Cover Credits K. Vinay Kumar [ Remembering Hall of Nations by Raj Rewal ]
Find us at ISSUU and www.arpiitkgp.com
KEVIN ROCHE
CONTENTS
20
32
Article
16
Interview
Interview
26
Interview
PAUL KALOUSTIAN SHIGERU BAN
MEERA JOGI
36
Article
RACHEL ARMSTRONG
SUSHANT VERMA
JOY SEN
YEARBOOK 70
52
41
Article
Interview
48
Article
56 DEPARTMENT WORKS
IIT MIT PRACTICUM
STUDENTS’ SOCIETY OF ARCHITECTS AND PLANNERS
COUNCIL 2016-17
PRESIDENT TREASURER
Abhishek Kumar Keval Sojitra
PERSIDENT DESIGNEE
Aman Bhushan
TREASURER DESIGNEE
Vignesh Kumar
GENERAL SECRETARIES
Soumya Saurabh Narayan Bhimanyu Dassani
SOCIAL AND CULTURAL SECRETARY
Aman Yaduwanshi
WALLPAPER SECRETARY
Aman Kumar Agarwal
MAGAZINE SECRETARIES
Runjhun Bharti Goswami Medhajeet Bagh
WEB TEAM
ALUMNI SECRETARY
6 /Sthapati 2017
Paras Chaudhary Rohit Kumar Singh Mahendra Koge Suraj Kumar Ananya Singh Parmar
HOD’S NOTE
From a modest beginning a little over a decade ago, Sthapati, our annual magazine today, may well be considered the harbinger of the next generation students’ journals. Over the years, Sthapati has been portraying the true spirit of our department in more ways than one. It gives me immense pleasure to present Sthapati 2017. Looking at the continuously improving standard of our magazine our department was also entrusted with the responsibility of publishing Indian Arch 2014 for NASA. With the experience gained by publishing Indian Arch at such a grand scale, the students were all set to raise the standards of Sthapati 2017 as well. Now I see it from an annual magazine to a serious platform to showcase our achievements, air our thoughts and raise pertinent issues in our field. On behalf of myself and my colleagues of our department, I thank all the contributors and sponsors of this magazine and congratulate the editorial team for this commendable task. And I encourage my students to continue to make us proud with their achievements. From my end, I promise you full support! I also extend my heartfelt thanks to all colleagues for their continuous support in terms of logistics of handling such a big task. Dr. Subrata Chattopadhyay Professor and Head Department of Architecture and Regional Planning Indian Institute of Technology Kharagpur
Sthapati 2017/ 7
SSAP ADVISOR’S NOTE
Dear students, thanks for bringing out this sparkling edition of Sthapati 2017. The journal has since its inception provided a platform where innovative and nonconventional expression of ideas has been encouraged. This platform can be used very effectively to exchange academic ideas within the department. This is a carefully nurtured portal where contemporary and futuristic views are always expressed and creative ideas are generated. Getting into the task of compiling a journal like this, triggers teamwork among the students. I congratulate the editorial team for showing the creativity and perseverance that is required to publish a journal like this. Surely, this has been possible due to their other classmates who have been a constant source of support and inspiration for them. Sthapati is truly shaping up into a serious forum to put in your thoughts and I’m sure this magazine of ours, could very well be a technical journal with an ISSN number. Fly on the wings of your fantasy; let Sthapati have an ever ascending trajectory! Prof. Haimanti Banerjee Professor Department of Architecture and Regional Planning Indian Institute of Technology Kharagpur
8 /Sthapati 2017
SSAP ADVISOR’S NOTE
It is that time of the year when all of us at the Department of Architecture & Regional Planning, IIT Kharagpur have this jittery feeling, as another issue of Sthapati sees the light of day. I hope this edition of our magazine is appreciated and well received by our patrons (practicing architects, academicians and future architects) as it has been done in the past! Kudos to the editorial team of SSAP for their relentless and honest efforts. This year the magazine would be graced by interviews of the likes of Ar. Shigeru Ban, Ar. Rachel Armstrong and Ar. Paul Kaloustian. Article on Ar. Kevin Roche and his contribution to architecture has been included. A piece on the Practicum between MIT – IIT Kharagpur on New Urbanism team was also incorporated. I am sure that this effort would inspire all of us to take the next quantum jump and take Sthapati to the next level by developing it as an international journal of repute! Prof. Arup Das Professor Department of Architecture and Regional Planning Indian Institute of Technology Kharagpur
Sthapati 2017/ 9
PRESIDENT’S NOTE
Sthapati, ‘ARP’s own Journal of memories and achievements’ has made a remarkable transformation in a very short time. Writing a note on Sthapati has evoked a nostalgia for KGP. Having worked for the 2014 edition of Indian Arch, the department magazine has a very special place in my memories. The sleepless nights of the first summer holidays to complete the bid, to the long discussions and fights over petty decisions, all helped me get through one of the best parts of my campus life . I am very grateful that I shared these moments with people like Bellam, Patra, Apoorva, Keval, and Ankita. After successful publication of Indian Arch, we had a huge task at hand, to do better than a well-established National Magazine. The 2015 Sthapati team did just that by putting in a tremendous effort into making it a success. Sthapati 2016 was even bigger, better and more special.I still carry around a copy of it, proudly presenting it to everyone. Kudos to the magazine secretaries Soumya, Devanshu, and their team who made it possible. I would like to congratulate our magazine secretary Runjhun, who along with her team has helped us bring out a wonderful publication, yet again keeping our zest alive, taking Sthapati to greater heights. In the end, I want to extend my gratitude to all SSAP members and our beloved professors for their continuous support and care. Nothing is possible without them. Abhishek Kumar President SSAP
10 /Sthapati 2017
TREASURER’S NOTE
Concept of making a difference has always been there in the department of Architecture for generations. The Students’ Society of Architects and Planners has always been a backbone of ideas to evolve and flourish in the exceptional environment of IIT Kharagpur. One of such concepts was the inception of annual magazine for Architecture. For generations, each edition of Sthapati has been unique and better than before. From the collection of articles and interviews to the design composition and printing, students give immense efforts every year to bring a fresh edition of Sthapati. All such collective efforts every year has taken the Sthapati to no less than a National magazine. Over the years we have reached out to many international architects and designers to enrich the students with their experience and knowledge. One more such effort brings us eminent people like Shigeru Ban, Kevin Roche and Sushant Verma. I congratulate the whole Sthapati’17 team and Students’ society of Architects and Planners for this endeavor. I thank the faculty members for their immense support and encouragement towards such efforts by the student community. I hope the readers would be enriched with our sincere efforts through this edition. Keval Sojitra Treasurer SSAP
Sthapati 2017/ 11
GENERAL SECRETARIES’ NOTE After an immense amount of dedication and hard work, STHAPATI 2017 is here. Sthapati represents our department. With each succeeding year the magazine is attaining heights and every new edition sets the bar higher. Now the magazine is crossing national boundaries and growing at an international level as we have got interviews and articles from renowned architects from around the world. Kudos to the Magazine team for all their hard work and team spirit with which they completed yet another masterpiece for students and people interested in architecture and allied field to refer to as a guiding light and information bank. Soumya Sourabh Narayan General Secretary SSAP
Sthapati! It has and will always be more than a magazine for us. I feel proud to present Sthapati 2017. Efforts never go to waste and all the efforts made by our second years in the magazine are outstanding which has made Sthapati 2017 possible. Following the trend, it is getting better as time is passing. I would like to take this opportunity to thank all the sponsors which made the publication possible. Also, greetings to all the contributors of the magazine to invested their valuable time for Sthapati and shared their respective thoughts. I would also like to thank the professors for their constant support and guidance. A big Congratulations to the magazine team on exceptional edition of Sthapati. Hope you have a great time reading! Bhimanyu Dassani General Secretary SSAP
12 /Sthapati 2017
ACKNOWLEDGMENT
SSAP (Students’ Society of Architects and Planners), IIT Kharagpur takes immense pleasure in presenting before you, Sthapati 2017. Now that the journey of Sthapati 2017 has come to an end, we have learnt a lot and received invaluable inputs and hard work from various individuals. A small suggestion here, or a bit of transcription there, all together has allowed us to be able to get this beauty ready! We take this opportunity to express our gratitude towards all the people associated with the magazine’s publication. We are grateful to all our esteemed professors, especially, Prof. Subrata Chattopadhyay, Prof. Haimanti Banerjee and Prof. Arup Das for their support and guidance. A special thanks to Preetish, Aman and all our batch mates for their ever invigorating words and support. In the end, thank you once again everyone, your constant support and efforts reflect in each and every page of the magazine.
Runjhun Bharti Goswami Magazine Secretary SSAP
Medhajeet Bagh Magazine Secretary SSAP
Sthapati 2017/ 13
23 Marina-Dubai Hafeez Contractor
“
When I was in college I used to tell my friends, my office will be running in three shifts and they used to laugh.
�
INTERVIEW WITH
SHIGERU BAN 16 /Sthapati 2017
Sthapati 2017/ 17
Q. Cardboard, being a very unconventional
material for construction, was never thought of being used for building. How did you come up with the idea of using it? Every material comes with its own structural requirements and a new design approach.
Q. What exactly is the structure and design
approach used to come up with cardboard structures? I designed an exhibition about Alvar Aalto, the Finnish architect, who used a lot of timber for his buildings. But I could not afford to use timber for a temporary exhibition. So I had to look for some alternative materials. In an architecture studio, we have many paper tubes left over from tracing paper rolls. I thought of them as a recyclable material in 1986, when nobody was talking about recycling material as an environmental issue. Then I found out that they were strong and very difficult to break. I started testing the material and making temporary structures out of them. Later I built temporary houses out of paper tubes for the Kobe earthquake victims.
INTERVIEW WITH SHIGERU BAN 18 /Sthapati 2017
Q. You have often said “I don’t like waste”.
Is there a specific approach that you use to achieve minimum material wastage during construction? Any material around us can be used for building. I was simply thinking of how to put weak materials to use as they were, so that there would not be any waste.
Q. Your works embrace the combination
of Eastern and Western building forms and methods. How do you incorporate the two in your works? I was born in Japan and learned architecture in U.S.A. So I have never viewed building from the vantage point of it being “Western” or “Eastern”. Besides, I do not really think this kind of distinction exists in modern architecture.
Q. Is it possible to use cardboard as a
conventional building material for high-rise structures? If yes, in what way? No, of course paper would not be suited for making a 10-story building.
Shigeru Ban
won the 2014 Pritzker Prize for his significant contributions in architectural innovation and philanthropism. His ability to reapply conventional knowledge in differing contexts
Q. For any disaster relief project availability Q. You have come up with your own different of building material is a major concern among other challenges. How did you address such challenges while designing for the Nepal disaster relief project? When I visited Nepal, I saw a lot of rubbled brick in the disaster affected areas, and how to dispose of them was the biggest problem. During my stay, I also researched local materials, markets and traditional building techniques and found that traditional Nepalese homes had carved wooden frames embedded within the brick walls. When I visited a timber market, workers were building window and door frames, besides milling lumber, and that is where I came up with the idea for a construction method inspired by the traditional window frames and the abandoned piles of rubbled brick: a wall system that can be assembled by connecting modular wooden frames (3ft x 7ft) and infilling with rubbled brick.
approach of designing and solving architectural problems. How do you think can students, today, incorporate these qualities of thinking, analyzing and designing? I always try not hold preconceptions about anything, and to always be curious about everything, so this is what I would also tell students.
“
I BELIEVE THAT THE MATERIAL DOESN’T NEED TO BE STRONG TO BE USED TO BUILD A STRONG STRUCTURE. THE STRENGTH OF THE STRUCTURE HAS NOTHING TO DO WITH STRENGTH OF THE MATERIAL.
”
“Shigeru Ban is a tireless architect whose work exudes optimism.” - The Pritzker jury
has resulted in a breadth of work that is characterized by structural sophistication and unconventional techniques and materials. Ban has used these innovations not only to create beautiful architecture but as a tool to help those in need, by creating fast, economical, and sustainable housing solutions for the homeless and the displaced. Sthapati 2017/ 19
ARTICLE KEVIN ROCHE The Metropolitan Museum of Art
In all, Kevin Roche has designed 38 institutional and corporate headquarters, 8 museums and a number of other building types, including creative art centers, performing art centers, conference centers, research laboratories, campus buildings for 8 colleges and universities, factories, residences, and the Central Park Zoo in New York. For the past 44 years, he has been the architect for the Master Plan of the Metropolitan Museum of Art in New York, designing all of its new wings.
20 /Sthapati 2017
Master planning for the museum, begun by KRJDA in 1967, involved extensive review of existing conditions and the development of a comprehensive plan for its completion—galleries, curatorial and administrative spaces, work rooms and storage, together with circulation systems that would permit ready access to the many different collections. All of this had to be done while respecting a magnificent existing building and keeping the unaffected sections open for normal use.
The museum had originally been thought of as a “Building in the Park.” The first entrances were on the Park side. When Richard Morris Hunt built the Great Hall in 1903, he reoriented the museum onto Fifth Avenue with a formal classical façade appropriate for Fifth Avenue. Subsequent additions by McKim, Mead and White completed the Fifth Avenue façade and turned the corner on the north and south sides. Rather than carry that formal architecture into the Park, the master plan is an architecture more like the kind of building one would expect to find in a park, such as a greenhouse in a botanical garden. The inevitable result is a striking transition between the classical and the garden architecture. The precedent for this exists in the Botanical Garden on the Mall in Washington, D.C., where the formal masonry building is attached to a glass greenhouse.The first phase for the MMA entailed the redesign of the space in front of the museum, to create an urban plaza with appropriately scaled and terraced steps up to the entry into the restored Great Hall. This entry axis is reinforced by the addition of the Lehman Pavilion on the west side, with its skylighted court as a terminus. The master plan responds to the need for large galleries by adding the Sackler Wing for the Temple of Dendur to the north, and the Michael C. Rockefeller Wing, with the Andre Meyer Galleries above, to the south. The adjacent corners are completed by the respective additions of the new American Wing and the Wallace Galleries for Twentieth Century Art. The areas between these wings and the existing museum are left as skylighted courts, or relief spaces--the American Wing Garden Court with the restored 1822 Assay Office Building façade on the north, and on the south an interior street
for European Garden Sculpture that preserves the existing 1888 façade. These relief spaces afford the visitor a chance to rest from the intensity of gallery viewing. The new additions maintain the high ceilings characteristic of the Metropolitan, while the proportions of the galleries vary, scaled appropriately to the works displayed, often with natural light from extensive skylights. Faced with increasing demands for new space, the renovation of existing spaces and the improvement of visitor and service circulation, a new master plan was undertaken. In 2000 a master plan was developed that guided the growth of the museum in an orderly and minimally disruptive manner.
The tradition for urban space in Spain is one of closely spaced buildings juxtaposed with intimate landscaped courtyards. On this site, which is so open to the physical elements, it was appropriate to create a master plan that follows this tradition of balancing building form with corresponding outdoor open spaces. Following tradition, the central space is a great plaza - the heart of the campus. The plaza, as one would expect in a town, is surrounded by shops, restaurants, and cafes, a welcome alternative to the mundane institutional cafeteria.
Ciudad Grupo Santander In designing Ciudad Grupo Santander, Kevin Roche wished to create a beautiful campus of exceptional office buildings where parking would be easily accessible and convenient to the offices, where office floors would be large enough to permit ideal arrangement of departments, where it would be possible to create a sense of working family, where there would be unobstructed outward views in all directions of beautiful gardens and landscaped courtyards, where there would be a variety of places to meet and interact, and where the whole experience of working in this environment would be stimulating, life enhancing, and productive. In short - a place for people. The office space is divided into eight office buildings (161,650 s.f. each) plus a five-story executive building. The master plan includes a training/wellness center, hotel, educational center with a 2,000- seat auditorium, sports facilities, day care center for 300 children, art museum, and an 18-hole golf course with clubhouse and driving range. Underground parking with large natural light wells for 6,000 cars is provided under the full complex’s footprint for quick direct access up into the individual buildings. Meeting modern international standards, the workplace has excellent light, state-of-the-art temperature and humidity control, and is a very quiet environment. The buildings are designed so that on any floor the maximum distance from daylight is between 5 and 12 meters (16.5 and 39 22 /Sthapati 2017
feet). There are ample views of the surrounding countryside and the landscaped courtyards. To address the problem of sun penetration, the upper floors are cantilevered out to extend beyond the curtain-wall below, creating awnings for protection from east-west sun. Environmental sensitivity and sustainability were major factors in the design of the campus. The green roof is one of the world’s largest, encompassing an area exceeding 1,000,000 s.f. (100,000 s.m. ). A grey water collection system provides irrigation both for the landscaped gardens as well as the golf course, and there is a system of waste management and recycling for the entire complex. Energy is conserved through the use of low-E insulating glass, interior blinds for low-level sun penetration, exterior awnings, high-efficiency electric motors, low-water consumption plumbing fixtures, and high-efficiency/low-wattage light fixtures.
Station Place : U.S. Securities and Exchange Commission The design of Station Place was designed to fulfill several demanding criteria. The client desired a building which would express the dignity of an important governmental agency while also respecting the scale of its neighbors, Union Station, the Judiciary Building, and the residential units fronting 2nd street opposite the site. The city of Washington was seeking a building which would relate to the emerging restoration of H Street as a vibrant city street and be in harmony with 2nd Street in an integrated and comprehensive manner.
To soften the impact of such a large building on the adjacent residential neighborhood, the three construction phases were designed with three distinct facades. Deeply recessed landscaped plazas, with places to sit and stroll, were developed as design elements to reinforce this effort of softening and minimizing the visual scale of such a large project. In addition, the implementation of trellistopped arcades covered with climbing vines complements these plazas and introduces a human-scale aura to this environment.
The tenant, the SEC, was asking for ultra modern, flexible office space with government-required security and anti-terrorist measures, meeting SEC guidelines. Additionally the complex design and operation was to be energy efficient and in one building, LEED certification was required. The grand scale entrance and atrium lobby of the Securities and Exchange Commission Headquarters were designed as a befitting neighbor to the modern entrance lobby of the adjacent Judiciary Building and to the historic monumentality of Union Station. The large, concave glass atrium wall of the SEC entry pays homage to the entry atrium of the Judiciary Building and the curves of Columbus Circle.
Sustainability measures include minimizing the development footprint by containing 100% of parking underground, daylighting 90% of the interior spaces, and reducing water consumption through the use of extensive low flow fixtures. Reflective and highly emissive materials such as limestone pavers were specified on the roof to mitigate heat island effect. Located less than 1/4 mile from the Metro Line, Station Place takes advantage of public transportation.
Massachusetts Ave | Capitol Crossing Capitol Crossing is a 2.2 million square foot development occupies the air rights of a major highway in Washington, D.C.. The three blocks of mixed use development will be comprised of mainly office space with retail and residential components. The project aims to reconnect the otherwise empty space to the street grid and urban fabric, thus fulfilling Pierre-Charles L’ Enfant’s original vision of the city. The exterior of 200/250 Mass Ave is composed of two curtainwall types. Between the third and twelfth floors, the curtainwall has a grid of floor to ceiling 2” wide polished stainless steel frames on a 5’ module set beyond a plane of satin finish stainless steel. At towers’ corners and recesses, the curtainwall is flush structural glazing. The subtle contrast of curtainwall types gracefully accentuates the building’s geometry. At every floor level, fritted glass fades into clear glass at the height of 3’-6”. Along the exterior of levels one and two, a granite cornice and series of pilasters form the base of the buildings. Sthapati 2017/ 23
The interior lobbies present a sophisticated palette of quartered wood panels and Verdi Lavrus granite on the walls, and a combination of Jerusalem Ramon Gold limestone, Verdi Absolute and Costa Esmeralda granite floors. All elevators are equipped with Destination Dispatch technology. The project incorporates numerous assets to enhance the buildings’ sustainability. The 45,108 sq. ft. green roof mitigates heat island effect and addresses storm water runoff. Advanced energy recovery devices, indoor air quality controls, water conserving plumbing fixtures, and the elimination of supplemental irrigation help minimize consumption of energy and resources. The insulated glass on the exterior improves thermal efficiency. The Pedestrian Way features two ecochimneys, which will naturally address the belowgrade vehicle exhaust. The project anticipates LEED Platinum certification.
24 /Sthapati 2017
Enigma Performing Arts Center D’Haiti The Enigma Performing Arts Center, EPAC, located in landscape recently devastated by the earthquake, offered an unprecedented opportunity to create a place for the community to heal through the celebration of the arts. As the catastrophic memories of the past are ever present, the new complex offers a place for a community to promote and celebrate Haiti’s rich culture. Elements of the program include a 2500-seat concert hall, 500-seat theater, television and technology studio, artist studios, cafeteria and restaurants, a school for the performing arts, and an outdoor plaza/performance space. KRJDA’s proposal, which encompassed the 15 acre site, employed vernacular materials and native methods of construction. The forms are thought to be created from simple concrete block resulting in large expanses of wall which would be used to display murals created by local artists. The center as a whole evokes the enduring spirit of Haiti and its people.
Convention Centre Dublin The Convention Centre Dublin site is a portion of the Spencer Dock Development’s regeneration of the National Railway’s abandoned brown field rail yard It is designed to attract both international and national conference/exhibition markets. Materials, systems, construction techniques, and maintenance procedures have been selected to provide the most sustainable building possible. Exterior and interior materials will emphasize the stature of the design, ensure durability, and minimize maintenance for this important public building, clearly distinguishing it as Ireland’s “Convention Centre ”. The brief and site require a vertical stacking arrangement. The lobby and circulation foyers are enclosed by a glass
atrium which will immediately identify the Centre to visitors. Stairs, escalators, and lifts will create an exciting processional moving up through the atrium, enhancing interaction between delegates while providing panoramic views of the city and mountains to south. The foyers will support a variety of activities beyond circulation: event registration areas, breakout/ discussion spaces, and food/bar service. Temporary exhibitions may be installed within the foyers increasing delegate participation and interest. The lobby and foyers may also be venues for informal concerts. The public will be encouraged to enter the ground level lobby to experience the atrium, view temporary exhibitions and art exhibits, or review an electronic display of upcoming events. Exhibition/banquet halls, meeting rooms, administration, a 2,000-seat auditorium, and support facilities are all located on the floors above. The Centre’s architecture is a reflection of the programmed internal functions and the site. Exterior walls are clad with stone. The atrium glazing system is stepped and consists of stainless steel framing and high-performance, curved, laminated glass with a low-E coating. Continuous LED lights cap the east-west stone wall panels and at each step in the atrium, identifying the building as a major venue in the city. Thanks to cutting edge mechanical systems and its reliance on off site renewable energy, Convention Centre Dublin is the world’s first carbon neutral convention venue.
“
THE MARVELOUS THING THAT HAPPENS WITH THE MIRROR IS THAT IT IS CONSTANTLY ALIVE AS ONE MOVES. IT BECOMES A KINETIC SURFACE AS IT PICKS UP REFLECTIONS, SPARKLE, AND DARK SPOTS….
”
Sthapati 2017/ 25
INTERVIEW WITH PAUL KALOUSTIAN Q. Quite a few of your works incorporate
circular layouts and curves. What inspires you? I am fascinated by the endless possibilities and potential of curves. My main interest is the quality of space and how it affects the experience of the visitor or inhabitant, through architecture we create surprise, dynamism, peacefulness, poetry etc. I am interested in exploring new possibilities. With sinuous walls, one of the aspects I find very interesting is that the visitor does not comprehend the building as a whole. The building is never a comprehensible fact that the visitor can possess, can know. It is more like a feeling that possesses the visitor.
Q. Having worked on so many projects, which one do you consider your greatest achievement and why? I can’t tell which one is the best but I can say that some projects are more important than others because they allowed me to explore ideas and find myself as an architect. “House in a Forest” is definitely one of them. 26 /Sthapati 2017
Q. In MYU, you chose to create a room within a room with vaults of stretched black fabric. What are your views on the importance of fabric in architecture? In the case of MYU, I used Fabric for its see through and light quality. I wanted to create a space that could be enclosed and at the same time allow a relationship with the existing shell. What is interesting in the fabric vault is that it gives a feeling of lightness and ephemerality as a contrary to the solidity of the existing space.
Q. How do you feel about “House in a Forest” being exhibited in “Atlas of the Unbuilt World” ? The “house in a Forest” project was exhibited in many exhibitions, such as the Venice Biennale, the Institut du Monde Arabe in Paris as well as the exhibition “Atlas of the Unbuilt World” in London. It is one of my experimental works where I tried to explore ideas that are present in my work in general.
Paul Kaloustian Studio is a Beirut based Architecture and Design practice working on projects ranging from buildings to interiors. He received his Masters at Harvard Graduate School of Design and worked at Herzog and de Meuron in Basel. Paul has taught at the Boston Architecture Center (2000) and at the American University of Beirut (2009-10).He received the Moukbel Award and the Order of Engineers and Architects Award. His project “House in a Forest” was exhibited at the13th Venice Biennale and at the Institute de Monde Arabe in Paris and in London in the exhibition “Atlas of the Unbuilt World”.
Q. Would you like to comment on late Zaha
Hadid and her works? I am not a big fan of Zaha Hadid’s work. I am fascinated by her personality and tenacity as an architect. I admire her early work and specially her drawings. What is interesting in Zaha Hadid is how she never gave up on her ideas, never compromised and kept going towards her goal.
Q. More and more female students are taking up architecture as a profession. What are your thoughts about women in architecture field? In my office, I work only with women. I find that women are more focused and have proven that they can do the work better than men. I think that because of the inequality between men and women in our societies, women tend to be more fighter and hard working to prove to themselves and the world the importance of their contribution in society.
“
Architecture is not a profession, it a way of being. It’s a practice that is mostly based on passion. To succeed in this field, one has to believe firmly in his passion and dedicate all his energy.
”
Sthapati 2017/ 27
Q. “Producing an image between the real and Q. What message would you like to give to the virtual, the Emile Rassam building becomes a statement of identity in Dekwaneh”. What is the allegory behind that concept? The Rassam building is a building that deals with mass and lightness, I tried to give it a sense of lightness through the use of very subtle curves and the use of polycarbonate cladding. The building looses the presence of a massive building and starts to have the appearance of a light structure with a non-vmateriality quality.
“
To know is to possess, and any fact possessed by anyone who knows it. Whereas those who feel the truth are possessed, no possessors. – EE Cummings
28 /Sthapati 2017
”
students aspiring to become architects? Architecture is not a profession, it a way of being. It’s a practice that is mostly based on passion. To succeed in this field, one has to believe firmly in his passion and dedicate all his energy.
Q. How would you describe your
transformation from Herzog and de Meuron Architects to establishing your own firm at Beirut? I had the chance to have Sejima and Nishizawa as instructors in my post graduate studies in the GSD Harvard and later I worked for a short period of time at Herzog and de Meuron in Basel, Switzerland. Both practices had an important influence on my work, they represent 2 schools that I find fascinating. I think what is important is to understand the design method of older architects, to understand that one has to explore and take risks to find new ways. I try to have this approach in my own practice.
Q. Your approach to architecture is
minimalistic and it reflects in your work’s spare aesthetics. What do you feel is the most important aspect of architecture? Architecture creates a new environment , it is proposing new ways of living. It is not about resolving problems and giving answers, it is about proposing change.
Q. What do you like the most and the
least about your profession? Few words on architecture in conetemporary world... The problem we are facing as architects is that in our contemporary world, the decisions are taken by developers and what interest mostly these decision makers in profit. Architecture is loosing its role and has become a product. In other cases, architecture is used to produce icons for developing countries. Fortunately there are few architects who resist and create authentic work.
Sthapati 2017/ 29
“
Design is nothing but a humble understanding of materials, a natural instinct for solutions and respect for nature.
�
Sangath B.V. Doshi
INTERVIEW WITH MEERA JOGI Q. How has your journey been from
graduating to working in your own firm in Bangalore? Since childhood I was Fascinated about architecture. I don’t even remember where I heard the word Architect and I couldn’t even pronounce it correctly but I always said I wanted to become an Architect when I grow up. It has been an adventurous ride from my Graduation day till today. Starting from the internship, working in a small organization to an MNC. I thoroughly enjoyed what I was doing, but it was always driven by other’s thoughts and visions. I always wanted to put my vision and principles to the design and that would have been possible only if I started my own firm. That is when Creative Curve came into existence. Starting your own firm is quite difficult unlike what I had in my mind. It was like a one-man army, I was doing everything from meetings, designing, drawing, to every minute detail about execution, which in turn helped me groom and learn a lot of new things. Everyday has been a learning experience, learning from a carpenter to the clients themselves. Everything and everyone around you teaches you something everyday, the learning never stops. Above everything I have a very strong support system at my home, specially my husband who is one of the biggest reasons of who I am today and where Creative Curve has reached today. 32 /Sthapati 2017
Creative Curve Architects Bangalore Creative Curve is a professional architectural organization started in the year 2013. The team at Creative Curve is certainly not among the ones, whose thirst can be quenched with the laurels. “We are in the game, not just to meet the customers’ expectations, we strive to exceed our own records.”
“
Architecture is among the longest courses, which needs very intense dedication and passion, no doubt on the hard work. Today’s women are exceeding in every field, they want to be independent.
”
Q. How would you describe the dream house
of a common middle class Indian? Every person has his or her vision of a “Dream Home”. No two clients are the same; as a result there wouldn’t be a single definition to it. But there are a few pointers that we have to keep in mind while designing. Space utilization, natural light and ventilation are the most important factors that make a space look alive. Aesthetics, intelligent use of Artificial Lights and other material follow it. We need to design in a limited budget hence all these factors are bound to the Economic constraint. Everything that looks good shouldn’t necessarily be expensive. We always have to find a balance between the budget and design without compromising the quality and feel of the space.
Q. The traditional Indian architecture is
losing its identity under the influences of the west. What are your views about the Indian architecture practice in the present world? The type of architecture always defines the people who live within. The form of building evolves from function. Change in culture is directly proportional to architecture. As Benjamin Disraeli rightly said “ Thanks to the current era of information technology, idea and information spreads across easily, compared to where references were only books earlier. Another factor is globalisation because of which a variety of materials are available at your disposal.”
In my opinion, it is good to adapt the best things from each culture and create something magnificent as they say “BEST OF BOTH WORLDS”. And it’s not always the case where Indians are getting influenced by western architecture, there are many examples where western buildings are inspired by Indian architecture.
Q. We recently lost one of the most celebrated female architects - Ar. Zaha Hadid. What are your views about the present situation of women in the field of architecture? The contribution of women in Architecture has always been noted since centuries. After Architecture became an organised profession, the number of women in Architecture has been increasing everyday. Today around 40% of Architects graduating every year are women, sadly around 12% of them are estimated to be practising in the field. Zaha Hadid was one of the strong examples of women empowerment in Architecture, although as she has always mentioned in her interviews that it was never easy. Zaha hadid has given a different definition to modern Architecture; it is indeed a huge loss to the Industry. She has been a great inspiration to all the ladies out there to take a leap and work towards achieving their dreams. I am sure Zaha Hadid’s work is going to serve inspiration to budding Architects worldwide for the upcoming centuries.
Sthapati 2017/ 33
Q. You have had quite an experience
in interior projects, how does Interior architecture differs from interior designing in your opinion? Interior design deals with planning and designing interior in a build space. It is an art and science of enhancing the interior space. Interior Architecture on other hand deals with designing the interiors of the building keeping in mind all the aspects of the building. Interior Design follows Interior Architecture. In my opinion it is always better to design the building inside out so that the basic functions of the building are taken good care of.
Q. What Factors Led to Your Biggest Success
to Date? I think my determination lead me to where I am today. I had set goals for me and worked relentless towards them. I took up every job that came my way big or small because I strongly believe that no work is small. I respect my work and more importantly I enjoy what I do. Another success factors would be my team and their hard work. This is the team we have built in the last couple of years, where we are more like a family than just colleagues. Not to mention the support I got from my husband and my family who has played a very big role in my success. I think the support system one has around matters a lot for a women’s career and I am glad to get the best support I can ever think of.
34 /Sthapati 2017
Q. What was the vision you started with when you set up Creative Curve? What’s your focus now and what do you want to be remembered for? The very reason I started Creative Curve was because I wanted to do something on my own. Having a place where I can do the work that I love, where I can express my self creatively and that itch in me lead to the very idea of starting my own firm. My main aim while taking up a project or while designing for a client is to cater their needs whilst fulfilling their dreams without compromising the creativity. I would want to be remembered for my contribution in the field of Architecture and as a good human being.
Q. Your message for students.
My message to all the students out there would be to have fun at the same time work very hard. Focus is important in any field what’s more important is that you enjoy what you do. Love the work that you do and do the work that you love. Be more observant, there is art everywhere and Architecture is nothing but Art. Be inspired and let your inspiration reflect in your work. Keep yourself updated with market trends and use the technologies available today to the fullest. Learn new software’s to improve your skills, but don’t forget your basics, don’t concentrate on one field while you are in college, specialization comes only when you have mastered basics.
“
Q. Which would you say has been a hallmark My main aim while taking up a project or while designing for a client is to cater their needs whilst fulfilling their dreams without compromising the creativity.
”
Q. A lot of new revolutionised materials are
being used world wide. What in your opinion is the relevance of this experimentation in Indian context? As I have mentioned earlier that globalization is helping us to get different kind of material that help us in many different aspects, be it ease of manufacturing, cost effectiveness, faster execution, etc. Facts and figures can help us make better decisions on experimenting. Experimentation is recommended and is very important. It would definitely open new dimension to designing. People don’t like change and want to be comfortable with what they know and have seen. So selling an idea to a client that involves new ways of designing, using new materials and technologies becomes a bit of a challenge. But I think we are getting there.
project undertaken by the Creative Curve team? I feel every project we take is in a way an important project for us. We learn and grow with every project and work towards becoming better and better everyday. From my first ever project that I single handedly worked on to the ones we as a team are working on currently has helped me as an Architect to only become a better designer and has helped me explore this vast field in a more creative manner but also I realise each time that I have more to learn. Everyday is a learning experience. But, if you ask me specifically I would like to mention a recent project on which we are working, it’s a Villa in Bangalore which flourishes on a 1.7-acre land. I truly had my creative juices flowing while working on this project where we have tried to merge vernacular architecture with the modern architecture. It has all the luxuries one can imagine, with a vast landscaped area, toilets with zen garden, barbeque areas, gazebo, stepped garden and much more. I have thoroughly enjoyed the experience. It can be called as “THE COURTYARD HOUSE” where the whole house is flowing around a huge courtyard, which helps the house breathe on natural light and ventilation.
Sthapati 2017/ 35
ARTICLE RACHEL ARMSTRONG “ Professor of Experimental Architecture School of Architecture, Planning & Landscape Newcastle University, UK
36 /Sthapati 2017
WORLDLING The Biltong was dying. Huge and old, it squatted in the center of the settlement park, a lump of ancient yellow protoplasm, thick, gummy, opaque. Its pseudopodia were dried up, shriveled to blackened snakes that lay inert on the brown grass. The center of mass looked oddly sunken. The Biltong was gradually settling as the moisture was burned from its veins by the weak overhead sun... The Biltong’s central lump undulated faintly. Sickly, restless heavings were noticeable as it struggled to hold onto its dwindling life... On the concrete platform, in front of the dying Biltong, lay a heap of originals to be duplicated. Beside them, a few prints had been commenced, unformed balls of black ash mixed with the moisture of the Biltong’s body, the juice from which it laboriously constructed its prints.”
In Philip K. Dick’s short story Pay for the Printer, the technology on which an entire civilization has depended is failing and its civilians simply have to figure out how they are going to start the process of living and making again. In other words, they have to figure out how they will re-relate to the actual condition of their times, not how generations lived before them. I bring the process of worlding into realization through the design discipline of experimental architecture that explores the possibility of living through alternative modes of experience than those currently experienced and anticipated within our current global urban industrial communities, which are built around the idea of buildings as sealed environments made of inert materials on plots of land, which are valued in terms of their square footage and spatial location. “Land-owning, shopping malls, corporate commerce, factories, and indeed the very concepts of wealth and poverty that drive much of social dynamics are all underlaid with theories of economics that establish the relative value of products and labor, of things and of people. The broad principles addressing individuality and community are, in effect, made tangible by these theories. In modern times, two rival economic theories have come to dominate the discourse about what is the best way for people to live. It is important to realize that these theories do simply explain post facto why things work as they do but actually inspire and instruct people about what to do in the first place…” Here, within alternative spaces for habitation, my work produces new that shape the worlding experience – materials, technologies, methodologies, installations –all expressed through the development of “prototypes”. These are not however, the precursors of a homogenizing model that is ready for mass manufacture but more like a form of embodied thinking and reflection. My work incorporates many different disciplines from medical sciences, to origins of life experiments, performance art, contemporary circus, modeling, computing and creative writing. Each of these skill sets enables a different exploration of the worlding process.
“Once upon a time, the future was where wondrous and terrible things were going to happen, where the present would be transformed, for better or worse, and in a sense reach fruition. The idea of the future has all but vanished from architectural conversation and discussion. Perhaps because the present is one of selfsatisfaction—there is nothing to ripen and mature—and no great chances being taken that can succeed, or fail. Perhaps the future has become just another place we already know, or hope we know.”
These soft living architectures are alternative territories – or parallel worlds, whose construction incorporates the fields of architecture, ecology, the origins of life, space and the body. Seeking alternative modes of experience, soft living architectures aim to discover how inhabited spaces may be valued differently than those that currently bolster an urban international property markets. Projects include Future Venice – growing an artificial limestone reef underneath that historic city using programmable droplets called protocells, Future Venice II – making a new island for the city from biofilms and plastics and The Temptations of the Nonlinear Ladder – a contemporary circus performance at the Palais de Tokyo, Paris, where unstable media worked in synergy with radical bodies to produce unstable, ectoplasmic expressions of new spaces that exist between worlds. Yet experimental architecture –the mode of inquiry that informs the theory and practice of worlding – is not defined by any one discipline. Indeed, it does not seek virtuosity in any particular specialty but constantly strives to develop an understanding of emerging insights, tools, methods and obsessions that arise from the collision between these knowledge fields and practices, to enable the synthesis of new opportunities and approaches towards the choreography of space, bodily awareness and the nature of matter.
Sthapati 2017/ 37
As such, experimental architecture is a form of knowledge making that is fundamentally synthetic, rather than analytical, reductive or expert – which is typical of Enlightenment approaches. It is an apparatus for inspiration; a framework for making spaces whose details and events can never be fully known, but in their making can be completely reworked, torn down and re-proposed as many iterative processes. But this is not a practice bedeviled by post-modern disassembly – murdering contradictions and imperfections as soon as they are exposed as endlessly ironic stances; it is a collision, remodeling and propositioning of material events and their theologies as an active coupled exploration of being in the world – where “the world itself is part of the fundamental constitution of what it means to be human” My work is therefore not the pinnacle of a body of incontestable knowledge, but nor it is a post-factual proposition based on rhetoric, or aesthetics alone – but an ongoing birthing, testing and experiencing of alternative spaces, disciplines, concepts, relational possibilities, collisions, contradictions, subversion and paradoxes. For it is only by clashing matter, ideas and values together – and inhabiting them – that we may challenge what we assume to be true, and find new meaningful ways forwards that we rehearse until they become adopted as culture – rather than become stranded in an ironic island of intellectual inaction from which we disdainfully watch our world boil and drown, declaring to the sweet melody of a Kurtzweil keyboard violin, “there, we told you so”. There is no remedy for the present apocalypse. The tipping points of the world we once thought we knew, have already collapsed and irreversible changes are afoot. There is simply no going backwards from our present situation. And while we can limit further damage through considered remediation and make ourselves more comfortable by clinging to familiar experiences and modes of existence for as long as we are able, this is not the same as developing a new paradigm for worlding – the way we shape and dwell in our habitats. In this extraordinary time there are no fixes, no single moments of technological salvation by transforming our fleshy bodies into the techno fossils that shape machines as a willful process of self-mummification, or uploading our consciousnesses into urn-like digital storage vessels. Nor is it ethically acceptable to simply stand by as 38 /Sthapati 2017
One of the core prototypes of my practice is to fully engage the portfolio of biotechnology into the chorography of space, using these insights to develop work that confers environments and structures with some of the properties of living things like movement, sensitivity and selfrepair, that are not necessarily given the full status of being “alive”.
the world collapses according to an accelerationist death-drive. It is time to reach escape velocity and start a different way of living. But where should we turn? The current idea of the “future” is woefully outmoded – it is disconnected from the “now” and riddled with technotopian narratives that are universally played out in amorphous places that all resemble San Francisco. Here “genius entrepreneurs” become millionaires by the time they’re teenagers and develop products that further cleave the material from the digital realms. The horizons of these futures are speculative markets and commercial empires that are synthesized from linear trajectories, typical of Information Technology business forecasts, which are thrust like fishing lines towards convergence points where mathematical scrying tools can no longer function. These “singularities” are invisible spaces and the site of existential apocalypses for the digitally enlightened. There is no end to the innovation in these line-casting futures. No limit to the profit that can be made. When framed by innovation and product development, new “apps”, new “hardware” and new “virtual” experiences spontaneously appear, which change absolutely nothing about the present reality but employ diversionary tactics that look for gaps in “futures investment”, which make a lot of the same kind of line-casters even more wealthy than they already are. So, the developed world, coveting the prospect of unlimited personal
gain, wants “in” on all these “get hyper rich quick” schemes, and lauds and invests in these “futures” – smart cities, epically profitable Moonshots, and reworked hardware that guzzles renewables rather than fossil fuels. These markets meld with the body, transforming its investors into immortals, while the rest of the globe rots in the leftovers - its filth, its non-degradable materials, non-recyclable i-Products, smogs, rising waters, proliferating plastics, collapsing ecosystems, insatiable consumerism, exploitation by stealth and depletion of rare metals, on which this whole gadget empire teeters. “Futures thinking” is triumph of the modern will, where the only rebellion is dystopian. Yet this is not revolution, its submission to more of the same kind of thinking where we are ironically aware – as if awake during our own brain surgery – that this “progress” will inflict suffering on those that have already been extorted before. And yet, because this is not in a real space, but happening some time in “the future” – a time and place that is distant from the here and now – it stands without accountability. Without ethics. Sans community. One way missions to Mars, island states for refugees, penthouse enclaves for the super rich, untouchable charlatans and cruel despots can all thrive without consequence, because in valuing “the future”, the present is no longer “real”. The process of worlding turns this paradigm around. It is not based in another space, time, or distant
location – but in a deep and responsive present. It is fully engaged in the opportunities, contradictions and difficulties of existence in the here and now – but also takes a longer view of the impacts of these same conditions, and considers them as ongoing. Worlding does not seek absolution or sensitization of the countless difficulties faced in the present but, as Donna Haraway notes, it expects to “stay with the [current] trouble”. It therefore accepts risk, uncertainty and surprise as being part of the fabric and responsibility of (collective) existence. And yet, the modern world has not equipped us for that, so we must first begin our worlding process by thinking radically and differently. What words should we use, what ideas do we explore, what tools are appropriate, how should we live? Indeed, the process of “worlding” is a time of question shaping – questions that we are yet to inhabit and discover answers for. “Ferguson grabbed the cup. Trembling, he turned it over and over. “You made it with what? I don’t see how! What did you make it out of?” “We knocked down some trees.” From his belt, Dawes slid something that gleamed metallically, dully, in the weak sunlight. “Here -- be careful you don’t cut yourself.” Sthapati 2017/ 39
The knife was as crude as the cup -- hammered, bent, tied together with wire. ‘You made this knife?’ Ferguson asked, dazed. ‘I can’t believe it. Where do you start? You have to have tools to make this. It’s a paradox!’ His voice rose with hysteria. ‘It isn’t possible!’ And while such a task seems daunting, impossible, harder to imagine than the end of the world – we must, as in Dick’s short story, take our first steps by accepting imperfection, risk, change, uncertainty and chance with no more intellectual or technical status than that of the amateur. While we provoke the unknown, we will not remain in this state of unknowingness. As we immerse ourselves in strange assemblages, prototypes, models, installations and enactments, new modes of thought, forms of making and expert practices will begin to condense. In orienting ourselves around these spaces and reading its fields and interfaces like language, it may be possible to generate new kinds of design weather – metamorphic entities, which precipitate fresh downpours of words and ideas that enable strange things to spring up everywhere – even from out of the ground. Worlding embodies rather than represents the processes it discusses by curating and producing texts, ideas, quotes, themes, poetic expressions, narratives and stories, which are collided to become condensations of new modes of thought. This book channels these fragments as a form of choreography that suggests the beginnings of a theatrical space and performance laboratory for the practice of worlding. As such, students, amateurs and professionals alike, enter into a participative spatial experience, more akin to an exhibition space than a sequential set of rhetorical arguments. Yet these are not fictions, designed to entertain – but parallel worlds that offer insights and tactics about how we might conduct new experiments that keep us off balance in our thinking so that we evade consensus, universality, homogeneity and equilibrium. Perhaps we will encounter a weird Baroque of performance, drama, tension, exuberance, grandeur, experiment and the poetry of life, which may become those seeds that enable us to invent new stories about our collective livability and mark our first steps towards a (re)worlding of this planet. Observed from within a Cambrian explosion of design choices, excesses, diversity and 40 /Sthapati 2017
an abundance of vibrant spaces an apparent Tower of Babel will gradually become comprehensible and even familiar to us. Through its diplomacy we will find coherence in the diversity of experiences and paradoxes that these changing times provoke. The time of homogeneity, theories of everything, universalities and one-stop techno fixes will be subsumed by a flourishing of possibility and further refined by the processes of living. Indeed, our inhabitation of these emerging spaces is the measure of success of soft living architectures. Their ambition - to enrich the material flows and movement within our living space to generate alternative choreographies, which are asserted through their own poetics and articulated in sensible metrics. Soft living architectures will no longer be constrained by existing conventions –such as post occupancy surveys and energy efficiency evaluations – but will even spill into spaces beyond our native, and terrestrial environments, from which our inhabitation of them will bring about new modes of existence. Ultimately, worlding aims to create the conditions whereby an ongoing relationship with this incredible planet and all its diverse living systems is the natural condition of humanity.
“
THE QUESTION OF “WORLDING” IS AT THE HEART OF MY PRACTICE, A TERM THAT IS ASSOCIATED WITH MARTIN HEIDEGGER’S NOTION OF “BEING IN THE WORLD” THAT SPEAKS OF THE ACTUAL PROCESS OF LIVING AS FUNDAMENTAL TO HOW THE WORLD IS MADE.
”
INTERVIEW WITH SUSHANT VERMA Founding Partner & Research Head rat[LAB] Research in Architecture & Technology India | UK | USA www.rat-lab.org Sushant Verma is an architect & computational designer, currently leading research organization rat[LAB] - Research in Architecture & Technology. Former architect at ZahaHadid Architects, London & a Sr. Editor at Arch2O, he holds teaching positions at a number of universities internationally & is involved in education for computational & parametric design. He is the founder of rat[LAB] EDUCATION, which is an initiative to spread the idea of computation in design profession & education in India. He was invited to give a TEDx Talk at TEDx Gurugram in November 2016 which is available to view on TEDxTalks YouTube channel here: https://youtu.be/c9vn1RV4a38
rat[LAB] - Research in Architecture & Technology, is an independent research organization and network of designers & researchers specializing in computational design or similar technologyrelated domains. rat[LAB] is operated as a cloudbased organization with an international network of researchers & computational designers spread across UK, USA, Europe & Asia, and a studio in New Delhi, India, the research cell functions as a global collaborative and multidisciplinary laboratory facilitating design research that leads to novel spatial tectonics and smart built environments. The research agendas broadly focus on use of computational design & parametric design in architecture, with intersections between design & technology spread across scales and disciplines. rat[LAB] offers collaborations to architecture and design firms to develop systemic models using advanced computational techniques and carry out project-specific or agenda-specific work in all fields of design.
Sthapati 2017/ 41
Q. What urged you to take up architecture/ design as a career?
I had always been inclined towards design and creative domains while having a knack for science and technology. It won’t be wrong to say that there was a ‘genetic’ background to this too. My father, being an architect, and my mother having a background in arts & mathematics, provided me with a perfect blend to take up tech-specific designs, which is currently the type of work I have been involved with. I always saw design as a problem-solving method and intrigued with the process of creativity. ‘Architecture’ happened this way without much of planning it up as a career.
Q. In your opinion what are the challenges/ impediments to design and architecture in India?
Architectural Practice in today’s date has become more globalized than ever and there is a healthy exchange of knowledge and data due to the openness of internet, mass share of data and architectural journalism being at its peak. Hence, practice challenges are as much as it would be in any country or environment. Yes, India is slightly slow in adapting to new technologies & methods, but we push hard to break the conventional boundaries for innovative work to emerge. India is a booming market and acceptance to change is becoming better with time & globalization.
Q. What defines your style? How does it set
Q. What/Who do you think has been
I would not like to define our work under a narrow spectrum of a ‘style’. It is an evolving piece of work that we are carrying out at rat[LAB] and it continues to push boundaries that we set in our previous works. Since we use technology at the core of our practice, our work evolves rapidly with changing technologies and computational methods form the practice ethos, making it distinct in its own ways as far as design process and output are concerned.
I have always been inspired by works of Frank Gehry and Zaha Hadid due to the way they have pushed the conventional boundaries of profession in their own ways. Gehry’s work forms an inspiration as he introduced new technologies from parallel disciplines to drastically change the way architecture is practiced, constructed & realized. Zaha, on the other hand disrupted the design language of a static profession. I have been fortunate to be associated with ZahaHadid Architects, London during 2013-14 where I gained immense exposure and experience to work on complex projects of all scales and types.
you/ your firm apart from the multitude?
42 /Sthapati 2017
prominent inspiration behind your work?
SEEDS OF REMEMBRANCE India got its independence from the British Rule in 1947 but the earliest known reference to armed forces are from millennia ago in the Vedas and the epics, Ramayana and Mahabharata. From the ancient period to the 19th century, a succession of powerful dynasties and empires came to be and some were challenged by lesser Indian rulers who also struggled for land and power through warring. The British colonized India during the 19th century and formation of Indian Armed Forces dates back to year 1830 as Her Majesty’s Indian Navy. This, officially, was the FIRST SEED sown in the history of Indian Armed Forces, followed by Indian Army in 1895 and Indian Air Force in 1932. Since the formation of these armed forces, there have been branching out of multiple units, regiments and squadrons at various hierarchies that have been involved at warfare and peace keeping missions in their own capacities. National War Museum celebrates these forces to remember the existing groups among the lost brave hearts. The Indian Armed Forces, sub-categorized into Infantry Regiments, Armoured Regiments, Units of Regiment of Artillery, Paramilitary Regiments, Squadrons of the Indian Air Force, Squadrons of the Indian Navy, Army Aviation Corps, Border Security Force, Indian Naval Units and Indian Coast Guard Divisions, form about 215 units, all of which have been denoted as Seeds of India to be celebrated, remembered and honoured through this Museum of a new typology. Stories and Details about these seeds are embedded into 215 spires that rise from a partexcavated ground as structural columns of gradually variable sizes. These hold 15 inter-connected building blocks that are fragmented from the site attributes (Geometry; 7 vertices) through 7 predominant directional axes representing 7 major wars & missions. Functional Zoning & Morphology The site is divided primarily into two parts – North Block and South Block where South Block is an agglomeration of building blocks suspended on triangular-column grid in a large sized pit. These blocks form an urbanscape made of multiple roofs (hardscape & softscape) interconnected by a series of Steps & Ramps for public usage. These areas, along with vertical spires, give an installation-type character to the Museum. The North Block comprises of three primary museum blocks – Indian Army, Indian Navy, Indian Air Force, along with a multi-level car park block that connects to the South Block at 3 different horizontal levels – Base Level (-30m.), Auditorium Level (-22m.) & Ground Plane Level (+0m.)
Sthapati 2017/ 43
PARAMETRIC FACADE
GURUGRAM
Q. What led to the whole idea of being more research based architectural practice?
It was the summer of 2012 at Architectural Association (AA), London when me &Pradeep were working on our Masters Thesis Research and were candidly discussing about need of research in design practices and lack of use of technologies. We were developing our work on adaptive[skins] project at that time, where the aim was to build an architectural system that can respond to changing environment and physically transform over time, with self-generated energy. Due to complexity of the problem, a lot of research was required; something that AA inculcates in you right from the beginning. It was during those days that we started rat[LAB] in order to expand our understanding of ‘Research’, ‘Architecture’ & ‘Technology’ that helped us acronize the organization name. What followed that conversation is years of efforts to formalize ourselves into a design practice that strongly believes in research with design. Going ahead with our core ideology of connecting ‘Design’ & ‘Technology’ through ‘Research’ & ‘Computation’, we are now happy to establish ourselves as computational experts to collaboratively work with designers across all creative domains. The Research part, however, is not limited to theoretical research but more focussed on advanced computational methods that can catalyze a design workflow or optimize the project in one or many ways. 44 /Sthapati 2017
Q.
What would you like to achieve in the next 3 years? Possibly more of projects and research that can help built environment in direct and indirect ways, and positively affect lives of people. Hopefully an impact in design education so we can have smarter designers building smarter cities soon. As far as work goes, it is hard to predict where we would be by that time. If we start to analyze our evolution and growth, it has certainly been a roller-coaster ride for the entire team, which continues to evolve with our methods. Since we use technology at the core of our practice, and like to evolve rapidly with changing technologies, it is quite certain that we would continue the same approach and would potentially have tech-embedded design environments in near future. Our work should ideally follow the same pace and we hope to be able to demonstrate this through built as well as unbuilt projects that form the plethora of design research we nurture in the practice. Computation and other tech-tools and methods would certainly be a part of the work that we aim to do in future. We are hopeful that scale of work should increase to be able to make larger global impacts. We look forward to a very exciting and collaborative future!
Design and aesthetics of building skins impart a character to a place, externally, and is a major parameter for building performance, internally. Filling up this liminal frame separating the two efficiently requires an integrated practice of rational and intuitive approach, which is executed as a design & engineering process. This is where disciplines merge and science meets art in a collaborative laboratory environment. A collaborative project in Gurgaon, India by rat[LAB] Delhi and Design Plus, New Delhi for an industrial building façade led to an analytical discourse on façade engineering practice in India. Challenging the conventional approach to façade design, engineering and assembly, a data-driven approach to design using computational methods coupled with local fabrication techniques has led to an ambitious project in an industrial sector in Gurgaon. A non-standard façade
system with a differentiated geometry is customized using local methods and basic geometric systems through a rational use of data for project simplification and cost optimization. As the complexity of building envelopes increase with scale, the process of translation from ‘design to build’ also gets complex and requires a series of non-linear steps. The facade is designed using a number of parameters such as environmental conditions, structural feasibility, materiality and cost, among others; all of which can be quantified as data. Since there is a large amount of data involved, computation becomes an essential tool of dealing with the complex dynamics of the project. Computation is carried out through non-digital & digital processes aligned together and algorithms are used for complex (and simple) problem solving.
“
I ALWAYS SAW DESIGN AS A PROBLEMSOLVING METHOD AND INTRIGUED WITH THE PROCESS OF CREATIVITY.
”
Sthapati 2017/ 45
The Wall House Anupama Kundoo
“
My designs are not driven by the worry that the world will end, but by finding ways to make the most with what one has.
�
IIT MIT PRACTICUM The IIT-MIT India Practicum is a joint initiative by IIT Kharagpur’s Department of Architecture and Regional Planning and MIT’s Department of architecture to conduct an academic study at Santiniketan for its ecology and conservation, urban design, and creative economy. Santiniketan is famous throughout India for being associated with the poet Rabindranath Tagore and the Visva Bharati University. Initially a part of his ancestral zamindari property, Devendranath Tagore, Rabindranath’s father started the Visva Bharati University on this unique ecological formation called the Khoai. Since then, the university and Rabindranath’s philosophy has evolved from this place giving it character that India’s populace perceives.
48 /Sthapati 2017
The Dept. of Architecture and Regional Planning at IIT Kharagpur has joined hands with the School of Architecture and Planning, Massachusetts Institute of Technology, USA for a course to study urbanization in the current developing world where it is no longer limited to the precincts of what are administratively defined as “cities.” The practicum will undertake a study into how planning can evolve practicable norms, within a given cultural, ecological, regulatory and investment terrain in Santiniketan. The theme of this practicum is “Triple Bottom Line Approach for a Sustainable Heritage City” and the three key areas of research are Urban Design and Heritage, Creative Economy and Environment. A group of 15 students from MIT and 12 students from IIT Kharagpur are involved and they have been selected from undergraduate, post graduate and research levels. The team is being led by Prof. Bish Sanyal, Ford International Professor of Urban Studies and Planning and Director of the Special Programme in Urban and Regional Studies and Dr. Arindam Dutta from MIT and Prof. Subrata Chattopadhyay, Head, Dept. of Architecture and Regional Planning and Dr. Haimanti Banerji from IIT Kharagpur.
The process of this India practicum was initiated by visit of Prof. Sanyal to India in January 2015 followed by a visit to MIT by Prof. Chattopadhyay and Prof. Banerji in October 2016. This was followed by a field-trip at Santiniketan in January 2017which involved reconnaissance survey, independent exploration by students, collection of secondary data, interviews of local people, tourists, tribal people and Stakeholder’s meetings. A few questions that were raised after the field trip which were discussed in the American Centre are (i) How may one develop arguments for preservation that do not automatically become the preserve of particular interest groups i.e. how may one balance historic preservation with local aspirations and regional growth (ii) How can the promotion of tourism yield positive economic benefits without threatening the ecological fragility of the region? (iii) How can we maximize cooperation across different sectors within informal and formal domains? Next step is studio work by MIT students in spring semester with regular interaction with IIT Team through video – conferencing and a closing colloquium at MIT in May 2017, where IIT team will participate. The bilateral event should be able to propose a way forward for exchange of faculty- members and graduate students in the next few years between partnering institutions. Joint Research Publications in Journals and International Conferences will deal with the above mentioned questions considering the uniqueness of Santiniketan and Khowai region. These will be eventually be leading to a MoU between two institutes.
Sthapati 2017/ 49
“
The IIT-MIT India Practicum is a joint initiative by IIT-Kharagpur’s Department of Architecture and Regional Planning and MIT’s Department of architecture to conduct an academic study at Santiniketan for its ecology and conservation, urban design, and creative economy. Santiniketan is famous throughout India for being associated with the poet Rabindranath Tagore and the Visva Bharati University. Initially a part of his ancestral zamindari property, Devendranath Tagore, Rabindranath’s father started the Visva Bharati University on this unique ecological formation called the Khoai. Since then, the university and Rabindranath’s philosophy has evolved from this place giving it character that India’s populace perceives. However, there have been changes to Santiniketan’s ecological landform, the Khoai and also the creative economy supported by the manufacture of local arts and crafts. The Khoai is undergoing continuous erosion of topsoil and also the local creative economy is threatened by traders operating from Kolkata. The practicum is meant to explore the various factors operating in Santiniketan, their interdependence and formulate processes to solve problems. In January, a team of 15 students from MIT and 12 students from IIT-Kharagpur along with two coordinating faculty members from each university and experts of the fields met at Santiniketan to study the town’s existing conditions. The students split themselves into three broad groupsecological conservation, historical preservation and urban design, and creative economy to conduct field studies. Each group conducted individual surveys on the field interacting with local 50 /Sthapati 2017
residents, stakeholders, university officials, the development authority, santhals, local craftsmen and entrepreneurs, students, and professors. The study was also enriched through lectures from academicians. The exercise was very holistic, touching all facets of cultural and infrastructural developments. Views of the tourists and locals on Rabindranath Tagore and his work were documented to map the significance of the place as a source of Bengali culture and intellect. Local artisans in the Shanivarer Haat were consulted to find the supply chain linked with the creative crafts of the region. Students involved in the practicum from the side of IIT-Kgp will be going to MIT towards the end of May to present their findings and solutions. The individual research topics are proposals jointly formulated by IIT and MIT students. While the MIT students are involved in this practicum through a credit course in the Department of Architecture, students from IIT had been selected through an essay competition. The practicum is expected to continue in the coming years involving students from both universities in this enriching initiative. Karthikeyan Kuppu 5th Year Under Graduate Student Department of Architecture and Regional Planning IIT Kharagpur
Reflections from the IIT-MIT Practicum After the reconnaissance survey was over in January 2017, both IIT and MIT teams regularly met over the internet to identify themes which grabbed their attention, discussed work-progress, and even participated in mid-term review held in April over video conferencing which started at midnight as Kharagpur is 9 hours 30 minutes ahead of Cambridge! End-term presentation of the IIT-MIT India Practicum, 2017 was held at the Department of Urban Studies and Planning (DUSP) at MIT on 19 th May, 2017. Upon invitation from MIT, the team of IIT students and two faculty members – Prof. Subrata Chattopadhyay and Prof. Haimanti Banerji - had travelled to Cambridge, Massachusetts in the USA to participate in the event. They were joined by 14 students and two instructors from MIT – Prof. Biswapriya Sanyal and Prof. Arindam Datta. Seven joint-teams had made their final presentations with each team comprising of a mix of students from both the institutes. Themes presented by the groups ranged from assisted living as multi-sectoral growth model; revitalization of arts and crafts-based local economy; land use violations; potential water infrastructure; retelling of the heritage narrative; mobile vans as growth engines; and an integrated plan for Khoai environs. Through all these presentations, students have identified the key issues which Santiniketan is grappling with at present; explored the larger setting related to each of the identified issues; and proposed one or more development projects which may be implemented.
Every presentation was followed by a feedback session. The external jury comprised of three distinguished academicians: Prof. Dilip da Cunha from the School of Design, University of Pennsylvania; Prof. Diane Davis and Prof. Sai Balakrishnan from the Department of Urban Planning, Graduate School of Design, Harvard University. Prof. Sanyal highlighted upon the projected benefit of the practicum in terms of evolving a system of co-learning across educational cultures. He termed the practicum as an experiment in pedagogy of planning studies; and expressed interest in continuing further in future semesters, based on the feedback received from participants. After the presentation, the MIT team had arranged a city tour for the visiting students from IIT. The team was met by the alumni of ARP at MIT at the Annual Party of DUSP organized by the Boston Society of Architects. IIT students were staying with their respective Indian hosts who were studying at MIT; arranged by Saumya Pasumarthy - an alumnus of ARP and MCP student at MIT, and teaching assistant for the practicum. Overall, the practicum has been an enriching experience, particularly, in learning how a study may be approached differently by distinct schools of planning; thus, re-establishing the need for holistic understanding of developments in architecture and planning. Deepanjan Saha Research Scholar Department of Architecture and Regional Planning IIT Kharagpur
Sthapati 2017/ 51
ARTICLE JOY SEN REMINISCENCES AND FAST FORWARD Professor Architecture & Regional Planning Indian Institute of Technology, Kharagpur
52 /Sthapati 2017
“
Once a student, then a teacher, and now the Head (2017-20), but once a student, you are always a student. Therefore, I feel both proud and humbled to serve my alma mater and the very heart of the Department of Architecture & Regional Planning, where I was nurtured way back in 1979-84.
Apart from my Mansara Award for arriving at the best third year results, which was in 1982, I had manged to get the Institute Silver Medal in the Convocation of 1984. But more exciting was my heartfelt involvement with my hall activities, i.e., R.K. or RadhaKrishnan Hall’s Social & Cultural activities. We were the best for four successive years, bagging all prizes within campus and outside. During these years, I got an opportunity to get very close to the top artists, like Ustad Amjad Ali khan, and many more. After 33 years, it is still fun, great fun and honour to play for my Hall, and that too on a Teacher’s day celebration of 2017. I have always felt ‘Music’ having very close interface with Architecture. Resonating to Goethe’s legendary statement, ‘’Architecture is frozen music”, the rhythm of the seven tunes always corresponds to the seven colours of any composition that we do in form and function, and the seven levels of consciousness that we play in a cognitive and precognitive way for emulating and simulating new design innovations. Recently , I have been able to link the idea in a Mega Workshop under the auspices of Project Varanasi at IIT BHU. Meeting diverse Experts as PadmaShree Pandit Ajay Chakraborty, father of renowned Koushiki Chakraborty; Indologist PadmaShree Dr. Bettina Baumer, Professor Emeritus and Senior Fellow of IIAS, Shimla, and Former Chairman, Duetsche Bank and Currently, Chief Financial Adviser to the Prime Minister of India, Writer Mr Sanjeev Sanyal, are just a few of many, who are shaping my life.
My orientation in terms of depth and consolidation increased as we were awarded the Science and Heritage Mega-initiative (Acronym SandHI) by the MHRD, Government of India (2013 – 18). I became its key Principal investigator. It has now a wide range of projects covering both sciences and architecture and great inputs from the Liberal and Performing Arts. Its reputation has reached corners of the country and abroad. There are 4 majorInternational collaborations. Today, India is well positioned within the fold and rise of the Asia-Pacific and the rise of Asia itself! As motherland of all civilizations, and drawing inspiration from great architectural and town planning heritage of the Ancient Indus valley civilization, which is now over 10,000 years old, the responsibility to augment the future course of our national architectural and planning profession is a great, great concern!
Sthapati 2017/ 53
Our Department is a living expression of the concern. Amid the largest campus and highest academic complexity among all IITs, the Department of Architecture and Regional Planning IIT Kharagpur is perhaps the most unique one that blends science and art to deal with the frontiers of technology. This unique approach actually blends the left brain of deep analytical and positive thinking with that of the right, which is normative, emotive, and intuitive. I have tried to achieve through collaborating with the Center for International Modern Art (CIMA) (CIMA) in the year-long 2016-17 Festival on Creative Arts and Creative Economy. The efforts on PROJECT VARANASI have been carried forward in this light in areas of the built environment, urban design, urban planning and urban engineering, where we are seen to exchange with organizations in Western India and French School of Design from Paris. My dual role both as a Professor of this Department, a Former Head of the Ranbir and Chitra Gupta School of Infrastructure Design and Management (2014-17), and now as the Head of the Department, have carry forwarded continuous opportunities to collaborate and groundwork projects with the best Institutes and associations in the world. GSAPP, Ivy League Columbia University, The Nikken Sekkei Research Institute and others experts from the University of Tokyo and the Tokyo Metropolitan University in Japan, the Center of Geographical Information Systems, Georgia Tech, Atlanata, USA are just to mention a few.
54 /Sthapati 2017
Fruitful exchanges are on the way with many around the world. UNCHR expert Prof. Bruce Stiftel of Georgia Tech and Deputy High Commissioner of UK in India, Mr. Robert Becknell are two forerunning ones to set out new course of works on GIS in Design and Planning; and the Indo-UK summit in the rolling. There are Infrastructure projects on Urban happiness with GoWB and other agencies. Our institute and our department give us the opportunity of having unique and independent professional consultancy services. I have had till date the opportunity to design any and two most significant and recent ones are Planning for R & R Colonies for the UMPP Project in Sundargarh, Odisha, for the Ministry of Power, Government of India, which was by far the largest Consultancy project of IIT Kharagpur (2015-17) and the prestigious New campus for St. Xavier’s College in New town, Rajarhat, Kolkata. Of the two phases, first phase is just completed.
“
I have always felt ‘Music’ having very close interface with Architecture. Resonating to Goethe’s legendary statement, ‘’Architecture is frozen music”, the rhythm of the seven tunes always corresponds to the seven colours of any composition that we do in form and function, and the seven levels of consciousness that we play in a cognitive and precognitive way for emulating and simulating new design innovations.
”
This I want to share with my near and dear young minds. To understand that other modern professions come and go. They have ups and downs; and sometimes, there are even the outbursts of past hopes as ‘Bubbles’! But Architecture and urban planning, which are the 2 age-old honourable professions in the world are always steady, robust and sustainable. This is extremely true! I have realized that being an architect-planner. And a Minor in Development and social Anthropology from UNDP-Iowa State (1988), have made me even wiser and happy. Finally, our Department offers services under the portal of an Institute, which is intimately intertwined with the story of our struggle for independence and the countless sacrifice of martyrs, our forefathers. Let the concerns for our future also be the very hopes and promises with which these sacrifices were made. This is the value that we add to enhance the quality of our actions. This is the value that our ancient civilization offers and that value is as modern, perhaps more modern and more relevant today as and than any other applications of sciences and technology and the arts. Yoga Karmashu Kaushalam!
Sthapati 2017/ 55
DEPARTMENT WORKS
56 /Sthapati 2017
Sthapati 2017/ 57
HANDICRAFT FOLDED PLATE STRUCTURES BASIC DESIGN I
MODELS
58 /Sthapati 2017
HAND WORK
Sthapati 2017/ 59
THESIS CENTER FOR CULTURAL HERITAGE AMARAVATI 5TH YEAR UNDERGRADUATE SIDDHARTH KANDRA
60 /Sthapati 2017
LIGHTING DESIGN APPLICATION CENTRE KOLKATA 5TH YEAR UNDERGRADUATE MUNDHADA KETAN LAXMIKANT
Sthapati 2017/ 61
TRANSPARENCE REGIONAL WINNERS
AHMED MERAN, KAUSHAL SHETTY, DEVANSHU BHARDWAJ
Anaavaran, the unveiling of a secret, a mystery, a performance!
SPECIAL RECOGNITION
RAJA SINGHAI, ABHIGYAN SHIVAM, SHIVAM KUMAR
“When the heart speaks, and the heart listens, Harmony is produced”
62 /Sthapati 2017
INSDAG SECOND RUNNER UP
ABHISHEK KUMAR, KEVAL SOJITRA, ABHISHEK CHAUHAN, VIVEK SINGH CHOUHAN
Epitaph
“ For in the true nature of things, if we rightly consider, every green tree is far more glorious than if it were made of gold and silver. “
Sthapati 2017/ 63
TRANSPARENCE VDP VERTICAL DESIGN PROBLEM MODULAR STUDIO APARTMENTS The Students’ Society of Architects and Planners in association with Arth design build, held the vertical design problem 2017 at the Department of Architecture and Regional Planning. The ten day competition saw active participation from all the students of the department and some innovative approaches in designing an urban living society for the youth. The students came up with various different concepts to develop a sustainable yet modern living environment for urban youth.
64 /Sthapati 2017
Sthapati 2017/ 65
STUDIO WORKS
CHEMISTRY MUSEUM ARCHITECTURAL DESIGN III
Chemistry is all around us, in the water we drink, the air we breathe, and the earth beneath our feet.
CENTRAL BUSINESS DISTRICT ARCHITECTURAL DESIGN V
The commercial and business centre of a city, the heart of the city’s economy.
66 /Sthapati 2017
RESTAURANT DESIGN CHINESE
INTERIOR DESIGN
3RD YEAR UNDERGRADUATE SHUBHAM SHUDHANSHU Chinese dragons symbolize potent and auspicious powers. The dragon is also a symbol of power, strength, and good luck for people who are worthy of it.
SPACE FOR BEST FRIEND INTERIOR DESIGN
3RD YEAR UNDERGRADUATE KEERTI MANNEY Fashion is architecture. It is a matter of proportions.
Sthapati 2017/ 67
DEPARTMENT ACTIVITIES DIWALI
WORKSHOPS WORKSHOPS
• Workshop on Lighting and design principles by Ms. Sudeshna Mukhopadhyay for both UG and PG students. • Workshop by Mr. Harimohan Pillai on Decoding Corbusier for UG first year students. • Workshop on BIM by 4th and 5th year UG students.
SITE VISITS
68 /Sthapati 2017
FAREWELL
FIELD TRIP
FRESHERS’ ORIENTATION
FIELD TRIP
Sthapati 2017/ 69
KUPPU SUNDARA KARTHIKEYAN karthikeyankuppu@gmail.com
DHRUBAJYOTI BORDOLOI dhrubajyoti.bordoloi3@gmail.com
Yearbook
HARSHIT harshit158@gmail.com
“ Vizwakritz ”
PRATIBHA VERMA verma.pratibha94@gmail.com
ABHISHEK CHAUHAN abhishekchauhan0102@gmail.com
ANKITA DIWAN diwan.ankita9@gmail.com 70 /Sthapati 2017
ABHISHEK KUMAR abhishek.krishna0@gmail.com SUNEET JAGDEV jsuneet21@gmail.com
SOUMODIP PAUL soumodippaul@gmail.com RISHABH NAYAK rishabhnayak0012@gmail.com NISHANT KUMAR
PRACHI VERMA prachi.verma93@gmail.com
MADALA HEMANTH CHOWDARY hemanthchowdary236@gmail.com
RAWKE PURUSHOTTAM ARUNRAO purushottamar@gmail.com
ASHRIS CHOUDHURY ashris.iitkgp@gmail.com
RAVI KUMAR ravi281994@gmail.com
P APOORVA puliapoorvareddy@gmail.com SHEENAL CHHABRA chhabrasheenal@gmail.com
TARUN SHARMA tarunsharmau@gmail.com
AKASH MODANWAL modan.akash@gmail.com MADHURIMA BAANPUR madhurimabaanpur07@gmail.com
MUKESH KUMAR mukeshkumararch@gmail.com
SUBHASH CHANDRA BIRULY PAWAN KUMAR pawankgp17@gmail.com
PEESARI VAMSHIDHAR REDDY vamshi.peesari@gmail.com
KEVALKUMAR 72 /Sthapati 2017 SOJITRA
kevalkrsojitra@gmail.com
JITENDRA KUMAR VERMA jitendrab.arch@gmail.com
GANGULA ANWESH gangulaanweshWW@gmail.com VIVEK SINGH CHOUHAN vesscy@gmail.com
SHIVKUMAR MAKWANA shivkumarmakwana@gmail.com
AMIT ANAND
SIDDHARTH SINGHAL ss.iitkgp.a@gmail.com BISHNU KUMAR SHARMA bishnukrsharma@gmail.com
DEEPANSH SINGH DONGRE deepanshsingh94@gmail.com
ANKIT KAPOOR 0ankitkapoor@gmail.com
B RUTHWIK ruthwik.bellam@gmail.com
KUMAR ABHILASH kumar.abhilashkgp64@gmail.com
SANKALP JAISWAL jaiswalsankalphi@gmail.com PRATIK PATRA pratikpatrakgp@gmail.com
KARTHIK VARMA VEGESNA
karthikvarmavegesna1234@gmail.com
PANSARE HARSHIL RAVINDRA harshilpansare@gmail.com
GOLI NAVEEN KUMAR naveengoli2012@mgail.com
DASARI DIVYANVITHA Sthapati 2017/ 73 dasari.divyanvitha@gmail.com
76 /Sthapati 2017