DD29 LOW

RIGHT

Singing the
Barsalo-songs
heralding rain

BELOW

Gorbandh

of Bada Bagh remain protected due to the
economic ‘value’ assigned to that heritage - but
the lake is largely dry. Far from being a recurring
reminder, two gorbandhs were found in the
core city – only one is functional. The fact that
collective memory lapses in the absence of
physical reminders of water is evident among
the younger folk. They are often unable to
recognise such aspects of their own heritage.

In Jaisalmer, the recognition that water bodies
were not just aesthetic, but performed larger
ecological functions has never translated.
‘Beautification’ schemes for tourism supplied
water from the Canal to Gadsisar, creating
a perennial water body where boating and
feeding ducks were ‘attractions’. Urban slums
proliferate in the lake catchment, where earlier
even spitting was punishable by death. Such
blasé planning resulted in the flash floods of
2006, and loss of the integrity of local water
sources.

village of Burna - remembers how gorbandhs Often, as urban practitioners, we fall short of
were often a warning that a water body was
being watched contextual demands. Cultural heritage was

Consecrated sites and markers are, perhaps, established in response to non-negotiable
cultural artefacts that have suffered the most
with the advent of water supply. The lakes environmental responsibility. Its loss
were areas of community-gathering during
the Baisakhi and Teej festivals, where water decimates time-tested contextual knowledge
plays a central role. A cemetery lying adjacent
to Gadsisar originally helped maintain a that cannot be substituted by architectural
modicum of open space; today, it is littered with
construction debris and waste. The cenotaphs symbolism. By extension, this renders an

incomplete, misdirected empathy among

tourists for the desert lifestyle Jaisalmer

enjoyed. As Noam Shpancer so wisely states,

you cannot understand the view without the

point of view. dd

September 2016 | Design Detail 51

REDEFINED

Tunnelling the Track

52 Design Detail | September 2016

T Text : Team Design Detail
he House of Vans is an inventive venture
of the Vans brand, driving people into
skateboarding culture while intensifying the
enthusiasm of the existing ‘Vans enthusiasts’
in London. The Vans brand has redefined the
art of skateboarding by combining it with
art, film and music, and House of Vans is by
far one of the most intriguing designs put
forward for the same.

Contained in a site of approximately 2,500 sq.m.
area, the House of Vans situates itself within the
150 year old brick arches below the railway lines
that head out of Waterloo station and stands
next to the famous graffiti street in London - the
Leake Street. Proximity to the historic arches
restricted the designers from introducing any
structural fixing or disturbance to the existing
brickwork.

The spaces enclosed within include a tunnel for
art – a gallery for artists to create and exhibit

SPREAD Text : Soumya S Warrier

Entrance counter September 2016 | Design Detail 53
flanked bya vaulted
ceiling

RIGHT

Viewof tunnel
before the
construction of
skatepark

TIM GREATEX

ABOVE their work, a tunnel for film – a screening room, Founded byAr Tim Greatex in 2013,Tim Greatex
a tunnel for music – an 850 capacity venue, Architect is an architecture and design studio
House ofVans: ‘Vans labs’ creative spaces, a premium café, bars based in London.The practice passionately aims
the facade and a three tier indoor concrete skatepark. The at adapting the unique history and architecture
cultural hub is charted into five tunnels where of buildings in London to the present day’s retail,
OPPOSITE PAGE skateboarding, art, film and music are housed commercial and domestic uses.Ar Tim Greatex is
BOTTOM specifically in each. keen in collaborating with other designers and
works closely with his clients, consultants and
Striking dialogue The layout, form and technicalities of the suppliers,as he refuses to make any compromise
between the concrete skatepark were designed by Pete in delivering utmost design satisfaction to his
rubber flooring Hellicar and Tim Greatrex, who worked in close clients and himself.
and the rustic association with professional skateboarder and
brickworkof the designer Marc Churchill (Line Skateparks). The All of his decision making aspects have
superstructure idea of linking skateboarding to architecture addressed the context and history of the place
and how a skateboarder sketches out his and his outputs for each project turn out to be
ingenious examples of sensitive and elegant
designs true to their purpose.

The firm is specific in assuring best quality
of service to its clients by utilising latest 3D
modelling softwares like Revit Architecture,
detailed and coordinated architectural drawings
and complete information regarding the project
at all stages. The firm currently deals with
projects ranging from residences to commercial
and exhibition space designs.

SITE PLAN

54 Design Detail | September 2016

FLOOR PLAN

September 2016 | Design Detail 55

ABOVE environment as he is about to ride have
resulted in them coming up with specific design
Viewof the interventions for the site. The incorporation of
main bar forms related to skateboarding as seen in the
entrance counter, skatepark areas, the cinema
BELOW seating and the café kitchen enclosure, all get
their styles influenced from the early years of
Gallery spaces skateboarding in vacant swimming pools and
for creation and concrete pipes of California, which saw the
displayof art origin and growth of this art.

The entrance counter approximates itself to a
swimming pool section with a pool coping stone
and a ‘love seat’. The ramp which descends from

56 Design Detail | September 2016

SPREADABOVE ABOVE

Lowhung pendant View of the Kitchen and Dining Area
lights over the cafe through the sliding glass door
table
BELOW
RIGHT
View of one of the sliding glass
Viewof the doors that open to the K Valley
music tunnel
OPPOSITE PAGE ABOVE

View of one of the sliding glass
doors that open to the K Valley

SPREAD PAGE

View of the internal wooden structure
of the home from the loft

September 2016 | Design Detail 57

Entrance to the skatepark

SPREADABOVE there has concrete banks that start from The skatepark accommodates three tunnel
the ground level and rises up inclining itself spaces – the concrete bowl for professional
Concrete banks of the ramp to one face of the wall, thereby providing a users, the ‘street scene’ for medium ability users
inclining itself to the wall surface character desirable for a skateboard. and the ‘mini ramp’ area for beginners. Huge
The café area is a duplication of the large contrast in character of the tunnels has been
BELOW scale water pipes in US. nullified by the use of common rubber flooring
laid out in hexagon and diamond pattern.
Seating inside the Choice of rubber as the flooring material was
screening room not only because of its site suiting properties like
durability and water resistance, but also because
rubber was a symbol of the iconic sole of Vans
shoes and also the core material of the original
Vans Doren Rubber Company. Moreover, its
contrast to the rustic brickwork used for the
superstructure adhered to the desired spatial
quality.

Another aspect that has been dealt with
interestingly in the design is the lighting of
tunnels. The underground nature of the design
called for efficient lighting whilst not hampering

FACT FILE

PROJECT : HOUSE OF VANS
LOCATION : LONDON
SITE AREA : APPROX. 2500 sq. ft.
ARCHITECT : Ar. TIM GREATREX
TECHNOLOGY
CONSULTANT : HELLICAR & LEWIS

58 Design Detail | September 2016

RIGHT

Entrance to the
skatepark

BELOW

Mini ramp area for
beginners

BOTTOM

Street scene for
medium ability
users

the feel of a tunnel within. Linear strips of warm Metal-halide flood lights were fixed at the
lights were used throughout the tunnel at the centre line throughout the skatepark’s vaulted
intersection point of the brick wall and brick roof, which were directed towards the ceiling
arch which resulted in a theatrical cathedral which in turn illuminated the entire area with
like space. Neon lights have been used at the non-glare professional lights. Other function
entrance, bars and stages and they blend well specific lighting were also decided upon, like the
with the environment created indoors. The task low hung pendant lights over the café tables and
of lighting the indoor skatepark turned out to the illuminated arches and bays, preserving the
be onerous as they are usually located outdoors. ambience of the vaulted gallery space.

September 2016 | Design Detail 59

House of Vans : in action

ABOVE AND RIGHT On the whole, the House of Vans is a group of

Skatepark bowl spaces distinct yet linked to each other wherein
for professional
users a visitor has the liberty to be the decider and

60 Design Detail | September 2016 take over. One can always hop in here for special

occasions or events from live news and camera

feeds of activity obtained from the Internet and

local radios in London! dd

September 2016 | Design Detail 61

OFF THE MAP

Embracing

the Acclivity

62 Design Detail | September 2016

L Text : Team Design Detail

ABOVE ocated 3 hours downtown from the bustling
city of Mumbai, the former agricultural and
The retaining wall fishing zone - the Alibaug district - has been
which becomes an slated for phased redevelopment aiming at
element along the alleviating the congestion of the island city.
access way The plot for the Alibaug House locates itself
nearly atop a hill overlooking the Arabian
SPREAD Sea and the Mumbai skyline to the west.
The tropical climate is characterised by
The first house as high temperatures in summer (up to 38
viewed from the degrees), mild winter (min 12 degrees) and
roof garden heavy monsoon downpours.

Perched at the highest point on the plot, a
house had been developed which enjoys
panoramic views of the Arabian Sea and
the valley. After its construction began,
this house was commissioned to be built on
a similar ground in close proximity to the
first one, allowing them, when completed,
to function either independently or as

September 2016 | Design Detail 63

64 Design Detail | September 2016

a single entity. Minimising the visual
footprint and mass of the house were
the major challenges. Also, a second
identifiable language meant running the
risk of establishing a chaotic dialogue
across the site, and, in the process, diluting
the significance of the individual as well as
the collective.

Further down the hill, along the winding
access way, the former owner of the site
had begun work on a home that was left
incomplete, the structure of which was
beyond salvage. This was located at a point
close to the site boundary and had been
raised to an extent where it sat atop and
behind a massive retaining wall which
was along the main access road. Structural
analysis of the retaining wall revealed that
the levels of retention were far less than
what a wall of that scale required (due to a
constructed basement floor). By adopting

ABOVE

Viewof the
gabion wall and
roof garden

OPPOSITE PAGE

Roof garden
punctured at
strategic points

September 2016 | Design Detail 65

66 Design Detail | September 2016

ABOVE the existing levels, this footprint was used to
develop a two-level space that stayed clear of
Constant exchange the critical view angles of the first house.
of dialogue
between the A roof garden notionally extended the grass
courtyards,pool berm that began atop the hill and reached the
and concrete access road, the idea being to visually create a
structures contiguous landscaped surface that began at
the first house and swept over the roof of this
RIGHT house. Thus visually reducing the latter to a
continuous, horizontal stone ‘veil’ and a large
Gabion wall roof garden beyond which the valley and the
formed of wired Arabian Sea became visible.
mesh,framing
views Planned as a variant of the ‘C’- shaped courtyard
house, it incorporates the journey from the top
of the hill to the edge of the cliff. The centrally
located and tapered primary garden/pool court
permeates backwards and sideways through
the subterranean regions of the house. At the
same time, its wide front panoramically opens

FACT FILE

PROJECT : ALIBAUG HOUSE- II

LOCATION : MAHARASTRA, INDIA

BUILT UP AREA : 21600 Sqft

ARCHITECT : MALIK ARCHITECTURE

DESIGN TEAM : ARJUN MALIK, JIGER MEHTA,
SUZANNA MACHADO

September 2016 | Design Detail 67

68 Design Detail | September 2016

SPREAD BELOW

Pool overlooking the
bamboo groves

RIGHT

Use of concrete in its
rusticform thereby
merging it with the
highlands

onto the ‘cliff’, where a large pool overlooks them to develop organically. This network of
a bamboo grove and the valley. Its knife verandahs and courtyards forms a labyrinth
edge merges the foreground of the pool of spaces and voids organized around a
with the background of the Arabian Sea. concrete enveloped rift in the earth, a fissure
This courtyard branches inwards to form that binds the sunken courtyard to the roof
smaller courts which bring light into spaces garden. The major structural shear walls
burrowed deeper in from the periphery, that bind this fissure are raked to maximize
the expression of which at the roof garden exposure to the north-east morning sun and
level is as canyons of light that perforate the to reduce direct incidence and glare from
space at night. the harsher afternoon sun.

The best views of the sea lie towards the Major living spaces are located at the entry
south-west, which unfortunately is where level while sleeping areas are organized
the sun is the harshest and from where the around the pool and garden at the lower
monsoon winds bring heavy tropical rain. level. The labyrinth enables multiple
Deep verandahs and shaded spaces are an journeys through the house, each with its
intrinsic part of tropical architecture, but own series of shifting scales and transitions.
instead of adhering to a rigid arrangement of Movement through the levels can take place
semi-outdoor spaces, the design has allowed via steps or a sloped grass berm that extends

September 2016 | Design Detail 69

ABOVE MALIK ARCHITECTURE

Pocket spaces as Kamal S Malik graduated from the School of Planning and Architecture,
viewed from the New Delhi in 1972 and has worked with world renowned firms like Don
roof garden Ashton(U.K),Willi Kaufhold (Germany) and Setup Design Studio from the
years 1973 to 1975. Celebrating the 40th year of inception, the ‘Malik Ar-
chitecture’ founded by Kamal is a group of architects, interior designers from the dining and kitchen garden to the
and service consultants that has master bedroom verandah below.
its principles rooted on a provid-
ing comprehensive design solu- Externally the house is viewed from two
tions using newest technologies, critical points, the first being as one drives
thereby resulting in innovative up the hill, where it is dominated by the
and dynamic solutions in archi- existing, partially reconstructed and excised
tecture and interiors. retaining wall with its deep pointed black
rubble masonry. This is a vocabulary that is
Perhaps, one of the few offices indigenous to the various small and medium
in the country that enjoy an inte- size forts that still exist in the region. A
grated capability of architectural, triangular plane of zinc cantilevers over
structural, H.V.A.C., electrical, me- the first portion of the wall, while a tube of
chanical and interior designing, concrete pushes out over the far end.
the firm currently has 40 archi-
tects.The various national and in- The second point of visual contact occurs
ternational awards won by them at the main entrance of the house, where
include International Property a linear ‘veil’ of stone baskets ensures
Awards 2015, ‘Single Residence’ privacy except through strategically located
for K-Lagoon at Alibaug, Artists in openings which frame views from within.
Concrete Awards 2013,‘Commercial Architecture’ for GMS Grande Palla- Residual masonry from the site was filled
dium at Mumbai and more. into expanded mesh baskets which were
stacked to create a gabion wall. The size of
Kamal, who has delivered lectures on diverse subjects such as sus-
tainable design, landscape, healthcare design, hospitality design, design
of research institutes and more is joined byhis son,Arjun Malikwho grad-
uated from Rachana SansadAcademyofArchitecture,Mumbai-2002 and
also holds a Masters of Science in Advanced Architectural Design from
the Columbia University,New York-2005.

70 Design Detail | September 2016

ABOVE the baskets was determined after numerous the quality of the surrounding space in
tests to ascertain the density of settling and certain light conditions.
Natural light flooding the percentage of gaps for light. The use of
the living area and the flexible nets allowed the baskets to gently The shaded network of spaces within the
adjoining balcony warp as the stones settled, creating the labyrinth creates a comfortable micro-
impression of a gradually undulating fabric climate that stays anywhere between 2
BELOW rather than a rigid wall thereby enhancing to 5 degree centigrade below the ambient
temperature. Glazed areas have been
Careful selection of interior located based on views and orientations
elements continuing the charac- and they open into deep shaded spaces or
ter created in the exterior submerged courtyards, allowing the house
to be naturally ventilated.

The rainwater harvested from the roof
garden and courtyards are directed
towards a network of short bores which
is used to charge the existing wells on the
site. All retaining walls, bar one, have been
constructed using the locally available
black ‘trap’ stone, most of which has been
recycled from the excised areas of the
existing retaining wall.

Locating the structure on original levels

has been favourable in conserving

considerable amount of resources and has

avoided the tampering of the contours of

the hill. Levels, use of materials and clever

interplay of these have augmented the

quality of spaces within and around the

house. dd

September 2016 | Design Detail 71

72 Design Detail | September 2016

September 2016 | Design Detail 73

COLLOQUIUM

Arrtc&hitectureText: HarshRamanSinghPaul

74 Design Detail | September 2016

Photo: Akshat Nauriyal
Location: Shapur Jat Village,
New Delhi
Project: St-Art festival 2015

D Text : Harsh Raman a picture is worth a thousand words. But he
uring the early first century AD, during the lived at a time where he didn’t have the luxury
time of the Romans, Vitruvius is said to have of words. For him pictures, were the default font.
authored the oldest surviving written work Perhaps this same nature is observed in children
of architecture. Even prior to this, Imhotep even today. Leave a child in a room and he or
in Egypt is said to have been the first to she inadvertently finds a way to scribble on
use columns as structures. However, since walls. While there can be speculation on what
the time of the cave man, there has been motivated the cave man to scribble on a wall,
an innate need for mankind to create and what we haven’t questioned yet is if he enjoyed
inhabit with art. that experience. If so, why?

Pictureacavemanwhostudiedhissurroundings The pages of history are filled with accounts
to find a cave. His need to repurpose this of kings, conquerors and invaders destroying
enclosure didn’t just end with achieving shelter, the artistic walls that contained the faith of
the security and warmth, which are essentials of the conquered. Could it be that they realised
architecture, even today. We live at a time when destroying their art was paramount in order to
subjugate people?

Photo: Sandeep Chandra
Location: Rishikesh
Project: Rishikesh street art
festival 2015

Photo: TGKI studios
Location: Lodhi Colony,
New Delhi
Project: St-Art festival 2016

September 2016 | Design Detail 75

Photo: Tarannum Singh
location: Cervantes Institute,
New Delhi
Project: Quijote Wallah project 2013

Let’s fast forward to the urbanised world,
where the trend of building structures
moved to solving housing and workspace
problems for the masses. In a bid to achieve
efficiency and standardisation, the attention
of architects shifted from craftsmanship and
art. The creators of society, driven by the
need to modernise and adapt technology,
built monotonous structures that dulled the
spirit of those that occupied it. It is no surprise
that the hospitality industry realised the
importance of surrounding its guests with
art. It reminds me of Picasso’s famous quote
after seeing the cave paintings at Lascaux
France where he said ”We have invented
nothing new”.

We need to bring this art back into the life
of the common population, humanise our
giant buildings of glass, steel and concrete
and infuse our public spaces with beauty,
curiosity and joy. Giving more meaning
to the everyday struggles and in turn

Photo: Isha Chaudhry
location: Huaz Khas
Village, New Delhi
project: Brinda project
2012

Photo: Isha Chaudhry
location: Huaz Khas
Village, New Delhi

Project: Brinda Project
2012

76 Design Detail | September 2016

Photo: Karan Talwar Photo: Tarannum Singh
Location: G.B. Road, New Delhi Location: Cervantes Institute, New Delhi
Project: Walls of Women (WOW) project 2014 Project: Quijote Wallah project 2013

improving the very quality of our lives – September 2016 | Design Detail 77
both aesthetically and spiritually.

Street art has also been a way of
giving power back to the individual. It
reinforces the fact that we all have the
power to change the surroundings we
live in. No matter how small our stature
in society, using public art we can voice
our viewpoints and even raise public
awareness on issues that may otherwise
be ignored by the media. In a country of
high economic disparity, street art acts as
a social equaliser by placing all economic
classes on the same pedestal. You don’t
need to be rich or well educated to
interact and be inspired by public art. In
that sense, street art is probably the most
impactful form of art that exists today.

I like to think my street art concepts
go beyond the mere beautification of
public space. With the Kathakali mural
in Lodhi colony, our focus was to drive

more community interaction. By leaving the
bottom half of our vibrant mural empty and
covered with black board paint, we created a
canvas for the residents to fill in with their own
art using chalks. With the Brinda project, we
not only spoke about the similarities between
Brazilian and Indian culture, but also depicted
difficult concepts such as the acceptance of death
and other universal connections that bind us
all together. Promoting tolerance and harmony
within the community while bringing focus to
otherwise ignored areas of the city.

TheWallsofWomen(WoW)projectisattempting
to bridge the glaring misrepresentation of
women in the mass media while addressing
issues of gender-equality, sexual assault and
social suppression. WoW encourages women to
reclaim the streets with paint by making them
an active participant in the process. The power
to be able to express yourself freely in public
can be a liberating experience. Which is exactly
what happened when we painted a mural for
the sex workers of G.B. Road, Delhi. Our mural
triggered such a positive psychological impact
on the community that a local NGO, Kat-Katha,
organised a campaign to paint 20 more murals
in G.B. Road with female sex workers actively
participating in the painting process. There is
great satisfaction in having the ability to take over
your surroundings and leaving your mark on the
structures you inhabit. It can become a symbol of
hope and freedom. Do we still need more reason
to cover the monotonous grey with colour?

Writer Alena Walker recently wrote – “Erected
within the landscape of the mundane, living side-
by-side with countless banners selling soft drinks
and phones, street art has the ability to crack open
the mind. Public art can slip through the cracks of
our collective conscience and illuminate corners
of thought otherwise subdued by consumerist
pursuits and hedonistic distractions.” I couldn’t
agree more.

There is a definite need for architects to join

hands with artists to create structures that are

not only functional but also visually inspiring.

Imagine a city where public spaces are designed

for people to take over with their creativity,

spaces which become the voice of its people.

Where an artist doesn’t have to fit his art into the

architectural structure, but where the structure

itself is designed to serve as a canvas. There has to

be a noble idea of making the hard and concrete

exterior of urban environments more beautiful

and pleasing to live in; a future for which we

must begin work today. dd

Photo: Tarannum Singh A native of New Delhi, Harsh Raman is a multi-
Location: Lodhi Colony, New Delhi disciplinary artist who has been changing the
Project: St-Art festival 2016 city’s landscape with his vivid imagination and
vibrant art. He has worked with brands such as
PrakashJha, Force India F1 racing team, Saavn,
Playboy,FDCI,Absolut,NDTV,HP,Tetra Pak,etc.

78 Design Detail | September 2016

September 2016 | Design Detail 79

ADOPT ADAPT

Versified in Stone

SPREAD BELOW D Text : Soumya S Warrier Located on the Jain Hills, the site for Gandhi
iverse has been the interpretation of a human Teerth was initially a barren patch of land
Gandhi Teerth being’s journey in search of truth, peace and with a rocky terrain and a few trees to boast
positioning itself one’s self and certain journeys touch our of. The uneven terrain of this site later on
on a perfectlyset soul to inspire us more than the others. Art became one of the key aspects in taking design
landscape and architecture have always provided a decisions, thereby keeping site moderations to
canvas for man to express and experiment a bare minimum. Top soil removed during the
OPPOSITE PAGE with himself, and one such story stands initiation of the project was later on used for
frozen in time at the spurs of the caves of landscaping the site. Retainment of existing
Stage of O.A.T.as Ajanta in northern Maharashtra. Translating natural vegetation and the careful application
viewed from the a remarkable life and journey through of efficient softscaping enhanced using drip
bridge architecture, the city of Jalgaon houses irrigation have helped maintain a desirable
a tribute to the man of non-violence, the micro climate within.
Mahathma. Developed and organised by the
Gandhi Research Foundation, ‘Gandhi Teerth’ The plot is laid out in two blocks, where Block1
is a venue for contemplation and realisation houses the entrance foyer, administration,
of Gandhian thoughts and philosophies. classroom, library and amphitheatre and Block 2

80 Design Detail | September 2016

Photos © Gandhi Research Foundation’s Archives

September 2016 | Design Detail 81

RIGHT

Statue of
Mahathma
overlooking
the Jain hills

BELOW

Birds-eye
view of
Gandhi Teerth
showcasing
the symmetry
in planning

82 Design Detail | September 2016

ABOVE includes the museum, archives and art gallery. The linear axis formed along the east-west
The edifice proudly holds up Jodhpur stone direction in Block 1 is partially interrupted at
Ambience within the site facades reminiscing one of the glorious days strategic points with courtyards, walkways
enhanced bythe playof of yore, with the structure made using RCC and vegetation. Perpendicular to this, at about
scales and levels and fly ash bricks. Visitors are greeted with a midway, runs another visual axis which is
statue of the Mahathma elevated on a platform, comprised of the baradri, a bridge and an O.A.T.,
BELOW overlooking the picturesque valley. with the classrooms and office areas arranged
around it. Courtyards with informal seating act
Walkway leading as spill-out spaces for the classrooms to stage
to the baradri/ talks and discussions.
portico
The exhibition hall in Block 2 has a statue of
Mahathma Gandhi. Display areas envelop
this hall on three sides, thereby allowing
the visitor to circumambulate the statue as
seen in a traditional Hindu temple. Corridors
surrounding the block, shield it from the harsh
sun while accentuating the feel within by the
rhythmic disposition of columns.

FACT FILE

PROJECT : GANDHI TEERTH
LOCATION : JAIN HILLS, MAHARASHTRA
SITE AREA : 81000 sq. ft.
ARCHITECT : A. MRIDUL

September 2016 | Design Detail 83

A. MRIDUL

ABOVE The outdoors have been floored with Jodhpur A. Mridul, an alumnus of Chandigarh
stone while the interior floors have been finished College of Architecture, India, setup the
The building with its con- with marble or Kota stone. Recycled plastic sheets architectural consultation practice A.
trasting colour stands out used for panelling at the museum and gallery Mridul, Architect three decades ago in
in the green landscape spaces have a longer life than normal wood or 1985. Mridul’s practice is an interesting
plywood and prove to be visually appealing as mix of various types: private residences to
BOTTOM well. The layout of the landscape brings order and large institutions, temples, step-well and
symmetry to the otherwise chaotic site. museums spread across India and USA, in
O.A.T.enveloped materials from mud, lime, stone and ones
bybuilt mass on that generate very low carbon footprint.
all sides Known for lending earthy identity to
buildings,the practice has done pioneering
work, in function and form, in sandstone
and other natural materials which have
won us numerous national awards and
international projects.

His projects are an extension of our
heritage and by contemporising traditional
practices he renders them timeless, thus
modern and futuristic.

84 Design Detail | September 2016

TERRACE

+2.40 M LVL

UP

-0.30 M LVL UP ±0.00 M LVL UP -0.30 M LVL

100.05 100.35 100.05

+1.70 M LVL -1.70 M LVL
DN
UP

DISPLAY AREA DISPLAY AREA

GANDHI STATUE

DISPLAY AREA DISPLAY AREA

TERRACE EXHIBITION HALL TERRACE
13.7 M X 13.7 M
-0.45 M LVL -0.45 M LVL

-0.30 M LVL -0.30 M LVL

DISPLAY AREA DISPLAY AREA

UP DN
+0.30 M LVL UP DN

-0.30 M LVL

100.05

±0.00 M LVL

DN DN

-0.30 M LVL LIFT O.T.S. -0.30 M LVL
4.0 M X 4.0 M
100.05 100.05

11

9 2.60 x 0.45 x 0.10(th.) 9 9
3 3
Sandstone Slab As Bench 3 ±0.00 M LVL

3

ENTRANCE 3.475
LOBBY

9.0 M X 9.0 M

100.35

2.447

PAVED PATHWAY 99.15 R.W.P. PAVED PATHWAY
as/detail

R.W.P. STAGE R.W.P.
as/detail as/detail
BOOK SALE
STORE
3.0 M X 1.86 M

RAIN WATER CHANNEL R.W.P. R.W.P. 98.85 98.85 Slope Slope Sump 98.85 98.85 R.W.P. 3.0M X 2.77M
PLINTH PROTECTION as/detail as/detail 99.15 99.15 98.55 as/detail 99.15 as/detail R.W.P.
98.75 as/detail
99.45 99.45 98.95 99.15 99.45 3.6 M WIDE
99.15 PASSAGE
99.75 99.75 99.35 GREEN STRIP 99.75
PLINTH PROTECTION 99.55 40mm th. coping PAVED PATHWAY99.45 CELLUKA SHEET 3.0M X 2.77M
RAIN WATER CHANNEL 99.75 over 0.45m Wide PARTITIONS 3.0M X 2.77M
Retaining Wall GREEN STRIP
GREEN STRIP As/detail RAIN WATER CHANNEL
PLINTH PROTECTION
CLASSROOM PAVED PATHWAY PLINTH PROTECTION
GREEN STRIP RAIN WATER CHANNEL
1.2 R.W.P. 6.70 M X 12.50 M R.W.P. R.W.P. R.W.P.
as/detail as/detail
as/detail as/detail
ADMINSTRATION
99.75

0.75 M DEEP
NICHE

3-Line Dressed Jodhpur Sandstone 3-Line Dressed Jodhpur Sandstone 3-Line Dressed Jodhpur Sandstone 3-Line Dressed Jodhpur Sandstone
Pillar (Single piece), 0.375m Ø at Base Pillar (Single piece), 0.375m Ø at Base Pillar (Single piece), 0.375m Ø at Base
Pillar (Single piece), 0.375m Ø at Base & 0.30m Ø at Capital,4no.-2.1m high & 0.30m Ø at Capital,4no.-2.1m high & 0.30m Ø at Capital, 8no.-2.25m high
& 0.30m Ø at Capital, 8no.-2.7m high
1.50 x 0.45 x 0.10(th.) 1.50 x 0.45 x 0.10(th.) DECK
1.50 x 0.45 x 0.10(th.) Sandstone Slab As Bench Sandstone Slab As Bench 100.45
Sandstone Slab As Bench

PORCH R.W.P. 2.60 x 0.45 x 0.10(th.) COURTYARD 3 R.W.P. 0.3
100.00 as/detail Sandstone Slab As Bench 5.939 as/detail 0.45
2.60 x 0.45 x 0.10(th.)
Sandstone Slab As Bench

2.60 x 0.45 x 0.10(th.)
Sandstone Slab As Bench
COURTYARD

3-Line Dressed Jodhpur Sandstone 0.9
Pillar (Single piece), 0.375m Ø at Base 0.45
& 0.30m Ø at Capital,2no.-2.55m high
100.60 100.45

1.50 x 0.45 x 0.10(th.) 1.50 x 0.45 x 0.10(th.) 1.50 x 0.45 x 0.10(th.)
Sandstone Slab As Bench Sandstone Slab As Bench Sandstone Slab As Bench

4.07 100.60

100.60

CLASSROOM RAIN WATER CHANNEL 3-Line Dressed Jodhpur Sandstone BRIDGE 3.6m x 0.1m x 0.23m RAIN WATER CHANNEL TRUSTIES CELLUKA SHEET 345mm WIDE FLY ASH BRICK WALL
12.50 M X 6.70 M Pillar (Single piece), 0.375m Ø at Base SANDSTONE-PATTI PERGOLA 7.40 M X 3.6 M PARTITIONS 100mm WIDE CAVITY
& 0.30m Ø at Capital,4no.-2.7m high R.W.P.
R.W.P. R.W.P. R.C.C. BEAMS as/detail R.W.P. DIRECTORS as/detail 305mm WIDE STONE WALL
as/detail as/detail WATER BODY as/detail 7.40 M X 3.0 M
WATER BODY CONFERENCE HALL
345mm WIDE FLY ASH BRICK WALL R.W.P. 5.0 M 6.7 M
100mm WIDE CAVITY R.W.P. R.W.P. as/detail
as/detail as/detail R.W.P.
305mm WIDE STONE WALL PLINTH PROTECTION as/detail
RAIN WATER CHANNEL
PLINTH PROTECTION
RAIN WATER CHANNEL

INLET LVL= 98.70 0.45x0.45M 0.45x0.45M INLET LVL= 98.70
OUTLET LVL= 98.40 INSEPECTION INSEPECTION OUTLET LVL= 98.40

CHAMBER R.W.P. R.W.P. CHAMBER
100mm Ø PIPE as/detail as/detail 100mm Ø PIPE

3-Line Dressed Jodhpur Sandstone Pillar
(Single piece), 0.375m Ø at Base &
0.30m Ø at Capital, 14no.-3.0m high

WATER BODY

R.W.P. 3-Line Dressed Jodhpur Sandstone R.W.P. WATER BODY
as/detail Pillar (Single piece), 0.375m Ø at Base as/detail 99.70
& 0.30m Ø at Capital, 2no.-2.10m High

99.70 INLET LVL= 99.25 0.45x0.45M 0.45x0.45M INLET LVL= 99.25
OUTLET LVL= 98.95 INSEPECTION INSEPECTION OUTLET LVL= 98.95

CHAMBER CHAMBER 99.40
100mm Ø PIPE 100mm Ø PIPE

99.55 FLOOR PLAN

September 2016 | Design Detail 85

14.55

V1 V1 V1 V1 V1 V1 V1 V1 V1 V1 V1 V1

\\D4\d\GANDHI\5.png \\D4\d\GANDHI\2.gif

3.3

N.G.L. COPING OVER R.W.C. WALL COPING OVER R.W.C. WALL

R.W. CHANNEL N.G.L.
INVERT LVL

P.C.C. BOTTOM LVL R.W. INVERT LVL

NORTH SIDE ELEVATION P.C.C. BOTTOM LVL R.W. CHANNEL
INVERT LVL
N.G.L.

2.241

8.382 GRF : NORTH SIDE ELEVATION

GANDHI RESEARCH FOUNDATION

A. MRIDUL ARCHITECT 13.696
71, NEHRU PARK, JODHPUR-342003. Tel: (0291) 2430789 / 2431789 Fax: (0291) 2438789 E-mails: [email protected] ; [email protected]

ROOF TILES
AS/SPECI.

3.6m x 0.1m x 0.23m @0.30m ROOF TILES 3.6m x 0.1m x 0.23m @0.30m ±0.00m LVL ±0.00m LVL TERRACE
SANDSTONE-PATTI PERGOLA AS/SPECI. SANDSTONE-PATTI PERGOLA +0.075m LVL +0.075m LVL 102.75

over R.C.C. BEAMS as/detail 3-Line Dressed Jodhpur Sandstone Pillar over R.C.C. BEAMS as/detail +0.038m LVL +0.038m LVL 100.35
(Single piece), 0.375m Ø at Base & 0.30m Ø at
-19.40m LVL 100.00 ±0.00m LVL
5.4 -15.50m LVL Capital, 14no.-3.0m high +0.075m LVL
3.2599.55
Plinth Protection BARADARI +0.038m LVL 0.9 0.45 100.35 4.5 PLINTH
1.8AS/DETAIL99.55 100.45 0.15 92.25
2.66 SPOUT +8.30m LVL 100.00
2.81 AS/DETAIL VERANDAH / TERRACE
COPING OVER R.W.C. WALL +9.05m LVL 99.15 91.95

ROAD N.G.L. ±0.00m LVL
99.00 +0.075m LVL

+0.038m LVL

2.96 P.G.L. N.G.L.

N.G.L. COPING OVER R.W.C. WALL BARADARI P.C.C. BOTTOM LVL R.W. CHANNEL 97.45 SPOUT
INVERT LVL 96.70 AS/DETAIL
RIGHT SIDE ELEVATION COPING OVER R.W.C. WALL
ADMIN BLOCK N.G.L.
FRONT ELEVATION 96.18 LOBBY
96.35

P.C.C. BOTTOM LVL R.W. CHANNEL P.C.C. BOTTOM LVL R.W. CHANNEL HALL N.G.L.
INVERT LVL INVERT LVL 95.40
SERVICE
BASEMENT 94.78
92.15
WESTSIDE ELEVATION N.G.L. 3.25

93.39 N.G.L.

P.G.L.

92.00

EXHIBITION HALL :-
RIGHT (WEST) SIDE ELEVATION

ABOVE WEST SIDE ELEVATION

Pergola covered
bridge leading
from the baradri
to the O.A.T

RIGHT

Jodhpur stone
used for finishing
the facades

EXTREME RIGHT

Courtyards
acting as spill-out
spaces

86 Design Detail | September 2016

ABOVE

Exhibition hall:A
journey through
the life of Gandhi

RIGHT

Installations
depicting the life
and events of
Gandhi

BELOW

PVCsheets used
for completing
the museum
interiors

Projecting the Gandhian philosophy of
‘simplicity’, it was kept in mind to use eco-
friendly materials for construction like fly ash
bricks, low VOC paints and recycled plastic
sheets, thereby minimising the use of steel and
concrete. Solar generated electricity, biogas
based generators and the use of LED and CFL
bulbs reduce the consumption of electricity to a
great extent. Adding to this, the cavity walls help
in maintaining cooler interiors at the summers.
Green house gas emissions are also brought
down to a minimum level. The project has been
awarded the GRIHA- ADaRSH Award for low
energy material application.

Configuring itself quite brilliantly along the

terrains of the hill, Gandhi Teerth is a visual and

spiritual treat to be savoured. dd

September 2016 | Design Detail 87

88 Design Detail | September 2016

September 2016 | Design Detail 89

IN THE MAKING

Conquering

Vertical Limits

90 Design Detail | September 2016

E Text : Team Design Detail

mbracing the clouds at more than
3,000 ft. above sea level, Jeddah Tower
is set to take architecture to new and
impressive heights when its construction
gets completed in 2020. Designed and
conceived by Adrian Smith + Gordon
Gill Architecture, the construction of the
Jeddah Tower is progressing fast at Obhur,
Jeddah, Saudi Arabia.

ABOVE At an expected construction cost of $1.2
billion, Jeddah Tower will be a mixed-
The observatoryon use building featuring a luxury hotel,
JeddahTower will office space, serviced apartments, luxury
become the highest condominiums and the world’s highest
in the world once observatory. It will be at least 173 meters
complete (568 feet) taller than Burj Khalifa, making
it the world’s tallest building, which
RIGHT was designed by Adrian Smith while at
Skidmore, Owings & Merrill.
Impression of the
JeddahTower as Adrian Smith + Gordon Gill Architecture’s
seen from the sea design for Jeddah Tower is both highly

September 2016 | Design Detail 91

FACT FILE

PROJECT : JEDDAH TOWER
LOCATION : OBHUR, JEDDAH
SITE AREA : APPROX. 2,45,000 sq. ft.
ARCHITECT FIRM : ADRIAN SMITH +
GORDON GILL ARCHITECTURE

technological and distinctly organic. With
its slender, subtly asymmetrical massing, the
tower evokes a sense of a bundle of leaves
shooting up from the ground - a burst of new
life that heralds more growth all around it.
This symbolises the tower as a catalyst for
increased development around it.
The sleek, streamlined form of the tower
can be interpreted as a reference to the
folded fronds of young desert plant. This
encapsulates the core design concept. The
way the fronds sprout upward from the
ground as a single form, before separating
from each other at the top, is an analogy of
new growth fused with technology.
While the design is contextual to Saudi
Arabia, it also represents an evolution and
a refinement of an architectural continuum
of skyscraper design. The three-petal
footprint is ideal for residential units. Jeddah
Tower’s design embraces its architectural

92 Design Detail | September 2016

OPPOSITE PAGETOP pedigree, taking full advantage of the proven energy consumption by reducing thermal
design strategies and technological strategies loads. In addition, each of Jeddah Tower’s
Impression of the of its lineage, refining and advancing them to three sides features a series of notches that
Drop-off area achieve new heights. The result is an elegant, create pockets of shadow which shield areas
cost-efficient and highly constructible design of the building from the sun and provide
OPPOSITE PAGE BOTTOM that is at once grounded in built tradition outdoor terraces with stunning views of
and aggressively forward-looking, taking Jeddah and the Red Sea.
Canopies on the advantage of new and innovative thinking
Jeddah Tower about technology, building materials, life-cycle The shape of the colossal tower is functional;
considerations and energy conservation. its three-sided shard is designed to be
ABOVE aerodynamic so as to tackle the wind and
The project will feature a high-performance the higher gravitational force. The tapering
JeddahTower as exterior wall system that will minimise wings produce an aerodynamic shape that
seen from the
stairs

September 2016 | Design Detail 93

ADRIAN SMITH

BELOW&OPPOSITE PAGE Adrian Smith, FAIA, is an Architect of
international renown, having designed
AnAerial viewof the JeddahTower many landmark buildings including
and the cityscape the two world’s tallest structures – Burj
Khalifa completed in 2010 in Dubai and
94 Design Detail | September 2016 Kingdom Tower, now under construction
in Jeddah, Saudi Arabia. In 2006, along
with Gordon Gill and Robert Forest, he
founded Adrian Smith + Gordon Gill
Architecture (AS+GG), a firm dedicated to
the design of high-performance, energy-
efficient and sustainable architecture on
an international scale.

Adrian Smith + Gordon Gill
Architecture is dedicated to the design
of high-performance, energy-efficient
and sustainable architecture on an
international scale.Firm’s practice includes
designers with extensive experience in
multiple disciplines, including technical
architecture,interior design,urban planning
and sustainable design. Architects also
have expertise in a range of building types,
including super-tall towers, large-scale
mixed-use complexes, corporate offices,
exhibition facilities, cultural facilities and
museums, civic and public spaces, hotels
and residential complexes, institutional
projects and high-tech laboratory facilities.

helps reduce structural loading due to wind
vortex shedding. The unique design is such
that the structure changes shape every few
floors making the wind loads go round the
building, lowering the extremity of wind
load as on a really solid block. The taper helps
maximise usable area as it offsets the large
core size on the lower floors by widening
the base, while the shape also narrows the
core overall, making it less space-consuming
at the top. The foundations go as deep as 60
metres below the ground level to cope with
saltwater from the ocean.

September 2016 | Design Detail 95

THE CONSTRUCTION OF THE JEDDAH TOWER IN PROGRESSION

The great height of Jeddah Tower necessitates Covering a massive 2,45,000 sq. m.
one of the world’s most sophisticated elevator Jeddah Tower will have plenty of offices,
systems. The Jeddah Tower complex will a 200-room Four Seasons Hotel, 121
contain 59 elevators, including 54 single-deck serviced apartments and 360 residential
and five double-deck elevators, along with 12 apartments. Another unique feature of
escalators. Elevators serving the observatory the design is a sky terrace, roughly 30
will travel at a rate of 10 meters per second meters (98 feet) in diameter, at level 157.
in both directions. Three sky lobbies will The sky terrace will be open to the public
prevent any one elevator from having to go and will be considered the world’s highest
all the way to the top, eliminating the need observatory.
for excessively huge cables.
dd

96 Design Detail | September 2016

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110 048 Ph:011-29220063 Email: [email protected] Ravipuram, Kochi, Kerala - 682016 ph: + 91 484 2367111, 6456290, 3296534

[email protected]

September 2016 | Design Detail 97

IN PUBLIC

Photos: Jino Sam Panayil

ECxhtuerrcihor view of the St. Gerorge Orthodox LEFT

Inside viewof
the Main Hall
from the altar

SPREAD PAGE

Exterior viewof
the St.Gerorge
OJCOCePahdrPntudhOoraoScphIhdTieToEsoxPwoAGneErtThOeP

C Text : Sudeep Moothamana
ontemporary church architecture in Kerala
has followed the consciousness of the general
populace of the state, shifting from the
traditional construction methods to the more
modern methods. St. Gerorge Orthodox Church
at Mattanchery, the oldest church of Christians
in the state was rebuilt recently under Ar. Vinu
Daniel, utilising the traditional rammed earth
method with which it was built in the 17th
Century.

ThesurgeinconstructionactivitiesinKeralaover
the past decade has resulted in higher demand
for resources in the construction sector. This
has challenged the architects to come up with
building materials with lower levels of embodied

98 Design Detail | September 2016

Invoking the
Time-honoured Art

September 2016 | Design Detail 99

100 Design Detail | September 2016