ‘temple towns’ has been along rivers. Be it religious and pilgrimage towns of Hardwar, Mathura, Allahabad, Nashik and many others, the river front and the bathing ghat is integral to its urban character. Play of Light and shadow Evolution from the Renaissance style to the Baroque can be recognized by – broader interior spaces, more playful attention to light and shadow, extensive ornamentation, large

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frescoes, focus on interior art”. Saint Paul’s Cathedral in London by Christopher Wren is a prime example of the rather late influence of the Baroque style in England. Play of light and shadow is a prime feature of both the historic places of worship as well as in their contemporary transformation. The use of stained glass windows with biblical themes and floral patterns became a critical component of the traditional church architecture. However, in Modernism, Notre Dame du Haut at Ronchamp, the late work of Le Corbusier is famous for its eye catching plastic form, built in pure white concrete exteriors that transforms into an ethereal, kaleidoscopic play of light pouring in through numerous small fenestrations in the dark interior. And even much before Corbusier’s Notre Dame, another master Frank Lloyd Wright in his Unity Church project in 1908 at Chicago, broke away from traditional forms to evolve a cuboid modern structure, that had muted walls on the exterior but warm play

of light and shade inside. “At once grand yet intimate, the sanctuary is a masterful composition in light and space. Its elegant articulation and warm colors stand in bold contrast to the grey concrete exterior”. The Bahá’í temple at Delhi shaped like a giant lotus flower is approached by a long, axial foreground leading to the sculptural form. This sets the stage, preparing the visitor both for the physical and the spiritual transformation in the house of worship—with light straining in for the top. Quite interestingly, Corbusier, too, wanted to echo the ‘sacred’ in his sculptural Assembly building in the Capitol Complex, Chandigarh (now a UNESCO Heritage property) with its unique form of a hyperboloid shell at the top. This element, soaring upwards is a skylight intended to stream in light into the dark chamber below. And the building set in a foreground of reflecting pools is evocative of a 20th century ‘temple of democracy’ – as it was meant to be in the historic words of Nehru, the

chief patron of the Chandigarh project. In Chandigarh, some inheritors of Corbusier’s legacy too have been evolving symbolic forms denoting the spirit of religious building expressed in the language and idiom of Modernism. Notably, S D Sharma, a veteran architect, designed a gurudwara – seeking inspiration from the Sikh turban – and turned it into an evocative dome above the main hall. Both Sharma and a younger local architect, Surinder Bagha, have explored symbolic forms for building churches and temples that encapsulate their quintessential religious ethos, expressed in the modern vocabulary of the city. Evoking the timeless in the sacred is an ageold quest for the architects—and shall remain so till eternity. Picture Courtesy: Rajnish Wattas

Rajnish Wattas, former principal of Chandigarh College of Architecture, is a noted architectural critic with significant published works.

ARCHITECTURE+ DESIGN October 2017

Architecture for Divinity

Photo credit: Ian David

Temple of Light Saimak Hariri

Project: Bahá’í Temple of South America, Santiago, Chile Architects: Hariri Pontarini Architects, Canada

et within the foothills of the Andes, just beyond the metropolis of Santiago, Chile, the Bahá’í Temple of South America uses light for its spiritual and design inspiration. Nestled in the rolling topography of the mountains and surrounded by reflecting pools and a landscape of native grasses, this complex-curved temple of light acts as an invitation for spiritual contemplation and architectural pilgrimage.

October 2017 ARCHITECTURE+ DESIGN

Fourteen years in the making, the house of worship represents the last of the eight continental temples commissioned by the Bahá’í Community. The Bahá’í faith is built on the tenet of universality; therefore, the architectural challenge is to create a design that would be welcoming to people of all faiths and cultures; recognisable as a house of worship without referencing specific iconography.

Photo credit: Sebastian Wilson Leon ARCHITECTURE+ DESIGN October 2017 29

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October 2017 ARCHITECTURE+ DESIGN

Photo credit: Hariri Pontarini Architects

CONSTRUCTION PROCESS

Photo credit: Hariri Pontarini Architects

Inspiration was drawn from a myriad of sources, such as the magic of dappled sunshine beneath a canopy of trees, the rotation of a Sufi whirling dancer, the interwoven strands of Japanese bamboo baskets, and the fragmentation of shattered glass. Developed through

October 2017 ARCHITECTURE+ DESIGN

hand sketches, physical models and state-of-the-art digital technology, the final design is composed of nine identical, gracefully torqued wings that frame an open, accessible, light-filled space for prayer and meditation. The aim was to achieve an interplay of seeming contradictions: stillness and movement, simplicity and complexity, intimacy and monumentality; a solid structure capable of dissolving in light. The super-structure of the wings are comprised of hundreds of unique, individually engineered slim-profile steel members and nodal connections. Each of the wings rest on concrete rings and columns on elastomeric seismic isolators, so that in the event of an earthquake, the concrete pads slide horizontally to absorb the shock. An intensive investigation into the material qualities that capture, express, and embody light resulted in the development of two cladding materials: an interior layer of translucent marble from the Portuguese Estremoz quarries, and an exterior layer of cast-glass panels developed exclusively for this project. The research for the castglass exterior cladding took nearly four years, working in collaboration with artisans at Jeff Goodman Studio in Toronto. A remarkable 1129 unique pieces of both flat and

Photo credit: Sebastian Wilson Leon

curved cast-glass pieces were produced and assembled with meticulous care to create each of the nine wings. On the inside, flat pieces of marble were water-jet cut while the curved pieces were extracted from blocks. Looking up to the central oculus at the apex of the dome, the steel and marble wings seem to be bound at the top of the dome as if large, malleable pieces of rope. Between dawn and dusk, the temple’s glass and marble become infused with the wide range of seasonal colours that dance across Santiago’s sky; the light that is filtered to the inside of the building shifts from white to silver to ochre, then blue to purple. At night, the materials allow for an inversion of light, whereby the temple, lit from within, casts a soft glow against the Andean mountain range that borders the city. Around the world, each of the Bahá’í continental temples serve as centres of worship as well as expressions of technological innovation and architectural excellence. Expressing a faith of inclusion, the temple is more than just a story of complex design, innovation and construction; it is the embodiment of a community’s aspirations to create a place for gathering, contemplation, mediation and prayer for future generations.

Factfile Client: The National Spiritual Assembly of the Bahá’ís of Chile Site area: 9.287 ha Gross oor area: 2,438sq m Partner-in-Charge: Siamak Hariri Project Manager: Doron Meinhard Project Architect: Justin Huang Ford Project Team: Michael Boxer, George Simionopoulos, Tiago Masrour, Tahirih Viveros, Jin-Yi McMillen, Jaegap Chung, Adriana Balen, MehrdadTavakkolian, Donald Peters, Jimmy Farrington, John Cook Project Management: Desarrolllo y Construccion del Templo Bahá’í de Sudamerica Ltda. Superstructure and Cladding: Gartner Steel and Glass GmbH Glass Casting: Jeff Goodman Studio and CGD Glass Stone Fabrication: EDM Consultants: Benkal y LarrainArquitectos (Local Architect); Juan Grimm (Landscape); Simpson Gumpertz & Heger, HalcrowYolles, EXP, Patricio Bertholet M (Structural); Simpson Gumpertz & Heger (Cladding); MMM Group, Videla & Asociados, The OPS Group (Mechanical, Electrical, Plumbing, HVAC); Isometrix, Limari Lighting Design Ltda (Lighting); Verónica Wulf (Acoustics) Year of completion: 2016

ARCHITECTURE+ DESIGN October 2017

Architecture for Divinity

Redening spaces of spiritual refuge

Amritha Ballal

Suditya Sinha

Project: Temple in Stone and Light, Rajasthan Architect: SpaceMatters, Delhi

This project was taken as an opportunity to explore and establish contemporary interpretations of traditional building technique – it was aimed to cater to the local community of Bhadresh, an industrial township. With prominent industrial structures as a backdrop, the brief was to evolve a form intended as a contemporary interpretation of a traditional temple, which brought about familiarity and excitement at the same time.

October 2017 ARCHITECTURE+ DESIGN

Located in the culturally rich area of Rajasthan, the contextual response to the region’s architecture rendered a design which sought to push the boundaries of modern temple architecture without compromising on tradition. The temple connects with the community through representation of the local culture, workmanship and heritage. Stone masonry was employed in order to pay homage to the region’s building style. The Temple in Stone and

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ARCHITECTURE+ DESIGN October 2017

SITE PLAN

October 2017 ARCHITECTURE+ DESIGN

STONE FLOORING PLAN

Light sought to add value by bringing a new design and aesthetic to the region which already had traditional temples of stone. The symbolic aspects of temples were retained while the scope of the design was expanded. The native flora was considered in the design as the landscaping of the temple was envisioned as being nestled in dense vegetation. Due to the reservoir for a power plant in the vicinity, the area has a very high water table. Currently, the landscape has started to create a local ecosystem. The use of the temple by the local people is the most during the tolerable temperatures of mornings and evenings. Hence the design, along with the landscaping, provides spaces for individuals and families instead of built canopied areas for large gatherings. The traditional Indian temple is strongly associated with stone, which is a testimony to the materialâ&#x20AC;&#x2122;s strength and timelessness. The availability of resources and the utilization of skilled traditional craftsmanship led to stone being used exclusively. Considering the setting of the temple in the canvas of the Thar desert, the primary building material was the locally-sourced Jaisalmer sandstone. The yellow

October 2017 ARCHITECTURE+ DESIGN

STONE PROFILE AT DIFFERENT LEVELS

sandstone gives the temple an appearance of having risen from the surrounding sands. Instead of hiding the details of structural construction, they were made an integral part the temple aesthetic. The usage of a stone structure was in order to achieve beauty not through ornamentation but through the purity of its form. The main innovation is in the shikhar of the temple, which is supported by solid dressed stone masonry. Rather than a solid block, the individual components of the shikhar of the temple are offset from each other using interlocking stone blocks with epoxy binder. The slabs in the shikhar with their interlocking blocks had to be designed in a manner that stability was achieved and symmetry was retained when the structure was strongly visible during the night. The stone slabs are held at their joints by steel plates and studs. The massive masonry walls are designed to hold the stone shikhar. The placing of the blocks and the

October 2017 ARCHITECTURE+ DESIGN

workmanship are such that one sees only hairline joints between the blocks. Each massive stone component had to be placed precisely to balance the various requirements. As the stone was used for structural purposes and not just decorative, the density of the stone was specified, which was arranged to meet the requirements. The pure compression structure is revealed through each course and component that forms the superstructure. Low operational costs were achieved through usage of local stone and by employing local skilled labour. The heaviness of the stone was to be balanced with lightness, which was done through the introduction of light. Stone was carved out to create porosity for natural light to get in, while retaining its solidity as a volume. LED lighting was used to transform the structure in the nighttime such that it appears as a glittering lantern in the stark desert landscape.

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The stainless steel vedika, or the peak atop the stone shikhar, catches the light during sunrise and sunset. In addition, marble was used for a finer finish and detailing on the landscaping, wall cladding and flooring, separate from the masonry structure. The Jaisalmer stone of the temple lets in air and light; water flows through and around it. The interlocking stone joinery is employed to let light into the inner sanctum or the garbhagriha of the temple during the day and let light out during the night. Niches and stone screens provide

October 2017 ARCHITECTURE+ DESIGN

an element of lightness to the structure. The architecture of the temple combines the heavy materiality of the stone with the lightness of the form; the solid looking stone exterior dissolves as the night dawns and transforms into a delicate lantern in the dunes. The light deepens the natural yellow of the stone. A balance of opacity and transparency is achieved by play of stone and light as architectural elements. While in the first appearance, the form of the temple evokes the lines of a traditional Shiva Temple, a closer glance reveals a reimagining of the fractal geometry of the traditional Indian temple structure. Through the design process, the brief was changed from being a Shakti to a Shiva temple, in other words from being a temple for a female deity to a male one. This resulted in an unusual juxtaposition of symbolically masculine and feminine elements of temple architecture in the design. Masculine and feminine are often approached as a continuum, rather than a binary, in ancient Indian philosophy and mythology, and the architecture of this contemporary temple also came to represent the same. As a result, Parikrama (circumambulatory) of Shakti temple is juxtaposed with

symbolic structure of Shiva temple that emerges into a spiritual space with an androgynous sensitivity for this place of worship. The design of the temple was intended to evoke timelessness and traditional yet still be rooted in its time and place. Through the research and design development process, the structured symbolism of traditional temple architecture was filtered to evolve the form.

Factfile Client: JSW Raj West Power Ltd Design team: Anand Lakhani, Juhi Mehta, Rishi Suman, Adarsh Saravanan,Sneha Kathi, Waseem Ahmad Site area: 4,360sq m Built-up area: 138sq m Consultants: Structural Design: Sanjeev Aggarwal - Ace Designs; Kulwinder Singh - Design Roots, Project Management: RWPL - Civil Works Department Services: Umed Khan- Engineering Consultancy Services, Site supervision: Civil Works Department- JSW RWPL, Vastu consultant: Ashok Sharma, Advisors: Adam Hardy, Vishakha Kawathekar, Moulshri Joshi Year of completion: 2016

October 2017 ARCHITECTURE+ DESIGN

Architecture for Divinity

Revisitng Najd architecture... Paola and Andrea Schiattarella Project: AlJabri Mosque in Haâ&#x20AC;&#x2122;il, Saudi Arabia Architects: Schiattarella Associati, Rome

he project is a new mosque in the city of Haâ&#x20AC;&#x2122;il, Saudi Arabia, to be realised on an area of 22.500sq m, on King Abdul-Aziz Road, able to host about 2000-3000 worshippers. A strategic area where the building complex is thought both as a service structure with religious and educational functions and as a landmark for the community. The

October 2017 ARCHITECTURE+ DESIGN

project starts from an in-depth review of the local area identity and its relationship with the urban surroundings in order to define formal and architectural key elements. The complex develops around a central square, enclosed and cosy, which will be a meeting point. Access to the square is enabled through covered passages and small aired and shady courtyards, a protected location in

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ARCHITECTURE+ DESIGN October 2017

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October 2017 ARCHITECTURE+ DESIGN

which meeting and relaxing is pleasant. All around the plaza, there are commercial activities, coffee bars and little restaurants, whereas on the upper level there are offices, libraries, Koranic school and sports facilities for youngsters. The entire building complex is naturally dominated by the main mosque. The project is based on the Saudi cultural identity values of Najd architecture; it gathers the principle of a people-oriented city and proposes it back again using a contemporary language respectful and attentive in the use of shapes and materials. The volume of the mosque, despite its dimensions, apparently seems to be floating on the water surrounding it. The diagonal cut at the centre of the stone-made faรงade marks the symbolic passage from outside to inside, the doorstep between civilian and religious area, promising and allowing the owed purge/purification. Place of meditation and sacredness, during the day, the main hall of the mosque is crossed by natural light seeping through along the perimeter in the intentionally empty space between the two walls, bouncing from one wall to the other and disappearing diagonally in the structure lighting it up in its lower boundary. At sunset, artificial light follows the same path in reverse order, so that the building becomes a landmark from the outside and is for all to see. The inner space is crossed by suffused and indirect light, which reflects

on the rough walls surface and deeply penetrates in the mosque. Light increases its intensity while approaching the mihrab to indicate directions towards Mecca. Result is a space where light dominates underlining its sacredness and at the same time fosters meditation and prayer fully respecting local tradition and culture.

Factfile Client: Charitable Association for Engineering Services Design: Schiattarella Associati Year of completion: 2017

ARCHITECTURE+ DESIGN October 2017

Architecture for Divinity

Indian Temple Design

Shree Kalyana Venkateshwara Temple Venkatapura, Karnataka

Adam Hardy

n 14 June 2017, a shilavapanana (stone-laying) ceremony was performed at the site of the planned new Hoysala-style temple at Venkatapura, near Nangali in Kolar District, Karnataka. The site is a bare granite outcrop rising above the small village, and lies at what was at one point the eastern limit of the domains controlled by the Hoysala dynasty, which flourished in the 12th and 13th centuries. Over the past five years, massive blocks of locally-quarried granite, each funded by an individual donor, have been laid in bonded courses to form a platform for the ambitious temple structure. Seven years

October 2017 ARCHITECTURE+ DESIGN

earlier, at the Spring equinox at sunrise, I had participated in the bhumipuja or earth-worship ceremony, and more recently a shilanyasa for the foundation stone. Architecturally, the June event was more significant, as the stone to be placed was the first carved one. The soapstone block, roughly 45 x45x18 Âź inches, is part of the upapitha or base stone, forming one point of the star-shaped plan of the vimama or shrine. It had been selected, quarried, cut and carved at Karkala, and master-sculptor Gunavantheswara Bhat, pupil of the projectâ&#x20AC;&#x2122;s head sculptor Ganesh L Bhat, delivered it at the eleventh hour after an arduous drive. Nine apprentice sculptors emerged with the stone from the truck, and set to continue their work overnight on the first five of the interminable elephant herd who will zig-zag around this moulding. The stone was inaugurated by the Maharaja of Mysore, Yaduveera Chamaraja Wadiyar; the officiating priests were from the Tirumala Venkateshvara temple at Tirupati, as this temple is to be dedicated to Sri Venakteshvara or Balaji; and some seven thousand devotees took part.

Open hall (sabhamandapa) at Ishvara temple, Arsikere

Ishvara temple, Arsikere, c. 1220 AD

SKVT Vimana Elevation

Overall Elevation

ARCHITECTURE+ DESIGN October 2017

Sculptors at work on the ď&#x192;&#x17E;rst stone before the ceremony on 14 June 2017

This project has not been a rushed one. It was in 2009 that I was first approached by Aravind Reddy, whose vision and energy are the driving force. A public trust, the Shree Kalyana Venkateshwara Hoysala Art Foundation was being set up to promote a renewal of the arts and culture that flourished in southern Karnataka under the Hoysalas. They planned to build a large new temple in the intricate Hoysala style, a style not practiced for the last 700 years, built entirely of stone and using the traditional structural techniques. Apart from its religious purpose, the project would stimulate a revival of crafts and provide a setting for cultural activities such as dance performances. Hoysala architecture should be understood as the culmination of the Karnata Dravida tradition that had taken root under the early Chalukyas in the seventh century. The prospect of designing in that tradition was an exciting one for me. While I have worked on temple architecture all over India, it was the temples of Karnataka that I had studied for my doctorate, completed in 1991. I had scrutinised and drawn compositions and minute details through six centuries of architectural transformations, and thus internalised them. The client wanted to build a monument on the scale of the grandest Hoysala works at Belur

October 2017 ARCHITECTURE+ DESIGN

Plan of the Complex

Main Temple Plan

and Halebid, and the challenge of this brief was not to copy any existing temple, but to create a new design embodying the principles of the tradition. With such a brief, how should an architect conceive of their role? Clearly there is no scope to boast of a contemporary abstraction that ‘captures the essence’, still less to claim cutting-edge innovation. A new temple in an old style might seem like the work of New Classicists in the west, and present-day Classicists could supply rationales for such a temple, ranging from timeless wisdom

to popular appeal. The contexts are very different, however. Indian ‘Classicism’ has not bequeathed centuries of reinterpretation to the architectural mainstream. Unless one is a Tamil sthapati or a western Indian Sompura, the primary teachers are the temples themselves. This may be surprising to people who think that the process involves following the rules set down in ancient texts. Having studied medieval Vasusahstras over the past few years, it is clear to me that they provide frameworks for temple designs, while demanding interpretation and improvisation. It is impossible to follow them faithfully or slavishly even if you want to. Furthermore, for a Hoysala temple the issue does not arise, as there is no surviving Vastushastra text from medieval Karnataka. It is the architectural tradition as embodied in its built creations that points the way to a culturally appropriate and practical way to approach the design of this project: to let it be svayambu, or self-emergent. The idea of a universe manifested through a sequence of emanations in a progression from one to many is a recurrent one in Indian philosophical, theological and mythological systems. Temple designs often embody the same pattern. Within the diverse traditions of Indian temple architecture, an emanatory scheme is observable both in the formal structure of individual temple designs, which express a dynamic sequence of emergence and growth, and in the way in which temple forms develop throughout the course of such traditions. The temple architects drew out the possibilities inherent in the architectural language. They pulled forth new forms from old ones, leaving the old form within the new one, so that the unfolding stages of the tradition displayed their sequential presence in the emanatory dynamism of a single temple. Thus, while their work was full of invention and ingenuity, there was a sense of organic inevitability. Vastushastra texts share this emanatory way of thinking, presenting varied temple typologies in which designs develop from simple to complex, emerging sequentially one from another. The framework they provide leads to results that are only partly determined by the individual architect. This contributes to this sense that a new temple design is svayambhu, self-manifesting, appearing through a cosmic process from a supra-human

ARCHITECTURE+ DESIGN October 2017

Details - Key proportions

source. The Karnata Dravida tradition between the 7th and 13th centuries is a classic example of this emanatory kind of evolution. The American anthropologist Samuel Parker uses the term svayambhu to characterise the design practices of traditional sthapatis in South India. This is not so much in relation to architectural form, but a ‘ritual mode of production’ whereby, in the shared understanding and actions of sthapatis, priests and patrons, design is an act of channeling forces so that a temple or a temple icon can emerge. Practice is inherently fluid, adaptable to different contexts and unforeseen circumstances. A svayambhu approach to the present project can therefor work in two parallel ways. The first is through awareness of the formal games

October 2017 ARCHITECTURE+ DESIGN

that were played out in the tradition, of the emanatory logic of its development, and of its inherent possibilities. In this respect, the design can reflect what the Hoysalas might have done next if they had built another great royal temple after Belur and Halebid. The second is simply to accommodate all the requirements and exigencies beyond one’s control: the decision that it should be in Hoysa a style, ritual and iconographic needs, auspicious dimensions. At the start of the project the client explained that the famous Chennakesava temple at Belur (dedicated 1117 AD) is to be the benchmark for the scale of the temple, including the plan size of the vimana and the garbhagriha within. Certain hallmark features of the grandest Hoysala temples were expected: a great jagati platform supporting the entire structure, a wall in two tiers with sculptures in the lower register and miniature temples rising above, and half-emerged shrines bursting forth along the cardinal axes. A nine-bay mandapa or hall was preferred. Sixteen freestanding pillars will support nine principal ceiling bays, with minor ceiling divisions set at a lower height to allow light to enter and glow across the main domes. The client pointed to the beautiful little Ishvara temple at Arsikere as a precedent for the plan, particularly the stellate open hall (sabhamandapa) in front, for dance performances. Given the much greater scale, with a limit to the possible beam length, this could not be simply a blown-up version or Arsikere. The solution that offered itself is a large domed octagon surrounded by eight smaller domes, while retaining the star shape. Surrounding the entire complex is to be a 450 ft x 650 ft (137 x 198 m) prakara, lined internally by ancillary rooms and a colonnade. Entry to the enclosure will be from the east through a rajagopura. If these seem like normal programmatic needs, the iconographic requirements generated the specific temple form in a strikingly self-manifesting way. The mandapa walls are to display the dashavataras, the ten avatars of Vishnu, necessitating ten principal projections, of which the main panels must be of equal size. In the vimana walls it is the viahnuchaturvimsati — the twenty-four names of Vishnu — that are to be represented. This necessitating twenty-four visible facets. Leaving room for the bhadras (cardinal projections), this calls for a stellate

Open hall (sabhamandapa) at Ishvara temple, Arsikere

Ishvara temple, Arsikere, c. 1220 AD

SKVT Vimana Elevation

Overall Elevation

ARCHITECTURE+ DESIGN October 2017

Main Temple - Side Elevation

plan of twenty-four points, formed by a square rotated six times. In the angles between the main elements emerge re-entrant projections based on an equilateral triangle rotated eight times. Norms of proportion dictate that this plan should generate a vimana of seven talas (storeys). As if by magic, the composition resulting from the iconographic needs takes the unfolding, proliferating development of the Karnata Dravida tradition a step further than the Hoysalas did. Design of the details is now in progress. I am drawing the mouldings full size, trying to marry Hoysala lushness (to come with the carving) with the best of Chalukya elegance. Cad drawings are being done in parallel by Yashaswini Sharma (Esthetique Architects).

October 2017 ARCHITECTURE+ DESIGN

Relative proportions of Karnata Dravida mouldings vary considerably, and there is no text for reference; but the proportions are guided a ubiquitous principle in Vastushastra texts, whereby plans and elevations are divided into parts (bhagas, padas, amshas) and elements measured in terms of whole numbers or simple fractions of such parts. This accords with the working methods Shankar Sthapati, the prominent member of a lineage of Tamil sthapatis who is in charge of constructing the temple. Twelve of the basic bhagas or parts make up one grid square of the temple plan. The grid is based on the garbhagriha being 4x4 squares, and with twelve the basic square of the vimana walls (the one that rotates to make the star). The actual size of the grid is derived from

The rst stone - almost complete

the Aya or Ayadi calculation made by Agama experts from Tirupati. This calculation takes into account the horoscope of the deity, that of the karta (literally ‘actor’), Aravind Reddy’s father Sri Ramalinga Reddy, and the location. It results in a garbhagriha width of 14 ft 1 in, and thus a grid square size of 3 ft 6¼ in. The resulting vimana height is about 109 feet (33 m). The recent shilanyasa ceremony was planned at rather short notice, to take place at a rare muhurta (auspicious time) that happened to coincide with the 900th anniversary of the consecration of the Belur Chennakeshava temple. The unexpected rush to finalise the design of the lowermost moulding demonstrated how svayambhu the detail design would be. The typical Karnata Dravida moulding sequence for an adisthana (moulded base) was replaced in the most prestigious Hoysala works by a series of sculpted friezes. It is not usually recognised that these were originally superimposed onto the traditional mouldings. At Halebid, on close inspection, the moulding shapes lurk behind the bands of lions, makaras and so on. My idea for the new temple had been that the pristine mouldings and lush bands would be subtly interwoven.

October 2017 ARCHITECTURE+ DESIGN

A drawing was suddenly needed for the ‘first stone’. This might sound easy, but every stone is intimately related to every other one. Detailed decisions had to be made for what would come above, to ensure that the first stone was correct. Having already drawn at full size the kuta pavilion way above, I worked downwards to an elephant-lined jagati moulding around 22 inches high. However, it transpired that courses of this height would be difficult to source. An excellent first stone had been identified in the quarry at Karkala, which would give us about 18 inches. The sculptors felt this would allow more suitable elephants, but I knew it would wreck the proportions. What was therefore required, without compromising the overall height of the moulded base, would be the addition of a sub-base or upapitha below the adisthana proper, consisting of elephants and two further mouldings. In svayambhu fashion the solution emerged. Let the whole temple similarly create itself in the coming months and years. Adam Hardy is an architect and architectural historian, and is currently the Director of PRASADA, a centre devoted to the architecture, visual arts and material culture of South Asia.

Architecture for Divinity

Oscar & Ponni

Arched Ediï&#x192;&#x17E;ce

October 2017 ARCHITECTURE+ DESIGN

Project: CSI Bain’s Chapel, Chennai Architects: Oscar & Ponni Architects, Chennai

he church replaced the dilapidated old chapel building of the school and is located in front of the hostel building and behind the existing auditorium building in the school campus. The chapel hall epitomizes the aspirations of the school and Diocese of Madras to provide a prayer hall which the school children and adults will be proud to call their own and enjoy tranquil and peace during worship.

The chapel footprint is a square, with a grand entry arch dominating the entry façade and similar smaller arches adorning on the remaining three facades. The building originated from the consideration of this chapel as a part of a grouping of cultural facilities for the campus, including a performance centre just opposite. It’s an end point for the campus, so it addresses two different approaches: one is the formal approach from the street and the other is from

ARCHITECTURE+ DESIGN October 2017

SITE PLAN

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ARCHITECTURE+ DESIGN October 2017

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the school, for students coming towards the chapel. The chapel is a delicate composition of floating planes of glass, frosted clerestory windows, pilaster walls and translucent arched aluminum-framed structural glass panels that cast a warm glow and create a tranquil and an inspirational environment. Abundant arched windows provide diffused light throughout the interior. One of the interesting things is that the building has multiple identities, and each side of the building, and the apertures on each, are very different. Outside of the sanctuary, itâ&#x20AC;&#x2122;s very bright. But in the sanctuary, the architects were interested in calibrating how light would come in and down onto the altar whether it was through the stained glass windows, allowing a stream of light to come in as an accent, as opposed to washing the space. The light, and how the architects introduced it, brings movement and adds cadence to the experience of entering the chapel.

October 2017 ARCHITECTURE+ DESIGN

ELEVATION

The modern design of the prayer chapel hall, with its protruding arches and column-free hall using post tension technology with shallow beams will be a boon to the worshipers. The use of structural glazing and stained glass will leave an imprint in the minds for years to come, while filtering in ample light and ventilation to the hall. The square modern yet functional belfry was positioned on one corner of the chapel with aluminum lattice screen design will lure the faithful with its enchanting chimes.

Factfile Client: CSI Diocese, Chennai Built-up area: 6,400sq ft Year of completion: 2015

Architecture for Divinity

A ï&#x192;&#x;oating image... Coetzee Steyn

October 2017 ARCHITECTURE+ DESIGN

Project: Bosjes Chapel, Bosjes Farm, South Africa Architects: Steyn Studio, London

he new chapel is set within a vineyard in South Africa and its serene sculptural form emulates the silhouette of the surrounding mountain ranges, paying tribute to the historic Cape Dutch gables dotting the rural landscapes of the Western Cape. Constructed from a slim concrete cast shell, the roof supports itself as each

undulation dramatically falls to meet the ground. Where each wave of the roof structure rises to a peak, expanses of glazing adjoined centrally by a crucifix adorn the faรงade. Drawing poetic inspiration from Psalm 36:7, the crisp white form is conceived as a light-weight and dynamic structure which appears to float within the valley.

ARCHITECTURE+ DESIGN October 2017

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October 2017 ARCHITECTURE+ DESIGN

A reflective pond emphasises the apparent weightlessness of the structure. Elevated upon a plinth, the chapel rises from the flat land it sits upon, providing a hierarchical focal point within its surroundings. New planting including a vineyard and pomegranate orchard create a lush green oasis on the otherwise exposed site. Inside, a large and open assembly space is created

October 2017 ARCHITECTURE+ DESIGN

within a simple rectangular plan. Highly polished terazzo floors reflect light internally. The undulating whitewashed ceiling casts an array of shadows which dance within the volume as light levels change throughout the day. This modest palette of materials creates a neutral background to the impressive framed views of the vineyard and mountains beyond.

In order to keep the structural form of the roof and assembly space pure, other elements of the building’s functional programme are either hidden within the plinth, or discretely within the outer corners of the surrounding garden. Inspired by the simplicity of the Moravian Mission Stations established on Cape Dutch farms in the 19th century, the chapel lacks a spire – relinquishing a sense of significance in relation to its impressive natural surroundings. An open embrace which invites in, the chapel is also a space that extends outwards into the valley and mountains beyond, raising the awareness of God’s creation in the immediate environment.

Factfile Design team: Coetzee Steyn (Director); TV3 Architects, Stellenbosch, South Africa – Edwin Swanepoel, Hendro Hugo, Jurgen Breuniger Consultants: Henry Fagan & Partners (Structural), Solution Station Consulting Engineers (Mechanical and Electrical), De Leeuw (Quantity Surveyor), TPS Land Use Planners (Town Planners), Riding & Watt (Land Surveyors), Rob Brunings (Planning), Graham Jacobs, Elzet Albertyn & Lize Malan (Heritage), Liam Mooney Studio (Interior Designer), CNdv Landscape Architects (Landscape), Solution Station (HVAC) Contractors: Longworth & Faul (main), Sergio Soria Soria, Pedro Lopez Quintas Cost of project: £1.5 million Built-up area: 430sq m Year of completion: 2016 Company names of products/materials used: Paint – PlasconNuroof White, Terrazzo Flooring – 2-4mm Grey Limestone Terrazzo supplied by World of

Photo credit: Adam Letch

October 2017 ARCHITECTURE+ DESIGN

Decorative Concrete, Cape Town

Architecture for Divinity

Spiritual inclusivity in the Oasis Project: Guru Nanak Darbar Gurudwara, Dubai, UAE Architects: Hyder Consulting Middle East Ltd, Dubai

espite how Dubai is said to be a shining example of religious tolerance in the UAE, Sikhs had no common place to gather for worship. The push for an official and a permanent Gurudwara by the community leaders began about 27 years ago. As soon as consent was received from the Council of Imams, Sheikh Mohammed bin Rashid Al Makhtoum, VicePresident and Prime Minister of UAE, bestowed a piece of land free of charge for the Gurudwara to be built. In June 2010, foundations were laid for the Guru Nanak

October 2017 ARCHITECTURE+ DESIGN

Darbar. The community sought to build the Gurudwara in the image of the Golden Temple in Amritsar. Holford Associates, an architect firm, presented the layout of the Dubai Gurudwara. Consultancy was also sought from Richard Adams of UK, who was involved with the Shri Guru Singh Sabha Gurdwara on the Havelock Road in Southall, London. Before awarding the contract, the architects were sent on a tour to visit the Gurudwaras around the world as a reference. Paul Bishop and designer Arafeh Bashir

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visited the Golden Temple and studied frescoes and wall-painting at Sri Harmandar Sahib. It took two years for the architectural firms to give shape to the three-storied structure built over 12, 5000sq ft. Construction work of Guru Nanak Darbar was started from May 2008 and got completed in December 2011. The Guru Nanak Darbar is a multi-storey facility spread over 100,000sq ft building area located at the T-Junction of two large accessible roads.

(Due to security issues, detailed information about the design and construction method of the project could not be included.)

Factfile Design team: Bishop Design, UAE Plot area: 25,400sq ft/2360sq m Built up area: 116,746.01sq ft/10,846.1sq m Cost of project: 65 Million Dirhams

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Project Features

Brutalist revival Simon Henley

Project: Chadwick Hall, UK Architects: Henley Halebrown Architects, UK

enley Halebrown has completed three residential halls for the University of Roehampton in southwest London. The design of the halls is a poetic response to the existing architectural setting of the Roehampton campus, which includes fine Georgian buildings as well as post-war municipal housing by London LCC Architects Department. In both plan and elevation, these two historic precedents inform Henley Halebrownâ&#x20AC;&#x2122;s approach. The architects drew inspiration from existing buildings, old and new, and their informal English garden-like design.

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Being the master planners for the university, Henley Halebrown ensured that the future development of the academic campus formally adheres to its collegiate roots. The three new buildings are located in the West Court, North Court and South Court Residences. The idea of the classical villa is incorporated in both the South and North Court residences while the West Court residence is modernist in plan. This is mediated through a long sunken garden between the West Court and North Court residence. Qualities of Brutalism have been sought in the work

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The fine balance between gravitas and levity is reflected in the scale and massing of the new buildings. This ideal is reflected in the distinct external appearance of the residences but also in the different types of student flats within the buildings. The accommodation differs in terms of the number of students a flat may house along with its aspects, size and configuration. In each residence, the architects have placed social areas, such as sitting rooms, related to the overall building typology and surrounding vistas. Nearly all bedrooms have French doors and balconies, allowing students to enjoy the generous parkland location. The main staircases of all three residences serve as architectural devices identifying the individual buildings while enhancing a sense of engagement and ownership. Overall, there has been a strong desire by the architects to move away from student halls predominated by what can feel like endless circulation spaces rather than compact and social courtyards found here.

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Factfile Area: 3665sq m Project team: Francesca Bailey, Noel Cash, Simon Henley (Director), Craig Linnell (Project Arch), Andrew Macintosh, Tom Roberts and Ami Skimming Consultants: Structural Engineers – Campbell Rieth, Structural Engineers (pre-contract) – Buro Happold, Services Engineers – Skelly and Couch, Quantity Surveyors: Gardiner and Theobald, Quantity Surveyors (pre contract) – BWA, Heritage Consultant – Urban counsel, Building Control – MLM, Landscape Architects – Gross Max, Bio diversity: Skilled Ecology, Argiculture – Arbourhelp, Transport consultants – Royal Haskoning DHV Main Contractor: Morgan Sindall Cost of project: £12.6m Company names of products and materials used: Bricks – Floren, Vega Rustic Roehampton White, Mortar – CPI EuroMix, Windows – Ideal Combi, Futura+ & Futura+i, Precast concrete – Amber Precast, External Metal Balustrades – Iron Designs, External Timber doors – CCN Ltd, Rooflights – BBS Structural Glazing, Internal Doors – CCN Ltd, Carpets – The Mowhawk Group, Vinyl flooring – Forbo Floor UK, Kitchens – Howdens, Lifts – Kone, External Louvres – Renson, External Louvres/Louvred Doors – Sunray

Book Section

This relief in stone is known as ‘Arjuna’s Penance’ because it represents the austerities Arjuna observed to get the blessings of Shiva, whose image is carved standing next to him. The relief is also known as ‘The Descent of the Ganga’

Cosmic Dance in Stone... Review by: Pradeep Sachdeva

Cosmic Dance in Stone By Ramu Katakam Photography by Joginder Singh and Clare Arni Publisher Niyogi Books Pages 228 ISBN 978-93-85285-54-7

ometime last December I was travelling to Karnataka. There, I heard about a remarkable ancient site with rock-cut idols set in a river in Sirsi town, North Karnataka. My travelling companions and I went off on a short expedition to locate it and found Sahasralinga – which literally means a thousand lingams. This remarkable and relatively less-known place was something that took me completely by surprise. Set in a small river were thousands of lingams carved, in situ, over hundreds of years. There were also recent additions making this a continuously living place of worship. The lingams in different shapes and sizes together formed an interesting composition. Many of the lingams had been eroded by the river’s flow over the years while some were relatively new. There were also

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carved images and sculptures of Nandi and other bas-relief motifs. There were no tourists but a few local school children, out for the day, were cavorting in the water. This is a place which is out of the gaze and trampling of tourists and guidebooks. Sahasralinga is one of the sites beautifully documented by Ramu Katakam in Cosmic Dance in Stone. Rock cut architecture is one of the earliest yet powerful form of construction. There are instances of rock-cut architecture in many parts of the world. These include the tombs in Petra, Jordan, the cave dwellings of Cappadocia, Turkey, the churches of Lalibela in Ethiopia, the large-scale rockcut monuments in ancient Egypt as well as the cave dwellings in China. However in my opinion, the Indian architecture of

The ve ‘Rathas’ at Mahabalipuram, by John Gantz, c. 1825 – The Rathas (chariots) seen here are monolithic shrines carved out of granite and are similar in form to the temple chariots used to carry deities in processions during temple festivals.

temples and vihara’s reached sublime and extraordinary levels of the craft. India has numerous examples of this form. They are spread across the country and the styles are varying. They were created for Hindu, Jain and Buddhist temples. They are also from a time when the dividing line between sculpture and architecture was very thin. As a student, I remember our history professor describing the Kail s temple in Aurangabad with passion and awe. Years later I stood there with my mouth open. Stunned by the beauty of it all. Katakam seems to have been excited enough by this beauty – the sheer brilliance

of it all – that he has devoted many years studying and documenting rock-cut architecture in India as well in Cambodia. It has resulted in this magnificently produced book enhanced by the splendid photographs taken by Clare Arni and Joginder Singh. It details the better-known temples, such as those at Ellora, Mahabalipuram, Elephanta and Vijayanagar. However, it is the loving way in which the lesser-known ones are documented which makes Katakam’s book special. These include sites at Pitalkhara (50 km from Ellora), Dalavanur (outside Pondicherry) and, of course, Sahasralinga. The book highlights the connection between the Hindu architecture of India and the Khmer architecture at Angkor Wat and Bayon. It also draws, significantly, a comparison between the Lingams at Sahasralinga and the Lingams and stone carvings in the river Khal Spean in Cambodia. It makes one realise how arts and craft reveal the spiritual and intellectual links in ancient times across such a large region of Asia. I was particularly pleased to see the connection made by Katakam between the centuries old masterpieces and the work of contemporary sculptors Noguchi and Himmat Shah. The book is essential reading to anyone interested to learn more about Indian stone architecture.

Pradeep Sachdeva is an architect and urbanist based in New Delhi

Landscape of Stone... (extract from the book) by Ramu Katakam

Stone is a material that takes many million years to form and offers a sense of permanence. Craftsmen and designers of an earlier era were able to use it most effectively to produce masterpieces of art and architecture. This volume is largely a collection of photographs and

illustrations that shows how wonderful landscapes of stone have been devised to transcend space and time. It is an attempt to discover how the designers of the past envisaged structures that could link us to the stars and help us apprehend the nature of our existence.

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The primordial aspect of stone is perhaps why we feel so full of energy when wandering in areas with an abundance of this material. Stone offers magnificent compositions and becomes art in the vast expanses of the countryside, but man’s intervention in order to find a higher level of

small area are clearly without comparison. The unique stone relief known as the descent of the Ganges is also known as ‘Arjuna’s penance’. This vast relief is full of figures accompanying the centrepiece, representing the descent of the holy river. In every corner exists intrigue and detail.

A panoramic view of the remains of the city of Vijayanagar – It also illustrates the way the buildings were constructed without disturbing the landscape

being alleviates them to a level of beauty. The builders of Mahabalipuram, Ellora, Elephanta, Angkor Wat, Badami, and Hampi were concerned not only with creating shelter in harmony with the natural landscape, but also allow us to experience a sense of elation when confronted with the architecture of these places. The places I have chosen in this book, I believe, are structures that immerse the visitor in the universe. They are built in harmony with the landscape, but both the order and disorder of Hampi and Mahabalipuram are part of this extraordinary design. Mahabalipuram is said to have been a port where the Romans sent their ships to trade. The stone found here is among the hardest in India, and, consequently, the sculptures have not eroded or decayed. Created when the Pallava dynasty was at its peak, the masterpieces in stone in this

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On the day we photographed the relief, there was a herd of goats wandering about the relief and almost falling off it. The pictures capture this brief moment when live animals were seen with those of stone. The sculptures, said to be crafted over a millennium ago, reflect the genius of another age, when master craftsmen, artists, and builders were able to achieve the pinnacle of art. Artists and craftsmen of the era were completely absorbed in their work and did it as a kind of sadhna (prayer). Contemporary musicians in India often talk of being in prayer while they sing or play. The artist and his art merge into each other, producing work that is exceptional; art then no longer depends on the individual and becomes an instrument of the creator. In the modern era, Noguchi (the sculptor) has been able to understand stone and

Pavilion situated in the center of a man-made lake in Hampi with a backdrop of stone arcades and rocks.

has given the world a magnificent set of sculptures that suggest the perennial quality of the material. It is also a reflection of the way stone was treated in an earlier time.

I feel that we need to look back at this time, before the various invading armies, and find modern answers the way Noguchi has found in sculpture.

Historical Perspectives... (extract from the book) by Ramu Katakam

Here provided are brief historical perspectives on the places and structures I visit in the book. Buddha is believed to have lived from 623 BC to 543 BC.3 He lived a long life during a difficult period in Indiaâ&#x20AC;&#x2122;s history and was able to give his sermons walking from one end of the country to another. While is sermons were the predominant aspect of his life and work,

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he also made time to retreat and meditate in a cave near Rajgir, Bihar. This cave still exists and many a follower of Buddha can experience the place where the sage sat and meditated. Alexanderâ&#x20AC;&#x2122;s conquest of northern India took place in 327 BC.4 His generals, who remained to consolidate power, quickly adapted to India; it was a time when both

The temple in the rock formations at Dalavanur is known as the Satrumallesvara cave temple. It is part of a range of rocks that extends to the Gingee Fort and beyond.

A detail of a carved wall in a Jain cave near Gwalior. This example was created much later than those shown in this book but displays a high quality of artistry.

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This watercolour (Mahabalipuram) is from James Fergussonâ&#x20AC;&#x2122;s Illustrations of the Rock-cut Temples of India. Drawn by T.C. Dibdin from sketches made on the spot and in assistance of the camera Lucida 1838-9

An exterior view of Ellora showing the area where Buddhist caves are carved. The randomness of the caves and their connection with rock still brings about an order one is unable to dene. The play of sunlight on the caves always brings joy.

Greek and Indian cultures existed together. The art of Gandhara was clearly a mix of the two, giving rise to a new style. Gandhara consisted of an area that is now known as Pakistan and Afghanistan, and where the Buddhist faith flourished between the 1st and the 5th century – it was a time of peace and prosperity. Not much of the civilisation survives except for some artwork now housed in museums. The beautiful terracotta panels and objects of art excavated from the site provide an insight into the prevalent quality of life and the flourishing civilisation. The Maurya Empire, with Chandragupta Maurya at its helm, was among the earliest empires that was able to unify India. Chandragupta’s reign was the forerunner to the most significant period in India’s early history. This was when Changragupta’s grandson Ashoka consolidated earlier conquests and made his rule the defining moment in the foundation of India, in 272–236 BC.5 Ashoka is famously known to have

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forsaken war and turned to Buddhism for peace. His vision for India was vast and he was responsible for introducing a new way of life, with ethics and rules to make the world a better place to live in. His edicts, carved in stone, still exist and convey the measures he suggested in making his empire a land of peace and prosperity. The Buddhist faith prospered and the period of Ashoka’s reign was when it was given much patronage for its growth. After Ashoka’s death (in 185 BC), although the empire rapidly declined, Buddhism continued to be a major force in the subcontinent up to the 7th century. During this time, innumerable caves, monasteries, universities, and stupas were created around the country. The best preserved is the Sanchi stupa but the largest and most famous was the Amravati stupa in Andhra Pradesh. Buddhism remained the predominant faith in this part of India for almost a millennium. During this golden age of Buddhism,

One of the courts, revealing the sculptured gateways and the open space around the temple

the great monastic complex and university of Nalanda were established. Some of the notable scholars associated with the university are Nagarjuna, his disciple Aryadeva, Aryabhata, Dignaga, and Silabhadra. Nagarjuna served a term as the head of Nalanda and is also credited as the founder of the Madhyamaka school of Mahayana Buddhism. The university gradually developed into a huge institution, allowing the number of scholars and monks to reach 10,000, and was able to record and interpret Buddhaâ&#x20AC;&#x2122;s teachings into a collection of manuscripts that were to inspire various ideologies and schools of Buddhism.

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Most of this knowledge was exported to the neighbouring nations of Tibet, China, and Burma, and later found its way to Japan and the Far East, where Buddhism is the primary religion. Sadly, Nalanda was to face difficult times and was eventually destroyed by invading armies. Wave after wave of raiders demolished everything that Nalanda stood for, reducing it to just a majestic ruin. Fortunately, much of the knowledge gathered there had already found its way to the libraries and monasteries of different countries. In fact, Nagarjunaâ&#x20AC;&#x2122;s teachings are well-preserved and may one day find their

The Shikara Ratha, at one end of the complex, is an example of reď&#x192;&#x17E;ned design created by the Pallava craftsmen and sculptors. It was later to be used as a model for temples in the south of India.

A view of the lingams captured from ground level

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way back to their place of origin. When the Buddhist faith declined, in the 7th century AD, many parts of India came under Brahmanical influence. This is clear from the rise of the city of Ujjain in north India that became a powerful capital and was also a centre of the Hindu faith. Though the smaller kingdoms in the country were still at war, this period is defined by Hindu dominance and can be called the golden period of Hinduism in India. This period started around 7th century AD, when the sage Shankaracharya established the four maths (centres of Hindu learning) in the four sides of the country. One at Dwarka in the west, Sringeri in the south, Badrinath in the north, and Jagannath Puri in the east. This golden age reached its peak with the creation of the Khajuraho temples â&#x20AC;&#x201C; one of the finest collections of sculpture and architecture of this time. After the invasions from the north-west began, in the 12th century, the subcontinent experienced much destruction and suffering. Each subsequent invasion brought new rulers and kept the country in a state of uncertainty and turmoil. It was only with the Moghul invasions that some semblance of stability was achieved, but the intolerance caused by the continual clashes between Hindus and Muslims is present till today. The British, who ruled India for two centuries, tried to unite the country but largely only succeeded in further dividing the two communities and ruled with imperial might. Post-independence India is the first time the country has been free of invaders and rulers from foreign lands after the 12th century. It will take many years before the indigenous side of this country reappears. We are struggling to make headway in a country that has been under some kind of yoke for over 800 years, but perhaps a new golden age may still emerge. It is therefore all the more fortunate that the rock-cut temples could not be destroyed (though many were defaced) and stand as reminders to a forgotten age. They are symbolic of an understanding of the earth, architecture, and design that transcends space and time. Perhaps if we go back to them and really listen, they will guide us towards a better future.

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Sidharth Khatri and Mitali Kedia

Project: I Say Organic Store, Gurgaon Architects: Delhi Collective, New Delhi

he store is a one-stop-shop for everything organic. It is a social enterprise which envisions a world in which organic is the norm. The challenge started with designing a store which would need to break away from the image of a conventional grocery store, to a store that aimed at radiating a feeling of being organic. During the initial design process there was a need to identify what makes something organic and how would one use such a term within the design.

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The idea flowed out through the concept of creating life within the store as to celebrate the source of the produce which was displayed. The entrance of the store has been designed as a gateway built of display shelves with the brand logos in different vegetable shapes creating an exciting and dynamic facade. The space has been highlighted with hanging baskets and lights to create an interesting mix of heights for the consumers shopping experience. Box shelves take over the entire space as display shelving with clean light wood finishing adding depth to the space and breaking out of the mundane grocery store display design. The grey textured walls and

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yellow lighting subdue the effect of the overall use of wood and give it a contemporary form. Photo credit: Rohan Dayal

Factfile Lead Architects: Sidharth Khatri, Mitali Kedia Built-up area: 400sq ft Year of completion: 2017 Company names of products/materials used: Saint Gobain â&#x20AC;&#x201C; Toughened Glass, Cellfrost â&#x20AC;&#x201C; Refrigeration Units

present

PROUD T O BE INDIAN A LIMITED EDITION COLLECTION OF AVANT GARDE CARPETS INSPIRED BY INDIA Available at: The Carpet Cellar, 348-D,(Mehrauli-Gurgaon) M.G Road, Near Sultanpur Metro Station; pillar no 26, New Delhi-110030. India T: +91-11-26808777/65391777 | Jagdish Store, Showroom: 39, Ring Road, Lajpat Nagar-III, New Delhi-110 024. Ph. +91-11-42291100 | Taj Khazana, The Taj Mahal Hotel, 1 Man Singh Road, New Delhi- 110011 Tel: +91-11-66513735, 66513639 | Offices: Obeetee Pvt Ltd A-45, Sector 64 Noida - 201309, U.P. Tel: +91-11-25734116/15/13 | 137-139 West 25th Street, 12th Floor, New York, NY 10001, Tel: +1-212-633-9744 | Email: jasmine.roy@obeetee.com | Call: +91 88007 22633 www.obeetee.com

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A walk to royalty DCA Architects

Project: Neeruâ&#x20AC;&#x2122;s Emporio, Hyderabad Architects: Group DCA, New Delhi

eeruâ&#x20AC;&#x2122;s Emporio revealed its first flagship store in the upmarket locality of Banjara Hills, Hyderabad. The store is spread across 26,540sq ft and exclusively displays Indian ethnic wear and wedding trousseau collection. The client brief was to create a store that reflects the values of the brand along with the premium quality attire that represented a princely and vintage inheritance. The inspiration for the design came from some of the most

iconic locations in the country, such as the Falaknuma Palace. The backdrop of the colonial and royal structure lends character to the regally-designed ethnic and wedding attire exhibited at the store. English prints and imagery from the Victorian architecture from London and Manchester University also influenced the design. Both the store and the collection represent a contemporary interpretation of the royal ensemble. The store possesses high-end lounges to indulge the

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ROBOTS 

discerning NRI clientele. A series of separate trial rooms and stores for each section was also created in a belt at the periphery of the space. A mezzanine was planned in parts to achieve double height spaces that add character and grandeur. A structural invention of a suspended mezzanine was crafted to efficiently reduce strain on the building. Covering almost 60% of the floor plate, this mezzanine was supported only on the structural columns, since there are no supporting columns on the ground floor. While overlooking the space below, the mezzanine level contributes to the larger volume, although the heights above and below the mezzanines are extremely low. The mezzanine also flaunts a metal blade flooring which further reduces the load on the structure and maximizes floor height. Huge chandeliers were added in the double height areas to add to a sense of opulence. As one enters the store, a large double height space embraces the visitors. The flooring finished with plush Italian marble in geometric patterns underscores the double height atrium. Columns that are clad with rich elements such as marble stone and gold-foiling accentuate the space. The mirrors have lacquered and deep gold finishes. A set of mannequins displaying the premium collection are placed in the center of the court. Striding forward, a feature wall on the left puts on display the journey of Neeru’s since 1971. The TV wall standing next to it conceals the lift wells on the rear. An elaborate staircase connects the two floors. Features such as LED display screens and waterfalls are also added to build on the luxurious theme.

Factfile Client: Neeru’s Ensembles Pvt Ltd Consultants: DCA Architects (Electrical/Furniture/Lighting/Façade) Built-up area: 24,650sq ft Year of completion: 2017

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ADVERTORIAL

the design club The first edition of The Raw

Collaborative saw stimulating content, making it a grand success.

Above: The Raw Collaborative team. Left: Rooshad Shroff with mentor Krishna Shastri. Far left: The banner of the forum.

ith an aim to empower designers to stage their creativity and designs through a progressive platform, The Raw Collaborative and W-Trunk held their first edition of a unique and comprehensive furniture, product and design show in Ahmedabad on September 9 ad 10, at The Mill Owner’s Association building that has been designed by Le Corbusier. Raw Collaborative showcased the works of 21 Indian designers who are bound by the philosophy of creating handcrafted products that are inherently Indian in their expression, process and outcome.

THE THOUGHT PROCESS

Tanvi Karia, who conceptualised the show has been inundated with appreciation for this initiative and is overwhelmed by the response the city has shown. “In our first endeavor, we at Raw Collaborative could achieve our aim of

bridging the gap between the creators of these products and their audience with a keen eye towards detail, finesse, quality and style. It was extremely well received by not only the design fraternity, but also by the connoisseurs and patrons of fine detailing, exclusive designs and innovations in interior design products,” she shares. “All the designers at the show were absolutely thrilled to be part of the show that brought together their community across India to exchange ideas and dialogues in the context of Indian designs and creations. It is truly overwhelming to see marque designers like Rooshad Shroff, Sandeep Sangaru, Ayush Kasliwal and Rebecca Reubens being a part of the show and connecting with fellow designers, students, patrons and customers. The response across design audiences has been very encouraging and we already have people asking about the next edition,” says Priyadarshini Rathore, the Presenter of the

show. The forum saw participation by eminent industry members from across India including architects, interior designers, product and furniture designers, manufacturers and retailers of interior products. Designer works at Raw Collaborative were unveiled by special guests– Parul Zaveri (Abhikram), Pankaj Shah (MD, Synthesis Spacelinks), Prof Krishna Shastri, Amala Shah, Rooshad Shroff and Abhinav Shukla (Secretary General, ATMA).

THE FUTURE

“The intent of scouting the best of furniture designers working with the core ideologies of craftsmanship gave Raw Collaborative a versatility in terms of furniture designs, which was acknowledged and appreciated by everyone who visited,” says Dipit Kochar, Operations Head for W-Trunk. To build on this initiative, Raw Collaborative would like to reach out to a wider industry audience across India and bring them under one roof. n

Material Talk

The recent London and Dubai re are wake up calls for India Presented here is an insight by Aludecor – a leading manufacturer of mineral core required to produce re retardant ACP, on the recent London and Dubai re and the need for stringent re resistant codes in India...

he wailing of sirens fills the streets. People running for their lives trying to find cover, while burning debris rain down. High-rise on fire! From Europe to the Middle East, infernos ripping through buildings are happening at a frightening regularity. More often than not these accidents result in heavy casualties, besides causing immense loss to properties. The recent blaze at the 84-storey Torch Tower in Dubai’s up-class Marina Beach residential area is for the second time in two years. Luckily, Grenfell Tower, UK it had a close shave as no casualties were reported. London’s Grenfell tower was not as lucky though. Two months back a fateful blaze took away more than eighty lives. In both the incidents highly flammable cladding material was held responsible by many for the rapid spread of fire. With a high population density, an incident of this magnitude can cause even greater tragedy in India. ACP cladded high-rises are a modern day requirement. But the high-rises that are cladded with non-fire-retardant ACPs or building materials are actually tinderboxes which can burst into flames any day. With infernos becoming commonplace worldwide, fire rated materials and fire rated construction are something that cannot be ignored anymore. The major focus of all architects and builders should be to make a building fire casualty proof. For ACPs to be fire resistant, it has to contain fire and retain its structural integrity for two hours. The two-hour

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Dubai Torch Tower

window provides time for evacuation. FR materials produce negligible smoke. Too much smoke blurs the occupants’ vision and hinders escape. An FR ACP does not produce killer toxic gases and flaming droplets. Also, when water is applied on the façade through fire hose to douse the flames, the FR ACPs won’t disintegrate from the structure. According to reports, in London’s Grenfell Tower, the ACPs used for cladding were a cheaper, less flame resistant material which came off the building as fire engulfed it. Industry experts and building materials manufacturers in India feel that the National Building Code of our country should make compliance to codes pertaining to fire protection, mandatory. NBC, according to them, should also introduce relevant codes for fire testing methods and reaction to fire as well. About Aludecor Aludecor is the only company in India that manufactures the mineral core required to produce fire retardant ACP, in-house. Aludecor FireWall, a fire retardant ACP, has 71% mineral content and is made with AA5005 alloy. Magnesium Hydroxide (MDH) is the non-halogenated material that is mixed with Polyethylene to form the core of its fire retardant products. Its FR ACP Firewall is process certified for reaction to fire by ewcl5 (Exova Warringtonfire, UK) as per EN 13501-1, Class B - s1, d0, and BS 476 Part 6 & 7. It has also passed ASTM E119-12 for two-hour resistance to fire and hose stream endurance.

Versatile Products

EFFECTIVE LIGHTS K-Lite recently released its range of LED bollards with rotationally symmetrical illumination for ground surfaces. The photometric design of these luminaires is based on LED integrated with K-Lite’s precision reflector module. The luminaires are characterised by their high luminous efficiency, long service life and a uniform degree of illuminance. They are available in Ø100 and Ø166 and in three different heights to suit the installation site. Extruded aluminium alloy housing through homogenisation helps with the durability of the luminaires as well as thermal management while the stainless-steel hardware ensures a long life. The product is finished with a 60 micron thick polyester-based powder coating that gives it a uniform finish. The diffusers within the lights are UV-stabilised in order to give an efficient light transmission. Their sturdy construction makes them especially suitable for areas where a vandal-proof service is required, such as footpaths, entrance areas and driveways.

LUXE BATHROOMS Villeroy & Boch recently launched Finion, a new bathroom collection consisting of ceramics, furniture and lighting concepts. The three different types of washbasins in three ceramic colours within the collection can be combined with the numerous models of vanity units in ten colours and with the bath in three metallic colours. The range also offers Colour on Demand. The Finion range is designed by Patrick Frey, who employed the TitanCeram material to ensure a flowing, strongly contoured design with thin and fine forms. An optional integrated ceramic valve that is available with the ViFlow overflow system blends into the washbasin. The rimless toilet is secured with SupraFix and is fitted with DirectFlush technology. The Finion furniture concept focuses on modular shelves, cabinets with handle-less doors and push-toopen drawers. Exact edges and borders with faceted details emphasise the design of the shelve while the scratch-proof surfaces ensure durability. All furniture models come with a continuously dimmable emotion light feature. One of the two Finion mirror models is also fitted with an illuminated LED border and emotion feature. Optional features include a sound system and anti-fog function.

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COZY FLOORING Pergo has launched Burnt Oak, a warm, natural laminate floor featuring 2 m planks. The feeling of wooden planks is further enhanced by bevels along all four edges. This floor features Pergo Genuine™ wood texture, a lightly polished structure that follows the wood grain in every detail, complemented by the silk matt finish. Pergo PerfectFold 3.0TM makes installation easy while TitanXTM provides surface protection. The technology includes the protective layers of aluminum oxide particles which provides resistance to scratching and protects it from dropped objects and high heels. The flooring is suitable for all-round domestic use.

MODERN DOORS Häfele recently introduced three pivot door systems, System-One, System-3 and System-4, offering diverse functionality and features. The systems include a dual-acting pivot with a variable closing speed, precise adjustability of every door’s position and closing angle. The pivot door hinges utilise high-performance bearings that have been tested beyond one million cycles, providing maintenance-free operation of door panels up to 500 kg. Häfele also launched a range of pull handles and lever handles in multiple finishes and sizes. The contemporary handles in the collection serve as a solution for wooden and glass doors. The range encompasses handles made from a variety of materials like high-grade stainless steel, aluminum, brass and zinc alloy – each material having unique properties that suit specific environments.

FLASHY TILES Asian Granito India Limited (AGL) has introduced its range of wall tiles, ‘Rainbow Glitz’, in nine colours with a choice of highgloss finish, matte finish and third firing. AGL has launched the tiles in the size of 300x900mm, 300x600mm, Polished Porcelain 600x600mm and Elevation 300x450mm. The company promises a combination of style, endurance, size as well as a variety of functional and aesthetic benefits.

ARCHITECTURE+ DESIGN October 2017

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Miele Con@ctivity 2.0 allows the DA 2906 to communicate with select Con@ctivity-enabled induction cooktops. Miele DA 2906 can be operated remotely using a DARC6 remote control handset, which controls both lighting and power settings, and can be used to alter the fan run-on setting. Miele-specific LEDs are also incorporated into the extractors, which exude a warm and natural light tone with uniform downlighting. The edge extraction panels and grease filters can be removed easily for washing in a dishwasher. Within the range, the “Levantar”, DA 6890, offers the most viable alternative to a ceiling extractor where it may be impractical or not desirable. When switched off, the Levantar is almost concealed in its base unit – all that remains is a narrow piece of glass trim, which contains a

CHIC RANGEHOODS

set of controls. Another model in Miele’s range of headroom hoods

Miele India introduced the DA 2906 rangehood, a fully

is ´Pearl´, featuring dimmable atmospheric lighting.

integrated ceiling extractor that gives unimpaired vision

A characteristic feature of the headroom hoods is the

across open plan cooking and dining areas and creates

90cm wide canopy, which consists of a bowed sheet

an elegant environment in the kitchen.

of toughened safety glass in white to match the built-in

Both glass and stainless-steel panels are available.

appliances. Miele’s Eco motor is powerful and energy-

With its full integration into a ceiling or bulk head, the

efficient and the LED light strip providing downlighting

DA 2906 allows for an optimum cooking vapour venting,

is characterised by low consumption. The Pearl hood

while its effective multi-zone edge extraction optimises

is also quiet at work and can be operated in vented or

its performance above induction cooktops.

recirculation mode.

ELEGENT WINDOWS Window Magic launched a collection of sliding doors and windows, crafted and designed in a contemporary style for a smooth integration. The simple, elegant and easy-to-use design of the range ensures proper functionality as well as a touch of elegance that accentuates the surroundings. The doors and windows also act as effective sound and weather barriers. A gentle horizontal push opens to the view to the outdoors. These are apt for modern structures as they do not cover much space and allow natural light inside. The windows are also a good choice for much more restricted spaces like interior partitions and cubicles, while the sliding glass doors integrate well for balconies. The doors and windows, two or more frames, slide horizontally on track to the left or the right. The glass is slightly raised above the tracks for smooth slide and prevents dust from collecting down in the tracks. This collection from Window Magic is ideal for homes that require space-economy.

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For your referenceâ&#x20AC;Ś The listing that follows is of the consultants/companies involved in the published projects-

Electrical 112

DCA

Electrical and Mechanical 33 78

MMM Group, Videla & Asociados, The OPS Group Solution Station

Landscape Design 78 33 88

CNdv Juan Grimm Gross Max

Plumbing 33

MMM Group, Videla & Asociados, The OPS Group

Structure 78 33 44 88

Henry Fagan & Partners Simpson Gumpertz & Heger, HalcrowYolles, EXP, Patricio Bertholet M ACE Designs and Design Roots Campbell Rieth and Buro Happold

Contractors (primary)/Construction Agencies 78 88

Longworth & Faul, Sergio Soria Soria, Pedro Lopez Quintas Morgan Sindall

Material 106 78 33

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Toughened Glass: Saint Gobain; Refrigeration Units: Cellfrost Paint: PlasconNuroof White; Terrazzo Flooring: Grey Limestone Terrazzo by World of Decorative Concrete Superstructure and Cladding: Gartner Steel and Glass GmbH; Glass Casting: Jeff Goodman Studio and CGD Glass; Stone Fabrication: EDM; Cladding: Simpson Gumpertz & Heger Bricks: Floren, Vega Rustic Roehampton White; Mortar: CPI EuroMix; Windows: Ideal Combi, Futura+ & Futura+i; Precast External Metal Balustrades: Iron Designs; External Timber Doors and Internal Doors: CCN; Rooflights: BBS Structual Glazing; Carpets: The Mowhawk Group; Vinyl Flooring: Forbo Floor UK; Kitchen: Howdens; Lifts: Kone; External Louvres and Louvred Doors: Renson and Sunray. Furniture and Lighting: DCA

October 2017 ARCHITECTURE+ DESIGN

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