DD39

July 2017 | Vol 4 | Issue 39 | `200 the architecture magazine

[tech] SPACE
SPECIAL FOCUS

THE MATERIAL MAN
ANISH KAPOOR

July 2017 | Design Detail 1

2 Design Detail | July 2017

July 2017 | Design Detail 3

Vol. 4. Issue 39. July 2017

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4 Design Detail | July 2017

editorial

It’s utterly amazing and educative to see the kind of developments and research that
have been happening at the intersection of architecture and technology. Our special
focus for this issue is on the very technology that is re-defining architecture and
design minds globally.

We are honoured to feature two close collaborators, both trailblazers in marrying
cutting edge technology with high art: One of the greatest artists of our time, Anish
Kapoor, and one of the greatest engineering minds of our time, Cecil Balmond.

Anish Kapoor, the “Material Man” is our Master for this issue. Playing up with materials in
his artistic expressions and aspirations, his experiments with technology is an art by itself.

The Balmond Studio has put together yet another architectural marvel
which is a culmination of complex design and large scale technological
computation. Balmond’s passion for pure mathematics has been the
backbone to his architectural creations, and is readily expressed in this
project as well.

Art, history, architecture and technology are intertwined in time and
space. The Lascaux Museum is a stunning depiction of the past in a
futuristic way. The practice behind the project, Snohetta, harnesses
technology to integrate art, history and architecture to create an
educative and immersive experience for the visitor.

How can we use the best of the cutting edge technology in the most
energy efficient manner? Integrating technology with sustainability is
the major concern today. The Geotube Tower is a fascinating example
that addresses the sustainability concerns of the carbon intensive
construction techniques of Dubai. The naturally evolving building skin
is a thoughtful, deliberate and interesting architectural expression for the
new age.

As our world becomes increasingly data driven, great minds are
researching the potential information itself as a rich trigger for architectural creations.
One such set of minds at the highly acclaimed international practice SDA (Synthesis
Design +Architecture) produced a unique feature wall installation named “Data Moire”
for their client, the computing giant IBM. The wall installation made of simple materials
and deceptively simple visually, is embedded with large sets of computational information
that was created by SDA in close collaboration with the client.

India also has an emerging community of architects and designers who are pushing
the boundaries with new technology. The “Adaptive [systems]” installation by rat[LAB]
uses tensegrity to explore the way we deal with a dynamic environment. Their
experimentations and research-oriented design are truly commendable.

Similarly, the Memesys Culture Club is a collaboration of architects, engineers, artists
bringing VR (Virtual Reality) to the India. Through their films, Memesys is exploring the
opportunities VR offers for architects to design in and experience space in a new way.
The challenge in India remains about achieving scale when experimenting. However,
practices such as rat[LAB] and Memesys indicate that there is a strong ripple being
generated, which will create waves in the near future.

For the next couple of issues, starting with this one, Design Detail will also be exploring the
possibilities of Open Source software for architects and design.

With this issue’s Special Focus on Technology, we owe invite our readers to explore!

Architect KARAN GROVER
Chief Editor

July 2017 | Design Detail 5

CONTENTS

22 PAST PERFECT: CAVE PAINTINGS OF LASCAUX 46 THE SALT TOWER
Ancient cave art gets infused with technology in the Salt is transformed into a building material in the
Lascaux museum by Snohetta Geotube tower by Faulders Studio

34 ARCHI-TECHNOLOGICAL NARRATIVES 54 RENDERING THE FUTURE
Multifarious designs in Architecture and Technology gets
reflected in the installations by rat[LAB] A chat with Pooja Shetty, on the journey of
Memesys Culture Lab along the unexplored
realms of Virtual Reality

14 THE MATERIAL MAN
Anish Kapoor

6 Design Detail | July 2017

62 THE OCEANIC EFFECT 70 THE NEXT BIG THING
78 ELECTRIFYING ARCHITECTURE
Balmond Studio is about to make an iconic 86 A PUBLIC PARASOL
algorithmic space in Sri Lanka, a reality 92 THE OFTEN UNEXPLORED WORLD OF

96 CREATING IDENTITIES FREE AND OPEN-SOURCE SOFTWARE

A facade-cum-roof defines the identity of
PLOT #4328 by Bernard Khoury

July 2017 | Vol 4 | Issue 39 | `200 the architecture magazine

SPECIAL FOCUS [tech] SPACE Cover image
Courtesy:
[tech] SPACE SPECIAL FOCUS
BOEGLY + GRAZIA
14-95 THE MATERIAL MAN PHOTOGRAPHERS
ANISH KAPOOR

July 2017 | Design Detail 7

OUR PARTNER SPEAKS

India’s air conditioners market
continues to have a robust growth.
India is going through revolutionary changes, as air
conditioner is no longer considered a luxury but a Owing to all these factors, the air conditioning industry
necessity. It is becoming an equipment for comfort showed remarkable growth, particularly in the premium
which adds value to living standards for households. segment. This has resulted in taking the air conditioner
The key factors which has led to this is a rise in market penetration from 5 per cent up to 8 per cent. The air
residential construction activity, growing number of conditioning market in FY16 had ended in overall growth
building renovation and remodelling projects, increasing of more than 15 per cent with inverter technology-based
demand for split ACs and mini-splits, expansion of middle air conditioners facing an increase in demand. Inverter
class population and rise in disposable incomes, and technology is considered to be the future of air conditioning
popularity of energy efficient air conditioning systems. system. It is expected that inverter-based air conditioners
would be increasing their market share and by 2020, only
Till some years ago, there were white goods companies that inverter-based air conditioners may dominate the Indian
had been struggling in the already saturated urban markets. market.
It was during those times that we began to understand that,
their marketing wisdom often keeps underestimating the In India, companies like Mitsubishi Electric have been
importance and affordability in India’s non-metro and tire- working on the principle of giving only the best of the
2 cities. Inclusion of growth through economic digital India products which have been designed and developed keeping
is a multi-pronged effort that would bring the optical fibre in mind the extreme weather conditions in the country.
network to villages, create new electronics manufacturing Mitsubishi Electric recently introduced 5 Star Inverter
facilities and promote e-governance. It has achieved notable Room AC (0.8TR to 2.2 TR) with dual barrier coating
results, with over 2 lakh kilometres of fibre optic cables (DBC) enhancing the product life cycle. It also launched
connecting 100,000 panchayats. This can be a big boost to its commercial range with Inverter technology. Similarly,
Internet access, enabling millions of people in semi-rural Mitsubishi Electric’s City Multi –VRF has set various
and rural India to reach markets and knowledge. benchmarks in the industry with its superior quality of
product and deliverables at High ambient and peak load.
Such proactive and intensive policy development and
actions are a defining feature of this government and have A product can be categorised as efficient, once its hardware
gone a long way towards imparting new growth impulse to (mechanical) and software (electronic components) match
the economy despite two consecutive years of drought and in helping, delivering the best outcome with least failures.
a moderate global growth environment. A holistic approach Efficiency, technology and least failure rate are the driving
to addressing issues is apparent—for example, Make-in- factors while comparing and rating a product from the
India outlined policies in areas such as infrastructure consumer prospective. It is these factors that have helped
development, intellectual property rights, sectors, and skill products of companies like Mitsubishi Electric in being
development in tandem. efficient, effective and becoming the preferred choice for
consumers in the premium product category.
Improved power situation, better awareness and deeper
penetration into upcountry towns have given a further Mitsubishi Electric is also known to give a great regard
impetus to the rapid growth of the air conditioners business
in India. One of the latest highlights of the Indian market to green initiatives. Its
for air conditioners is the initiatives taken by government
organisations like Bureau of Energy Efficiency (BEE) to corporate statement
regularise, set standards to minimise power consumption
and make products more energy efficient. Indian Seasonal ‘Changes for the Better’
Energy Efficiency Ratio or ISEER rating for all unitary type
air conditioners, addition of inverter room air conditioners signifies the goal and stance
and bringing all single phase (upto 3 ton) air conditioners
under common scheme are some of the measures taken to continually innovate for
by BEE which will bring the best of technologies and global
products to Indian households. Currently, the Ministry the better and contribute
of State for Environment (Forest and Climate Change)
too is playing an important role in regularising various towards the global
factors towards greener future where use of eco-friendly
refrigerants is being given emphasis on. concept of energy saving

through its diversified

products including room

air conditioners, package

air conditioner, cassette

air conditioners, VRF-City

Multi Jet towel hand dryer

and air curtain.

Mr. Yozo Ito,
Director & Business Head - Air Conditioners
Mitsubishi Electric India Private Limited

Further Information: Email: - [email protected], Customer care toll free: - 1800 102 2626

8 Design Detail | July 2017

July 2017 | Design Detail 9

EXPERTS SPEAK

While the project has been covered by other magazines as well,
Design Detail is the only one to discuss the initial idea behind
it, and the whole thought process in great detail. The writing
is elegant and a lot of space has been dedicated to drawings.
Also, the magazine gives the complete fact file including all
collaborators across skill sets.

Also, sharing some points for improvement: Greater attention
may be paid to images while keeping them as a spread, to avoid
losing their detail. It would be appealing if the captions are more
relevant to the images. It would also be a good idea to standardize
the placement of caption numbers.

Ar. Hari Krishna
Studio for Environment and Architecture,
Hyderabad

OUR READERS RESPOND...

L/EKM/751/2017-19 KL/CR/EKM/WPP-02/2017-19 Total Pages: 116 Exploring Materials Visual Travelogue

agazine Licensed to Post Without Prepayment ISSN 2320 - 2408 Price `200 The June issue of Design Detail really Hello Design Detail! I am pursuing my
proved to be a gentle reminder on first year in B.Arch. I happened to read
June 2017 | Vol 4 | Issue 38 | `200 the architecture magazine how much, materials do matter. The the June issue of the magazine from
projects were truly amazing. Each my friend’s home. He is my senior
Design Detail MATERIAL MATTERS project reflected an identity of its own. and is a regular subscriber of the
The crude and untamed construction magazine. I got really interested and
June 2017 SPECIAL FOCUS of Khar Social had an innovativeness collected the past few issues from him.
that invites every eye. BE Friendly It was an amazing visual and narrative
Vol. 4 Issue 38 Space and BB Home by H&P Architects travelogue through some of the finest
shared a simple way of moving along architectural pieces. Apart from that,
Price `200 with nature by using simple and easily the rich details provided were a great
available materials like earth and learning experience for me. I also like
THE ARCHITECTURE bamboo. The elegant brick construction to subscribe the magazine. So, I am
OF EQUILIBRIUM of Sai Mandir also spoke versatility in attaching the filled subscription form
simplicity. For us, students, it was a along with the letter. Hope to see more
RCR Arquitectes great exploration of various materials of such exciting projects in the future.
that provided the base for great projects.
For me, it also meant drawing the Nanditha, Chandigarh
courage to experiment with materials Chennai
that people usually consider unsuitable
for construction.

Hrithik
Mumbai

10 Design Detail | July 2017

July 2017 | Design Detail 11

12 Design Detail | July 2017

SPECIAL FOCUS

The story of architecture has both of construction and design, invite and
historically been closely tied to the even challenge the architect to create in
story of technology. Developments hitherto unexplored scale.
in technology often opened new
possibilities for imagining and The stories in this issue offer a unique
creating new kinds of spaces; consider the range. It explores some of the world’s most
emergence of new building materials from time adventurous technology users in the area
to time. Similarly, new kinds of spaces have of art, architecture and design. In today’s
leant themselves to the emergence of new kinds information-at-the-speed-of-thought world,
of technologies; think only of how our current we also have an emerging band of incredibly
homes and work spaces, and how ubiquitous adventurous Indian practitioners who are
technology is when we are in these spaces. playing with next generation technologies,
striving to achieve scale. Design Detail
Advances in the sciences continuously push us showcases a select few among these path
to re-imagine the scope of traditional materials, breakers alongside their global heroes.
and offer us new materials. Advances in tools,

[tech] SPACE

PAGE 14 - 95

July 2017 | Design Detail 13

MASTERS

THE
MATERIAL MAN

Prowling precariously along the border lines of art, architecture
and sculpture, Anish Kapoor has given multiple dimensions
to his craft. A British citizen with an Indian origin, he is world
renowned as the maker of some of the greatest sculptures of
all times. During his visit to the third edition of Kochi Muziris
Biennnale, the master artist found time to talk to the press about
his famous projects, future plans and brilliant ideas.

Text : Team Design Detail / Photos : Kochi Biennale Foundation

You have worked a lot with So, we were thinking about
architects, artists, like people from materials. What’s the one material
different professions, and different that’s exciting you right now
fields. What is your take on the and that could be a challenge? It
idea of collaborations as whole? could also be something that has
surprisingly been easy.
I think the main work that all of this has to do is that
lonely thing in the studio. It’s a conversation with I’ve worked with lots and lots of different materials
your self about whatever it is about, deep psychosis or over the years. Some artists explore one area, and then
whatever else. Collaboration, in a way, while it’s very carry on working in it. I’ve found that I love materials,
wonderful, it’s a kind of distraction. It’s the truth of but it’s not the real problem. It’s where it can take you;
the matter. But, I think one also has to guard that space it’s what else it can do. So, there are two things I’ve
very very carefully - that one which is private, lonely, been exploring recently: One is a kind of silicone paint.
alone, that nobody can really talk to you about, not It’s not actually like paint at all – it’s very physical. It
really hopefully dangerous. But who knows? Many is paint that has real volume. I have always had this
years ago I wouldn’t have answered like that, but I’d say thing between paint and sculpture – The problem of
that because I really believe - I’m sixty three years old – the object.
if I can’t take that seriously now, I never will. As artists,
it’s a certain kind of mission that you can’t let go lightly, What is the object? Is it an illusion? Is it reality? That
so we got to do it, go all the way. What’s the point? And is one side, and the other is related - You might have
collaboration in a way is always a negotiation with heard this silly controversy about this black stuff. I’d
somebody else and it can be fruitful, it can be fabulous. read in the newspaper about three years ago which said
It can really lead hopefully to something we didn’t that, this man in the south of England had discovered a
think of before. There’s no point in collaborating with black material; so black that he felt it was the blackest
someone if I would do what I did before. I have to do material known to the human beings, almost like a
something I have never really thought of but at the black hole. Black hole absorbs all light. This thing at
same time it’s not the same as if you would. least technically, absorbs 99.8 per cent of light. So, I

14 Design Detail | July 2017

July 2017 | Design Detail 15

called him up and I said, ‘Can we work together,’ and 1
he said, ‘Oh but it has no visual application.’ ‘Oh come
on, don’t be silly, of course it does!’ So we began to work of all shouldn’t they, and if they do,
together and at the time he could make relatively small isn’t that the domain in which they
pieces. My mission with him was to see if he could can express themselves the best
make a real scale. So at the moment, we are about way? Isn’t that the way to engage
40cms. We made the first works and I tell you they with the present?
are solid even if I say so myself. I will tell you why.
Most black materials look really black from one angle, It might be. But the question really is “what are
but they look grey from another. This stuff, it doesn’t the aspirations for that?” Is it not better left for the
matter that which angle you look at it from, it’s always journalist to deal with the everyday questions? And
black. This means that since at least the Greeks – we if we are dealing with pain and suffering, those are
know it in Gandhara and in our other traditions as eternal questions of art; they are eternal questions
well, the cloth or rather the fold has been a kind of sign of the human conditions. You can either deal with
of being, that is of being a body. But if you make a fold them through some question of whatever’s happening
with this black material, you literally can’t see the fold! today, or you can find other language that refers to it,
So my sense of this is that in terms of the object, it goes where the work prompts the possibility, rather than
beyond being. It goes beyond that idea of the fold in
the cloth as the sign of being. There are those two great
supposed moments: Perspective being the one that
places human being at the centre, and the other is this
idea of the fold as the sign of being. So, I was fascinated
by it. It’ll take another two-three years to really make
the works. But can we really make them? I don’t know.
It’s so fragile that we can’t touch it. We can’t really
even breathe near it because it is so sensitive. It’s a
headache; quite an interesting headache! So “material
– immaterial” that’s always been the thing that I have
felt is important about the object. The object is never
a thing described. It’s always something aside. We
always look at an object with love, hate and desire. It’s
never just the object. It’s very rare that one can bring
about a condition which is even different. So, some
anxiety is always associated with the object. And I
think material is to be used to push that problem.

I firmly believe that as artists we have to be very
careful about how much we have to say. In fact we
have too much to say. I mean in the work, not the talk.
In other words, what’s the line between what there
is to say, and what is really art or poetry? It’s very
complicated for us to negotiate that. Especially now,
the political world is so problematic that we feel we
have to say. But, I’m not sure for myself whether work
is the place in which to say. I’m politically active as I
could be. I feel it very very important, but I’m not sure
whether work is the place to say it. So we have to find…
something. I think it comes out of a deep conviction
that art is the highest form of human activity and that
it really should be unapologetic. And we have to never
sell it short. We have to never put it in the place where
it becomes less than what it could be. So, if we tie it to
some quotidian issues of the politics of today I think
we limit it. Why should we do that? They may relate to
something eternal. Let’s see.

Could I push back on that a bit?
I’m sure you’ve had this discussion
before. But for the artist, isn’t his/
her art the best way to engage? First

16 Design Detail | July 2017

describe the situation. That’s what I’m arguing for. It’s do we go about it? Quite the opposite, I mean I seem to 1) Anish Kapoor
a more subtle argument than to say, ‘Don’t do your be contradicting myself but actually I don’t think I am, during an informal
politics.’ That’s not the question. The question is how but I’m saying that it is a subtle [point]. chat with the
we go about it and it is a matter of subtlety. The greatest founder member and
works are the ones that are relevant, at whatever You had participated in the second President of Kochi
period of time. How do they do that? And what is the edition of the Kochi Muziris Biennale Foundation,
question? So it’s a mythological question, isn’t it? It’s not Biennnale and now you have come Bose Krishnamachari
just to do with the things that depict it, it’s something back for the third edition. What’s
else. Anyway, I’m never to forget that something else, the difference that you feel?
whatever it is. This is not a prescriptive, but this is just
me pondering this question because our world is so I think it’s great we have artist curators. First of all,
problematic now. We think we’ve got to somewhere because they take a point of view and they all have
relatively good, more people are prosperous. But, very very different points of views in fact. The last
actually it’s exactly the opposite. Isn’t that terrifying? one, in a way was more visual, if you like. This edition
And how do we deal with it as artists, and what is our
response to that? We have to have a response, but how

July 2017 | Design Detail 17

2

2) Anish Kapoor seems to include all sorts of things: poetry, theatre, I have some stupid ideas. I had this idea once when
with the famous etc, and they are substantially different perspectives. somebody asked me to do a show in a beautiful space
mural artist I think it’s great. in Vienna: I’ve always admired the Viennese actionists.
P.K.Sadanandan, They made all that stuff like blood – Hermann Nitsch,
having a How have you evolved as an artist Günter Brus. I’d had a stupid idea for some time: I am
discussion on over the years? going to put cannon in the middle and shoot at the
colours walls. At one level I thought it a stupid idea. Then to
3) Anish Kapoor I have no idea! I am less afraid than I was. I don’t know take the stupid idea seriously, I said to the museum
with his daughter whether it’s good or bad. No, I think it’s good actually. director that this is what I am going to do. He asked
and Bose I think it is good. As artists, we conduct our education me if I was sure, and I said yes even though I was
Krishnamachari, in public. We say, ‘I’m going to risk this, then I’m going dreadfully unsure. And then we did it. We performed
visiting his to risk that, then I’m going to learn something, then I’m it. What happened in the work is really revealing to
installation site at going to fall on my face,’ but we do it in public. That’s me, because I realized that in spite of the stupidity of
the 2014 biennale something we have to keep to. That’s really really it at one level, it had everything to do with painting in
important. You can do so much in the studio. I have a a way that I hadn’t even thought about. There was a
studio practice, I live it everyday fully. But in the end, kind of weird, almost a sexual psychodrama between
it’s a risk. And there’s no shortcut. There’s no way of this phallic object in the corner. The corner was
knowing. I think the risk is the only way. ‘What can representative of architecture, culture, the feminine in
I get away with? Is that a work?’ That’s kind of a dare some ways, of so much else. One can see it in terms
to oneself. It’s the best way it could be. I think one of of Jackson Pollack, and if you like action painting. One
the problems that we all suffer – and I know I still could see it as Goya, and of course, war, and suddenly
suffer, is education. While I fully applaud education, I all that stuff emerged, and I asked myself, ‘Where did
also think it enslaves us. In the end, who cares what I all this stuff come from?’ So, no intention is intention.
know; it is of no interest. This I speak as an artist. The So, actually one doesn’t know where the content
point is to discover something new. How can I discover comes from, I’m not interested in what I know. I want
something new? some other content. Let it emerge! Risk it.

18 Design Detail | July 2017

Let me ask you all something. So, is it possible for the ways we try to establish this
artists to be political in India, today? Is there a problem is through public installations,
for artists? Are we allowed to say what we want to say, and we have a very interesting
whenever we want to say it? Or is it actually, is it too one coming up or we’d be talking
difficult? about it, in Bombay for instance.
As someone who works in public
I don’t know about the question installations, what are your
of ‘being allowed’ because I don’t thoughts of this whole business
think artists need permission in of cities and structures that have
any way. become icons or want to become
icons, and the mirroring that
But do we self edit? Are we in that sense, allowed? happens?
It is very very very problematic, isn’t it? If we do
something too sexual, what would happen? I think it I’ll try. When I was an art student all through the 70s,
would be a horrific response to that, frankly. Or too there was Henry Moore and, the idea of a kind of jewel
anti-government, or too whatever – there are a lots in front of a building, in some half understood public
of subjects, lots of subjects there, and I don’t know is space. Problematic, I thought. Then of course, there
that true everywhere. Is that true in the UK? I don’t was that amazing generation of American artists who
think it is. You could probably get away with almost really dealt with outdoors, Richard Serra, Micheal
anything. But shutting down is different. It’s very Heizer and a few others. And they really took on the
problematic. It’s not just political, it’s also cultural. But idea that not only could you deal with the outdoors,
I think that’s one of the things that the Biennale is but you could make art in the land. Historically, the
doing. It’s opening all these subjects. For example, the environments that we built have been dealt with in
position of women in India. Sorry, it makes me angry. a different tradition. These were communal spaces of
So many subjects like that. some kind: the triumphant arch, the gallant hero on
a pedestal etc. Can we reinvent it? I mean, that’s the
I think this is also connected to question. Is there a communal space that allows for
aspirations, and where nations public participation, where you feel, ‘you have got
like ours see ourselves. So one of to come and see this with me.’ That sense of a real
participation. Those are the things that interest me.

3

July 2017 | Design Detail 19

4

4) Anish Kapoor “How do you do” deals with the outdoors in such a way You spoke earlier about art
posing for a photo in that it invites participation? Now there are risks to it. education. You grew up in India.
the street of Kochi Huge risks. One of them is Disneyland. What is a kid who is in school in
India do, to become an artist?
When I first made, perhaps my best work outdoors, the
Cloud Gate in Chicago there were always thousands of Difficult! I don’t know the answer. It’s bloody difficult
people around it all the time and I thought, ‘God what to be an artist. Once you are successful, perhaps it
have I done! I’ve made Disneyland!’ And then I decided gets a little easier. You have to have a fearless kind
I’ll just go to Chicago and look at it. So I spent a couple of courage. And take risks. All we can do is to support
of days, just sitting with it, watching people, trying to be that risk, to try and say that it’s possible. We are a
anonymous, trying to just sit in the background. And population of 1.3 billion. If just one per cent of us are
I felt that even though it was kind of a ‘Selfie Central,’ talented, what kind of number is that? And if you
actually there was a little question about it, and which don’t give opportunity to that just one percent, we are
remains mysterious to me, which is, ‘How big is this lost forever, as a country. It is this idea of supporting
thing?’ Simple question: How big is this thing? What risks, supporting the possibility, isn’t it? We don’t want
is its real scale? It has this strange quality of shifting to make good citizens who are just factory fodder,
scale. It’s a big thing and not a big thing, And that’s one working in the fields, working in the factories, working
simple reason: it has no joints. There is nothing you can in some capitalist program. We want to be risk-takers,
measure your body against in it. It’s a unitary form. In people who create jobs, rather than take jobs. And, it’s
that polished material, unitary form does something nowhere. Never mind India, we don’t do it anywhere. I
slightly beguiling. It’s liquid, it’s solid. I felt that was just think that’s what an artist needs, and the risks that an
enough. It’s truly poetic as an entity and remains one
of those things that is, I think profoundly mysterious: artist takes are really important.
When does the thing really have scale? How does a thing
have a scale or not have a scale. For instance, a Japanese Are you working on something
garden is relatively small. But it has this expansive, huge right now, and would you be open
proportion, not just experientially but also in design: A to talking about it?
stone in the garden suddenly becomes a mountain, and
then it’s a stone again. This jumping from one thing to Here? No. In my head, yes. Artists don’t stop working,
another… That’s at least one of the things that sculpture but it’s okay. Don’t feel sorry for me, its fine! I am
is about - Intermediary scale, indeterminate scale. And I working on show with a gallery that I have been
think we all respond to that. We, as public, know those working with for many years. It’s a small show. So I’m
things even though we may not know that we know very preoccupied with that, travelling around to see a
them. So, public space can deal with some of those things. few things here (in India).

Thank you Anish. dd

20 Design Detail | July 2017

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[inside] SPACES BEAT THE ARCHITECTURE MATERIAL MATTERS
SPECIAL FOCUS THE OF EQUILIBRIUM
CHANGING HEAT SPECIAL FOCUS
PERSPECTIVES AN ELEGY ON THE RCR Arquitectes
AR. RAHUL MEHROTRA HALL OF NATIONS

AR. RAJ REWAL

HAPPY HOMES

SPECIAL FOCUS

CONNECTING

ARCHITECTS

www.design-detail.designerpublications.com 21

July 2017 | Design Detail

©Boegly + Grazia photographers IN DETAIL

22 Design Detail | July 2017

PAST PERFECT: Text : Ar. Soumya S Warrier
CAVE PAINTINGS
Dating 20,000 years back, the
OF LASCAUX cave paintings of Lascaux are
the oldest preserved remains of
drawing and art of the Paleolithic
Age. The cave that was opened
to the public in 1940 was unfortunately closed
permanently in 1963 to save the paitings from
degradation, following which in 1979 it was
recognised as a World Heritage Site by the
UNESCO Foundation. The 70th anniversary
of the cave discovery was celebrated in 2010
by the International Centre for Cave Art by
putting forward a proposal for the project
Lascaux IV.

Architects Snøhetta and SRA, alongside
scenographer Casson Mann worked on the
project in close collaboration with a team
of archaeologists and artists to create a
holistic museum and educational experience.
The museum was imagined as an interpretation
centre where, modern technology blends
harmoniously with ancient cave atmosphere.

July 2017 | Design Detail 23

© Eric Solé 2017 1

©Boegly + Grazia photographers A visitor is allowed to experience the space with
24 Design Detail | July 2017 2 the same awe and wonder as experienced by

the first discoverers of the paintings.

Rendering itself as a fine cut in the picturesque
landscape of Vézère Valley, the new museum
is a journey back to the days of prehistory.
The architects have resorted to an integrated
approach that encompasses the landscape,
architecture, interiors and scenography, which
has become a new leap in the celebration of
knowledge and cultural heritage. It is fascinating
as to how the design, while being a mere
reproduction of the ancient cave, is able to
generate in the visitor a sense of strong curiosity
and mystery, where (s)he is allowed to experience
the space and contemplate the past.

Lascaux IV, situated in the transition zone
between an untouched forest and agricultural
land could be imagined as a fissure in the

1) Use of latest
technology in design
and storytelling
2) Natural pigments
used to complete
the cave art
3) The whole cave of
the Paleolithic time
was replicated with
over 1900 cave art

3

July 2017 | Design Detail

25

©Boegly + Grazia photographers

CONCEPTUAL SKETCH OF AN INTERIOR CHAMBER

PLAN FACT FILE

PROJECT : LASCAUX IV

LOCATION : MONTIGNAC, FRANCE

CLIENT : CONSEIL GÉNÉRAL DE LA DORDOGNE

ARCHITECTURE : SNØHETTA
PRACTICE

GROUND AREA : 11400 sq.m.
SURFACE

TOTAL FLOOR : 8365 sq.m.
SURFACE AREA

COLLABORATORS TOTAL PLOT AREA : 53065 sq.m.

VIRTUAL REALITY SPECIALIST, STUDY PHASE : JANGLED NERVES YEAR : 2016

CONSTRUCTION ECONOMIST : VPEAS LANDSCAPE & : SNØHETTA
INTERIORS
STRUCTURAL DESIGN : KHEPHREN INGÉNIERE

FLUIDS, ROADS AND UTILITIES ENGINEERING : ALTO INGÉNIERIE SCENOGRAPHY : CASSON MANN

FACADES AND GLASS DESIGN : RFR ASSOCIATE : SRA ARCHITECTES
ARCHITECT
LIGHTING DESIGNER : 8’18’’
ASSOCIATE ARCHITECT,
ACOUSTICAL ENGINEERING : COMMINS DBLAB STUDY PHASE : DUNCAN LEWIS SCAPE ARCHITECTURE

MANAGEMENT AND OPERATING COMPANY : SEMITOUR PÉRIGORD

26 Design Detail | July 2017

SECTIONS

July 2017 | Design Detail 27

landscape of the valley. Mimicking the
undulations of the site, the profile aligns itself
along the contours. The form and materiality of
the building that generate a sober expression is
a subtle addition to the scene, where the facade
shuttles itself between transparent and opaque
to maintain a balance between the in and out.

A composition in concrete and glass, the
design is a contradiction in itself where it
is in a constant attempt to achieve the co-
existence of both rawness and smoothness. The
architectural concrete that is used to finish the
walls, roof, facade strip and flooring gives the
building a monolithic expression, reminiscing
one of the rocks of the hill and the cave. Glass
completes the facade thereby forming a visual
connect between the exterior and interior.
The co-existential interplay of the rough and
smooth metaphorically translates itself into
varying effects – the opaque and transparent,
shade and light or the old and new.

Natural light forms one of the major defining
elements of the Lascaux IV design. A horizontal
strip of light is allowed to enter the building
along a vertical facade that is formed by a
lateral cut in the landscape. Another deep
cut along the spine of the building reveals the
horizontal glass surface of a skylight and allows
a vertical strip of light to the interior. Be it the
darkness in the caves or the open to sky garden
or the shadow-play in the orientation zone,

5

4 ©Boegly + Grazia photographers

28 Design Detail | July 2017

4) Lascaux IV design
is an attempt to
shuttle between
rawness and
smoothness
5) The design
owns a profile
that mimicks the
contours of the
valley
6) Montignac and
Vézère Valley as
viewed from the
belvedere on the
rooftop

the varying intensities and patterns in which 6
they respond to the changing positions of the ©Boegly + Grazia photographers
sun during the day, helps highlight the feel and
function of various spaces inside Lascaux IV.

A carefully sequenced visitor pattern allows one
to experience the museum in the best possible
manner. In the lobby, one is ascended by a lift to
the belvedere out on the roof where he is able
to enjoy a magnificent view of Montignac and
the Vézère Valley. From there, a gentle slope
towards the cave facsimile takes one to the
entrance of the replica.

Inside the replica (La grotte), the atmosphere
is maintained damp and dark to recreate the
humidity within the caves; sounds are muffled,
and temperature drops to about 16 degree
Celsius, thus transporting one completely to

©Boegly + Grazia photographers

July 2017 | Design Detail 29

7 ©Boegly + Grazia photographers the Palaeolithic time. In the flickering lights
©DAN COURTICE of the space one can see the rich layers of
paintings and engravings on the wall surfaces.
8 Most advanced 3D laser scanning and casting
technologies were used to replicate the original
30 Design Detail | July 2017 cave to a one millimetre tolerance, following
which, they were subjected to a careful analog
process. To ensure highest level of accuracy, 25
artists spent two years hand-painting the 900
metres of resin rock reproduction using the
same natural pigments used in the prehistoric
times. Thus, the 1900 paintings and engravings
made 20,000 years ago were recreated on the
walls of Lascaux IV.

After the intense journey through the La grotte,
one arrives at the Jardin de la grotte or the cave
garden. This transition space allows the visitor
the space and time to contemplate on his
journey through the paintings and re-adjust
to the exterior context. What follows next is a
sequence of chambers devoted to deciphering
the cave’s works. Through a pedagogic
exhibition area featuring interactive tables and
digital technology, the visitor is encouraged to
comprehend on the cave art and gauge their
individual knowledge.

A visitor is further lead to a series of exhibition
chambers equipped with interactive digital
companion devices (CdV). Installed with an
intelligent multimedia guide with personalised
audio and language settings, these devices
help one to interact with the exhibits thereby
achieving an augmented experience and deeper

9 ©Casson Mann
SNØHETTA
7) Cave paintings
reproduced to a one
millimetre tolerance
in the La grotte
8) Cave Garden
- a space for
contemplation and
re-orientation
9) 3D visualisation
of the interior
chamber L’atelier de
Lascaux

Snøhetta is an internationally operating the Lascaux IV Caves Museum in Montignac, information which blends art, history, culture
architecture and brand design firm of France; and the expansion to the San and technology. Casson Mann’s scenography
architects, landscape architects, interior Francisco Museum of Modern Art. design has been grouped into specific thematic
architects, graphic designers, researchers and zones which engages and submerges a visitor
artists. Snøhetta kick-started its 25 year long Snøhetta received the World Architecture into carefully choreographed environments.
career in 1989 with the competition winning Award for the Bibliotheca Alexandrina and
entry for the new library of Alexandria, the Norwegian National Opera and Ballet, Inside the L’atelier de Lascaux, eight humungous
Egypt. Since its inception, the practice has and the Aga Khan Prize for Architecture cave fragments are dramatically suspended
maintained its original trans-disciplinary for the Alexandria Library. The Norwegian from the high ceiling or made to rise from the
approach, integrating architectural, landscape National Opera and Ballet has also garnered stone floor. The projections that animate the
and interior design in all its projects. the Mies van der Rohe European Union Prize artwork help the visitor to relate with them in
for Architecture and the EDRA (Environmental a more interactive and educative manner. One
Snøhetta is currently working on a number Design Research Association) Great Places is also given the opportunity to try various
of projects including the Le Monde Award,as well as the European Prize for Urban drawings, etchings and painting techniques,
Headquarters in Paris; the Cornell University Public Space, The International Architecture and also handle object replicas with the help of a
Executive Education Center and Hotel in New Award and The Global Award for Sustainable model map and interactive activities.
York; and in the design for Norway’s new Architecture in 2010. In 2016, Snøhetta was
banknotes which will go into circulation in named the Wall Street Journal’s Architecture FurthertothechambersistheLeCinema, where,
2017. Recently completed works include the Innovator of the Year. through a 3D film and stereoscopic glasses, one
redesign of the public space in Times Square; is taken on a digital voyage around the world
through the painted caves of Australia to Spain,
and Mongolia to Canada. The vertical and

July 2017 | Design Detail 31

10
©Boegly + Grazia photographers
©Boegly + Grazia photographers

11

32 Design Detail | July 2017

12 10&11) Cave 12) Le Cinema - a digital
©Eric Solé 2017 fragments are voyage around the world’s
suspended from cave art
13 the ceiling or 13) The public exhibition space
made to rise from in the Imagination Gallery
©Boegly + Grazia photographers the stone floor

suspended screens allow the visitor to engage in
a one of a kind experience.

In the theatrical zone of Le théâtre de l’art parietal,
one is received with a three-act play using light,
sound, movies and objects, with each act taking
place in a different space thereby initiating a
movement pattern within. The La galerie de
l’imaginaire – Imagination Gallery, is a public
exhibition space where visitors are invited to
exhibit their own images in a common public
wall in an interactive digital gallery. A central
orientation zone runs throughout the length
of the building which is illuminated by a fissure
of overhead light. A group of continuous
spaces, they thus form areas of transition, rest,
contemplation and discussion.

The striking contrast in materiality, the journeys

through the in and out or earth and sky, and

the shuttle between ancient and modern,

transforms the building into a communicative

organism. Lascaux IV is nothing less than a

futuristic journey to the past. dd

July 2017 | Design Detail 33

IN PUBLIC

ARCHI-TECHNOLOGICAL
NARRATIVES
Text : Renjith.T.R / Photos : rat[LAB] & rat[LAB] INTERIORS
The project adaptive [systems] questions
Technology is a word that has grown the static nature of architectural spaces,
much beyond the term in its scope encouraging dynamism and motion in
and relevance. It encompasses architecture via movable building skins. In
every aspect of human life. No an exhibition at MAK Center, Los Angeles in
areas of human activity can be September 2014, the architects presented a
sustained without the help of technology and prototypical interactive installation made of
the same goes with architecture and design. tensegrity components embedded with sensors
rat[LAB] and rat[LAB] INTERIORS feature a that responded to human movement. This was
series of installations that showcase a fine blend tested as a potentially suitable building type
of technology and design. for Southern California and other semi-arid
locations.
adaptive [systems]

The project adaptive [systems] was started A previous iteration of the interactive system
with the sole vision of challenging the static uses Nitinol, a shape memory alloy in the form
built environment against the dynamic of compression springs that respond to heat
natural environment. Here numerous layers from the sun to actuate the system passively,
of architecture come together to make a regulating the heat and light that permeates
building function in negotiation with changing through the building skin. It is a prototype for
environmental parameters such as sun, rain investigating architecture that moves passively,
and wind. Initiated as an academic thesis project without the use of any external electrical
at The Architectural Association (AA) School of energy. It exploits the materiality and structural
Architecture, London by Sushant Verma and potentials of the system that responds to heat
Pradeep Devadass, the research has taken a from the sun and gets self-actuated during the
series of iterations from 2012 to 2014, with the hot hours of the day to automatically move
latest developments shaping up in Los Angeles, and provide controlled shading, heat gain and
CA at The MAK Center. lighting conditions in any space.

34 Design Detail | July 2017

FACT FILE

PROJECT : ADAPTIVE[SYSTEMS]

LOCATION : MAK CENTER, LOS ANGELES

DESIGN PRACTICE : rat[LAB]- Research in Architecture & Technology

DESIGN : SUSHANT VERMA, PRADEEP DEVADASS

CFAOBLLRAICBAOTRIAOTNO R : O(ALPIVERERIOHDEICSSINDUSTRIES)

DELEESICGTNRSICUAPLP ORT : HOWARD CHEN (HSIN-HAO CHEN)

VOLUNTEER : RICHARD RUIZ, JOHN WHITCOMB
SUPPORT

PHOTOS : JOSHUA WHITE

Complex algorithms are coded while designing
the system to study the emergent dynamic
behaviour of the system with respect to angular
changes, axial shifts and force transfers that
take place when the system actuates with heat.
This type of building skin can potentially be
used as free standing roof structures, building
facades, window panels or installations that can
be pre-programmed and configured in a way
that it responds to the environmental conditions
of any place, while using the potentials of shape
memory alloy and structural principles of
tensegrity, and without needing any electrical
source to function. This prototypical model was
exhibited in San Francisco at Maker Faire Bay
Area.

July 2017 | Design Detail 35

Cellular Morphology Façade - CMF

Cellular Morphology Façade System is an
algorithmically designed façade system that
can be optimized for any climatic context and
building typology, controlling heat, light and
visibility in a space. The façade is currently in
proposal stage and a large scale prototype of
the same was exhibited at Alliance Francaise
de Delhi as a part of ’20 under 35’ Exhibition
in February 2015. For this Sushant Verma/
rat[LAB] was shortlisted as one of the 20
designers from Delhi. To demonstrate the
environmental potentials of the façade system,
rat[LAB] has made a demonstration on an
existing high-rise in New Delhi – Gopal Das
Bhawan located in Connaught Place. Since the
convex shaped frontal of building faces south-
west, it receives a major component of its light
and heat from this part of the façade.

CMF System is digitally retrofitted on S-W
façade of the tower and consists of multiple
unique components of hexagon topology. The
hexa-grid system is controlled through an
algorithm that alters its density and attraction
during the concept design stage. Six prominent
functional zones are speculated as attractor
points on the façade that become the first

36 Design Detail | July 2017

FACT FILE

PROJECT : CELLULAR MORPHOLOGY
FAÇADE SYSTEM
LOCATION : ALLIANCE FRANCAISE DE DELHI
DESIGN PRACTICE : rat[LAB]- Research in Architecture &
Technology

DESIGN AND
COMPUTATION : SUSHANT VERMA

ASSEMBLY : APOORVA SONI, MOHAN NATH
ANAND GAWALI, ABHISHEK SINGH
SWATI GAUTAM
VISUALIZATION : MARCO DANESI, ALESSANDRA PERONI

PHOTOS : SUSHANT VERMA

parameter of control. The solar insolation
analysis on existing S-W façade becomes the
second guiding parameter. With the new
morphology of this retrofitted façade, local
angular variations are introduced that can
redistribute the sunlight in a differentiated
manner on the building envelope. This can
potentially change the way building is heated
up and gets daylight in the interior spaces.
Light, heat and visibility of/from interior space
can now be optimized as per user requirements,
adding a locally embedded intelligence in the
new façade geometry.

A solar insolation analysis is carried out on
existing and new façade system to draw a
comparison between the two. The results
demonstrate a significant redistribution of solar
insolation across the retrofitted S-W façade
in comparison to the existing one. The system
being designed in a parametric workflow
can adapt to any climatic conditions and be
evaluated against any number of criteria, such
as environmental performance, structural
performance, aesthetics and visibility. The
mathematically driven prototype consists of
917 unique cells made of 5,392 non-identical
surfaces and 5,227 customized joints fabricated
through digital prototyping techniques.

July 2017 | Design Detail 37

Amorphous Surfaces

In today’s age of fast evolving technology, it
would be demeaning to restrict our products
and systems to a single use. ‘Amorphous
Surfaces’ emerged as an idea to morph a single
object to multiple uses with a conscious use
of computational design, digital fabrication
methods and integrated lighting systems for a
locally-interactive spatial artefact.

The design collection of ‘Amorphous Surfaces’
represents a method, technique and idea
designed through mathematically driven
algorithms. These algorithms are further used
on materials like wood, acrylic, metal or other
sheet materials to produce fluid surfaces for
interior and exterior spaces. Parametric Design
Methods are used to drive elegance to form
double-curved surfaces through sectioned
components that can potentially be highlighted
for feature walls, ceilings, wall art and stand-
alone installations. Sensors and lighting
systems have been well connected in the digital
era, especially in the realm of using occupancy
and vacancy sensors.

On similar lines, ‘Amorphous Surfaces’ being a
multi-functional furniture piece, is integrated
with Piezoelectric (pressure) sensors at specific
identified points of activity and usage (seating

FACT FILE

PROJECT : AMORPHOUS SURFACES
LOCATION : INDIA DESIGN 2016, NSIC GROUNDS,
OKHLA
DESIGN PRACTICE : rat[LAB] INTERIORS

DESIGN : SUSHANT VERMA
COMPUTATION & ANCHAL CHAUDHARY
CONCEPTUALIZATION

ASSEMBLY & PRANNAY DHINGRA
EXECUTION : SADHIKA BAVEJA, VISAGHAN

PHOTOS : SUSHANT VERMA

38 Design Detail | July 2017

area and table). These pressure-responsive
sensors (PZT ceramic/PMN-PT crystals) are
further connected to piezo-transducer.
Responding to active pressures, like a person
sitting on it, sensors feed data to transducer.
Thus, electrical energy converts into light
energy (i.e. concealed lighting). These lights are
further calibrated by light dimmer and light
colour changer, for desired effect in accordance
to various situations and scales of pressures
exerted on the piece.

LED ribbon flex on dimmable circuit has been
used to produce concealed lighting from within
the alternative sections of MDF boards. To
achieve optimum curvilinear aesthetics, LED-
lights are added in-between each of its sectioned
faces (of wood, acrylic, metal or sheet materials
alike). This piece generates a visual impression
for light being embedded in a solid fluid object,
thereby breaking the monotony in a monolithic
piece. This adds to continual rhythm of the
installation, making it self-illuminated as it sits
boldly in a space.

After all, the method, technique and idea of
‘Amorphous Surfaces’ is as amorphic as light
itself. A non-interactive version (day-version) of
the piece was recently installed at India Design
ID 2016 in New Delhi, launched with the
surface treatment collection by the designers.

July 2017 | Design Detail 39

Experience centre

The stone retail showroom, Noida is housed
as a multi-functional space within an office-
cum-factory premise. The concept of a retail
space has been re-defined by culling the idea
of display units and replacing it with a surface
treatment that envelope the inner surfaces
of this space. Four surfaces (three walls and a
ceiling) are mathematically sub-divided into
triangles of varied sizes and angles through
computational methods that allow optimization
of material and construction time.

CNC (Computer numerically controlled) milling
is carried out on large slabs of marble stone to
generate three dimensional surfaces clad on to
surfaces at different angles. Each marble stone,

40 Design Detail | July 2017

FACT FILE

PROJECT : EXPERIENCE CENTER - STONE
LOCATION : NOIDA
DESIGN PRACTICE : rat[LAB] INTERIORS

DESIGN & : SUSHANT VERMA
COMPUTATION

PROJECT LEAD : ANCHAL CHAUDHARY

PROJECT TEAM : APOORVA SONI, SADHIKA BAVEJA

PHOTOS : SUSHANT VERMA

as an individual triangle, is further subdivided
to form smaller fractals leading to ridges and
valleys, where valleys allow light to pass
through with the thickness of stone. Rational
use of technology at design stage, coupled with
a balance of digital and non-digital fabrication
processes has lead to novel spatial tectonics in
an optimized method.

Innovative methods in design and construction
are used to develop a point co-ordinate system
for construction on site, making traditional
workings and drawings with plans, sections
and elevations redundant. Three dimensional
surfaces are carved out of white marble using
recursive subdivision technique and CNC
milling that filter light in an unprecedented way
to light up the interior space.

July 2017 | Design Detail 41

42 Design Detail | July 2017

FACT FILE The Fluid Wall

PROJECT : FLUID SPATIAL EXPERIENCE rat[LAB] INTERIORS has designed a spatial
LOCATION : TAJ LANDS END, MUMBAI experience for Ashish N Soni through a series
DESIGN PRACTICE : rat[LAB] INTERIORS of parametric fluid elements - The Fluid Wall,
Furniture Art and Displays. The elements are
CDOESMIGPNUT&A TIO N : SUSHANT VERMA synchronized and crafted to accentuate the
ANCHAL CHAUDHARY sense associated with the designer for Chivas
Alchemy, Chivas India.
CNC FABRICATION : CUTTING CREATIONS
The feature element of the spatial experience
PROJECT TEAM : VIKRAM ROY was the stand-alone fragrance pod designed
MAHARAJA CHANDRASEKARAN as a Fluid Wall made in hundreds of sectional
STEVEN DERRICK THOMAS profiles engulfing three head-zones with newly
launched perfume fragrances by Ashish N
PHOTOS : ANCHAL CHAUDHARY Soni and Chivas 18. Other elements in the
space comprised of exclusively customised
pieces from ‘Parametric Art Collection’ as
furniture pieces, display units and artistic
gestures. Computational techniques were used
in the design process to streamline the project
workflow, assembly-disassembly sequence,
digital fabrication process, and material and cost
optimization for a dual-exhibition at The Leela
Hotel, New Delhi and Taj Lands End, Mumbai.

rat[LAB] & rat[LAB] INTERIORS

rat[LAB] - Research in Architecture & Technology, is an independent research organization
and network of designers and researchers specializing in computational design or similar
technology-related domains. rat[LAB] is operated as a cloud-based organization with an
international network of researchers and computational designers spread across UK,USA,Europe
and Asia, and a studio in New Delhi, India, the research cell functions as a global collaborative
and multidisciplinary laboratory facilitating design research that leads to novel spatial tectonics
and smart built environments.

rat[LAB] was co-founded in 2012 in London, by Sushant Verma who is an architect and
computational designer, and Pradeep Devadass an architect and robotic fabrication specialist.
Anchal Chaudhary, an interior designer, started rat[LAB] INTERIORS in 2015, with Sushant
Verma, to explore formal intersections of parametric design and interior spaces. Their research
agendas broadly focus on use of computational design and parametric design in architecture,
with intersections between design and technology spread across scales and disciplines. rat[LAB]
offers collaborations to architecture and design firms to develop systemic models using
advanced computational techniques and carry out project-specific or agenda-specific work in
all fields of design.

July 2017 | Design Detail 43

44 Design Detail | July 2017

FACT FILE

PROJECT : D2F - DESIGN TO FABRICATION

LOCATION : IMAK CENTER, LOS ANGELES, USA
DESIGN PRACTICE : rat[LAB]-Research in Architecture &
Technology

DESIGN : SUSHANT VERMA, PRADEEP DEVADASS

CFAOBLRLAICBAOTRIOATNO R : OLIVER HESS (APERIODIC INDUSTRIES)

VSUOPLUPONRTTE ER : JROICHHNAWRDHRITUCIOZ MB

PHOTOS : JOSHUA WHITE

Design to Fabrication - D2F

D2F is a small scale lightweight installation

designed to demonstrate the computational

aspect of installations and pavilions in

architecture, where generative design is used

to design and control the fabrication of an

object. A sweeping ribbon, hanging in the air,

is designed using a spiral curve manipulated

in height to attain a spatial transformation in a

small orthogonal space. dd

July 2017 | Design Detail 45

ADOPT ADAPT

46 Design Detail | July 2017

THE SALT A case in point: the forthcoming GEOtube tower, 1) Interiors
TOWER Dubai. become
a spatial
Text : Team Design Detail / Photos : Faulders Studio Faulders Studio’s iconic and sculptural 170 m experience
tall beauty, the GEOtube, is an intelligent idea of the design
Architects and designers, from conceived with a vision for the future and concept
around the globe are realising their a commitment towards the sustainable and
greatest innovations on the sands responsive architectural practice. It showcases the
of Dubai. Drawing out a stupendous seamless blend of sustainable architecture into
architectural landscape for the the ever expanding landscape of Dubai with an
world to see, their innovative design aspirations undertone of sensibility and responsibility to the
along with high end construction techniques has environment.
made Dubai a synonym to new age architecture,
increasing the stature of Dubai as the ‘dream land’. Dubai, which is part of the Persian Gulf, has the
world’s highest salt content. The regional coastal
Though the rapid face change of Dubai is a sight plains of Dubai, known as the sabkhas are formed
to behold, the question regarding sustainability
becomes increasingly relevant, especially among
the architectural community. How can the
posh and lucrative dreams of Dubai be realised
sustainably?

1

July 2017 | Design Detail 47

2 as a result of extreme temperature, humidity
3 and the highly saline waters of the Persian Gulf.
This geographical feature was acknowledged as
48 Design Detail | July 2017 a site of considerable advantage by the design
team.

In depth studies and various experiments were
done to identify a viable and practical method
by which the process of salt deposition could be
used as a design solution. For GEOtube analysis,
a prototype mesh surface was created, washed

2) Street view 3) The structural lattice
of the GEOtube embodies the function and
tower aesthetics of a natural being

Acquired, FRAC Centre Permanent Architecture Collection
Exhibited in ARCHILAB 2013 :
Naturalizing Architecture, FRAC Centre,
Orleans, France
Photography : Kent Wilson
Images courtesy : FRAC Centre and Faulders Studio

July 2017 | Design Detail 49

2 7 1 GEOtube Tower
5 2 Zabeel Park Entrance
3 3 Park
SITE PLAN 64 4 Salt Water Pond
5 Photovoltaic Pads
6 Entry
7 Fresh Water Pond
8 Parking
9 Basement Parking

1
9

8 N
SITE PLAN
0 10 25 50m

PLAN VIEW OF THE GEOTUBE TOWER

50 Design Detail | July 2017