D4Design - Editorial Portfolio

ore design for the sake of design. No more Architecture for the sake of Architectu eed Architecture to be more human, to be more relevant. No more design for the sign. No more Architecture for the sake of Architecture. We need Architecture to

We shall not make anymore boring Architecture. We shall not make anymore boring ArchiAN ANTHOLOGY OF SELECTED WRITTEN PIECES ON DESIGN AND ARCHITECTURE tecture.

We shall good design isnot make anymore boring Architecinclusive.ture. We shall not good design ismake anymore boring Architecture. playful.We shall not make good designanymore boring Architecture. We endures.shall not make anygood designmore boring Architecture. We shall preserves dig-not make anymore nity.boring Architecture We shall not make good design isanymore boring serene.Architecture. We shall not make anygood design ismore boring Archiresponsible.tecture. We shall not make anymore good design isboring Architecfor all.ture. We shall not make anymore boring Architecture.

We shall not make anymore boring DESIGN JOURNALIST HARISH KARTHICK VIJAY Architecture. We shall not make anymore boring Archi-

d4DESIGN

JOURNALISM + EDITORIAL

C O N T E N T S

Questioning irrelevances.

One issue at a time.

P. 6

// Foreword from the Editor

ESSAYS

P. 8

P. 16

Rethinking Avant-gardism: Challenges for Change

The Architecture of Words: Rhetoric, Subjectivity, Agency, and Exploitation P. 22

Design Thinking for Social Problems: A Less-traversed Path P. 28

Architecture sans Construction: Potential Futures, New Ways Forward

P. 34

Towards a Design Revolution: Equity for the Future

STORIES P. 42

P. 50

Dasavatara Hotel // SJK Architects

Xerolithi House // Sinas Architects

P. 56

P. 64

Lighting Design Trends // 2020-21

Concrete 3D Printing // Residences

P. 72

P.80

Netflix Review Interior Design Masters

Competition Brief - Design Journalism On a Quest for Relevant Architectures

REVIEWS, BRIEFS

INTERVIEWS P. 82

Conversations with Industry Experts Ar. Anup Naik // UrbanFrame - Space Matrix

6

// FOREWORD

”

D4Design is a first of many. A first in a compilation of personal works - essays, articles, stories, listicles, briefs, reviews, interviews, authored for, under, and with multiple people. A first attempt in giving this compilation the form of a Zine. A first collective expression of all that I have wanted to voice out, occasionally even yell out. A first approach to get rid of irrelevances that plague this discipline that we so call ours. And above all, a first step into the world of Design Journalism.

For the love for the Written Word, that enables Questioning, and in the process seek relevance.

7

Rethinking Avant-gardism: Challenges for Change A critical take on what the avant-garde culture encompasses, and what more it could be.

8

// FOR RETHINKING THE FUTURE

“I TAKE MY WORK VERY SERIOUSLY, BUT THE FAME, THE ACCOLADES, THE CELEBRITY, I DON’T LET ALL THAT GET TO MY HEAD”.

- ZAHA HADID

W

e are Architects. We are

always associated with being novel, innovative,

Designers. We ideate; we design;

sometimes radical, and initially unaccepted. These

we build; we perceive; we learn;

qualities could be attributed to people who are

we grow. This is all but a generalized perspective of

collectively identified as the avant-garde, an even

what we typically do. But we are all not the same,

older term, and the works of such people constitute

each of us has our own unique way of doing things.

avant-gardism. We continue to celebrate and try to

That we read; we write; we talk about things; we

learn from avant-garde architects but it is equally

express; we inspire; we are inspired; we look up to;

critical to rethink and reassess the relevance - of

we idolize; we expect; we speculate; we dare; we

us doing so. It is imperative for us to respond to

realize. Facts are that there are more than 2 million

progressing zeitgeists and stay relevant to time and

of us on the planet, but not all of us are celebrated

place. Here follows an account of the origins of

as much for the work we do, for the projects we

avant-garde culture, how it has progressed and how

realize. It is only a handful of names that gain

well it could be rethought to suit contemporary

recognition worldwide, that continue to be talked

times.

about in history for ages to come. Some call them starchitects, but the term gained momentum only very recently. Whereas, being a starchitect is almost

9

Craft and Canon:

etc., recognized by critiques for contemplation, admiration, interpretation, and determination of value.

The terms Architecture and Building have

In other words, a building has to be acknowledged

long been used in relation to one another, but what

and recognized by its contemporaries for considerable

distinguishes them? The two seem paradoxical, in

aesthetic merit, representation of cultural values,

that they are both hierarchical as well as equivalent

embodiment of intellectual qualities, tendency to

simultaneously. Pondering upon this dichotomy, one

challenge, confront, question and transgress established

finds that the simple act of building, or let’s say,

norms, historic specificity over the years, and a lot

the craft of building does not right away classify as

more. Works included by the canon become paradigms

Architecture. This could be traced back in history,

for subsequent practice. (Miriam Gusevich, 1991)

when palaces and churches and manses and the like

Ultimately, the canon is what makes Architecture the

were the only Architecture, whereas built forms of

diverse, reputed discipline that it is now. In a way, the

common civilians were just buildings. Time progressed,

most celebrated works in the canon are those of the

and over the last few hundred years, ordinary typologies

avant-garde, that they indirectly create standards for a

like houses, industries, hospitals, banks, museums also

building to classify as Architecture.

began acquiring the honour of being Architecture.

Again, what made them so? It is the canon that makes a building Architecture - the canon is the diverse collection of books, buildings, paintings, drawings,

10

“The avant-garde seeks a new praxis of social order, based on aesthetic sensibilities and creative potentials of individuals.”

What is the Avant-garde?

intelligibility, and the advocacy for continual change and development; this results in the avant-garde

Literally, avant-garde is French for the front

constantly being in a state of crisis with traditional

part of a marching army, which goes forward first.

establishments. It was also a view of the avant-gardists

Metaphorically, the term is associated with things that

to abolish the autonomy of art as a separate, distinct

are ahead of their time, cultural objects and practices

institution, to give way for a new praxis of social order

that are radical and innovative. Avant-gardism in

based on aesthetic sensibilities and creative potential

Art and Architectural History refers to a series of

of individuals.(Peter Burger, 1974)

progressive political, cultural and artistic movements.

In almost all cases, each of these movements was

perceived to be radical and controversial of their times

various stages of avant-garde movements as four

but began gaining acceptance and recognition later,

moments:

as they embodied cultural progress. Literary critic

•

Matei Calinescu regards Avant-gardism as a conscious

Activism: Associated with adventure,

dynamism, and an urge to act, not typically with a

quest for crisis, whereas Architectural theorist and

positive goal.

researcher Hilde Heynen views it as a continuous

•

cycling of short-lived movements in rapid succession.

Italian writer Renato Poggioli describes the

Antagonism: Refers to Combativeness - to

struggle against tradition and public establishments.

The prime ideals of avant-gardism are the

rejection of the traditional ideals of order,

11

•

Nihilism: Activism and Antagonism of the

As unsurprising as it may seem, avant-

avant-garde lead to a nihilistic quest - an unending

gardism has received quite a number of critiques and

one for purity, refinement, and change, ultimately

criticisms over the years. Most of these focus on its

dissolving into nothing.

irrelevance during its times: there have been multiple

•

instances wherein works of Architecture were created

Agonism: The avant-garde sacrifices itself at

to just make a radical statement. A classic example

the end in the name of progress - an agonistic facet.

is Corbusier’s Villa Savoye, a modernist masterpiece, that was forced on clients who wanted a quaint house

Relevance, Critiques:

with a pitched roof (Alain de Botton, 2006). It became

A prime reason for the controversy that avant-

was intended to manifest Corbusier’s five points of a

gardism creates is its unsuitability during its times, and

new architecture. The interiors of the house were later

its quest for perpetual progression - the avant-gardists

redesigned to match the clients’ aesthetic taste. Ivan

try to answer questions and solve problems that are

Chtcheglov, a French political activist and theorist,

not the most important of concerns of that particular

states in his Formulary for a New Urbanism,

quite a tragedy owing to its leaking flat roof, which

period. Nevertheless, such works become more

relevant and sensible a while after they are created

“We will leave Monsieur Le Corbusier’s style to

him, a style suitable for factories and hospitals, and no

- as stated previously, they create standards, paving

doubt eventually for prisons. (Doesn’t he already build

multiple ways for Architecture to progress as zeitgeists

churches?) Some sort of psychological repression dominates

change. An example would be that, during the time of

this individual …. such that he wants to squash people under

Corbusier, modernism with its quest for stark, minimal

ignoble masses of reinforced concrete, a noble material that

aesthetics in form and character was avant-garde and

should rather be used to enable an aerial articulation of

radical; whereas, after World War 2, modernism

space that could surpass the flamboyant Gothic style. His

became the norm - the style for reconstruction and

cretinizing influence is immense. A Le Corbusier model is

development - as an appropriate answer to questions

the only image that arouses in me the idea of immediate

of the built environment. Here is where avant-gardism

suicide. He is destroying the last remnants of joy. And of

remains true to itself - it drifted apart from this newly

love, passion, freedom.” (1953)

created norm to favor International Situationism, along its quest for progression. That the avant-garde always favors radical innovation and rejection of traditions becomes apparent.

12

Although the Villa Savoye was not what its clients wanted, it continues to be celebrated purely for its radical expression of new ideals.

Criticisms and critiques as attacking as this reveal the degree of acceptance avant-garde projects had during their

respective times. True, although the innovative attributes of the avant-gardists are worth celebrating, it is still irrelevant to force a means of expression or a statement, especially in a discipline like Architecture that is not just pure art.

13

Why celebrate Avant-garde?

to the general public. (Hilde Heynen, 2004)

the

Furthermore, as it grew in popularity, it became that the people associated with the movements

Despite all the critiques, both the canon

were celebrated far more, than the movements

and the craft, academia and profession continue to

themselves - this might herald the beginnings of the

celebrate Avant-gardism and Avant-garde projects for

starchitect era - by this time, such Architects were

a multitude of reasons - prime among them are the

regarded by popular culture as celebrities. At the

degree of innovation and radical thought processes

same time, buildings became frequently viewed as

that inform the design. That they first attempted to

profit opportunities; that creating a certain amount of

speculate and pave the way for the future of the design

scarcity or rather uniqueness gives more value to the

discourse through experimentation. That they drifted

investment, thanks to the Bilbao Effect. (Wikipedia,

away towards other allied disciplines and domains,

Starchitect) As the same trend progressed, the canon,

encouraging interdisciplinary approaches in design

inevitably began idolizing starchitects, rendering them

and problem-solving. That they exemplified what

almost a god-like-complex.

Architecture could become, and set up ideals for the

community to look up to.

It is again, not a surprise that Academia

and Profession revolve around the works of the big

As much as we celebrate the avant-gardists,

names. The celebrity status conferred to the big names

there seems to be an equal degree of aspects that

refrains them from designing for the general public,

are not commonly spoken of, aspects that we hardly

designing for welfare, or designing without making a

let non-architects come across. One of the most

statement. Plus, the degree to which architectural

prominent claims of avant-gardism is to strive towards

pedagogy depends upon avant-gardist ideologies and

flattening hierarchies to create an egalitarian society.

the relevance it possesses to real-life conditions is quite

Whereas it was contradicted by their own crisis for

something to ponder over.

perpetual progression - such works were realized for and represent the elite. This inevitably gives rise to elitist hermeticism, rendering its services inaccessible

14

What more could the Avantgarde be? What more could the Architecture Community do?

sustainable be the new avant-garde; zero-energy be the new avant-garde; resilient be the new avant-garde. The paths are many.

Architect Chris Precht says that the era of

It might appear that it is not entirely on the

the ego is over, the era of the star-architect is over.

avant-gardists, but also on the canon that recognizes

What this could mean for avant-gardism and the

them. It is time that we make sure that the works of a

design discourse is that our profession could begin to

few do not overshadow the works of the others; that

move further towards solving actual issues that matter,

we equally recognize the works of younger, smaller

beyond just progressing on and on to make statements.

studios, as much as we do the big names. Again, it

Of course, the avant-garde spirit for innovation and

is time that we step back a little from celebrating

change could guide the discourse to go forward in

modernism as much, and rather look at the zeitgeists

providing answers to real-life problems. In this way,

of the present and emphasize the issues at hand. It is

it is possible for the avant-garde to actually make the

time that the canon challenges the avant-garde to not

society more egalitarian; it is possible to direct all the

just design for statements or expressions, but rather

zeal for change and progress to make life better.

for creating meaningful change and action.

If we were to relook the Four Moments of

In an interdisciplinary world, as now, where

the Avant-garde in this light, it would very well make

conventional labels and boundaries are blurring, the

more sense to act with a positive goal, and to struggle

Avant-garde shall experiment, speculate, invent and

against existing human issues like climate change, food

innovate for the wellbeing of all on earth.

scarcity, and homelessness, to retrieve the original

-----

avant-garde passion. In this way, it is possible to completely evade the avant-garde notion from being a nihilistic one: that inclusive be the new avant-garde;

At a time and age as now, the avant-garde could be driven toward newer directions: that inclusive be the new avant-garde; sustainable be the new avantgarde; zero-energy be the new avant-garde, resilient be the new avant-garde.

15

// FOR RETHINKING THE FUTURE

“....the open space here, due to its central location, naturally invites people to sit down and interact…” says a famous designer about their work. “....due to the novel technological advancements in construction creating this stark, dynamic form, the development is expected to attract hundreds of thousands of visitors annually….” says another, about their architectural creation. “....the massing, form, and space letting in light and air are all man needs….” claims yet another.

I

t has undoubtedly become a habitude for

the Design and Architecture community

are highly subjective, but are we slowly nearing a

to idolize such ways of layering a piece of

point where we are exploiting this factor? What

architecture on and on with words. Rhetoric is as

happens to the authenticity of our discipline and

indispensable a skill required for a contemporary

our canons, if stupendous claims are what we

architect and designer, as drawing or visualizing,

make? Let us throw some more light onto these

or problem-solving. Whereas, once a project

issues to deliberate them further.

is realized, we hardly pay as much attention to

Of course, spaces, architecture, and design

(In simple words, “Canon” refers to the books,

whether or not people use spaces as we claimed.

drawings, works, ideas, theories, etc.. that are

True, although our works do have a magic of doing

recognized by critics, scholars, and peers which

what we claim they do, then to what degree is it

make Architecture a “discipline”, from a mere

actually achieved? There have been instances where

profession.)

such claims made by really successful and famous architects have gone rather invalid, as reality did not turn out as they had foreseen.

16

The Architecture of Words: Rhetoric, Subjectivity, Agency, and Exploitation A Critique on the jargon and rhetoric culture within the academia and profession of Architecture 17

Bare Architecture: What does it say for itself?

around. They see the walls, the floors, the roof, and ultimately their unison - the space created by these elements. Sometimes, the user just doesn’t see the

If not for our words to clothe our works, a

space at all; sometimes they are just interested in the

single piece of Architecture can express and incite a

form, the material, the texture, the visual and tactile

multitude of notions in the minds of the spectator.

notions of each of these elements, and what they

Ideally, it is not for the Designer or the Architect

make them feel. Sometimes, they don’t use space as

to influence how any observer would perceive the

it is intended to be, but find their own means to, in

design, considering the fact that our canon depicts

unforeseen ways. Space communicates with them in

the discipline to be noble and of high reputation.

their own language, rather than what the designer gave

Besides, it is certainly not for us to lean towards just

it and intended it to. Where the Architect has created

a desirable side of a subjective facet in any work of

a huge mass of exposed concrete to be true to the

design; architecture can be perceived as a functional

material and create an expression, the common user

piece of art to inhabit and use, and as such, could elicit

may see emptiness, monotony, and a state of lack of

a diverse variety of responses, emotions and the like.

life. Where the designer has inserted tall, Herculean

Instead of steering subjectivities to our will

towers along an urban avenue, as a way of expressing

and wish, it would make more sense to analyze and

their prowess in design, the common user may feel out

understand what space would mean to people from

of scale, intimidated.

a common user’s perspective. Let us examine this

through one such typical real-life scenario:

Rhetoric may be of help to the canon, but in

praxis, Architecture speaks for itself; if only we design,

In pursuit of comprehending the Architecture

being mindful of what actual impact space has, rather

and the function it houses, the common user navigates

than claim it to have one.

18

“The Canon of Architecture glorifies the profession to great extents, wrapping it in layers and layers of narrative, that the Architecture hardly speaks out in itself.”

Origins of the Rhetoric Culture:

an Architect picks it up right from academia: with design school being a place for learning much of the

There has been considerable debate about

professional jargon, it goes on perpetually all the way

the way a piece of Architecture is talked about in

through professional life. In some cases its effects are

the canon. The nature of such written works could

well pronounced, with designers sometimes not being

be diverse, ranging from commentaries and critiques

able to present an unbiased outlook of their works;

to accounts that venture dangerously close to

they weave layers and layers of eloquent narrative,

advertisement: such texts glorify every aspect of the

that the Architecture ceases to speak for itself. This,

design talked about, hardly giving any space for the

at times, is fuelled by peer conversations at the studio,

reader, the observer, or the spectator to form their

where presenting one’s work without an exaggerative

own views about the subject. It ultimately rests on the

narrative is simply impossible.

shoulders of the writer of the piece, whether to write a commentary, remaining neutral in their approach to

design deliberation; or to advertise, safely preventing

subjectivities of human agency and behaviour to its

the reader from building up a perspective.

stead, building up an ideal, flawless façade, wrapped

All the while here, the rhetoric steers the

without imperfections.

It might be safe to assume that this is one

of the origins of the rhetoric culture. A designer or

19

Design and Human Agency:

India, we see densely crowded spaces like chai points and chhat junctions that are just not architecturally

Sociologically and philosophically, agency refers

designed or thought about, but are still hotspots for

to the capacity of human beings to act independently

interaction, conversation, and gathering; facts as these

and make their own, free choices. Architecture and

sometimes make us rethink our fundamental dogmas

Design have long been critically acclaimed for their

about urban space inserts.

capabilities to shape human agency and behaviour, for common good. The influence of spaces on human well-

being, and the associated factors affecting it have long

lines would be the design of open spaces in the Indian

been deliberated, and to an extent, it has been quite

Institute of Management, Bangalore, by veteran Indian

possible to realize Architecture with such competence.

Architect B. V. Doshi. The open spaces he crafted

A rather lesser-known example along such

for students, amidst different blocks, are comparatively

Agency, again, is governed by an almost

less used as students preferred hanging out in their

innumerable amount of factors - each preceding and

hostels; not because the design had an issue, but that

succeeding the other with sequence, feedback, and

the hostels had better Wi-Fi coverage. When factors

reflexes that create varying degrees of complexity in

as these take up significant roles and govern human

thought and action. Likewise, the role of space in

agency, design just takes a backseat; the same stands

governing human agency is equally complicated, with

true for other well-designed urban inserts that cease to

no one single factor inviting an individual to use a space

operate efficiently over time.

or vice versa. This understanding of agency might explain how people, in general, are attracted to certain

It might now make more sense to tone down

spaces more than others. If we were to extrapolate

our ways of steering subjectivities as we pleased. That

the same ideal further to understand this behavior, we

space can aid and support human behaviour is evident.

might observe a set of patterns in the kinds of spaces

That space can create or break human behaviour all on

(for example public, urban space) that people use

its own, is questionable.

more: in other words, they have physical attributes like ease of accessibility, contextual significance, cultural

“What People do , with their ability to make their own free choices is dependent on diverse aspects and conditions; space is one such factor, but it is insensible to perceive it as the only factor.”

markers, and so on.

Attempting to manifest these aspects as

a design intervention would certainly draw people to it; conversely, it is also noticeable that there is a good number of such design inserts in cities that do not function as expected. Especially in a country as 20

What more could the Design Community do?

A smart, sensible way forward would be to ensure that narratives or works talking about design are only

descriptive, documentative in nature, and stating objective facts over subjective claims as much as possible. It is the reader, the viewer, and the spectator who are supposed to build perspectives, not the conveyor; doing otherwise would only render the account biased, short-sighted, and superfluous with sheer ambition.

In a world as fast-moving as ours, and during times as changing as now, Architects, Designers, and everyone

creative shall re-commence focusing on things that matter more, things that make life better for all on earth, and things that are not exploitative of subjectivities.

If it were only possible to objectify the subjective!

-----

21

Design Thinking for Social Problems: A Less Traversed Path Essay on the Principles of Design Thinking that help alleviate pre-existing Socio-Economic Issues.

22

// FOR RETHINKING THE FUTURE

F

or a long time now, design has been

humanity more strikingly than ever, and design is

perceived as a means to solve problems

in the most suitable position to solve such issues.

- to create solutions, in the form of a

product, a space, a system, a model, an experience,

Design Thinking, in simple words, refers

to the problem-solving approach imbibed in design

and so on. Likewise, for years, it has only been used

processes adopted by creative professionals; the

in the realm of creative fields and domains where

same, when applied to real-world problems have

the expertise of designers is used to create a tangible

a great potential in making this world and society,

end goal. During a time and age as now, design has

better, more inclusive, and in general, happier places

a viable scope to step out and make actual change in

to live in. Let’s deliberate further to understand

fields beyond the usual: the largest, most significant

Design Thinking and how it could be the tool to

problems that need solving do not lie in the creative

help solve larger social problems.

fields, but in the real world. Problems of pertinence to society and the environment are looming over

23

What does Design Thinking entail?

Design thinking is normally associated with

multiple phases/stages/modes; the most common ones are the following five:

As a problem-solving tool, design thinking

involves assessing the known aspects of a problem to

Empathize: To empathize with the users means to

identify the more ambiguous factors, in an attempt to

understand the needs and demands of the user; to put

redefine the existing conditions with which a problem

oneself in the users’ shoes to come close to what they

is interpreted. It aims to understand the problem

experience, and what they would expect from a design

iteratively, to venture beyond preconceived notions,

solution.

and analyze its multiple facets to identify the root

Define: To define is to fully identify the problem to

causes of the problem. By challenging the assumptions

solve, and to analyze it iteratively with the insights

made about an issue, design thinking transgresses

obtained over time.

existing patterns of thinking, to give way for new means of thought and action.

Ideate: Ideation revolves around challenging existing assumptions and creating ideas for innovative solutions.

A key idea behind this strategy is its user-

centric approach to solving problems: by understanding

Prototype: Creation of solutions and materializing

and analyzing the conditions that govern how users

them occurs during prototyping.

interact with existing solutions, their shortcomings

Test: The solutions prototyped are introduced to real-

are discovered, and through a series of iterative steps,

life conditions to test them for practical relevance and

newer, more improved design solutions are created.

compatibility.

24

What sets Design Thinking apart?

solution more informed and relevant; consequently, the process becomes bottom-up rather than a top-down one, further localizing the design solution, enabling it

The design thinking strategy differs significantly

to function efficiently for everyone involved.

from normal methodologies of providing solutions, in that the process is hardly linear and sequential. Each of

the aforesaid modes overlaps with one another to such

makes sure that the solution provided is far-sighted

extents that there is frequent going back and forth;

and is inclusive of everyone involved in the problem;

this puts the designer in a continuous state of learning,

they are holistic answers to multiple, subjective issues,

un-learning, and re-learning, to better understand the

provided based on rational and analytical research.

design problem at hand. Further, doing so enables

Besides, it is becoming highly popular to directly

designers to comprehend user behavior well - when

involve the users in the design process - participatory

designers shadow their users with a goal of ideation in

design makes sure that everybody knows and

mind, it becomes more efficient to craft design solutions

understands the issues profoundly, and that there is an

based on precisely what they need. Alongside, crowd-

active contribution from the users in problem-solving.

sourcing data from the users inherently makes the

25

The outside-the-box approach undertaken

Design Thinking for Social Problems:

represented by openness, curiosity, optimism, and a tendency for progressive learning through doing and experimentation.

Two areas outside creative fields where design

thinking could make revolutionary change are social issues and environmental concerns. True, the degrees

Case Example - The Positive Deviance Method:

to which such strategies go close to users and stakeholders could be effectively made use of to rectify issues pertaining to society. Plus, the design thinking

methodology being inherently human, could go a long

at that, for design thinking employed in a real-world

way in emancipating contemporary societies from

socio-economic problem, was the Positive Deviance

irrelevant status quos.

Initiative by Jerry and Monique Stermins, with the

A highly noteworthy example, an early one

Government of Vietnam. They were asked to develop

When applied to social problems, design

a model to decrease malnutrition amongst children

thinking can be used to craft product-service

in around 10000 villages; it was during the early

combinations that are intended to create an experience

1990s when around 65% of children under age 5 in

to do away with such issues. In doing so, the social

the country were undernourished. Existing solutions

problem is identified as a design problem that could

relied on supplements provided by a few UN agencies:

be solved by creating services, models, or experiences.

they were regarded as outsider solutions that hardly

There have already been multiple such instances and

achieved the desired results.

projects done around the world - they either aim to gradually better and optimize the pre-existing

conditions within which they operate, or create newer

methodology, called Positive Deviance, which looked

frameworks for a redefined means of function.

for localized solutions, that already existed within such

Alternatively, the Stermins employed a

communities. After researching existing food supply

Further, design thinkers for social issues

systems and surveying local communities, it was found

usually hail from different backgrounds and domains,

that parents belonging to extremely poor families

that when they collaborate to solve a problem, it is

added in the meals of their children, shrimps, crabs,

possible to perceive the same issue through multiple

and snails that were found in the paddy fields, along

lenses and angles. Likewise, design thinkers for social

with the usual rice, greens, sweet potatoes, etc… After

problems are expected to possess distinctive skills

identifying the same pattern in multiple such families,

in their own domain to effectively contribute to the

it was found that such children were considerably

outcome, as well as possess empathy for people,

healthier than the rest; besides, such families were

disciplines, and domains outside their own - this is 26

only capable of offering smaller meals to children,

poverty and associated communal issues through

but they did so multiple times a day. This benefitted

multiple projects and undertakings, significantly using

the children even further, with their smaller stomachs

such principles.

consuming more food over the day.

The Stermins regarded such factors as

New Ways Forward:

“positive deviants”, as they discovered rare behaviors in the local communities that collectively benefitted

the children when applied on a larger scale. They

is constructed stone by stone and the same may be

conducted cooking classes through a program,

said of our communities and our society. There are

employing the positive deviants, and by the end of the

multiple layers in every society, and as such, in every

first year, more than 80% of the participating children

social problem that we encounter. Likewise, the

were adequately nourished.

most compatible solutions for all such problems, lie

It was said with truth that every building

with the society - localized, contextual, and relevant.

Projects like these reinforce the potential of

Design thinking can go a long way in solving problems

design thinking in solving large-scale social problems:

pertaining to society, and in providing functional,

a localized solution as seen in this example, after

efficient solutions that sprout from the society itself.

iterating and implementation can significantly yield working, more efficient solutions, than their outsider,

top-down counterparts.

thinkers, to move beyond conventional problem-

It all lies in our hands, as designers, as design

solving ways towards more dynamic, more suiting and

Besides, projects undertaken by the leading

above all, more necessary means to make the world a

design and consultancy firm IDEO highly make use of

better place to be in.

the design thinking principle in solving social problems.

Their not-for-profit wing Ideo.org has been tackling

-----

27

// FOR RETHINKING THE FUTURE

F

or a long while now, Architecture has

for everyone. Likewise, we should take note of the

been regarded as the art and practice of

systems of construction that are commonly adopted

designing and constructing buildings.

in building: conventional materials after their life

It is in constructing and building something

cycles end up in landfills, and the most common

that Architecture manifests itself, at least from

amongst them - concrete, requires a very labor-

a generalized perspective. Whereas, the whole

intensive recycling process.

component of design and problem-solving, that

goes behind construction, is not perceived as much

will become of Architecture; Will there be a need

from the user’s point of view, for the design process

for medium and large-scale construction processes

is largely intangible in itself - only its output is seen

anymore at all, in the distant yet foreseeable future?

and felt.

All of this makes us wonder about what

What roles will Architects play, in a future where

It is certainly unavoidable that we are

the practice of construction has diminished? What

steadily progressing towards a tipping point, by

other means could be adopted to make use of an

which time, the world becomes devoid of most

existing built form, in a way that it suits functions

of the conventional materials that are in practice

other than what it was designed for? How can

at the present. One could also say that a similar

we be more sensitive in the way we deal with

hypothetical tipping point could be reached, in

buildings after their life-cycles? Let us attempt to

the distant future, when the needs of the built

answer these questions to deliberate further and

environment for most people on earth are adequately

speculate a bit more about the potential futures for

taken care of. Thanks to the efforts that humanity

Architecture.

is collectively putting together to make life better 28

Architecture sans Construction: Potential Futures and New Ways Forward

Speculative Work on the future of the AEC Industry in a resource-barren world.

29

On the sustainability of existing processes and systems in construction:

Urbanization, migration, and the associated problems never appear to ease: they are at new maximums with every passing day.

Imagine living in a densely populated

This might appear to be normal, for most of

metropolis; you inhabit a multi-storey housing

us; humanity is constructing and constructing, over and

complex that is designed, keeping in mind just the bare

over, in what little space there seems to be available

minimum of the required open spaces and landscape

in our urban areas; we either utterly maximize on the

patches. The complex is an imposing concrete edifice,

bare minimum, or we go on converting the fringes of

constructed to create housing units to maximize the

the urban in the name of development.

capital. You have to commute a considerable distance

between home and the workplace, university, or the

Whereas on the other hand, we hardly give

ourselves the time and space to pause and think, as to

like and find yourself using a mode of transport to

what would become of everything that we have built:

reach your destination. You see the roads, becoming

the humongous masses of reinforced concrete that

increasingly crowded with vehicles of every sort,

dominate our urban spaces are hardly recycled; even

rummaging through nooks, moving inch-by-inch in

if they are (shredded or pebbled), people are generally

the busy mornings. To alleviate the jams, development

unwilling to use recycled concrete aggregates into

authorities construct newer roads, highways, and

construction, owing to quality concerns.

bridges, supported on massive reinforced concrete pillars, rendering a dull grey outlook to the cityscape.

30

“Most of the concrete that we use to build our gargantuan towers and skyscrapers could not all get recycled, and will eventually end up in landfills harming the environment”.

Alternatives in building materials and systems of construction:

A great proportion of all the concrete used

ends up in landfills, and now with a huge surge in construction activity in cities over the last two decades, the future of construction and demolition

waste (C&D) remains bleak and impending.

The most significant alternatives posed to

do away with the usage of conventional materials

Besides, the manufacturing process of

could be narrowed down to those made of timber

Ordinary Portland Cement, is one of the most carbon-

and earth. Obtained from nature directly, they are

intensive in the world - manufacturing one tonne of

the most sustainable options available - timber could

cement produces more than 1000 pounds of carbon

be replenished over and over by mass afforestation

dioxide; furthermore, manufacturing of other building

practices, and earth has high capabilities to be reused.

materials, including the mining of raw materials, have

Several Architects around the world have put together

been highly unsustainable, and they simply cannot

efforts to promote the use of such materials: newer

be continued in the long run. We are all aware of

systems of material production and construction

this: existing building construction processes and the

have been explored in recent years, and have yielded

associated systems of material usage and disposal are

commendable results.

not viable for the planet. The answer, the solution has

been evident for quite a while now, but most of us

What this might mean for the future of

construction, within the purview of this deliberation,

seem to turn a blind eye towards them and continue

is that collective attempts could be made by the

to live in the bliss of unconcern.

31

Architecture community to slowly replace existing

structures made of concrete, so that they could be

existing structures in our cities - instead of entirely

recycled and reused elsewhere beyond their life cycles,

demolishing and erecting new buildings, adaptive

whilst newer, small scale construction could be taken

reuse could very easily transform existing ones to

over by sustainable materials based on earth and

suit the required function. Plus, transformation of a

timber.

building would almost always be simpler, economic,

It is a very sensible way forward for most

and environmentally viable, than constructing from

Again, it is almost entirely upon Architects

scratch.

and Designers to explore and experiment with newer means of material systems and construction, that it

is possible to achieve circular economies in material

building materials, adaptive reuse will be the most

usage.

suitable avenue for Architects to work with.

Adaptive Reuse of existing buildings:

Towa r d s i nt e r d i s c i p l i n a r y futures:

Adaptive reuse refers to making use of an

In a potential future devoid of the usual

From the perspective of a student architect

already existing building, for a purpose other than what

and a young person, it is very strongly noticed that

it was designed for. It is a method that is becoming

well-experienced, seasoned Architects hesitate to

increasingly popular, as it eliminates the demolition of

collaborate with people from domains other than

old buildings, in favor of redesigning: this dramatically

their own. Such Architects regard the Autonomy

reduces the overall cost of a project, whilst also posing

of Architecture to be more significant, and that

no harm to the environment. Adaptive reuse of heritage

collaboration with other disciplines would blur the

buildings greatly promotes the use of such spaces,

distinction that Architecture has, and restrict what

rejuvenating them and making them more relevant to

it has to offer individually. Although such were the

contemporary zeitgeists; further, it gives the building

conditions and contexts with which they worked,

a new character that blends with the original, creating

the same cannot be said to hold good in the years to

novel means of socio-cultural expressions. Adaptive

come. Collaboration has now become more possible

reuse could very much become the norm in the future,

than ever, and working from remote places, whilst

attempting to eliminate new layers of construction in

being virtually connected to everyone has opened up

the urban, and in a way helping in urban regeneration.

possibilities we were unaware of just a few years back.

32

// VILLA SAVOYE, LE CORBUSIER

Vision for the years to come:

Architects, designers, scholars, researchers, and

a lot more professionals are working in fields beyond just

their own, to apply knowledge to newly conceived issues

With the world in a course of gradual progression,

development in terms of infrastructure becomes a

and in diverse scenarios, to create solutions, products, and

significant factor; whereas, when the same is taken

systems that solve inherent human problems - problems

forward without a concern for the environment or the

concerning carbon emissions and climate change, of food

sustainability of the processes, the actual development

production, of environmental pollution and degradation.

may not be as efficient in the long run. There might

Interdisciplinarity possesses way more relevance to

potentially arise a time when virgin construction itself

times as now and the near future than ever before, and

would be seen as a notion to minimize and evade - the role

Architects are involved in projects and systems that

of Architects in such scenarios would be as significant as

are beyond just mere building. Collaborations between

in the present, provided we adapt to changing zeitgeists.

Architects, Designers, with professionals like Biologists, Material Engineers, Fabricators, Scientists, and a lot

There might come a time when we would not

more, have opened up discourses that have largely been

need new construction at all: this does not mean we do

unexplored. And it is for us in the present to make sure

not need Architecture, for it is perpetual in whatever

that Architects in the future are not professionals involved

form we give it, and in whatever process we adopt -

just in building and construction.

be it constructing with primitive materials as earth, rejuvenating and regenerating the old, or the like.

33

-----

Towards A Design Revolution: A New, Equitable Way Forward for the Design Discourse Essay on how Space, Architecture, and Design could bring about Social Inclusivity and Equity.

34

// FOR WRITING ARCHITECTURE TROPHY, YEAR 63, NASA INDIA - A COLLABORATIVE WORK WITH MS. DISHA LAKSHMI FROM BMSCA, BANGALORE

“HISTORY WILL HAVE TO RECORD THAT THE GREATEST TRAGEDY OF THIS PERIOD OF SOCIAL TRANSITION WAS NOT THE STRIDENT CLAMOUR OF THE BAD PEOPLE, BUT THE APPALLING SILENCE OF THE GOOD PEOPLE.” -

- MARTIN LUTHER KING JR.

I

t was said with truth that every building is constructed stone by stone, brick by brick, and the same may be said of the society that we live in. Constituting of multiple smaller units, the society encompasses Space, Architecture and Design that play a pivotal role in shaping human agency and

behaviour. We, as Authors, having analysed the multiple social issues of inequity that prevail, put forth here our proposition, through design, which could help better current under par conditions. We believe, and have undertaken a critical approach embodying our vision, being a voice for the voiceless.

35

Architecture and Society over the years – a less traversed path:

So now arises a question about the social implications of Architecture since its early days - as to what it meant to the general public. We could firmly an-swer that,

Ever since Architecture became a proper discipline

Architecture as an art form was made to represent and

that was studied and practiced beginning centuries back,

belong to one faction of the society only, unmindful of the

the built spaces and environments that were considered

larger whole of culture that it is supposed to be a part of.

Architecture were the monumental ones - starting from places of spirituality and worship, it took up the multiple

forms of palaces, forts and villas, each with their own

was in question in our country as well. We may take pride

elements of sophistication. Such flamboyant, pretentious

over the rich heritage of spatial and town planning of India,

works then went on to solely represent the Architecture

as devised by our ancient treatises, but the degree of class-

of their time, now rendering a pseudo perspective,

based inequality upon which they are defined and based,

overshadowing the more subtle, the more normal and the

when viewed from a social perspective, is not something

more prominent built spaces of those particular times.

that we may boast of. When the roots are crippled, and

Right to public space and amenities, for everyone,

the trunk hollow, the fruit that is borne is quite sour.

It is an undeniable fact that the patrons of the

then Architects, shaped our discipline to be one that represented power and grandeur, inciting a sense of intimidation upon the common human perceiving it.

36

Space and the Strata of Contemporary Society:

the greater good.

Coming to the other spectrum of human society,

We study the social dynamics of Architectural and

we perceive the subtle, quaint, built expressions of the

Urban Space across two varying strata of contemporary

rural, the vernacular and the non-urban. Before analysing

human societies. Starting with the city, one finds its

the positives and issues of such communities, it is essential

characteristic to be the centre of socio-cultural and

that we throw some light on their lack of representation in

economic activities, with a high concentration of people

contemporary Architectural discourse. Rural, vernacular

and their built environments. It stands out as a hub for

communities are typically culture oriented and organized

transportation, communication and industry, and thus

around the elements of their occupation. Though they are

employment. The urban, public space is the primary entity

self-sufficient and self-reliant, they do need access to public

that binds together these different functions.

systems, amenities and infrastructure. As Architects, we

fail to see that they are also communities that we could

While the one face of the Indian city depicts

design for. As Architects, we fail to recognize and reach

economic development and has improved lifestyles, the

out to those rural settlements that are in dire need of

unfortunate other is under multiple crises. This other is

development that we could play a significant part in. As

usually veiled and concealed from reality - a significant

designers, we fancy ourselves working in the niche of

proportion of the youth here are unemployed; the common

urban sectors, but what about the non-urban? Why is it

human is not stable enough economically to afford a roof

that we don’t involve our-selves with the rural? How are

over their head, which forces them to lead under par lives

we constantly talking about becoming a developed society

in whatever dark, dingy space they get. The people that

and country, when we don’t design for our villages? The

hail from such spaces just don’t have an opportunity to

answer has always lied within us.

access basic amenities nor could they satisfy their social needs. Now that the fancy, urban spaces are all confined

to the city’s good half, the underprivileged are naturally

communities and their built spaces and environments

deterred from accessing them. Class based stereotyping of

are well defined, naturally enhancing the interpersonal,

public space has been on the rise for a long while now.

human connect amongst people. With our cities in the

Nevertheless, the social organization of rural

perils of inequality and social indifference, the villages

Here comes the unmindfulness of the Architect

rather, are in a much better state. As Architects, we need

and the Designer, towards social inclusivity - without

to bring about design interventions in urban areas that

being empathetic and sensitive enough to the needs of

are as socially inclusive as in the rural, and bring about in

everyone, we go on designing public realms that cater to

the rural, the advancements in amenities of the city, thus

just one subset of a large society. If only we had made

bringing about a balance between the two.

public spaces that everyone could relate to and use, for 37

S h a p i n g t h e Wo r l d , w i t h Everyone:

by designing with people rather than designing for people - this is achieved by involv-ing the users through the long-time design process and by adopting crowdsourcing

Now that we have witnessed multiple issues and

methodologies. Participatory Design could be enabled

inequities that space creates and ag-gravates socially, we

and enhanced by long term stakeholder involvement.

study, put forth and elaborate on long term remedies that bring about a positive change in the way space is designed,

4.

perceived and used. It is discussed pro-cedurally as below:

as a profession has made little effort to acknowledge the

1.

works of all genders, races and calibres. It is high time

Right to Space: Architects and Designers should

that we change our perspectives about and perceive the

play their best part to make space accessible for everyone.

rich diversity in our own discipline, so that we are better

Public space should be regarded as a fundamental human

able to represent and acknowledge all the people that we

right, one that is not confined to any particular sect of the

design for.

society.

2.

5.

Design for public and environmental interest: A

Social Design as a System: We should

understand that it is our role and respon sibility to come

larger portion of Designers and Architects should shift

up with a system of design that prioritizes social change,

towards and prefer pursuing projects that are inclusive

focussing on all the users, addressing their basic issues

for all, those that are the need of the hour, those that

and requirements firsthand. Design should not just be

would eliminate crises and issues socially as well as

a process or a problem solving tool, but rather a social

environmentally.

3.

Design Inclusivity: Over the years, Architecture

norm of progress and overall development.

Democratising Design: In a time and age as this,

we Architects should be empathetic enough to better understand our user groups. One way to address this is 38

Equity in Design, Equity through Design:

It is a welcome notion that such inclusive,

participatory, social design methodologies are already in practice and are well implemented in a few Indian cities.

NextBangalore is such an initiative that attempts to solve the issues of public urban space.

“NextBangalore brings the concept of

crowdsourcing urban future to India’s innovation city. Started by Bangalore-based MOD Institute and Nexthamburg from Germany, NextBangalore aims at collecting the people’s knowledge about places, challenges and opportunities in the city.”

Likewise, two decades ago, architect Ronald

Mace imagined a new standard, in which anything humans make — a new piece of technology, a public park, a household product — is usable by everyone. He called this idea “universal design.” Today it’s an enforceable legal standard in Norway. “One way to help us get there?

Make sure the design process itself is also accessible to all.”

Another interesting point to notice here is that

a Mumbai based design collective called ARC.HV has been putting in some efforts to make design accessible to all. The firm has curated a completely open source design library, accessible and free of cost to everyone, created by their collaborators.

Such initiatives are so relevant in the contemporary

times, that it is essential more designers come forward to contribute to and celebrate design equity.

39

The Four Order Approach - A New Modus Operandi:

responsibility to better regulate their working conditions and returns, in a way that our discipline and discourse makes their life a little better.

Drawing from the aforementioned developments

and research, and the potential issues discussed, we

propound a system that includes, portrays and addresses

towns should be made to benefit from localized, small

the said shortcomings through the four prime visions of

scale projects and initiatives.

our approach.

Order 3 - Of the Environment:

The approach here rectifies the existing system,

to bring about a broader equity and inclusivity through

and demands serious modifications. It is high time we

make design better, future-proof and resilient.

completely adopt re-formed measures that are ecologically

Order 1 - Of the Social:

healthy and conscious, to minimize carbon foot-prints and energy usage - besides looking at the sustainability of our

As Pritzker winning Architect Alejandro Aravena

processes and practices, we should give equal importance

had envisioned, we designers should prioritize designing

to embedded energy of products, as it is commonly

democratic, social environments, both urban and

overlooked.

non-urban. Shifting our focus towards creating Principle-

Order 4 - Of the Future:

based Social Architectures would benefit all humans on a large scale; the prime features of it being empathetic

empowerment and equity through design, shall contribute

A piece of construction should not just be a

solution to a functional requirement, but rather a means

towards greater good.

Needless to say, the rate at which the AEC

industry is using up our resources is quite unsustainable

Architecture, along socio-economic lines, with a goal to

In addition, smaller communities like villages and

to socially engage with people, in the long run. Likewise,

All design should include a component of

construction as an activity shall strive to minimize

participation and proactiveness that our profession

excessive footprints and be future conscious that they

reforms to become a conceptual, social process that

serve as long term models of use and reuse. It is for the

creates opportunities.

younger generation of designers to realize that we cannot go on building forever, given our inadequacy of resources.

Order 2 - Of the Economic:

Adaptive reuse of spaces should become the norm for

The AEC industry, of its huge scale in the

future, long-term design initiatives.

economy, relies very much on the contributions made by the most basic construction worker, and us Architects and Designers. It is essential that the industry takes up the 40

A Preamble to a new phase: Learning from the blunders of the past, it is essential to implement and exercise all the visions which are integral to truly design in a way that the common human is most benefitted.

“Space is for Everyone. Design is with Everyone.

Architecture shall and will be a precursor to enable a Pan-Human shift towards a more equitable future.

Own your privilege; Dedicate resources for equitable work; Look around you; Include and Listen; Act!” -----

41

DASAVATAR

Shimul Javeri K

42

RA HOTEL

Kadri Architects

”

A N A RC H I T E C T U R A L M A N I F E STAT I O N O F

LORD VISHNU, IN HIS OWN ABODE, SET IN THE SERENE HILLS OF TIRUPATI

43

L // FOR RETHINKING THE FUTURE

O C AT E D I N T H E S E R E N E SUBURBS OF TIRUPATI in the

foothills of the saptagiri range, the Dasavatara Hotel designed by SJK Architects is one of the very few projects in the country that strikingly takes after the Hindu Temple design in organization and experience.

The city, the abode of Lord Vishnu and the wealthy Tirumala Temple Trust is hardly unknown to people, as the place is regarded auspicious for wedding rituals, celebrations and the like. The clients envisioned the project to be a boutique hotel - one that caters to business travelers who blend conferences with temple visits and spiritual retreats.

Designing precisely the same, Architect Shimul Javeri Kadri and her team of designers have crafted this 121 key luxury getaway on a 13000 sq. m. plot, providing alongside banqueting facilities, spas, business centres and two speciality restaurants which form the

44

“The design is a resplendent expression of the Ten Avatars of Lord Vishnu, each characterised in a space”.

45

Design philosophy:

Planning:

For a place as Tirupati, the worship of Lord

Following the orthogonality of temples, the design

Vishnu becomes a central notion that governs the

comprises of a well laid series of circulation pathways

culture and heritage of the city. Which is why, the design

arranged around the central waterbody – the spaces

draws its prime inspiration from the planning and spatial

accessed from them are ordered carefully following the

organization of the Tirumala Tirupati Temple, with

level of privacy associated with their respective functions.

multiple elements paralleling them and appropriated into

The entrance courtyard in the southernmost edge leads

a contemporary expression, fit for a hotel. Doing so,

to the banquet rooms to the right, accessed from a wide,

the designers have taken proper care of the experience

double high vestibule. To the southwest are the reception

rendered - of divinity and serenity imbibed into an

spaces and the business centre that could accommodate

intervention of hospitality.

small conferences and meetings. The actual experience

lies in traversing the double high paths adjacent to the

The design is a rectilinear, orthogonal arrangement

waterbody – with a pool court to its left, the corridor

of spaces classified South to North based on the levels

offers a progression like no other.

of privacy and function, all ordered around a central waterbody in a huge courtyard. Inside the waterbody

Central to the waterbody is one of the speciality

floats a feature restaurant – The Lotus Café, with its

restaurants – The Lotus Café, whilst the other – The

roof form resembling a lotus, symbolizing a flower in a

Thali Restaurant is recessed within the eastern wing,

holy pond. The waterbody forms the core of the overall

overlooking with a glass façade. The service areas are

experience, lighting up in the evenings to offer a visual

cleverly concealed from view, in the east; set within a

delight, reflecting simplicity and divinity in every facet of

continuous double high wall clad with teak sandstone,

the design around it.

these spaces are only accessed from the service entryway.

The northernmost wing is the guest block, housing guest rooms and suites along with spaces for games and wellness.

46

“The Lotus Cafe, located centrally within a waterbody resembles the shrines located within Temple Tanks in South Indian Temples”.

47

Interiors:

brought in elements of art and craft that are embedded in the culture and tradition of the surrounding regions.

The way the interiors are put together is a

reflection of the interweave amongst the craft, mythology

and symbolism that the design expresses. India is a

in the project, use the Bidri form of silver with gunmetal,

country that never falls short on the diversity of crafts,

in a pattern that is locally popular. Kalamkari paintings

culture and tradition in its states: Andhra Pradesh, where

and crafts from the nearby Srikalahasti are integrated into

the project is located in, is well known for its textile and

the interiors, while the traditional weaves of the area are

metal crafts. Following her own way of acknowledging

designed into the furnishings.

the cultural contexts, Architect Shimul Javeri Kadri has 48

The wall artworks in some of the public spaces

Symbolism:

characterised in a way that they symbolise the notions of one Avatar of Lord Vishnu – the Entrance courtyard

The overall conception of the project is strongly

symbolises Kalki, the Banquet halls Rama and so on.

influenced by the mythologies of the 10 incarnations of Lord Vishnu, hence the name Dasavatara hotel. Legend

has it that whenever there occurred a decline of religion

were all replete with character, colour and emotions

in an era, Lord Vishnu incarnated himself in order to

associated with a particular Avatar. This is evident not

restore balance to life on earth. It is also said that the 10

just in the large partitions, deco and furnishings, but also

incarnations signified the evolution of life on the planet.

in the minutest of details.

Applying the same to design, each public space has been 49

The interiors done with this symbolism behind

Sinas Ar

XEROLITH

50

rchitects

HI HOUSE

”

A RESIDENCE DESIGNED TO ALMOST BE INVISIBLE,

BLENDING HEAD TO TOE WITH ITS LANDSCAPE 51

// FOR RETHINKING THE FUTURE

V

“The house gets its name from the Xerolithies - the ancient retaining walls built against the terrain to create platforms that could support cultivation”.

52

V ERY MUCH A TRIBUTE TO ITS SURROUNDINGS, the Xerolithi house is located amidst the steep dirt and gravel slopes of Serifos, Greece, blending one hundred percent with the landscape it is perched upon.

Crafted by Sinas Architects, this 245 sq. m. house is a testimony to harmonious relationships between humans, the built environment, and the terrain.

True, the Xerolithi

house manifests itself

amongst scattered

thorny bushes and large

rock formations, in a way

that when seen from afar, the

residence doesn’t reveal itself. It

remains largely invisible until one

gets close enough to notice the subtle

fenestrations that line the exterior walls

on one side.

53

Design philosophy:

Planning:

Taking after traditional cues, the house has its

The sinuous, narrow, and elongated form

outer facades greatly resembling the stone retaining walls

gives rise to a linear organization of spaces: arranged

of late, with a sinuous profile of lines defining its form and

sequentially according to function, they are put together

geometry. The massing follows the existing topography of

in two groups, separated by a pergola. One group consists

the site; the walls seem to sprout from the land, slowly

of the living, dining, and kitchen spaces, along with one

rising in height until they could house functions within.

bedroom, whilst the other contains a couple of bedrooms

They slowly move away from the terrain, parallel to one

with washrooms attached. There also appears a dedicated

another creating spaces, the enclosure itself becoming

area for parking, with three bays, likewise following the

ribbons in the air.

same sinuosity in plan.

An important notion that guided such design was

The spatial groups are separated by a timber

to change the way Cycladic Architecture is perceived

pergola: thick, raw, smooth, wooden beams covered in

around the world. “When one thinks of the Greek

bamboo. Used in their original, natural color, they are in

Islands and their vernacular architecture, scattered and

pure harmony with the surroundings. The wooden beams

stacked white boxes are all that come to mind,” adds

proceed onto the interior as well, as part of the ceiling,

the studio. The designers wanted to challenge this

supporting the roof. They are put together in the same

morphological preconception - the main facades become

curvilinear fashion as vertebrae on a long spinal cord.

sinuous xerolithies that are not only contextual responses

but as well novel expressions of tradition.

Materials used in the construction are original to

the place. The walls are made of local stone, built with no joint mortar. The fenestrations are primarily of wood with glass panes, whilst the bamboo for the pergola renders a unique texture and appearance with the fishbone pattern.

54

The design of the Xerolithi house succeeds at being an absolute response to the context, whilst opening up as much as the indoors to the surroundings, thanks to the sequentially articulated openings and windows. Offering breathtaking views of the Aegean Sea around, the house is definitely a masterpiece, a subtle expression of tradition infused with a contemporary touch.

55

2020 -

LIGHTING

56

”

ORIGINALS, REVIVALS,

COMBINATIONS, AND MORE.

- 2021

DESIGN

TRENDS

// 2020 - 2021

57

// FOR RETHINKING THE FUTURE

58

A

“The lighting décor industry spices up each season with a new set of trends, and this year is no different!”

A

S MUCH AS WE ADORE FLOODING OUR SPACES WITH NATURAL DAYLIGHT, good lighting design – be it in the interiors or in the outdoors - significantly makes a mark on the beholder because of how well it could transform a space: from a mere composition of Architectural Elements into an illuminated entity that thoughtfully renders light, brightening our activities.

Trends in lighting design have changed dramatically over the years of late, but each year in the interior design and décor industry, a new set of trends arise, responding to the zeitgeist. The year 2020 has forced most of us to stay indoors, and as such, the demands of lighting design have also taken new forms. Here is a collection of lighting trends that have made a mark in the past year and could be expected to hold their place in the forthcoming as well.

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1. Bold Statement Pieces with Geometric Design:

This kind of luminaires have been slowly making

their way into the market for a while, growing in popularity over the day. The design here does not make the lamp a utilitarian object to light a space, but rather an art form in itself, a piece of sculpture to throw excitement into the room. A mild texture and a complementing colour to the form amplifies its appeal.

2. Industrial and Retro Lighting – a Refined Comeback:

The traditional Industrial Lighting Style has

always been about rustic finishes, neutral colors, emphasizing the use of metal in a bare form. Whereas today, the same style manifests itself in a more refined outlook: with sleeker metals, smooth and varied tones as well as alternative designs, the Modern Retro style is upgraded with finer details to seem an art form in itself.

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3. Sculptural Table and Floor Lamps:

Gaining momentum in the past few years,

décor with sculptural, organic forms are very much preferred by homeowners to add a vivid touch to the otherwise rectilinear interiors. Lamps with bold, sculptural forms add a statement with their design: they could very well frame a larger piece of furniture as bedside lamps to a cot, or as floor lamps create comfortable reading spots by an armchair.

4. Art Deco, Mid-century Modern Comeback:

Defined by clean lines, unique design, and a

balance of art and form, Mid-century Modern and Art Deco were the most preferred styles for Interior Designers up until the 1970s. Although this trend has declined in the past few decades, it is making a slow, yet stark return. The new Art Deco features sharp series of lines creating symmetrical patterns with attractive design. The Mid-century Modern on the other hand, brings together natural shapes and their aesthetics with an efficient function.

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5. Bold brass, gold, soft gold and matte black:

Having evolved into a classic in contemporary

décor, the usage of bold brass and gold are increasingly becoming popular these days. Warmer tones of polished brass provide a modern, sleeker and more elegant take on metal. Alongside, gold and more importantly, soft gold are other popular tones receiving widespread recognition.

These could be matched with traditional materials like wood or marble, or could render an altogether contemporary appeal with materials like concrete.

6. Wall Sconces and Lighting for Wall Art:

Excellent choices for accent lighting, wall sconces

are yet to receive as much popularity as the other trends; with minimalism on the rise, these designs would prevent lighting on the floor, giving way to other sleek furniture and interior décor. Wall sconces, with a textured or smooth greige tone contrasted with gold or bold brass are stark examples of the rising trends.

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7. Home Office Lighting:

With a greater part of the year spent in

lockdown, with people working in whatever nooks they find at home, the year 2020 has significantly amplified the lighting design trends of Home Offices. A famous style to emerge catering to these needs are the ones with traditional workmanships, having a heritage look. Such luminaires, appear as interesting when switched off, as they would when turned on. Since this trend has evolved in multiple ways together, the design options are a lot more, with different ways to light a single workspace at home – a few LED task lamps during the day, a set of cozy ambient lights in the evenings, and so on.

8. Artful Ceiling Lights:

Creating a focal point in space, ceiling lights

are very effective means of providing ambient lighting to any kind of spatial typology. As such, a lot of design styles have emerged for a ceiling light in the past year.

Chandeliers and pendants with simple, elegant forms have stood out, whilst a lot of eclectic options have also become prevalent. Clear glass pendants, put together in clusters at differing heights producing clean silhouettes is a favorite amongst homeowners. Design for chandeliers have also taken multiple forms, with minimalism being in the forefront.

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CONCRETE 3 // RESID 64

FROM TECHNOLOGIES IN DEVELOPMENT TO HOMES PRINTED 100% WITH CONCRETE.

3D PRINTING DENCES 65

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T // FOR RETHINKING THE FUTURE

HAT WE ARE LIVING IN AN ERA, WHERE ANYTHING IS POSSIBLE, IS QUITE CERTAIN. A technology that’s been

gaining much momentum over the past few years, 3D Printing is an effective means to realize and bring to life, design of any form and order. Initially an experimental technique, the idea has grown a thousandfold to now be capable of constructing larger built forms. It has been speculated for almost a decade that it will replace existing norms in construction methods and now, the notion is slowly becoming reality. True, starting with the most primary typologies, there do exist a handful of residential projects around the world that harness the potential of 3D Printing as the primary construction technique. With the ability to print everyday materials like concrete, the technology is set to take the AEC industry by storm, with larger and much more complex projects getting ready to establish concrete 3D Printing as an alternative to conventional building.

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“The 3D Printing Approach is a holy matrimony between Construction and Tech, and is definitely going to revolutionize the way we design, analyze, and build.”

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1. 3D Printed House 1.0 Emerging Objects:

by

A case study residence commissioned by Jin Hai

Lake Resort, Beijing, this design makes use of locally harvested salt and concrete to create a built form with juxtaposed elements making it aesthetic, structurally sound, and sustainable. While the load-bearing components are built of cast-in-place concrete, the exterior cladding is made from a special 3D printed, fiberreinforced cement polymer developed by the designers.

2. Curve Appeal by WATG Urban:

A prize-winning design for The Freeform Home

Design Challenge, 2016, the design office WATG Urban has been developing the Curve Appeal for construction; the project has been conceived to completely change the way freeform concrete structures are realized.

Collaborating with the firm Branch Technology that specializes in 3D Printing, the workflow developed makes robotic fabrication with concrete a lot simplified and less expensive to construct.

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3. 3D Printed House in Milan,

by CLS Architetti and Arup:

Exhibited in the Milan Design Week,

CLS Architetti and Engineering firm Arup have 3D printed a concrete house over the course of just a week! The 100 sq. m. house is made out of 35 modules individually printed on-site, later assembled together. The designers emphasize the versatility of the method used - of not being constrained by rectilinear geometries, and that the printing could happen anywhere.

4. One Piece Concrete House, by Kamp C:

Built with a fixed 3D concrete printer, the biggest

one in Europe, this is the first house to be 3D printed as one single piece. Located in Westerlo, Belgium, the house features two floors and was completed over three weeks.

The design focussed on showcasing the potential of 3D printing technology and how precisely and economically the construction could be completed. The designers have included building services in the project, like floor and ceiling heating, facade solar panels, and a heat pump, with plans for adding a green roof.

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5. 3D printed community housing in Latin America, by Yves Béhar:

Yves Béhar, founder of the firm Fuseproject, teaming up with non-profit New Story and homebuilding tech company Icon, has created a housing project to support farming communities in Latin America.

The design has been conceived in a way to utilize the economy and quick realization of the project from the 3D printing workflows. Béhar says that the design model has been developed as a system capable of modification, responding to different programs, climate factors, and growth of families and spaces.

6. Project Milestone by Eindhoven University + Houben and Van Mierlo Architecten:

The world’s first commercial housing project to

employ the 3D printing methodology, Project Milestone aims to construct 5 houses by concrete printing, one by one, thus being able to learn from each build. Whilst the first house is a single-story, the four houses that follow it will all be multi-storied with many bedrooms and auxiliary spaces.

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7. 3D Printed Affordable Homes for the Homeless, by Icon:

Designed and built for Austin’s Community

First! Village, Icon has conceived the project to support people coming out of chronic homelessness. Built in just 27 hours, each house could be completed at a significantly lower cost than conventional houses. The design team constructed 6 houses initially, with plans for more to follow. The design depends very much on automated machinery, advanced software, and a special mix of proprietary concrete called Lavacrete, and thus the extremely speedy construction.

8. Prvok by Michal Trpak + Scoolpt:

A floating 3D printed house, Prvok is Czech

Republic’s first house built by additive manufacturing technology. Printed in just 22 hours, the house covers an area of 43 sq. m. weighing 43 tons. The house features a sustainable green roof, thus allowing water recovery systems to be installed. The printed concrete walls are claimed to be at least 3 times stronger than conventional ones. The project is on display, floating on a deck in the Vltava river, Prague.

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INTERIOR DES

”

DERIVATIVE, YET OFFERS SOME

INTEREST TO THE VIEWERS.

COULD HAVE BEEN A LITTLE LESS BANAL.

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SIGN MASTERS // Netflix Review

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O

// FOR RETHINKING THE FUTURE

“A show offering quite some insight into the World of Interiors to the viewers.”

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N THE SHELVES OF NETFLIX FOR M O R E T H A N A Y E A R N OW, Interior

Design Masters, produced with BBC Two, is a classic British reality television competition, participated by 10 handpicked Designers in the world of interiors. Critically acclaimed for its derivativeness from other British shows, Interior Design Masters comes off as a decent reality program that rather has a touch of banality and minor flaws outlining its 8 episodes.

The show goes on for eight weeks, with contestants tackling weekly interior design/redesign projects, within a time frame of two to three days. Emceed by television presenter Fearne Cotton, the show is presided over by Michelle Ogundehin, former editor-in-chief of Elle Decoration UK, as the series judge, who is accompanied by a celebrity designer each week.

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“The domain of Interiors is highly subjective; that said, the show does give some leeway in letting all participants, as well as the jury express their own differing views about the works created on the show”.

Challenges presented to the contestants

range across different typologies - from residences and restaurants to hair salons, although there were quite a number of home interior revamp projects. The contestants handle design problems as different teams in the first few episodes, whereas challenges are given individually only at the end of the series. The final prizewinner is given a contract to design the interiors of a bar at a famous London hotel, thus providing a launchpad for their career.

Upon reaching the site, the required material

Each challenge starts with a conversation with

and decor are ordered and brought to be used for the

the clients to frame the design briefs, followed by design

project, within a stipulated budget, which slightly seems

thinking and ideation. This is where the details start to go

to not match the scale of the design. The contestants,

amiss: the focus diverges from the content of the client

possessing different kinds and levels of skill sets, are aided

brief, with their conversations being reduced to mere

by builders and carpenters to fabricate and realize their

two-minute chit-chats. Following this, designers come to

design, whilst we also see the designers pitching in to do

work, having already designed and put together colors,

a few manual jobs themselves. Each challenge requires to

patterns, textures, materials, and decor for typical spaces

be completed within a limited period of time setting the

according to their own design styles; they collaborate

contestants, and the builders, on their toes to finish the

with teammates, mix and match colors and materials

work. We see quite a bit of the design process happening

from each other to suit the client’s requirements. This

on-site, in attempts to find out whether a single exposed

seems to undermine the actual design thought process

wall would match the overall boho chic style, or if the

and brainstorming that is bound to happen in such

lighting revamp would tone down the more subtle details

projects.

in the corners, and so on.

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At the end of the challenge each week, one designer is eliminated, after the judges provide them with comments

on improving their sense of style and developing an eye for aesthetics and details. This process continues over the eightweek period until one designer is crowned winner. The level of learning that the participants experience in the challenges is certainly to be appreciated: that it is not just about the purity of style or personal expressions in the design, but rather being able to meet the requirements of the brief, under the given circumstances. Plus, the subjectivity that prevails in a domain as interior design is highly evident, with the judges occasionally disagreeing with each other on their views, about the works of the contestants. That said, the show remains true to the values of design, as being open to interpretation.

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A bit of drama is sensible, as the designers are pitted together to work as teams - the requirements direct

them to express their own personal style, whilst maintaining a cohesive aesthetic as a team. This goes to a level where contestants are apprehensive about the choices and the design decisions of their teammates and dissent over the same, whilst also occasionally passing a judgemental comment. The drama continues in what one might feel as irrelevant, when eliminating a contestant with creative potential, whilst retaining some who seem to not have as much. Again, so much for the subjectivity.

In the end, it all comes down to the prize - as to who would get a well-paying design contract: this favours

competition to an extent that a few contestants choose to perfectly do each of their parts alone, whilst forgetting the team and the collective design challenge. Besides, the show could have done more to show the transformation of each project from its original state, undertaken by the contestants, but we only get to see the end result.

And that is a wrap to the finesse and the flaws the show revolves around.

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From a designer’s perspective, Interior Design Masters, or as a few critics call it, The Great British Decorating Show, is quite full of works of design that are fine, accompanied by flaws that seem to undermine what the show has to offer its viewers.

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GOOD DESIGN IS INCLUSIVE. GOOD DESIGN IS PLAYFUL. GOOD DESIGN ENDURES. GOOD DESIGN PRESERVES DIGNITY. GOOD DESIGN IS SERENE. GOOD DESIGN IS RESPONSIBLE.

DIVERGENCE - On a Quest for Relevant Architectures Brief curated for a Design Journalism Trophy conducted during Annual College Fest Envisage 3.0 80

// FOR EDITORIAL TEAM - ENVISAGE 3.0, BMSCA.

A rather novel but essential approach, this is how Design is taught to be pursued at the Responsive

Environments and Artifacts Lab at Harvard Graduate School of Design. Over the past century, the world has witnessed various changes along socio-political and economic lines. Multiple disciplines like economics, engineering, science and technology have progressed giving way to new innovations. The same could not be said of Architecture and Design, at least in our country. To perceive Design as a social element that affects not just typical stakeholders but everyone, is not something that is taught in typical Design schools in India.

Rather, what is taught, discussed and applauded for quite a long while now, are age old principles and

dogmas that were relevant in the 20th century, not the present. “Less is More” and “Form follows Function” have become the norm everywhere, so unquestionably preached in design studios, restricting people from looking beyond, at what is now, what is possible. This could be attributed to so many causal factors, a rather noticeable one being a widespread ignorance towards advancements in Architecture, Design and Construction that are more inspiring, sustainable, newer and much relevant to the time and age we live in.

It is for us Designers and Architects to realize that the era of the masters and the starchitects has to give

way for a newer, younger generation with newer ideologies and principles, driven towards exploring novel avenues, interested in creating relevant Architecture and Design; to give way to young designers showing a greater concern in solving real world, growing environmental and human issues that persist; to do away with egocentric signature design styles, and to help progress as a society that believes in collaboration and providing equal recognition.

Should the way Design is preached and practiced in our country be reevaluated to better

suit the conditions, needs and demands of today? In what possible ways could we conceive more relevant Architectures that benefit all humankind? How do we make Architecture more responsible, in the light of the rate at which the AEC industry is sucking up our resources and polluting the environs that we so call home? The year is 2020 and it is time we start a dialogue to question ourselves and understand the issues better.

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A

// Conversations with Industry Experts Interviewing Ar. Anup Naik from UrbanFrame - SpaceMatrix, for the Annual Newsletter SUKRATU, for BMSCA, Bangalore.

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A

// A COLLABORATIVE WORK WITH MS. BHAVANA VENKATESH FROM THE EDITORIAL TEAM, SUKRATU, BMSCA, BANGALORE

SUCCESSFUL ARCHITECT AND AN ALUMNUS FROM BMS COLLEGE OF ENGINEERING, BANGALORE, AND THE

SCHOOL OF PLANNING AND ARCHITECTURE, DELHI, Architect Anup Naik is the Co-founder and Director of UrbanFrame, a Space

Matrix Group Company. He has been involved in the design, development and execution of multiple projects across the country, of varying scales and typologies. The following interview was conducted primarily to gain more insight into what Architectural Practice looks like, after the culmination of Academics, and how to successfully navigate through the industry.

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Question: We being students, have already been hearing much about how different actual practice is from academics. It really makes us wonder, at this stage, to what degree the design process that professional architects and designers go through, when compared to the academic work that we do. So what do you think, besides normal academics and subjects in our course, will help students be more prepared and suited for the profession? How do you think we could reduce the wide gap between academics and profession?

Answer: Professional practice is all about making things work, it is not about just designing a building, it is about designing a habitat for the user to live. In practice, there is a client and their brief, which bring in so many constraints, because the client has their own story to tell. Whereas in academia, we are free of such constraints. It is very much possible to explore and experiment with the academic projects, being a student; one could as well be reckless in exploring design.

Again, in practice, the constraints that exist definitely add value to the project. Rather than just be seen as design, a project is seen for its engineering, its structural stability, its services and a whole lot more. What we build and create is seen.

It is more about the commitment we as Architects extend to doing and completing a project in the best possible way.

This is a quality that one acquires along the way as an Architect.

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Question:

We see from your projects that they have a stark sense of aesthetic to them,

while at the same time, the aesthetic matches the function, and as well structurally appear stable. As a student, it is not an easy task to precisely balance these three aspects. So how do we learn to design in a way that holistically solves these issues?

Answer: So this could be broken down into three aspects. In any project or any piece of Architecture created, making the space functional is critical, because the functional dynamics is very significant for multiple reasons. Without making the user comfortable in the space that they use, the design would ultimately have no value. It is important that we make sure the space delights the user, by the functional experience one gets from habiting it. Function becomes the most fundamental component to any design.

Secondly the aspect to be looked into, is how the building would

stand. To resolve the structure in a way that it is aesthetic and pleasing is equally significant. Structural and engineering aesthetics are important components as well. If a basement is well designed in a way that it is not dark and dingy, lets in more light and is usable by anyone without any kind of hindrance, then it develops a structural and functional aesthetic by itself.

Thirdly, the architectural aesthetic that we

create is highly subjective. In more recent times, clients are fond of demanding, “We want a WOW building”, whereas the term WOW means different to different people – it could be egotic, or sometimes even outlandish.

The aesthetic arises from multiple factors – from the context, from the timelessness of it, and a lot more.

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Question: A g a i n , looking at the kind of projects that you do, we see that there’s a lot of work that goes into designing

the

interiors,

and to a certain degree, the interiors really matter much more in the overall conception of a project. So what is your thought processes in designing interiors for any typology and how do you go about it?

Answer: I should say, there is no one formula for designing interiors. They are primarily user centric. People have different notions of what their house should look like. People are proud of their houses and offices, that a personality is created with them. Thus to a certain extent, the users’ personality is expressed through the interiors. It could be flamboyant, it could be subtle, there are numerous other expressions that could be created. Different personality types suggest different interior styles.

It is a large aesthetic driver that is responsive to the kind of user group – different for young people’s spaces, startups, or different for businesses.

Interiors have a great potential for changing the ambience and the level of activity that each space is designed for. Aspects like colour, material, biophilic elements all have a great potential of just making the space better. These are aspects that promote happiness and productivity; a well-designed interior could promote the recovery rates for a hospital, or reduce the absentism in institutions and workplaces. We try to push biophilia in interiors that greatly adds to the wellness quotient of users.

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Question: This

is

question most

a that students

face – in our design studios, we are taught to only work individually – all our design projects and studio subjects focus only on individual working, whereas, in practice, no project in a firm gets built single-handedly, and there’s a lot of collaboration and group work, that go in.

So what are your thoughts on this, and how important do you feel working in groups is?

Answer: This is a really good question. Our discipline, be it Architecture, Urban Design, Interior or Product design, the fundamental component to success is teamwork. If students don’t learn to work as a team now, they would find it really difficult to cope up in the future. Plus, projects are not just done by Architects – it is a collaboration amongst different people of multiple professions – there’s a structural consultant, an interior consultant, a façade consultant, one for landscape, one for Softscape, the list goes on and on, it includes everyone from the Principal Architect to the bar-bender. Team work and collaboration are what drive our work – it has a number of contact points, including different people of multiple disciplines, and of course, there exists a wonderful connect between the mind and the hand, that unites us all. It is for us to do away with egocentric notions and understand that The Project is the King, the Boss and we are just specks trying to develop it. The future demands not egotic signature stylists, but rather open minded Architects and Designers willing to collaborate.

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Question: We

see

that your

from website,

you have completed a

wide

successful

range

of

projects,

of

various typologies. So we wanted to know your way, the ground reality, of starting a project from scratch, on site. What are the steps that you go through, before finalizing any aspect for your design, and how do you go about meeting the requirements a client has?

Ans: Everything that goes from the start, it is all a process. It starts with dissecting and contesting the brief that the client provides; the prime design developed, revolves around creating value – of making the design user centric, more sustainable and to render spaces happy. There is a value created in evocating happiness through spaces. Thus, the degree of value that could be created through design, in any project, is what drives the entire process.

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Question: With advent

the of

t e c h n o l o g y revolutionizing multiple fields around us, what do you think will the future of the architectural discourse be?

Ans: Tech will definitely alter the way we design and build in the future. There is already the advent of Artificial Intelligence, BIG Data and Nano-technology revolutionizing multiple fields and the AEC industry is also in a magnificent cusp of change.

Parametric Design and 3D printing are so capable of bringing about a huge change in the way we create Architecture. If we don’t adapt to and embrace Technology, we just become irrelevant.

We could expect a massive shift in Academia as well as profession, in the near future.

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Harish Karthick Vijay harish2000vijay@gmail.com +91 88257 33655 @harishkarthickv @the_digital_aesthete Bangalore, IN.