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Disclaimer:
The design ideas in this publication are a compilation of the winning entries of the design competitions hosted by NASA India. The winners have been selected by a panel of jurors based on the information detailed in the presentation sheets and reports as provided by the participants. The Print Media Team of National Association of Students of Architecture does not take responsibility for accuracy, technical soundness or completeness of the content of these works and shall not be liable forany loss or damage that may be occasioned directly or indirectly through theuse or reliance on the content of this publication.
The contents of the publication are intended for general reference only and are not intended to replace the need for professional advice in particular area.
MODERATOR’S NOTE
Document is a record, a report, a paper or such others for posterity. It is primarily a product, hence important. However, it is more important to observe the process of producing this permanent product, where the process is more temporary, temporal and ephemeral. For students of architecture, this act of documenting hence becomes a learning process.
The long history of LIK Trophy initiated by Vasthushilpa Foundation has gone through varied institutional associations and is now enjoying the patronage of INTACH (Indian National Trust for Art and Cultural Heritage), which is also known for documentation. We believe this adds a new vigour, towards more appropriate and better project selections.
During the recent times, when Nari Gandhi Trophy was merged with the Louis Kahn Trophy, we had to create a fusion of architectural analysis of the former with the on-site field documentation of the latter. No wonder, LIK has now emerged as an even more challenging trophy to participate, with fairly deep theories embedded into the annual themes, changing every year. As such, the mere working on LIK trophy leads to both conscious and sub-conscious learning. We hope all those students who took part in this activity have benefitted, irrespective of being nominated or cited or published in the NASA monographs on the selected entries.
We wish LIK trophy, its entries and the entrants a long future. The enthused group of students who have endeavoured to put the shortlisted LIK entries into a monograph, deserve all the praise.
Prof. Sathya Prakash Varanashi, Moderator, LIK Trophy for 2020-21
PREFACE
The age of architecture that we find ourselves living in is appreciative of both contemporary innovation and vernacular wisdom and tradition. The practice of architecture has always been a developmental process. We learn from the past while living at the bleeding edge.
The process of production of an L.I.K. Trophy entry develops the skill of observation in its participants. It puts the participant into the shoes of the architect while also putting them in the privileged position of recording what has happened to a building after it has been built (Something an architect could only analyse and speculate about at the drawing board). Observation and understanding are integral to an architect’s skill-set.
The brief formulated for this year’s L.I.K. Trophy looks to comprehend urban infills. These involve challenging sites where no element of the context may be neglected. The buildings that achieve the feat of existing and thriving in such conditions are functional masterpieces.
Tarun Krishna,
National Vice-President | 2020-2021
National Association of Students of Architecture, India
FOREWORD
I have had a firm belief the Louis-I-Kahn Trophy is the most enriching trophy that NASA India. The complete journey of attempting a LIK entry has huge exposure and experience at every step of the way. It helps you understand what architecture means on a more significant historical scale. It shapes you to become a more observant and sensitive designer and architect. The trophy is also known for forging connections, even though it is a long and excruciating process, the team comes out of it as a family.
The trophy has had a personal connection with me, it has been an integral part of my NASA story. From being a participant in my initial years to being the council coordinator during my VP tenure. For the 63rd Year, the pandemic made a few of us make sure that we wash our hands more than half a minute so now Virtual LIK doesn’t sound bizarre. Yet again we were shocked by the quality of work done. We would have put all the entries into the publication if it would have been possible.
I would also like to take this space to acknowledge Prof. Sathya Prakash Varanasi, a long-term collaborator of NASA and the moderator of the Trophy. The experience and perspective he brings along are deeply appreciated and we are grateful for his continued patronage.
I also would like to extend our gratitude to INTACH for being the collaborators for the trophy in the last three years.
On behalf of NASA India, our sincerest gratitude to all the participants who engaged in the trophy. Kudos to the 63rd and 64th Council and the fabulous team who helped us put this publication together; more power to you!
Happy Documenting!
Simarjeet Singh Nagpal, National President | 2020-2021
National Association of Students of Architecture, India
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63rd YEAR COUNCIL
EXECUTIVE COUNCIL
Simarjeet Nagpal - National President
Ashwith Koyyala - National Secretary
Manogna Malempati - National Vice President
Anurag Gautam - National Treasurer
Dinesh Prasad - Public Relations
Idris Ahamed Shariff - National Advisor
ZONAL COUNCIL
Vagish Chaudhary - Zonal President Zone 1
Arunav Sinha - Zonal President Zone 2
Aditya Jaiswal - Zonal President Zone 3
Siddhi Dhanaraj - Zonal President Zone 4
Ayush Bipin - Zonal President Zone 6
L.I.K TROPHY BRIEF
OBJECTIVE
The general aim of the LIK 2020 – 2021 Trophy is to document buildings / complexes / sites which best represent the connection between the vernacular and the modern. Considering the difficulties in out station travel during the Covid-19 times, the theme has been specially tweaked to continue the intentions of LIK at large. Incidentally, it provides for a unique situation where ‘students – architects’ interaction can happen at very deep levels, unlike the themes during earlier years.
OVERVIEW
Vernacular traditions – contemporary architecture intends to look at modern buildings where local and regional elements find an expression. It is about studying recent architecture where traditional and historic character is manifested. It is about identifying such constructs where the past and present fuse, both physically, symbolically and symbiotically. It is about a NASA India trophy, which can be taken up by students of any year enabling them to observe, analyze, criticize, theorize or philosophize, depending upon which year they belong to.
Z516
KLS GOGTE INSTITUTE OF TECHNOLOGY, BELGAUM
SPECIAL MENTION 1
Z214
FACULTY OF ARCHITECTURE SARVAJANIK COLLEGE OF ENGINEERING & TECHNOLOGY, SURAT
SPECIAL MENTION 2
Z329
MARATHWADA MITRA MANDAL’s COLLEGE OF ARCHITECTURE, PUNE
JUROR’S CHOICE 1
Z211
IES’S COLLEGE OF ARCHITECTURE, MUMBAI
JUROR’S CHOICE 2 WWW.NASAINDIA.CO
Z210
RISVI COLLEGE OF ARCHITECTURE, MUMBAI
UNIT SECRETARY PRAJWAL KAMBALIMATH
KLS GOGTE INSTITUTE OF TECHNOLOGY, BELGAUM
TEAM MEMBERS
AJAY B
VRUNDA T
VAISHNAVI PATTANSHETTI
SHRADDHA S
PRIYANKA P
YASH P
AADITYA A
ABHISHEK B
ANURAG D
HARSHAL K
ARUN KUMAR
SNEHA O MANJUNATH K
DEEPA H
SRUSHTI H
PRATIK S
GAUTAMI N
AMULYA A
Introduction to Vernacular Architecture
A man’s surroundings and daily chores greatly influence his lifestyle. As the motive for living changes, man tries to modify his surroundings accordingly. All these factors shape indigenous living. This is how the vernacular nature of a region is manifested. Vernacular architecture is the simplest form of addressing basic needs. It evolved when mankind was forced to make use of the natural resources around him, to create shelter for himself which was adaptable to the changing climate, a shield from the external elements. It is the response and willingness to fulfil the demands of the people, which reflect their needs in their spaces and lifestyle.
Factors Affecting Vernacular of a Region Culture
The impact of culture on the appearance of buildings cannot be overstated. Residents often decorate their walls in accordance with local customs and beliefs. The size of a family, how food is prepared and eaten, how people interact, and other cultural considerations affect the layout and size of dwellings.
Mobility
Permanent dwellings offer tremendous protection and shelter from hazardous elements in the environment. The materials used for construction are heavier, more solid and durable.
Environment, Construction Elements and Materials
Vernacular architecture is governed by the environment and locally available materials. Elements available in the region are usually used to facilitate construction.
Climate
Spaces in cold climates invariably have significant amounts of insulation. They are usually sealed in order to prevent heat loss, and openings are small. By contrast, buildings in warm climates are constructed with lighter material, and allow significant cross-ventilation via openings in fabric of the building.
Nomadic dwellings include strategic responses to climate. They incorporate the customs of their inhabitants as well. They use local materials to construct temporary dwellings. Since they are frequently moved, nomadic structures are lightweight and simple.
Introduction to site
Khamir craft resource center is located in Kukma, in the outskirts of the city, 10km away from Bhuj. The site spreads across 8093.71 sqm, reflecting the vigorous construction and planning of the place. The immediate context is open land, dense trees and gentle contours. The average temperature during summer months can rise upto 31° Celsius. In winter, the temperature drops to an average of 12 ° Celsius. Extending 13.7km away from the main city, the building has a calm atmosphere. Since the village is a mere 3km away from the building, there is easy access to the site.
Justification for site Selection
For centuries, buildings constructed by locals have been the primary and most significant mode of construction in India. These practices are well-rooted, socio-culturally and economically, in local artisans. Khamir is a platform for the promotion of traditional handicrafts and allied cultural practices. Khamir is a process involved in aiding the creation of artisans’ work and the preservation of culture, community and local environments. Established after the earthquake of 2001, it is a space for the engagement and development of Kutch’s rich creative industries. Khamir works to cement and advance the rich art and traditions of Kutch district. It mirrors the structure of a typical Indian village.
The premises are designed in a way which integrate fragmented facets in synergy with the existing scale of the region. Most importantly, the design is responsive and sensitive towards the user groups. The premises are a manifestation of the idea of local availability and sustainability. These building practices have their roots in the way the traditional societies functioned and organized themselves. The climatic and geological conditions, social and economic aspects, along with religion and beliefs were interwoven, resulting in the outcome of these practices as a cultural expression. The Khamir art and craft center was chosen to be documented because it exemplifies perfect integration of vernacular architecture with modern architecture – modern architecture uplifts and enhances vernacular expression, and unfolds the beautiful story of the bountiful art and culture of Kutch. As architects ourselves, there can be no higher cause than an essential community space such as this. Hence, it was only natural that we should select Khamir to be our site.
Culture and Community
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The customs and culture of Gujarat embraced by different religious faiths demonstrate a diverse community. The state of Gujarat boasts a vibrant art, architecture, culture, and heritage; all of which is quite evident in the day-to-day lives of the locals.
Gujarat
The state of Gujarat lies to the western most tip of India. Gujarat is known for the Stepped Wells, Jain Temples, Asiatic Lion and business-oriented people. Gujarat is a flourishing state with vibrant cultural diversity. Gujarati culture is a blend of traditions, beliefs, customs, arts, values and stunning architecture. This plethora of traditions with a tinge of modernization, sums up Gujarat perfectly.
The traditional art forms of Gujarat play a significant role in perpetuating its rich heritage.Many forms of art, culture, music, dance, fairs and festivals of Gujarat flaunt the real gaiety and hue of its pluralism. The extravaganza fairs and festivals such as Navaratri Mahotsav, Deepavali, Rathyatra, Kite festival and many more are incomplete without traditional dances and musical performances. The folk music of Gujarat known as Sugam Sangeet has renowned worldwide prestige. The most famous dances of Gujarat are Dandiya Raas, Garba Raas, Raas dance and Padhar.
Site Overview
Khamir
Established in 2005 as a joint initiative of Kutch Nav Nirman Abhiyan and the Nehru Foundation for Development, Khamir is an organization which was set up to strengthen and promote local crafts. It was founded as an educational, training, and interpretation facility in the areas of craft, environment and heritage conservation in Kutch and supported by Government of Gujarat. It has helped to rehabilitate numerous local artists after the earthquake of 2001. It works to enable artisans and art enthusiasts to develop a strong retail and trade orientations. The vivid campus of Khamir is active during the day with many workshops. Visitors can observe the artists at work - embroiders, block printers, potters and weavers - and watch the step-by-step processes of creation of brilliant pieces of art.
Demand and impact
Through cultural engagement, experiential learning and research, Khamir connects a diverse public with artisans. Thus, Khamir creates an environment in which creative industries can be recognized as important pillars of society and as traditional, livelihoods with potential for growth. Artists in Kutch never got an opportunity to prove their worth. They needed a platform that standardized their work and provided them with technological support. Khamir became a place which helps in engagement and development of the art of Kutch. It provides a space for diverse types of craftsmen to gather, and have a devoted space for local art and crafts. The space helps keep endangered art forms like Rogan art alive. It represents and enhances the purpose of the organization. Khamir has succeeded in creating enormous economic, social and environmental impact, and is extremely keen on scaling up. Filled with diverse and colourful forms of art, Khamir plays an important role in embracing and publicizing the priceless art and culture of the region.
Publicizing and Researching
Analyze strengths and weaknesses of crafts programs.
Trade Linkage
Identify gaps and opportunities for funding.
SUPPORTING ARTISANS
Common services to artisans that enable them to leverage their inherent skills to compete in modern-day markets.
Enhancing the Products
Enhancing the Produtcs
Standardized production and quality of art.
Validating products
Provide them with services that enable them to standardize production processes.
Expansion
Scale the research, documentation and education program across with particular focus on influencing to become responsible craft consumers.
Deeping the Strength
Continuous handholding support for a period of time, after which they build the capacity to become completely independent.
Increasing Demand
The availability of cheaper and more varied products, crafts face severe competition in markets.
Connectivity
Artisans are usually structured into groups through informal contracts between traders, master artisans and low-skilled artisans.
Arts practiced in Khamir
Right from traditional practices as ajrakh block print and bandhani , to new innovations as kala cotton, camel wool weaving, recycled plastic weaving. Khamir plays an important role in keeping endangered arts as rogan art, namda, bela printing.
Khamir’s initiative includes public workshop and festivals, curated exhibitions, school and university visits, research and documentation, marketing and exhibitions, curated exhibitions, the social security program, credit initiative, raw materials depot, appropriate technology, skill development and craft studios. These programs work to promote the cultural and arts of the Kutch region. At Khamir, they seek to inspire curiosity and a deeper understanding of crafts, culture and conservation in Kutch. Khamir works with an entrepreneurial artisan’s unit that comprises of 3-5 artisans on average and has no direct link with the market. By conducting in-depth field research, Khamir identifies the key challenges of the artisans’ units and subsequently provides them with services that enable them to standardize production processes, improve product quality and ensure the least environmental impact. Each unit is provided with continuous handholding support for a period of around three years, after which they develop the capacity to become completely independent.
Kala cotton is produced from farmers
The clay is prepared
Camel wool shearing
Women make the wrap for the loom
The wrap yarn is starched
A weft yarn is rolled on to a Bobbin
Fabric is created on the loom
Sheep wool shearing Preparation of yarn Kharad weaving to make carpets.
Spinning on amber charka to make yarn.
Clay is shaped on a wheel
Women make the warp from the loom.
The pot is tapered to give it a better shape
The weft yarn is roled onto a bobin.
The pot is baked in a kiln
Yarn is woven into fabric.
The pot is painted.
Kala Cotton Area of Space
Pottery
Kharad weaving
Weaving
Roof details
Above the ground floor steel frames take over and support the roof. The roof is made with corrugated sheeting covered with country tiling, using a naturally available compound, purlite, as an insulating and binding agent.
Site Analysis
The planning of the space is plain and strong, which comes together through split notions in harmony with already existing scale of the region. The arrangement of the street scape assists the architecture to participate with the users, and cements a kind of modernistic relationship. Thus, spaces at Khamir echoes the pattern of an Indian village.
Roof Sheating
Top Chord
Bottom Chord
View
Site Plan
The height width proportions of courtyards and streets provide shade.
Site Plan
Massing is a combination of similar type of masses. It comes together for a unit to form whole concept. A geometry is seen in its arrangement in height and proportion. It is the idea of addition and subtraction of a form.
Site Section
LOUIS
Concept of Planning this center is derived from the local street lookout and village pattern. Ordinary arrangements of Y shaped sequel lanes create square chowks and courts, which add embodiment to the village settlements. As an accelerator for community spaces throughout the complex. It establishes a kind of urban approach having integrity and involvement geometrical error.
The streets divide and meet into chowks and courtyards.
Administration
Workshop
Residential
Toilets
Zoning
Interrelation between built, semi opened, and open space create natural and fresh environment for people working there.
street pattern of Kutch
Y shaped branching of streets. Chowks which further form village settlements.
Single complex, all units are joined together. Reinforced by geometry and structure, each individual unit have a relationship of repetitive to unique.
Planning of workshop
The workshop are segregated in modules and are repeated six times creating lanes and chowks. The modules are closed interior spaces and around semi open space at the centre which acts as an active informal verandah. Each module is arranged in a way so that they get their own entity for workshop.
Organisation of spaces in Khamir
The streets divide and meet into chowks and courtyards.
Planing of houses in Kutch
Typical
The workshop areas are made by making a module and repeating it six times creating lanes chowks in between.
Layers
Workshop View
Ground Floor Plan
LOUIS
The walls of the first floor of the craft facility were made with wattle and daub panels. Daub is a combination of materials such as wet soil, clay,sand, lime, animal dung and dried grass.
In this method of construction the vertical wooden stakes are used.
The vertical wooden stakes are woven with horizontal twigs and branches.
Materials such as clay is a binder to hold the daub together and the addition of material such as dried grass help to hold the daub mixture together and provide flexibility.
LOUIS
Connecting vernacular and contemporary
Multiples times when vernacular and contemporary have been connected, it has always been for various purposes and with numerous different approaches. Each architect and person have set of theories of why vernacular or modern is better then the other but a very few have explored the bind of both. Various approaches like Traditional technique with modern designs, Modern techniques supporting vernacular downsides in structural contexts have been put to use. Many knowingly and unknowingly have used vernacular techniques or strategies in modern designs in order to face regional difficulties with respect to context. Vernacular architecture is not how a structure looks in the particular region but about how a structure is constructed to face its context. As the result of which the vernacularism of a region is reflected in context sensitive designs of the region.
The Doors and Windows are influenced by the vernacular of the region and are carved by the local craftsmen.
Connecting vernacular and contemporary with respect to site
The design of the space is a uniform balance of local skills alongside with expertise of the engineer. The activities taking place in the building was visualized as an assimilation of social and material, regional, processes that would cement the architecture in the particularities of the contours. Materials were appropriated as processual entities, as part of a larger ecological cycle, which make the building permeable to its surroundings.
What is the need of fusion of vernacular and contemprory during these time?
Architects have come to a realization of the significance of the simpler, ecological principals assimilated into vernacular architecture and is being adapted in the modern design. With introduction to modern technologies and materials people are trying to adapt some of the principals of vernacular architecture. Several people are also inspired by the traditional building techniques, given that they are proven to be energy efficient and constructed using local resources, geography and climate. Vernacular structures across the globe provide informative examples of sustainable solutions to building problems. However, the diversity of vernacular architecture in the global context, the technology-based research is limited beyond performance-based examples.
Wattle and doub technique used for first floor walls to reduce load and gives an added advantage of cooling.
The gable ends of the walls are innovatively dealt with, large panels made from plaster and wire mesh are positioned, which let a serene light into the room.
Light weight steel trusses take over the roof with fluted sheets and is crowned by fired clay manglore tiles.
Semi open areas suported by wooden coloumns and joints.
The ground floor walls are made of rammed earth blocks with concrete bands at plinth and lintel level.
Adaptation of traditional in contemprory design that supports our present lifestyle
Change in lifestyles have changed the meaning of architecture. While changing lifestyles have impacted architecture in a way that makes one ruminate on how it can make a lasting impact on transforming life. Architecture, by its very definition, is a response to human needs. The context to which our ancestors responded to isn’t the same as it is today. The built environment has always dealt with similar issues of shelter, responsibility and privacy. Assuming the way we live advances over the next century, we need to investigate new ways through which we can generate change. If we view architecture as a whole - the environment in which we live and are surrounded by - then it should be able to be capable of progressing alongside the way we inhabit our environment. Indian architecture is in a state of flux, where we have everything i.e., explorations, experiments, opportunities and progressed sensibilities. A step in the equitable direction could yield great results and help revive what we have lost. At this point, we shouldn’t be distracted by what’s happening around us. Instead, we must acknowledge our needs, our roots and work on a design that adapts to altering lifestyles, but is true to its identity and values. Further, this identity and these values are conveyed to people, which in turn sculpts our society. Thus, we get spaces and buildings that can sustain themselves for posterity. sensibilities. A step in the equitable direction could yield great results and help revive what we have lost. At this point, we shouldn’t be distracted by what’s happening around us. Instead, we must acknowledge our needs, our roots and work on a design that adapts to altering lifestyles, but is true to its identity and values. Further, this identity and these values are conveyed to people, which in turn sculpts our society. Thus, we get spaces and buildings that can sustain themselves for posterity.
Edges of protection
The unsung hands
Shadows of hardwork
Beauty beneath artwork
The courtyard’s perspective
Respite in blazing sun
Alluring views
MENTION
UNIT SECRETARY DEV SHETH
Z214
FACULTY OF ARCHITECTURE SARVAJANIK COLLEGE OF ENGINEERING & TECHNOLOGY, SURAT
TEAM MEMBERS
MOKSHIT KAKRECHA
NIDHI PATEL
HETVI GEVARIA
RADHIKA SHARMA
HETVI PANCHOLI
DHRUVIL VAGHANI
NISTHA MISTRY
URMIT KOTADIYA
HETVI PATEL
KRUSHA DESAI
DARSHAK KOSHIYA
VINAY KAKADIYA
VAIDIK KHORASIA
PALASH SHAH
BRINDA PATEL
KEKIN PATEL
DHRUV TAPADIA
SIDDHI BAFNA
PURVA KATHIRIYA
RUTVIK TAGADIYA
UCHIT DESAI
SMIT KAKADIYA
JD College of Engineering
Over the years, the vernacular architecture has encased the climatic conditons and the local integrity of society shaping the architectural style of the place. IT is regarded as “architecture without architects” sensitising with the context and developed by the community as a whole representing their vision of the world.
The fusions in architectural identity of india are a subsequent result of greed to the political dominance. the colonial influence being the most destructive to indian heritage, led to the upheaval and the end f their rule marked the beginning of the industrial modernism.
The mass production of materials and construction techniques has put human experience in jeopardy of becoming the same, leading to our yesterday becoming antique. in lieu of the situation, ar. habib khan was the first person to coin the term “contemporary vernacular” in india.
Introduction to Contemporary Vernacular
Hypothesis
Wisdom is the earnest implication that mankind possesses. so in an attempt to capture the “spirit of time”, humans interact with the resources around them. yet, becuase of the vicious cycle of repertoire architecture in modern world, the traditional continuum of warranted philosophies has lost its essence. hence, contemporaryvernacular architecture is a progressive approach to design that seeks to mediate between the upcoming styles and rationales of architecture.
Why time tested design principles?
vernacular architecture is a sign of identity. it is traditional in the sense that it originates from specific ethnic groups and is a result of evolution. vernacularism in architecture has a meaning beyond functionality and aesthetics by becoming a part of “cultural memory”
Contemporary Architecture
It is an ever evolving architectural practice that is frequently mistaken for modern architecture and is not predominant to any region. it isn’t defined by a single style but is unified in its imperative to be unconventional, by breaking away from the past using innovation and technology.
Critical Regionalism
Universal civilization has brought about an industrialist change in architecture. tactile and tectonic features enable the body to read the environment in terms other than sight alone. Thus, critical regionalism, readdresses the tactile range of all human perceptions complementing our normative visual experience, enabling us to counter the western tendency of interpreting the environment in exclusively perspectival terms.
Robust Evolution of Architecture
Architecture is a creation of its own environment. The importance of symbiotic interaction with space, light and the living is slowly contextually changing which is rightly justified by Clement Greenberg, “Today we look to socialism simply for the preservation of whatever living culture we have right now.”
Deconstructivism of India
as a country, india has always followed the quote put forth by rabrindranth tagore stating “A country, is not territorial, but ideational”. this reflected the importance of vernacularism in India.
But India’s public life is now constituted by a host of self-images fashioned out of Western reflections. Twentieth-century Indians have for their part voluntarily adopted many of these ideas and welcomed the opportunities of regular contact with the world beyond their own country. this has led to the depletion of internal diversity where once it refelcted the indian identity.
The art of building is not simply regionalism in the sense of vernacular architecture. it embraces the likes of that specific region thus growing organically and creating an intrinsic connection with people and the structure which has been lost due to contextual mismatch.
Architect’s Commandments
Architect’s Vision
I always marvelled at the love and affection they (vernacular buildings) were built with, and was mesmerised by the peace their spaces offered. I always wondered as to why our modern structures couldn’t replicate that intrinsic quality which our historic buildings offered. The quality of their character, living culture, the inherent rootedness and their contextuality always influenced me. My aim has been to reinvent a new and more responsive architecture which will be the the continuum of the vernacular.
- AR. Habeeb Khan
Louis I. Kahn
Sir Louis I. Kahn’s philosophies always revolve around the cohesive interaction between humans, light and space which captivate the soul of the building. which links the unmeasurable with the measurable through understanding and realisation of the elements of space.
Conceptualizing Wada Architecture
Location
Brief Understanding
There has never been a need more than today to depict the fusion of vernacular and modern architecture, thus, contemplating on the term ‘contemporary vernacular’. its fusion is important to understand the eradication of the dominant impact of universal globalization on architecture. the interpretation of an architect’s ideology plays a defining role in the way the structure develops and provides a thorough understanding of the project.
Site Justification
The ‘Intbau’ award winning site brings to the life the metaphyscial dimension of ‘genda phool of architectue’ signifying the proportionate degrowth of western influence through critical regionalism. A peaceful resonance is created by the elements providing an impeccable hint to a physically yet culturally sustainable micro-environment that sensitively connects the inside to the outside world through organic development.
Origins of Wada
Wada is an ‘introvert architecture’ brought to life by the Marathas which reflected their tradition, culture and religion which is now a rich and cherished architectural heritage in Maharashtra. The big idea has always been to effectively provide privacy from the outside world whilst maintaining internal connectivity. It houses a modular planning system that can be scaled as per personal needs, thus, emerging as a dynamic - private space.
It is a type of residence whose module can be utilized by people of all classes by integrating or expunging the modules according to their needs. They were not purely residences but often housed administrative offices. Wada is withal the humble home of the mundane rather than just being affluent mansions.
The spaces were multiples of this grid. All the dimensions of these homes are the multiples of unit bays called Khann. They helped maintaine a sense of spatial formality.
Influences on Wada
Mughals
Mughals influenced the marathas for an introvert housing typology
Maratahs Introduction for privacy from the mughal invaders acting also as a semi administrative space Peshwas Inculcated the maratha wada and modified it in their accordance
Essence of Wada
Wada embraces the rich cultural heritage in the small elements of the structure. they display A beautiful, style and creativity of those who could make it possible. The existence of Maratha empire stays alive in these traces built during its reign.
Architecture Style
the timeline gives us an understanding of how various cultures have influenced the architecture of wadas throughout their evolution.
An amalgamation of Indo-Islamic architectural style co-existed along with the original Vastu based Hindu architecture style. Gujarati style had heavy brackets with Makara motifs, Delhi or Rajasthani style had cusped arches and fluted columns with Arches being decorative and non-structural.
Garhi was fortified Wadas of royals with bastions and ramparts. They were positioned as the central focus of the village around which the streets start developing radically. Alongside these narrow streets, wadas of the common people were build. The town was surrounded by a town wall forming a definite threshold for defense from the enemy.
Peripheral Wadas
Peripheral Wadas
Climate Responsiveness
The central courtyards performed as wind tunnels, which regulated the ventilation inside the house through doors and windows, along all four directions.
Openings and Staircase
Staircase
Staircases were positioned in four feet thick walls to maintain privacy for women.This helped to keep interior of the wall cool in summers and warm in winters.
Main Door
The main entrance of wada were large and inviting, while the doors in the interiors were small to make the person entering, bend in respect.
Internal Door
The doors throughout the wada are less than 6ft in height. This is to make sure that each person entering a room bends in respect .
Window Wooden windows looking into the courtyard were incorporated in wada. wooden rafters were inserted inside the wall to prevent cracks.
the thermal cavity created between the roof and the terrace provided soothing ambience.
Design Principle
The spatial organization of Wada is derived from Vastu shastra,the traditional hindu system of architecture. Wadas are an introvert house form as they are covered by THE solid exterior walls. The apertures are placed in interior part of the wada, focusing the central courtyard. These courtyards are set up illustrating THE linear circulation, which forms principal axis, composing verandas as tHE Thresholds of privacy.
Wadas with no open integrated courtyard.
The concept of having open space enclosed within the built mass has emerged to drive the nature inside the introverted house form. Sala signifies a house in general. Sala was a span comprising one long rectangular structure.
Wadi : cluster of wadas built along the street front.
Wadas with front and rear yards. Wadas with integrated courtyard.
Construction
The method of construction was trabeated with non structural arches. Non-load bearing Brick walls, as thick as two and three feet, were used as partition walls that strengthened the framework.
A timber framework of pillars, brackets and beams were used that took the entire structural load. Even the thick walls had horizontal wooden rafters.Stone pedestal is used to support wooden pillars.
A timber framework of pillars, brackets and beams were used that took the entire structural load. Even the thick walls had horizontal wooden rafters.Stone pedestal is used to support wooden pillars.
Architecture without Architects
‘Architecture without Architects’ attempts to break down our narrow concepts of art of building by introducing the unfamiliar world of nonpedigreed architecture. the site thus tends to guide us towards the same frame of mind by breaking away from the familiar pedigreed architecture as it is highly influenced by the vernacular architecture of the region creating a direct connection with the environment.
the site stands strong on these quotes, depicting Ar.habeeb’s conceptualization of the project’s development. “play of light as art” “architecture was and is essentially contextual” “man always shared a symbiotic relationship with” nature”
With over 3000 years of recorded history, Indian vernacular traditions grew and evolved to form a strong and cohesive architecture which we gradually lost. the architect thus attempts to correct the lost path of architectural evolution.
Joinery between the pillar and beam.
Beam Head Stone Pedastal
Wooden Rafters
Hierarchy of Expanse
the project has been developed in various phases considering the client’s requirement of progressional development. the site embraces the balance between the surroundings and the materials thus melding with the landscape and seeming as if the nature has given rise to the project.
2009
The initial phase consisted of the suryaprastha block and the initiation of the ‘takshashila’ engineering block, the workshop and canteen along with the parking.
2012
The second, smaller ‘vikramshila’ engineering block was entirely constructed as a part of the second phase.
Why Pragmatic Design Thinking?
Considering contemporary vernacular, the planning of functional spaces, leads to the spatial arrangement incorporating elements from the vernacular and the contemporary. the spatial arrangements truly reflect habeeb’s ideology of “traditional creativity was always linked with common sense.”
Traditional Nomenclature
Prioritizing the degrowth of the west, the blocks and strategically important areas have been named behind great indians. this provoked a sense of closeness to ‘india’ and carries forward the idea of an emerging architecturally self-conscious culture.
2015
Development of the polytechnic block was initiated with the advancement of the ‘takshashila’ block to the next level.
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Proximal Outsourcing
2018
The ‘takshashila’ block was completed along with the completion of the ‘nalanda’polytechnic block along with the introduction of artificial contours.
2021
It will comprise of all the sports and accomodation facilities to be built nearby the polytechnic block.
Habeeb’s ideology of promoting local craftsmanship and technology has resulted in majority of the outsourcing to be within the 200 km radius of the building, contemplating ‘genda phool’ and ‘vocal for local’ in architecture as it is supposed to be in true vernacular creating a ‘cocooned economy’.
Site Introduction
The Valni region offers the fragments of flat land. Its name ‘VALNI’ is derived from its capability of attracting diversified society. Habeeb khan proposed the idea of phasal development that binds the principles of an organic township with the concept of design continuation through the phases.
Site Specification
Area - 68790 sq.m
Const. area - 11080 sq.m
Water bodies - 3
Amphiteatres - 2
Classrooms - 42
Buildings - 5
Gardens - 7
Cafe - 1
Natural flat-land contours
Artificially laid contours
The Suprastha was designed and placed in the south-west corner of the site adhering to the principles of vastu-shastra. there are two main elements in the block; one is the water body running beneath the entrance foyer and the other are the seven courtyards, breathing light inside the block. the main offices are uplifted by eight steps to bring the essence of harmony.
Section AA
The higher plinth is supported by a tapered wall which is a direct influence from wada architectural style.
This showcases the floating entrance over the water. the experience of entering the building is enhanced by the presence of no vertical planes, which expands the cone of vision.
The view shows the stepped pathway for the dean’s office which is placed on a higher level.
Inter-Relationship Diagram
The view shows the entrance of the admin block. the expanse it has, gives a tranquil experience everytime a person walks through it.
The building has been planned in accordance to vastu-shashtra, as specified by the client. the dean’s office and principal’s room are both on a higher level as compared to the whole campus.
The section shows the floating entrance. this detail represents the idea of water being the most passive element of the whole block.
The low sill level of windows is constant throughout.
The low sill level of windows is constant throughout.
A hall of private audiences. majority of the administrative meets take place here. it is a private space where the higher suthorities meet inspired from the Diwan E Aam concept of Wada.
The premises of the suryaprastha block is seven degrees cooler in comparison to the outside. this primarily happens because of the water body and double roofing systems of the library.
Exposed brick double loaded corridors enhancing the visual experience.
the water body diffuses tiny water droplets in the air above it, which makes the whole area pleasant. the wind travles inside the building hence making a cooler environment. this phenomenon is called wind chill. this has been adopted in the admin block from the ancient temples which had A water body in front of them, to cool the temple as it was a social hostspot for the town. the water body makes a very pleasant environment around it and visitors in THE waiting room and THE entrance foyer feel the effect of wind chill and experience the cool breeze it produces.
During the morning, as the sun rises up the sunrays gradually heat up the water and the water starts retaining the heat.
During the afternoon, Due to evaporative cooling. The hot air flowing above the water body cools and making a cooler environment inside the building.
During the morning, as the sun rises up the sunrays gradually heat up the water and the water starts retaining the heat.
The construction of the engineering block initiated with the ground and first floor development of the takshashila block.
In its second stage, the entire vikramshila block was built and there was no further progress in the takshashila block.
In the third stage, both the engineering blocks were completed. this completion further initiated the development of the remaining project.
A view showing the exterior elements of the blocks depicting how they merge with the pathway and the landscape.
Various elements are designed to break monotony of corridors acting as crowd pullers, where students gather and interact.
The first phase development was originally comprised of the ground floor along with its roof. due to the change in client requirements, another floor was added in the development for the first phase. the roof along with its rafters and purlins was lifted up as a monolithic structure and placed similarly for the floor above. this led to cavities being formed at the girders and ceiling which is still visible.
Reflectance of a Pragmatic Approach
The architect’s approach has been enhance the site experience through a pragamtic development of spaces that follows the ideology of ‘form follows function’ tending to put the user’s point of view a priority during the developmental stages.
The spatial arrangement brings out the character of the engineering blocks. cultural retainment when reasonably integrated with functional ease which in turn, if appropriately compatible with human interaction truly brings out a different outlook of the building.
acting as a spillover space for the classrooms and a sunshade for the lower floors.
walls provide sound insulation, not allowing sound waves to travel through them.
Exposed brick double loaded corridors enhancing the visual experience.
walls provide sound insulation, not allowing sound waves to travel through them.
Balcony
Thick
Thick
Site Section
Classroom Section
Ground Floor Plan
the music room inside the building acts as an added part of cultural integration. this allows students to do different activities from their routine timetable and helps them develop a hobby. activities like these help them concentrate better in their academics whilst freshening up their their minds.
spaces for creative skills help in Overall growth of a student in college. the enhancement of creative skills further helps in regular studies of the curricullum. thus having such spaces allows them to divert their minds off the mundane study work and induldge in activites which require them to think out of the box.
view of heavy stone wall tapered inwards.
Wall Section
First Floor Plan
Classroom Plan
Second Floor Plan
The clerestory windows bring in the north light illuminating the classrooms. sitting near THE water body increases overall sense of well being, happiness and relaxation
This inviting cobblestone seating gives a sense of direction to the user towards the building.
West Side Elevation
Section GG’
Section FF’
the sections show the various undulating floor plates to create an interesting experience as we move in the corridors. it also shows the connection established between courtyards and corridors of the building.
the view depicts the effect of the buffer wall blocking the harsh sunlight directly hitting the wall of the building resulting in relatively cooler temperatures inside the building.
The view depicts the effect of the buffer wall blocking the harsh sunlight directly hitting the wall of the building resulting in relatively cooler temperatures inside the building.
The Isometric view shows all the exploded floor plates. To give an idea of the volume subsequently created. The roofing system can be seen as a combination of both flat as well as sloping which makes it more accessible and allows ample amount of light to enter inside the premises.
the inverted “s” shaped railing design made out of metal has a heavy ornamented look to it and emits a traditional vibe throughout the courtyard.
Ground Floor Plan
the plan of the building has evolved from the principle of linear axial planning. the core idea dictates the grid pattern and hence the classroom along with various corridors are designed.
the diffused north light enters the corridor through the windows. the arches and jaali further allow light to penetrate inside the building.
The view depicts the grand colonnade structure of the east corridor, opening into the courtyard.
Vikramshila is the smaller engineering building showcasing grid planning. This modern building with contemporary materials, accommodates many courtyards that reflects the core idea of the entire site.
the corridor reflects contemporary vernacular with modern steel girders in the ceiling and vernacular jaalis throughout its length. the jaali further creates intersting shadow patterns. Parabolic Arch
The exploded isometric view shows the relationship among different floor plates.
the view shows the various types of window openings and the heirarchy that they follow. moreover, the buffer wall can be seen as the facade treatment for sunshading.
Section II’
East Side Elevation
Habeeb khan got influenced by the grid planning; one of the principles of wada.
Framing the idea again, he started placing the units such that it breaks monotony.
The sunpath is high at high angle and slightly on North to the East-West axis. Glare free daylight is available on the North facade as minimal solar radiation will fall at high.
The Presence of three huge courtyards is comparable to the which eventually helps in better ventilation throughout the building.
Further on, while massing he used harmony as the design principle, so that all the units receive sunlight.
Thereafter, to bring sunlight inside the units, the roofs with glass facade were kept facing the north.
Towards the South, The height of the buildings increases which helps to cast the shadow of the taller buildings, The inside temperature cools down. Improving thermal comfort and reducing the energy consumption.
The Presence of three huge courtyards is comparable to the which eventually helps in better ventilation throughout the building. the entrance pathway tothe polytechnic block is lined by trees giving sense of direction.
First Floor Plan
First Floor Plan
the covid-19 pandemic slowed the growth of the college. the phase four construction had to end by second quarter of the previous year. moreover, as the students did not come to college for a major part of the year, the building has not been maintained properly and not used in a very definite manner. the lockdown also shifted the TEACHING, on various online sources and has made the experience of the college very futile for students lately.
Section KK’
Section JJ’
View of Courtyard from corridor Classroom
Stepped Classroom
North Elevation
East Elevation
the nalanda block has a dynamic character associated with it. the spaces have multifolded functions. the facade also follows an undulating language inscribing the dynamic state.
the nalanda block has a dynamic character associated with it. the spaces have multifolded functions. the facade also follows an undulating language inscribing the dynamic state.
Section LL’
Classroom
Study - An undulating space designed to witness visual connectivity between students and teachers.
The arrangement for the people to sit and interact among themselves and with nature.
Space aspired for the people to congregate for social meets.
The space is designed to create opportunities for the students and explore their talents.
Prayer - the classroom offers a soothing ambience to carry out morning prayers.
the space used for small awareness programs like nukad natak and flash mobs.
Natural stones of concsiderate sizes are consiously placed in the garden creating seating for students.
The dual purpose space allows to organize the Exhibition in the open courtyard.
Lab - A desired space for the students to experiment and develop a proper understanding of the subject.
human and nature share a sacred undefined relationship at A physical and psychological levels.
sitting near THE water body increases overall sense of well being, happiness, induce relaxation and boosts creativity.
Starting is done by laying the plinth and columns as the construction of frame structure is the most time consuming process.
Due to availability of large number of traditionally skilled labourers, roof was constructed rapidly using local construction technology.
The walls of second floor were constructed while the college was operational on the lower floors.
To avoid constructing typical RCC slab, PCC with light reinforcement and kapni stone form work with exposed steel girders are used.
Due to proximal outsourcing of materials from site, the transportation time was reduced inturn speeding up the construction process.
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The first floor completion marked the end of rapid construction in four months. This was followed by phasal development of the site.
Deconstruction of the pitched roof as a single module was done, to construct second floor beacuse of the growing needs of client.
The deconstructed roof module was replaced over the second floor EXACTLY ABOVE
The completion of constructing takshishila was followed by immediate use of the floor by the students.
brick masonary gives a finsihed smooth concrete plastering.
to achieve a sense of familiarity, terracotta brick cladding has been used on both sides.
the floors are structurally strengthenED by providing a 12mm light reinforcement because ofthe intense live loads due to daily activities.
The rapidly constructed college building is a composite structure as it has a combination of framed and load bearing components. Most of the aspects of construction like window making, flooring patterns and roof structure have been meticulously done on the site. This has helped the building in becoming modular, subsequently helping the construction being simple to manage.
The traditional architecture techniques which have endured the test of time are best archetypes of thoughtful design and engineering. Traditional architecture bears the wisdom of their sculptors.
The contemporary architecture is the cumulation of this knowledge acquired by us through the stretch of human existence.
this does not imply mere replication of those structures without understanding its intrinsic value and the appeal of incorporating modern techniques and materials. What we have today and shall have in the future is all about the experiences and studies of the past and present that help us develop the design.
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SPECIAL MENTION 2
UNIT SECRETARY PRADYUMNA BHAVSAR
MARATHWADA MITRA MANDAL’s COLLEGE OF ARCHITECTURE, PUNE
TEAM MEMBERS
PRATHAMESH BIBIKAR
PRITHVI DESAI
SANIKA PATIL
AJINKYA BARKE
PRATIK KADAM
AJINKYA MALI
NIYATI SHETTY
SHUBHAM KAVLE
SUMEDH CHORE
SAKSHI WAMAN
ADITYA WALE
PRASSANA GORE
OJAL SURANNA MADHUMATI JOSHI AMOGH YEOLE
Site
Shiksha niketan is a primary school built in 2012. it has been built adjoining nisha’s play school, mario miranda gallery, houses of goa museum.
Site Justification
Shiksha nikeetan as as a site was a selected for documentation for lik trophy as it was designed and constructed by an indian architect. built in recent times,the structure has vernacular roots which were well suited to the brief.
Location
Shiksha niketan, Salvador Do Mundo, Torda, Bardez, Goa CO-ORDINATES : 15.53N 73.84 E
Section AA’
Flora and Fauna
much deciduous vegetation, including teak, sal, cashew and mango trees, is present. fruits include jackfruits, mangos, pineapples and blackberries. foxes, wild boars and migratory birds are found in the jungles of goa. the avifauna includes kingfishers, mynas and parrots.
Goa features a tropical monsoon climate under the Köppen climate classification. Goa, being in the tropical zone and near the Arabian Sea, has a hot and humid climate for most of the year. The month of May is usually the hottest, seeing daytime temperatures of over 30°C coupled with high humidity.
Temperature:
May is the hottest month in Goa with an average temperature of 30°C and the coldest is January at 25°C.
Precipitation:
The wettest month is July with an average of 995mm of rain.
Humidity:
August is the most humid and December is the least humid month. The average annual percentage of humidity is: 76.0%
Maurya Empire (3rd Century,BC)
Satvahanas of Kolhapur (580 - 750 AD)
Chalukyas of Badami (980 - 1082 AD)
Yadavas (1312 - 1370 AD)
Bahamani Sultans (1410 - 1490 AD)
Portuguese (1510- 1960 AD)
Evolution of Goan Architecture
Buildings in Goa are a blend of styles, technology and details that apparently was a result of various cultures. Many changes have occurred from Deccan to Portuguese occupation which lasted 451 years from 1510 to 1961.The early designs were shipped in through Portugal as Christianization began .One of the oldest STRUCTURES IS the Church of Lady of the Rosary. Built in 1543 in Manueline style.
Pre- Portugese goan houses were more inward and had courtyards. later the goan houses maintained this tradition of placing courtyards in structures which was the combination of in indo- portugese architecture.
In 1769, a minister in Portugal, reorganized spaces according to the lifestyle .In 1878, the signing of the Goa Alliance Treaty further influenced the architectural scenario.The facade treatment of the houses INCLUDED extravagant windows, decorative MOULDINGS, AND FRESCOS . expresSIVE rhythmic repetition of windows with pilasters divided facade into bays. A Wide range of mouldings like cornices, stucco mouldings above the windows and doors were introduced that were derived from Baroque or Rococco.
Mother of Pearl Windows:
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In some Goan houses the window screens are fashioned out of nacre The nacre was preferred over glass as it allowed for a subdued filtered light to come into rooms of a house while affording privacy. This gave windows in a warm, translucent look from the outside while cutting off the light’s glare on the inside. The nacre , which is otherwise a waste material, was then cut into lozenge shapes and slid into wooden battens to give windows added value and beauty.
Eaves Boards
The design of the eaves boards in Goa reflect the character of those of the Gothic Revival period.
Eaves boards were used on the verge of gables and on the eaves of timber roofs where the covering of the roof extended over the wall.
Church of lady of the rosary, built in 1543
Courtyard in a hindu goan house of the rosary, built in 1543
Courtyard in a hindu goan house of the rosary, built in 1543
Interior view of Goan House
Roofings:
Balconies:
Typical portugese goan houses had short spanned balconies over looking on the streets. these balconies made the house more outward looking.
Hexagonal tiles:
Early 20th century houses use plain red oxide hexagonal tiles. as the trend continued, tiles of various colours were laid in the geometric patterns with modules like hexagons.
Compound Wall:
The Goan houses were always enclosed with a compound wall of laterite stones, carved in variety of elaborate designs.
Railings:
Railing designs on the veranda ARE often reflected at the base of the window. These carvings mainly have relief on wooden panels, sometimes cut through leaving OPENINGS WHICH not only created a visual interest but also helped in the reduction of glare. enters drawing inspiration from nature and embellishments in temples and churches.
China Mosaic Flooring:
Broken china crockery was recycled to make up the flooring. Broken blue china was purchased in bulk for floors. Later, as the trend took over, new cups and plates were being smashed to get a particular colour for a particular design.
Brick Rubble
Balcao:
This is the most important feature of the Goan house and resembles a porch and functions as an outdoor living space with stone benches to sit down and catch the breeze while watching the world go by.
Pilasters:
Marseilles Tiles:
A range of tiles were introduced in goa from marseilles around 1926. these floors have a unique mystique all their own which provide smooth finish comfortable for walking. these too had decorative patterns.
pillars, piers and columns in goan houses do not seem to be influenced by any style in particular and are a rather mixed form of architectural styles. by 19th century more slender columns were used and the large bulky masonry piers were totally discarded. these stone columns were sculpted out of laterite blocks.
Design Process
When asked about his design process, he says that he has always came up with ideas while staying around the site and making models to visualise his designs.
Nisha’s Play School location
:alto porvorim , torda, goa. site area: 800 sq.m year of completion: 1997.
Nisha’s play school is a very todler friendly structure . the site is a contoured one and the architect has taken that as an oportunity and played with levels creating overlooking spaces. the school features a spiral staircase with slide for toddlers, doll houses for each clasroom, andoutdoor story telling areas.
Architectural Style
He is known for utilizing locally available materials and traditional construction techniques in harmony with his ecosystem. All the structure he has built is with minimal resources and have explored different levels of spatial experience.
Ar. Gerard Da Cunha
Architects Background
Born on 10th February 1955 in the city of Godhra ,Gujarat and has assisted the famous architect ,Laurie Baker in his student years.
He was inspired by Laurie Baker’s simple and efficient techniques and it was through him that he was able to imbibe in his own style.
However, he has his unique and unusual architectural style that revolves around nature and a career of four decades in the field of sustainable architecture, unique designs and out-of-the box thinking.
Nrityagram
location : hesaraghatta lake, bengaluru site area : 40468.6 sq m
year of completion :1990
typology of the building : a village devoted to teaching dance. materials: locally available granite, red brick and mud. features: fashioned from the raw mud of nrityagram and fired after it was built. open spaces, greenery and the mud building are the special features structure.
House of Goa Museum
Location:Torda, Salvador do mundo, Goa
Year of completion :1997
Typology of the building :Museum
Materials: laterite and brick
Features: A curious triangle that looks a lot like a ship, the museum stands on a traffic island right in the middle of the road. Inside, you can discover the curious layers of this oddly-shaped building and also the many treasures it holds.
JSW Township
Location:Torangallu, Bellary
Site Area:1214057 sq m
Year of completion:1998
Typology of the building: Township
Materials:Granite and Cuddappah stone.
Features:These townships provide the best work-life balance opportunities. They offer facilities for indoor and outdoor sporting activities such as squash, lawn tennis, etc.Apart from good hospitals and schools, the townships also feature theatre halls, clubs and markets, amongst others.
Town plaza
Location:Aamby valley city, Maharashtra
Site Area:1114.84 sq m
Year of completion :
Typology of the building:Shopping village, resort
Features:It is planned hill city. There are six types of rooms built in Aamby Valley City and a total of 500 rooms. There’s an Aussie Room, along with an Aussie Suite, Cabana, Spanish Cottage, Burmese Chalet and Hermitage.
16.
17.
18.
19.
20.
13. Theatre
14. Mango tree court yard
15. Staff room
Class room 4
Class room 3
Class room 2
Class room 1
Teak tree courtyard
21. Learning centre
22. Doll’s house
23. Store room
24. Girl’s toilet
25. Boy’s toilet
GROUND FLOOR PLAN
STILT FLOOR PLAN
26. Sports store
27. Kitchen
28. Dining area
29. Garden store
03. Sick room
13. Theatre/gym
15. Staff room
33. Outdoor amphitheatre
34. Stage
SECTION B-B’
SECTION A-A’
Reinforced Laterite Pier
laterite is used vastly in load bearing structures in goa . ar. gerrard da cunha has utilized its compressive strength in walls, arches and piers . he has used rcc laterite piers for construction of this school which was helpful for cost reduction and also gave it a vernacular appearance. this technique helped to avoid the formwork required .
Jaali Wall
Rain Spout
The rain spout is constructed at the terrace level for draining out the rain water.discarded iron chains are hung to it which DIRECT THE WATER TO THE POND WHICH IS PLACED BELOW IT
This brick Jali helps to reduce the energy load of cooling anD the costs associated with it. The apertures in the jali efficiently lessen the ingress of heat in the daytime. They also block the entry of direct sunlight, making for pleasant interiors and in maintaining privacy.
Atrium
The centraly designed atrium at the school enhances the amount of daylight. the atrium is kept open in all seasons except in rainy season, so it helps in passive cooling of the structure by natural means.
Rear Elevation
bonds created using larger and thinner bottles.
1. Clean the bottles.
5. Start building up of the coping after levelling with mortar.
Corbelled opening for draining out water. Elevation of the wall Opening detail
6. Give the coping a desired shape and size.
7. Complete and finish the inner and outer face with mortar. 8.Clad the coping with tiles and seal bottle openings
Construction Detail
2. Apply a 40mm thk mortar base to the ground.
Start laying courses of bottles ensuring staggering.
Complete the curses till your required height.
Types of Jaalis
LOUIS I KAHN TROPHY 2020-21 SHIKSHA
Filler slabs :
In filler slabs part of the bottom of the concrete slab is replaced by cost effective material ex. clay pots, manglore tiles. this method helps in reducing the self weight of filler slab while retaining its strength.this is also used as passive cooling strategy making the construction economical, cost effective and sustainable. gerard has used sponges, disposed thermocol boxes as the filler material turning waste into beauty.
Natural lighting :
proper day lighting ensures each and every space lighten according to the function there by reducing artificial lighting requirements and saving energy. this again adds up to effective costing. shiksha niketan fullfills the requirnment of daylighting.
Vegetation:
The existing trees on the site were retained. some of them were taken inside creating small courtyards. these courtyards are also used as extensions of the classroom.
Ventilation:
All the spaces in shiksha niketan school are naturally ventilated. the centrally placed attrium and courtyards help to in stack ventilation. fenestration in the structure designed in such a way that it achieves cross ventilation too.
Construction:
Architect has tried to minimize the overall envoirnmental impact of the structure on the surroundings. thus resulting in usage of all the locally available materials to the fullest,and saving on the cost of the structure.
Orientation:
the structure is oriented on the slope so as to minimise the impact on the landscape. the soil which was excavated was also filled back. thus most of the building is hidden inside the ground. A latticed curved brick jali is placed in the structure so that it ventilates the interiors and the ornaments the building.
Creating happiness in children is developing eagerness to explore and develop imaginative skills by using the materials that are exposed to them. Effective learning occurs when children are actively engaged in the learning process.
Motion permits children to move freely in the allocated spaces, create their own boundaries, and explore their abilities by handling different objects. good classroom arrangement inspires, and encourages children to easily interact with each other and develop various skills including language, and social behaviour.
The environment that is created should match children’s development and provide motherly care, space for sleeping, give an opportunity for children to learn from their mistakes.
Creating happiness in children is developing eagerness to explore and develop imaginative skills by using the materials that are exposed to them. Effective learning occurs when children are actively engaged in the learning process.
Environmentally appropriate classroom is one with proper natural light and ventilation, as they internalize the sensations of the environment, they integrate personal experiences to hypothesize the impossible.
Story Telling Space
The materials placed in every learning area should match the age, development level, and the interest of those children for which they are intended
Bringing play into the classroom gives students a very powerful reason to come to school. Children regardless of cultural beliefs and customs enjoy learning in a classroom that gives them ample opportunities to play, feel happy, and secure.
Children are different, so are their ways of understanding and grasping. So, classroom should be aesthetically pleasing with attractive materials, and flowers for children to explore their understanding of their surrounding and the beauty of colours.
Windows:
The windows seen in Goan villas are usually repetitive linearly. Whereas, in Shiksha Niketan, a repetition of circular windows are placed in a non-linear and varying pattern.
Jaali:
Courtyards:
The courtyards in the Goan houses were rarely landscaped with flowers or ornamental plants. Most often a profusion of fruit trees was found in the inner courtyard. Every courtyard in Shiksha Niketan has a tree and the courtyard is named after that particular tree.
Goan houses have various decorative elements on their facades like the frescos, column capitals, etc. Exposed brickwork jaali pattern is one the decorative elements used in Shiksha Niketan provides natural ventilation along with providing privacy.
Balcao:
The balcao was a device to open the house out to the outer world. It was a space at the threshold of the house where residents could interact with passers by, have conversations, share the daily gossip, or simply just relax.In Shiksha Niketan, similar balcaos are used in the external courtyard which is used as a learning space for students.
Filler Slabs:
Ar. Lauri Baker replaced the concrete in the bottom portion of slab with low cost, lightweight filler materials like mangalore tiles. Ar. Gerard Da Cunha has used materials like sponge, thermocol and glass bottles as fillers in the slabs.
Jaali Work:
Brick jaali walls were used for natural air movement to cool the interiors and create intricate patterns of light and shadow. Similar jaali walls are built in Shiksha Niketan. The bricks are placed in such a way that they provide natural ventilation AND privacy.
Corbelled Windows:
Unplastered surfaces , dormer windows, corbelled windows are adapted by both in their structures.
Windows:
The windows do not have frames. The grills are made of bits and pieces. The windows used in Shiksha Niketan are made up of recycled materials for example, the gears of cycles hence reducing the cost required.
Exposed Brick Jaali and Curved Wall:
Ar. Laurie Baker used curved walls to enclose more volume at lower material cost than straight walls. Similar curved wall is used by Ar. Gerard Da Cunha which incorporates exposed brick jaali.
Exposed Surfaces:
They both have designed slabs that extend to become chajja for openings reducing the material and cost
Use of bottles:
Baker has used discarded bottles in the openings and brickwork to achieve the effect of light and giving an illusion of stained glass. In Shiksha Niketan, the discarded bottles were used in windows, slabs and even as a parapet for the auditorium.
Built Furniture:
Both of them use in-built furniture built of either bricks or of stone.
Courtyards:
The trees were never cut, instead they were adapted in the design. In Shiksha Niketan too, the trees were not cut instead the structure was built around the trees.
Entrance for Kids
Inbuilt Seatings
Fancy Openings
Nisha’s School
Classroom
Bunk Beds
Stairway
Bamboo Space Frame
Houses of Goa
Architect’s Office
Cantilevered Amphitheatre
Towards Teak Courtyard
Towards Music Room
Brick Jaali Balcony in courtyard
Stage
Verandah
Atrium
Seating at Amphitheatre Window Jaalis
Many Hats (House of the Architect)
Reception Frameless Window Outdoor Teaching Area Dollhouse
Inbuilt Seatings
Circular Openings
Bullseye Arch
JUROR’S CHOICE 1
UNIT SECRETARY KAREENA SHAH
Z211
IES’S COLLEGE OF ARCHITECTURE MUMBAI
TEAM MEMBERS
VISHAKHA VEKHANDE
DIKSHA MARDE
SWARALI ANANTWAR
MEGHASHIKHA JOSHI
VAISHNAVI VIRKAR
TWINKLE PARDHE
SHIVANI BANDABE
SIDDHI PATADE
URMILA CHAUDHARI
YUKTA GORE
PRANALI GUJAR
SAYAM MULANI
VEDANG PANDESHWAR
JOHAN PATEL
ANCHAL SINGH
SHRADDHA BARDIA
HARSHITA PATIL
ANANYA SINGH
NIMISH SAWANT
LALIT DAHIWALEKAR
EKTA OZA
MANVITA NEVE
SUJAY ZENDE
SAHIL SHAIKH
SHREYA KAMBLE
Karunashraya is first hospice in India to provide free health care for cancer patients which involves the infusion of outdoors into the interiors which brings in positive energy. The structure is a blend of modern and vernacular approach. Several clusters with similar functions are placed through the site with courtyards and water bodies which represent the vernacular aspect of the structure.The structure in itself is very modern in terms of its physical form and the use of developed systems.
Familarity: Palliative care provides a familiar environment due to the similar sufferings of the patients and the surrounding gives a feeling of belongingness .
Functionality: The significant functions of the spaces are to give allied help ,contributory activities without which hospice is functionally not effective.
Culture: In Hindu tradition,it is believed that one deserves to die in comfort surrounded by their family and well wishers and Karunashraya fulfills the same.
Community: Community-based palliative care can be understood as the comprehensive involvement of a community that focuses on providing care and warmth to the patients.
Creating from the Context:
The context gives meaning to the architecture with reference to its surroundings. It includes physical or natural factors like vegetation and the water bodies around. These factors can be analyzed, and adapted to integrate the building into its context.
Sustainable inclusion of modern and eco friendly method of power generation like solar panel, water harvesting makes the structure feasible and self sufficient.
Physical form conveys the message of simplicity with basic geometric forms.
Water Body
The wards are carefully arranged around the water body that help in passive cooling.
Courtyard
Including a traditional element such as an internal courtyard allows maximum amount natural light and ventilation.
Local material like grey granite stone is extensively used as it is highly economical and accentutates the natural look .
Karunashraya was set up in a semi-urban context 20 years ago when there was little urban development. With urbanisation new projects started popping up all around the site. Today, the area feels like a part of the modern city but Karunashraya has been successful in maintaining its calm and quaint surroundings.
LOUIS
The waterbody present in the courtyards of Karunashraya draw inspiration from low lying areas get flooded with rainwater and act as lakes or ponds . They keep the space cool and comfortable during summers.
There is an open plot of land dotted with trees between the site and busy road. The trees act as a buffer due to which the noise from the moving traffic does not disturb the patients while facilitating the flow of wind through the site.
Karunashraya is flanked by buildings on all sides.As the height of these buildings is not more than 20 metres, they don’t completely obstruct the flow of natural light and wind. The site is located in Kundalahalli gate and is easily accessible by all modes of transport. It is located adjacent to a very busy four lane old airport road.
The launch of home care services in 1994, has cared for more than 3000 patients, by going to ill patients home and treating them.
Karunashraya was born over 20 years ago with a small thought that became a big idea.
Karunashraya – literally meaning “abode of compassion”- is a joint project of Indian Cancer Society and Rotary Bangalore Indiranagar.
Initially with 30 - 35 beds and basic in-patient facilities. Karunashraya became a home for ill patients completed in 1999.
As the number of patients increased in Karunashraya, they felt the need of extending the site. Thus the extended structure was completed in 2015.
Provides compassionate palliative care for people with a life-limiting illness.
Karunashraya became patient’s formidable support system.
Patients are admitted with an objective of alleviating pain and other distressing symptoms.
Karunashraya does not interfere in decision making with regards to healthcare or a person’s last rites instead they offer support.
The planning and designing in vernacular is mostly linear and rectangular, the design in Karunashraya follows that concept
The concept of courtyard is taken from the vernacular type of architecture and modified by adding a water body. This becomes a contemporary aspect of the structure.
gathering space
pergola
corridors add a vernacular outlook to
Locally and easily available materials are used in construction to maintain homogeneity with the natural context and surrounding.
Semi- open spaces like verandahs are utilized thoroughly and are critical to the design in region.
Large trees were identified and the proposed extension was to be located around them.
A small water body was introduced at the corner which visually linked the existing waterbody and the new block.
The structures are oriented according to the water body. All the spaces in the building are facing along the water body making it the central focus.
The challenge while designing the new ward block was to blend with the existing building and to match the scale. Since the requirement was for 24 beds, the module was for to match the existing structure in scale and circulation.
The
in the interior spaces adds contemporary facet to the structure.
The
Karunashraya
Open
in front of prayer room
CIRCULATION
The interior is connected seamlessly with large outdoor spaces, wide corridors and water body such that each space interacts differently while walking around the structure.
Corridor
The patients can relax with a view of lush greenery on one side and water on other side of the wards.
Courtyard
It is well maintained with plants, trees and also benches to sit and relax . This is for the psychological comfort of the patients.
Prayer room
The prayer room is centrally located so that people who enter and exit the premises pass by it.
Green buffer space
There are a lot of trees around the site which help to keep the climate cool in summer. It also acts as a buffer.
Section
The wards are located overlooking the water body and greenery. This is the main feature of structure.
KEY PLAN
FUNCTIONALITY
Spaces with similar functions have been grouped together for easy administration and care.
OPEN AND BUILT SPACES
All built spaces are connected to open pockets of the structure promoting connections of indoors with outdoors.
Abode of Compassion
Wards
The wards are arranged around the waterbody in such a manner that each ward gets a view of it.
Each patient has an individual space that leads out a verandah overlooking the waterbody.
Karunashraya is a hospice for terminally ill patients focused around a large expanse of water which forms the major feature of the structure.
Courtyard
The courtyard acts as a transitional space around which the open corridors are planned. It helps in ventilation throughout the entire site, at the same time it acts as a tranquil open space for patients.
LOUIS
Waterbody
The waterbody plays a gentle role, offering serenity. This large expanse, forms the major feature around which the built form orient’s itself. The main attempt was to try and capture the feeling of tranquility and a sense of calm.
Recreational activities
All the wards are east facing to allow the patients to see the sunrise everyday signifying new hope that their life can have. Patients can engage in different activities to enjoy their life to the fullest in the time they have left bringing meaning to their life.
A sloping roof has some limits since the sloped ceiling can minimize the amount of space available inside.
SECTION AA’
SECTION
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These semi open transitional space act as interactive areas for the inhabitants and provide a flowing sequence of spaces. The use of granite stone for the walls adds texture to the rooms and corridors which enhances the experience of walking through these spaces.
Courtyards are a key features of karunashraya’s design. These courtyards act as transitional space and bring natural light and breeze into the structure. The vegetation and the use of gravel in the courts bring in different textures that are soothing to the eyes of the patients.
The wall of the office that faces the court iscompletely made of glass, this allows naturallight to flow in and the office space stays well lit throughout the day. This enhances the ambience of the otherwise mundane office space.
The existing wards were built on an artificially created water body. All the wards facing the water body are one floor high, with a verandah running around each ward.
The open verandahs are used as interactive spaces for patients and the use of granite gives a natural look to the hospice.
North Elevation
West Elevation East Elevation
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Contemporary architecture is the form of architecture which is a combination of several different styles all ranging from postmodernism,vernacular to the high-tech architecture.
Some key elements in contemporary form of architecture are curved lines, rounded forms, etc. whereas Karunashraya has perfectly straight lines and repeated forms.
Karunashraya involves solar panels and water rechargeable systems.
LOUIS I KAHN TROPHY 2020-21
Vernacular architecture refers to the buildings which are constructed by the knowledge of local technology and craftsmanship,using locally available building materials; simultaneously, providing comfortable indoor climates.
The old traditions of architecture have been embibed in the vernacular style of building,with time,these traditions have fadded and now remembered only by a few.The people who are locally rooted to the traditions are the only ones who now posess the knowledge and skill of these methods,these techniques have been abstracted and changed into a new style of architecture;contemporary architecture.Both, vernacular and contemporary styles go hand in hand.Karunashraya has adopted both these features to better serve the people who are in need of care.This structure justifies both the facets with all the required elements to be encompassed within.
The water body in the courtyards imbue a sense of serenity in the minds of the patients while keeping the space cool even during summers and facilitating wind flow into the structure.
In this structure the aspect of linear planning is incorporated so the plan refects the vernacular planning concept into it.
RISVI COA MUMBAI
TEAM MEMBERS
ABDULLAH BARWANIWALA
ABDULLAH NACHAN
AREEBA KHAN
AVRITA GUPTA
AMITA SAROYA
SANA SHAIKH
DIYA MARY JOSEPH
ADAM EZZI
NANDAN PATEL
SAAD KORADIA
REVATHIRAJ PATTERI
SAQLAIN PATHAN
SARIYA KHAN PAVAN R
ARTI MORE
SHIFA HUSSAIN
UNIT SECRETARY SWARALI PASALKAR
Introduction
Vernacular Connecting past to present
Ever since the beginning humans have always been undergoing a continuous process of building their own homes. Cultural building traditions were passed down orally, and homes were built without architects.
Every regional style is distinct and unique, therefore vernacular Architecture encompasses several elements and cannot be defined by a single style. It has often been dismissed as crude and unrefined, but also has proponents who highlight its importance in current design.
Ever since the beginning humans have always been undergoing a continuous process of building their own homes. Cultural building traditions were passed down orally, and homes were built without architects.
Every regional style is distinct and unique, therefore vernacular Architecture encompasses several elements and cannot be defined by a single style. It has often been dismissed as crude and unrefined, but also has proponents who highlight its importance in current design.
Architecture always evolves organically as the need and resources of the people change.
Fig 1a - Self-made structure with out formal tranining.
Fig 1f -
Fig 1b - Organically growth of houses in clusters along the core access.
Fig 1c - Structures designed to meet the function of the local people.
Fig 1d - Consideration of local climate in making of the structure.
Fig 1g - High-tech, stronger and taller structures.
Fig 1i - Expressiveness of form
Fig 1h- Use of latest technologies and materials.
Fig 1j - Design meant to be noticed.
Fig 1e - Use of local materials to build.
Contemporary Vernacular Contemporary
Today’s architecture borrows elements from all the other aesthetic styles, where in, form is one of the fundamental elements.
A combination of wide range of eco friendly features embracing all kind of creativity to high tech structures is observed among contemporary buildings.
Planning Courtyards
Truss Innovation
Material Local material
Fly ash walls Experiment
Climate Thermal inasulation
Truss joinery Technology
Labour Local skill set
Site Overview
Jetavan is a spiritual and skill development centre, built by KJ Somaiya Centre for Buddhist Studies, for native Baudh Ambedkar Community. The site, in the complex of Godavari Biorefineries, is also owned by the Somaiya group. The structure comprises of functional spaces and an adjoining library of 1070 sqm that functions efficiently with the centre. The design was undertaken by Ar.Sameep Padora and associates.The construction was completed in 2016 with the assistance of Hunnarshala foundation Bhuj.
Location
Jetavan : Etymology
Jetavana was one of the most famous of the Buddhist monasteries or viharas in India. It was the second vihara donated to Gautama Buddha after the Venuvana in Rajgir. The place where the Buddha gave the majority of his teachings and discourses.
The centre was envisioned by Venerable Bhante Dhammadipa during his visit to India in order to develop a centre for the community close by which would be the centre for spiritual guidance, physical wellness for vocational trainings.
Local Structures
The building typology of most of the local structures does not seem to resonate with the climate of the region.The excessive use of post industrial materials questions the sustainability of the buildings.Local building techniques somewhere lost in pursuit of “pakka buildings”.
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2f - Structure not responding to the context
Jetavan is situated at Kopargaon, Ahmednagar district, a densely forested pocket of rural Maharashtra,in western India. The location is sited nearby the famous Shirdi Saibaba temple.
2d - Multiple storeys to accomodate more people efficiently
2e - Local government building
2h - ‘Pakka’ structures made that require lesser maintenance.
Jetavan Centre Kopargaon
Fig 2b - Maharashtra state
Fig 2c - Ahmednagar District (Kopargaon)
Fig 2a - India
Fig
Fig 2g- The ‘semi-pakka’ temple
Fig
Fig
Fig
Vernacular Architecture in Maharastra
India is a country with diversified climate and socio-cultural conditions. Each region has its unique characteristics of building design in the form of climate-responsive vernacular architecture.
Vernacular architecture of Maharashtra portrays indigenous solutions to tackle the climate.The houses are raised on a high plinth with otlas acting as a semi-private zone. Locally sourced materials like timber, mud, thatch, coconut leaves, bamboo and Mangalore tiles are used for the construction. The houses blend into the landscape, expressing the communtiy as a whole.
Topography
India is a country with diversified climate and socio-cultural conditions. Each region has its unique characteristics of building design in the form of climate-responsive vernacular architecture.
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Climate
Climate of Ahmednagar District is referred to as local steppe climate. Summers are hot and dry, winters are cold.It is a drought prone region. There is extreme seasonal variation in rainfall.
Average annual rainfall: 440.2mm
Avg daytime temperature in summers :98°F.
Avg daytime temperature in winters :86°F.
Maximum temperature:102 °F
Minimum temperature:56°F
Fig 2i - Evolution of the building form with respect to climate
Terrain Soil
Above 900
Deep Black soil
Medium deep black soil Red soil
Heights in m
GODAVARI RIVER Grey soil
Fig 2l- Veranda: semi-private zone
Fig 2k -The one storey house blends into the landscape
Fig 2j - Houses raised on high plinth
Fig 2m- Topography of Ahmednagar district
2q-Use of courtyards as a passive climatic strategy
Fig 2r - Average annual temperature of Kopargaon
Fig 2s -Perforations on the wall channels the breeze throughout the structure
Fig 2t -Average annual humidity of Kopargaon ,Maharashtra Kopargaon experiences extreme seasonal variation in the perceived humidity.
Wind Site Context
The wind is most often from the north in January, February, September and October.
The wind received is most often from the west for 7.6 months, from February to September.
Average wind speed of Kopargaon is 10.4 miles per hour.
The site lies in the campus of Godavari Biorefineries, owned by the Somaiya Vidyavihar Trust. Jetavan acts as a spiritual and skill-development center for its workers and the surrounding Baudh Ambedkar Buddhist community, providing spaces for meditation and yoga as well as training and skill development.
Fig
Fig 2 O - Direction of the wind recieved from different direction
Fig 2n - Major wind directionwest
Fig 3a- The chemical tank in the campus of godavari biorefineries
CHEMICAL TANK
Dr.Babasaheb Ambedkar Library is functional from 6pm to 9pm.The library includes books of various genres. The adjoining area houses a bust of Dr Babasaheb Ambedkar on a pedestal and a flagpost.The space is used for public gatherings on special occasions.
Design Process
Since the site is heavily forested, the approach towards the design was in a sensitve manner to avoid any harm to the trees.The sizeable programme was split up situated in gaps between the heavy planting.
Creating a cluster of spaces according to the functional requirement of each space. Long narrow building floorplan was chosen for maximizing cross ventilation in such climatic condition .Through the design process two courtyards emerged as links suturing these buildings into a common identity.
Fig 3c -Wedding hall behind the site is utilized for ceremonial gatherings.
Fig 3d -The perforations in the wall channels the breeze throughout the structure and helps to reduce the interior temperature.
Fig 3e- The statue of Babasaheb Ambedkar and the flag near the library
Fig 3f- Initial zoning of the site
Fig 3g- Progressive zoning based on functionality
Fig 3h- Finalised zoining responding to the climate and the context around
WORKSHOP COURTYARD GUEST ROOM
gets filtered through the leaves providing shade and comfortable atmosphere for various activities.
Form Derivation
By inverting the roof profile with a center valley in the middle and rising edges, the interior spaces are visually connected with the foliage outside. The separation of the roof from the walls, while providing much needed cross ventilation, also scales the building towards the courtyard.
Fig 5a- The ordinary roof system blocks the foliage view and does not facilitate cross
NORTH ELEVATION
Neem
Scientific Name: Azadirachta Indica
Height: 24-36m
Foliage spread: 3-12m
Life Span: 200 years
Religious Significance:
Manifestation of Goddess Durga.
Leaves and flowers used to ward off evil spirits. Tree of healing.
Medicinal Use:
Leaves have medicinal properties, sedative properties.
Chinch
Scientific Name: Tamarindus indica
Height: 12 to 18 metres
Foliage spread:5-6m
Life Span: 200 years
Religious Significance:
In Buddhist parable tamarind seeds are said to be symbols of faithfulness and forbearance.
Medicinal Use:
In beverage form, it was commonly used to treat diarrhea, constipation, fever and peptic ulcers. The bark and leaves were also used to promote wound healing.
Peepal
Scientific Name: Ficus religiosa
Height:30 metres
Foliage spread: 12- 21m
Life Span:900years
Religious Significance:
Gautama Buddha attained enlightenment (bodhi) while meditating underneath a Peepal.
Medicinal Use:
Used in traditional medicine for about fifty types of disorders including asthma, diabetes, diarrhoea.
Gulmohar
Scientific Name: Delonix Regia
Height: 15-18m
Foliage spread:18-21m
Life Span:20 to 25 years
Medicinal Use:
Gulmohar has divergent medicinal properties like antibacterial, antifungal, anti-inflammatory, antimalarial, antimicrobial, antioxidant, cardio-protective, gastro-protective, and wound healing activity
Bor
Scientific Name: Ziziphus mauritiana
Height: 15 metre
Foliage spread:5-6m
Life Span: 10 to 20 years
Medicinal Use:
Helps to deal with insomnia. Gives relief from constipation. Rich in vitamin C and soothes anxiety. It is quite nutritious and rich in vitamin C. The leaves are applied as poultices and are helpful in liver troubles, asthma and fever .
‘‘Buddhism has very close relation with the plants, as per the Buddhist scriptures, nature creates as well as preserves life, it is the duty of people to preserve plants considering them as living being. A Buddhist monk never cuts down a tree, as the trees have life in them and they believe that it is an abode of the deity.’’
“OurapproachtotheJetvanaprojectlookstoextendtheideaoftheregionalparadigmwhilstseparatingitfromthepervasive‘image’ofwhatdefinesthelocal.” — Sameep Padora, director of sP+a Architects
AXONOMETRIC VIEW
The placement of guestrooms ensures sufficient privacy from the main structure.There are three guest rooms in the complex with attached toilets. The rooms have a lower butterfly roof profile considering the lower occupancy as compared to the other public spaces.
Prayer Room
Fig 6c- Workshops conducted give access to government and nongovernment welfare schemes for women and the local community
Fig 6d-Buddhist Centre faculty and students conduct courses in Pali language as well as introductory courses in Buddhism.
The prayer hall acts as an excellent place for social and spiritual functions. The hall is focused on a statue of the Buddha in the Dharmachakra mudra (the preaching mode), a Gandhara style replica in stone brought from Bhubaneshwar. The concrete valley running axially along the rectangular room directs the devotees’ gaze towards the statue.The butterfly roof brings in the dappled light.
Dr. Babasaheb Ambedkar Granthalaya
Workshop room is designed as a space for holistic development of the closeknit community.In the work space presides a statue of Saraswati, the goddess of learning. The space finds a strong response in the section where the butterfly-roof frames the foliage and allows filtered light to permeate within the spaces providing a natural work environment.
6e- Administration office.
The administration office is located right beside the main entrance. One enters the space through a narrow passage with circular perforations along the external wall. The internal walls have strategically placed brick masonry jalis for efficient ventilation. Further along the passage store rooms and toilets are provided.
Dr. Babasaheb Ambedkar Granthalaya
This night library was envisioned by Nanasaheb Gole along with KJ Somaiya, as an addition to the community space. It was inspired by the Ambedkar statue in front of the library.
Fig
Fig 6f- Interior view of library
SOUTH ELEVATION
Material and Construction
The Jetvana Centre is a bricolage of locally sourced and recycled materials. The design centers on the revival of local artisanal knowledge, technologies, and skills, working with communities to develop the capacity to shape their own habitats using their own methods. Its materiality and construction tell a story of context, tradition, and history through an embodiment of local knowledge and labour.
TRUSS DETAIL @ SCALE 1:25
Selection of Material
1.Reincarnation of reused materials.
2.Monetary and material simplicity.
3.Ease of access.
PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION
4.Maintenance overtime.
5.Response to context and climate.
6.Use of local material and skill.
7.New indigenous form of construction.
MANGALORE TILES
38X38 MM TW PURLIN
50X75 MM THK TW RAFTER
100 MM DIA MUD ROLLS
50X75 MM TW MEMBER
2 NO.s 38X75 MM TW MEMBER
350 MM THK RAMMED FLY ASH WALL 150 MM THK LINTEL
38X38 MM TW PURLIN
100 MM DIA MUD ROLLS
50X75 MM THK TW RAFTER
T.W. TRUSS
AXONOMETRIC VIEW
Roof Truss
Material:
Repurposed, seasoned timber of old shipping vessels from ship breaking yards.
Technique:
Timber trusses supported on walls transfer the load of the inverted roof.
Merits:
•Innovation in roof profile; functional yet aesthetically pleasing
•Resembles stone ribbed Buddhist cave architecture
Rammed Fly Ash Walls
Material:
Waste stone dust from nearby quarry
Waste fly ash from adjoining factory (by-product)
Technique:
First a formwork is constructed for the walls.
A mixture of natural materials is poured into this formwork. The mix is compacted by tamping till it is sufficiently strong. After the wall is completed, the formwork is removed.
Merits:
Lower thermal conductivity of rammed earth keeps the interiors cool.
Flooring
Material:
Mud and cowdung plaster
Technique:
The flooring of entire structure is mud and dung flooring done by the members of local community.
Merits:
Cow dung has traditional importance when it comes to plastering walls and floors. It is not only a good binder, but the fibers present in the dung also help in creating smooth, fine floor finish. Cow dung is an antifungal insecticide.
Fig 7a- Use of repurposed wood from old shipping vessel for the roof structure
Fig 8a- Traditional mud and dung floor done by the members of local community
GUEST ROOM
WORKSHOP
ADMINISTRATION
LIBRARY Dr AMBEDKAR STATUE
SECTION BB’
RCC Gutter
Material:
Steel Reinforcement and Plain Cement Concrete Technique:
Reinforced rectangular gutters of large spans cast on site with required shuttering.
Merits:
RCC box gutters that run between the inverted roofs portray a strong modernist aesthetic.
During monsoons, the water from the inverted roofs flow through the gutters into the enclosed sunken courtyard.
MANGALORE TILE
38X38MM TW PURLIN
100 MM DIA MUD ROLLS
50X75MM TW RAFTER
RCC GUTTER
PRODUCED BY
RCC GUTTER (WORKSHOP AND PRAYER HALL)
Roof Insulation (Mud Roles)
Material:
Wooden batons,gunny bags,mud.
Construction:
Wooden batons covered in gunny bags dipped in wet mud and placed underneath the roof truss to acheive thermal insulation.
38X38MM TW PURLIN
100 MM DIA MUD ROLLS
50X75MM TW RAFTER
ALUMINIUM GUTTER
TW DOOR FRAME
TW TOP RAIL
TW MIDDLE RAIL
TW PANEL
TW BOTTOM RAIL ELEVATION
PRODUCED
DOOR 1 SCALE 1:25
MOSQUITO NET
TW DOOR FRAME
TW TOP RAIL
TW MIDDLE RAIL
TW PANEL
TW BOTTOM RAIL
DOOR 2 SCALE 1:25
TW HORN
TW BEADING
TW FRAME ELEVATION
ISOMETRIC VIEW
WINDOW 5 SCALE 1:25
ISOMETRIC VIEW
TW TOP RAIL
TW MIDDLE RAIL
TW PANEL
TW MULLION MOSQUITO NET
TW BOTTOM RAIL CROSS RAILS
ISOMETRIC VIEW
Conclusion
The Jetavan Centre makes the most of both new and old techniques, an assemblage of traditional, modern and developed building processes and materials.Its design shows an understanding that architecture is inherent with the potential for expression, through engaging with the layered realms of history, material, and knowledge of place.
Awards
Forbesindia.comCategory:Best Architecture: Social Impact Projects
Archdaily.comBuilding of the year 2017Category:-Religious Architecture.
Featured on the cover of Architectural Review, May 2016 Third place in Public Category at the 2A Asia Architecture Award 2016- Vienna
