Academic selected works (2016-2021)

Located on the East coast of India, Bhubaneswar is fringed by the Daya river on the east and the forests of Chandaka along the west-northwest edge. Bhubaneswar has been a lived landscape for centuries. It is especially known for its city planning in ancient and modern history.

Bhubaneswar is called the Ekamra Kshetra as the deity of Lingaraja was originally under a solitary mango tree (Ek-amra) as noted in Ekamra Purana, (13th century CE). Once regarded as a ‘Temple City’ because of nearly seven hundred large and small temples, it still contains a cluster of magnificent temples that exhibit the evolution of Kalinga architecture from its early stages to its culmination. These temples are broadly centred around the Bindusagar pond.

Ekamra Kshetra exhibits clear hierarchy of roads, integration of water bodies and is regarded to be a non-geometric derivative of the Mandala concept.

• 60 m wide road connects the NH 16 near Aiginia chowk to NH 316 (Puri Bypass) near Uttara which makes the site located in the major connection point attracting visitors.

• Electricity, Water supply and drainage can be obtained from the lines along the road.

• It has Airport within 4 km radius and nearest railway station within 2 km and Bhubaneswar railway station within 6 km.

• Bus Stop is located within 1 km along with good flow of taxis and cabs.

• Hotel and hospital present within 2-3 km radius.

• State museum is locate in the 5 km radius and Kala Bhoomi Crafts museum is located in 4 km radius

SITE PROXIMITY ANALYSIS

View of Dhauli From the site

View of Lingaraj Temple from the site

Derivation theory through research:

The antiquity of the historic town which, according to Svarnadri Mahodaya, an orthodox text, lay between Khandagiri and the temple of Vahirangeshwar at the foothill of Dhauli can be dated back to the fourth century B.C. on the basis of archeological remains. Bhubaneswar was previously known as Ekamra Kshetra, Svarnadri, Hemakuta, Krittivasa Kataka, and Gupta kasha. It was called Ekamra Kshetra, because Tribhubaneswar, the presiding deity of the place fom whom the present place-name (Bhubaneswar) has been derived and who as afterwards called Lingaraj was originally worshipped in a mango grove, extending from the khandagiri hillock to the outer limit of the Megheswar temple.

The major inspirations from Kalingan temple architecture style are the following points:

• Linearity – Arrangement along a central axis called mundi, mentioned in Vastuparusha Mandala

(representing the timeline from then to now)

• Visual Hierarchy – The hierarchy is a singular and represented in ascending or in descending order.

Except some of theses design philosophy , there’s a great influence of scale and proportion; primary geometrical figures such as a circle, square and rectangle. According to Hindu mythology, the temple being as a abode of God, scholars and historians have found that, in ancient times, when communication was inconvenient, the temple acts as institutions that spreads knowledge and awareness among masses. Thus, it depicts that temple were some of the great knowledge and awareness centre.

The proposed institution replicate the above multi-dimensional nature of Hindu Temples through visual narration and interactive displays. Those mural and reliefs on the exterior acts visual narration through a series of figurative drama and also at the same time, it provides great aesthetic value.

Tribhubaneswa

MASTER PLAN

PHASE – I : Known as Pada

This includes

• the entry to the Museum campus from the approach road and MLCP on both sides.

PHASE – II : Known as Dhara

This includes

• the pivotal public piazza with landscaping features (OAT & Memorial Corridor) in both sides and stambha in the centre.

PHASE – III : Known as Shikhara

This includes

• The main museum building block (Future Museum)

SECTION YY’

SECTION XX’

memorial corridor

water pool

central piazza

history museum open air theatre

parking zone

ekamra haat museum entry stambh a future museum sculptural park workshop

SECTIONAL ZONE OF SPACES

Meeting room

Reading space

FACADE DESIGN

The concept for the front facade of the main museum building is derived from the Pidha Deula architectural style.

Segregating all architectural elements, the only repeated horizontal louvers or beams, called pidha, is taken into account on building front facade to minimise the heat gain and allow diffused light in to the museum interior.

Workstation

Interpretation of facade

Built Form

Nature (Sustainable Approach) Technology ( LED display )

Heritage (pidha as an element)

Left side elevation (BIGGEST WALL MURAL ART)

ELEVATIONS

Restaurant Multi-media hall

Escalator to first floor

Right side elevation (BIGGEST WALL ART MURAL )

Rear side elevation (BIGGEST PATTACHITRA ALUMINIUM PARAMETRIC HOARDING)

Entrance Lobby Reception Desk Staircase Hall

Pidha

Deula Customised pidha for facade

WORKING PRINCIPLE OF PASSIVE VENTILATON SHAFT

WORKSHOP BLOCK VIEWS

ROBOTIC TERACOTTA WORKSHOP

MATERIAL PALETTE

ARCHEOLOGICAL RESEARCH LAB

LIBRARY

DIGITAL CLASSROOM

ENTRY TO SCULPTURAL PARK

RAMP CONNECTIVITY TO FIRST FLOOR

KUND PUBLIC SPACE

VIEW OF GARDEN FROM VERANDAH

SECTION XX’

SECTION YY’

corridor

workshop balcony

classroom corridor balcony corridor

library

Ceramic Marble

Grigi Pompeii marble Oak Herringbone Pigmented concrete Terrazo concrete Red Travertine

EXTERNAL SITE VIEWS

ENTRY TO CENTRAL STAMBHA

ENTRY TO MEMORIAL PARK

LEFT ELEVATION WITH WALL MURALS PUBLIC PLAZA WITH LANDSCAPE WITHIN MAIN BUILDING

LANDSCAPE NEAR THE MAIN BUILDING

WAY OUT FROM ODIA LINGUISTIC CORRIDOR

ENTRY TO ODIA LINGUISTIC CORRIDOR

GROUND FLOOR OF WORKSHOP BLOCK