Contemporary Responses of Indian Architecture vol. 1

Page 1

Contemporary Responses of Indian Architecture Edited by: Krysta Mae Dimick and Heather Dawn Wright Forward by: Jacob A. Gines

Architecture History of India College of Architecture + Planning University of Utah Spring 2011

i

Table of Contents

0 1 2 3 4 5 6 7 8 9

Foreward: The Heritage of the Contemporary Indian Architect

Jacob A. Gines

High Court, Charndigarh Le Corbusier

Jason Joy and Nick Tanner

Indian Institute of Management, Ahmedabad Louis Kahn

Eric Carter and James Hall

Institute of Indology, Ahmedabad Balkrishna V. Doshi

Krysta Dimick and Heather Wright

Baha’i Lotus Temple, Delhi Fariborz Sahba

Chris Huntsman and Brandt Loo

Ahmedabad Mannagement Association, Ahmedabad HCP Design

M. Blake Powers and Märt Baumer

Ashwinikumar Crematorium, Surat Gurjit Singh Matharoo

Brian Starr and Michael Zeller

House in an Orchard, Ahmedabad Ruhul Mehrotra and Associates

Jeff Adams and Matt Metcalf

Palmyra House, Nandgaon, Maharashtra Studio Mumbai

Hoku Ching and Caitlin Stewart

GMS Grande Palladium, Mumbai Kamal Malik Associates

Cory Ingersoll and Chi-Yow Lee

v 1 21 45 61 72 83 101 113 127

iii

Foreward: The Heritage of the Contemporary Indian Architect Jacob A. Gines “How do we see culture? And when we say that culture has become our heritage, we should ask a question — what is it? Is it only the heritage that is apparent that we see? People are [viewing] city as a heritage, and in that city we talk about buildings as our heritage; in those buildings we see monuments, but we have never talked, in detail, about the lifestyle, and I think culture is an expression of the lifestyle, which manifests in the three dimensions — in the way they live. And those living styles manifest in the buildings.�1 The physical manifestation of heritage and lifestyle, through architecture, provides us with a critical link back to the seemingly broad idea of culture. And when that culture consists of over 1 billion people, hundreds of mother languages and a vast, ever-changing natural and built landscape; then ideas of culture, and in particular heritage, become as complicated as an intricately woven tapestry. The tapestry, which is India, has been poetically described by Mark Twain, “India is the cradle of the human race, the birthplace of human speech, the mother of history, the grandmother of legend, and the great grand mother of tradition�.2

vast cultural wealth, is constantly battling with the legacy he is creating for future generations. So what is the heritage of the contemporary Indian architect? To preface the complexity of this situation we must begin by understanding survival. ! ! of the human condition; from our growth within the " sustaining needs and human desires. “As architects, we are so involved in our day to day survival�4 that, at times, we are ONLY surviving. We have become, in the words of Balkrishna Doshi, “submissive� and have created an erroneous architectural culture of “constantly

former nostalgic time when life seemed less complicated, more romantic and even more idealized. These “Golden Ages� in our history are viewed as times of wonder and have become the framework for mythical elaborations.

The Story of India, observed, “Golden ages can only exist in the past, for they’re the products of our imagination; and we humans, after all, can only exist here, in the present�.3 Wood’s sentiment connects the [ever]-present, “to be� with the existential “is�. Heritage then, becomes the inheritance of our present condition and existence. It is no wonder then that the Indian architect, with his

v

succumbing�.5 Architects are tossed to and fro by the motivations and interests of their clients; and in the middle of all this bull-rushing, the architect has become removed from the nature of his title and the duties he is meant to perform. As a result, architects no longer “talk about the value [of space(s)]. It is only about [the client saying], ‘I have this much time, this much space, this much money’�.6 Architects have become so desensitized from years of architectural hazing by tyrannical clients that they have come to consider such behavior as normal. They are unaware that architecture has the ability to add immeasurable value and give meaning to spaces where meaning has been lost.

For Balkrishna Doshi, the quintessential Indian architect, architecture has the ability to transform the human experience into a favorable condition and when consumed, like a good food, becomes a part of you - it is your blood and your life.9 Perhaps the greatest hindrance for architects is the fact that they are architects. Many could learn from Doshi’s wisdom, “I am not an architect. For me it is a search. A search for the known which I have not known.�10 This search transforms the architect

% & ' the capacity to communicate with the cosmos and embed unseen sensibilities into his work. So, what is the heritage of the Indian architect?

Christopher Alexander in his book The Timeless Way of Building stated, “The search which we make‌ in our own lives is the central search of any person, and the crux of any individual person’s story. It is the search for the moments and situations when we are most aliveâ€?.7 Likewise, Juhani Pallsmaa has ventured, “Instead of creating mere objects of visual seduction, architecture relates, mediates and projects meanings. The ultimate meaning of any building is beyond architecture; it directs our consciousness back to the world and towards our own sense of self and being. # $! complete embodied and spiritual beings.â€? 8

The following monographs, prepared by students at the University of Utah’s School of Architecture, attempt to unravel this question and provide a glimpse into several contemporary Indian architects, their philosophies, practices and works. Perhaps their search, in some * / meaning in a contemporary world that is struggling to &

vii

High Court Le Corbusier Chandigarh, India 1952

Nick Tanner and Jason Joy

1

At the age of 31 he met the cubist painter Amedee Ozenfant and together they established the style of painting called Purism. This style of painting was inspired by machinery and the golden section. It rejected the decorative trend of cubism and advocated a return to clear, ordered forms that were expressive of the modern machine age. During 1918-1922 he focused on developing the purist theory and did not build any buildings. He also established a journal, L’Esprit Nouveau and changed his name to Le Corusier which was derived from his maternal grandfather, Lecorbesier.

Charles-Edouard Jeanneret, who later chose to be known as Le Corbusier, was a pioneer of Modern Architecture also known as the International style.

Historical Context

High Court

The Swiss Architect was born 6 October 1887 at La Chaux-de-Fonds, Switzerland to his music teacher mother and his father a watch engraver. His design education began when he studied under the direction of Charles L’Eplattenier at the Advanced Decorative Arts Course in 1904. While there he studied art motifs. It was L’Eplattenier who sparked Corbusier’s interest in architecture. While at the Arts school he had the opportunity to work with Rene Chapallaz and design a villa for Louis Fallet. (Foundation Le Corbusier)

2

Following the completion of Villa Vallet, he went a series < ! # # with drawings and notes and photographs. In 1910, = # & ' > = ! and Meis van der Rohe. In 1914 while Corbusier worked with his cousin Pierre Jeanneret, he developed the idea of the Maison Dom-ino. This created a system-structure skeleton independent of the plan of the house. This design created a form made of standard components allowing great diversity in home interior layout. (Foundation Le Corbusier)

Above: Diagram of golden section rectangle derived from a unit square. Create an arc with center at midpoint of one side on the square and radius length to the corner of the square.

When he resumed designing buildings he directed his attention to following the ‘machine for living’ and ultimately developed his Five Points of Modern Architecture. These points are: Pilotis, Roof Garden, Free Plan Ribon Windows and the Free Facade. These tenements were almost given up by given up in his projects in India except for the principle of the roof terrace. (Kahn, 151)

LC-1 Chair

@ QX\^ _ ! ! tion that he had conducted for twenty years, and which had won him, ten years earlier, a doctorate degree in philosophy and mathematics at the University of Zurich. The research was brought to an end in view of the immediate task to be undertaken. “Throughout the world, people must build, manufacture and prefabricate; products will travel from province to province, from country to country, from continent to continent. A common measure must be discovered!� LC-2 Chair

Design Approach

LC-3 Chair

High Court

Below: The Modular Man

LC-4 Chair

3

Villa Savoye, 1928, Poissy-sur-Seine, France “The house is a box in the air, pierced all around, without interruption, by a long window. No more hesitations about architectural play of space and mass. The box is

# &} ~ 40) The Villa Savoye is considered by Corbusier as “total purity.� “It marks an end to the series of white purist villas constructed by Le Corbusier and Pierre Jeanneret in the city and suburbs of Paris.� (Sbriglio 6)

Unite d’Habitation, 1952, Marseille, France “One of Le Corbusier’s most famous works. It proved

spiration of the Brutalist architectural style and philosophy.� (Wikipedia, UnitÊ d’Habitation)

Selected Works

High Court

“The Scale is fundamental to the relationship of units to wholes in the design of the Unite d’Habitation� (Tafuri)

4

Pavillon Suisse, 1930, CitĂŠ Universitaire, Paris, France The Pavillon Suisse is a reinforced concrete structure that is elevated off the ground. The structure is considered highly technological for the time it was built.

The “UnitĂŠ d’Habitationâ€? or dwelling unity, is situated in a large park and the building stands on pillars, leaving the space underneath for car and bicycle parking and pedestrian circulation, except for the entrance hall with * > $ & { Q| holds 337 apartments of 23 types, varying from bachelor apartments to families with 8 children with a capacity of 1600 residents. The apartments, being distributed in ! ^ & { tudinal axis of the building. Each apartment contains two & {

also provides a sun deck roof terrace, nursery school, ho ! &

Chapelle Notre Dame du Haut, 1954, Ronchamp, France

Sainte Marie de La Tourette, 1960, Lyon, France

“From the very outset, Le Corbusier imagined the shape of the chapel as a combination of convex and concave, somewhat crustacean forms, which would respond to what he called the ‘visual acoustics’ of the landscape.� (Frampton 168)

“La Tourette was a synthesis of the two heterotopic paradigms that were to prevail throughout Le Corbusier’s career; on the one hand the monastic type-form, on the other the transatlantic liner.� (Frampton 176)

National Museum of Western Art, 1957, Tokyo, Japan “The National Museum of Western Art is the premier public art gallery in Japan specializing in art from the Western tradition.� The museum is square in plan with the ! & (Wikipedia, NMWA)

5

High Court

Social + Physical Context

The Commission to construct a new city was a result of Hindu-Muslim division of India’s Independence in 1947 when Punjab’s old capitol, Lahore, was absorbed into Pakistan.

6

The Prime Minister of India, Jawaharlal Nehru, asked the American Planner Labert Mayer to design a new capitol city, but after beginning, Mayer didn’t feel he had the skills necessary to design it. Mayer then employed Polish-American Architect Matthew Nowicki, but Nowicki died in a plane crash in 1950. (Frampton, 184) Then, Corbusier chosen as architect was “accidental and last minuteâ€? (Prakash, 16) “Chandigarh was named after one of the existing villages, which had a temple dedicated to the Hindu goddess Chandi. Chandi-garh means the abode/stronghold of Chandi, who is a manifestation of Shakti, the ubiquitous female principle in the Hindu cosmogony.â€? â€œâ€ŚChandi is the energy, the enabling force of transformation and change.â€? (Prakash, 8) The plan of Chandigarh is a “melding of ancient ideas and modern city planning and image.â€? (Khan 20)

When Corbusier took charge of designing the city, he found that “the city had always been dependent on central government� but located the capitol complex at the northern outskirts of the city. (Kemme, 24) Lower-paid workers, essential for the city’s economy are

% $ " stices of the city. (Colquhoun, 216-7) The city of Chandigarh is located near the base of the Himalayas in Northwest India. It covers an area of approximately 44 sq mi or 114 km². and shares its borders with the states of Haryana in the east and Punjab in the north, west and south. (Wikipedia, Chandigarh) Within the capitol complex there are three primary buildings: The High Court, The Assembly, and The Secretariat—together, they were designed “as a vast acropolis of separate monumental structures, set against the backdrop of the Himalayan foothills.â€? (Colquhoun, 214)

7

Analysis

High Court

The whole Chandigarh complex is based on a hierarchy of the Urban Plan which are the circulation system, the sectors, and the neighborhood unit. (Praksah, 97) The circulation system is categorized into seven hierarchal types. V1 thru V7 ranging from fast roads connecting chandigarh to other towns to foot paths and bicycle tracks. Each of the 47 Sectors is 1/2 mile by 3/4 mile. (Kemme, 25)

High Court

Space Conception + Ordering System

The High court resonates the monumentality of Paul Otlet’s hypothetical world campus. Both sets of buildings follow an ordering system about regulating lines which establish relationships between the primary structures. (Frampton, 188) [see image on preceding page]

8

Charles Correa described his interpretation of the Parti € _ # architectural journal: â€œâ€Śfour boxes for the judge’s court % $ _ Â

> Court. The Concept seemed fairly comprehensible but it did not prepare me in any way for what I saw when I actually got there. The huge parasol roof, the giant ramp crossing back and forth, and the most stunning tour-deforce of all, the great front wall of the courts, rising up in a huge sweep, like a hovering tidal wave about to crash over you.â€? (Kahn, 140) â€œâ€Śthe vast open space in front of it was intended for pedestrians only; the buildings were to be accessible &} (Scheidegger, 177)

Balkrishna Doshi, an Indian Architect who worked with Corbusier on the design of Chandigarh, proposed that the juxtaposition of the High Court with the Assembly was a symbol of “the independence of Justice from politicians.� Further, Both the Assembly and High Court lack imposing steps. The buildings are situated on the ground implying that “in Democracy you do not put buildings on platforms.� (Kemme, 27-8) Dimensions were derived from the modular, squares creating regulating lines. By using a golden section in the right 400 meter square, the High Court building position can be located. (Praksah, 101) [See image on opposite page]

9

10

Sections + Elevaions

High Court

There is a hierarchy of the different functions of the building with the highest court on the north (left) and the lowest on the south (right)

11

Tectonics + Formal Expression

High Court

12

Two climatically based tectonic devices were incorporated into the cast-in-place concrete High Court: “A long vaulted Parasol divided into eleven bays that provide a shade roof for the entire structure, and a syncopated, rhythmic brise-soleil that differentiated between the eight standard courts and the main tribunal.” Additionally, “the entry to the building was treated as a four story breeze hall, divided by three full-height piers which support vaults above and are painted green, yellow, and red.” (Frampton, 189)

“The switch back and forth of the exposed concrete ramp situated behind this space enabled Le Corbusier to create a particularly dramatic sculptural play between the inclination of the ramps and a series of irregular voids cut out of the supporting central wall.” (Frampton, 189)

“The monumental arched roof functions as a huge parasol protecting the courtrooms against sun and rain. (Kemme, 29)

“…the High Court Building could be described both as an archaic object and as a colossal shading and cooling machine. The rear wing, in particular, takes “Building in Tropical Climates” to a climax of plastic expression. As to the non-structural arches suspended from the roof—they make for a more tranquil rhythm above the court chambers facing the plaza, as well as functioning as a canopy, thus echoing the Neoclassical and Baroque ambitions that appear to be inherent in all such commissions. The asymmetrically arranged hypostyle with its colossal arrangement of three whitewashed pillars (later painted in the Indian national colors green, white, and orange) further emphasizes this monumental ambition, while the arches at the same time invite the wind to ventilate the structure. Monumental expression is no longer a question of the classical orders, but has rather been displaced by bio-technical functionality and the primary sculptural force by which the issues raised by building in the sun—the distribution of light and darkness, heat and coolness—are dramatized.” (Scheidegger, 177-179)

There is a visual connection to the Diwan-i-Am of the Red Fort in Delhi to the parabolic arches of the Chandigarh High Court. (Frampton. 188)

13

Referring to Corbusier’s Purist painting history, the relationship of plan and section of the High court become ! moved. The same effect is also experienced when the el ! & ~ # 106-7) _ $ ! ! and the form of Corbusier’s late style. (Colquhoun, 2134)

14

15

“Corbusier was certainly affected by the spiritual aspect of India when using such symbolic elements in his buildings.� (Khan 20) Corbu made sketches to understand the ancient treatise, Vastu Shastra, which explains that “architecture is connected to the environment of which one is a part, and therefore if one wants balance in life, certain rules have to be followed.� He made sketches with each cardinal point having reference to various deity dwellings . (Khan, 57) “All the buildings in the Capitol Complex share the same problem: they are masterpieces of architecture, but they are functionally unsucessfull. The designs simply do not adequately take account of the Indian way of running an *

&} ~‚ 28)

High Court

Relation to Indian Traditions

Additional problems are with the Brise-soleil in which the depth of 1.4 meters is not enough to block the bright morning sunlight.

16

17

3D - Rapid Prototype Model

High Court

19

Indian Institute of Management Louis Kahn Ahmedabad, Gujarat, India 1961

Eric Carter and James Hall

21

Biogrphical Information

Indian Institute of Management

22

Â… !

† ‚ & @ a career that spanned nearly 50 years, Kahn only gained widespread notoriety, at home and abroad, in the later years of his life. His works have become icons for critical movements in architectural history.

Kahn’s training at the University of Pennsylvania followed a decidedly traditional architectural philosophy, which dictated the style of his early work: his design for the “Philadelphia Sesquicentennial Exhibition of 1926 was described by Vincent Scully as being ‘pure Beaux' " >} ~Qˆ‰& Š schooling had on his work as an architect, Kahn was soon intrigued by the Modern Movement. “The International Style was Kahn’s awakening. It freed him from the academic tradition that had dominated his training and earliest careerâ€? (13). The blending of these two seemingly ! ‚ > works. His projects achieved a level of monumentality prescribed by Beaux-Arts thinking, while their simple geometries, devoid of unnecessary ornamentation, made them hallmarks of modern architecture. These features are evident in the Salk Institute, Bangladesh National Assembly Complex, and the Indian Institute of Management, the latter of which will be examined hereafter in detail. Louis I. Kahn was born 1901 on the Baltic island of Ă–sel, now called Saaremaa. He was the oldest of three children born to Leopold and Bertha Kahn. A few years after his birth, Louis and his family immigrated to Philadelphia (Tyng 1). Despite receiving horrendous burns on his face and hands from an early childhood accident, which left substantial scarring, Kahn was successful in his early endeavors. His ability to overcome his physical challenges was nurtured by his mother: unlike her husband, who “thought Kahn would be } ‡ would live and become a great man some dayâ€? (3). Both of his parents encouraged Kahn to cultivate his artistic talents: Leopold hoped that Louis would become an artist, while his mother envisioned him as a musician. He was successful musically and artistically: he played the piano and organ in a silent-movie house, taught sketching classes, and painted signs for local stores. These skills paved the way to Kahn’s collegiate education, enabling him to graduate with his master’s degree in Architecture from the University of Pennsylvania in 1924 (10). Although he was a hard worker, Louis was just outside the limelight, graduating with the bronze Brooke Medal, while the gold and silver were awarded to others (9).

23

Selected Projects: Salk Institute

Indian Institute of Management

The Salk Institute in La Jolla, California was designed as a complex for scientists to live in, as well as conduct research (although only laboratories and study spaces were realized). It has been described as a ‘temple for science’. It perfectly embodies Kahn’s aspirations to create monumental architecture. One architectural enthusiast was moved to tears during his visit. This project # ‚ >

! ‘servant-served’ relationship between spaces. “All Kahn’s buildings after the Salk Institute show a true mastery of the servant-served relationship, an understanding that this is not merely a relationship between two kinds of rooms but a connection between many types of spaces, each serving and being served by another in different ways�. An additional attribute Kahn garnered from the # $! ‡ % $! } which can be seen in his later works as well (43).

24

25

26

Selected Projects: National Assembly Complex

Indian Institute of Management

The National Assembly Complex in Dhaka, Bangladesh was conceived contemporaneously with the Indian Institute of Management. It was Kahn’s “largest project, the planning and realization of an entire government center” (Gast 108). However, Bangladesh’s war for independence from Pakistan, as well as the fact that it was built entirely by hand, postponed its completion until 1983, nine years after Kahn’s death. Speaking to the project’s monumentality, Louis Kahn’s son, Nathaniel told the story of the project’s protection from destruction during the war due to the fact that the enemy bombers believed the construction to be ancient ruins (My Architect). Today, the complex is treasured by the people of Bangladesh, as it symbolizes the country’s new democratic government.

27

Historical + Social Context

Indian Institute of Management

28

Ahmedabad was established by the Sultan Ahmed Shah in 1411. According to legend, he witnessed a hare chasing a wild dog while he was camping on the shore of the River Sabarmati, which now runs through the city. This auspicious omen convinced the emperor to choose the site locate his new capital. Since that time, the city has changed hands multiple times (i.e. Mughal & British empires). Throughout its history, Ahmedabad has been known as an industrial hub and has therefore attracted immigrant workers and bolstered the commerce of the city. In modern times, Ahmedabad served as the capital of Gujarat (a state on the western edge of India) from 1960-70. During this time, it gained the reputation as a center for higher education in India. Consequently, construction of the Indian Institute of Management’s (IIM)campus was undertaken during this period of

$! &

Physical Context

Indian Institute of Management

30

The Indian Institute of Management (IIM) is located in Ahmedabad, India, a city that is currently home to 7.2 million people, with around 440,000 living in the slums.

31

Space Conception

Indian Institute of Management

32

Kahn created intimate, rationally organized spaces within the IIM complex. This rational is manifest primarily through the composition of exterior spaces. Strict geometry and repetition begin to structure a series of courtyards and paths, each punctuating the journey from private housing, through dormitories, to the central meeting hall.

Dormitory Unique vs. Repetitive

Kahn approached the extensive building program by subdividing space according to use, creating an administrative zone, library, classrooms, and kitchen and dining areas. Each area is organized longitudinally within a rectangular complex with a central court. This central # buildings, the placement and scale of which is reminiscent to an old growth forest. Kahn further removed the faculty residences, as well as staff and married student residences. This separation of space and consequent organization create a gradient of public to private space. This is essential to create a comfortable living environment, with enough space to separate students and faculty from the pressures found within the classrooms. Each user must make a journey through the large grassy intermediate spaces on the path to the main complex, marking a ceremonial threshold between the domestic and daily work. Louis Kahn described his plan as “a society of rooms. The rooms relate to each other to strengthen their own unique nature. The auditorium wants to be a violin. Its envelope is the violin case. The society of rooms I the place where it is good to learn, good to work, good to live.� (123) Kahn created this society of rooms both within the buildings, as well as outside in the exterior courtyards, truly creating a place in which it is “good to live�.

Dormitory Plan vs. Section

33

Ordering System

Indian Institute of Management

Louis Kahn’s solution to ordering the IIM campus stems directly from India’s historically sacred geometry, bridging the gap between history and modernity. Kahn was able to create a complex system of buildings, based primarily on transcendent forms found within Indian thought. Many ordering systems are employed, each creating an environment that is both legible and navigable.

IIM Symmetry and Axes 34

Visual hierarchy is employed to give importance to the main building within the complex. Of secondary importance are the dormitories, followed by the faculty housing, and ! ! ! & { puts the greatest emphasis on the act of learning, which is appropriate for an educational facility. Interestingly more emphasis is placed on the learner than the teacher, which ‚ > & Kahn provided some insight into how he approached the plan and ordering of spaces. “The unity of the teaching building, dormitories and teachers’ houses _ each its own nature, yet each near the other – was

the problem I gave myself. The lake between student and teacher is one way of distance with little dimension. When I found this way, the dormitories tended, psychologically, to break away from the school, though it has no appreciable distance from it.�(119) = ! creating a legible living and working environment. The meeting hall and dormitories have elaborate openings, particularly on the circulation portion of the building. The other auxiliary buildings create a quiet backdrop, using simpler forms and less pronounced expression.

35

Principle Building Types

Indian Institute of Management

Dormitory Model

IIM Figure Ground

36

The building types found on the IIM campus are not unique to the campus, but are uniquely oriented and composed within the campus. This emerges in a thought penned by Kahn during the construction of the campus: “The soul is the same in all. Every mind is different. Every one is a singularity.�(121) The buildings found at IIM are separated according to programmatic use, and then grouping multiple programs into courtyards and axes that form the skeleton for human experience.

37

Materiality

Indian Institute of Management

The theory for building expressed within the IIM complex is one of simplicity, counterpointing texture and color. Materiality is cautiously explored, color is restrained, and geometry creates a language that instructs and informs visitors. Each aspect of the architectural experience and statement is carefully considered.

38

Brick is frequently Kahn’s weapon of choice, and he continues to use it masterfully at IIM. It becomes overwhelming to witness such an extensive use of a single material and color within the campus, yet it provides strong unity throughout the built elements. This manifestation of the seemingly

# ‚ > " interest in the cosmos. While designing the campus Kahn wrote: “The mind is really the center of the immeasurable, the brain is the center of the measurable.�(121) Fitting

words for a school engaging the mind while using the brain. Kahn creates layering of interior and exterior spaces through broad circular openings in many of the structures on campus. These spaces create a comfortable, protected threshold from which to view the world. The massive nature of the walls makes such openings feel impossible, yet they are executed with delicate grace.

39

Relation to Indian Tradition

Indian Institute of Management

Kahn’s sacred geometry primarily utilizes the circle and the square, both of which are derived from the sacred Indian Mandala. The Mandala was a traditional way of laying out Indian cities, temples, and homes, providing structure and

40

order to the lives of Indians for millennia. This geometric organization of a circle imposed within a square emerges in the layout of the courtyards, paths, and building ! ! &

IIM Complex Geometry Circles play an important role throughout many other aspects of Indian architecture. Examples include StÚpas, some of the earliest religious architecture where simply extruded circles, providing locations to circumambulate relics. Chatya halls also employ a rounded vault ceiling, which is subtly referenced in Kahn’s dormitory openings. The central building of the campus is built in a fashion similar to the ancient Indian townhouses, employing ’ ! courtyard. Interestingly the classroom portion of the building is 6 stories tall, which was the limit imposed

by tradition of the height of a Brahmin’s house. The orthogonal expression also follows strict rules, never deviating from 90 and 45-degree angles. This goes back to the strict rules of the Vastu-Purusha Mandala, (India 44) which is a square with lines crossing from each corner through the center of the inscribed circle. This is expressed particularly on the Dormitory elevations, where the circles are even sized according to similar traditional Indian architecture principles. The paths from peripheral buildings all intersect the main building at 45-degrees, echoing the same important geometry.

41

Indian Institute of Management

{ @@ planned experience. Its broad, austere courtyards create a sense of scale found in much of Kahn’s other work, drawing the individual’s attention to the scale of their body in relationship to the world around them. The scale of an individual brick is lost in the massive walls; much like the scale of a human individual can be lost in the thronging crowds found throughout India. This possibly oppressive scale encourages $ ! ! &

Experiential Qualities

One account from a visitor described the space as providing a “quieting� experience: “Standing in the Louis Kahn Plaza and walking the corridors of the place I could see the space inspiring in a person the need to grow, to be better and higher than his\her present self.� Composed space has the ability to do more than just facilitate daily activities.

42

‚ $! ! @@ and described the spatial experience. “The room is the beginning of architecture. It is the place of the mind. You in the room with its dimensions, its structure, its light respond to its character, its spiritual aura, recognizing that whatever the human proposes and makes becomes a life‌â€?(122) This sums up his beautiful campus and the thought and effort that went into its conception and realization.

43

Institute of Indology Balkrishna Vithaldas Doshi Ahmedabad, India 1957-1962

Heather Dawn Wright and Krysta Mae Dimick

45

Institute of Indology

Biographical Information

sangath.org

46

foundationlecorbusier.fr/corbuweb/morpheus

Kamala House: Doshi’s own house, believing that “cities should concentrate� and he lives, works and teaches within a 4 km area.

Doshi with Le Corbusier--a relationship which continued throughout his life since the design of the Chandigargh Parliament.

Balkrishna Doshi was born in Pune India in 1927 and is well known as the local representative in India for Le Corbusier during the Chandigargh Parliament project. This experience led Doshi to begin his own career as a leading architect in India. Although his architectural emphasis lies in educational institutions, he has designed many other building typologies % ! ! @ & € has even assisted in the creation of different institutions, such as the school of architecture and the Center for Environmental Planning and Technology in Ahmedabad. Doshi also obtained experience under Louis Khan during his work with the Institute & $! • ideologies of both Corbusier and Kahn, yet enhances it with the rich architectural heritage of India.

Doshi is a well known and well loved India for his architecture as well as his life's legacy. He is extremely humble about his work and experiences while viewing architecture as part of this pursuit. He highly considers humanity and channels that into

& and experience with the so-called 'masters' of architecture, Doshi has come to understand what proportion, rhythm, and light can do for a building environment.

“I am not an architect, for me it is a search. The search for the unknown which I have not known, neither I know how it will manifest.� -Doshi

The Institute of Indology was one of those buildings which highly considered the people of India, as well as the extreme climate. Doshi received a grant to visit the archived facilities at Duke University after obtaining the Institute project. He observed how climate is controlled for the rare collections it held. The design of the Institute infused an understanding of Corbusier's ordering system and modernism with the climate and available technology in India. “It is like good food prepared by great chefs but you are the one who is digesting this and you have to convert that into your blood and your life.�

Design Approach

Institute of Indology

Thoughts of Doshi on the Institute of Indology, written by himself Viray

47

Selected Works: Amdavad ni Gufa Museum: Ahmedabad, India 2004

Institute of Indology

48

Viray

Viray

Viray

uespra.org

This building is designed to hold two artists work in a gallery. The need for indirect lighting and highly controlled humidity conditions as well as painting abstraction reminiscent of palaeolithic art and the reminders of Buddhist caves in the region, informed the shape of the museum.

Viray

&

# & —! —

Doshi sought to evoke the emotion of intuitive response, primarily through natural elements such as light and form. With climactic considerations, essences of Buddhist rock-cut architecture and plastic space, the perfect manipulation of light and dark became a cave-like art gallery space. Shell aperatures and skylights change the perception of light as one is allowed

to focus on the sensorial experience as the architectural elments offer multiple dimensions of mystery and suprise. The construction was planned to be simple, as to contain little foundation work. No skilled labor and simple hand tools were used to build the structure because sophisticated technology was used to optimize the overall structural form of the building.

49

50

Selected Works: Aranya Low-Cost Housing: Indore, India 1989

Institute of Indology

yatin pandya yatin pandya

As one of Doshi's largest planning endeavors, this housing project serves as a wonderful example of his desire for well crafted communities. The ideological basis for the project centered on these principles for community building; vitality, "

$ & { ! * prototype for a city. It was designed to accommodate 6,500 families incorporating schools, hospitals and businesses at appropriate intervals. The street network made homes and

! ! & { businesses to face the public street and the homes to face an inner protected pedestrian street, creating a sense of connection between residents.

elevation drawn by Alden Madry

51 sketches by Atul Kantekar + Mahendra More

The city of Ahmedabad, founded by a Muslim sultan in 1411, actually contains more Jaina temples than mosques. The Jain religion, although seemingly non-existent in modern India, compared to Hinduism and Buddhism, was once the only religion of India. This religion and methodology has heavily

@ & { Â perfection of man through discipline, self-control, renunciation and austerity. The pilgrims of this religion are devoted to right faith, right knowledge and right conduct. Art is seen as one of the purest means to attain and become one with divinity. The beauty of their art has a painstaking purity to it, grounded in reason and logic. A majority of their earliest temples are rock hewn caves meant for temporary shelter for a pilgrim on a journey to worship.

Following World War 2, India declared its independence from its last ruling empire, Britain. This began a wave of nationalism in India. Searching for their identity as a nation, they began researching their history, culture, and arts. The study of Indology, began soon after this surge of sell knowledge organizing itself

of this dynamic ancient civilization. Germany was the place @ @ & QX^˜%QX™š building was part of India's self-discovery. The architecture of this building was seen as a nationalist endeavor. It represented

@ >

periods of ideological exploration, as well as the potential for this new independent nation.

A local Jain monk, Muniji Punyavijaiji Muharaj, came to Kasturbhai Lalbhai offering to donate a collection of ancient manuscripts on the condition that they would be preserved. Inspiration was drawn from one of these cave-like temples to build the Institute.

Historical + Social Context

Institute of Indology

As a result of this donation, Lalbhai decided to expand the manuscripts storage into a research institute and museum. This idea was embraced by the community and the Ahmedabad Education Society donated a 3.7 hectare plot close to the Gujarat University. The manuscripts became available for study from the university as well as institute students and researchers. The museum in the building offered some of the artifacts and discoveries of their research to be displayed to the public.

52

“Perhaps [contemporary architecture] is more technologically advanced but it is far from being human. It has become a product. Great buildings should also be touchable... A truly sustainable city is a city where the least human energy and time is spent in getting things done. Then people have time for

like human beings, not the robots they have been forced to become. With a little surgery, Ahmedabad could become the ideal city. This is what I shall be proposing to the government.�

“If you are in tune with your project and the purpose for which it is being built, then you drop your ego and ask yourself what it really is that you must do. Then the building emerges. No style, no period, pure experience.�

Outdoor Circulation

Axis Circulation

Physical Context

The Institute is set on a large site with more breathing room than a majority of urban sites in India. This allows for the building to take advantage of the immediate natural environment. The entry of the building is through a vast green lawn and garden. A bridge leads visitors above the moat which surrounds the building. This moat allows the building to utilize water as a cooling mechanism as well as adding humidity to the lower portions of building which hold the precious manuscripts. Through the building on the other side is a large outdoor patio which draws heat from the sun. Thus intentionally, Doshi is drawing cool wet air through the building from the lush garden to the hot patio. This allows a constant breeze in the public portions of the building, which would be much needed in this climate. An addition to the building was added later facing ! $ ! &

Institute of Indology

sangath.org

53

This institutional building, although seemingly simple and functional because of its historic context, is indicative of India's national identity. Reinforced concrete was a new technology at the time and took a lot of effort on the part of the architect to train the skill of pouring concrete with equipment not designed for the task. This new material was a step toward progress, technology and modernity.

Materiality + Building Type

Institute of Indology

Wall Types

54

Structural Grid

# & —! — ^

The primary building material is concrete, which is both structure and cladding. As Doshi points out, Indians are known for their ingenuity in using materials for multiple tasks. Here he combines the ordering system and structural system with & { @ examples of precast concrete members. Using both precast and site-cast concrete, Doshi was able to minimize the amount of skilled labor needed. With this methodology the concrete acts # & { the detailing connections to act more like wood, a construction type much more commonly understood to Indian construction laborers.

Additon Frst Floor Plan

Section + Plan

Institute of Indology

Section

55

Ordering + Expression

Institute of Indology

The expression of the form is portrayed in the structural grid of the building. All of the elements of the facade fall into a three foot grid. There are panels of glass on either side of the column alternating with four panels of concrete between the glass. A clerestory above door height allows for indirect lighting without heat gain and limits the need for excessive and complicated form work. However, the cross section of the building shows the dynamic climatic needs of the building. Doshi, himself

! & { moats of either side of the building, making it appear as if it

& { cool shadowy public space which also serves as the exterior circulation. { @ @ • › in India as a self-practicing architect. Much of the style and ordering comes from his architectural experience with Le Corbusier. The whole building is set on an ordered grid of reinforced concrete structure. This same pattern is used in the hand rails and window mullions as a seamless conception of order. But as Fumihiko Maki noted in his assessment of Doshi's architecture, “what he tried to learn form Le Corbusier was not just design but the philosophy and spirit behind design.� Thus, there is a different character of to the ordering system than just the understanding of structure. Doshi knew the culture, the climate and even the skills of Indian workers. His use of the concrete responds to that understanding. For example there is a concrete screen wall on the southern facade that follows the repetitious pattern of the structure beyond and yet has no structural or climatic importance. Its existence seems $ ! ! of the patio. Doshi used this to be a scaffolding during the construction process, knowing that construction waste and skill of construction was not a luxury he could depend on.

Boat-Like Section

Architve Cooling

Light + Exterior Circulation

56

# & —! — ^

Entering the building a half story above ground allows the from the natural cooling of the earth-surrounded walls and ! & {

essential to the preservation of the ancient manuscripts from ! Â ! & { !

smallest square footage. Circulation occurs around the outside of the spaces, allowing for maximized use of interior space as

! & { ! $ ! & Above are research classrooms, conference rooms and an exhibit space. Archives are studied and recorded on the lower & { ! very little divisions in the space aside from bookshelves and structural columns. This openness allows the whole space to be consistently conditioned and allows a blank space for the study, preservation and research of the documents.

# & —! — ^

Space + Experiential

The approach to the institute is the most monumental, similar almost to the entry to the Taj Mahal. Through the lush garden with jungle trees and blooming tropical plants, a visitor is connected to the surrounding nature before elevated to enter the building on a plinth. This building almost feels directly an exterior space, since many of its public areas are circulate the envelope. These “hallways� are pushed to the exterior to maximize air movement and shade. It is these public spaces which he believes is necessary for India. He always saves at least ten percent of the building and property for public access.

Institute of Indology

# & —! — ^

57

Institute of Indology

Traditional India + 3D - Rapid Prototype Model

“This country is like blotting paper: our strength, our vitality is born out of heterogeneity; we absorb everything�

58

The well known architectural gems of India are the ancient temples and mosques. These forms often have a connection to the mandala. Different shapes and forms had a unique meaning, a circle for the heavens and a square for the earth, concentric rings to imply the movement closer to the heavens, ect... Some of these symbols seem to extend themselves into the !

@ & {

things Indian takes a rectangular form, similar to the square which was representative of the earth but more unique. The exterior circulation corridor and the structure of the building creates two concentric rectangles. Following the established meaning of form, if a rectangle represents India and concentric is the moving closer to something, then this building is getting closer to or increasing in understanding of India.

59

The Baha’i House of Worship Fariborz Sahba Kalkaji District Park 1986

Chris Huntsman and Brandt Loo

61

Biographical Information

The Baha’i Temple of Worship

62

Fariborz Sahba is an Iranian born architect who received his Master’s degree at the Faculty of Fine Arts in architecture. He participated in many prestigious projects in Iran before moving to Canada. He is the recipient € ' Excellence in Architecture. He was the head of many @ wide variety of buildings including: -Tehran’s Center of Handicraft Production and Arts Workshops - The Iranian Embassy in Beijing - Nagarestan Cultural Center - Baha’i House of Worship aka Lotus Temple - 18 terraces as an approach to the shrine of the Bab at the Baha’i World Centre

Along with the diverse range of projects, Fariborz has won many architectural awards including: - First Honour Award 1987 for “Excellence in Architecture� - Paul Waterbury Outdoor Lighting Design Award - GlobArt Award 2000 { represents unity among all the early religions of the world. Thus, When Fariborz Sahba was selected to design a temple that would both honor the customs and traditions of India and be exact to the main principle of Baha’i / / inspiration for the design of the place of worship.

Thus we see that there can be two conclusions that can

& First, is the connection between physical and spiritual entities. Second is that there is a connection between creation from a higher being and becoming spiritually reborn. These underlying ideas give great meaning to the architecture of the Baha’i House of Worship. The lotus temple design portrays these ideas clearly.

Design Approach

perfectly constructed embryos suggesting the inner divine potential of the soul.

The Baha’i Temple of Worship

{ ! religious and spiritual principles in Indian culture and history. It symbolizes the creation and regeneration of > & { to be the progression of the spirit from the seed within the “sludge� of the ground to the water of “experience� ‡ }& { ! considered very strong because of its ability to grow pass the surface of the water and bear buds, blossoms, and pods simultaneously. This symbolically represents the three parts of time (past, present, future). Another parallel that

63

64

Social Context

@ challenge of the architecture was to keep Indian traditions and Buddhist beliefs while also expressing Baha’i main

& ' opposing forces together because in both cultures the

& almost literal translation of lotus into the architecture, the building becomes a symbol of social and cultural coexistence within the landscape.

The Baha’i Temple of Worship

The Baha’i religion unfolded in a series of holy messengers ranging from Buddha to Jesus Christ. They believe in unity of religion where there is one god who reveals his holy message to humanity and that all the leaders of great religions have been a series of those revelations for the spiritual development of mankind. Though the representatives are viewed as founders of have helped civilization reach spiritual maturity.

65

Physical Context + Space Conception

The Baha’i Temple of Worship

66

The Baha’i House of Worship is located within Kalkaji District Park with no major development for hundreds of feet on either side. The landscape is a mixture of baron dirt land and semi dense vegetation. This provided opportunity for the design to express itself completely ! & { ! cooperated well with the landscape architectural elements which include the surrounding pools, the elevated terraces and decks, and the long orthogonal walkways. • & { architecture of the Baha’i House of Worship responds to this by incorporating pools surrounding the structure itself. Wind passing over the pools are cooled and funneled through openings at its base into the main auditorium space. Openings at the top of the hall draw in warm air and discard it out of the top of the dome. There are fans incorporated into the design to keep the concrete shells cool and prohibit warm air from entering into the main auditorium. The fans also direct air into the basement just below the auditorium where it is cool then recycles it back into the auditorium in this constant circulation of air.

The Main hall is one of the most important spaces in the design. It is circular in shape, sunken into the ground, and covered by the inner “petals�. This inner dome creates the feeling of being inside the womb of the architecture. There are two pathways that surround the main hall. The inner path weaves in between the inner and outer structural petals and the outer path is used to circumambulate the outside of the structure itself. The inner surfaces display the complex geometric structure which is evident at its base then slowly disappears leading one to look up to the center of the dome. The lighting qualities add to the overall experience of the main hall. Though it mimics the design of the Sydney Opera House, the petals in the Baha’i temple doesn’t just house the interior core. They are not purely cosmetic either. The petals were placed strategically to articulate inner petals creating unique lighting patterns within. The side arches located on the exterior suggests entry and lets natural light in. These lighting techniques suggest a connection between the inner and outer world.

67

surround the whole building and separate it from the rest of the landscape. Before the construction of the temple, a system of coordinates was developed to help the foremen understand how the building was to be put together. It was based on an x, y, and z axes and divided every 40 degrees. There were reference stations located on edges of the site to supervise the setting up of the dome and arches along this coordinate system.

Ordering Systems

The Baha’i Temple of Worship

Much of the design lends itself to symmetry. The modules are symmetrical in form and the arrangement of space is symmetrical as well. One who approaches the building from the northeast would recognize the path as a dividing line of the whole site which splits the design into two identical halves. Secondary pathways that branch away from the main path are identical as well. The stepped terraces located in the front of the building suggest a change in levels and follow the symmetrical order.

68

The Baha’i House of Worship is composed of several modules which are repeated nine times within the design. There are three types of modules that are repeated in the design. The exterior petals protruding out from the structure are the entry ways around the central space. The next set of petals is lifted and pointed slightly inward ! & { module is slightly taller and lifted closely together pointed to the sky housing the main hall. There are nine radial beams within the central dome used for lateral support. Nine archways set behind the protruding petals and nine original entries into the building. Nine water pools

3

4

2 5

1 6 9 7 8

69

Principle Building Type

The Baha’i Temple of Worship

70

This building serves and functions as a temple for the > & !

there is no need to provide spaces for those individuals. This explains the open space in the center which is solely for worship. The interior walls follow the exterior form leaving no spaces for shrines or wall dĂŠcor which the

Baha’i don’t believe in. The central space provides seating within that focuses on the podium and Baha’i symbol to the west. There were rumors of plans for a school, orphanage, hospital, and library to be included on the site but no actual structures were constructed leaving the temple to function by itself.

Materialitry

The structural petals of the design are made up of white cast in place concrete. The brush hammered concrete is visible from the interior and contributes to the lighting of & @

& { $ white marble which were quarried in Greece, preformed in Italy, and cut to the correct size to compliment the geometry of the petals. The white marble was also used & { # ! &

The Baha’i Temple of Worship

The geometry of the Baha’i House of Worship took three years to solve and engineer. Equations were created from the geometric shapes used in the design forming a foundation on which structural drawings and analysis were done. The protruding elements that represent the ! spheres and have a uniform thickness. The upright petals were forms of planes, cones, and cylinders. The nine arches under the entryways carry the whole load of the lotus temple. The ribbed structure of the interior dome intersects with each other creating interesting contours along the dome walls.

71

72

The Baha’i Temple of Worship

73

Ahmedabad Management Assoc. HCPDPM Ahmedabad, Gujarat, India 1997 M. Blake Powers and M채rt Baumer

75

Background Information

Ahmedabad Management Assoc.

76

The Ahmedabad Management Association (AMA) is a % %! œ \ˆˆ

of Ahmedabad in the state of Gujarat in India (HCPDPM 2006). AMA was established by Dr. Vikram Sarabhai in 1956 to prepare the industry in India to use management concepts that it had been lacking. In the beginning the main focus of AMA activities was the textile industry but as the number of textile mills in Ahmedabad declined from 100 to 50 in 1980-1984 the AMA decided to expand to sectors like pharmaceuticals, light engineering, dyestuff, and small-scale industries. As AMA grew, the need for a complex became a necessity and a challenge. The land was donated for free by Ahmedabad Textile Industry Research Association (ATIRA)

as AMA and ATIRA both had the same founder. But to

!! ! and individuals AMA needed to be viewed as useful to individuals, industry and society. To achieve this Mukesh Patel (President of AMA during 1995-97.) initiated programs like “Management of Daily Life�; “Happiness for Home� and “Joy of Hobbies� that introduce how management applies to all aspects of daily life not just running a corporation. Success of these programs catered to the needs of housewives, retired people and members of the general public made AMA a household name in Ahmedabad and it was then that Patel introduced the idea of the plan of building a new complex for AMA (Vivek, Gupta, and Ravichandran, 2004).

HCPDPM was appointed to design a new building that would house the Association’s various activities (HCPDPM 2006). HCP Design and Project Management Pvt. Ltd. (HCPDPM) was founded by architect Hasmukh C. Patel in 1960. The practice is now led by his son, Dr. Bimal Patel Ph.D., an architect and planner. HCPDPM has almost $! urban design, urban planning and project management. Dr. Bimal H. Patel has over 20 years of professional consultation, research and teaching experience in

urban planning and architecture. Dr. Bimal Patel is the Hon. Managing Director of Environmental Planning _ % %! ! ! development Management Company. EPC has been doing pioneering work in developing planning methodologies appropriate to the present Indian context. EPC works with various municipal corporations and urban development authorities in the state of Gujarat (HCP Design and Project Management, 2011).

77

Awards and Design Approach

Ahmedabad Management Assoc.

78

HCPDPM has received several awards and accolades including: The Indian Institute of Architects Award (2002); AR+D Commendation Award (2001); World Architecture Award (2001); Indian Institute of Interior Designers Award (2003); 14th JIIA Award for Interiors (2002); Great Masters Award by J.K. Cement for Contribution to the Architectural Profession (2000); The Baburao Mhatre Gold Medal for Lifetime Achievement, from the Indian Institute of Architects to Mr. Hasmukh Patel (1998); The prestigious Aga Khan Award for Architecture (1992).

HCPDPM’s approach to design is focused on solving practical problems and trying to make buildings and cities comfortable and meaningful to live in. Designers €_ • ! to be solved and then strive to solve them elegantly. They are convinced that the look and feel of buildings and cities has to emerge from the problem solving process, that design has to be true to the nature of materials and technology used, and that design solutions should be environmentally sustainable (HCPDPM 2006).

The building has a long bar-like plan. In the center of the plan is a corridor that serves different functions on both & { that appear at various intervals as you move through ! &

# ! Â? it houses a 250 seat auditorium, a 1800 sq.ft. library that is fully computerized, barcoded and now online, and an exhibition space (Cuboid, 2008).

The linear plan of the building is cut by the entrance porch that creates another axis and forms the most dramatic space in the whole complex. The ramp on the other side of the entrance accentuates this axis, alluding to the ordering system of Christian churches rather than Hindu temples which is only appropriate when considering the long lasting dominion of the British Empire in the area (Cuboid, 2008).

Social and Historical Context: Space Experiential Conception

The Ahmedabad Management Association building is set into an existing landscape of eight large Neem trees. The building takes full advantage of the shade and beauty the trees provide. The Neem trees are noticeable through the buildings many windows and verandahs and bring !

" ! (“And the Category Winners Are�, 2001).

The further expansion in 2008 brought the addition of: Eight seminar halls equipped with the latest video systems and accommodate 60 – 120 persons, Computer lab with 20 latest software equipped terminals, Five meeting rooms with latest audio/video equipment which accommodate 30-40 persons each, 300 seat convention center, 400 seat video conferencing facility (All these facilities are equipped with the latest audio-video system and internet).

Ahmedabad Management Assoc.

City of Ahmedabad is a city of 5.2 million people and over 400 industries. The village of Vastrapur in Ahmedabad is home for a lot of village workers who are working with different cotton spinning and manufacturing mills across the city providing a perfect backdrop for an AMA structure (Vastapur 2011).

79

Materiality

Ahmedabad Management Assoc.

80

The building’s material palette comprises of exposed reinforced concrete, mild steel for fenestration and kotah ~_ šˆˆ|‰& # interior elements economical, but long lasting was one of the major efforts put into this building. This was achieved $! $ cylindrical exposed galvanized steel air-conditioning ducts that complement the furniture and a rough and ! % ‚ % ~‡' _ Winners Are�, 2001).

Relation to Indian Traditions

Ahmedabad Management Assoc.

The AMA building is a crossroad between the western

! @ of openness and connection with nature. The linear shape of the building alludes to the rock-cut monuments in India where the temple is carved into the mountainside. The corridor connecting different program elements of the building brings the feeling of airiness and openness to this monolithic feeling structure. Circular windows connecting the interior to the exterior and creating visual connections through the interior spaces makes you think of Carlo Scarpa’s Banca Popolare in Verona and his cemetery. The bright colors in the interior walls and doors are again as if borrowed from the Bank in Verona where Scarpa was experimenting with Rothko paintings. But even through Indian. The way this building sits in the landscape while carrying on a conversation with the canopy of trees and the way light is brought inside through carving away walls of the solid concrete mass are irrefutable marks of Indian tradition and charm.

81

AshwiniKumar Crematorium Matharoo Associates

Surat, Gujarat, India 2000

Brian Starr Michael Zeller

83

Ashwinikumar Crematorium

his ability to reach out and connect with his native Indians !

with all who have come in contact with him. Some of his noteworthy positions include: Visiting Faculty at the School of Architecture, CEPT.; Board Member, IED, Vidyanagar, Gujarat, India; Visiting Faculty at the National Institute of Design with the Ahmedabad Transportation and Automobile Design-PG Course. Recent presentations and lectures include the Forum for Exchange and Excellence in Design in Vishwa Bhavan, Pune, India in 2010 and the lecture on Materials Formations with the Architectural League, NYC, NY, USA in 2009. More lectures and presentations can be found through his website, www. matharooassociates.com. From a brief look into

Gurjit Singh Matharoo was born in Ajmer, Rajasthan, India in 1966. His practice, Matharoo Associates, was founded in 1992, with the help of a few close associates. Prior to the opening of his own practice, he also spent some time studying and practicing in locations including Bhutan, Dubai, and Locarno. When he returned to India, he began practicing in Ahmedabad, India while he also began teaching at the Center for Environment, Planning and Technology.

Gurjit Singh Matharoo

'

on his website, Matharoo boasts an incredible list of projects and studies throughout his career. These typify

84

Matharoo’s varied works and career experiences, it is @ > upcoming architects. Matharoo is a practical and reductionist designer, who considers every aspect of design. He likewise considers design to be an all-encompassing part of life and allows this philosophy to spread not only into architecture but automobile design as well. From as far back as 1997, Matharoo has been designing vehicles ranging from race motorcycles and cars to utility vehicles. His most recent design of an automobile was for the Prathama Blood Center, for whom he also won an award for the

center’s design. The vehicle is the answer to the Blood _ > & _ the “Cattiva,� which is Italian for “woman,� the mobile blood center is a radical looking machine designed to grab attention on the street in order to attract volunteers to donate. It is a fully equipped mobile blood donation van capable to comfortably seat staff and patients. The design has been such a success that multiple vehicles have been integrated into the Prathama Blood Center’s % & As for Matharoo’s architectural style and aesthetic, many commentaries have sited the result of his works as resembling those of Louis Kahn, but with a lighter and less-monolithic feeling. This may be in part because of the way in which his choice of materials, much of which is concrete, has been manipulated from the standardized architectural or structural norm. The dynamism that Matharoo is able to achieve between truth of material and manipulation of material creates an environment and presence that can only be described as his own. Other Works ' # _ $ ! & %

85

Selected Works

Ashwinikumar Crematorium

86

and even futurist exterior, the building rejects the sterile feeling of most hospital facilities, and invites donors to relax rather run-away. Once inside the interior, the user is exposed to all the programs involved within the blood center through the transparent glass walls of the interior. This lightness of the building is enhanced by the four story open-atrium which makes up the main mass of the building and allows natural light to penetrate every corner. Concrete is evident as the main material used in the construction, and is enhanced as both a structural element and as the architectural expression. However,

!! with the landscaping of both the exterior and interior. Flowing with a gigantic curved wall and circular stair wells, the concrete takes on a thin and elegant feel, more akin to a soft skin enclosing the space, yet withholding the security of a solid and sturdy wall. Already mentioned, the Prathama Blood Centre in Ahmedabad received accolades in its design. However,

other works of Matharoo are noteworthy to explore in his ability to manipulate form and material while keeping a simplistic and reductionist feel. One such building is the house he constructed for his parents, known simply as “Parents House� in Ajmer, Rajasthan, India. This house pays homage to his parents in Matharoo’s own words as “Conceived as an exercise

! ! ž to their bare essentials.â€? He later describes it as â€œâ€Śan attempt to celebrate the banality of design restricted by a harsh budget and deliver the most economical concrete house in the world.â€? It is evident in the drawings of this ! are reduced and reused as walls and ceilings, maximizing every allowable square meter. The entire budget was only $22,000 for the production of the house. Another noteworthy design can be seen in Matharoo’s “NET House.â€? Located more on the outskirts of town, the NET house approaches the idea of space without walls. Rather, the space is created by a light steel frame system which holds a transparent and operable net screen system. Focused around a central cabinet which acts as the only internal wall, the studio-sized house operates on an open plan and feels much more like a temporary tent, than a permanent resident. Matharoo creates an environment that responds to the site as well with its million liter raincollection system. Comparing this house to his other works, Matharoo is able to convey a completely different effect from the incorporation of materials and program into the design.

87

The Ashwinikumar Crematorium takes no less interest in seeking to combine elements from Matharoo’s experience as well as concepts from India’s historical, cultural and physical context. The need for the Ashwinikumar Crematorium came about from the massive plagues that swept through the city in 1994. Coming from the same strain as the bubonic plague in Europe in the Middle Ages, the same strain ransacked Surat, killing thousands, and forcing the city government to hold a competition to design a crematorium for public use. The Matharoo design won the competition for a number of reasons.

Plans + Sections

Ashwinikumar Crematorium

{ >

that responds to the many religious and cultural beliefs held by Indians. Hindu, being the main religion, none the

88

less has a multiplicity of beliefs which incorporate different aspects of life and death. Concepts of the “Good Death� #

and ritual associated with the passing of life. To die a good death means one is able to free their spirit from !

! body. This must be done in a manner that respects both the deceased and living who are disposing of the corpse. As stated in Parry’s “Death in Banaras,â€? (pg 152) ‌â€?The Hindu universe is a closed circuit: nothing new can be produced except by destroying or transforming something else. ‌ Life and death are two facets of a single neverending cycle‌â€? The act of cremation allows the Hindu believer to separate the deceased to their natural and  ! &

89

Analysis

Ashwinikumar Crematorium

90

The ritual of cremation is surrounded by ceremony performed by the living relatives and friends of the deceased. It is an act that involves mourning processions which are largely carried out by the next of kin male in the family. In the ritual, throngs of women lament the passing of the deceased while the men carry the deceased to the cremation location. The cremation ceremony is traditionally performed by the male members of the group while the women are asked to return to their homes for other duties. In the Ashwinikumar Crematorium, a large reception and processional hall has been created to house waiting guests. Likewise, the entire plan of the building facilitates the circumambulatory program of the activity within. Upon entering, one moves past the waiting & € into a ceremonial hall that precedes the gas ovens. Within the ceremonial hall, visitors are able to perform any rites they feel necessary with ample room. Privacy is made possible by the use of large screening walls incorporated into the structural design of the building.

Other spaces created for the use of the visitors include # ! !

! !

& South porch which overlooks the river. This also leads the visitor to the back deck and access to the river directly. This river access is also important for visitors to be able to perform ceremonial washings as their custom requires. From the river, a ramp leads back to the crematorium or the entrance parking lot for visitors to exit. Symbolically, the entire path creates one large circle which is representative of the circle of life. { ! & @ considered sacred and burns eternally. However, in the

' # ! are an acceptable means to execute the ritual, with wood ! ! & Though the building is created almost entirely out of concrete, the low ceilings and open walls create a cozy

91

and comfortable feeling for visitors. Controlling the way in which light enters through carefully placed slits in the ceilings creates an ambiance of mysticism, yet at a human scale that is understandable. As the visitor uses the space, they are able to perform the “Good Death� for their deceased in a modern, contemporary, and functional way. It is evident from the use of space and material why Matharoo was chosen as the architect in the Ashwinikumar Crematorium design. His integration of economical materials and planning created a space that caters to the multiplicity of beliefs surrounding the Indian customs of death and cremation. The Crematorium creates a space that invokes a reverence and respect to the deceased as well as a habitable and comforting experience for the visitor.

92

Another concept that is constantly shown in this work is the use of the elements to remind the user of the process they are involved in and the circular nature of life. There is a constant breeze through the spaces caused by the openness in the crematorium. Fire is present in the actual cremation process. The use of concrete as well as the existing trees left in place remind people of the earth. Water is present through the river that is never fully revealed, because of its overwhelming power, but is constantly in the background of every space. Space is felt in the change of scale from each space in the crematorium. The narrow entry and the openness of the courtyard make people aware of their scale and the space that is given to each part of the journey.

Space Conception + Ordering Systems

The crematorium was also organized around the idea of the circle of life. In Hindu culture and many others it is & { elements are present in the body during life and in death they begin to leave the body. Eventually the body returns to the earth and the cycle begins again. This circular nature is present in the circulation of the crematorium. Participants in the cremation process circumambulate the

plan going from the small narrow entry and circulating to the furnaces, pavilion, river, and back again to the courtyard near the entry of the building.

Ashwinikumar Crematorium

The Ashwinikumar crematorium is organized around a few principles. Traditionally the crematorium is an open space on the outskirts of a town reserved for the ritual of cremation. With the Ashwinikumar Crematorium it was not possible to put the crematorium on the edge of the town. Matharoo still organized the space in a way that maintained some form of isolation while placing the crematorium in the midst of the city. The large courtyard at the front of the crematorium stands as a buffer zone from the rest of the city. This buffer separates the crematorium from the city creating a connection only as the small entry comes out and meets the street.

93

Entry The entry is marked by a narrow opening beginning the journey of the cremation process. Here there is a waiting area as well as administration to begin the process of cremation. There is a tree that was pre-existing on the site. It is growing up into an opening created in the roof. This part of the journey is intentionally left closed so that everything is not revealed right away. This is also done to create some form of privacy as the building can have multiple ceremonies being performed at the same time. There is a blind wall blocking the view of what is to come with only a slit opening, giving the occupant a glimpse of the next step. Although this space is closed off from the rest of the cremation process it appears very open. The wide hallway, as well as openings in the roof plane, expand the space and provide a connection with the world and elements that is important in Indian culture. Furnace Chambers The crematorium is arranged in a series of crescent walls that mask the each of the 5 furnace chambers. This arrangement of enclosure gives the family’s privacy from the world but still keeps them in it. The river is slightly visible through the slits in the chambers. The space is ! œ the chambers reminding those in the space off the wind element. Each day the narrow slits in the spaces allow for a beam of light to enter the chamber and make its journey across the room. This gives a sense of the passing of the day. Pavilion { ! ! friends can gather after the cremation ceremony has been preformed and they are awaiting the ashes. It consists of several open bays with seating. In one direction is a view of the river below. In the other direction the furnace chambers are visible. The pavilions are separated once again into bays to give each group privacy while still letting them be exposed to the outside world. This pavilion

& € # water is seen below in the river, and the openings in the pavilion provide a breezes that passes through to the rest

94

95

3D Rapid Prototype Model

Ashwinikumar Crematorium

96

Formal Expression

Ashwinikumar Crematorium

& < space by the river, and space is felt as the vastness of the river is revealed and the scale of the crematorium is brought into perspective. River { ! & { is a narrow ramp that leads down towards the river from the pavilion. Looking back the large furnace tower comes into view, once again referencing what has happened while looking forward to what will come. The narrow ramp forces the view in one direction and exaggerates the length of the journey. The pathway to the river drops down below the crematorium winding down along its way. At the river the ashes of the cremated are released completing the ceremony of cremation. From this point the journey goes back through a passageway on the west side of the crematorium to the courtyard and parking lot bringing the process full circle back to where it started. The crematorium feels like it has one major plane that has been lifted up out of the ground to create a roof structure. This concrete mass provides protection and a reminder of the massiveness of the earth but it also is able to give the spaces openness. This is done by creating openings in the roof to allow light to enter as well as trees to grow out of. The walls of the spaces also help to lighten the structure. The walls are used to create privacy but only

97

Ashwinikumar Crematorium

Formal Expression

where absolutely necessary. This leaves a maximum amount of space exposed to the outside continuing this juxtaposition of the openness of the space and the heaviness of the concrete structure.

98

The form of the building is expressed both in its attempt at isolation as well as its response to the angle of the site. The main concept was to create a disconnect with the city and the crematorium. To do this Matharoo connected as little of the building as possible with the street. This brought about the use of the courtyard as a means of separation as well as the long narrow entry that sticks out to create a momentary connection with the street. The form then responds to the angle of the site and the river. This ultimately creates three different axis that give the building form. The crematorium is about the traditions of the Indian

people. These traditions are mainly related to the Hindu culture, which has practiced cremation for thousands of years. The interesting thing about the crematorium is its attempt to create something that traditionally would be a very Hindu oriented structure and make it a non denominational space. This is a hard separation to make considering that Hinduism is so much a part of what Indian culture is about. The crematoriums non denominational nature arises by giving the participants choices. At every step of the process the space is laid out to give people choices. They can either continue on with a traditional Hindu cremation ceremony or go another way and make the process their own. Gas is the main means of cremation at the crematorium but wood cremation is also available upon request. Processions can proceed from entry to furnace to pavilion to river, or they can break the process at anytime and the openness of the plan allows them to move where they wish. These types of options separate the Ashwinikumar crematorium from the more traditional Hindu crematoriums found throughout India. The Ashwinikumar crematorium is a good example of taking a traditional object and adding contemporary ideas. Matharoo has taken the idea of the crematorium and made it successful for all denominations. His use of

space ground this crematorium to the Indian culture, while his use of contemporary form and spatial concepts make the crematorium successful.

99

House in an Orchard Rahul Mehrotra Associates Ahmedabad, India 2001

Jeff Adams and Matt Metcalf

101

It is the dream of every aspiring young architect to one day ! — & { Âœ QXXˆ by Rahul Mehrotra. After completing his bachelor’s degree in urban design from Harvard University he returned to his native country of India to continue his studies. Rahul then graduated from the School of Architecture in Ahmedabad with his master’s degree and established his very own studio: Rahul Mehrotra Associates. { # ÂĄ ' ' 2007, who has been actively engaged in various different

& { ! * # institutional places to art spaces, from residential to

& Projects that involve urban design, conservation and planning issues in the city of Mumbai seem to be the focus of Mehrotra’s work. He has worked on several research projects and policy initiatives in the city.

Biographical Information

House in an Orchard

Not only is he excited about the opportunity to work within

ÂĄ ' ' !

102

Boston where Mehrotra can be found seven months out of the year. In addition to being a professional architect running two Urban Design and Planning and Chair of the Department of Urban Planning and Design, at the Graduate School of Design, Harvard University. Teaching students the importance of urban issues has long been a passion that started out at Massachusetts Institute of Technology (MIT) where he taught design and a course on architecture and urbanism. To add merit to his impressive resume, Mehrotra has written extensively on urban issues and contemporary architecture, including “Bombay, the Cities Within� and has lectured extensively on urban design, conservation and architecture in India. His most recent book is “The Architecture of the 20th Century in the South Asian Region�. Focusing on contemporary design and urban issues in India, Mehrotra puts environmentalism front and center in his approach to most everything he builds. Thinking green is a standard practice for Mehrotra, where he

within its own context. Even if his clients do not express the same desire to achieve healthy sustainable architecture, Mehrotra implements green strategies into these projects as a way to educate his clientele. For example, “by taking advantage of a particular region’s climate, he is able to cool the air naturally instead of relying on air conditioning. If people are willing to adapt to having their home register two or three degrees higher

may take a similar approach to their design.� Mehrotra said, “the new generation of students is growing up with an [environmental] sensitivity; you can embed it in everything. You couldn’t do that 10 years ago.�

Rahul Mehtrotra - Principal RAM Architects (Mumbia - Boston)

Physical Context

Social and cultural elements are important aspects of Indian housing. For example, it is fairly typical for an extended family to inhabit the same house and share ! & ! and organized by different male and female roles. Many daily activities such as bathing, recreation, and chores are performed outside of the house due to the

House in an Orchard

Mehrotra’s residential market can primarily be found in Ahmedabad, India Located in northwest India, Ahmedabad is the seventh largest city in India with a population of 4 million and a metropolitan area population of more than 7 million. It is also one of the fastest growing cities in India and has a healthy economy with a GDP of $89 billion in 2010. The climate in Ahmedabad is semi-arid and extremely hot during the ! ˜¢£ QQ¢£ Â… & ' pollution caused by nearby textile mills and factories. Ahmedabad has a rich history of architecture and is home to well known buildings from such architects as Le Corbusier, Louis Kahn, B. V. Doshi, and Charles Correa.1

103

warm climate and also because less than half of rural homes in India have electricity and almost no homes have a constant water supply. In addition, color also holds cultural importance.4

Social + Cultural Context

House in an Orchard

ÂĄ * ÂĄ $ !

traditional Indian architecture. They are “urban fabric, building clusters, courtyards, streets, darwaza (the outside) and roof terraces.�2 Another important aspect in Indian architecture is the idea of rasa. Rewal explains that “rasa in architecture may be interpreted as an insertion of a singular and unique quality in experiential aesthetics, which is in conformity with and adds to the function and purpose of the building. The intention is to

104

make architecture not only functional but also responsive to the visual and tactile senses in a way that conforms to the function of the building. The incorporation of this idea of rasa also makes a connection to the culture of the past.�2 ' $ !

and even governing Indian architecture is the use of Vastu Shastra. According to Raj Jadhav, “The ancient Indian architectural text of Vastu Shastra is widely used in modern Indian architecture for planning houses, ! $

other building types. The principles of Vastu Shastra ! !

planning to the furniture layout of a room. The stipulations

are said to be governed by ancient empirical knowledge of the human body and its relation to the earth and the cosmos. Following these stipulations, it is said, ensures overall human well-being. Hence, a client with a belief in Vastu Shastra will choose a plot of land and locate the functions and elements of a building using the guidelines of this text. Architects and clients consult specialists in Vastu Shastra and then agree upon a design. The belief in this ancient body of knowledge is experiencing a rapid revival.�2 Indian architecture is also inherently sustainable because of climate, respect for land, and out of necessity. Sustainable practices such as using local materials, natural lighting and ventilation techniques, and water collection are all important principles that have been developed over thousands of years and continue to be incorporated into modern design.

105

Selected Works

House in an Orchard

106

Magic Bus Panvel,India 2003

Hewlett Packard Bangalore, Indai 2002

Prince Wales Museum Mumbai, India 1997

Hathia Gaon Amber, Ragasthan, India 2006

Floor Plan

Space Conception

Site Plan

House in an Orchard

pavillion

rooftop pavillion

bedroom

kitchen / dining rooftop terrace

107

rooftop terrace

bedroom

Experiential + Materiality

House in an Orchard

The House in an Orchard was constructed in 2004 outside of Ahmedabad in Gujarat, India. It was only the second home that Rahul Mehrotra has designed with the Corner € šˆˆ¢& @ weekend retreat for a single family and is unique because it is located in the center of a 20 acre mango orchard. The architect made the decision to position the house in the center rather than the edge of the mango orchard to try and reduce the extreme heat that Ahmedabad experiences throughout the year. In addition, being in the center of the orchard also provides much needed privacy

108

and a sense of relief amongst the trees. The underlying concept of the house is to be an “introverted stone oasis� in the mist of the trees and offer a calming respite from the chaotic city life.6 The central orientation of the house is also incorporated into the house itself. The house plan takes on a cruciform shape with the living room becoming the central, linking element. Each arm of the cruciform has a different function including living spaces, a cooking area, entrance, and courtyards.

Enterance

Pavillion

Surrounded by Mango Orchard

Roof top swing

The central living room has an entire wall that opens up to an enclose courtyard which includes a narrow pool that extends into the living room and frames the entry. The wall adjacent to the pool is painted blue in order to link the pool to the sky and create sinuous whole. The application of blue color is very important and deliberate and enhances the metaphor of the cool oasis in the midst

of a hot climate. In other areas of the house colors and textures are used sparingly to create individuality and texture. Roof top terraces and shaded sitting areas can be used in the cooler evenings and allow the house’s occupants to orient themselves within the orchard and the larger city context.

Looking into living room

Front door / Pool

Courtyard overview

Material detail

109

Living room

Overall, the house expresses Mehrotra’s command of modern Indian architecture. The use of local materials, use of colors, spatial organization, and interior and exterior balance show his sensitivity to a rich history of Indian culture and design as well as create an amazing space that functions on a higher level than a simple retreat.

110

111

Palmyra House Studio Mumbai Nandgaon, India, 2007

Hoku Ching and Caitlin Stewart

113

Background: Studio Mumbai Architects

Palmyra House

“Why are we fascinated by old things, by traditional methods?� According to Indian born architect Bijoy Jain, “Earlier things were created with a spirit – nothing to do with physicality – just the spirit with which they went about doing it – that’s probably why we are fascinated with the 1 old, because of the intrinsic quality of what brought that about.� Since graduating with an MA in Architecture from Washington University in St Louis in 1990, Jain has endeavored to create spaces with this spirit in mind. After working with Richard Meier in Los Angeles, he decided it was time to return to his home country and encountered a growing Mumbai metropolis. The anxieties of living in a city prompted him to move to a more rural environment in Ailbaug and Studio Mumbai was born in 2005.

114

" of a collection of skilled craftsmen, artisans, laborers 2 and architects who collaborate to both design and build their projects. Each project emerges through a process of collective dialogue. This principle of utilizing shared knowledge and traditional skills is facilitated in the studio’s iterative design process. Jain believes, “The people who build with us have an amazing ability to absorb and participate acutely. I’m more like a conductor, working in an orchestra – I make the framework, I know the potential, and I work on getting unique notes out of them. Most of our generation and the next haven’t worked with our hands – I wish to bring dignity to that talent and expression. As for work in the future, I’m in a sailboat and a lot of form and shape comes with continuous reading of the wind and weather. Thus the dialogue is continuous. I have no aspiration šˆˆ ! ! & { carpenter is the most valuable person in my studio. A person who works with dignity and detail. I want to cultivate people of that caliber, to create a resource of this kind of infrastructure who can then go and proliferate into the industry. That is the endeavor of this studio.�

Bijoy Jain Image: ŠPrabuddha Das Gupta

Consideration for local building techniques, materials and resources are important factors in Studio Mumbai’s design approach. Ideas are explored through sketches, drawings, large-scale mock-ups, models and material studies. Through problem solving and attention to # ! architecture, nature and the environment, across both time and space. By using such approaches Studio Mumbai strives to create projects that are modest, imaginative and intimate. According to Jain, “The Indian landscape is dotted with concrete. Our relationship with nature has always been to overcome its unpredictability. Thus the idea of no maintenance, using material that is impervious to nature – all worked towards creating secure spaces, creating predictability. Rather than dismissing what has developed over several hundred years or discarding something because its new, we could work with a combination of periods – a hybrid. After all, what is modern? I think huts on the road are modern, ingenuity is modern, ‘jugaad’ is modern. That is special.�

115

Selected Works: House on Pali Hill, Bandra, India, 2008

Images: ©Studio Mumbai

Palmyra House

“An existing house on a narrow site was stripped to its bare concrete frame. Trees, wood screens, planted trellises, glass, and curtains wrap the house, providing privacy and protection from the urban environment of Mumbai city.” Bijoy Jain

Uttaranchal, India, 2007

Palmyra House

Selected Works: Leti 360 Resort, 116

“Leti 360 is a small resort set on a promontory in the Indian Himalayas. Situated at 2300 meters above sea level and nine kilometers from the nearest motorable road, the site is accessed along a narrow walking ! & $

glass structures open out onto expansive views of mountains, forests, and river valleys.â€? Bijoy Jain Images: ŠStudio Mumbai

Mumbai, India, 2006

Selected Works: Bungalow 8,

! & {

&} *  Images: ŠFram Petit

Palmyra House

“Bungalow 8 sits beneath the benches of Wankhede Cricket Stadium. { ! ! ! ™ˆˆ � ! $

117

118

Featured Work: Palmyra House,

Palmyra House Nandgaon, India, 2007

119

Social and Historical Context

Palmyra House

Perfectly in tune with Studio Mumbai’s design philosophy, the Palmyra House is a synthesis of both vernacular architecture and contemporary design. Its location 5km outside of Mumbai along the Arabian Sea makes it an ideal refuge from the hustle and bustle of city life. The site, accessible only by a 165ft long footpath, is part of a 1-acre plot of land on a functioning coconut plantation. The Palmyra palm, from which the project gets its name, was a central element in the design process. In India this tree is said to have 800 different uses, including the use of its leaves to make hats, thatching, umbrellas, mats 3 and baskets. The fruits and sap of the tree even make a local delicacy called toddy. The two wings of the Palmyra house have been seamlessly integrated into these trees to create a space that feels inclusive and connected to it’s surroundings without destroying the existing landscape. The plantation is also home to an 80-yr old stone aqueduct system, another feature integrated into the ! * & { " %

!! the water it requires. In 2010, the Palmyra House was nominated for the Aga Khan Award for Architecture, with the award organization describing the Palmyra House as a “quietly compelling project that is fully integrated into its landscape.�

120

Image above: ŠStudio Mumbai Image on previous page: ŠStudio Mumbai

The Palmyra project consists of two oblong, rectangular structures slightly offset from the main axis pointing toward the sea, and is separated by a 25ft wide courtyard. Combined, the two wings total4 approximately 3000 square feet. Entrances to each volume are set across from each other, creating a visual connection between the two buildings. While both buildings enclose the necessary private spaces of a residential project, the majority of the space within each volume of the house has been left open as public space easily accessible to the outside. The north volume consists of the master bedroom, living room and study, each opening to the inner plaza. The master bedroom contains a shower enclosure open to the sky, offering views above and to the ocean. To the south the second volume contains the guest bedrooms, dining room and kitchen, also open to the outside to spatially create one large living area. The inner courtyard contains a small channel for swimming and hearkens to the network of aqueducts woven into the site.

5 5

PRIVATE

Space Conception

Image: ŠStudio Mumbai

Palmyra House

PUBLIC

121

Tectonics

Palmyra House

122

Images: ŠStudio Mumbai

Like all projects Studio Mumbai works on, an extreme attention to detail and handicraft was utilized in the Palmyra House. Most of the house was hand built by Studio Mumbai’s team of carpenters to reduce the amount of disruption to the land and palms of the site. Framing for the buildings was constructed using traditional interlocking joinery made of a locally sourced and sustainably harvested hardwood called ain wood. This wooden structure was anchored to stone platforms made of locally quarried black basalt. This basalt was also used to construct the pool plaza and aqueduct walls. 5 and stored in a water tower and then fed by gravity down to the houses. The prominent louvers that make up a large part of the building’s façade were handcrafted using the Palmyra trunk. The exterior of the buildings % # !! standing seam aluminum roofs. Interior surfaces were # % plaster called India Patent Stone. This stone mimics the color of coconut bark during monsoon season.

Image: ŠStudio Mumbai

123

Experiential Qualities

Palmyra House

124

The Palmyra House buildings stand out for their porosity, the visual and physical connection with the surrounding trees. The vertical structure of the building supporting the horizontal shutters mimics the

trunks of the surrounding Palmyra palms supporting the leafy canopy above. Images: ŠStudio Mumbai

The combination of design and use of local and traditional materials and methods makes the Palmyra House a project that is truly integrated into its landscape. Under the extensive shade of the natural palm trees, the wooden structure almost blends in with the surrounding landscape creating a simple, relaxing and peaceful atmosphere. The adjustable louvers allow air to easily pass through the buildings, the perfect natural ventilation for a tropical climate. These louvers also allow light to enter and,

mixed with the shadows of the surrounding foliage, create various silhouettes across the spaces. They also add to the open feeling of the site and allow views across the plaza and beyond to the sea in the west. Strategically placed glass windows also allow for unobstructed views out into the surrounding landscape. The simple integration and connection of all of these elements work together to create this serene weekend retreat tucked away in the beautiful landscape of India.

125

GMS Grande Palladium Kamal Malik Architecture Kalina, Mumbai, India 2008

Cory Ingersoll, and Chi-Yow Lee

127

Like many of India’s architects, rising or well-established, Kamal Malik incorporates a modern interpretation of elements from traditional Indian architecture and design in order to produce his buildings. Many of his buildings, especially the most recent ones built after the year 2000, !! &

Kamal Malik

GMS Grande Palladium

However, when one begins to truly understand traditional Indian architecture within the modern context, the subtle references and re-imaginations of such an ancient culture with a rich history can be revealed. Malik’s architecture is able to express Indian traditions through a different variety of manners, be it the proportioning of the building, the materials and its usage (either on or inside the building), relationships of different parts of the overall building form, and sometimes even through some manipulation of the structure’s surroundings.

128

Kamal Malik graduated from the School of Planning and Architecture, located in Delhi, India, in 1972. Before he set up his own design studio in 1975, he worked with Don Ashton (UK) from 1972 – 1973 and Willi Kaufhold (Germany) from 1973 - 1974. Kamal’s practice has won many design competitions through their entries, which include those for the Housing Complex at Delhi (Jury Stein + Kanvinde) in 1977 and the institute of Nuclear Medicine and Allied Studies, Delhi with Siemens (Germany) – 1981. The other prestigious projects won through competitions include the American school, Novell corporate building, Altana Research Centre and Unit Trust of India Ltd. Building, which are all in Mumbai and the Lupin Research Park in Pune.

Figure 1 (above): Kamal Malik Figure 2 (right): American School in Mumbai - Client: American School - Completed 1997 - 85,000 square feet - located in Mumbai

“SPIRIT – This is interpreted as ‘PRANA’, the cumulative life force of the Universe. (This concept was elucidated in the subcontinent in the VEDAS (INDUS VALLEY CIVILIZA{@ Š‰ \ˆˆˆ # # *PATANJALI. This strain of thought is therefore eminently pertinent in

the evolution of any major philosophical/Spiritual dialogue in the region. In fact the two are addressed as the individual ONE. PRANAYAMA – The science of harnessing the PRANA is the ultimate goal of the YOGI. It is this philosophy that has continuously engaged me as I have attempted to engage it and thus forms the under-current of the word ‘SPIRIT’. To comprehend PRANA one has to embark on an ‘inward’ journey and therefore any manifestation of action (including my role as an Architect) cannot be & ¥ '{ ¡<>

representation of ‘PRANA’ becomes the guide and thus (sometimes even unknowingly) my work seeks the essentials of PRANA i.e. SILENCE, HUMANESS, TRANQUILITY AND SUSTAINABILITY. *THE TREATISE OF YOGA including RAJA YOGA.

REGARDS, KAMAL MALIK”

Figure 3 (top above): Bhagwan Mahavir Cancer Research Hospital Client: Private - Completed in 1998 - 75,000 square feet - located in Jaipur Figure 4 (middle above): Lupin Research Center - Client: Lupin Pharmaceuticals - Completed in 2001 - 140,000 square feet - located in Pune Figure 5 (above): Altana Resarch Center - Client: Altana Pharma PVT Ltd. - Completed 2005 - 65,000 square feet - located in Mumbai Figure 6 (left): Diagram of energy points in raja yoga

129

Historical, Social, and Physical Context

GMS Grande Palladium

@ especially when speaking of architecture. Mumbai is home to a variety of architecture. Existing for centuries, Mumbai provided homes for people over many years. The individuals have created a variety of building styles over the centuries. Styles are born from ideals and eventually transform with time. Sometimes the styles die away and at other times the styles morph into new ones.

130

Figure 7 (below left): Chhatrapati Shivaji Terminus Figure 8 (below): Mumbai Airport

The city of Mumbai is one of the cities of the country that includes an exceptional collection of art deco style buildings. Many of these buildings are world famous and extremely good examples of the style, not only in India but in the world. While Mumbai may be known for the art deco styles that are in the city, there are many buildings within the city that are not related to art deco. Prior to art deco, during the British occupation of India, a new style of architecture was born. Indo-saracenic, a fusion of Hindu, Islamic, and British architecture is unique to Mumbai. With the plethora of styles of the past, and a collection of modern buildings which is ever increasing, Mumbai became an incubator for new architectural challenges. As Mumbai continues forward into the future, it gains ! & {

became one of the richest in all India. With #

& ' ! & Today there are more than 60 buildings in the sprawling city that are over 250 feet tall. The architecture of the city, as well as the demand for space, forces designers to come up with innovative ideas when creating buildings and spaces so that are both functional and aesthetically pleasing, while being different from the surrounding content. Due to the current world wide push for !! ! ! & The Grand Palladium, created by Kamal Malik, continues in the same spirit of pushing architecture and pursuing new forms and designs in the built world. The building was created as the headquarters of the GMS Group in India. The GMS Group hired Malik to create a unique

building that would be both a landmark building and commercially viable. The Grand Palladium resonates as a new building surrounded by traditional buildings. The

& Construction of steel buildings is increasingly common in India; however it is still unique as a commercial steel building in Mumbai. The multi-storey construction relies on a reinforced concrete base capped with a series of irregular inclined steel boxes. Large cantilevers and unusual angles demand unique engineering to support the building. WSP Group engineered the structural system to support the many facades and roof planes. The Grand Palladium follows the tradition of creating new forms and pushing architecture.

Built on a corner, with an unusually shaped lot, the Grand Palladium built for the GMS Group responds heavily the its location. Both streets are not principal transportation routes; however main roads are only a block to the North or East. The site is less than two kilometers from a major airport and within three kilometers of two train stations. The Grand Palladium is located only a short distance from the Bandra Kurla Complex (BKC).

The transition from the street to the inside of the property attempts to create a continual path from the street to the building. A ramp through a gate leads to the access of the podium. The ramp passes by the landscaped gardens while rising to the height of the top of the podium or entrance level for parking. Softscape is increasingly disappearing from cities like Mumbai. Effectively the garden provides a needed relief from the surrounding hardscapes by creating a small oasis on the street. The sun angles that create the form of the building are dictated directly by its built location. The large glass window faces north to capture as much indirect natural light as possible. The western facing façade has many small windows having sun shades to prevent much of the direct light hitting the building and causing unnecessary heat & { ! ! much of the light into the upper stories through a collection of clearstory windows. Large buildings to the South and the East block much of those facades, which are not easily visible from the street fronts.

The BKC consists of a large group of buildings that all !! & { tinguishable from one another. Most of these buildings sit !

barrier between the street and the buildings. By dividing the street and the buildings in such a way, there is little to no interaction between the two and absolutely no connection. The idea of the podium from existing context transformed into a parking garage, which was mostly hidden from the street by a hill and landscaping. The climate and urban

& The building was hosted eight meters into the air creating inhabitable space at the street level. Trees, water, a cafĂŠ and lobbies eliminate the overpowering presence of massive walls at the street level.

Figure 9 : GMS Grande Palladium and city overview

131

Space Conception and Ordering Systems

GMS Grande Palladium

There are four levels dedicated to rentable commercial space within the building. The volume itself was shaped by the diurnal cycles of the sun. Each level has an equal that can be leased out individually with a common lobby space opening into independent reception areas, or both wings may be leased out and combined in order to cre ! the wings being able to be removed if this were to hap! & { lengthen the proportion of the structure. The cantilevered tube that punctures the upper level and projects into space was designed to be occupied by the client and his son. It is oriented facing North and provides sweeping views of the city of Mumbai to the North.

132

Figure 10 (left): Private (dark) vs public (light) spaces of parking level Figure 11 (top): Private vs. public spaces of ninth level Figure 12 (right): Private vs. public spaces of lobby space Figure 13 (below): Private vs. public space overall section

The elevator lobby is what moves people throughout the building, therefore it is placed in the relative center of the building, and the rest of the building functions are then arranged around the vertical circulation system. As this building was intended to be used as rentable of ! ! = & { ! ! !

& { !

! if desired.

Figure 14 (top): Vertical circulation diagram, overall section FIgure 15 (middle left): Vertical circu Figure 16 (middle right): V. circulation ninth level FIgure 17 (left): V. circulation basement

133

While seemingly random, the placement and shapes of the building material were actually designed in relation to the orientation of the building. The street facing west façade is clad with seamless corrugated aluminum with sun-shaded fenestrations that are designed to reduce glare. Major services are stack in the southern portion while the north and east facades are skinned with laminated glass in order to allow natural light to penetrate into interior spaces. Figure 20: View of Outdoor patio -

GMS Media

Tectonics and Formal Expression

GMS Grande Palladium

Water has been expressed in two ways; a shallow wa $! !

! !erties of water, while adjacent to it, raked and textured stone surfaces generate rippling water surfaces. This is a gesture that not only explores its auditory properties, but also geometrically links it to the building structure. A common cafĂŠ is skinned with canted glass walls and an outdoor dining area allows inhabitants to sit amidst the trees on the podium.

134

Figure 18 (above): Diagram of materials, glass vs. metal Figure 19 (below): various GMS facades - GMS Media

Figure 21: Shots of structure in from stairwells

- GMS Media

The superstructure is composed entirely of steel with a 16.0 meter wide span central column grid that provides $ # ! # transfer cantilever loads to the ground. These are expressed internally by recessing the internal membranes between the structural members. “A rigid grid on the typi #

* on the podium level as offset superstructure and basement grids rationalize themselves through this interstitial void.�

… šš • !

Malik felt that it was necessary to break away from the existing styles of the area with the creation of the Grande Palladium. “With GMS Grande Palladium, we have made an attempt, through consistent data mining of various conditions, to imbue what has been a hitherto sterile, symbol driven genre of Architecture, with logic and meaningful content.� As a result, the Grand Palladium is an

! *

! @ stands out among the traditional RCC buildings, with its multi-faceted façade, and various angles and projections, the most prominent being the large ‘tube’ cantilever located on the top level.

Figure 23 (left): Rendering of GMS Grande Palladium, looking to the northwest - Malik Architecture Figure 24 (above) View of canilever from below - GMS Media

135

Relation to Indian Traditions

GMS Grande Palladium

Malik’s design philosophy of raja yoga can be seen in the Grande Palladium’s form. In the practice of raja yoga (‘royal yoga’, named as it primarily concerns the mind, which is traditionally conceived to be the ‘king’ of the psycho-physical structure which does its bidding), one focuses their life energies, mainly through the practice of meditation, in order to attain peace and control of one’s > & { generally based on directing one’s life force to bring the mind and emotions into balance so that the attention may be easily focused on the object of meditation or the Lord directly. Once the mind is in balance, this awareness is then generally directed toward a point in the center of the lower forehead, the ajna, or ‘the third eye’, which seems ver. This space is specially set aside for the client and his son, others may enter, but only for relatively brief periods of time.

136

through a series of angled surfaces, where sharp corners are formed with these planes meet; they are not smooth & Malik also believes that nature plays an important role in the architectural manifestation of raja yoga, and so there are many green spaces designed around and into the structure. These organic spaces also help to further emphasize the rigid geometric faces of the building, as well as the metallic materials, by their more spontaneous shapes and natural colors.

Figure 26 (above): Rendering of planned green spaces tecture

Figure 27 (below): Building mass diagram, from the north

… š^ Š ! building mass

The main body of the building can be interpreted as a representation of the state of the mind on a regular basis, chaotic and unorganized. The majority of the building is

! & @ to always stay the same, much like the thoughts of human mind, ever-changing and shifting in our surroundings. The facades of the Grande Palladium are created

Malk Archi-

Figure 28: GMS Grand Palladium rendering

-

GRANDE PALLADIUM: GREEN BUILDING

Figure 29: Architectural rendering of ground level green space - Malik Architecture

137

Experiential Qualities

GMS Grande Palladium

Due to the nature of the GMS Palladium being a com

the building is experienced by the exterior. The highly angular and faceted surface gives one the impression of forward motion and sudden shifts of perspective, much different than if the building had been constructed of % & @ = ! even among the other geometric buildings surrounding

& @ " ! regularity of the majority of the city’s built architecture. Its metallic surface draws one’s eye to follow the sweeping lines and sudden plane shifts, interrupted by protruding window casings that house inset windows. The scattered green spaces also offer a welcome relief and contrast to

!

plaza, where the structure of the building has an especially dominating presence.

138

FIgure 30 (left): Outside lobby - GMS Media FIgure 31 (top): - GMS Media Figure 32 (above): - GMS Media

Figures 33-35: 3-D printed model of building, constructed by Cory Ingersoll

Figure 36 (above) Northern glass facade

- GMS

Media

Figure 37 (right) Conceptual sketch of building

-

Malik Architecture

139

Plans, Sections, and Elevations

GMS Grande Palladium

140

Figure 38 (above): western elevation - Malik Architecture

Figure 39 (right): northern elevation - Malik Architecture

Figure 40 (left): southern elevation

-

Malik Architecture

Figure 41 (below): eastern elevation - Malik Architecture

141

Plans, Sections, and Elevations

GMS Grande Palladium

142

Figure 42 (above): longitudinal section

-

Malik Architecture

Figure 43 (below): latitudinal section

- Ma-

lik Architecture

Opposite page: Figures 44-51 :(top left) basement plan, (top right) stilt level, ~ ! ‰ \ ~ ‰ ^ ~ ‰ ™ ~ ‰ ˜ ~ ‰ | ~ ‰ X - Malik Architecture

143

Foreword

Basel, Switzerland. 2000.

Q&  & ‡' Œ • ¥ ™ = _ ries of Ahmedabad.� Daily News + Analysis 4 Mar. 2011.

8. Glancey, Jonathan. “The Pearl of the Punjab.� The Guardian. 28 Jan 2008. http://www.guardian.co.uk/artanddesign/2008/ jan/28/architecture.india.

2.Twain, Mark. Following the Equator: A Journey Around the World. Hartford CT: American Publishing Company, 1897. 3.The Story of India. Michael Wood, Rebecca Dobbs. Video. PBS, 2007. 4.DOSHI. Premjit Ramachandran. Documentary Film. HundredHands Productions. 2009. 5.Ibid. 6.Ibid. 7.Alexander, Christopher. A Timeless Way of Building. UK: Oxford University Press, 1979. 8.Pallasmaa, Juhani. The Eyes of the Skin: Architecture and the Senses. Chichester: Wiley-Academy, 2005. 9.DOSHI. Premjit Ramachandran. Documentary Film. HundredHands Productions. 2009.

High Court Ac-

Works Cited

2. Colquhoun, Alan. Modern Architecture. Oxford History of Art. Oxford University Press. Oxford, NY. 2002. P. 213-217. 3. Correa, Charles. “Chandigarh: The View from Benares.â€? Le Corbusier. Ed. Brooks, H. Allen. Princeton University Press. Princeton, NJ. 1987. P. 197-202. 4. Crossette, Barbara. “Le Corbusier’s Chandigarh.â€? The New York Times. 25 April 1982. http://www.nytimes.com/1982/04/25/ travel/le-corbusier-s-chandigarh.html. 5. Foundation Le Corbusier. http://www.foundationlecorbusier.fr/. 6. Frampton, Kenneth. Le Corbusier. World of Art. Thames & Hudson. New York, NY. 2001. 7. Gast, Klaus-Peter. Le Corbusier, Paris – Chandigarh. Birkhäuser.

144

10. Khan, Hasan-Uddin. Le Corbusier: Chandigarh and the Modern City. Mapin Publishing. 2009. 11. Prakassh, Vikrad. Chandigarh’s Le Corbusier: The Struggle for Modernity in Postcolonial India. University of Washington Press. Seattle, WA. 2002. 12. Sbriglio, Jacques. Le Corbusier: La Villa Savoye/The Villa Savoye. Birkhäuser. Basel, Switzerland. 1999. 13. Scheidegger, Verlag. Chandigarh 1956. Scheidegger & Spiess. AG, Surich. 2010. 14. Serenyi, Peter. “Timeless but of its Time: Le Corbusier’s Architecture in India.â€? Le Corbusier. Ed. Brooks, H. Allen. Princeton University Press. Princeton, NJ. 1987. 163-196. 15. Serenyi, Peter. “Timeless but of its Time: Le Corbusier’s Architecture in India.â€? Architectural Design 7/8. Ed. Papadakis, Andreas C. St. Martin’s Press. New York, NY. 1985. P. 55-77.

10.Ibid.

1. Chandigarh. http://en.wikipedia.org/wiki/Chandigarh. cessed 7 March 2011.

9. Kemme, Guus. “Chandigarh: Forty Years after Le Corbusier.� Architectura & Natura Quarterly. ANQ Documents. Amsterdam, Netherlands. 1992.

16. Tafuri, Manfredo. “Oct 2: Le Corbusier and Form.� http:// nooshinesmaeili.wordpress.com/2009/10/05/oct-2-le-corbusierand-form/. Accessed 1 May 2011.

Indian Institute of Management 1. Gast, Klaus-Peter. Louis I. Kahn. Springer Birkhauser, 1999. Print. 2. Tyng, Alexandra. Beginnings: Louis I. Kahn’s philosophy of architecture. Wiley-Interscience, 1984. Print. 3. Kahn, Nathaniel, Dir. My Architect. New Yorker Films: 2003, DVD. 4. Giurgola, Romaldo. Indian Institute of Management, Ahmedabad, India, 1963- : Exeter Library, Phillips Exeter Academy, Exeter, New Hampshire, U.S.A., 1972. EDITA Tokyo, 1975. Print 5. Ronner, Heinz. Louis I. Kahn: Complete Work, 1935-1974. Boston : Birkhäuser Verlag, 1987. Print

Institute of Indology 1. Sangath .org, “The Apostle & Ahmedabad.� Wallpaper Magazine. September 2000. p 119-122. 2. Viray, Erwin J S: Interview with Balkrishna Doshi. “A Flow in India.� Architecture + Urbanis: No. 444, 9November 2007 p. 10-22. 3. “Balkrishna Doshi: Legacies of Le Corbusier and Louis Khan in Ahmedabad.� Architecture + Urbanism: No. 368, May 2001 p. 10-27.

House in an Orchard 1. “Ahmedabad.â€? Wikipedia, the Free Encyclopedia. Web. 27 Apr. 2011. <http://en.wikipedia.org/wiki/Ahmedabad>. 2. Gast, Klaus-Peter. Modern Traditions Contemporary Architecture in India. Basel: Birkhäuser, 2007. Print.

4. DOSHI. Premjit Ramachandran. Documentary Film. HundredHands Productions. 2009.

3. Goad, Philip, Patrick Bingham-Hall, and Anoma Pieris. New Directions in Tropical Asian Architecture. Balmain, N.S.W.: Pesaro, 2004. Print.

5. Titze, Kurt. Jainism : a pictorial guide to the religion of non-violence / by Kurt Titze ; with contributions by Klaus Bruhn ... [et al.]. Delhi : Motilal Banarsidass Publishers, 1998.

4. “Housing in India.� Wikipedia, the Free Encyclopedia. Web. 27 Apr. 2011. <http://en.wikipedia.org/wiki/Housing_in_India>.

6. Indological studies : Prof. D.C. Sircar commemoration volume / edited by S.K. Maity, Upendra Thakur. New Delhi : Abhinav Publications, 1987.

5. “Rahul Mehrotra Associates.� Architectural Design 77.6 (2007): 42-45. Print.

Ahwinkumar Crematorium

6. Shah, Jagan. Contemporary Indian Architecture. New Delhi: Lustre/Roli, 2008. Print.

1. Ahwinkumar Crematorium. (2004). Retrieved March 2011, from Architecturez: http://www.architexturez.net/+/subject-listing/000206.shtml

7. Woods, Mary N. “Mumbai and Beyond.â€? Habitus: Living in Design Apr.-June 2010: 83-88. & ÂŞ ! Â—— & & — — % &! ÂŤ&

2. Ashwinikumar Crematorium, Matharoo Associates. (n.d.). Retrieved march 2011, from The Accounts: http://theaccounts.tumblr. com/post/249279268/ashwinikumar-crematorium-matharoo-associates

Palmyra House

3. Futagawa, Y. (2009). Gurjit Singh Matharoo. GA Documents , 98-107.

1. Kavita. “Bijoy Jain, Studio Mumbai.� ArchiFeature. Indian by Design. 21 Jan 2009. 19 Apr 2011. <http://indianbydesign. wordpress.com/2009/01/31/archifeature-bijoy-jain-studiomumbai/>.

4. Indian Idioms. (2011). Retrieved March 2011, from Design Directions: http://www.designdirections.in/architects/indian-idioms

2. Palmyra House. 2011. Studio Mumbai Architects. 26 Mar. 2011. <http://www.studiomumbai.com/work.html>.

5. Matharoo Associates. (n.d.). Retrieved March 2011, from Architec Š  ! Â—— & ! & —! —¢Xš

3. Manohar, Prathima. “Palmyra House.� Architectural Record. Apr. 2008.

6. Matharoo Associates. (n.d.). Retrieved March 2011, from Matharoo Associates: http://www.matharooassociates.com

4. Saieh, Nico. “Palmyra House/Studio Mumbai.� ArchDaily. 31 May 2010. 26 Mar. 2011. <http://www.archdaily.com/62136/ palmyra-house-studio-mumbai/>.

7. Matharoo Associates. (n.d.). Retrieved March 2011, from Archinomy: http://www.archinomy.com/case-studies/269/gurjeet-singhmatharoo-and-his-works 8. SRIVATHSAN, A. (n.d.). Shadow Spaces. Retrieved March 2011, from The Hindu: http://hindu.com/mag/2007/11/18/stories/2007111850250700.htm

5. “Palmyra House by Studio Mumbai Architects.� Contemporist. 27 May 2010. 26 Mar. 2011. <http://www.contemporist. com/2010/05/27/palmyra-house-by-studio-mumbai-architects/>.

145

GMS Grande Palladium 1. “Architecture BRIO.â€? http://architecturebrio.com/index1.htm. Web. April 14, 2011. 2. Chhatrapati Shivaji Terminus. http://www.tradewingstours.com/ images/citydetails/mumbai/Shivaji-Terminus-full.jpg 3. “GMS Commercial Building.â€? Kamal Malik Architecture. http:// www.malikarchitecture.com/main.html. Web. March 30, 2011. 4. “GMS Grand Paladium | Mediaâ€?. http://openbuildings.com/ — — % %! %! %^¢Â™Âš& & 31, 2011. 5. “GRANDE PALLADIUM – GREEN BUILDING.â€? http://grandepalladium.com/. Web. March 22, 2011 6. “Iconic steel structure for Mumbai.â€? WSP Group. 2011. http:// www.wspgroup.com/en/WSP-Group/Press-centre/News-Archive/2010/Iconic-steel-structure-for-Mumbai/. Web. March 22, 2011. 7. “Kamal Malik, Principal Architect, Kamal Malik Architecture, Mumbai | aecworldxp.â€? http://www.aecworldxp.com/aecvideo/ kamal-malik-principal-architect-kamal-malik-architecture-mumbai. Web. April 13, 2011. 8. “Mumbai, Past and Presentâ€?. The Hindu. Volume 19 - Issue 13, Jun. šš %  & ^ šˆˆš& ! Â—— & & — — QXQ¢Â—QXQ¢ÂˆÂ™Â˜Âˆ& htm. March 23, 2011. 9. “Raja Yogaâ€?. http://www.yogaworld.org/raja.htm. Web. April 12, 2011 10. Raja Yoga. http://www.lowdensitylifestyle.com/media/uploads/2009/10/raja-yoga.jpg. Web. April 30, 2011. 11. “The Architectsâ€? Design Directions. http://www.designdirections.in/architects. Web. April 5, 2011. 12. “Vedanta Society of Southern Californiaâ€?. http://vedanta.org/ wiv/practice/yogas/raja.html. Web. April 10, 2011

146

Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.