Architecture+Design - August 2022

`200AUGUST 2022www.architectureplusdesign.in AN INDIAN JOURNAL OF ARCHITECTURE THEMANGLAMARTOFREFINEDELEGANCE

THESPECIALHOUSING RESIDENCES.MIXED-USETOWNSHIPS.CITIESBY AMAN AGGARWAL GIAN P MATHUR LUKAS RUNGGER & STEFAN RIER WINY MAAS, JACOB VAN RIJS & NATHALIE DE VRIES POOJA BIHANI SABYASACHI ROUTRAY & ANISHA MENON

MERELY“ARCHITECTURECHAUDHURIABINISNOTABOUTCREATION;ITISASEARCH.” `200AUGUST 2022www.architectureplusdesign.in AN INDIAN JOURNAL OF ARCHITECTURE

CONTENTS 22 16 VOL. XXXIX NO. 8  AUGUST 2022 08 ABOUT THE ISSUE 10 SPECIALUPDATESFEATURE 16 Manglam: The Art of Refined Elegance COVER FEATURE 22 Abin Chaudhuri: Exploring the Power of Holistic Inclusion in Architecture THE ARCHITECTURE FOR MULTIFACETED BUILDINGS 41 The Tree Of Knowledge European Library of Information and Culture (BEIC), Porta Vittoria, Milan noa*networkofarchitecture 48 Connected By Courts And Bridges CGC Student Hostel Landran, Punjab ChargedVoids 56 Sustainable Township Aananda Manglam Township, Jaipur GPMArchitects

62 A New Skyline By The Riverfront The Hills, Guayaquil, Ecuador MVRDV,Netherlands 70 Exuding Grandeur The Half Arc Office, Kolkata Spaces&Design,Kolkata SPECIAL FEATURE 78 Alankaram: Rooted in India, Global in Appeal PROJECT FEATURES 80 Creating Open Spaces Home on Kensington Road, Bangalore ma+rs 86 Artfully Blending Shopping And Dining Beyond Designs Bistro, New Delhi SachinandNehaGupta,BeyondDesigns,Delhi VIEWPOINTS 92 Are Integrated Townships the Future of Living? Varsha Jain CONCEPT 96 The Ephemeral Ring 62 70 80 CONTENTS

June 2020 ARCHITECTURE+ DESIGN6 Entire contents Copyright © 2018 Burda Media India Private Limited, Ambience Mall, 7th Floor, Gate No. 4, Ambience Island, NH-8, Gurugram - 122002, Haryana, India. All rights reserved throughout the world. Reproduction or translation in any language in whole or in part without the consent of Burda Media India Private Limited is prohibited. Requests for permission should be directed to Burda Media India Private Limited Published by Puneet Nanda from Burda Media India Private Limited Ambience Mall, 7th Floor, Gate No. 4, Ambience Island, NH-8, Gurugram - 122002, Haryana, India. Printed at Galaxy O set India Pvt. Ltd. Plot No 184-185, Sector-8, IMT Manesar, Gurugram, Haryana-122050 Editor: Seema Sreedharan, Architecture+Design does not take responsibility for returning unsolicited publication material. All disputes are subject to the exclusive jurisdiction of competent courts and forums in Delhi/New Delhi only. Opinions expressed in the articles are of the authors and do not necessarily reflect those of the editors or publishers. While the editors do their utmost to verify information published they do not accept responsibility for its absolute accuracy. Unsolicited material is sent at the owner’s risk and the publisher accepts no liability for loss or damage. All correspondence regarding advertising or editorial should be addressed to Burda Media India Private Limited, Ambience Mall, 7th Floor, Gate No. 4, Ambience Island, NH-8, Gurugram - 122002, Haryana, India INDIA’S MOST ARCHITECTURALAUTHENTICMAGAZINE. Over 38 Years of Invigorating Architectural Journalism It portrays modern trends in design planning, building technology, research and development and such other segments Significant features: Project profiles, conservation and environmental issues, product information and much more... BURDA MEDIA INDIA PRIVATE LIMITED TO SUBSCRIBE, CALL: +91 9868413813 E-Mail:E-Mail:subscribe@burdaluxury.comToADVERTISE,sales@burdaluxury.com AN INDIAN JOURNAL OF ARCHITECTURE “There are 360 degrees, so why stick to—ZAHAone?”HADID A DIGITAL VERSION OF ARCHITECTURE+DESIGN IS AVAILABLE ON www.architectureplusdesign.in Head of Content and Brand Solutions SONAL DAS Editor SEEMA SREEDHARAN Architectural Assistant NISHA KAPIL Consultant – Editing NIJITA NANDAN KADAM and SATARUPA PAUL Editorial Co-ordinator KANCHAN RANA Assistant Art Director SACHIN JAIN PRODUCTION Production Director RITESH ROY Manager MANOJ CHAWLA SALES Director – Global Advertising Partnerships SANJIV BISARIA, Mobile: +91 9811562019 Manager – Sales & Brand Solutions TANVEER SHAH, Mobile: +91 9967695937 CHIEF FINANCIAL OFFICER PUNEET NANDA REGIONAL MANAGER, HR & COMPLIANCE, ASIA SONYA CAROLINE SHAH SENIOR MANAGER – ADMIN SUSHILA CHOUDHARY EDITORIAL AND ADVERTISING OFFICE Burda Media India Private Limited Ambience Mall, 7th Floor, Gate No. 4, Ambience Island, NH-8, Gurugram - 122002, Haryana, India Editorial email: aplusd@burdaluxury.com; seema.sreedharan@burdaluxury.com CIRCULATION AND VISIBILITY Senior Manager BIJAY KUMAR KAR (bijay.kar@burdaluxury.com) IT DEPARTMENT Manager IT ARUN SALHOTRA (arun.salhotra@burdaluxury.com) FOR SUBSCRIPTION Call: Gurugram: +91 9868413813 Email: subscribe@burdaluxury.com FRANCE/LUXEMBOURG MARION BADOLLE-FEICK Tel: +33 1 72 71 25 marion.badolle-feick@burda.com24AUSTRIA CHRISTINA BRESLER Tel: +43 1230 60 30 christina.bresler@burda.com50SWITZERLAND GORAN VUKOTA Tel: +41 44 81 02 goran.vukota@burda.com146ITALY MARIOLINA SICLARI Tel: +39 02 91 32 34 mariolina.siclari@burda-vsg.it66 UK/IRELAND JEANNINE SOELDNER Tel: +44 20 3440 jeannine.soeldner@burda.com5832GERMANY JULIA MUND Tel: +49 89 92 50 31 julia.mund@burda.com97 MICHAEL NEUWIRTH Tel: +49 89 9250 michael.neuwirth@burda.com3629USA/CANADA/MEXICO SALVATORE ZAMMUTO Tel: +1 212 884 48 salvatore.zammuto@burda.com24 BURDA MEDIA INDIA PRIVATE LIMITED IS A COMPANY OF THE HUBERT BURDA MEDIA GROUP Hubert Burda Media India CEO BJÖRN RETTIG BURDALUXURY CEO BJÖRN RETTIG Director-Print Operations And Strategy SIMON CLAYS Hubert Burda Media Board Member International MARTIN WEISS DISTRIBUTED BY LIVING MEDIA INDIA LIMITED BURDA INTERNATIONAL HOLDING GMBH Legal Address: Hubert Burda Platz 1, 77652 O enburg, Germany Postage address: Arabellastrasse 23, D-81925 Munich, Germany INTERNATIONAL SALES & ADVERTISING JioMag

DW0165N50MLASER DISTANCE MEASURER ACCURATE MEASUREMENTS WITH A SIMPLE CLICK

Editor itself“Architecturecannotmakeamoreequitableworld...butwecancontributewithspecificactions.” —Mariam Kamara All drawings and visuals for the projects and articles, unless mentioned otherwise, are courtesy the architects/authors. MERELY“ARCHITECTURECHAUDHURIABINISNOTABOUTCREATION;ITISASEARCH.” THESPECIALHOUSING RESIDENCES.MIXED-USETOWNSHIPS.CITIESBY AMAN AGGARWAL GIAN P MATHUR LUKAS RUNGGER & STEFAN RIER WINY MAAS, JACOB VAN RIJS & NATHALIE DE VRIES POOJA BIHANI SABYASACHI ROUTRAY & ANISHA MENON The Architecture of Multifaceted Buildings ON THE COVER: ABIN CHAUDHURI PHOTO CREDIT: SANDEEP SARKAR Beautiful colorful cityscape on the mountains over Mediterranean sea

Every Issue we talk about amazing structures — residences, institutions, hospitals — and the brains behind these built spaces. We talk about its design, its co-existence with its context, its relationship with its inhabitants. In that sense, architects hold this supreme power, to imagine and manifest the spaces we live in. While they might be each individually responsible for a single residence, a single township, they collectively determine the way a city looks and functions. In more ways than one, as architect Abin Chaudhuri says in the cover feature, architecture transforms not just the surroundings but also the lives of its users.

“I believe that architecture becomes more meaningful when it expands its sphere of influence beyond its physical entity, transforming not only the surroundings but also the lives of its users, becoming an emblem of generosity.”

— ABIN CHAUDHURI

Discussions in architecture often gets limited to the realm of residential projects. Which obviously is a myopic way of viewing architecture. It’s important, expecially for chroniclers of design like us, to view the entire spectrum of design. This Issue, we focus on the architecture of housing — affordable housing, residential townships, mixed-use developments — the entire gamut. From Manglam Maplewoods, a luxury farmhouse project in Jaipur to a mixed-use development by MVRDV, the Issue brings to you some of the most judiciously planned, and thoughtfully designed projects in the world. As usual, we have our edit of gorgeous homes.

As Norman Foster says, “As an architect, you design for the present, with an awareness of the past for a future which is essentially unknown,”; architects should be mindful of not just the finer nuances of design, but also the larger impact it has on people, and the planet. Sreedharan)

Happy Reading! (Seema

A pioneer in the weaving of handloom silks, RR Décor is India’s premier textile design company, with focus on originality of designs.

“It brings me immense joy to see contemporary Indian architecture being received well globally. It is something that is very close to my heart,” said Dikshu Kukreja, Managing Principal at CPKA and curator of the exhibition. “It is not just about creating buildings, but how our buildings influence society.”

Rosa Rogina, Director of the London Festival of Architecture, also attended the opening.

CP Kukreja Architects (CPKA), a multi-disciplinary Indian architecture and design practice, was recently invited to exhibit at the London Festival of Architecture (LFA)—the first and only Indian firm to receive this honour, putting Indian architecture and design on the global map. The exhibition, held at The Lalit, London, was titled, ‘Five Decades of India’s Built Environment’, showcasing the transformation of India’s architectural landscape through the lens of CPKA’s 50-year-old architecture practice.

The exhibition explored ten of

EXHIBITION CP

The brand has recently launched a new collection of luxury fabrics in vibrant hues. The collection exhibits exquisite workmanship and a unique aesthetic and adds a touch of glamour and sophistication to any space. It is specifically designed for the outdoors. It comes under beautiful spectrum of colours and it offers a cool vibe.

Updates

“It’s fascinating to observe different cultures and what CPKA has done is a fine example of how environmental sustainability has been the core of the organisation right from the early 70s,” she said. Kukreja Architects Exhibits at London Festival of Architecture Market Review

RR Decor Unveils New Textile Collection ‘Verandah’ TRADE NEWS

The collection exhibits exquisite workmanship and a unique aesthetic and adds a touch of glamour andtosophisticationanyspace.

CPKA’s most significant projects, critical to the past, present and future of India, through concept notes, sketches, images and drawings– from the modernist buildings of the 70s and 80s to the experimental projects of the postliberalisation era to cutting-edge and sustainable ongoing projects.

ARCHITECTURE+DESIGN August 2022 11

Switching between showerheads or combining them isn’t the only thing made easy by SmartControl Concealed. The integrated volume control offers precise control of water flow. Pushing the button starts or stops the flow, and a simple turn alters the volume. With easy-to-read, intuitive symbols, it is to operate. It comes in two different shapes–round or square, and two different finishes– chic chrome and a thoroughly modern Moon White acrylic glass.

GROHE

TRADE NEWS TRADE NEWS

Tub’theintroducesStudioNuance‘Wallow

thatonlydesignheadcombinesinstallationorcompromisingunderdesignsupConcealedSmartControlhascomewithflat,streamlinedthatoffersmorespacetheshowerwithoutonfunctionalitycomfort.Withitsconcealedandslimdesign,itwithawiderangeofandhandshowerstogiveflexibility.Itoffersawallplatethatis10mmdeepandcontrolsreachonly43mmfromthe

N uance Studio, the manufacturer of luxury concrete products has recently introduced a finest series of bathtub in Lithoez Concrete called ‘Wallow Tub’. The collection is available in multiple colours. It comes with 15 standardized colours that have been formulated and handpicked to exquisitely complement Litheoz; along with a ‘+1’ option where a colour can be custom created to closely match the customer’s requirement.Theminimal and ergonomic design language of the Wallow Tub, with clean lines, yet no sharp edges, is contemporary in design. It is ease to clean and carries anti-bacterial properties. Exuding strong, earthy and mottled tones, the raw appeal of the bathtub makes it an elegant. Commenting on the new launch, Ajaay Srinivaas, Founder Nuance Studio said “Concrete is no more just a basic construction material. Its beauty and capabilities spread far beyond this. It’s a trend that has been prevailing internationally and it’s a material that speaks timelessness. Nuance Studio prouds itself to deliver global standard products to its customers nationally and internationally. We are excited to launch many new products and designs in many verticals. Bathtub is one of its new products that is rolling out to the market at the moment.” The latest collection could be seen at www.thenuancestudio.com SmartControlLaunchesConcealed

GROHE wall. It includes an integrated sealing system, ensuring that no water penetrates the wall. One can regulate up to three showers with just one trim. Up to three SmartControl valves, plus a thermostat or mixer, can be put in one trim with a GROHE Rapido SmartBox, allowing to control two head shower sprays and a hand shower all in one place.

August 2022 ARCHITECTURE+DESIGN12 Updates Malaysian2022FurnitureInternationalFair(MIFF)wasrecentlyheld at the Malaysia International Trade and Exhibition Centre (MITEC) and World Trade Centre Kuala Lumpur (WTCKL). A total of 10,017 buyers from 94 countries and regions gathered at the event. As many as 192 exhibitors from 11 countries and regions participated, generating USD 199 million on-site sales. Suppliers and buyers who were unable to travel to Kuala Lumpur did not miss out on the action as they traded via the virtual MIFF Furniverse platform set up in a special lounge in MITEC. This year’s show was a hybrid edition after two years of the pandemic disruption, combining the physical trading floor and MIFF Furniverse that was launched in 2020 to link up buyers and suppliers in the absence of a physical event.

“We were optimistic that the outcome would be good but it totally exceeded our expectations. Exhibitors are very happy with the strong orders and the brisk buying attests to the variety and quality of products here. MIFF remains a solid sourcing platform in global furniture commerce, it has proven its resilience and relevance,” said Karen Goi, General Manager of MIFF. Despite the pandemic, the 2022 show has continued to back young talent with its MIFF Furniture Design

twooverspanningscalecreativenesswereTimberDesignshowcaseMillennials@DesignCompetition,–xOrdinaryandtheTANGGAMCentrebytheMalaysianIndustryBoardwhichgivenspacetodisplaytheirandideas.TheshowwillreturnfullfromMarch1-4nextyear80,000sqmtohost500exhibitorsatthesamevenues. EVENTS Malaysian International Furniture Fair (MIFF) 2022

Daljeet Singh NewAge Concepts india Pvt.Ltd BES FURNITURETHANDLESSTOREININDIA VOTED BY BES T PERFORMERINASIANREGION VOTED BY BES HANDLEST ARCHITECTURALHARDWARESUPPLIER VOTED BY Scan To VirtualGurugramVisitShowroom Scan ToDelhiVisit Virtual Showroom

Daljeet Singh NewAge Concepts india Pvt.Ltd Scan ToDelhiVisit Virtual Showroom Scan To GurugramVisit Virtual Showroom

SPECIAL FEATURE

THE ART REFINEDOFELEGANCE

Amrita Gupta, Director, Manglam Builders is known for her unique approach to design. With her new venture Manglam Maplewoods, she showcases an evolved understanding of design and her commitment to sustainability.

Mapplewoods is an initiative by Manglam to offer its customers world class facilities in the lap of nature. We took our cue for the design from the context. Right from the materials used for the outdoors, to the design inside, we’ve ensured the use of organic materials. The colour palette is inspired by the verdant outdoors. It’s subtle, muted. In terms of the architectural and design style, I would call it a mix of mid-century modern and Moroccan architecture. I’m

PROFILE PHOTOGRAPHS: ANKUSH MARIA

Nature is the first impulse to initiate design. So, when I took on this project, I knew the design had to be in symphony with nature. My approach to design is mainly biophilic and in all my projects I try to maximise green communities with paramount natural ventilation. I imagined this place to be surrounded by nature, and even when you come inside, you carry with you the feeling of peace. The villa connects seamlessly with the outdoors, you are constantly in touch with nature. The large windows, the open decks, there’s a constant interaction with nature.

August 2022 ARCHITECTURE+DESIGN16

We met Amrita Gupta, Director, Manglam Builders at one of her latest design ventures – Manglam Maplewoods. With the picturesque Aravalli Range as its backdrop -- the farmhouse project in Jaipur exhibits a nuanced architectural style and stands in perfect symphony with its context. Spread over 75 acres, Manglam Maplewoods exudes a rare mix of calmness and tranquillity, and offers a surreal mix of dream and reality. Design is second nature to Gupta, it comes naturally to her. A true visionary, she thrives in understanding the need, and setting new trends in accordance to the need of the consumer. From being one of the most sought-after interior designer in Jaipur, to being a successful businesswoman, to being a strong advocate of women empowerment, and a mother of three, Gupta is a force to reckon with. Her background in commerce and her inclination towards science did not hinder her from pursuing her true passion for interior design. Following her passion, she earned her Master’s in Interior Designing from SCAD, Atlanta, USA. At Manglam, her work covers projects ranging from residential apartments, clubhouses, villas and corporate offices. Refined, elegant and subtle, she gives luxury a new meaning all without compromising her unwavering commitment to sustainability. Right from the materials used to the collaborating with local artists and promoting young designers, Amrita gives a new interpretation to sustainability. We caught up with her for a candid conversation. Your approach to design is lucid. The elements you incorporate in your project reflect your deep understanding of design. We’d like to know more about your design philosophy. Design should be an amalgamation of comfort and luxury; practicality and desirability. Ultimately it is about creating a space that feels comfortable, that puts you at ease. It’s a space where relationships will be nurtured and bonds will be made, comfort has to be the key.

Design to you is… Design to me is the force that can transport you to another world. It is the power that enables you to transform your imagination into reality. Sometimes, I just close my eyes and imagine how the space should be. And it just comes to me. I feel, design comes to you naturally. And that’s how it should be. Tell us a little about Manglam Maplewood and this villa in particular.

Design should be ancomfortable,aboutpracticalityandamalgamationofcomfortluxury;anddesirability.Ultimatelyitiscreatingaspacethatfeelsthatputsyouatease.” —AMRITA GUPTA Director, Manglam Builders

The dining room at the Manglam Maplewood sample villa exudes a quaint farmhouse vibe. The extensive use of wood, organic textiles and an earthy colour palette adds to the aura.

The Guest Bedroom

The Master Bedroom opens out to fabulous views of the fields and the Aravalli range. The muted colours, the gorgeous mix of prints and patterns, and an excellent curation of furniture and accents add to the allure of the space.

What’s your success mantra?

The process of learning should never stop. I never stopped learning. In fact, during the pandemic I pursued a course in design. I’m a mother of three, but I’ve learnt to juggle my responsibilities, and roles. And then I’ve been blessed with a super supportive family. In my growing years my father was a great support, always encouraging me to experiment, take on new challenges. And now my father-in-law, Mr NK Gupta, Chairman, Manglam Builders has been a great mentor. He has always motivated me to do my best, push my boundaries. I think it’s a combination of all factors – dedication, persistence and of course, the family!

My approach to design is mainly biophilic and in all my projects I try to maximise green communities with paramount natural ventilation. I imagined this place to be surrounded by nature, and even when you come inside, you carry with you the feeling of peace. The villa connects seamlessly with the outdoors, you are constantly in touch with nature. The large windows, the open decks, there’s a constant interaction with nature.”

—AMRITA GUPTA, Director, Manglam Builders

ARCHITECTURE+DESIGN August 2022 19 drawn to the subtle design nuances of these styles and you can see the influences in this project. I wanted this space to exude a quaint farmhouse vibe, hence the extensive use of wood and organic materials. I’ve ensured that there’s a constant interaction with nature. A carefully manicured lawn leads you indoors, the double-height living room enhances the feeling of space, the living room flows into the dining, the dining room opens out to the outdoor deck with the swimming pool! Even in the bedrooms, I followed subtle colours, shades of green, mauve and beige to bring in the farmhouse vibe. Sustainability, for me, is not just environmental sustainability. It’s also about supporting local artisans and home-grown brands. The villa exhibits a curated collection of locally-sourced furniture and artworks. Manglam is a name to reckon with in the real estate segment. Tell us a little more about your current and future projects. It’s not just housing, but Manglam has presence in hospitality, healthcare as well as institutional segments. Some of our ongoing projects include ManglamPlus Medicity, one of Rajasthan’s best Multi Super Speciality Institute. Our foray into institutional segment includes a medical college in Manglam Medicity. Another project that I’m closely associated with is The Westin Jaipur Resort & Spa. For this project, I opted for a combination of ancient Shilpa Shastra with modern Balinese Architecture. The Westin Jaipur has been envisioned as an urban oasis, a perfect place to revitalise amid unforgettable views. The entrance lobby too is custom designed based on Jaipur architecture. Here, the inspiration is Jaipur’s Choti Chopad and Badi Chopad where important roads meet at a right angle.

Manglam Maplewood was envisioned as a farmhouse project. Spread across 75 acres, Maplewood is an amalgamation of luxury, design and technology all in the midst of nature. by Manglam

Pinkwalk

The idea was to create a community of like minded people who appreciate the art of fine living away from the chaotic schedule of the city. We sincerely hope that the occupants of Maplewoods are able to cherish the joyous moments of life in the green expanse of nature with the best of amenities and comfort. As of today, we have about 25000 customers to whom we have delivered flats, industrial plots, villas, etc and there’s no litigation with these customers. As far as the future is concerned, Mangalam is going to develop educational institutions. We already have started with a hospital and we plan on expanding. We have an amusement park, that is under expansion as well. We plan on having our residential and commercial projects in other cities in India as well as Dubai. We started in 2000 with a small capital and a team of 5 members. We have reached a state where we have projects in 20 plus cities in India. We plan on reaching 50k customers within the next 2-5 years.

A big thanks to our supporters ie bankers, our staff and obviously our buyers.”

N K Gupta, Chairman, The Manglam Group

—N K GUPTA, Chairman, The Manglam Group

Manglam Pinkwalk is a mixed-use project with a concoction of shopping areas, restaurants, multiplex, and studio apartments. It is poised to become Jaipur’s hottest commercial destination.

surroundingsitsinfluencewhenArchitecturebecomesmeaningfulitexpandsitssphereofbeyondphysicalentityandtransformsnotonlythebutalsothelivesofitsusers,becominganemblemofgenerosity.”

—AR. ABIN CHAUDHURI Founder & Principal, Abin Design Studio

community at large… EXPLORING THE ARCHITECTURE

architecture,

true meaning of sustainability and

design

Noted architect Abin Chaudhuri of Abin Design Studio (ADS) talks about his experimental approach to the how should consider the of the

ARCHITECTURE+DESIGN August 2022 23 INTERVIEW: NISHA KAPIL n PROFILE PHOTOGRAPHS: SANDEEP SARKAR COVER FEATURE ABIN CHAUDHURI: HOLISTICPOWEROFINCLUSIONIN

collective experience

—AR. ABIN CHAUDHURI, Founder & Principal, Abin Design Studio

“We do not view the built environment as pockets of physical intervention by experts, but rather as a continuous project which is undertaken by society, who also keep the project alive in using the built and unbuilt forms. This activation of public interest profoundly celebrates “an architecture for many”.”

THE JOURNEY (NK): How did you start your journey? Have you always wanted to be an architect?

August 2022 ARCHITECTURE+DESIGN24

THE APPROACH OF A VISIONARY Nisha Kapil (NK): Your work is not just limited to basic brick-concrete structure but has a holistic approach that pushes the boundaries of thoughts. Tell us more about your designing process. Abin Chaudhuri (AC): At ADS, we believe that architecture is not merely about creation; it is a search. With the ever-evolving human existence, there arises a spatial demand, and the purpose of architectural design is to embark on a search to fulfil such a demand. At the same time, the human experience of ‘life’ starts with an emotional investment into the land we inhabit—we don’t just exist on it but rather, co-exist in our communities, and it is for this reason that the architecture we use must spill beyond the walls and embrace the neighbourhoods they are in. From social aspects to the mechanics of spaces and forms, from the beauty of light and shadow to striking a harmony with nature, architecture is essentially a continuing process of discovery and cohesion in the world. The journey is what contributes to our growth. In this regard, we merely provide a backdrop for the human process of existence. It is an artistic expression in that it transcends its purely utilitarian, technical, and rational realm and turns into a metaphoric expression of the lived world, human condition and context through space, structure, matter, gravity and light. We do not view the built environment as pockets of physical intervention by experts, but rather as a continuous project which is undertaken by society, who also keep the project alive in using the built and unbuilt forms. This activation of public interest profoundly celebrates “an architecture for many”. Such projects become an asset to the community, and the stories of these neighbourhoods resonate beyond their localities.

Typically, we recognize that each project is unique and has its distinctive client, contextual, social, political and environmental implications as well as crises that need to be addressed in order to get our narrative correct. Time and again we have realised that architecture is a collective venture that is specific to the mechanics of the site, of the dreams and passions of the client and designers that rise hand-in-hand, the skills and the enthusiasm of the craftsmen standing at the forefront, all hoping to inspire the world around them. The variety in practice, from the expansiveness of high-rises to the minutest details of fixing, have been an exploratory journey for the mind, pushing us to discover further, not just through ideation, but also through physical manifestation, to immortalise the idea. It is our constant endeavour to set the built environment free from the prevalent crustacean architecture and the theoretical definition of sustainability, which is now only interpreted as “green.” Though we design climate responsive spaces, we also concentrate on the practical ideas of sustainability through integration of local craft, vernacular material, infusing technology, and ensuring timeless use of the built environment in terms of maintenance-free spaces. We infill sustainability through a holistic approach of uniting architecture, interior, landscape, signage and product design. By calibrating basic elements of design like light, shadow and ventilation to poetically influence spaces and their users, we deliver every design at a very fundamental level. We are unafraid of any unfamiliar experiment or situation, and deal with how to navigate a project from idea to physical manifestation through multi-disciplinary collaborations.

Acreative mind who is constantly in search of new thoughts and ideas – Abin Chaudhuri is considered to be a young visionary who is invariably redefining the vocabulary of architecture in today’s time. After graduating from Jadavpur University, Kolkata in 1998, he pursued Industrial Design at Domus Academy, Milan after which he came back to India and founded Abin Design Studio (ADS) in 2005 with an idea of responsible architecture and socio-cultural development. His design language is strong, bold and thoughtful having an artistic and human expression to all his projects. It will be difficult to bracket Chaudhuri in one category or section as his portfolio is quite diverse; having designed public buildings, hospitality projects, educational, residential, commercial. Chaudhuri believes that his approach to architecture is not defined but is more about the need of each project. From building a temple pavilion in bamboo, to creating a retail building, in exposed concrete with brick and terracotta Chaudhuri’s love for experimenting with material, form and art is well-known. His explorations intend to push the boundaries of thought, prevalent socio-cultural landscape and spatial construct, challenging the role of architecture in the society. “At ADS, we believe that architecture is not merely about creation; it is a search. With the ever-evolving human existence, there arises a spatial demand, and the purpose of architectural design is to embark on a search to fulfil such a demand. At the same time, the human experience of ‘life’ starts with an emotional investment into the land we inhabit—we don’t just exist on it but rather, co-exist in our communities, and it is for this reason that the architecture we use must spill beyond the walls and embrace the neighbourhoods they are in”. For him, his work gives him unfiltered joy and happiness and inspires him to go on unknown explorations. As he sits down in one-on-one conversation with us, he talks about his passion towards his profession, his exploration throughout his journey, his approach and responsibility as an architect. Here’s an excerpt from our conversation.

GALLERY HOUSE: The Gallery House took cues from the nearby terracotta temple, defining the building’s character as a contemporary expression of a respect for its artistic heritage.

DangSuryancredit:Photo

UNBOX PAVILLION: A module that can be repeated to activate other dead urban spaces in the city by fostering public interaction.

SenPradipcredit:Photo

IMI BHUBANESWAR: An attempt to present a timeless piece of architecture, which bridges the gap between the past and the present cultural and social life of the Orissan people.

—AR. ABIN CHAUDHURI, Founder & Principal, Abin Design Studio

Our traditional art and crafts in India, as a whole, has enormous potential and opportunity for meaningful collaborations in architectural practice to create a new vocabulary and take new strides towards craft-oriented designs, but also take cues from the existing heritage in terms of ornamentation, process, techniques, etc.”

(AC): I never even thought of becoming an architect. Interestingly, coming from a family of mathematicians, I never imagined life would bring me where I am today. As a mathematician’s son, there was always an inspiration to be either an engineer or a mathematician. However, this perception changed when I accidentally encountered Charles Correa’s ‘Sen House’ in Kolkata. This particular building changed my trajectory of life, and triggered and instilled in me a passion towards architecture. I was determined that I should learn how such a building was made. Having grown up in the urban peripheries, my understanding of architecture was very limited. Even as I completed high school, I was unaware that in engineering colleges, there even exists a subject called Architecture. The first seven years right out of college were a struggle since I was still confused about which aspect of Architecture peaked my interest. The only thing I did know however, was that I enjoy “making”—whether that was through exploration of design, materials, techniques or style. In 2006, the studio bagged its first project: IMI Kolkata, a 230,000 sq ft project. Taking off from there, I slowly discovered that even small buildings or temporary structures can challenge the role of an architect in society. This has definitely been a roller coaster experience in my life and continues to be so. However, the ability to face and overcome the challenges head on is the driving force behind my work.

hospitality, education and urban design typologies, which fund our research in experimentation of design, construction techniques, materials, furniture, etc in the rural peripheries. This sort of crosssubsidy is a device we engage to deepen our investigations. Design processes arise out of collective needs and experiences. These experiences inform our choices to propose shared spaces and meeting points, which end up creating a different collective psychology. These collective actions shift into lasting improvements of urban space. Cities like ours are built through small projects, but these are executed with a strategic vision of dynamic human traction. One ephemeral piece transforms into 4-5 other permanent spaces and layers are built, just like how a bamboo pavilion for a festival garners a “ripple effect” to give way to 10 other creative as well as functional interventions. This aligns with Alejandro Echeverri’s statement that “adopting a multiplicity of connected actions, more akin to acupuncture, is much more effective for architecture and urbanism operating in emerging territories.” It tells the story of the people working with us—being deeply involved in the process, through extraordinary sacrifices, the chance to meet future mentors from unusual walks of life, giving manifold guidance to the studio, and the opportunity to continue our exploration through their unflinching support.

(NK): In many of your projects we see heritage and art as the highlighting aspects of the design principle. Tell us more about this collaboration. Is it also because you come from a culturally rich part of the country?

ARCHITECTURE+DESIGN August 2022 27

(NK): Your practice is research-oriented and experimental in approach. Do you think it was difficult to sustain this long with a perspective like yours? (AC): Of course, and I say this for any research-based practice in the Global South, that lacking any sort of leverage from the government and private institutions in terms of resources, makes it hard to keep a practice running successfully. However, being mainstream practitioners too, we undertake large-scale commercial real estate projects in the luxury residential,

Despite deploring the lack of support from the system as a whole, ADS perseveres; our initiatives spark momentum, working shoulder to shoulder with local craftspeople, clients and artists. By building alliances with others on the ground, challenging standard definitions of private and public commissions and creating bridges between mainstream and activist practices, ADS demonstrates architecture’s long-term responsibility to socio-cultural development.

PERSPECTIVE AND PRINCIPLES

BONOCHAYA EXPERIENCE CENTRE: Inspired by Tagore’s teachings, tribal art, intrinsic to Shantiniketan, was woven into the design, while a harmonious composition of traditional and modern materials bring out the contemporary and forward-thinking nature of the true Tagorian disciple.

NAVYOM EXPERIENCE CENTRE: A philosophical combination of ‘remediation’ and ‘place making’, the building does not overpower the site yet comfortably fits the human scale without being underwhelming.

KanadeRavicredit:Photo

(AC): I don’t see the need for the continuous emphasis on façade design for a building. It is, of course, important in that it contributes to the urban fabric of its site and, in some cases, acts as a porous connector of the inside with the outside; however, the main focus should be the process of designing, which will, in turn, stimulate the façade design as a result. The journey of design involves a celebration of spaces and as such, focusing on the façade dilutes the true meaning of architecture. It is imperative for us to recognize that it is only one cog in the entire machinery of the architectural design process.

(NK): How important is façade designing to you? Do you think it should be given more importance and relevance?

By building alliances with others on the ground, challenging standard definitions of private and public commissions and creating bridges between mainstream and activist practices, ADS demonstrates architecture’s long-term responsibility to socio-cultural development.”

(NK): At this point in your creative journey, what is it that you are seeking as an architect and as an individual?

THE PROCESS AND PHILOSPHY (NK): Your work also centres around the use of local material and traditional craft. Do you think these aspects helped you define your design philosophy? How do you define your design style? (AC): We don’t have a signature design style as such because it’s more about the approach to each project. Our style and process go hand in hand. As a practice, we consider craft as a tool and use it to try to shape the architecture—the ‘tectonic part’—depending on where it is and the skill sets of the craftspeople involved. You can call it social engagement, but it can also be a sort of cultural revival. It is projected that by 2030, 60% of the country’s population will have moved to the urban areas while 40% will continue to live in the surrounding peri-urban landscapes. While the 60% are automatically open to a wide spectrum of architects, government funded interventions and the likes, to fabricate “an architecture of indulgence”—luxury habitats, restaurants, corporate offices etc, it is the 40%—quite a big statistic—that are often overlooked in the process. The adjacent towns of Adisaptagram and Bansberia near Kolkata become perfect examples of peripheral peri-urban areas that are swelling to absorb the spilling and sprawling city. We at ADS, want to raise awareness towards the developmental reforms of these rural communities by starting small in the form of ephemeral, impermanent and inclusive spaces, which can pave the way for larger future ameliorations in these fringe areas. In this way, we are wielding architecture as a transformative tool. For instance, in the Gallery House in Bansberia, the building echoes the terracotta brick building style prevalent in the Bashudeb Temple in the neighbourhood. Exposed brick masonry walls, inlaid with ceramic blocks, define the building’s character as a contemporary expression of rustic inspiration. Collaborating with a ceramic artist, rejected ceramic blocks produced for industrial use were collected. Terracotta bricks were procured from a river-side brick field located nearby. These two were combined, using locally prevalent finesse of building masonry.

The style respects the heritage, culture and tradition of the physical and social local community, and the craftsmen lend their skills to create a versatile space. Empowering and encouraging the local industry in this way allows for a transparent and inclusive process, where the scale of human hands is felt throughout and the building acquires a human ‘skin’. Promoting craft in this way anchors a project in place and context. As a core ideology, we incorporate contextual solutions to make each of our projects as sustainable as possible. Taking cues from historic buildings and imbibing their indigenous methods towards sustainability in a modern way, is the soul of our design philosophy.

(AC): I don’t know if it is correct to say that I come from a culturally rich part of the country since India is globally known for our cultural and traditional wealth. Craft practice in India is astonishingly rich at all levels, evading Western concepts of standardisation and bringing a wholly distinctive dimension to design and architecture. Additionally, my own understanding and knowledge of culture, heritage and the preservation of our history came only at a much later stage in my life, after my graduation.

ARCHITECTURE+DESIGN August 2022 29

VISION AND PURPOSE

—AR. ABIN CHAUDHURI, Founder & Principal, Abin Design Studio

Having come from a peripheral area, our lifestyle revolved around lush greenery and a typical life in the suburbs, where sustainability was not about defining theories and marketing gimmicks but rather about reuse and recalibrations of systems, furniture and space—to transform something rather than making it anew. Having said that, the practice definitely tries to embody the local language and emotions of the site where the project is built, catalysing a more resonant social and cultural engagement among architect, maker, building user and the wider public realm. Creating a love for heritage and art is a by-product of our interventions. My father was a self-taught portrait artist and in my profession, I have had many opportunities to meet with several great artists, all of whom enhanced my artistic inclination. Our traditional art and crafts in India, as a whole, has enormous potential and opportunity for meaningful collaborations in architectural practice to create a new vocabulary and take new strides towards craft-oriented designs, but also take cues from the existing heritage in terms of ornamentation, process, techniques, etc.

30 August 2022 ARCHITECTURE+DESIGN SumnerEdmundcredit:Photo

(Left)COCOON: With many offices normalizing the WFH ethic, smart pods provide a formal working environment for those looking for a versatile and comfortable working space, requiring only a small parcel of land.

(Below)HOUSEOF SWEEPING SHADOWS: The combination of dark bold masses of varied scales on a verdant landscape makes for a serene, modern extension to the client’s

(Facing(Facingresidence.pageabove)ADISAPTAGRAMWATERFRONTCLUBHOUSE:InAdisaptagram,whenaspiringresidentschoseawillingarchitect,microinitiativeswereturnedintoenduringassets–anordinaryresourceforaspiringathletestransformedintoan“extensionofacommunitylivingroom”.pageBelow)SANCTUARY–CTCRESIDENTIALTOWERS:Wherethedwellingunitisprivateandnatureispublic,wellbeyondthegroundlevel.SumnerEdmundcredit:Photo SumnerEdmundcredit:Photo

Architecture must not only be the buildings of the urban fabric that shape our cities and towns, but also the temporary structures that enhance them. Where conventional buildings are indispensable, ephemeral spaces are equally necessary, if not imperative. This typology of architecture assists in giving physical form to the emotion of space—to create an architecture that was essentially always there, which resonates with the power of ‘impermanence’. For, while walls shape structure and form the mind of dwelling areas, it is the impermanent and ephemeral spaces that are their soul and character—it is this that engages society in a holistic participation to focus on the social purpose of design. It has the ability to influence perception, shift paradigms, revive cultures, improve conventional presets and redefine space.

I see this type of design intervention as a serendipitous sequence of events that comprise place making in small-town India—an ongoing story of how a tiny spark introduced an entire community to the power of design, demonstrating how architecture can expand its sphere of influence further than defining the visual and material culture of its immediate context. Further, the idea of ephemeral celebration in India has the potential of changing minds set in a much deeper and wider public domain on what values of architecture can contribute.

It is our belief that the respect of the common man may be earned by dissipating the myth that architecture is only for luxury, and proving that it has a long-term responsibility towards sociocultural development. Staying relevant through time has much to do with identifying the currents in socio-political landscape, to uphold architecture as a science of creation, an artistry of

August 2022 ARCHITECTURE+DESIGN32

—AR. ABIN CHAUDHURI, Founder & Principal, Abin Design Studio (AC): We are privileged to create, as we are responsible to manifest. This honour is earned through tireless hard work and the responsibility is realised as an emotion inherent to our paths in life. The architectural practice has always bridged the complex gap between people’s needs versus their aspirations, sometimes falling into a set pattern of beliefs, past learning and known results. To break this stagnant glass ceiling, it is often the new paths taken in our lives that create a new state of practice, one that is responsive to the changing timeline. In a country like India, we have over 300 architecture schools and about 25,000 students graduating each year, and yet with our myriad newspapers in over 30 languages, not a single one has a column dedicated to the regular discourse on architecture and design. We now have the tag ‘Smart City’ in every man, woman and child’s vocabulary without them grasping its true meaning, without them knowing how a city actually functions, how democratic spaces affect human life, how “freedom spaces” or common areas such as parks and footpaths dissolve the social divide and bring people from all classes and walks of life together in harmonious coexistence. This awareness is absent but imperative in our society, and it is my wish, vision and mission as an individual and as a studio to provoke the consciousness of the common man towards the importance of architecture. I believe that unless we can influence the larger part of the population to navigate policies and fuel changes in multiple directions, we cannot call our profession “mainstream” in this country. Government and policies can be positively influenced by architecture to find solutions to socioeconomic issues rampant in our society such as safety, hygiene etc, and that is the hidden power of architecture. As an architect, I seek to create and in creating, discover newer things that I might have missed otherwise. As an individual, I’m continuously learning how to be a good human, making buildings that are more humane and strive to enhance the quality of life because I believe that architecture becomes more meaningful when it expands its sphere of influence beyond its physical entity, transforming not only the surroundings but also the lives of its users, becoming an emblem of generosity.

The architectural practice has always bridged the complex gap between people’s needs versus their aspirations, sometimes falling into a set pattern of beliefs, past learning and known results. To break this stagnant glass ceiling, it is often the new paths taken in our lives that create a new state of practice, one that is responsive to the changing timeline.”

(NK): You have been practising architecture for a while now. How do you think architecture has evolved with time? (AC): Post Independence India saw a rapid growth in urbanisation with cities swelling fast into adjoining peripheries. In such a situation, major cities like Mumbai, Chennai, Ahmedabad etc adopted the grid layout, which is now also being implemented in the growing smaller cities. However, in these developing areas, the state-sponsored projects are sanctioned to only a handful of architects, while the others are living off private clients and projects. Catering to individual needs of clients provides the private architects with opportunities to gain traction in multiple trajectories of exploration and experimentation in the real estate and interior industry in terms of design, techniques and materials. Unfortunately, the public projects do not have any such luck and are subjected to standardisation and orthodox, politicised methods. Stuck in such bureaucratic notions, these structures shy away from inviting new ideologies of design and architecture. For example, in Bogota, an authoritative figure like the Mayor joined hands with the local architects to create policies to bridge the gap between state and policy makers, assuming the type of architecture that serves “many”—an untapped potential of architecture that is yet to be unlocked in the Indian subcontinent.

CORPORATE OFFICE FOR JSW: Reviving memories of the rich native heritage by reusing local building materials.

MODERN BENGAL MUSEUM: The Museum, soon to hit ground, celebrates the rich culture of Bengal, the pain of Partition and the landscape of the Delta.

FESTIVE PAVILLION: Articulating the neighborhood’s identity, the pavilion was conceived collectively with the backdrop of the existing neighborhood buildings rather than in isolation of them. DangSuryancredit:Photo

ARCHITECTURE+DESIGN August 2022 35 technology and a giant canvas for change. Our paths have thus begun as explorations, our work posing questions, not only to us as architects, but to us as a society, the answers to which are our experimentations with design, ideology and the human spirit. Our language of imbibing ‘soul in the shell’ endeavours to stay constant, but our vocabulary is ever-evolving.

(NK): How would you explain the power of architecture to the young and budding architects? And what advice would you like to give them?

(AC): ADS is on a path to retell and reshape the narrative of Indian contemporary architecture since it can no longer be understood through Western canons. We aspire to go beyond simply delivering projects, to initiate and co-create them instead. This is not only a duty, but also a responsibility. It is important to understand that in our Global South, due to the economic fabric as well as the authorities’ reluctance to spend on quality public spaces in periurban and rural areas, it falls on architects to incorporate as many insertions of inclusive social spaces as possible. For instance, as an “extension of a community living room”, the seamless and porous nature of the Waterfront Clubhouse in Adisaptagram represents reusability and economising the enthusiastic involvement of the community. It is these parameters that helped overcome the challenge of small town interventions to result in global prototypal outcomes. By transforming a space via the human context, namely a co-beneficial system consisting of the inclusion of stakeholders, not only achieves flexibility in functionality and interaction, but also establishes a tectonic relationship with the physical context. I want to encourage the incoming architects to rethink the forms and processes at stake in the construction of community infrastructures. There are many intangible elements that we must understand and acknowledge: Ephemeral activations and gatherings, dynamic and changing realities, the mixing of formal and informal processes. Another important fact to consider is that we have great ideas for architectural intervention in our country, but these philosophies are lost by the time the project hits ground, since the contractors are just waiting to dilute our ideas and the realisation seldom matches the proposal. This is not the case in the US or Europe, where super professional contractors make accurate shop drawings and perfectly execute project construction. So, good architecture is not just about having a great idea, but rather how one involves all the stakeholders in a harmonious way to implement the design through value engineering, resilience, patience and perseverance.

INFLUENCES AND INSPIRATIONS

(NK): What excites you about your work? (AC): We are moving towards informing a new built history. And when we talk about history, we should consider our immediate, everyday history, the journeys and itineraries of everyday life. We should inspire more and more of our immediate surroundings and set a path for the future nation building. Being in the practice is pure joy; I’m very excited by the reactions of people, especially those visiting the public buildings, and especially the younger architects. They ask, “How did you make those buildings?” and “Who are the local craftspeople?”.

As an individual, I’m continuously learning how to be a good human, making buildings that are more humane and strive to enhance the quality of life because I believe that architecture becomes more meaningful when it expands its sphere of influence beyond its physical entity, transforming not only the surroundings but also the lives of its users, becoming an emblem of generosity.”

—AR. ABIN CHAUDHURI, Founder & Principal, Abin Design Studio

(Left)RPSG CORPORATE OFFICE: A forefront of experimentation with spatial narrative through (Below)craftsmanship.TAKSHASHILAFOUNDATION: A centre that was born from a desire to fit into the soft rural landscape and pay homage to the site’s unique (Facingarchitecture.pageabove)BANDHANSCHOOLOFBUSINESS:Varyingheights of green roofs shape the campus by creating assorted levels and hierarchies in its physical form. (FacingpageBelow)NARAYANTALATHAKURDALAN:Theformgenerated,acknowledgedtheuserpatternasawholesomemasswiththesymbolicgestureofamissingtemple. SumnerEdmundcredit:Photo August 2022 ARCHITECTURE+DESIGN36

SumnerEdmundcredit:Photo

(NK): What and who inspires you?

There are many intangible elements that we must understand and acknowledge: Ephemeral activations and gatherings, dynamic and changing realities, the mixing of formal and informal processes.”

(NK): Sustainability has been a key factor in most of your projects. How do you convince your clients and manage to achieve the same in your projects?

(AC): Sustainability is a word that is thrown around a lot these days, without its meaning being truly understood. It is a good term to market a not necessarily good design. If today, every building that is built is not “sustainable” only because it doesn’t have a LEED or GRIHA rating or some such certification, its architecture has failed as per popular notions. Historically, our old monuments such as Fatehpur Sikri and Red Fort are among some of the most sustainable buildings, still standing tall and looking ever new, without using any sort of mechanical air conditioning, etc. But sustainability doesn’t end there today. It comes through in all respects: It has to be timeless, cost-effective, sensitive towards the materials used, energy efficient and most importantly, climate responsive. Today, climate change is the sad reality that many are still failing to see. As architects, our primary duty is to figure out the resolution to this deep trouble that the world is moving towards, or in fact, already living in the throes of. So, it is not about convincing anymore because we don’t have a choice, it is the only way forward.

(AC): On the daily, un-incidental things in everyday life inspire me. Professionally, new ideas and innovations, and stories of people and places inspire me. Then there is the poetic inspiration that is characteristic of a space—a sensorial inspiration acquired from its spatial and material narrative. Old buildings inspire me to think of how they can be tweaked in an intelligent way to keep their legacy intact while defining new dimensions for their workability. It is this vitality of purpose that never makes architecture boring. Of course, my biggest inspiration was, and still is to this day, my father. I lost him at a very early age, but he pushes me through all the challenges even today. He taught me that a human always comes first. My upbringing by my parents, in general, always guided me to be a better human first, and to be courageous, which made both my childhood and college life quite eventful. Charles Correa’s works have had a profound influence on my life, for it was his work that opened up the avenue of architecture for me, but many other great icons have fascinated me with their life philosophies, simplicities and dedication of their lives to innovation in all forms.

August 2022 ARCHITECTURE+DESIGN38

(NK): Which has been your most challenging work and why? (AC): Our urban project of the waterfront redevelopment in Tribeni is proving to be quite an interesting challenge to take on. We have been entrusted with this project by the Kolkata Metropolitan Development Authority (KMDA) and collaborations with such civic authority bodies always presents its own set of demands, one of which is a budget constraint within which we have to evaluate and execute the best possible proposal.

I want to encourage the incoming architects to rethink the forms and processes at stake in the construction of community infrastructures.

—AR. ABIN CHAUDHURI, Founder & Principal, Abin Design Studio

It also brings me immense joy to see the users of our buildings take personal pride and respect in these spaces, and in turn, also express their gratitude in meaningful ways. Like in the Adisaptagram Waterfront Clubhouse, during public events and celebrations, they establish dedications to ADS rather than the conventional addressals to political authorities who are seldom even aware of how deep this gratitude runs. Architecture as a practice is living in the moment and reacting to it. There is always a possibility of making a bad choice and reacting wrongly. But the fact that a well thought, judicious reaction can enhance the human life manifold is what keeps us going. Making is believing. The ‘process of making’—from conceiving it in the mind to getting it to perform, excites me the most. The challenges are always new for each project and it opens up new ideas and doors for how architecture and design can be celebrated. Public buildings are even more interesting for me because they influence and are enjoyed by larger public domains. Each project enriches the life of ours, of the makers, the clients and eventually the human life beyond the immediate realm. With such respect for the multifaceted context, we aim to continue this sort of incorporation of the local communities for funding, generating jobs, building, inhabiting and using such flexible and multi-use spaces, with ADS negotiating the steps and bridging the gaps.

(NK): What are you currently working on? (AC): Micro initiatives are turned into enduring assets by an unconventional take on traditional practices of many of our ongoing projects. We are trying to weave a romance between the site and the architect, representing that between the sky and the water, there is “material”, which is earth, and the architecture borrows from the contextual landscape of this earth to showcase the context it sits in, rather than standing out from it. It rather creates a frame to emphasise the natural views. We are currently working on an iconic Museum of Bengal in Kolkata. Besides this, our ongoing projects include several private villas, premium residential towers, clubhouses, educational institutes, and corporate offices. In the urban realm, we are currently working on the waterfront redevelopment in Tribeni, West Bengal.

GuptaNivedtaacredit:Photo

NAZRUL THIRTHA: The built form and its treatment invoke a feeling of dramatic justice through the language of architecture.

Photo credit: Rangan Chatterjee

ADISAPTAGRAM SOCIETY HALL: Architectural solutions were devised to explore better spatial arrangements through the design of simple yet effective details.

THE CENTRUM CLUB: Inspired from traditional “Wada” houses of Maharashtra, playful punctures enable a dramatic visual of light and shadows, extending the building’s reach beyond its physical site.

August 2022 ARCHITECTURE+DESIGN40

People have started understanding the factors that are involved in the architecture of a home, since we were finally spending uninterrupted quality time at home with family. Especially in this particular typology of design, even the layman has now begun to look deeper into the spaces they occupy, and value the simple unassuming lines that make shapes that ultimately give form to these spaces. In recognizing these factors, one falls in love with these spaces all over again. And to reiterate my primary point, that is another fine example of the power of architecture, where it can change people’s minds as a whole.

Apart from that, the area consists of ghats located along the dynamic Hooghly River, a tributary of the Ganga. Before we even start designing, we have to execute parallel research at multiple levels regarding various factors of consideration such as the erosion condition of the soil, the hydrology of the current ecosystem, the dynamics of the user activities, etc. A study is also being done to map the tourism patterns in Bansberia, the adjoining district, to infer the extent of influence of this mediation. Additionally, there is a cremation ground on the riverfront. Together with the ghats, this space sees a footfall in the thousands on the daily. The job of maintaining the users’ safety, hygiene and sanitation as well as sanctity of the space is of paramount importance here. As with conventional projects, we are not provided with an empty site to start on, but instead have a live site. We have to implement our interventions while the site is being simultaneously used by various stakeholders, with no room to stop any ongoing activities.

—AR. ABIN CHAUDHURI, Founder & Principal, Abin Design Studio

From a recalibrated perspective that has been brought on by the pandemic, it disheartens me to see an explosion of large spending on personal indulgence and pleasure. I then think that if even a fraction of it can be utilised in public infrastructure like schools and health centres in rural and urban peripheries, we can change our nation for the better. I want to create awareness on the need for unshackling from the idea of private possessions. This is a perpetual dream, and I am constantly on the search for methods to instil this ideology in whatever capacity I can.

(NK): Do you think the pandemic has affected the way we build and live? (AC): The pandemic has definitely changed multiple things about the way we live and it is no surprise that architecture is one of the biggest factors influenced by it, since we spend all our time in some sort of built environment. We see permanent changes in work cultures that have modified our fundamental approach to office design. We now pay even closer attention to the spatial quality of the environments we inhabit.

While we have redefined spaces where we work and live, outdoor spaces are gaining equal importance now, and more and more users are trying to celebrate it proactively. We, as a studio, are also undertaking further explorative design of hygienic outdoor spaces within the built environment. Overall, the pandemic was a lesson, among other things, on the importance of architecture and its power to influence, to create the “architecture for many”. It demanded phenomenal interventions that will govern the new path that architectural development is now on. As Echeverri rightly says, small scale interventions can develop in their own ways, be repeated and extended, and serve as examples so that others can learn from these models, translating, adapting and improving them with each iteration.

From a recalibrated point of perspective that has been brought on by the pandemic, it disheartens me to see an explosion of large spending on personal indulgence and pleasure. I then think that if even a fraction of it can be utilised in public infrastructure like schools and health centres in rural and urban peripheries, we can change our nation for the better..”

The Architecture of Multifaceted Buildings Project: European Library of Information and Culture (BEIC), Porta Vittoria, Milan; Architects: noa* network of architecture Reimagined as a hub of creativity, the new European Library boasts a surreal design of book towers that double up as elevators & rooftop forests inspired by the Garden of Eden THE TREE OF KNOWLEDGE ARCHITECTURE+DESIGN August 2022 41

August 2022 ARCHITECTURE+DESIGN42

J ust as the cover of a book contains a story within, the new European Library in Milan conceals underneath it a green landscape of knowledge available to anyone who wants to grasp it. Imbued with surreal atmospheres of rooftop forests and flying books, the new cultural centre places the visitor in the perfect condition to venture into unknown worlds. The project’s starting point was researching into the meaning, usage and features of a 21st-century library. Studio noa* reimagined it as a hub of creativity, aiming to create a stimulating environment for freeing the mind and acquiring new knowledge.

As a prerogative, a relaxed and quiet atmosphere has an added value and the possibility of moving in a hybrid environment breeding new ideas, where the line between inside and outside becomes blurred. Therefore, the design of a complex architectural structure was flanked by the creation of a natural landscape that permeates all spaces. The organic wave of the roof, the stylistic signature of the library, unexpectedly houses a flourishing park. This is to

N SITE PLAN

The design of a complex architectural structure was flanked by the creation of a natural landscape that permeates all spaces. The organic wave of the roof, the stylistic signature of the library, unexpectedly houses a flourishing park. This is to be viewed on a broader scale of urban parklands, of which the BEIC is a key element.

ARCHITECTURE+DESIGN August 2022 43 GROUND FLOOR PLAN FIRST FLOOR PLAN

August 2022 ARCHITECTURE+DESIGN44 RAINWATER FOR IN IRRIGATION WATER CONTAINMENT BASIN STRATUM GEOTHERMAL HEATING GREEN ECOSYSTEMNATURALTHERMALRADIATIONINSULATIONPROTECTION INTEGRATED PHOTOVOLTAIC SYSTEM NATURAL VENTILATION SUSTAINABILITY DIAGRAM

Although the library’s architecture is markedly introverted, the volume emerging from the ground also expands over parts of the Porta Vittoria Park, making accessibility one of the key points of the project. There are a total of nine floors—the main one is located on the first level, where a sinuous promenade allows the complete crossing of the building. In an evocative spatial experience, the visitor is invited to discover the rich functional programme of the interior boulevard. Access to the outside, a natural continuation of the interior spaces, is provided on every floor.

A circular study room for 200 people, with a 360° view over Milan, vertically closes the building. To reach it, one ascends a one-of-a-kind elevator—a tower of books, picked up as needed by an automated system. Through this astonishing landscape of moving books, the highest point of the BEIC is reached. It feels like climbing a tree after having walked through a lush garden. And not by chance either, since the archetype that inspired the team of architects is the Garden of Eden, where the Tree of the Knowledge of Good and Evil grows. The biblical episode linked to it is perhaps one of the narratives that philosophers have drawn on most to portray humanity. According to Hegel, by eating THIRD FLOOR PLAN

ARCHITECTURE+DESIGN August 2022 45 be viewed on a broader scale of urban parklands, of which the BEIC is a key element.

August 2022 ARCHITECTURE+DESIGN46

Through this astonishing landscape of moving books, the highest point of the BEIC is reached. It feels like climbing a tree after having walked through a lush garden. And not by chance either, since the archetype that inspired the team of architects is the Garden of Eden, where the Tree of the Knowledge of Good and Evil grows.

Cultural centre Client: International design competition held by the Municipality of Milan and the BEIC Foundation Phase: Concept design Renderings: Dima Visualization the forbidden apple from the Tree of Knowledge, Eve was the first person to stand apart from the animals, acquiring consciousness and intentionality in doing so. When Eve became interested in the unknown, libraries found their raison d’être in a sense. On the roof of the BEIC, studio noa* wanted to recreate an earthly Eden, where we could celebrate the beauty of knowledge and continually encourage people to reach out to unknown worlds. ELEVATIONS

When Eve became interested in the unknown, libraries found their raison d’être in a sense. On the roof of the BEIC, studio noa* wanted to recreate an earthly Eden, where we could celebrate the beauty of knowledge and continually encourage people to reach out to unknown worlds.

ARCHITECTURE+DESIGN August 2022 47 FACT Typology:FILE

The Architecture of Multifaceted Buildings

Project: CGC Student Hostel Landran, Punjab; Architects: Charged Voids

CONNECTED BY COURTS AND BRIDGES

The student hostel, located within a 25-acre campus in Landran, a semi-urban area close to Mohali, draws from Le Corbusier’s modernist legacy. The 10-storey building occupies the campus’ bus yard in place of designing on the proposed greenfield site. A simple triangular plan makes the most of the oddly-shaped site while playing with levels to create multiple interactive volumes. The primary idea was to step away from the enclosed vocabulary of the existing campus buildings by freeing the new building of boundary walls, in an attempt to create shaded recreational spaces. This idea manifests in the form of a triple-height, sunken public court situated at the core of the hostel’s basement, which can be accessed by a wide flight of steps leading down from the approach road. The court shapes a central atrium intersected by bridges at multiple levels and terminating in large skylights. The lower floors, including the sunken court, are open to public access during the day, and to the hostel occupants after closing hours. TV rooms with individual sunken courts, a gym, a multipurpose hall and other ancillary facilities are arranged around the main courtyard. The ground level houses the reception, the dining area and an adjoining kitchen, while a reading room, administration spaces and the warden’s room make up the first floor. The sky-lit atrium is flanked by student accommodation spaces on the floors above, with the bridges creating spill-over spaces as well as ensuring seamless circulation between corridors.

A covered balcony is attached to each room, with a grey grit finish over the building envelope to ensure that the built fabric sits in harmony with the other buildings on the campus.

The project designed by Charged Voids is influenced by Le Corbusier’s modernist legacy and finds expression in the sky-lit corridors of the hostel.

ARCHITECTURE+DESIGN August 2022 49

August 2022 ARCHITECTURE+DESIGN50 VOLUMES - DIAGRAM A SIMPLE TRIANGULAR PLAN THAT COULD BE LAID ON AN ODD SHAPED SITE CENTRAL TRIAGULAR ATRIUM WITH SKYLIGHTS ON TOP AMORPHOUS DOUBLE HEIGHT PUBLIC SPACE CREATED FOR THE CAMPUS PUBLIC SPACES AND AMENITIES A TRIPLE HEIGHT SUNKEN COURT A TRIPLE HEIGHT SUNKEN COURTDOUBLE ENTRANCEHEIGHTAREA TO DOUBLE ENTRANCEHEIGHTAREA TO SPILL OVER IN GROUND FLOOR PUBLIC AREA DAY TIME SPILL OVER IN GROUND FLOOR PUBLIC AREA DAY TIME LIVING SPACES TOENTRANCELIVINGSPACE

The student hostel, located within a 25-acre campus in Landran, a semi-urban area close to Mohali, draws from Le Corbusier’s modernist legacy. The 10-storey building occupies the campus’ bus yard in place of designing on the proposed greenfield site. A simple triangular plan makes the most of the oddly-shaped site while playing with levels to create multiple interactive volumes.

The sky-lit atrium is flanked by student accommodation spaces on the floors above, with the bridges creating spill-over spaces as well as ensuring seamless circulation between corridors. A covered balcony is attached to each room, with a grey grit finish over the building envelope to ensure that the built fabric sits in harmony with the other buildings on the campus.

August 2022 ARCHITECTURE+DESIGN52

SUN

STACKELEVATIONPATHEFFECT

Corbusier’s architecture influences the overall pared-down material palette and colour choices of the hostel building; Kota stone flooring, grey grit finished exteriors and plain white surfaces punctuated by primary colours are intended to create a sense of discovery and joy.

ARCHITECTURE+DESIGN August 2022 55

Javed Akhtar Siddigui Consultants: Dr Ic Syal (Structural);

Contractors: Adarsh

Consultant

Electrical, HVAC, Plumbing); Charged Voids

Photocredit:JavierCallejas FACTFILE Client: Chandigarh Group of Colleges Principal Architect: Aman Aggarwal Design Team: Rahul Vig, Sugandha

Pvt Ltd Site Area: 27,400sq ft Built-up Area: 1,35,000sq ft Year of Completion: 2019 SECTION

The floor plans are simple, but the resulting volumes are lent a dynamic character through the interconnected levels and naturally and abundantly lit interior spaces. Corbusier’s architecture influences the overall pared-down material palette and colour choices of the hostel building; Kota stone flooring, grey grit finished exteriors and plain white surfaces punctuated by primary colours are intended to create a sense of discovery and joy. Dappled daylight admitted through the skylights into the interiors is a key factor in determining the sensorial experience of the hostel, lending it a palpably spiritual identity. A space led by its experience as much as it is by budget restraints, the design of the hostel is an exercise in frugality with the aim of enhancing the quality of students’ living spaces. Wadhawan, ARK (Mechanical, (Landscape) Supercon

Spread over an area of 35 acres and designed for a luxurious lifestyle, this ‘complete city’ promotes sustainable habitats. With an emphasis on pedestrianfriendly green areas, the township integrates all essential facilities for a rejuvenating experience.

The residential units are centred around the large linear central park, which is set to delight residents of all age groups. An inviting avenue greets the residents towards a central roundabout which is designed as an amphitheatre that emphasises the importance of social spaces in the design. A network of streets leads from the peripheral road to the central green area. Each residential block is accessed through these streets. Streets act as semi-public spill-out spaces for the residents; hence acting as a transition space from public to private. With an FAR of approximately two, the development is planned in phases, to ensure maximum efficiency of workflow and quality control. Phase 1 is planned on a land area of 86,330sq m, with built-up area of 97,225.8sq m. The Phase 1 of the project includes a Ground+4 storey structure. The blocks are low-rise, and hence, minimise structural cost and create a

The project designed by GPM Architects is an amalgamation of traditional architectural elements with the modern-day development.

SUSTAINABLE TOWNSHIP

The township is located 4.5km from the international airport, close to Sanganer Railway Station and 4km from Jawahar Nagar Circle. Taking inspiration from the traditional street– courtyard concept for arid habitats, where a system of transition—public to semi-private to private—is planned. A network of streets leads from the main vehicular peripheral road to the central green area, where the streets act as spill-out spaces for residents. This enables a large green area, which acts as the highlight for the development.

Project: Aananda Manglam Township, Jaipur; Architects: GPM Architects

The Architecture of Multifaceted Buildings

The project is located in Sanganer area, which is being developed as an extension to Jaipur city.

ARCHITECTURE+DESIGN August 2022 57

August 2022 ARCHITECTURE+DESIGN58 sustainable, cost-effective environment. Also, it reduces the extra cost for providing fire-fighting services, which is required for any building exceeding 15m height. With a ground coverage of 26.82%, a landscape area of approximately 12,500sq m is planned. The integrated green in the centre provides micro-cooling subsequently reducing heat island effect.

Imbibing cues from traditional architectural elements and solar passive cooling techniques, a combination of pergolas, jaalis and shading elements is developed which have been incorporated in a simple and sophisticated manner to create an appealing facade. These elements complement the overall façade design, at the same time, being cost effective and environment friendly. The residential units have been designed to maximise cross-ventilation, the intake of natural light in all rooms, thereby minimising dependency on HVAC and electricity. The shading devices over fenestrations, pergolas, and the juxtaposition of volumes create shadows, increase local air flow and enable micro cooling. Eco-friendly building materials like PPC cement, steel, precast hollow concrete blocks, ready mix concrete, bricks, stones, sand, hard wood, aluminium, glass, etc, are used. Materials are procured

• AVOIDING UNITS FACING NORTH SOUTH DIRECTION • FORMATION OF CLUSTER MODULE CONCEPT SHEET Housing Units Greens Axis Service Lane Approach Road

ARCHITECTURE+DESIGN August 2022 59

The project is located in Sanganer area, which is being developed as an extension to Jaipur city. Spread over an area of 35 acres and designed for a luxurious lifestyle, this ‘complete city’ promotes sustainable habitats. With an emphasis on pedestrian-friendly green areas, the township integrates all essential facilities for a rejuvenating experience.

August 2022 ARCHITECTURE+DESIGN60

Amalgamating traditional architectural elements with the modern-day development, the township establishes itself a benchmark in sustainable residential developments in the city, where sustainability is not an artificial layer that is added, but is instead integrated with design right from conceptualization.

ft Year of completion: 2016

FACT

ARCHITECTURE+DESIGN August 2022 61 from nearby sources to minimise travelling costs and consequently air pollution. All plots are east-west facing, to allow maximum sunlight intake in all the residential units. Phase 1 is planned as a low-rise development for lighter intake to reduce light load, and increase air-flow. Soft pavement is used at parking spaces, to avail maximum ground water absorption. Measures are taken to minimise air pollution during construction and post construction phase and to attain zero discharge within the complex. Waste is recycled and used within the site and the use of a sewage treatment plant and rainwater harvesting minimises dependency on fresh water supply to tackle the issue of water scarcity in the city. The runoff from the building terraces, paved areas and landscape areas is channelized to the rainwater harvesting structures designed on the peak intensity of rainfall (40mm/hr) to accommodate peak surface runoff, which avoids the problems of flooding. Waste management techniques have been planned to enable separate bins to treat waste as per its nature.

Amalgamating traditional architectural elements with the modern-day development, the township establishes itself a benchmark in sustainable residential developments in the city, where sustainability is not an artificial layer that is added, but is instead integrated with design right from conceptualization. FILE Client: Mangalam Group Site Area: 35 Acres Area: 2,560,000sq

Built-up

The Architecture of Multifaceted Buildings August 2022 ARCHITECTURE+DESIGN62

An attempt to recreate the various juxtapositions in the city’s landscape, this residential project with sustainability at its core also doubles up as a green oasis for visitors

A NEW SKYLINE BY THE RIVERFRONT

Located on the Guayas riverfront in the port city of Guayaquil in Ecuador, this residential project was designed for Quito-based developer Uribe Schwarzkopf. It comprises six residential towers atop a mixed-use plinth that creates a lively, landscaped “valley” on its roof. The design is inspired by the many juxtapositions found in Guayaquil itself—from the broad expanse of the river contrasted with nearby mountains, to the sight of modern high-rises on the shoreline set against the colourful hillside settlements of the Santa Ana hill. The Hills add a dramatic new addition to the Guayaquil skyline. The project is located in Puerto Santa Ana, extending the boulevard that is gradually being consolidated along much of the city’s waterfront. The six residential towers range from 92 to 143 metres, rising taller as they step away from the riverfront, thus echoing the way the city ‘steps up’ from the waterfront to the hills behind. At the base of the project, the towers merge together to form a terraced green valley that contains an oasis of pools, sports fields and a large urban amphitheatre facing the riverfront, all surrounded by lush, natural vegetation. Inside this base are shops, a large community clubhouse, and other amenities. Between the four towers located closest to the river and the two towers at the rear of the development is a deeper ‘canyon’, providing extra spaces for retail and creating a route for Project: The Hills, Guayaquil, Ecuador; Architects: MVRDV, Netherlands

August 2022 ARCHITECTURE+DESIGN64 OPTIMIZE DAYLIGHT ON COMMUNAL TERRACES BY ELEVATING THEM FACADE DEPTH FOR SOLAR PROTECTION LOW MATERIALSCARBON CORNER WIND SHUTTER SHUTTERS & BALCONY SHAPES PROTECT FROM WIND TERRACED MASSING & BALCONIES DOWNWARDBREAKWINDTREECANOPYFORSHADING PLANTING FOR TEMPERATURE REGULATION MAXIMIZE SHADE IN MALL SPACE RETENTIONSTORMWATERPOND AMENITY CLUBHOUSE FOR SOCIAL INTERACTION COMMUNITYSPACES BUILDING PLACEMENT OPTIMIZES RIVER BREEZE WHITE URBAN FACADE TO REFLECT THE SUN MAXIMUM PANELSSOLARSEQUESTRATIONCARBONBIODIVERSITYSUPPORT SAFE, PUBLICACCESSIBLESPACE AGRICLUTREURBAN HARVESTINGRAINWATER BIKE HUB INCREASY HEALTHY MOBILITY SUSTAINABILITY PRINCIPLES

ARCHITECTURE+DESIGN August 2022 65

At the base of the project, the towers merge together to form a terraced green valley that contains an oasis of pools, sports fields and a large urban amphitheatre facing the riverfront, all surrounded by lush, natural vegetation. Inside this base are shops, a large community clubhouse, and other amenities.

“The complex is almost a city in itself, with towers of different heights, so it’s a mini skyline. But it’s also part of a larger skyline along the promenade,” says MVRDV founding partner Jacob van Rijs. “It was important for us that the project was not just an island in the city, but that it offered access to others as well, that it would give something back in the form of a public plinth. So it’s a very exciting space for people to go to, somewhere that we hope people can meet with friends. At the same time, the balconies that characterise the towers offer space for greenery as well as protection from the sun and rain.”

August 2022 ARCHITECTURE+DESIGN66 pedestrians to cross the site at ground level, while also enabling the project to be built in two phases.

URBAN INTEGRATION & CONNECTION OPTIMIZE HEIGHTS FOR VIEWS STEPPING TERRACES MATERIAL GRADIENT ROUNDINGVIEWSFUNCTIONSOUTSCORNERS‘THEHILLS’

The complex is almost a city in itself, with towers of different heights, so it’s a mini skyline. But it’s also part of a larger skyline along the promenade. It was important for us that the project was not just an island in the city, but that it offered access to others as well, that it would give something back in the form of a public plinth.”

JACOB VAN RIJS Founding partner, MVRDV

At the project’s outer edges, the design of the façades reflects the visual language of its neighbouring high-rises—white balconies arranged in straight orthogonal lines. The façades facing the void between the towers however, provide a very different character to the development. Here, the straight lines give way to balconies with flowing curves that create irregular setbacks and overhangs. Earth tones on the lower levels gradually give way to lighter colours closer to the sky. On all levels, plentiful greenery lines the balconies, extending the atmosphere of the central valley up to the top of the ‘hills’ that surround it. Many of these features were developed to provide a sustainable response to the warm climate of Guayaquil. The wide balconies shade the glass facade, while the positioning of the towers and the curved shapes help to improve ventilation, allowing breezes to flow across the site unimpeded. The abundant greenery helps

August 2022 ARCHITECTURE+DESIGN68

SUSTAINABLE FACADE DESIGN

FACTFILE Client: Uribe Schwarzkopf Size and Programme: 180,000 sq m; mixed-use residential, retail, leisure Founding Partner in charge: Jacob van Rijs

Copyright: MVRDV Winy Maas, Jacob van Rijs, Nathalie de Vries Co-Architect & Interior Architect: Uribe Schwarzkopf Structural Engineering & MEP: Grupo Vera 3D Animation: Vero Digital Year of Completion: 2022 to cool the surroundings, thus reducing the amount of energy needed to cool the building and making the valley itself a comfortable, welcoming environment for both residents and visitors. The Hills will be supplied with renewable energy from photovoltaics, providing a large part of the energy used in the communal areas and residences. In addition, the project will also collect and store rainwater for irrigation use in the gardens, while LED lighting and heat pumps reduce the overall carbon footprint of the development. Inside the towers, The Hills offer a wide selection of apartment sizes and types, everything from small apartments for individuals to bigger apartments for families. Along with an abundance of amenities, the project features a vibrant public program and plentiful retail options, ensuring that the building will be used throughout the day by a diverse group of residents and visitors— making The Hills a dynamic and exciting new destination in Guayaquil.

Partner: Frans de Witte Design Team: Fedor Bron, Fouad Addou, Anouk Wilmering, Teodora Cirjan, Laurens Veth, Aneta Rymsza, Samantha Gazzolo, Diego Lopez, Alberto Canton, Sandra Baggerman, Pavel Basmanov, Natasha Trice

ARCHITECTURE+DESIGN August 2022 69

Environmental Advisor: Peter Mensinga Visualisations: Antonio Luca Coco, Pavlos Ventouris, Luca Piattelli, Angelo La Delfa, Jaroslaw Jeda, Marco Fabri, Stefania Trozzi, Ciprian Buzdugan, Luis Perona

The project features a vibrant public program and plentiful retail options, ensuring that the building will be used throughout the day by a diverse group of residents and visitors—making The Hills a dynamic and exciting new destination in Guayaquil.

Images:©MVRDV

Project: The Half Arc O ce, Kolkata; Architects: Spaces & Design, Kolkata The project designed by the firm ‘Spaces and Design’ exudes grandeur of the expansive spaces o ered by the colonial structure and adapts to function as a modern workspace. EXUDING GRANDEUR The Architecture of Multifaceted Buildings

While the o ce has an area of 2200sq ft, it o ers heights of 20ft on the premises and over 39ft on the terrace. The o ce has a portal-like passage leading up to the entrance. Two distinct half arcs intersect at the entry where the passage meets the main reception area, o ering an enchanting view of the double-height space. The reception and the waiting area have a world map installation as the backdrop– complementing the Nordic-Scandinavian look of the space. As much as the o ce is su used with Scandinavian design themes, it was also crucial to maintain the historical character of POOJA BIHANI, Founder and Principal Architect, Spaces & Design

forPoojaBihaniisanestablishedandawellknownArchitectandInteriorDesignerinKolkata,WestBengal.Sherecognisedherpassionforthefieldatanearlyageandpursuedthesameasshegrewup.ShelaidthefoundationSpaces&Designin2006.ThedesignmantraatSpaces&Designisto“ConstantlyInnovate“.AnotherlawthatguidesallitsundertakingsistheperceptionofInteriorArchitecturenotjustInteriorDesign.Thishelpsindesigningspaces“Inside-out”integratingarchitectureintointeriorsandviceversa.

ARCHITECTURE+DESIGN August 2022 71

The project is housed in ‘Diamond Heritage’ in Kolkata, which is a prominent heritage building now converted into a commercial complex and formerly known as the Mackinnon Mackenzie building. The o ce is unlike a typical workspace, exhibiting grandeur and juxtaposition of design sensibilities in a thoughtful way and harnesses the advantage of luxurious heights and expansive spaces o ered by the colonial structure. Overlooking the Hooghly River and Howrah bridge, the building o ers panoramic views of the surrounding vistas and provides visibility due to its location on Strand Road, a famous arterial road in Kolkata.

double-height space.

reception area,

August 2022 ARCHITECTURE+DESIGN72 6 71 2 3 4 5 1. ENTRY 2. TERRACE BELOW 3. EXPOSED CEILING 4. VOID 5. GALLERY AREA 6. OFFICE BELOW 7. PASSAGE N MEZZANINE FLOOR PLAN

portal-like

The has a passage leading up to the entrance. Two distinct half arcs intersect at the entry where the passage meets the main offering an view of the

enchanting

office

ARCHITECTURE+DESIGN August 2022 75 While designing an office space in a heritage building requires a sensitive outlook to retain its original character, it also allows utilizing the architectural merits that the structure offers. THIRD FLOOR PLAN 1. ENTRY 2. WAITING 3. EXPOSED CEILING 4. TOILET 5. PANTRY 6. MANAGER CUBICLE 7. PASSAGE 8. ASSOCIATE CHAMBER 9. WORKSTATION 10. TERRACE 11. MD CHAMBER 12. TERRACE71 2 3 54 6 8 9 10 11 12

While designing an office space in a heritage building requires a sensitive outlook to retain its original character, it also allows utilizing the architectural merits that the structure offers. The office is a representative of the ways through which a historic property can be adapted to function as a modern workspace.

The colour scheme comprises light and milky white shades incorporated through textured materials. All the furniture is bespoke and the layout is curated such that the office does not look clumsy and one could get an unobstructed view of the double-height doors leading to the terrace. All the workstations have integrated half arc lights which add to the characteristic theme of the space and offer a functional advantage. Hanging lights in a space having a 20ft ceiling height would not be feasible, hence half arc lights were used which look aesthetically pleasing and offer well-lit workstations. The ceiling was not tampered and left exposed, painted in white. All the construction details and structural aspects of the heritage property were left intact, to maintain the original character of the space. Care was taken to meticulously implement the design as it is a structure with historical prominence.

Photo credit: Ishita Sitwala FACTFILE Design Team: Pooja Bihani (Principal Architect), Anjana, Samrat Roy Area: 2200sft Year of completion: 2022 Furniture and Furnishings: bespoke on-site with oak Wood, KNB associates, Alankaram, Gulmohar Lane, wallpapers by Aditi Lighting: Lumeire Paints: Asian paints Interior Styling: Samir Wadekar

The office consists of a lower floor and mezzanine along with a large terrace. As one enters, there is a reception and waiting area leading to the workstations and the manager’s cubicle in the central space. All the workstations overlook the terrace offering expansive views of the Hooghly River. Towards the left, under the mezzanine, there is the associate’s chamber along with a pantry and toilet. The director’s chamber is located on the far end and opens up to the terrace. A staircase leads up to the mezzanine floor which also consists of bespoke workstations with integrated half arc lights. The terrace with its picturesque views and colossal height becomes the highlight of the office, offering a space to hold informal meetings and relax after a long day’s work.

the space through sensitive treatment and seamless integration of design elements.

How did the thought of Alankaram come about?

Alankaram strives to craft a blend of culture, sensibility, technology and fine craftsmanship, thereby giving birth to products that have won global acclaim and recognition. From merely a handful of artisans and a knockdown shed, we’ve grown into a company with one of the largest solid wood furniture units in India, having 2,00,000 sq ft of workspace, 10+ state-of-the-art CNC machines and 300+ skilled designers and artisans. Since its very inception, my family has stood by my side and supported our practice. When we set up our practice in Delhi, we faced major space constraints. Back then, my father, Mr Prakash Sahu assisted the team in a knockdown shed to get Alankaram started. He’s a retired civil engineer now and takes care of office administration, statutory requirements and civil construction. My mother, Mrs Droupti Sahu is the art director at Alankaram and guides the artwork on furniture and hand-painted fabric. When we shifted our entire setup to Indore, my younger brother Aman, also a civil engineer, helped us build a well-equipped manufacturing unit with cutting-edge woodworking machines. Today, Alankaram has been featured in multiple publications, such as Architecture + Design, Elle Decor, Architect and Interiors India, Architectural Digest, India Today Home, Cosmopolitan, The Decor Journal, IANS, Livingetc, Business Standard and GoodHomes. We have catered to affluent corporate giants such as Microsoft, JPMC and Google, and high-end residence

SPECIAL FEATURE

Since childhood, I have had a keen eye for art, colour and design—thanks to my mother who is an artist and my dad who is a Civil Engineer. After studying Architecture at the Pillai College of Architecture, I pursued Urban Design at the master’s level. Post that, I worked for about 3-4 years at various architectural firms. I was fascinated with furniture design, especially wood. I wanted this material to shine in my design practice, so I decided to start designing furniture. However, I noticed a massive void in the market for skilled artisans. My husband, Dhwanit Parmar hails from an IT background, and I from an architectural one. So, we decided to create Alankaram that blends his business acumen and my passion for design. Alankaram aims to bring together the diverse nuances of varied cultures, through the cohesive thread of design. Take us through the journey of your firm. Even though we had set up Alankaram in 2013, the lack of local craftsmen and artisans made us realise that we needed our own furniture manufacturing unit, which we eventually set up in 2015.

ROOTED IN INDIA, GLOBAL IN APPEAL

Architect Anupriya Sahu talks about the journey of her furniture design firm Alankaram, the collaborative efforts of her family and how their pieces blend traditional design aesthetics with contemporary finesse

The functioning of each cottage was to ensure that the space came out to be unique and the walls not only act as partition members but also represent roofing for the structure.”

Alankaram Kinaray Black Collection

Alankaram Toso lounge chair

owners and celebrities such as Ranbir Kapoor and Alia Bhatt.

What’s your design philosophy? Alankaram’s design philosophy is based on the triad of aesthetics, utility and strength. Every furniture piece we craft is visually pleasing, utilitarian and strong—and has a story to tell. Our products and creations aim to connect with the people. We believe in producing furniture that has indigenous roots, but speaks a universal language. Therefore, every Alankaram product radiates a local essence with contemporary finesse. Resonating with our design ethos, we have developed our furniture design range keeping in mind the functionality and requirements of the end-user. At Alankaram, you will see versatile products with customisable upholstery and wood finishes. The existing designs’ customisations are executed as per the client’s requirements. Our design skills and aesthetics have resulted in repeat business and loyal clientele that trust us with work ethics and flexibility on bespoke services. The designs are evocative of the India Modern narrative. Take us through the collections, their names and the stories behind them? At Alankaram, we design furniture pieces that adorn our spaces and offer more than just functionality. In particular, we like to blend modern with traditional. Our furniture celebrates sleek, contemporary designs while being rooted in traditional and vernacular sensibilities. The furniture is sourced from specific regions and tells a story through design, upholstery and materiality. Precisely detailed joineries, hand painting and inlay work make each piece aesthetically beautiful and functionally relevant. Our collections include indoor and outdoor furniture for both residential and commercial purposes. We customise designs and also have ready-made ones. From a tea coaster to a 24-seater dining table, you can find it all here. The names of all our products are derived from ethnic art forms and feature design elements in their respective languages. Some are Indian, some Swedish and some from remote regions.

While we have our popular picks like the Uru, Aronui and Patahi chairs, the Tidlos sofa or the Boyali table, we like to keep reinventing the wheel. As a result, our latest collections often amalgamate the best of the old and new. What is the material palette like? We have always supported the ‘go vocal for local’ cause, and we mostly work with native materials, such as local Indian wood like teak. However, we also use imported wood like White Oak depending on the piece, design and client requirement. Who designs the furniture? The furniture at Alankaram coalesces traditional with contemporary design and is the creative result of two generations working together—my mother and I. While most of the furniture is designed by me, my mother spearheads all the artwork on the furniture and hand-painted fabrics. She gives the finishing and artistic touches to vernacular pieces. My work is highly inspired by Danish designer H. Wegner and his minimalist design style, which is simple, yet utilitarian. It has a sleek, modern appeal with a tactile quality, while being rooted in timeless tradition. Tell us about the latest collection. Our latest collection is Kudrat, which means ‘nature’ in Sanskrit, an ensemble showcasing the rattan weave’s beauty. Our popular bed design Uway makes a comeback with the Kudrat collection. This time, we are offering it with a unique new headboard design, featuring rattan and grey upholstered fabric. The same frame design is seen in its coordinated Cist trunk. The Maly bedside unit completes the trio with similar rattan accents and the iconic indigo-blue natural teak finish. Since no collection is complete without a relaxing armchair, the featured set includes the Toso armchair with a matching footstool that carries forward the design language of blue teak wood visible throughout the collection.

Project Features Project: Home on Kensington Road, Bangalore; Architects: ma+rs In the project, architects ma+rs has created an open living plan, filling up the space with ample natural light and a clear visual connect to the greenery outside. OPENCREATINGSPACES TEXT BY: Sabyasachi Routray & Anisha Menon August 2022 ARCHITECTURE+DESIGN80

internofSabyasachigraduatedfromD.YPatilcollegeArchitecture,Pune.In2012,hewentontoatMathew&Ghosharchitects(Bangalore)for4monthswhereheworkedonprojectslikeFreedomPark-Phase2andresidentialprojects.Afterwhichheworkedasarchitectatflyingelephantstudio(Bangalore)for4years.HeworkedonprojectslikeAPFSchoolanddistrictinsitute,IIIT-Bangalore,residentialprojectsvaryingfromsinglehousescaletotowersandinstitutionalarchitecturecompetitions.

The apartment is a 1281sq ft space in the heart of Bengaluru overlooking the Ulsoor lake, and fringed by lush green defence land towards the rear. It was spacious; however, it was compartmentalised and did not have an unobstructed flow of spaces, making it appear crowded and dimly lit.

Opening up the existing kitchen and bedroom helped to bring in natural light from the attached balconies connected to the living and bedroom. In turn, this also created an open living plan. To create the studio space, the bedroom adjacent to the living was reconfigured, which had a large private balcony. The studio is separated from the living dining space physically with

T he clients, a textile designer and her entrepreneur husband, gave the architects a clear understanding of the type of home they were looking to create–which was a conscious, warm and simple home with abundant use of natural materials and an earthy palette. They were looking to convert a rather cramped three-bedroom apartment into an open and bright two bedroom + studio setup.

The two-decade old apartment had an unobstructed view of lush green on one side; yet seemed rather dimly lit. The architects thought of tearing down some of the walls and opening out the spaces to get in abundant natural light, which in turn would uplift the quality of the spaces, almost instantly. The primary idea was to create a comfortable, calm and thoughtful space responding to the needs and lifestyle of the people living in it.

SABYASACHI ROUTRAY, Co-Founder, ma+rs

August 2022 ARCHITECTURE+DESIGN82

The existing white Indian marble flooring has been retained and repolished, which has been kept constant in most areas in order to create a feeling of seamlessly traversing through the space, unifying the apartment and creating a muted base for all the other elements and materials to counterbalance.

workedcollegeAnishaMenongraduatedfromRizviofArchitectureinBombayin2011.SheinternedatVastu-Shilpaconsultants(Ahmedabad)for6monthsandthenthereasanarchitectfor10months.HerworkatVSCincludedurbanscalecompetitonsandEarthquakememorialatBhuj.AfterwhichsheworkedatFlyingElephantStudio(Bengaluru)for3yearshandlinginstitutionalprojectslikeAPFSchoolanddistrictinstituteandIIIT-Bengaluru.

STUDIOSTOREPRIVATE SPACEPUBLIC SPACESERVICES

AFTER TO CREATE THE STUDIO SPACE, WE RECONFIGURED THE BEDROOM ADJACENT TO THE LIVING WHICH HAD A LARGE PRIVATE BALCONY. THE STUDIO IS SEPERATED FROM THE LIVING DINING PHYSICALLY WITH TEAK WOOD & GLASS PARTITION WITH FOLDING DOORS. CREATING AN OPEN LIVING PLAN, FILLING UP THE SPACE WITH AMPLE NATURAL LIGHT AND ALSO CREATING A CLEAR VISUAL CONNECT TO THE GREENERY OUTSIDE AT ALL TIMES WHEN IN THE LIVING, DINING AND KITCHEN. ANISHA MENON, Co-Founder, ma+rs

ARCHITECTURE+DESIGN August 2022 83 BEFORE THE INITIAL PLAN WAS SPACIOUS HOWEVER IT WAS COMPARTMENTALISED AND DID NOT HAVE AN UNOBSTRUCTED FLOW OF SPACES, THUS MAKING IT DIMLY LIT. OPENING UP THE EXISTING KITCHEN COMPLETELY HELPED TO BRING IN NATURAL LIGHT FROM THE SMALL BALCONY CONNECTED TO THE LIVING SPACE.

August 2022 ARCHITECTURE+DESIGN84

The kitchen has been treated as an element of pop with the addition of sage green. As designers we strive to create a protective, tranquil atmosphere making the feeling of home, warmth and peace palpable.

PLAN 1. DINING 2. STUDY 3. MASTER BEDROOM 4. KITCHEN 5. LIVING 6. FOYER 7. GUEST BEDROOM 1 2 3 4 5 6 7

As designers we strive to create a protective, tranquil atmosphere making the feeling of home, warmth and peace palpable. Keeping this in mind we created a timeless neo-traditional space to which the couple can keep adding and subtracting over the years.

a teak wood and glass partition, with folding doors. Creating an open living plan, filled up the space with ample natural light and also created a clear visual connect to the greenery outside at all times when in the living, dining and kitchen.

Photo credit: Ishita Sitwala FACTFILE Design Team: Sabyasachi Routray, Anisha Menon, Indulekha Paul Area: 1281sq ft FLOOR

ARCHITECTURE+DESIGN August 2022 85

The existing white Indian marble flooring has been retained and repolished, which has been kept constant in most areas in order to create a feeling of seamlessly traversing through the space, unifying the apartment and creating a muted base for all the other elements and materials to counterbalance. The walls are primarily white, with accents of smooth cement finish plaster in some areas. Extensive use of teak wood and rattan adds warmth and exudes a homely charm. Brass accents, hardware and lights add a touch of indulgence to the otherwise grounded palette.

August 2022 ARCHITECTURE+DESIGN86 ProjectProject:Features Beyond Designs Bistro, New Delhi; Interior Designer: Beyond Designs, Delhi The project designed by Sachin and Neha Gupta is a French-style café, housed in the Beyond Design flagship store o ering a unique shopping and dining experience. ARTFULLY BLENDING SHOPPING AND DINING

The project is a one-of-a-kind shopping and dining experience created by the designer and Co-Founder of ‘Beyond Designs’, a renowned luxury furniture, home accessories, and interiors solutions firm. The designer was keen to bring the shopping-dining phenomena to India after seeing it at famous places abroad. As a result, the project was set up in the Beyond Designs flagship store on MG Road, Sultanpur in the Delhi. The French-style bistro allows one to immerse in a rare indulgence of shopping for signature home accessories reflecting handcrafted traditions from around the world, and an equally exquisite dining

ARCHITECTURE+DESIGN August 2022 87

NEHA GUPTA, Founder & Restaurateur, Beyond Designs Bistro foryears,luxuryArchitect,interiordesignerandCo-Founderoffurniture,homeaccessoriesandinteriorssolutionbrandBeyondDesignssincelast21NehaGuptaisalsotheFounderofBeyondDesignsHomeandBistro.ThenewverticalofBeyondDesigns,housedwithinitsflagshipstoreonMGRoad,Sultanpur,Delhi,ishervisionandpassion.Multi-facetedandmulti-talented,Nehawithherstrongsenseofaestheticsandstyle,hasdesignedexquisitespaces,andhasalsomanagedthebusiness.Herdeepappreciationthetimelessdesignheritage,havegivenherapioneeringstatusinanexcitingdesignworld.

The French-style bistro allows you to immerse in a rare indulgence of shopping for signature home accessories celebrating handcrafted traditions from around the world, and an equally exquisite dining option at a Frenchstyled bistro. The cuisine is predominantly Modern European, with a sprinkling of Asian flavors. option. The cuisine is predominantly Modern European, with a sprinkling of Asian flavours. With its attractive classic-contemporary décor dotted with art and design, the bistro takes one straight to the streets of Paris. Its meticulously designed interiors—chic rustic walls adorned with exclusive artworks and wallpapers; sophisticated

ARCHITECTURE+DESIGN August 2022 89

FACT Built-upFILEarea: 1812sq ft Year of completion: 2020

ARCHITECTURE+DESIGN August 2022 91

seating of white marble top tables, chic cane chairs, classic upholstered sofas in exotic prints; and eye-catchingly displayed exquisite home accessories, some created in-house, others sourced from across the globe; and grand vintage-inspired chandeliers—create captivating space for memorable moments.

The saga of fusions Beyond Designs is known for, continues with the décor and the dishes. The bistro is where you take in the beauty around, get your hands on one-of-its-kind accessories for your home, and indulge in some specially crafted dishes with an experimentative edge.

The focus is not just on the sophisticated dishes, but on the over-all experience– impeccable serve ware and cutlery, stylish presentation, topnotch service, and soothing piped music. At the café, dining out is elevated to a fine art! With its intimate and romantic vibe, the bistro is ideal for dates, family get-togethers, and catch-ups with friends or gal pals.

The décor and food continue the narrative of fusion for which the brand is famous for. The cafe is an ideal place to soak in the scenery, pick up unique home items, and savour some uniquely prepared foods with an experimental twist.

T he unprecedented growth in urban population each year has led cities to sprawl at an expedited pace. This has raised issues such as the lack of accessibility to essential services and well-planned open spaces. The pandemic has prodded us to rethink our ways of living and question our urban planning and design sensibilities. With an emphasis on self-sustenance, efficient planning, community living and a mixed-use approach, can ‘Integrated Townships’ be the future of living?

Integrated townships are self-sustaining gated communities that comprise infrastructures such as residential areas, schools, hospitals, retail outlets, and commercial complexes, along with strategically planned and safe open spaces.

With a purpose larger than just housing, this allencompassing typology is rapidly gaining ground in the urban setting. Juxtaposing the Indian tradition of community living with contemporary facilities and services, the design of integrated townships is an excellent answer to rapid urbanization. Being a ‘city within a city’, it aims at facilitating access to all essential services within 15 minutes of walking distance, and within a safe and inclusive environment. With every passing day, the social breach in our cities is becoming far more evident. Through efficient planning, the residential zones within the integrated townships can have high, middle and low-income group housing to harbour an equitable ecosystem. Along with equity, inclusivity FUTURE OF LIVING?

Varsha

(CAI)Interiors&ArchitectsCreativeCredit:Photo

InteriorsVarshaJainisthePrincipalArchitectandCo-founderatCreativeArchitectsand(CAI),Chennai.SheisanalumnusoftheUniversityofPuneandisknownforherfunctionalandefficientdesigns.Sheislaudedforherworkonlarge-scaleprojectsacrossresidential,commercial,hospitalityandinstitutionaltypologies.Hercommitmenttothecraftisevidentthroughherstrongvisualisationskillsandefficientspaceplanning.Shebelievesthateveryprojectshouldhavecontextuallytransformativeandevolvingspacesthatareperceivedindifferentways.SheisaregisteredmemberoftheCouncilofArchitectureandanassociatememberoftheIndianInstituteofInteriorArchitects. Jain, Principal Architect & Co-founder, Creative Architects & Interiors (CAI), Chennai ruminates on the advantages of integrated townships.

August 2022 ARCHITECTURE+ DESIGN92

ARE INTEGRATED TOWNSHIPS THE

ViewpointsVarshaJain

Integrated townships are self-sustaining gated communities that comprise infrastructures such as residential areas, schools, hospitals, retail outlets, and commercial complexes, along with strategically planned and safe open spaces.

Auric Hall

ARCHITECTURE+ DESIGN August 2022 93

Looking at the far-reaching advantages and positive impacts of this typology, integrated township projects are being encouraged by the state authorities via subsidized schemes, to promote holistic living through structured and optimal land use in India.

Looking at the advantages of the townshipstypology,ofintegratedarebeingencouragedbythestateauthoritiesviasubsidisedschemes,topromoteholisticlivingthroughstructuredandoptimallanduseinIndia.

and comfort, integrated townships promise safety, sustainability and healthy living. Dedicated pedestrianized zones such as open spaces, gardens, pathways etc ensure areas of interest for all age groups, whilst providing utmost safety.

August 2022 ARCHITECTURE+ DESIGN94

At CAI, we take up several township projects and attempt to approach each one with a different perspective, depending on factors such as context, land availability, client brief etc. Oxygen by Urban Tree, an ongoing project located in Chennai, is one such unique project. As the name suggests, the site has been envisaged with copious breathing pockets and green spaces between the built masses. The design and planning for this project are driven by the site and climatic conditions, ensuring maximum natural light and ventilation within all built spaces. Making optimum use of the 9-acre land, 15 low rise residential blocks have been planned to avoid unnecessary high-rise development. Additionally equipped with two commercial blocks, a clubhouse, ample landscaped area, a supermarket and other amenities, this complex is a perfect example of sustainable living in an urban setting. It has been acknowledged by the Indian Green Building Council (IGBC) with a prestigious green rating. Integrated townships, not only cater to households but also add to real estate value. They serve as a milestone for real estate investment strategies, opening up new revenue opportunities.

The reduced distances not only save time, but also lessen pollution and excess fuel consumption, nurturing healthy living. Sustainability lies at the core of the planning and design of such townships. This is achieved by optimising available open lands and employing green strategies such as organic farming, rainwater harvesting, sewage treatment plants, waste management systems, composting, and generating solar energy. These methods not only aid in making the controlled ecosystem self-sustainable but also results in energy conservation and efficiency.

I would like to subscribe to Architecture+Design... Name Age Sex CityAddress State Pin Mobile Landline Email Enclosed DD/Cheque No Dated Drawn On For ` In favour of BURDA MEDIA INDIA PRIVATE LIMITED. For outstation cheques please add `10/PHONE COURIER ONLINEWHATSAPP DELHI/NCR +91-9868413813 BURDA MEDIA INDIA PRIVATE LIMITED AMBIENCE MALL, 7TH FLOOR (AWfis), GATE NO. 4, AMBIENCE ISLAND, NH-8, GURUGRAM, HARYANA-122002 subscribe@burdaluxury.comwww.burdaluxury.comNO. YOURTYPE9868413813A+DANDEMAILID TERMS & CONDITIONS This offer is valid only in India. Subscription would start with immediate effect. All disputes subject to competent courts in the jurisdiction of Delhi or Haryana only. Burda Media India Private Limited reserves the right to cancel, extend or discontinue the offer or any part thereof without giving any reason or prior notice. Burda Media India Private Limited is not responsible for any postal delay. Conditions apply. I agree to be contacted on my contact numbers/email ID given by me for information/updation of my subscription (Architecture+Design) and other promotions. Yes No TICK TERM NUMBER OF ISSUES COVER PRICE FREQUENCY YOU PAY YOU SAVE 1 Year 12-Print + 1 Year Digital edition (FREE) `2400 + `900 MONTHLY `1800 `600+ `900 3 Years 36-Print + 1 Year Digital edition (FREE) `7200 + `900 MONTHLY `4320 `2880 + `900 WHY SUBSCRIBE?  Delivery to your doorstep  Receive your copy first  Never miss an IssueUPSAVETO OUR EDITIONSDIGITALFOR FREE! SUBSCRIBE NOW! 40%+

August 2022 ARCHITECTURE+ DESIGN96

THE EPHEMERAL RING

Concept Fabien Roy, the acclaimed Swiss architect and designer recently created the Ephemeral Ring installed on the site of Vallée de Joux valley in the middle of the Swiss countryside. The Swiss architect always builds a deep connection with nature in all his work and the same can be witnessed from his latest installation, commissioned by Vallée de Joux Tourisme (non-profit organisation) to mark the annual festival of Tour de France. His work effortlessly pushes boundaries by evolving at the crossroads of interdisciplinary collaborations between art, science, craft and new technologies.