Architecture Design 201410

VOL XXXI NO 10 OCTBER 2014
13 ABOUT THE ISSUE 88 Subterranean School

Professional School Hanna
14 REFLECTIONS Arendt,Italy
Cleaa Claudio Lucchin & architetti
16 UPDATES
associate, Bolzano, Italy
AIRPORTS
INTERACTION
24 An Organic Form
96 Search for Substance
Shenzhen Bao Airport, China
A conversation between
Studio Fuksas
William J R Curtis
34 Umbrella Structure
and Rajnish Wattas
King David the Builder International Airport,
Kutaisi, Georgia RESEARCH
Ben van Berkel/UNStudio 110 Intelligent Building Envelope
46 Incorporating Regional Identity
Terminal 2, Mumbai EXPLORING DESIGN
Skidmore, Owings & Merill LLP 118 Innovative Product Design
JURY OUTCOME
88
56 Architecture+Design & Cera Awards 2014
VIEWPOINTS
62 Sustainability and Memory
By Niranjan Garde
INSTITUTIONAL DESIGN
66 A Metaphor of Function
By Pramod Beri
70 Inter-connected Spaces
Polymer Science & Engineering Lab, Pune
Beri Architects and Engineers Pvt Ltd,
Kolhapur
80 Three-Winged Swastik
Emergency Management and Research
Institute (EMRI), Ahmedabad
Studio Eethetics, Ahmedabad 24
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about the issue A N I N D I A N J O U R N A L O F A R C H I T E C T U R E
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OCTOBER 2014 ` 175
ust as there was a phase when hospitals all over went through a change in design
ARCHITECTURE+ DESIGN
concepts, similarly in the recent times one witnesses a radical transformation in
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AIRPORT PLANNING INSTITUTIONAL ARCHITECTURE

the approach to planning of airports. With the increase in air traffic, security
issues, technology advancements and the initiative to revitalise the core functionality,
these structures have developed a vocabulary of their own. Modern materials and
advanced structural configurations have no doubt given flexibility to the planners for
VOLUME 30 ISSUE 10
visualising larger space volumes and grid spans. Along with increased efficiency,
there is also the attempt of making the whole experience of being at the airport
Chhatrapati Shivaji more satiating both visually and physically. The interior treatments often tend to be
International Airport - Terminal
2, Mumbai (Architects: on the border of being lavish.
Skidmore, Owings & Merrill
LLP)
In this Issue we publish a few contemporary airports build in India and abroad and
which encapsulate an urban planning scale. The Shenzhen International airport in
All drawings and visuals for the
projects and articles, unless China is an example it is the largest single building complex to be built till date in
mentioned otherwise, are
courtesy the architects/authors. Shenzhen. Elements of architecture whether it is lighting, texture, play of shadow
and such others they all are artistically oriented. The King David airport in Georgia
boasts of a pleasant setting amidst the landscape of the hilly terrain. Elegant, smart,
sleek are but some adjectives used to explain it. Whereas the new Terminal 2 of the
Shivaji International airport in Mumbai brings flavours of traditional and regional
architecture with a contemporary feel. The terminals roof is said to be one of the
largest in the world without an expansion joint. The entire airport building whether it
is the external faade or then the interiors resonates with the vitality of informal
structured design.
Institutional architecture is another significant component of the contents of this
Issue. Bigger complexes, addressing sustainability concerns, more elaborate in design,
probing material dynamics thats the pulse felt here. The institutions published are
clear headed design statements bringing forth the aesthetics of simplicity and the
positive relatedness that evolves with nature in exposing the rawness of materials.
Do not miss-out the product design section that explores meaningful innovative
design. And yes, the much awaited jury outcome for the Architecture+Design &
CERA Awards 2014 also finds itself cushioned in the pages that follow--.
Image of
the Month
Urban Scape Sky Lobby, The Palm Atlantis, Dubai Photo credit: Harsh Varshneya
Any architectural project we do takes at least four or five years, so increasingly there is a discrepancy
between the acceleration of culture and the continuing slowness of architecture
Rem Koolhaas
Reflections
Photo Credit: Uwe Walter / Autostadt
MobiVersum
MobiVersum was designed by Berlin-based architect Juergen Mayer H of J MAYER H Architects as an exhibition
and experience area for young visitors at Autostadt, Wolfsburg, Germany. It is integrated as part of the overall context
of Autostadt People, Cars, and What Moves Them. The installation provides an active introduction to the subject of
sustainability in all its facets for children of all ages. The shape of the imaginative, playful structures of solid wood is
reminiscent of roots and tree trunks. The sculptures, which can be used and entered, structure diversified spatial zones
with different thematic emphases and inspire the childrens curiosity to discover and explore.
Project architect: Christoph Emenlauer; Project team: Gal Gaon, Simon Kassner, Jesko Malkolm Johnsson-Zahn, Marta Ramrez Iglesias, Alexandra Virlan;
Architect on site: Jablonka Sieber Architekten, Berlin
14 O c t o b e r 2 0 1 4 ARCHITECTURE+DESIGN
Updates
Fast Track Architecture

and includes five commercial towers painted aluminum frame with consistent
totaling 450,000sq mthe firms largest spacing between verticals prioritises
project till date in China. The overall internal planning flexibility for the office
development totals 503,000sq m and towers. The spacing between horizontal
includes three office towers, a five-star frame elements varies from a two-storey to
hotel tower, an apartment tower, a a four-storey rhythm in order to respond
shopping mall and retail stores. GP is more individually to each office buildings
designing all of the towers as well as the height and proportions. The frames
hotel and apartment podiums and their vertical component is accentuated by
affiliated program spaces. GP in collabora means of double fins; this character is
tion with UK-based design firm Benoy, countered by an expression of double
is designing the shopping mall and horizontal fins on the hotel and apartment
G oettsch Partners (GP), an architectural
firm, has been hired by Hong Kong-
based developer China Resources Land
retail areas.
The overall design concept is one of a
towers that create a related yet different
appearance while affording flexibility for
Limited to design a project located in unified complex composed of buildings views and natural ventilation.
Neighbourhood 2 of Shenzhens Qianhai with related yet individual exterior For more information, visit:
district. The project covers 6.18 hectares characteristics and facades. A metallic- www.gpchicago.com
A rchitectural firm Jestico + Whiles

recently completed the new Alston
Bar & Beef restaurant for food and drink
and east-west axes of Glasgow, and which
was built over in the late 1800s to create
the station.
group Glendola Leisure. The restaurant is The design of the restaurant integrates
the first to open up under Glasgows the rich historic layers of the city while
busiest railway station and boasts a adding contemporary elements, creating a
dramatic wall mural visible to passers-by. brand new state-of-the-art venue that is
The firm (responsible for the interior innovative and highly atmospheric. The
design and the overall visual identity) design draws on the rugged history of the
commissioned and worked closely with station, along with the wider context of
Timorous Beasties on the wall mural to below Glasgows Central Station and is Scotland to create a retreat that is full of
add unconventional touches of Scotland to named after Alston St, the main oblique references. The materials and
the stairway art work. thoroughfare of Glasgows mysterious, finishes have been chosen to bring
This 80-seat restaurant occupies a set forgotten Grahamston Village that stood together the restaurants distinctive blend
of forgotten arches in the catacombs at the crossroads of the main north-south of local cuisine and specialist gin selection.
T he Regent hotel Porto

Montenegro designed
by ReardonSmith
and provides shaded areas
in the summer months as
well as protection during
Architects and the rainy season.
ReardonSmith Landscape Patrick Reardon,
has been launched in Porto executive chairman of
Montenegro. Inspired by ReardonSmith Architects,
the houses that grace the said, We are delighted to
regions Adriatic coastline, the buildings architecture also see the opening of Regent Porto Montenegro, the newest
responds to the classical manner of the grand palazzos of the achievement in our seven years-to-date programme to
Italian lakes. While the hotels scale and style is imposing transform what was once a decommissioned naval base into
amongst its smaller neighbours, the relationship with them is what it is today not only a spectacular yachting enclave but
also clear. All the buildings are clad in Montenegrin stone and also a thriving, working town. It has been particularly rewarding
render and are topped with terracotta roof tiles; the arched since this is our first completed project involving both the
colonnade that wraps around the hotel is typical in the region architecture and landscape teams at ReardonSmith.
Updates
Exhibition
T he 2014 edition Towards 2050: Developing a Sino-Dutch

Approach for Sustainable Urbanisation was recently held in
Beijing. The event witnessed an intense Sino-Dutch cooperation in
the field of sustainable urban development. The goal of the
initiative was to explore how the Dutch integrated planning
approach can be adapted and implemented within the context of
the rapid urbanisation of Chinese metropolitan regions. To this
end, the event organised various programmes, such as Sino-Dutch
design projects, workshops, seminars and exchanges.
Initiated by the Creative Industry Fund NL, the theme this year
is Transit-Oriented Development (TOD) and Towards 2050 works with the broad background and expertise of the Chinese and
together with the Beijing Municipal Commission of Urban Dutch participants. There are various specialists and generalists,
Planning, Ministry of Housing, Urban and Rural Development and policy makers and designers, from both public and private
Beijing Design Week, among others. institutions. With professors and students they work together on
Ton Venhoeven, former Dutch chief government advisor on projects that contribute to smart, competitive, sustainable and
Infrastructure and curator of Towards 2050, said, I am delighted healthy urban regions. "
Competition
Z aha Hadid has been chosen to design a

new mathematics gallery at the
Science Museum, London. The 5 million
at the American University in Beirut, said,
The design explores the many influences
of mathematics in our everyday lives,
David and Claudia Harding Mathematics transforming seemingly abstract
Gallery will become a permanent addition mathematical concepts into an exciting
to the museum, as part of its planned 60 interactive experience for visitors of
million redevelopment. all ages.
The gallery will present the tools and The David and Claudia Harding
ideas of the mathematicians who have Mathematics Gallery will open in 2016 and
helped to shape the world from the turn of anchoring engineering and mathematical will be curated by David Rooney.
the 17th century to the present. Zaha thinking throughout their designs. For further information, visit:
Hadids practice has embodied this idea by Zaha Hadid, who studied mathematics www.zaha-hadid.com
Award
the project. Over forty submissions were received for the award and
eight great timber projects will now be put forward for the final
judging in Singapore led by renowned architect, Matteo Thun.
The shortlisted projects, include The Tent by a21studio (Nha
Trang, Khanh Hoa, Vietnam); Pittwater House by Andrew Burges
Architects (Sydney, Australia); Earth Wind and Fire Atelier by Arcau
(Vannes, France); School 't Hofke by UArchitects (Eindhoven, The
Netherlands); Regional Terminal at Christchurch Airport by BVN
Donovan Hill (Christchurch, New Zealand); Salvaged Ring by
a21studio (Nha Trang, Khanh Hoa, Vietnam); Alex Monroe Studio
T he World Architecture Festival (WAF) has announced the

shortlisted projects for the Wood Excellence Prize, which makes
it debut at this years WAF awards programme. Sponsored by the
by DSDH (London, UK); and The Pinch by the Department of
Architecture, University of Hong Kong (Zhaotong, China).
Paul Finch, programme director, World Architecture Festival,
American Hardwood Export Council (AHEC), the Wood Excellence said: This was a great way to appreciate how a traditional'
Prize is the first of its kind to feature on the festivals awards material can be used to transform exteriors and interiors in new
programme with the only criterion that wood is an integral part of and unexpected ways.
Bollards optionally with LED or for conventional lamps, protection
class IP 65, 1320 to 7400 lumen. In this innovative, shielded bollard,
the light is directed by means of a cone-shaped reflector. The result
is rotationally symmetrical, broad spread and uniform illumination.
Available in two sizes. Ideal for footpaths, entrance areas and driveways.
Regional Manager Asia Pacific International Projects Andr Ng
10 Raeburn Park #02-08 Singapore 088702 Phone +65 6692 8029
Fax +65 6692 8001 andre.ng@bega.com www.bega.com
Das gute Licht.

For a welcoming reception.
Updates
Trade news
P hilips India recently created a LED lit Arch and

Shankh structure on the occasion of Ganesh Ustav.
This structure demonstrated the benefits as well as
A rvicon International has unveiled its first
concept showroom in Dwarka. The store
houses products and design themes made of
aesthetic possibilities of LED lighting. stone veneers. From beds to side tables, bars to
With more than 11,000 coloured LED lamps, the walls, all the products are done in stone
structure is stood at 24ft height, 20ft width, a depth of veneers.
10ft the biggest techno artistic LED lit structure in India. With the motto of fusing architectural
The unit is engineered with sound sensors and the shankh creativity with nature's legacy of stone, the
lights up with the chant Ganpati Bappa Morya. company highlighted the lifestyle and luxury
The entire unit consumes less than 6 units per hour. application of stone veneers.
The LED lighting used is 96% more energy efficient Gaurav Jain, MD, Arvicon International,
when compared to the normal incandescent bulbs said, While stone, in all its forms and textures,
which are normally used in pandaals during festive occasions. is a delight when it comes to architecture and
Sumit Joshi, marketing head, Philips Lighting India, said, Through this design, it is that difficult to work with. The
initiative, we are showcasing an innovative architecture that represents the sheer weight and the ineffectiveness of cost
celebrations of Ganesh Chaturthi in an environment friendly manner and makes most people rule out using stone work
demonstrates the possibilities offered by LED lighting in terms of energy on a regular basis. But here is the perfect thing
efficiency and cost effectiveness. for them - stone veneers.
Conference
T he second edition of the Architecture &

Design Summit 2014 was recently held at
ITC Sheraton, New Delhi. The summit was held
barons and visionaries on one platform to share their
knowledge and experience of creating structures that align with
the needs of a progressive nation with era-defining designs.
in five cities including New Delhi, where a one The special address was given by Abhishek Somany, joint
day conference was held highlighting the managing director, Somany Ceramics. Other prominent leaders
architectural and design innovations to shape the future cities of present on the occasion, included Karan Grover, founder, Karan
India. It aimed to bring together key stakeholders to deliberate Grover & Associates; Sunita Kohli, president K2 India and J B
on the current challenges through multiple focused panel Krishsagar, chief planner, Town & Country Planning
discussions. With the theme of Tradition and Modernity in Organisation, Government Of India, Ministry of Urban
Contemporary Practice, the conference focused on 'C' level Development, among others.
executives leading the organisations from the fore front while
assessing the sectors course ahead and figuring out ways to
mitigate risks and future-proof the business profitability.
Participation of eminent personalities from the hospitality,
healthcare, social infrastructure, residential and commercial
space was seen at the event.
Speaking on the occasion, Deepak Lamba, president, Times
Conferences Limited BCCL said, After the phenomenal
success of the first edition of the Architecture and Design
Summit, we are elated to host the second edition of one of
Indias biggest Design summit- The Economic Times Architecture
& Design Summit 2014. The aim is to leverage the wealth of
experience, discuss research initiatives and discover the
opportunity in architecture and design implementation on a
larger scale. The summit is an endeavor to bring various The event was organised by Somany Ceramics in
industry stakeholders together on a single platform and discuss collaboration with Economic Times. It was held in Ludhiana,
strategies and steps which will ensure that today's dream turns Lucknow, Chandigarh, Dehradun followed by the culmination
into tomorrow's reality. event in New Delhi.
This conference brought forth Indian and global industry For details, e-mail: Srishti.vatsa@bm.com
Tradition meets Emotion.
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Project Feature
An Organic Form
Project: Shenzhen Baoan International Airport, Shenzhen, Guangdong, China
Architects: Studio Fuksas
SECTION
ARCHITECTURE+DESIGN O c t o b e r 2 0 1 4 25
T
he terminal the largest single public building to be The concept of the plan for Terminal- 3 of the airport evokes
built till date in Shenzhen encompasses 63 contact the image of a manta ray, a fish that breathes and changes its
gates, with a further 15 remote gates and significant own shape, undergoes variations, turns into a bird to celebrate
retail space. It will increase the capacity of the airport by 58 the emotion and fantasy of a flight. The structure of T3 an
percent, allowing the airport to handle up to 45 million approximately 1.5km long tunnel seems to be modelled by
passengers per year. the wind and is reminiscent of the image of an organic-shaped
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PLAN AT LEVEL 00 1. BUS TERMINAL 6. INTERNATIONAL ARRIVAL BAGGAGE CLAIM HALL 11. INTERNATIONAL HARDSTAND HOLDROOM
2. BAR 7. INTERNATIONAL ARRIVAL CUSTOMS 12. CIP
3. DOMESTIC HARDSTAND HOLDROOM 8. RETAIL 13. GTC
26 O c t o b e r 2 0 1 4 ARCHITECTURE+DESIGN 4. HEALTH CHECK 9. SPACE FOR BHS 14. VIP BUILDING
5. PASSPORT CHECK / IMMIGRATION 10. GARDEN
1
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PLAN AT LEVEL +4.40M 1. WAITING AREA 7 INFOPOINT 13 INTERNATIONAL ARRIVALS

2. RECEPTION 8 AIRLAIN LOUNGE 14 BAGGAGE CLAIM
3. AIRLINE LOUNE 9 HOLD ROOM 15 OFFICE
4. BAR 10 VIP BUILDING 16 RETAIL
5. OFFICE 11 PROJECTION ROOM 17 CIP
6. GTC 12 MASSAGE CENTER
1
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2 4
12 10
11
3 2 6 2 8
1 7 9 5
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PLAN AT LEVEL +8.80M
1. CONCOURSE DOMESTIC DEPARTURE 6. DOMESTIC ARRIVAL CONCOURSE 11. OFFICES

2. RETAIL 7. DUTY FREE 12. INTERNATIONAL DEPARTURE
3. INFOPOINT 8. PASSPORT CONTROL 13. VIP BUILDING
4. BAR 9. INTERNATIONAL SECURITY CHECK POINT10 BAGGAGE CLAIM
5. GTC 10. BAGGAGE CLAIM
SECTION
SECTION THROUGH SKYLIGHT
ELEVATION
sculpture. The profile of the roofing is characterised by several help- desks. The double and triple height spaces of
variations in height alluding to the natural landscape. the departure hall establish a visual connection between the
The symbolic element of the plan is the internal and external internal levels and create a passage for natural light. After
double skin honeycomb motif that wraps up the structure. checking in, the national and international passengers flows
Through its double-layering, the skin allows natural light in, spread out vertically for departures.
thus creating light effects within the internal spaces. The The concourse is the airports key-area and is made up of
cladding is made of an alveolus-shaped metal and glass panels three levels. Each level is dedicated to three independent
of different sizes that can be partially opened. functions departures, arrivals and services. Its tubular
The passengers accede to the terminal from the entrance shape chases the idea of motion. The cross is the
situated under the large T3 tail. The wide terminal bay is intersection point where the three levels of the concourse are
characterised by white conical supporting columns rising up vertically connected to create full-height voids, which allow
to touch the roofing like the inside of a cathedral. On the natural light to filter from the highest level down to the
ground floor, the terminal square allows access to the waiting room set in the node on the ground floor.
luggage, departure and arrival areas as well as coffee houses The honeycomb motif is transferred and replicated in the
and restaurants, offices and business facilities. The departures interior design. Shop boxes, facing one another, reproduce
hall houses the check-in desks, the airlines info-points and the alveolus design on a larger scale and recur in different
articulations along the concourse. The interiors placed in and also the luggage claim hall. In front of the first floor
the internet-point, check-in, security-check, gates and stand the CIP lounges. Between it and the main building
passport-check areas have a sober profile and a stainless stands the outdoor courtyard.
steel finish that reflects and multiplies the honeycomb motif Studio Fuksas are engaged on two further phases of the
of the internal skin. airport extension, scheduled to complete in 2025 and
Sculpture-shaped objects and big stylised white trees have 2035 respectively.
been designed for air-conditioning all along the terminal and
the concourse, replicating the planning of amorphous forms Photo credit: Archivio Fuksas
inspired by nature. This is also the case for the baggage-claim
and info-point islands. The design has been optimised to
FactFile
make best use of natural ventilation and light. Photovoltaics
Client: Shenzhen Airport (Group) Co, Ltd
will meet the electricity demand of T3, making about 950
Architects: Studio Fuksas, Shenzhen/Rome/Paris
million electricity units each year. Design team: Massimiliano and Doriana Fuksas
The main building includes two-storey underground and Interior design: Fuksas Designinternet-point, check-in island, security-
four layers above the ground (partial five storeys). The fourth check, gates, passport-check areas, shop box, baggage-claim islands, info-
floor is the departure hall. The third floor is connected with point, ventilation trees, signage, commercial desk and washrooms
the domestic departing passengers channel and the centre of Developer: Shenzhen Planning Bureau; Shenzhen Airport (Group) Co, Ltd
it is the international joint inspection zone, luggage Contractor: China State Construction Engineering Corporation, Beijing
Structures, faade and parametric design: Knippers Helbig Engineering
collection/checkpoint and the office area located on both
Architect of record: BIAD (Beijing Institute of Architectural Design)
sides. The domestic passage channel, luggage claim hall and
Lighting consulting: Speirs & Major Associates
part of the office area are on the second floor. At the north- Cost of project: 734,000,000 Euros
east part of the first floor is the international departure hall. Size: 5,381,955sq ft (approximately)
Its centre is used for the international joint inspection zone Year of completion: 2013 (Phase-1)
Airport Design
Umbrella Structure
Project: King David the Builder International Airport, Kutaisi, Georgia
Architects: Ben van Berkel/UNStudio, Amsterdam
T
he recently completed airport serves domestic and The architecture of the terminal refers to a gateway, in
international flights for use by tourists, national which a clear structural layout creates an all-encompassing
politicians and international diplomats. The airport is and protective volume. Both the exterior corner detail, which
designed to become a central hub, with up to one million functions as a crossing-point and point of recognition, and
travellers targeted in 2014-2015. the so called umbrella structure within the terminal building
The design comprises the full airport development, which operates as a roundabout for passenger flows operate
including a revision of the runway, the master plan for the as the two main architectural details around which all of the
landscape and planned future development, thereof the airport functions are organised.
terminal building, offices, a meteorological station and the The umbrella further guarantees views from the terminal
air traffic control tower. plaza to the apron and to the Caucasus on the horizon and
SECTION
SITE PLAN
vice versa. The central point in the umbrella is an exterior to Georgia, the terminal in addition operates as a caf and art
patio which is used for departing passengers. The transparent gallery, displaying works by young Georgian artists and
space around this central area is designed to ensure that thereby presenting a further identifier of contemporary
flows of passengers are smooth and that departure and Georgian culture.
arrival flows do not coincide. The 55m high Air Traffic Control Tower and its supporting
The design organises the logistical processes, provides office/operational building is designed to complement the
optimal security and ensures that the traveller has design of the terminal. The towers strong appearance makes it
sufficient space to circulate comfortably. Serving as a lobby a beacon of the airport and surrounding area. The traffic
SECTION
control cabin on the top level forms the focal point of the
tower, with a 360 degrees view on the surrounding landscape.
A spacious and comfortable interior ensures a workspace for
four to eight operators with optimal concentration. The exterior
of the tower is clad with a perforated skin on a concrete core
to use wind for ventilation purposes. LED light in-between the
skin and the core enhance the beacon effect of the tower at
dusk and dawn by changing colour whenever there is a
fluctuation in wind speed.
The design for the new airport incorporates numerous
sustainable elements. A large onsite underground source of
natural water provides the basis for the reduction of energy
consumption through concrete core activation and use for
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15
10
9
8
15
12
8
1
6
14
7
13
5
1. COURTYARD
4
2. EXIT
3. ENTRANCE
4. LOBBY
5. CHECK-IN
2 3 6. LUGGAGE OUTBOUND
7. SECURITY
8. CUSTOMS
GROUND FLOOR PLAN 9. DEPARTURE LOBBY
10. TRANSFER DESK
11. LANDSIDE
12. LUGGAGE INBOUND
13. ADMINISTRATION
14. MIRROR BAR
15. AIRSIDE
4
5
1. COURTYARD
2. LOBBY
3. CIP FLOOR
4. CONGRESS ROOM
5. ADMINISTRATION
FIRST FLOOR PLAN
FactFile
Client: United Airports of Georgia LLC (Master Plan and Terminal)
Sakaeronavigatsia Ltd (Air Traffic Control Tower, offices and meteorological building)
Architects: UNStudio, Amsterdam/Shanghai/Hong Kong
Project team: Ben van Berkel (Principal), Caroline Bos, Gerard Loozekoot with
Frans van Vuure and Filippo Lodi, Roman Kristesiashvili, Tina Kortmann, Wendy van
der Knijff, Kristoph Nowak,Machiel Wafelbakker, Gustav Fagerstrm, Thomas
Harms, Deepak Jawahar, Nils Saprovskis, Patrik Noome
Consultants: MTM kft (Structural), SMG-SISU kft (MEP), OR else (Landscape
Architect), Arup (Structural expertise & Sustainability), Arup Aviation (Airport
planning), Studio ARCI (Local architect)
Contractors: Paul Schuler und Irao Group Ltd (Concrete Works); RutinKft (Steel
Structure); Hess Timber GmbH & Co KG (Wood Structure); Permasteelisa Interiors Srl
(Facades & Terminal Interior Ceiling/Trusses); Paul Schuler und Irao Group Ltd
(Terminal Interior); Black Sea Group, Tbilisi (Landscape); Jzsef and Zsuzsa
Keresztly (Site Management)
Total floor area: 4,500sq m (Terminal), 1,800sq m (Control Tower & Offices)
Year of completion: 2013
TRAFFIC CONTROL TOWER - ELEVATIONS

ELEVATION
sprinkler basins. The floors of both the terminal and the traffic involvement of numerous local and international companies,
control tower utilise this water for maintaining a regulated with openness and knowledge sharing proving to be essential
temperature in the two volumes. In the terminal building to fulfilling the tight schedule. The steel structure of the
cantilevered roofs provide sun-shading on south and south-west terminal, produced and shipped from Hungary recently won
zones. A hybrid low pressure ventilation system is integrated a European Steel Prize award.
into the terminals main structure and there is a grey water The design for the airport further incorporates the potential
collection system in the floor underneath the terminal building. for an expansion to double its size and capacity, should this
The project was designed and constructed in two years prove necessary in the future.
with the airport already having begun operations by
September 2012. Both the design and construction saw the Photo credit: Nakanimamasakhlisi
Airport Designs
Incorporating Regional Identity

Project: Terminal 2 - Chhatrapati Shivaji International Airport, Mumbai
Architects: Skidmore, Owings & Merrill LLP
L
ocated in the heart of Indias financial capital, the new complex web of passengers and planes into a design that feels
integrated terminal building at Chhatrapati Shivaji intuitive and responds to the regions rocketing growth, the new
International Airport adds 4.4 million square feet of Terminal 2 asserts the airports place as a pre-eminent gateway
space to accommodate 40 million passengers per year, nearly to India and underscores the countrys status as an international
twice as many as the building it replaces. By orchestrating the economic power.
SECTION
The new terminal integrates international and domestic the highly adaptable and modular concourses below. Rather
passenger services under one roof, optimising terminal than compartmentalising terminal functions, four concourses
operations and reducing passenger walking distances. radiate outwards from a central processing core and are
Inspired by the peacock, the four-storey terminal stacks a therefore easily reconfigured to swing between serving
grand head house or central processing podium, on top of domestic and international flights. Just as the terminal
celebrates a new global, high-tech identity for Mumbai, the the airy pavilions and interior courtyards of traditional
structure is imbued with responses to the local setting, history regional architecture. Small disks of colourful glass recessed
and culture. Gracious curb side drop-off zones designed for within the canopys coffers speckle the hall below with light.
large parties of accompanying well-wishers accommodate The constellation of colours makes reference to the peacock,
traditional Indian arrival and departure ceremonies. Regional the national bird of India, and the symbol of the airport.
patterns and textures are subtly integrated into the terminals The site of the new terminal building was located in close
architecture at all scales from the articulated coffered proximity to the existing terminal which had to remain fully
treatment on the head house columns and roof surfaces to operational during the construction. This site requirement
the intricate jali window screens that filter dappled light into inspired the elongated X-shaped plan of the terminal, which
the concourses. could both mould around the existing structures and
The terminal demonstrates the potential for a modern incorporate modular designs to accommodate rapid and
airport to view tradition anew. The project also makes a phased construction. This innovative form also allows for the
significant positive contribution to the local fabric. By consolidation of important passenger processing, baggage
integrating into the existing transportation fabric and by handling and retail/dining functions at the centre of the
furthering connectivity through the simultaneous development terminal. On each floor, radiating piers permit the shortest
of a new road network to service the airport, the terminal possible walking distances from the centre of the terminal to
helps knit together the historic heart of Mumbai to the south boarding areas, while also maximising the terminals
with the citys burgeoning peripheries to the east and north. perimeter for aircraft gates.
A 50ft tall glass cable-stayed wallthe longest in the All international and domestic passengers enter the
worldopens to the soaring space of the check-in hall. terminal head house on the fourth floor. At the entrance, the
Once inside, the travellers enter a warm, light-filled lanes split, making room for wide drop-off curbs with ample
chamber, sheltered underneath a long-span roof supported space for departure rituals. The canopy over the departures
by an array of multi-storey columns. The monumental spaces roadway flows seamlessly from the head house interior,
created beneath the 30 mushrooming columns call to mind through the glass curtain wall, to the outside. The 40m
canopy cantilevers shelter travellers from the sun and Taking cues from traditional Indian architecture, the peacock
monsoon rain. Attention to detail is paid to the treatment of feather and the existing logo of the Mumbai Airport, the ceiling
the exterior curb area, which is given the same level of finish and columns are defined by a coffered surface. The coffers
as the terminals polished interior. transition from the horizontal plane of the ceiling to the arch of
The terminals roofone of the largest in the world the column capitals. The result is a highly articulated and
without an expansion jointensures further terminal undulating surface comprising individual cast units. The
flexibility. The long-span capabilities of the steel truss individual coffers have lenses integrated into the cast form
structure allow for the spacing of the thirty 130ft columns to which allow light to enter the hall from strategically placed
be far enough apart to not only give a feeling of openness to skylights above.
the large processing areas below, but also to allow for From the central retail area, passengers descent into the
maximum flexibility in the arrangement of check-in counters concourses (or piers) where the aircraft gates are located. Paved
and other necessary processing facilities. in polished stone and warm wooden ceiling, the waiting areas
LEVEL 1 PLAN LEVEL 2 PLAN

LEVEL 3 PLAN LEVEL 4 PLAN
are lit by chandeliers that resemble lotus flowers, with cast glass
centres and cut metal petals. The warm wood ceiling is
actually metal, printed with a realistic facsimile of wood.
Although the terminal is four storeys, interconnecting light
slots and multi-storey light wells ensure that light penetrates
into the lower floors of the building, acting as a constant
reminder of the surrounding city and landscape. At dusk,
illuminated from within, the terminal glows like a sculpted
chandelier. Custom sculptural lighting fixtures reference
traditional Indian textile motifs. In the baggage claim hall,
where heavy passenger congestion calls for a relatively
column-free space, columns were placed within the baggage
claim belts.
The roof mega-columns and steel roof structure were kept
completely independent from the base concrete structures
below. The final design resulted in a departure hall entirely
free of columns through the use of composite mega-columns
spaced 64m in one direction and 34m in the perpendicular
direction. The structural system for the head house roof is
akin to a two-way flat slab system. Increasing the depth of
the trusses near the columns and running trusses in an
orthogonal grid as well as along a 45 grid results in an
overall truss depth of 4m for the roof system. The greater
truss depths near the columns create column pod areas,
3.5m to 4m Deep Steel Roof Trusses
HEADHOUSE ROOF 3D
Composite Mega Column
which seamlessly integrate into the pyramidal skylights that height of 40m. The structure of the feature columns is
serve as major architectural features. concrete encased steel. The steel has a cruciform plan and is
The terminal building features two separate cable wall 2.3mx2.3 m. The concrete encasing is 2.7m in diameter. Each
systems totalling over 1km in length and 11,000sq m in area, feature column has two drainage pipes which take the runoff
making it the longest and largest cable wall in the world. Both water from the roof and drain it out of the building. Each
cable walls comprise unidirectional cables spanning vertically pipe is 400mm in diameter.
between two levels of the terminal structure. A large portion of The exterior feature columns appear identical to the
the wall follows the curvature of the plan of the head house interior ceiling and columns, which are rendered in panels of
roof, a feature only achievable because the cable wall consists glass fibre reinforced gypsum (GFRG). The ceiling in both the
solely of vertical cables. Variations in height, changes in interior of the check-in hall and international security
anchoring conditions, and the inclusion of corners, curves and screening area and the exterior space which covers the
entrance vestibules all worked to necessitate a very precise departures curbs is 15m in clear height.
design of cable pretension. Mega skylights are located over 28 of the feature columns
The roof measures approximately 17-acres in area. Each bringing natural light into the head house. As many as 244
column measures 4.2mx3.4m rising from the ground to a minor skylights distribute natural light between the feature
columns enabling the head house to achieve daylight winner in The interior Finishes Category - CISCA ( Ceiling & Interior
autonomy throughout the day for a majority of the year. System Construction Association, North America), etc.
There is a total of approximately 30,000sq m of skylight glass.
Terminal 2 uses a high-performance glazing system with a FactFile
custom frit pattern to achieve optimal thermal performance Client: GVK, Mumbai International Airport Pvt Ltd
Architects: SOM, Location at Multiple Places
and mitigate glare. Perforated metal panels on the terminals
Structural & MEP Engineer: Skidmore, Owings & Merrill LLP
curtain wall filter the low western and eastern sun angles,
Architect, Structural & MEP Engineer of Record: Larsen & Toubro Limited
creating a comfortable day-lit space for waiting passengers,
(EDRC Division)
and responsive daylight controls balance outdoor and indoor General Contractor: Larsen & Toubro Limited (ECC Division)
light levels for optimal energy savings. Strategically placed Lighting Design: Brandston Partnership Inc, SPIERS and MAJORS Associates
skylights throughout the check-in hall reduce the terminals Retail Design: The Design Solution
energy usage by 23%. Landscape Design: Hyland Edgar Driver (HED)
Cultural Design Collaboration: Abu Jani Sandeep Khosla
Art Scenographer: Rajeev Sethi
The project has also been felicitated with many awards, such as
Communication, IT, Security & Special Systems: Mulvey & Banani
the LEED India for New construction Gold from Indian Green Signage & Wayfinding: Pentagram & Entro Communication
Building Council, NCSEA National Council of structural Engineers Vertical Transportation: Van Deusen & Associates
Association - Excellence in Structural Engineering Award, Gold Year of completion: 2014
Jury Outcome
Architecture+Design
Jury
Architecture+Design and CERA take immense pleasure in announcing the jury outcome of the
eleventh cycle of the Architecture+Design & CERA Awards 2014. A panel of thirty architects
participated in the recently concluded jury meet. There was a group of five jurists respectively for
each category. The jury panelists included eminent architects from all over the country as well as
from South-East-Asia and Europe. This led the jury meets to acquire a wider perspective in gauging
creativity. The jury conclusions were at times unanimous and at other times a healthy disagreement
of opinions leading to debates and discussions for the final outcome.
The Golden Award for Global Contribution in Architecture: William J R Curtis
The Golden Architect Award-India: The Hall of Fame Award:

Rahul Mehrotra Shirish Beri
Award For Residence Design with a Difference

Principal Awardee
Awardee Project
Sandeep J Wilson Garden House,
Architecture Paradigm, Bangalore
Sandeep J Deepak Guggari Bavadekar Praveen Hiren Patel Vimal Jain Bangalore
Sharad
The Institutional Architecture Award for Design

Development of Institutional/ Office Buildings
Principal Awardee
Awardee Project
Manish Gulati National Institute of
MOFA Studio Pvt Ltd, Fashion Technogoly,
Manish Gulati Sanjay Puri Hiren Patel Rajesh Shivaram Anupam Bansal New Delhi Kangra
& CERA Awards 2014
Outcome The award
function for this cycle
is slated to take place in
Istanbul, Turkey, on the
15th of November, 2014.
Felicitations to the
Awardees!
The Golden Emerging Architect - Singapore:

Chang Yong Ter
The Golden Emerging Architect - Malaysia:

Mohd Razin Mahmood
The Golden Emerging Architect - Thailand:

Patama Roonrakwit
The Golden Emerging Architect - Sri Lanka:

Narein Perera
The Awardee for The Golden Emerging Architect - Turkey is currently

being processed by the Society of Practising Architects, Turkey.
Commendation Special Mentions

Awardee Project Awardee Project
Deepak Guggari Jadhav House, Pune Hiren Patel The Courtyard House,
Varsha & Deepak Guggari Associates, Hiren Patel Architects, Ahmedabad
Pune Ahmedabad
Bavadekar Praveen Sharad The house with two Sheesham Vimal Jain Sheela Jain Residence,
Third Space Architecture Studio, Trees, Belgaum Architecture Paradigm, Bangalore Gundulpet
Belgaum

Sanjay Puri A Pavilion, Surat Hiren Patel A Community Centre,
Sanjay Puri Architects, Hiren Patel Architects, Ahmedabad
Mumbai Ahmedabad
Rajesh Shivaram Technoarchitecture Office
Technoarchitecture Inc, Bangalore Extension, Bangalore
Anupam Bansal National Centre for Biological

ABRD Architects Pvt Ltd, New Delhi Sciences, Bangalore
The Recreational Architecture Award
Principal Awardee
Awardee Project
Ambrish Arora and RAAS, Jodhpur
Rajiv Majumdar
Ambrish Arora A Midrul Namith Verma Akshat Bhatt The Lotus Praxis Initiative,
New Delhi
The Innovative Interior Design Award for

Office/ Commercial Utility Interior Design.
Principal Awardee
Awardee Project
Kanhai Gandhi, Space within a Space,
Neemesh Shah, Mumbai
Kanhai Gandhi Ambrish Arora Sanjay Puri Madhav Raman Mahesh Shresht Kashyap
Radhakrishnan
KNS Architects Pvt Ltd,
Mumbai
A Midrul Birkha Bawari, Jodhpur Namith Verma Gorukana, BR Hills,
A Midrul Architect, Jodhpur Gayathri & Namith Architects Karnataka
Pvt Ltd, Bangalore
Akshat Bhatt Hotel Mana, Udaipur
Architecture Discipline, New Delhi

Ambrish Arora Gaurav Gupta, Sanjay Puri Auriga, Mumbai
Lotus, New Delhi New Delhi Sanjay Puri Architects, Mumbai
Madhav Raman Anagram Office,

Anagram Architects, New Delhi New Delhi
Mahesh Radhakrishnan Book Building,

The Madras Office for Architects and Chennai
Designers (MOAD), Chennai
Post Jury Post Jury

The Innovative Interior Design Award for
Residence Interior Design
Principal Awardee
Awardee Project
Arjun Malik The Architects Loft,
Malik Architecture, Mumbai
Arjun Malik Deepak Guggari Shilpa Gore-Shah Prasanna Tushar V Mumbai
Parvatikar
The Young Enthused Architect Award

Principal Awardee
Awardee Project
Akshat Bhatt Discovery Centre,
Architecture Discipline, Bangalore & Hotel Mana,
Akshat Bhatt Swapnil Valvatkar Rajesh Shivaram Lester Rozario New Delhi Ranakpur, Udaipur
Sourabh Gupta Brinda Parth Shah
Post Jury
Deepak Guggari Jadhav House, Pune Shilpa Gore-Shah & Liminal Living, Mumbai
Varsha & Deepak Guggari Associates, Pinkish Shah
Pune S+PS Architects, Mumbai
Prasanna Parvatikar Mrs Uma Raja's Residence,

Cubism Architects & Interiors, Tirupur Tamil Nadu
Shruti Keshavamurthy & Shruti Tushar Apartment

Tushar V Design, Bangalore
Ochre, Bangalore

Swapnil Valvatkar Marvel Domicilia, Bangalore Rajesh Shivaram M House, Bangalore &
Collage Architecture Studio, & Cricket House, Bangalore Technoarchitecture Inc, Technoarchitecture Office
Bangalore Bangalore Extension, Bangalore
Lester Rozario Stack house, Bangalore &

Kamat & Rozario Architecture, Hanging House, Bangalore
Bangalore
Sourabh Gupta Dilli Haat, New Delhi &
Archohm Consults, Noida Yogananda Library, Solan
Brinda Parth Shah Raj Samadhiyala House, Rajkot

BPS Architects, Rajkot & Sanjeevani - Biodiversity
Resource Conservation Area
Viewpoints
Saleh Mosque, Sanaa, Yemen
Sustainability and Memory

By Niranjan Garde
T
his article is an attempt to to use each and everything sparingly, my grandparents, then successively
express how the approach of to its fullest possible utility, even passed on to my parents and probably,
sustainability (or frugal living) is surpassing the life cycle of the material if the condition was good enough, it
related to the feelings of memory, itself. If the material was not fit for use could come all the way to me. It is with
belonging and in the creation of our in its present form, then it used to be everything from best shirts to photo
personal identities and what role it ingeniously transformed (or reused) frames, to cooking utensils. It is quite
plays in modern lifestyle. into something else, till another such amazing to see that many of our
My parents and grandparents cycle of transformation came about households have a collection of what
generation grew up in the period of and the process continued. Take for can be termed as vintage collection of
just means. Nothing was abundant or example a simple shawl or a light cooking ware, linens, woollen ware,
in plentiful and it became a necessity blanket. The shawl would be used by gadgets, pens, letters, writing desks,
sewing machines, toys, dolls, bats, long as the object is with you. The touches the finished wall or leans on it
rackets, books and so on. They are all, object, without us being conscious of it, or looks at it, these memories surge
what I call as memory banks. They has already become a part of our back in mind. The wall might be
perform the same role, as a loving consciousness that defines our slightly off-aligned or there might have
letter that my father has written to me identities. It is this effect of association been some unevenly painted spots but
a couple of times. They denote the that compels people in a country like it has become a family member, telling
same care and love, as you glance India, to retain such objects long after us of the peoples collective
through your photo album and recall they might not have any utilitarian involvement with it. In such a scenario,
the moments that you had spent as a value. Sometimes, long after children would mechanical perfection or
child with your extended family. have grown up and their woollen ware aesthetics of the wall matter? It is the
Although the old dusty, cranky, heavy, cannot fit them, such items are reused same for cooking. Agreed, that I have
oxidised copper cooking ware would and transformed into woollen socks or to spend time to cook food, but the act
have now been replaced by the of preparing, cooking and serving
sleek, shiny, light stainless steel, family members becomes a part
people prefer to keep the old of our expression to connect with
cooking utensils in loft areas and them at an emotional level that
mentally in one of the cannot be understood by
compartments of their minds. intellectual analysis. Feelings of
The old and heavy copper belonging and community are
cooking ware utensil, now created in this way. Objects can
redundant, reminds my parents be made value ridden, provided
about the delicious dishes that we spend time with them.
were cooked and cherished along Provided we make a conscious
with the children and which choice before any object is
created some special moments of replaced. There might be
togetherness. The defunct hardship and involvement of time
technology of heating water by and our labour for doing things
using copper cylindrical drum ourselves, but it can also give us
and coils, replaced by geysers the opportunity to form
and consecutively by solar connections with other people.
panels, reminds my father and This brings me finally to another
his siblings of their childhood aspect of modern lifestyle.
and the quarrels and laughter Creation of meaning by sustainable use of objects
The abundance of products in
that they had shared in the the market and the general trend
bathroom or the shout that they of consumerisation, further fuelled by
experienced from their mother for woollen scarfs. The form of the object robust economic conditions have led to
lazing around in the bathroom. Herein might have changed, but the memory fast turnover of objects of use and
I wish to highlight a connection the lingers as one sees the socks again. lessening of our involvement with them
economic necessity of perpetual use of Another aspect of sustainability is to in the process of creation. It leads me to
a particular item results in forming a do things by ourselves. In frugal ponder what sort of connection one
relation with that object. The conditions, there is no subletting of might develop with the object, if we
relationship deepens as more and more jobs. We build our own houses; we hardly let it mingle with us for a
of our existential moments are spent cook food ourselves because we cannot sustained duration? Can these
with the object of use and enriches as afford to sublet it. But, building a physically temporary objects (soon to
more people get associated with the house together as a group of people be replaced by their new competitors)
same object. Memories of the people introduces numerous instances of ever generate any emotional ties or
in this way get inter connected with the interactions and lively encounters. memories with us? What would
same object and result in highly There is hardship no doubt, but happen, if we sublet all our tasks to
nostalgic dialogues when people meet collective moments are spent, one external agencies? Do we give ourselves
after a gap of time. The object already shares ones life secrets as one is a chance to make such objects a part of
surpasses its primary role of utility and engaged in plastering or painting a wall our lives or, have our perspectives
gets highly value ridden. The and the entire process gets a high towards looking at them been detached
memories, emotions get recalled as emotional quotient. Later on, as one by the realisation that they are soon to
leads to involvement. Thus the
necessity of reuse or recycle or
whatever term one wants to assign for
sustainability has an advantage of
memory creation. To be involved with
such an approach would lead to
memories that we would dwell on long
after our functional value diminishes.
It is at that point of time that the
objects and the people around us
would be our faithful friends telling us
about the trials, mistakes and moments
of joys that we had experienced
resulting in the ripening of our lives.
And it is therefore, in this context itself,
those important objects, landscapes,
architectural spaces need to be retained
sometimes, for, they vibrate with
stories of our connections with the past
and can make our present meaningful.
It is with this concept, the entire Indian
landscape across the nation can be
seen and experienced and which
fundamentally differs from the
industrial landscapes of the North
Americas or Australia.
Market Hall, Rotterdam; Architects: MVRDV, Rotterdam
I hope, we understand, that old
does not mean outdated or primitive in
be replaced by newer variety? If of our time (and space) with other anyway. What is required is the right
everything around us is constantly individuals, if all our objects are attitude towards seeing any object and
getting replaced by something different (and transient as well) then the realisation that every object that
different or new, where does that one must ponder on the quality of life we keep for ourselves has the
leave us? Or, in terms of the aspect of one is heading to. Abundance, luxury, possibility to create value and be an
subletting, why should we ever bother flexibility and the affordability to be in extension of our Self. What we wish
to cook or build houses or mend lawns? constant change with regards to house, to possess starts to define who we are
How, then, would our memories be jobs (and even relations for that matter) or become. If we continue to replace
created by the fleeting interactions with can have a detrimental effect on the everything, there is no attachment with
these objects and by increased nature of relations we form amongst anything and there is no association of
preferences to sublet things? Or would ourselves as communities. History and memory. Let not the abundance of
memories remain transient as the culture is a product of memory. objects and its faster replacement by
objects themselves, so that not even a Constant change would mean no ever changing technology create a
single memory ever gets a chance to be memory and that would mean no situation that you are not able to
embedded in our minds and create history at all. Part of who we are or express yourself in terms of the
impressions of life? If memories remain become depends on our association external environment. Or a situation,
transient, what does that make us as with memories people, places and wherein no object or a person or any
individuals? What sort of identity is objects. Therefore, the experience of environment triggers your memory. Let
created and what sort of life is constant newness and constant change not you experience the modern
experienced? This has repercussions on has to be viewed critically. equivalent of Alzheimer.
our lifestyles, on the way we look at Sustained use has the power to form
ourselves and our people around us. relations with objects just as precious as Niranjan Garde is an architect currently
Personal space and liberty is fine, but our relations with loving people around based in Pune, who has an interest on
where does it lead us as a human us. Doing things by oneself may mean issues related to history, culture and
community? If we dont share moments being frugal again, but that is what identity in architecture.
Institutional Design
A Metaphor of Function
Bhujpal Knowledge City (MET, League of College), Nashik
By Pramod Beri
T
he number of buildings being built under the A couplet from an Urdu gazal summarises the
category of Institutional Architecture is growing emotive aspect involved (translation in English) -
at a fast pace in post independent India and The forms of the building, the doors and windows
especially in the last two decades. The main thrust has have no relationship with us, unless the building ties
been in educational and scientific fields, besides us with its unseen emotional threads.
public realm institutional architecture, which is An institutional buildings spatio-formal
also noteworthy. vocabulary should be a metaphor of its function, a
In an institutional building the users spend time in symbol for the act. The inner spaces should answer
the spatio-form created by an architect for a longer the feelings part of architecture as to what aspect of
period of time, compared to brief usage in a museum feeling, be it that of impose, dignity, eminence,
or a hospital. Hence, the spatio-formal vocabulary of solidarity, poise, grandeur, regimentality, solace,
such a building has to go beyond mere objective warmth, affirmation, etc. The external envelope in a
function and transcend into the subjective feelings subtle way should convey the purpose of the building,
part of architecture. a kind of metaphor of its function.
The building should have circulation spaces which feature.
go beyond the mundane aspect of transportation The latest technology available should be exploited
from portion A to B, but should include nodal spatial to the fullest extent. All over the globe, technology is
points which promote chance encounters. The changing at a rapid pace. This conflicts with the fact
circulation spaces should have pause spaces that that buildings are used for decades together. Hence
create and retain interest. flexibility should be the key. Easily interchangeable
It should have dynamic interrelationships between modular spaces need to be provided to create an easy
outer and inner space as well as between inner and transition from utilization of a space to another
semienclosed spaces like the courtyard. Careful inter- purpose. The various services that serve the space
activeness between these spaces is the key. Courtyards should be easily interchangeable as technology
are dedicated enclosures of the borrowed universal advances. An equipotentally designed space
space and besides providing light and ventilation, proactively adapts to changing needs.
should also provide spaces for informal interactions. To have a meaningful interface between art and
The building should create a spatial experience architecture, murals or sculptures can be introduced
which touches deeper levels of consciousness in us, which immediately convey the raison-detre of the
thereby, enabling us to see and feel the world in a building. The architect needs to sit with the artist,
different way. As the famous saying goes, We make proactively suggesting feelings he wants to convey
spaces and in turn spaces make us, the quality of through the portrayed imagery.
space should enhance the quality of life. Well The building should be eco-friendly and
sustainable. Sustainability has become an important
factor especially in design of an institutional building
where multiple consultants are employed. Careful
examination of technologies and materials available
and their appropriate usage should be a part of the
main design agenda.
In the Indian context, the last important aspect is
to think globally but act locally. This involves
carefully weighing the pros and cons and decides
between use of local materials/technologies vs
outstation/imported ones. The five elements of nature
the Panchmahabhutas need to be deftly resourced
to avoid overuse of energy.
Certain design vocabulary cannot be conveyed at
an intellectual level, it should emerge from the intuitive
zone of consciousness. Because of increased pace of life,
over population, overall public apathy, etc., our
physical as well as emotional space is being encroached
upon, creating numbness in our sensitivity. The building
University of Minnesota Science Teaching & Student Service Center, we design needs to act as an oasis which can rejuvenate
Minneapolis, MN and regenerate. Only when the architectural space
executed spaces and buildings are bound to effect a designed by us gets a nod in the inner deep emotive
new gestalt like change in behavioural patterns space of the person using it, only then the dialogue
between users. between him/her and the building starts, creating a
An apt relationship between service spaces and deep sense of satiation. The process starts when we
served spaces should be in effect. Any institutional expend the brief given by the client and convert it into
building is bound to have lots of service spaces which value based deeply impregnated spaces which will add
need to be discreetly located with skill without life and spirit. Let our designs answer these invisible
sacrificing their utility. The service spaces should have aspects creating an architecture of belonging, honesty,
an easy but discreet access and also should be close simplicity and spontaneity.
enough to served spaces to save on transportation
time. Service towers, if required, should be Photo courtesy: A+D archives
functionally large enough to accommodate services
which can be installed and serviced at ease. In all Pramod Beri is the chairman of Beri Architects and
probability, they could be turned into an architectural Engineers Pvt Ltd, a Pune-based firm.
Inter-connected Spaces
Project: Polymer Science & Engineering Laboratory, Pune, Maharashtra
Architects: Beri Architects & Engineers Pvt Ltd, Kolhapur
T
he word polymer in chemistry recalls to our mind, Creation of linked yet separate laboratory wings has many
polygonal shapes with main/sub-linkages. Seeking the functional advantages possibility of inter connectivity from
inspiration from this, a building form akin to the both outer and inner corridors; it is service-friendly; has rear
element Benzene was explored and used as a formative access to each laboratory via an outer ring road; there are
statement. The central courtyard with an atom related laboratory-wise separate energy controls for optimum usage;
sculpture connects with the various laboratories while service fire protection friendly; plenty of light and cross ventilation
areas between the laboratories act as sub-linkages. is achieved through courtyard; and creation of microclimate
N SITE PLAN
4
11 11
10
9
4
9
10
9 8
1. ENTRANCE LOBBY
8
10
2. ATRIUM
3. MEETING ROOMS
9
8
4. TOILETS
5. LECTURE HALL
12
6. CONFERENCE ROOM
7. CANTEEN
11 8. SCIENTISTS ROOMS
8 9
9. STUDENTS ROOMS
10. LABORATORIES
10
11. SERVICE ROOMS
8
12. LANDSCAPED COURTYARD
9
10
5
7
4 2
GROUND FLOOR PLAN 3 7

1 8 5
3 6
2 1
5
2
FIRST FLOOR PLAN
1. ATRIUM
2. HOD CABIN
3. OFFICE
7
4. TOILETS
4
5. SERVICE ROOM
6 6. SCIENTISTS ROOM
7. MULTIMEDIA ROOM
1. SCIENTISTS ROOMS
2. STUDENTS ROOMS
3. LABORATORIES
4. COURTYARDS
5. TOILETS
6. SERVICE ROOMS
7. FLOATING CORRIDOR
TYPICAL PLAN LABORATORY WING

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FactFile
Client: National Chemical Laboratory, Pune
Design team: Pramod Beri (Job Captain), Ar Mohan Bhasme, Er Hindurao Patil
Consultants: Upendra Deuskar, M/s Anand Electricals (Electrical), S C Garge, Ishaan
(Fire Hydrant Consultant), Shri Shridhar Sanglikar, Apurva Service Consultants
(PHE /HVAC), Mahesh Nampurkar, Dream Presidency (Landscape Design),
Sanjay Newaskar (Interior Designer), N M Deodhar Consulting Engineers
Contractor: Engineering Projects India Ltd
Built-up area: 6200sq m
Cost of project: Rs 15 crore
Year of completion: 2009
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by green sheltered spaces between the laboratories.

The building creates adequate opportunities for chance
meetings between the scientists at every juncture of external
and internal corridors. Hexagonal form fosters closer bonds
among various research groups. Each laboratory is unique,
hence creates a sense of identity. Senior scientists have
privacy as well as proximity to their labs.
The feelings part of architecture, which is invisible, also
receives equal importance in the spatio-formal context. The
building compliments and acknowledges the existence of
various buildings on the existing campus, especially the main
building, while proposing radical insertion of a new theme.
The result is a dynamically vibrant spatial statement, with its
own distinct identity.
The administrative wing is partially separated with
controlled access to the research laboratory section. The
administrative section also has provision of an exhibition
room, a 100-seater auditorium and a canteen. The site slopes
gradually in east-west direction. As a result, the wings adapt
to the existing levels. The central green space with a
sculptural statement is enhanced by stair-towers cladded with
reflective glass. The multiple reflection of the central
courtyard is a delight to experience.
Three-Winged Swastik
Project: Emergency Management & Research Institute (EMRI), Ahmedabad
Architects: Studio Eethetics, Ahmedabad
T
he architectural solution for the EMRI stemmed from The clients complex brief, the location challenges (busy,
the thought that preconditioned the simultaneous noisy traffic junction), scorching heat and symbolic iconic
involution of excelling in functionality, environmental value, time constrain (75,000sq ft state-of-the-art
concern/aesthetic values and depicting fresh approach with type/completion time with interiors in 10 months), required
reference to context. the architect to come up with an innovative design.
12
7
3
11
12
1
3
12
8 2
3
3
7 1. ENTRANCE FOYER
2. RECEPTION AND WAITING AREA
3. CLASS ROOM
12 6
4. STAFF ROOM
6
5. CONFERENCE ROOM
1
5
6. CABIN
7. ELECTRIC ROOM
6 12 6 6 6 8. STORE ROOM
12 6 6 6 6 6 6 9. LOCKER ROOM
12
10. TELEPHONE
11. CAFETERIA
7
12. TOILET
GROUND FLOOR PLAN 10

N 9
12
10
7
3
6
10
7
1. IT ROOM
8 8
2. ASSEMBLY HALL
10
3. CAFETERIA & RECREATIONAL
4. EXECUTIVE DINING
5. CONFERENCE ROOM
6. STORE ROOM 5
8 10 8 8 8
8 8 8 8
7. ELECTRIC ROOM
8. CABIN 10 8 8
9. CHILLING PLANT
10. TOILET
FIRST FLOOR PLAN

9
The architecture was required to be right rather than good.
The design derivation was integral and simultaneous.
The EMRI got sub divided under basic three types (nature)
of activity administration, call centre and training centre
(educative), all of three required to be inter-connected and
interactive. This resulted in a simple triangular placement of
three blocks with a central cylinder, reception/foyer, commonly
allowing entry to all blocks.
The institute conceived to render service to mankind, being
dynamic in nature, it was responsible for the three winged
swastik plan formation. The protective (sound/heat/visual
barrier) crescent-like service wing, placed in a pin wheel
shaped-position, balances and lands it a self contained/self
content equilibrium required, resulting in a circle.
To be able to answer fastness, finesse and economic
execution part, the architect followed a very simple thought
common product module (flooring 2x2, shuttering 2x4) to
govern the plan elevation making, resulting in floor lines,
and following up the exposed concrete walls. The curvilinear
wall shuttering was appropriated by wooden pattern. In
addition this helped to reduce the wastage.
SECTIONS
ELEVATION
FactFile
Client: Govt of Gujarat
Design team: Team Studio Eethetics
These rational thoughts had allowed the outcome to be
Consultants: Jhaveri Associate (MEP), Amee Associate (Structure)
what it wanted to be (unprecedented) as against Contractors: Shanti Constructions
prejudiced, preconceived, predetermined biases, employed Built-up area: 75000sq ft
as temptations to make something, rather than allowing it to Cost of project: Rs 14.5 crore
become a built form. Year of completion: 2010
Subterranean School
Project: Professional School Hanna Arendt, Bolzano, Italy
Architects: Cleaa Claudio Lucchin & architetti associate, Bolzano, Italy
H
anna Arendt School in Bolzano is the first underground in which nine classrooms, six workshops, a winter
underground school in Italy. Designed as the extension garden and a utility room were placed. The challenge led the
of the professional existing school, it highlights the architects to solve consequent problems not only as structural,
unexpected potentialities of the underground architecture, but particularly environmental issues.
challenging the limits of the sustainability culture thought so The connection between the old building and the new one
far, as well as the contemporary design in historic centres. takes form of an extension to the existing corridor located at
The idea of not altering the ancient architectural context of the first floor. Lit through large glasses, and enclosed by a
the Capuchin friars convent protected by the national wall acting as a scenic backdrop, this extension features as
heritage association but the need for new spaces and the only new architectonic element visible above the ground.
classrooms, gave the architect the opportunity to create a The four underground floors were built after an initial
subterranean school appendix: four levels excavated 17m stabilisation of the area with micro poles and a reinforced
3
2 1
3
1. MAIN ENTRANCE
N 2. SERVICE ENTRANCE
GROUND FLOOR PLAN 3. SKYLIGHT
4. GARDEN
concrete structure. The rooms were distributed around the
central void; starting from the top, the first two floors host
classrooms; the third floor hosts the workshops and the last
one is a utility room.
The lighting design was one of the main topics of the
intervention: constant use of glazed surfaces in the large
skylights and glass walls of the rooms lets natural light
penetrate through all the internal spaces, allowing a special,
continuous visual connection with the outside. Therefore, the
atrium garden, the small winter garden and a series of skylights
and solar chimneys give more light and air to the whole
building. The artificial lighting is controlled by neon sensors
varying temperature based on the time of the day and the
weather conditions outside.
1 1
1 1 1
PLAN AT LEVEL -1
1. CLASSROOM
1 1
1 1
2
PLAN AT LEVEL -2 1. CLASSROOM

2. LAB
1 1
1 1
1
1. LAB
PLAN AT LEVEL -3 3 2. INDOOR COURT
3. WINTER GARDEN
Humidity has been removed inserting in the walls several FactFile
layers consisting of insulation, sheathing and plaster spray Client: Province of Bolzano
that also provides protection against ingress of radon gas; to Design team: Claudio Lucchin/Cleaa
Contractor: ZH General Construction Company AG (Group leader);
recall the excavation, the walls have an irregular surface.
Gaetano Paolin Spa, Gufler Bau Gmbh (Mandators)
Ventilation is guaranteed by programmed recycling of the air
Consultants: Herbert Mayer (Structure), Ing Marina Bolzan
regulated by a mechanical system through ceiling diffusers (Mechanical Plants), Ing Reinhard Thaler (Electrical Plants),
or grilles integrated into the built-in wardrobes. Arch Roberto DAmbrogio (Safety Coordinator)
Due to the glass walls, many viewpoints allow to perceive Area: 2030sq m
the building in all its depth. The central court and the full- Cost of project: 6.420.000 euro
height voids play with the materiality of the exposed concrete Year of completion: 2012
walls. The connection elements, such as the big yellow staircase
SECTION
ELEVATION
and the walkways punctuate the whole space; alongside the classrooms have one or more sides fully glazed in order to
paths, numerous niches have been created as small private promote the perception of a wide space. Many glimpses
rooms for studying. reveal to the user the building in all its depth.
Particular attention has been focused on the critical factors The main court forms an underground urban square. The
of underground architecture natural light, space feeling and large skylight above the court makes the sky visible from the
humidity. The architectural choices have been a consequence of square and the classroom. The visual connection with the
the importance given to natural light. The result is a play of outside world is found also in other places through smaller
solids and voids, where light permeates throughout the digging skylights offering impressive views.
through horizontal skylights and vertical windows that overlook A mechanical ventilation system helps maintaining healthy
inner and outer shafts. The classrooms, labs and common areas air in various environments, guaranteeing a constant
have always one or more natural light sources making the replacement four times an hour. Because of the need to cool
building similar to a building above the ground. it even during the winter, the classrooms are air-conditioned
The artificial lighting is controlled by sensors that regulate with an implant, which also ensures the necessary air
it according to natural light coming from the outside to exchange and the control of radon concentration.
promote energy saving. In addition, the use of lights The system is organised in zones equipped with post-
changing temperature depending on the time of the day has heating batteries; there is the independent regulation of the
been included to get closer to the real conditions of the individual environments. The air is pre-treated in an air
external environment. handling unit equipped with built-in refrigerator for cooling
The intention was to create a space in which the user cant in the mid-season and during the summer.
run the risk of being in narrow or claustrophobic. The idea
was to give the building a large visual permeability: Photo credit: Alessandra Chemollo
Interaction
SEARCH FOR
SUBSTANCE
THE ROLE OF
CRITICISM
Architecture+Design feels proud to once
again have had the opportunity to bring
across to our readers the diversity and
rationality of the thoughts of noted
architectural historian and critic,
William J R Curtis.
On behalf of the magazine, architectural
critic Rajnish Wattas interacted with
William J R Curtis
we carry a few extracts...
Photo credit: William J R Curtis, 2009
Timeless but of its time; ray of light in the Oratory of the Monastery of La Tourette, Le Corbusier, 1954-8
R
ajnish Wattas (RW): You are known as a historian and RW: Can you discern any single big idea or style that is
critic, but you are also a photographer and an artist. propelling architecture the world over today?
When navigating through the architecture of the recent
past you insist upon the centrality of the architectural work WJRC: There is no single key to contemporary architecture just
itself as the true subject of criticism as against the theoretical as there is no shortcut to understanding the recent past. This has
rationalisations which are often deployed as promotional been a confused and pluralist period covering a very wide range
rhetoric by architects or their supporters. Are you able to of production in an ever wider field of global practice. At one
sketch a critical map of recent architecture including some of extreme are the much discussed iconic buildings, often linked
the prevalent themes? up with real estate capitalism, cultural marketing and the
branding of cities in the networks of investment and tourism. At
William J R Curtis: First of all let me say something about the other are works of such immense subtlety and topographical
criticism itself. The word criticism comes from a Greek word sensitivity that they almost disappear although they touch all of
signifying the separation of the good wheat from the bad. It is the senses and reveal something about the spirit and history of
about identifying quality and rejecting the lack of it. In my places. You have only to stop for a moment and compare the
opinion there are no recipes for criticism. Architecture is a Dubai phenomenon on one side with a lone wolf figure like
complex phenomenon which touches people on many Peter Zumthor on the other to see what I mean. In these
different levels. Buildings may fuse together ideas and forms, circumstances one cannot speak about a dominant tendency or
images and materials, function and structure, social myths and about any obvious canon. The critic has to be on the alert for
poetic spaces. They occupy time in complex ways, crystallizing
a present, transforming diverse pasts, anticipating unknown
futures. Architecture is concerned with power but is never a
direct expression of an ideology: it is an idealization of social
and political processes and of institutions. Architecture is
rooted in society but possesses a reality of its own.
As a historian and critic I am interested in penetrating to
the anatomy of intentions within a work, the structures of
thought, and the ways in which the architect translates
multiple realities through the language of architecture. What
architects create is more important than what they say, and I
insist upon the direct experience of buildings themselves.
Works of real interest transcend movements and isms and
possess a unique order of their own. The critic must remain
open to fresh innovations, while retaining a sense of history
and of what is fundamental in the art of architecture a vision
of what counts in the long term. I am interested in qualities
which carry well beyond transient fashions. There is nothing
more provincial than the present.
One needs to experience buildings first hand on their sites,
with people in and around them, with unfolding vistas, with
materials, textures and details under changing light. One needs
to grasp the general ideas and to sense the internal conflicts of
the design. There is no substitute for the deep reading of a

work. It is especially important to do this at a time of spurious
theorising which asphyxiates architecture with clouds of
jargon. It is crucial just now to debate the past, present and
future of architecture, to open the doors to younger
generations who are often kept out of the account. It is always
good to be surprised by fresh new ideas, as long as they are
substantial and not just marketing tricks in the media game of
fashion and promotion. The critic needs to approach recent
work undogmatically, to let the architecture speak for itself. Column of light: the Church of the Jacobins, Toulouse, 14th century
interesting or awful work in many shapes and sizes. As usual we have to react to. It is not the function of criticism to try to
quality transcends style. ram individual buildings into simplistic stylistic or theoretical
While the architectural production of recent years has categories. One needs to distinguish between mediocre and
suffered from architectural excesses and from a thoughtless quality results. Putting it simply: there are complex curves,
process of frantic urbanisation (especially in China and the folds and irregular geometries which mean something and
petroleum states) it has also been a period rich in new creative which add to the stock of authentic architectural inventions;
directions and it will take some time to discern the overall and there are others (too many in fact!) that are meaningless
shape. Just think of the vast range in the last few years all the and arbitrary, that are ugly to look at, hell to live in and
way from the spatial gymnastics of the Guangzhou Opera destructive of their setting whether in landscape or city. Many
House in China by Zaha Hadid to the restrained and of the buildings that fly the flag of geometrical complexity
understated Folkwang Museum by David Chipperfield, to the
rich spatial qualities of the Fundacao Ibere Camargo in Porto
Alegre by Alvaro Siza, to the cool restraint of the New Media
Lab at MIT by Fumihiko Maki. Are any of these works
masterpieces? No, but they do bear witness to the different
expressive territories that are being opened up. Moreover each
has a different pedigree and orientation to the past.
RW: So any attempt to speak of a style of the times or a

privileged theoretical position is doomed from the start? Does
that mean that this is an era of star architects and individual
landmark projects without any dominating ism?
WJRC: When attempting to draw a critical map of recent

architecture there are possibly two extremes to be avoided. One
says that anything goes; the other tries to claim a dominant
discourse for a particular school of thought. The first approach
embraces a total pluralism. It implies that everything is about
equal and that we are floating on the surface with trend
following trend like changes of clothes. This position often hides
behind the star system by reducing architecture to lists of famous

names and prizes. It is the vanity fair of architecture.
The second approach rests upon the belief that each period
has its dominant formal expression. In this model an
individual or group elects itself as the exclusive owner of the
historical process. Today some try to promote parametricism
as the architecture of the times as a new global style. But
their argument is simply rhetorical especially in a period when
there are so many different approaches. Moreover no two
people can agree on the meaning of the term parametric. Is
it referring to a method or a style? If it is a method there is no Modern technology, abstraction and dematerialisation: the St Louis
reason at all that the forms should end up with complex Arch by Eero Saarinen, 1949-60
geometry. If it is a style there are many ways of achieving
complex geometry without any single method. The links in this
ideological fiction are rather loose. Anyway the real question are in fact rather simple minded and have no staying power.
for the critic is this: do the results succeed as architecture? One has to keep coming back to the realm of specifically
architectural ideas and to buildings in real space not just to
RW: So critical judgements must be based on built seductive images on a computer screen in virtual space.
architectural results, not on transient images or fancy sounding Mathematical tricks on the computer are no substitute for
theoretical agendas? substantial architectural thinking, a rigorous architectural
language and a culture to back them up. Is there anyone
WJRC: Architecture speaks its own language and that is what around today who can equal the sculptural power and
symbolic resonance of the shells of Sydney Opera House? Or
William J R Curtis
who can match the haunting presence, multiple meanings,
(1948) is a historian,
spatial and geometrical sophistication of the curved funnel of
critic, painter and
the Assembly building in Chandigarh? In these cases the curves
photographer. He studied
are embedded in the deep order of the building itself and in
at the Courtauld Institute,
the mythical structure of the architects creative universe.
London and Harvard
There is a huge difference between an abstraction which distils
University and has taught
experience and content, and one which ends up with mere at many universities
shape making for the sake of shape making. The latter results including Harvard and the
in empty gestures: a vapid formalism. Architectural Association.
In 2003-4, he was Slade
Professor of Fine Art at
William J R Curtis
the University of
Cambridge. Among his best known books are the classics
Modern Architecture Since 1900 (Phaidon, 3rd edition,
1996) and Le Corbusier: Ideas and Forms (Phaidon, 1986)
(both translated into numerous languages); also Balkrishna
Doshi: an Architecture for India (Mapin, Rizzoli, 1988) and
Denys Lasdun: Architecture, City, Landscape (Phaidon,
1994). Curtis has written over a dozen other books as well
as texts on Indian architecture, ancient and modern,
including introductions to monographs on Raj Rewal
(1986) and Anant Raje Architect (2012).
Curtis often sits on juries, and has organised exhibitions on

subjects as diverse as Australian Aboriginal spear-throwers
and the sketchbooks of Le Corbusier (shown at Harvard,
NY, Ahmedabad and Chandigarh). He contributes
regularly to critical journals, such as the Architectural
Review and El Croquis (with numbers on Alvaro Siza,
Rafael Moneo, Tadao Ando, Miralles/Pinos, RCR
Arquitectes etc). Curtis exhibits and publishes his own
paintings (Mental Landscapes, Circulo, Madrid, 2002) and

photographs (Structures of Light, Alvar Aalto Museum,
2007). Among his numerous awards: the CICA Critic's
Award (1985), a National Honors Society Gold Medal in
Architecture and Allied Arts, USA (1999) and a Medal of
the Museum of Finnish Architecture (2006). Curtis is
currently preparing an exhibit of his own work Abstraction
and Light for the Alhambra, Granada (2015) and another
of his photographs of Le Corbusiers architecture for the
CMAV, Toulouse (2015).
The eternal presence of great architecture: Saqqara, Egypt, 3rd
millennium BC
RW: In some recent literature technological mystification is mentally and physically. That is why it is so important to base
overlaid with smokescreens of theoretical jargon. judgements on the experience of works themselves and to grasp
the structures of intention behind them. Interesting works of
WJRC: Yes certainly. Needed is an undogmatic approach architecture do not reduce themselves to positions or to
considering how buildings may contribute something substantial theoretical slogans. They are not there to fulfil academic agendas.
to their place while also adding to the general culture of Many works that are proposed as radical innovations fade away
architecture. Architecture speaks to us directly through space, because they are transient, without formal presence or underlying
form, material, image, detail and touches us on many levels content. One must maintain the long historical view.
A sublime sense of order; the Parthenon, Athens, 5th century BC The refinement of a type over the centuries; a lota in an Indian village
RW: So the best works of a period transcend the passing the natural and its relation to the artificial. This has led to a rich
agendas of that period? Isnt that paradoxical? range of work embracing both architecture and the larger scale
of landscape architecture. Take the question of ornament. This
WJRC: This has been true throughout history. Profound works fit has led to grotesque decoration in some cases, formal
into time in complex ways. I think of this in terms of three enrichment in others.
wavelengths. First, the building addresses issues of its time.
Second, it extends a tradition, in this case the tradition of modern RW: Architecture the world over is becoming the same. What
architecture which is anything but monolithic. Third, it may rely happened to regional identities? Will the loss of vernacular and
upon long and slow wave motion in the history of forms, even traditional styles not impoverish culture?
engaging with issues basic to the medium of architecture itself. It
is the level of the longue dure, which can take us back over WJRC: With rapid modernisation and urbanisation there is a loss
centuries or engage with certain archetypal situations. of contact with the rural base, and even this base is being
uprooted by fluctuations of globalized markets in agricultural
RW: Does this mean that one should abandon any hope produce. But there is no going back. The contemporary architect
of discerning common ground shared by architects of the seeking identity (always a nebulous notion) is obliged to
recent past? reinvent local traditions, usually through a screen of national or
regional myths of continuity or roots. He or she is also part of
WJRC: There may not be any single dominant trend in recent the international culture whether he likes it or not. In the present
architecture but there are some shared territories of interconnected world one can no longer speak of centres and
investigation. There are problems that are in the air partly peripheries. Centres happen to be wherever there are potent
because society and the condition of the world require that they buildings. Neither simplistic narrative of globalization nor
be solved, partly because the discipline of architecture itself is reductivist notions of regionalism can explain the complexity of
searching for generic solutions. Take for example the question of the present.
Influences jump from place to place in a series of
transformations across frontiers.
Actually it has been like this for a long time. In the 1940s,
Aalto reformulated the Finnish landscape through the lens of
Greek ruins and the Mediterranean world. Siza rediscovered the
southern European patio by bouncing off Aaltos Nordic
interpretations of courtyards. Balkrishna Doshi, when addressing
issues of Indian identity in Sangath thirty years ago, drew
upon inspirations as varied as Buddhist chaitya halls, mud
vernacular buildings, southern Indian temple spaces, Le
Corbusiers vaulted prototypes and Frank Lloyd Wright. And so it
goes on. You need to go somewhere else in order to discover
where you are.

RW: You sometimes refer to the notion of a dynamic modern
tradition in which central principles are extended
and transformed.
WJRC: Yes there are constant rereadings of basic spatial

concepts of early modernism such as Le Corbusiers free plan
and his earlier Dom-ino skeleton. The Dom-ino crops up all
over the place in the work of Rem Koolhaas and Dutch work
The intensification of perception: jali screen, the Mosque, Fatehpur but in Japanese architecture too: Toyo Itos Sendai
Sikri, 16th century
Mediatheque (1998) was both a transformation and a critique
of the skeleton principle. As for the Corbusian free plan,
every generation comes back to it, think of Niemeyer for
example, who transformed it in response to the sensuality of
the Brazilian tropical landscape. In the recent past the concept
has been transformed yet again in the delicate stilts and open
lateral spaces of SANAAs buildings (which also echo
traditional Japanese frame architecture).
RW: With rapid urbanisation in emerging Asian countries like

India and China, increasingly the trend is to go vertical
competing with Manhattan and Chicago skylines how do you
view this skyscraper worship?
WJRC: A lot of this has to do with land speculation and the

amassing of international capital. Social concerns such as
public space are low on the agenda. The basic patterns of the
skyscraper as a type are repeated lazily across the board: a
skeleton, core of vertical circulation all wrapped in a

decorative and environmentally inefficient skin. Usually there
is some attempt at making an image, often caricatural. The
result is a species of urban anarchy with the making of an
environmental disaster.
In 1992, I was in Shanghai as part of a delegation invited
by the Mayor in order to reflect upon the proposals for
Shanghai Pudong where hundreds of towers were envisaged.
After three days I stood up and asked; what was a culture
Meditation and the sense of infinity: Zen 'dry sea' garden, Kyoto, 5,000 years old doing imitating all the errors we have made in
15th century the West? Many were shocked but a former high ranking
person came to me and said Mr Curtis, China should regard
you as a real friend as you are the only person to tell the
truth. There are some efforts at reformulating the tall building
to make it respond better to climate. I think for example of the
tower designed by Carme Pinos near Guadalajara, Mexico,
which opens up a concrete core for the siphoning of air,
attaches a steel structure, then handles the faades as
adjustable wooden screens.
RW: To recapitulate: you reject any monolithic description of

the recent past. You insist upon the importance of individual
works. You suggest some communities of concern. But what
about the overall shape of recent history?
WJRC: Roughly twenty five years ago I published a piece with

the title Contemporary Transformations of Modern
Architecture which compared the situation to a delta with
several streams. In contrast to post modernism, I suggested

that there were more lines of continuity than was usually
admitted. In the 3rd edition of Modern Architecture since
1900 (1996) I developed the approach still further in chapters
dealing with the 1980s and early 1990s, in effect drawing up
a critical map of the time. In contrast to fashions then current,
I suggested that the truly seminal works of the time were
buildings such as the Koshino House by Tadao Ando, the
Sangath studio in Ahmedabad by Balkrishna Doshi, the
Presidential Guest House in Cartagena de Indias, Colombia, by
Rogelio Salmona, or the Spiller House by Frank Gehry. All are Revelation through reflection: water in the Madrasa of Ben Youssef,
uncategorisable, all rich in meaning. Marrakech, 15th century
RW: So how do you characterise contemporary situation? Can

one speak of coherent national cultures of architecture?
University Building (2005) in Milan is surely one of the
WJRC: Today the situation is a bit more like an archipelago at outstanding works of the times with its bold structure, its
the mouth of an estuary but one still needs to sidestep the subtle yet monumental presence in the cityscape. Unlike
merely fashionable and focus upon buildings that really many of their contemporaries, Grafton read the context of the
crystallize the situation. There are many different cultures of city - again a case of recent work of quality that does not fit
architecture and while they may owe something to national the fashionable discourses.
cultures, it does not make much sense to box them in that Or take the case of Finland. A younger generation is
way. Take the case of Japan which for several generations has emerging that is open to recent developments internationally
been involved with cross breeding ideas from international but attempts to maintain a critical distance from fast track
modern architecture with internal readings of different phases globalized image production. There are substructures to do
of Japanese tradition. Architects of the generation of Kengo with landscape, light, materiality, fragmentation, nature, etc,
Kuma and SANAA are keeping this process going but in new which are inherited almost unconsciously from earlier
ways. But it makes no sense to refer to Japanese architecture generations going back to Aalto and beyond. Does this mean
as a distinct entity. that there is a specifically Finnish architecture? Rather there
Or take the case of Ireland where work of high quality has may be a specifically Finnish way of occupying the space of
been produced by several firms such as Tuomey and international modern architecture. Years ago the Mexican
ODonnell or Grafton Architects (Shelley McNamara and painter Rufino Tamayo suggested that Art is universal, the
Yvonne Farrell). Some claim that one can recognise an Irish accent is local. I quite like this formulation.
contemporary building through its rigour of construction and
its Kahnian echoes, but this is too vague. Graftons Bocconi RW: You have been involved with Mexican architecture,
WJRC: In India the generation of Balkrishna Doshi, Charles
Correa, Raj Rewal and Anant Raje had the opportunity and the
problem of struggling with very powerful prototypes: Le
Corbusiers and Louis Kahns buildings in Ahmedabad and Le
Corbusiers in Chandigarh. In the 1970s primary lessons of
these examples were fused with a reading of Indian tradition
at the level of underlying spatial organisation. The results are
there to see in remarkable works of the 1980s such as Doshis
Sangath studio in Ahmedabad or Rewals National Institute of
Immunology near Delhi which is like an abstraction of a
traditional city with courtyards and terraces.
India is now in another phase open to globalized
capitalism and the ground rules have shifted. The most
interesting recent buildings seem less concerned with issues of
cultural representation than with sensitization to site and
climate. I think of the Palmyra House on the coast near
Bombay designed by Studio Mumbai (Bijoy Jain) which
responds to the tropical vegetation and micro-climate of a
Photo credit: William J R Curtis, 1992 coconut grove in two delicately placed oblongs shaded by
grilles of wood. There are echoes in Jains work of Bawa and
Barragan, of the vernacular, and of Zumthor, but adjusted to
particular natural and siting conditions.
RW: Twenty five years ago in Dhaka you spoke publicly about
Kahns magisterial Assembly Building and posed the questions:
is this a foreign imposition? Or is it a filter through which to
activate the past?
The realm of shadows; Louis Kahn, Salk Institute, La Jolla, California

1963-70 WJRC: Yes, I suggested debts to several periods of centralised
architecture, including Mogul tombs, Sultanate Mosques and
Buddhist stupas and viharas. This disturbed quite a lot of
people at the time but now they see it! I have just been looking
ancient and modern for many years. at photographs of the Chandgaon Mosque in Chittagong
designed in 2008 by the Bangladesh architect Kashef
WJRC: The absorption of international modernism in Mexico Chowdhury. This seems to have made a convincing synthesis of
has been accompanied by deep readings of such basic elements a Kahnian language and geometry, and the typology of
as the platform and the patio from the pre-Columbian ruins. traditional mosques in the region. In effect Kahn has helped
We find this in one form in the work of Luis Barragan in the architects of this generation in Bangladesh to undertake a sort
1950s, and in another in the work of Teodoro Gonzalez de of cultural excavation into the substrata of the past including
Leon a generation later, one of the few living architects to have not just Islamic but also Buddhist traditions in the former
mastered modern monumentality. The process continues in Bengal. This is what I mean by the slower wave motions of
recent public buildings such as the Vasconcelos Library (2004) history and by the impact of a seminal work on followers.
in Mexico City by Alberto Kalach. The exterior pyramidal form
is rather forced but the interiors with the steel stacks RW: What is your take on China?
suspended from the roof as hovering platforms lit from above is
surely one of the most impressive public interiors anywhere in WJRC: As mentioned, I have only been to mainland China
recent years. In Mexico the continuities are almost unconscious once and that was over twenty years ago. In the incredible
from generation to generation. boom of recent construction, one feels that there has been a
massive failure to reflect upon the creation of decent modern
RW: What now about the so called third world, countries cities - a mindless reproduction of inappropriate foreign
such as India or Bangladesh about which you wrote a great models from lumpy towers to Disney-like theme park
deal in the 1980s when you visited south Asia regularly? reproductions of Versailles and Venice. However there are
being produced elsewhere, notably in places like Bordeaux,
Toulouse or Nice. I have also developed a dialogue with
different regions of Spain over the years. There are many lines
of continuity. The best Spanish work responds to place,
topography, tradition and climate without brandishing the
slogans of sustainable architecture.
RW: You seem to have several styles of criticism ranging from

cool analyses to quite polemical texts, such as your attacks on
the excesses of the star system.
WJRC: The tone and method change to some degree according

to the subject. There is a polemical mode, the attack on
things that seem wrong, false or corrupt. Here the medium is
often the daily or weekly press, even the web. There have
been catastrophic projects such as Peter Eisenman's City of
Culture in Galicia which have to be exposed for what they are,
empty exercises in computer generated shape-making. The
article I did on this, The Illusion of Plans, was first published
in the Architectural Review in October 2010, but then went
rapidly around the world in several languages. With projects
like this part of the problem is the gulf between pretentious
theorising, especially in the gaga world of North American

academia, and the disastrous architectural reality. In these
cases so called theory (usually a recycled diet of French post-
modern writings) is used as a tool of obfuscation.
RW: These strong critical stances sometimes put you in conflict

with institutions which consider themselves to be authorities
on architecture?
Light and space as perennial materials of architecture: Le Corbusier,

the Mill owners Association Building, Ahmedabad WJRC: Yes of course. Behind the Eisenman project were
problematic political machinations in Galicia and these needed
exposing. It is one of the duties of a free press in a democracy
to question public decisions and the manoeuvres of power.
signs of a critical reaction in a country where criticism is not The critic has to be prepared to challenge the institutions of so
much tolerated. Desperately needed is a critical and reflective called cultural authority, to remain vigilant and to keep a
culture of architecture which among other things could distance from the cliques of sycophants and useful idiots. In
engage with the problem of transforming spatial, social and my view one of the roles of the critic is also to safeguard
climatic lessons from the past. Those who have seen the patrimony, modern or ancient. That is what I did when
Ningbo History Museum (2008) by Wang Shu claim that this criticising Holls horrendous addition to Mackintoshs
building investigates just such issues, but I have not seen it, so masterpiece, the Glasgow School of Art, or Pianos extension
reserve judgement. to Ronchamp which has undermined Le Corbusiers sublime
chapel. That is what I am also doing when defending modern
RW: It is evident that your critical map takes into account a masterpieces in India!!!
vast variety of recent architecture around the world including
buildings that do not fit any obvious category. RW: Which brings us back to Chandigarh and Ahmedabad in
particular: what role can the press have in helping to safeguard
WJRC: Take France where I live. This is organized on a this modern patrimony?
centralized Jacobin model which is reflected in the power and
fashion structure of the architectural profession which is very WJRC: The article I published in the Architectural Review a
concentrated on Paris. But some of the finest recent work is few months back with the title Nothing is Sacred: Threats to
Modern Masterpieces in India has had an impact. It balance up form, function, structure, ideas, and maintain
encouraged the Times of India, Chandigarh edition, to publish historical perspective. They are the opposite of polemical.
two main pieces on my views. My Conversation with an They are analytical and carefully measured, based upon
Unknown Indian (published in the September issue of A+D, evidence of the buildings themselves. But I try to maintain
amplifies the argument in a less polemical style. DOCOMOMO perspective for example I still think Igualada Cemetery
and other websites have picked up on my criticisms, as have (1985) is Miralle/Pinos's best work, and I still think that Ando
the Architectural Record in New York and Archiscopie in Paris. has not matched the Koshino House (1981). In fact these
Now that the Indian elections are out the way it is possible writings are a sort of preliminary version of a history of
that some of these issues will come to the attention of recent architecture.
politicians and the legal establishment. For as stated earlier,
what really has to be thought through is the question of RW: Do you consider yourself to be more a critic or more
appropriate legislation for defining and protecting modern a historian?
architectural heritage in India.
WJRC: Primarily I am a historian but with a strong
RW: What about texts that express enthusiasm for recent commitment to recognising and encouraging quality in
architecture? contemporary architecture. These two activities reinforce one
another, and are in turn reinforced by my work as a painter
WJRC: When it comes to texts on recent architecture I remain and a photographer. I do feel it is essential to use ones eyes,
true to my own critical precepts, always taking the time to really to see and experience architecture, for without that
visit buildings, writing only after a period of reflection. As there is nothing. My photographs are another way of
said earlier, for me there are several modes of criticism. The grasping and evoking the presence of architecture but
most agreeable is the analysis and explanation of works that I through a degree of abstraction. They are a lot about
think are positive contributions, such as the Catalan architects architectural fundamentals which transcend time and place
RCRs subterranean winery at Bell-Lloc, the subject of a little such as light and space, and they include images from many
monograph I wrote called La estructura de las sombras/The parts of the world and many periods. An exhibition of my
Structure of Shadows (2009), or their just completed Muse work a few years back in the Alvar Aalto Museum in Finland
Soulages in Rodez on which I have just published a balanced was called simply Structures of Light. My Mental Landscape
article in Architectural Review, September issue. paintings and drawings also distil experience in lyrical,
Sometimes they are works so modest as to be almost abstract forms, and react to natural phenomena. They evoke a
invisible such as the Water Organ at Zadar (2004), Croatia by meditative space.
Nikola Basic and others, which unites a sort of theatre of steps When it comes to criticism, I am interested in
for the enjoyment of the sea with music generated by the understanding the present in the light of the past and vice
rhythm of the waves pushing air through subterranean pipes. versa: remember my model of the three wave lengths. I am
My analysis of SANAAs Louvre Lens in the Architectural forever digging into the work of modern architects and
Review a-year-and-a-half ago assessed the architectural pros considering how they transformed the past. We have been
and cons in a balanced way while also taking into account the discussing a time span of a decade or two but this is
geographical and political context. absolutely nothing in the history of architecture. When I need
to be reminded of this, I just cast my mind back to the great
RW: But you have always hesitated to be associated works in history, such as the Theatre at Epidaurus, the stepped
with movements? platforms of Uxmal, the Stupa at Sanchi, the Temple at
Ranakpur or the magical spaces of Fatehpur Sikri. Timeless
WJRC: I have always thought the idea of critics founding works like these hold out lessons for every age. In France I
movements to be ridiculous. I do not consider the role of the live close to the caves of Pech Merle with their astonishing
critic to be that of a promoter of groups or tendencies. It is rock paintings created thirty millennia before our era. These
buildings of quality that point the way, not isms, and the subterranean creations oblige us to reflect upon the long wave
critic comes along afterwards hopefully casting some light. motions of time.
Another mode of criticism is that of the reflective
monograph. Over the years I have published several of them Copyright: William J R Curtis
in El Croquis on figures as diverse as Miralles/Pinos, Moneo,
Siza, Navarro Baldeweg, Ando, and Herzog & de Meuron Rajnish Wattas is the former principal of Chandigarh College of Architecture,
that is before H & de M's recent descent into fast track currently distinguished professor at Surya School of Architecture. He is a well
superficial iconic architecture. These essays and interviews known writer, architectural critic who has written numerous publications.
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Research
Intelligent Building Envelope

Solar Skin & Operable Stoma
B
uilding physics and the order as the energy needed for array of applications including places
improvement of energy operating the building, even at higher (communities, landscapes, buildings and
efficiency associated with it, is a latitudes. With better utilisation of this rooms), furnishings, tools and
very important area of engineering energy, one should potentially be able technologies, etc.[8] Therefore, there is a
research and development in the world to create buildings that are self- need of understanding the biological
today, with 40 percent of the worlds sufficient with energy [3]. roots of architecture and urbanism. It is
carbon being consumed in maintaining New generations of high-performance anticipated that this change in
a comfortable interior environment [1]. envelopes have contributed to the architecture with Intelligent Building
During the past few decades, buildings emergence of sophisticated assemblies Envelopes is going to take place in future
have been imposed to progressively combining real-time environmental as a part of our design process. The
extend their functionality. Increasingly response, advanced materials, dynamic proposed IBE concept here is an attempt
varying and complex demands related automation with embedded to accomplish these objectives through
to user comfort, energy and cost microprocessors, wireless sensors and its application in Intelligent Building
efficiency have led to an extensive use actuators, and design-for-manufacture System and sustainable development.
of building automation systems to techniques. This practice has
create satisfactory indoor climate. The fundamentally transformed the way in Proposed Concept for Intelligent
expanding application of control which architects approach building Building Envelope
technology in this context has led to design with a shift in emphasis from The proposed IBE concept is highly
the emergence of the term Intelligent form to performance and structure to inspired by the biological phenomenon
Building Envelope (IBE) to describe a envelope. In the realm of high- of climate adaptive natural plant and
built form that can meet such demands performance buildings, the envelope has animal species. Vasodilation and
[2]. An IBE adapts itself to its become the primary site of innovative vasoconstriction body mechanisms in
environment by means of perception, research and development [4]. response to ambient temperature are
reasoning and action. This innate Until now, architects, engineers and other related biological processes. The
adaptiveness enables it to cope with scientists interested in architecture have proposed IBE responds to the changing
new situations and solve problems that focused on the morphological imitations environmental conditions outside and
arise in its interaction with the of nature. Sometimes, natural forms, physical requirements inside, in the
environment [3]. Despite their including biological forms have inspired same way as outer petals and inner
endeavour towards a green image, our constructions. Few famous examples stigma of a flower [9]. Similarly, the
their high-tech act or so-called depicting such forms are - Bionic tower innovative role of operable stoma in
intelligence are suspected to use more [5], Gardens by the Bay [6] and Lotus controlling micro-climate is inspired by
energy than they save in operation [2]. Temple [7]. In order to produce the role of stomata in photosynthesis
On the other hand, the annual solar genuinely sustainable architecture, it [10]. In this way, the botany and
energy received at the envelope needs to be part of the biosphere. Bio- architecture can be integrated together
surfaces of a building is in the same inspired design is relevant to a wide as shown in Fig 1.
Botany Architecture
Fig 1 Proposed Concept of Botecture (Botany+Architecture) for Intelligent Building Envelope
Design Development The proposed IBE model is designed solar efficiency of PV panels. One of the
The proposed IBE has been using single element double function key reasons for this is the dust deposition
conceptualised for double-storeyed concept to save installation as well as over panel surface and lack of
medium size residential building of running cost to make it more cost- maintenance. It is observed that the
300sq m plot area, with 40 percent effective. The structural design and efficiency of PV system gets reduced by
ground coverage to be built at CSIR- other details against wind and seismic dust deposition. As a result of
CBRI campus. The pyramid form of the loads are being worked out to make experiment, it is observed that generally
IBE with slope angle of 60 from the building economically viable as 5 to 10 g/m of sand, red soil, calcium
vertical is ideal to utilise maximum well as structurally safe. As the PV carbonate or ash deposition reduce PV
solar efficiency of rotatable solar panels panels are slide able and rotatable, the voltage by 4 %, 6%, 5% and 25 %
for Roorkee [11] and will also be running power requirement will be respectively [12]. So to overcome this
suitable for the entire North India with automatically fulfilled by the solar problem, self-cleaning mechanism is
composite climate. The slope angle power generated by these PV panels. proposed for the solar skin. Another
could be determined using solar angle reason for lesser solar efficiency is the
calculator or stereographic sun-path Solar Efficiency solar radiations capturing angle.
diagram for specific location. The A major problem with the solar Automatic solar tracking systems (using
proposed IBE is designed with truss energy usage nowadays is the lack of light intensity sensing) may boost
Venturi effect of wind slits

formed by rotation of
western panels towards
south
Horizontally
Hot air
Stoma rotatable Solar
blockage in
openings in panels towards South
summers &
N-E to gain & Vertically rotable
cold air
sufficient morning panels in West for
blockage in
light & diffused increasing solar
winters through
daylight light efficiency
closed stoma
frame structure to provide high

structural stability for large spans, fitted
with solar skin and operable stoma.
The climate responsive design is
proposed considering the sun-path and
wind direction. The orientation and
movement of IBE is planned
strategically to get the advantage of
favorable conditions and protection
against excessive heat and cold as
shown in Fig 2. Fig 2 Bio-climatic design for an Intelligent Building Envelope
consistently the conversion efficiency of a generating approximately 30,000 kWh management etc. [14]. For improving
PV panel [13]. Hence, the solar tracking of power annually, which is about triple IEQ and thermal comfort, active and
system is opted for the proposed as compared to annual energy demand passive design strategies, such as shading
intelligent solar skin. The panels in west of a conventional household. Thus, the effect and Venturi effect are applied.
are vertically rotatable towards south to surplus energy will be sold to electricity Proposed model favours dual layer check
increase the solar availability period. grid, such that the additional investment of IEQ through micro-climate; for more
Similarly, the panels in south are can be recovered quickly. The proposed control over indoor-outdoor environment
rotatable from 36 to 84 from vertical solar skin concept provides 65% more quality with approximately 5-7 air
as per monthly requirements shown in energy production capacity than a changes/hour in semi-open condition.
Table-1 and Fig 3 [11]. conventional solar roof system. There is a choice of natural environment
Table 1. Optimum solar angle available Table 2. Comparison of conventional solar roof v/s proposed plus-energy model using IBE
Optimum solar angle available Comparison of conventional solar roof v/s

Month Angle proposed plus-energy model using IBE
January 44 Plot area 300 m
February 52 Ground coverage or roof area @ 40% 120 m
March 60 Solar roof capacity @ 0.093 kWh per m , 11.16 kWh
April 68 if install conventionally on roof top
May 76 Proposed surface area of solar skin 200 m

(120 m in south+80 m in west)
June 84
Solar skin capacity @ 0.093 kWh per m 18.6 kWh
July 76
facing south & west in pyramid form
August 68
Annual energy production from 270 sunny days, 30,000 kWh approx.
September 60
8 hrs./day @ 80% efficiency in south & 60% in west
October 52
Annual energy saving through passive cooling & ventilation 1,500 kWh approx.
November 44
(assumption of annually 5 kWh per m)
December 36
Summer
Autumn or
Indoor Environment Quality (IEQ) assimilation as well as artificial
Spring
The process of achieving indoor environment creation. In this way, one
Winter environment quality is a continual one can either enjoy the essence of nature
throughout the design, construction, and/or self-controlled environment
commissioning and facilities whenever required, as shown in Fig.4
Fig 3 Rotation angle of PV panels

Open Semi-open
Plus-Energy Model
To fulfill the energy demands of an
intelligent building in future and to
reduce the pay-back period for the
Fig 4 Climate responsive
additional investment, a plus-energy design concept for an
model of building is proposed. The 18.6 Intelligent Building
kWh capacity of solar skin is capable of Envelope
112 O c t o b e r 2 0 1 4 ARCHITECTURE+DESIGN Closed

Mechanism and Materials for IBE flow iii) optical/visual control and iv) storey buildings. Likewise we can use
The mechanism is based upon single electricity generation [16]. the concept for large communities to
element-double function design that develop smart and sustainable
means the components in active mode Payback - Period Study settlements and cities. The concept is
provide help in passive cooling and The complete installation of such an recommended for developing new
ventilation. For example, when a PV IBE will result in an additional cost of intelligent buildings. The concept
panel rotates as per solar direction, it Rs 6150 per sq m. But, still this much imparts a large scope of research in
also provides shading effect according cost will be compensated back through building automation and material
to solar movement and at the same plus-energy model. The payback period science in near future. Apart from the
time creates wind slits for Venturi shall be about 5 to 6 years. tangible benefits mentioned above,
effect. Solar tracking system offers an
optimum cost/performance ratio [15].
[Calculated as per Table 3]
Similarly the EPDM gasket (ethylene
propylene diene monomer i.e. M-class Calculation of payback period
rubber) provided at the base of each Cost of solar skin @ Rs 50/W (in range of Rs. 30 to 60/W) Rs 9,30,000
slide able PV panel helps in shock Cost of operable stoma cover @ Rs 1500 per sq m Rs 3,00,000
resistance as well as panel cleaning Additional cost of frame & other equipment @ 50% extra Rs 6,15,000
while sliding, as shown in Fig 5. Net installation cost Rs 18,45,000
Likewise in case of operable stoma, Annual energy demand per household @ Rs 4.5/unit Rs 40,500
the aluminium frame acts as a pipeline
for 9000 kWh
for filling glycol water in PBE
Cost of surplus energy generated by solar skin per year Rs 3,15,000
(Propylene-based Elastomer) balloon, as
@ Rs M15/unit for 21000 kWh
shown in Fig 6. To reduce the weight
and operation cost of intelligent Net saving per year Rs 3,55,500
building envelope, light weight Pay-back period 5 Yrs 2 months
polymeric solar panels with aluminium
frame are preferred.
Service shaft cum light

well
Ball & socket joint for rotation (23 there are many intangible benefits also
to 70, optimum @ 43)
in terms of clean energy generation
Light weight polymeric Solar panel
with reduced pollution for
Wind slit with Venturi effect
environmental sustainability; self-
Guide channel for sliding
sufficient energy generation with
EPDM gasket for shock resistance &
panel cleaning while sliding payback guaranties for economical
Fig 5 Concept of Operable Solar Skin sustainability; and transfer of surplus
energy for social sustainability. For
recommending the concept as a green
Glass brick/ Transparent building retrofit strategy for existing
Skylight Concrete Aluminium frame cum pipe line for fluid
buildings, further research is needed to
Pressure Nozzle
work out in detail by studying different
Truss frame cum balloon holder
building typologies in various climates.
Glycol water filled PBE/EPVC balloon
Triangular balloon with thick exposed Acknowledgement: The study performed

surface & thin extruding surface to
in this article forms a part of research
maintain pressure while expanding
being carried out at CSIR- CBRI, Roorkee,
Fig 6 Conceptual Detail of Operable Stoma
and is funded by CSIR, New Delhi. The
authors wish to thank Prof S K
In this way, the proposed IBE Conclusion Bhattacharyya, director, and other experts
collectively covers all four physical The proposed conceptual IBE model for their guidance and suggestions. The
domains useful for a climate adaptive is designed for a double-storey paper is published with the permission of
building shell i) thermal comfort ii) air building but can also be used for multi- director, CSIR- CBRI, Roorkee.
Ashok Kumar is a senior principal Paradigms. pp. 75-92 Electricity Handbook, 2013 Edition
scientist and head, Architecture & 5. Hedayat Shahbazi, Farnaz Montazer. 12. Tiberiu Tudorache, Liviu Kreindler.
Planning Group, working at CSIR-CBRI Recognition Nature Related Concepts Design of a Solar Tracker System
in Roorkee. He is presently doing in Bionic Architecture and Their for PV Power Plants. Acta
research on green retrofit of buildings. Effects on Contemporary Architecture. Polytechnica Hungarica. pp. 23-38,
Sumeet Kumar is a research intern at International Conference on Vol 7, No 1 (2010)
CSIR-CBRI in Roorkee, researching on Nanotechnology and Biosensors. pp. 13. Hussein A Kazem, Tamer Khatib, K.
intelligent and green buildings. 106-110, IPCBEE vol.25 (2011) Sopian, Frank Buttinger, Wilfried
Astha Chaudhary is a project fellow at 6. Meredith Davey, Patrick Bellew, Elmenreich, Ahmed Said Albusaidi.
CSIR-CBRI in Roorkee, researching on Kenneth Er, Andy Kwek, Johnny Lim. Effect of Dust Deposition on the
green buildings and pre-fab housing. Gardens by the Bay: High Performance of Multi-Crystalline
performance through design Photovoltaic Modules Based on
References optimisation and integration. Experimental Measurements.
1. M Beevor Smart Building Envelopes. Intelligent Buildings International 2. International Journal of Renewable
Department of Engineering, pp. - 140157 (2010) Energy Research. pp. 851-853, Vol
University of Cambridge, pp. 7. R Mirzaei. Organic Architecture Means 3, No 4 (2013).
3-15 (2010) for Sustainability Goals. Islamic Azad 14. Derek J Clements-Croome. Intelligent
2. Annemie Wyckmans. Intelligent University, Birjand, Iran. pp. buildings and Indoor Air Quality,
Building Envelopes - Architectural 1-12 (2013) Healthy buildings. pp.
Concept & Applications for 8. Judith H Heerwagen. Bio-Inspired 1-6 (2000)
Daylighting Quality. Norwegian Design: What Can We Learn from 15. Tiberiu Tudorache, Liviu Kreindler.
University of Science and Technology; Nature? (2003) Design of a Solar Tracker System
pp. 1-15 (2005) 9. The Structure of a Flower for PV Power Plants. Acta
3. yvind Aschehoug, Inger Andresen, Information Sheet, adapted from Polytechnica Hungarica, pp. 23-39,
Tommy Kleiven, Annemie Wyckmans. SAPS (2002) Vol 7, No 1(2010)
Intelligent Building Envelopes - 10. Anne Vatn, Dominique C 16. Roel Loonen. Climate adaptive
Fad or Future? Bergmann. Mechanisms of stomatal building shells: What we can
4. Kathy Velikov and Geoffrey Thn. development: an evolutionary view. Simulate? M.Sc.- Thesis, Technische
Responsive Building Envelopes: EvoDevo. pp. 1-8 (2012) Universiteit Eindhoven,
Characteristics and Evolving 11. Solar Angle Calculator, Solar pp. 27-31 (2010)
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Regd. No. R.N.I. 42924/84

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VOL XXXI NO 10 OCTBER 2014

13 ABOUT THE ISSUE 88 Subterranean School

Mariolina.Siclari@burda.com Hubert Burda Media India Pvt. Ltd.

AIRPORT PLANNING INSTITUTIONAL ARCHITECTURE

Photo Credit: Uwe Walter / Autostadt

Fast Track Architecture

A rchitectural firm Jestico + Whiles

T he Regent hotel Porto

T he 2014 edition Towards 2050: Developing a Sino-Dutch

Z aha Hadid has been chosen to design a

T he World Architecture Festival (WAF) has announced the

Das gute Licht.

P hilips India recently created a LED lit Arch and

T he second edition of the Architecture &

Years in India Customized Modular Kitchens

Exclusive Hacker Showrooms in India :

PLAN AT LEVEL +4.40M 1. WAITING AREA 7 INFOPOINT 13 INTERNATIONAL ARRIVALS

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Customer Helpline: 18001027757

FIRST FLOOR PLAN

TRAFFIC CONTROL TOWER - ELEVATIONS

Incorporating Regional Identity

LEVEL 1 PLAN LEVEL 2 PLAN

The Golden Award for Global Contribution in Architecture: William J R Curtis

The Golden Architect Award-India: The Hall of Fame Award:

Award For Residence Design with a Difference

The Institutional Architecture Award for Design

The Golden Emerging Architect - Singapore:

The Golden Emerging Architect - Malaysia:

The Golden Emerging Architect - Thailand:

The Golden Emerging Architect - Sri Lanka:

The Awardee for The Golden Emerging Architect - Turkey is currently

Commendation Special Mentions

Commendation Special Mentions

Anupam Bansal National Centre for Biological

The Innovative Interior Design Award for

Commendation Special Mentions

Madhav Raman Anagram Office,

Mahesh Radhakrishnan Book Building,

Post Jury Post Jury

The Young Enthused Architect Award

Sourabh Gupta Brinda Parth Shah

Prasanna Parvatikar Mrs Uma Raja's Residence,

Shruti Keshavamurthy & Shruti Tushar Apartment

Commendation Special Mentions

Lester Rozario Stack house, Bangalore &

Brinda Parth Shah Raj Samadhiyala House, Rajkot

Saleh Mosque, Sanaa, Yemen

Sustainability and Memory

Bhujpal Knowledge City (MET, League of College), Nashik

GROUND FLOOR PLAN 3 7

TYPICAL PLAN LABORATORY WING

by green sheltered spaces between the laboratories.

GROUND FLOOR PLAN 10

FIRST FLOOR PLAN

PLAN AT LEVEL -2 1. CLASSROOM

walls. The connection elements, such as the big yellow staircase

Photo credit: William J R Curtis, 2009

the design. There is no substitute for the deep reading of a

RW: So any attempt to speak of a style of the times or a

WJRC: When attempting to draw a critical map of recent

Photo credit: William J R Curtis, 1983

Curtis often sits on juries, and has organised exhibitions on