™ JOURNAL OF THE INDIAN INSTITUTE OF ARCHITECTS & Mik REFEREED JOURNAL OF IIA | ISSN-0019-4913, 2017 APRIL | VOLUME 82 ISSUE 03 | % 100 asstITUTE op ‘i “te IIA AWARDS for Excellence in ARCHITECTURE ~ 2016 ~ Hosted by ATN CHAPTERB® SketchUp Trimble. “Have you upgraded to Wy SketchUp 2017 ? Y f= cae “Terms & Conditions Apply | INDIA DISTRIBUTOR _ART® ARK Infosolutions Pvt. Ltd percy.d@arkinfo.co.in | wwwarkinfo.co.in | Ph: +91 9167707757 www.sketchup.comLIAS REFEREED JOURNAL JOURNAL OF THE INDIAN INSTITUTE OF ARCHITECTS VOL-82/ISSUE-03 APRIL 2017, Cfuiran's Message AL. Pareh Kapa 06 Convenor's Message - Ar. C. R. Raju OF uy Erbe A Award Commitee Zl “The Arar Wining rcinecs 13_Aclane through the Awards Event SSeS ered openbaar TE AFT Kean Mata hr Murali Murugen 24 The Ateer Schoo, Bangalore= A. Chitra. Vishwanath ERR ara ATE ure ives! ars Spel Corny ar satan s[Dhpe a eo 34 News DES 47 _Cubix Home, New Delhi-- Ar. Kapil Aggarwal PO i 50 _Xandari Harbour, Koch Stapati = RO is aS Sky r nn gd 54 Beri Chettiar House, Chennai - Ar. V.S. Vigneswar y PIES es 58 _Bamiyan Cultural Centre, Afghanistan - Ar. Girish Dariyav Karnawat LG ‘i SEE *% Mi 60 The Temple and the People, Telangana - Ar. K. Hari Krishna f ALLRIGHTS RESERVED 2006. No part ofthis publication may be reproduced or transmitted inany form or IIA OFFICE BEARERS 2035-2037 by any means electronic or mechanical, photocopying recording or any information storage or retrieval system without permission in writing from THE INDIAN INSTITUTE OF ARCHITECTS. ea ae Only materia's accompanied by stamped and sel-addressed envelopes can be returned, No responsibility is Ar Prakash Deshmukh -Imm Past President taken for damage or safe return bythe Editor of JIA. The Editor of the THE INDIAN INSTITUTE OF ARCHITECTS takes no responsibilty for author's opinion expressed inthe signed articles. ArVlasV.Avachat Vice President Printed & Published by Ar Anand Palaye on behalf of The Indian Institute of Architects and printed by Foto Copy Design Studio, M-2, Sai Vihar, 22, Mint Back Road, Fort, Mumba 4oo ooa and Published at The Indian Institute of Architects Prospect Chambers Annexe, sthFioar, DrONRead, Fort, arSuniR, Degwekar- Hon Treasurer Mumbai ~ 400 003 ‘Ar Amogh Kumar Gupta Jr Vice President Tel: 4g1.22.22046972/22818491/22884805 Fax: 493.22.228325:6 ee ae Email: iapubication@gmail.com | iiahoxza4@gmailcom Website : wav. incianinsttuteofarchitects.com ee a Editor: Ar Divya Kush RN. No.9468/57 Rede wAnandPalaye = Chairman Email: divyakush@yahoo.co.in Publication Board & Printer's Email :fotocopy.ks(@gmailcom Executive Editor, JA Ar Lalchan Zacharias -stHon SecretaryCHAIRMAN’S MESSAGE |lam sincerely thankful to present and yester years governing bodies of IIA, for entrusting. me the portfolio of IIA National Awards for last many years. This year it is a historical opportunity for me to organize it with the concurrent celebration of llA's Centenary. ‘The mission of these awards is to recognize and honour annually, the superlative architectural works designed by talented fellow architects of our country. Hi-worth of this 'IIA National Award’ is that itis conferred by the only authorized national level professional body of 'The Indian Institute of Architects’ and no wonder that it has become a pride matter for Indian architects to receive it Ar, Paresh Kapadia I would like to congratulate all winners who have helped us to set very high benchmarks and also to congratulate renowned and eminent jury members from India and abroad to have transparent and fair selection process. Very recently changed format of IIA Awards consist of two stage-Jury. First round of Jury was held at Mumbai, to shortlist the selective projects from 400 plus entries. Jury had selected 71 excellent entries as shortlisted projects. We had an idea that meticulously selected shortlisted projects can become knowledge sharing tool for the fraternity. Concreting this idea, !IA came up with a publication of ‘Coffee table book’ consisting of these excellent presentations of shortlisted projects. Last edition of this shortlisted projects book of 2015 has become very popular and useful referral material for fellow architects, students and for many college libraries. This over growing demand of such coffee table book has motivated us to publish the second edition of shortlisted projects of IIA Award 2016, Second round of Jury was held at Chennai. It was the round of personal interaction with the jury members by 71 shortlisted contestants by way of making their project's presentations in presence of audience. After such marathon process, eminent jury panel had finalized one finalist awardees from each category. Finally these winners were presented the ‘IIA NATIONAL AWARD’ at the high voltage ceremonial award night. Special issue of this IIA Journal is exclusively dedicated to these IIA NATIONAL AWARDEES. All the national Award projects are published in this journal with its detail presentations. This special IIA AWARD issue of the journal will become worth collecting document for architectural fraternity. As IA Award Committee Chairman, | am grateful to the IIA President Ar. Divya Kush, Convener Ar. C.R. Raju and IIA office bearers for their consistent supports. | am thankful to, my award committee members and the staff of IIA. We assure that IIA Awards will always strive to come up with more innovative and constructive ways in future. ‘Thanks with warm regards. Ar. Paresh Kapadia Chairman - IIA Awards Committee (04 sewer indlaninstuteofarchitecs.com oo TLS “APRIL 2017,PRESIDENT’S MESSAGE. Dear Fellow Architects, Warm greetings, it is a matter of great pleasure & satisfaction that, the initiative taken in the year 1989 of instituting the IIA Awards for recognizing Excellence in Architecture and honouring the creative minds behind it has acquired a status of great respectability. On completion of more than 25 years long journey of the Awards, we at IIA, with the aim of| encouraging greater involvement of the members of the Institute in the entire exercise, have been thinking to give ita fresh look, make it more participatory and take the Awards to a much greater and exalted pedestal. Ar. Divya Kush The IIA Awards Committee comprising of young, energetic and creative members, comprising mainly of Ar. Tony, Brijesh, Vinod, Vivek, Jayakrishnan and Sujit under the able and continued guidance of Ar. Paresh Kapadia and Ar. C.R. Raju, once again accepted the challenge and meticulously planned and successfully executed the new format of the IIA Awards. E-submission of entries, multi-stage evaluation of entries by a panel eminent jurists from. India and abroad, an opportunity to the shortlisted participants to explain their project, screen display of the award-winning entries at the Gala Award Ceremony, concurrent events like presentations by world renowned Architects, publication and release of all the shortlisted entries in the form of coffee table book are only some of the highlights of the new format of IIA Awards. It was most encouraging to see that this year again we received about over 400 number of entries in various award categories. | am sure, with the kind of enthusiasm seen again this year, the participation will only increase in future. ‘The Award Ceremony was very professionally organised by the Tamilnadu Chapter of IA ‘and was well attended by over 1000 participants not only from across the country but also including many delegates from abroad. While | thank all the participants who took interest and spent their time and efforts in submitting their entries, | take this opportunity to extend my warm and heartfelt congratulations to all the recipients of the IIA Awards. The panel of eminent jury had a difficult time in choosing the best from amongst the best and had to spend extraordinary skills and enormous time in making final selection. On behalf of IIA, | convey my sincere thanks to all the jury members. I would also like to acknowledge and profusely thank all my colleagues at IIA, particularly Ar. CR, Raju, Ar. Senthil Kumar Ar. Paresh Kapadia, our Tamilnadu Chapter and the staff of IIA for their continued and painstaking efforts in successfully organizing the IA Awards 2016. am sure this issue of the Journal will once again prove to be one that is owner's pride and neighbour's envy. D Gon I" bo Ar. Divya Kush President, ‘The Indian Institute of Architects ‘APRIL2017 JoumaLormescusnsrrurroratcirics — wawwindlaninstituteofarchitectscom 05CONVENOR'S MESSAGE: Ar. CR. Raju An Experience to Cherish Dear Fellow Architects, The IIA National Awards are significant as IIA recognises and awards the best works of its members, in various categories, every year. This being the Centenary year, the IIA Tamil Nadu Chapter was privileged to host the IIA. National Awards 2016 for excellence in Architecture and | thank the Chairman, Ar. K, Senthil Kumar and the Executive Committee for their unstinted support and encouragement. ‘As Convenor, it was an enriching experience to work with a dedicated team under the guidance of the Chairman, Ar. Paresh Kapadia and interacting with the participating Architects and Jury members. 370 project entries were received, had a two stage Jury of eminent Architects, one to shortlist and the other to finalize, culminating in the Awards Presentation to the best in each category. ‘The Awards ceremony was well attended and a memorable event for all the participants. | take this opportunity to thank all the participants of the IIA Awards, the Jury members, the President and Office Bearers of IIA, the Chairman and the Organising committee and the Sponsors. My appreciation to Ar. Antony Morais for his continuous support and dedicated work ‘throughout the event. Congratulations to all the Awardees. Send, Migs mann Cone eGiN Ears (06 www indianinstuteafarchitecs.com nua nero aRCNTECTE ‘APRIL 2017,JURY PANEL a ‘Ar.Kamal Malik Ar.K.R.Jaisim Ar. Deenbandhu Prof. Shilpa Sharma Prof. Vinit Mirkar Ar. Anil Darshetkar Mumbal Bengaluru Upasant Mumbal ‘Mumbal Mumbal Momrbal Za! © 4 AV-RéhoreThapa —Ar.Premnath Ar. Gourish Ar. Pradeep Saculeva Ar Palins Nepal Mumbel chendawarkar "Newel ase Moral satan - Rakesh S Kushwah Ar. AzmiWadia Ar. Ratan Batilbol Ar. V.Barath Ar. Rajeev Dalvi Bhopal Surat ‘Mumbai Chennai Mumbai ‘Ar.Dean D’ Cruz Ar. Ravindra Punde Ar. Abdulla Attari Prof. Suresh Goa Mumbai ‘Bengaluru Kuppuswamy Chennai 4 IIA AWARDS COMMITTEE Ar, Paresh Kapadia ‘Ar.C.R. Raju Chairman ‘Convener A Awards Committee IA Awards Committe Mumba henna 2 Lm Ar. K. Senthil Kumar Ar. Vivek P.P. ‘Ar.Jagdeep Desai Ar. Sundeep Shelar Ar. Antony Morais Chairman Member Member Member Member lia Tamilnadu Chapter MIA Awards Committee IAAwards Committee IA Awards Committee IIA Awards Committee Calleut Mumbal Mumbai Chennai ‘APRIL2017 JoumaLormevcunnsrrurroratcarics —wwwindlaninstituteofarchitectscom 071A AWARDS for Excellence in ARCHITECTURE ~ 2016 ~ 26th March 2017, Chennai Hosted by WATN CHAPTER aia) FIRST JURY Date ee tees rer Nike Ce uc ey — ‘APRIL 2037,IIA AWARDS for Excellence in ARCHITECTURE ~ 2016 ~ 2s March 2017, Chern Hosted by WATN CHAPTER the second level CLOSED JURY Date PP1A AWARDS for Excellence in ARCHITECTURE ~ 2016 ~ 26th March 2017, Chennai Hosted by WATN CHAPTER aia) Oo) Ta Le) AG Pay Pa Pre Venue eC RSC (Pantie ‘APRIL 2037,THE Award Winning Architects 26th March 2017 Chennai Trade Centre, Chennai Poo oes ear) Interor-Residential | Residence 137 ‘APRIL 2017 TounaLormiesounnscrurcoraacarics — wwwindlaninstituteofarchitects com ALTHE ba Award Winning Architects IW AWARDS for beallnce in ARCHITECTURE = 2016 ~ 26th March 2017 ae Chennai Trade Centre, Chennai Roe eee Ree rnEy De ee a Rey Coa) pe eee et Coe 32 www.indlaninstituteofarchitects.com unas oe iene NETTUTE CF ARCTECS| ‘APRIL 2037,‘APRIL 2017 JoumaLormiencunnsrrureoratcarics —— wawwindlaninstituteofarchitectscom 13134 www indlaninstituteofarchitects.com unas oe iene NETTUTE CF ARCTECS| ‘APRIL 2037,EEGs IIA AWARDS 2016 - RESIDENTIAL PROJECTS - SINGLE DWELLING House of Renewed Hopes, Bengaluru ‘The HOUSE of RENEWED HOPES is a home where the concept of Renewal is brought to the forefront, seasoned with dollops of hope and warmth. Earthy tones, lush green spaces, sun kissed interiors and breathing courtyards bring life to mounds of hope across the home through religious acts of renewal enhanced by the fragrant aroma of incense flooding the spaces. ‘The house sits on a plot measuring 20ft by 60ft with south: facing road-side entry and a congested street with adjacent building being built wall-to-wall. The plot sits on an un: interesting street filled with street vendors and street parking, ‘The challenge was to design and execute a serene and tranquil residence within the parameters put forward by the client, ‘Ar. Kochuthommen Mathew - Email: kochuthommen@ktaarchitects.com ‘Ar. Kochuthommen Mathew, holds an M.Arch from the Oxford Brookes University, UK. His work style has been greatly influenced by International icons in the field of modern Architecture like David Greene and Andrew Holmes, with whom he worked with earlier off in his career. He et up his own practice, Kochuthommen & Associates (KTA), an architecture and design firm in the year 2008, operating out of Sangalore and Kochi. The practice aims at providing creative and sustainable architectural design and engineering solutions through innovative thinking. With a capable R&D team and access to world class expertise in various branches of Architecture, Ar. Kechuthommen Mathew has been able to pull off projects that boast of many firsts’ in the country ‘The client, an IT professional and his wife, a classical singer and trainer, hail from a Kannada Brahmin family background with 2 specific flair for music, ats and religion. Their hobbies include collecting antiques and artefacts that resemble their deity out of personal interest and wanted these collections to have their space in the newly designed residence. As architects, we journeyed their lives from childhood until the present to chalk-out a pattern of their activities and interests. The lady of the house, being a classical singer and trainer wanted to house a rehearsal space and vocal training area for students, without disturbing their privacy and living areas. They would occasionally conduct performances and pooja at ‘the venue to commemorate certain festivals and events, Sire : AERIAL VIEW, Scag ‘APRIL 2017 numa oe wwrwrindianinstituteofarehitects.com 15HOUSE OF RENEWED HOPES, BENGALURU FORM & SPATIAL VOLUMETRIC The living area faces a well-lit courtyard supplied with EVOLUTION Sp MASSING sufficient light and ventilation that brings the illusion of the outdoors to the upper floors. ‘APooja room is quietly tucked into the corner of the courtyard, allowing the users to enjoy a journey to the religious space. Abedroom that would cater to the parents of the clients are set into another corner of the courtyard ‘An interesting and easily accessible staircase laid with Jaisalmer stone and railings that mimic abstracted tree branches, allows the user to move to the upper floors where further bedrooms, a reading area and an upper living room are ‘tucked around the central courtyard with floating seating spaces set into the courtyard enhance the experience of the ot. Entrance cougars 04, Rehearsal Res 05, Stage We created a sequence of spaces that would replicate thelr 06. Toit lives in a private and austere way. 07. store ‘The public activity areas were contained in the ground floor 8 Home ofee and the living areas were elevated to the upper floors, thus, coe providing ample privacy and solitude of residence. A gateway, guarded by a wooden door (like that of the "Padipura’) was designed at the plot Boundary to mark the entry into their private lives. As the door opened, one would bbe welcomed to a lush green court leading to an entry towards the Rehearsal Space for Vocal training 10, Car Parking ‘The space has been prepared as an open floor and worked in 1. ving Area levels to accommodate floor seating for teaching and 12, Courtyard audience purposes. Also, the green court serves as a foyer to 13, Bedroom the living areas of the residence. 14, Pooja Room 15 een {As one moves up to the living quarters, the journey is an 1. usity elevating experience in itself, like a journey of faith. As one. 1.Beleony enters the home, one is immediately pulled into the living area 18. study Area laid with unique furniture that has been collectibles to unsen ‘maintained by the couple. hg ares SPATIAL PLANNING 26 wuwindlaninsttuteofarchitects.com numa oe ner oF ances ‘APRIL 2037,HOUSE OF RENEWED HOPES, BENGALURU [As one moves across the residence, each point of circulation is treated as a religious ambulatory experience ~ one of a ritual towards attaining renewal of spirit. This experience is heightened by the sights, sounds and aroma of the spaces, brought together by the use of natural materials, tones, textures, artefacts, fragrance and sounds. As the building naturally ventilates itself, an experience of positive energy exchange is evident throughout the time spent at this abode. The client shares their experience in guests and family wanting ‘to spend ample time at the residence than the congested, unhealthy immediate outdoors. Project category Project Name ‘Completion Date Location Plot Size area Project Details Residential Projects -A House of Renewed Hopes (08 Sep 2015, Malleshwaram, Bangalore 2oft x OR 2930 saft ‘APRIL 2017 unas oe iene NETTUTE CF ARCTECS| wow indianinsttuteofarehitects.com 17EET ais IIA AWARDS 2016 - RESIDENTIAL PROJECTS - MULTI DWELLING Ecstasea, Chennai spreat Ecstasea, luxurious residences of 4BHKs located in Chennai has been designed by Deepak Mehta Architects of Mumbai, The site is primely located on the East Coast Road of Chennai, Bejeweled with water bodies on the east and the west side, the site offers a beautiful view to the residents The clientele requirements for the site demanded a “luxurious” residential project. The building was expected to be a “sculpture like structure” and not just a protruded box. In order to meet the site constraints and the clientele requirements the building was developed with an integrated thought process. ‘Ar. Deepak Mehta - Email : info@deepakmehta.in. Deepak Mehta Architects was established in 1985; the Principal Architect Mr. Deepak Mehta after his ‘graduation from Academy Of Architecture, Mumbai, in 1982 worked with Ar. Hafeez Contractor as an Associate Architect & has grown steadily over 30 years based out in Mumbai, Today, their presence is more than 12 cities of India & overseas at Dubai and Maldives. Their work focuses on creating unison between people & the built spaces with constant innovation & a continuous process ‘with their Architectural Design in various sectors from Residential buildings, urban design, and. ‘townships to IT buildings, commercial development, retail & hospitality design. ‘The beauty of the design lays in the angular orientation of the spaces, The site being a linear form with a narrow road front, required a strategic arrangement of the building to allow view optimization, The orientation tenders maximum viewing angles to the residents unlike an otherwise linear planning of spaces, thus, justifying the site beneficiaries. Welcoming foyers are integrated with a compact service core. ‘The planning of spaces has been done, keeping in mind the associative space required for the services. Such as, the kitchens have been provided with the wash area, likewise, the ‘outdoor units for the air conditioning and toilet duets have been allotted designated spaces within the form of the building Form Development (ODD FLOOR PLAN. 28 wuwindlaninstituteofarchitects.com numa oe ‘APRIL 2037,ECSTASEA, CHENNAI ON-SITE IMAGE Habitable spaces of the apartments are designed to enable cross ventilation, The self developing elevation is generated from the arrangement of balconies and windows. The alternate repetition of plans creates naturally shaded balconies that reduce the direct heat and glare of the sea Railings of steel and glass are used in the RCC frame structure, to add transparency to the massing of the structure, ‘APRIL 2017, wowindianinsttuteoferchitects.com 19ECSTASEA, CHENNAI The steel sections used in the framing withstand the wind pressure and reduce the chances of rusting from the saline air flow. The subtle colour scheme obtained from the natural essence of the materials is used to create a sculpture like structure, {A dramatic growth of the structure is enabled on the narrow road front. A grand floor to floor heights of 3.5metres in the apartment, accommodates the required ducting system for the centrally air conditioned apartments. Housing the ‘maximum required parking the same footprint, the building does not even encourage floating columns. The landscape of the project is designed keeping in mind the grid and axis of the building form. Inorganic landscape pockets project category are created along the site, The clubhouse also adds to Project Name ‘maximize the greenscape through the well designed green roof system, Location Plot Size The project has been successfully executed and completed int the year 2016, Completion Date : ew Project Details Residential Projects - Multi Dwelling Eestasea (09 October 2016 "Muttukadu, East Cost Road, Chennai 74618 S9.Ft (6932.20 Sq.Mt) ‘Approx. 2,00,000 59. Ft 20. wuwindlaninsttuteofarchitects.com numa oe ‘APRIL 2037,Eas IA AWARDS 2016 - COMMERCIAL PROJECT Manoj Bhavan - Highway Restaurant, Madhuranthagam, Tamilnadu ‘Ar, Murali Murugan - Email : archmurali1@gmail.com ‘Ar. Murali Murugan, holds an M.Arch from McGil-Univ-Canada 1981-1984. In his 26 years of practice, Ar.M.Murali has designed many Institutional, Residential, Industrial and Educational Campus Projects. His works include large urban infra-structureplanning (CMBT Koyambedu Moffusil Bus Terminus), train stations, educational institutions (Prof. Dhanapal College and RAAK College), ‘medical infrastructures (Madras E.N.T. research centre, M. V. Diabetic Centre at Anna Nagar / Gopalapuram), shopping centers, malls, theatres, luxury villas, small scale economical residences, etc. He has also served as consultant to the Corporation of Chennai, DANIDA (Denmark - India Collaboration), R..T.£.5 ~ India, Tamil Nadu Medical Service Corporation etc. One does not take a road trip without stopping at a Highway Restaurant. Any journey, be it an adventurous one or an arduous one, needs a break to refresh and relax. Such highway restaurants must be inviting to the travelers who wish to explore the journey more than the destination. “Any clever devil would decorate the highway to hell as beautiful as possible.” The ManojBhavan - Highway Restaurant is positioned in Madhuranthagam, along the 100 feet wide Trichy ~ Chennai National Highway. The essence of the restaurant isto attract and arrest the attention of fast moving highway vehicles from a distance by the use of strong geometry and bold shapes and sharpness, a play of varying silhouette, material, texture, color and form, ‘APRIL 2017 JounaLormienounnsrrurcoraacaricrs — wwwindlaninstituteofarchitects com 2MANOJ BHAVAN HIGHWAY RESTAURANT, MADHURANTHAGAM The restaurant is an incorporation of massive structures with irregular angles that create three different faces to the on lookers. This way, the travelers are welcomed from all the directions. ‘These three faces create 2 visual axis which is both inviting and appealing to the visitors. Slanting walls along with the combination of irregular angles entice the con lookers and creates an interesting visual appeal. The exterior and the interiors are constructed with exposed concrete and plywood shuttering The cantilevers are formed by steel truss framework and they are an interesting play in the structure which Ground Floor Plan emphasizes the outlook of the building, Usage of exposed concrete and the neutral colour scheme of various hues and tones of grey and white, creates a balance and uniformity that compliments the usage of the irregular angles. The cantilevered Director's room is, designed in such 2 way that it overlooks the processing and the flow of. activity of the restaurant. The glass frame with stee! channels are held together by channel sections. Niches have been fashioned as seating along the interior exposed concrete walls. The janitor area in the washrooms has also been carved with "First Floor Plan riches. 4. Sto ontry 2 Service enty 3 Carparting 6. Children’s lay area 7 Restaurant entry 8 Waiting area 8 Manager's cabin 40 Dring 14 Non AC aning 42 ACDining, 13 OTs 44 Ketenen 45 Dshwash 416 Wet storage 17 Wiet store 18 Vegetable preparation and grinding 19 Pot wasn 20 steam 21 Stal cateteria 22 Ladiesstaff area 23 Ladies toilet 24 Ladies staff room oe eek eka oreo court 27 Hand wash 28 Gente toilet 29 Store room 30 1000 Highway ros 31 Open terrace (Future marriage hat) 32 ors 133 Wiating are 34 Cash 36 Waiting 37 MD cabin —_—z 22 wuwindlaninstituteofarchitects.com numa oe ‘APRIL 2037,MANOJ BHAVAN HIGHWAY RESTAURANT, MADHURANTHAGAM The tower which holds the over head tank and its head room acts a focal point that is capable of attracting passengers in the surrounding 3km radius. The massiveness of the tower makes it as a prominent landmark of the restaurant and its verticality and vastness makes it easier for the visitors to spot it even froma distance. The children play area along with the landscape provides relaxing ambience for both the adults and kids. The pathways are defined through the means of landscape. ‘The highway restaurant acts as a retreat forall the travelers. Its serene location and ease of access makes ita pleasurable space for people to unwind and rejuvenate after a long tiring ride. ‘The comforting landscape and the sculpture-like mass will invite the tired traveler in, offer a pause period and a time of bonding, and rejuvenate their senses, before they restart thelr journey. “The road. 4s.@ word, con- ceived elsewhere end itd ‘088 the country in the prepared for it 2 word made concrete and In conclusion, Mano} Bhavan, makes the journey of a traveler to a. destination more delightful and enjoyable, because the journey to a destination is equally important as the destination itself. Project Details Project category. Commercial Projects Project Name: Mano) Bhavan Highway Restaurant Completion Date : 10 August 2016 Location Machuranthagam, Trichy-Chennai Se Highway, Taminagu ws . Builtup Ares + 320000 fm 2037 Toomaiormescaunsturoraoanccs — wawindianinstituteofarehitectscom 23Eas IIA AWARDS 2016 - PUBLIC & INSTITUTIONAL PROJECT The Atelier School, Bangalore ‘Ar. Chitra K. Vishwanath - Email : soujanya@biome-solutions.com_ After Graduation from CEPT Ahmedabad, with a complete commitment to sustainable architecture, ‘Ar. Chitra Vishwanath's practice has spanned 24 years during which she and her office have executed around 500 projects - residential, institutional and hospitality. Asa frontrunner in the field of ecological design having developed various Indian contextual standards. Have brought together 20+ ecological architects under the umbrella of Biome Environmental Solutions Pvt. Ltd. (Biome), a frst of its kind firm in India. She also conducts accessibility audits and advises schools and institutions on how to make their premises universally accessible and barrier free. The schoo! sits in a neighbourhood with constant construction activity and a godown in its immediate vicinity Creating 2 learning space for a young age group on such a site required that the school be an enclosed and protective space. The site factor played a key role in the design, along with the Reggio-Emilia ‘education approach itself, on which the school is based, 24 wuwindianinsttuteofarchitects.com unas oe iene NETTUTE CF ARCTECS| ‘APRIL 2037,‘THE ATELIER SCHOOL, BANGALORE SECTION AK EXPLORATION SPACE TREEJOINERY PAPER TUBE FING BASE OF THE TREE ‘APRIL 2017, JounaLormienouwnsrrurrcratcarics —— wawwindlaninstituteofarchitectscom 25‘THE ATELIER SCHOOL, BANGALORE Unlike the longstanding notion of everlasting buildings, itis ‘not uncommon to see built spaces being renovated or redone entirely to keep pace with people's changing needs. The permanence of a building may no longer be a prerequisite in I ei sie its design. This being accepted, itis necessary to allow material recovery and recycling, or reconstruct the same building. Fed ass elsewhere ~ anything but create debris that will occupy ‘stg landfills. Various building techniques make the design ‘window economical and recoverable to the maximum ~ chappadi {granite stone slab foundation, paver block flooring, paper Pinewood plants ‘tube partition walls, and bolted stee! supports - creating a structure that can be transposed. ‘The external fabricated facade isa tack-welded mild steel frame with panels of perforated metal sheet, pinewood, ins oo ‘n reflective glass, operable louvres and sliding windows, nies planned with regard to light and ventilation. CSEBs made of — window soll rom different sites inthe locality create pleasing patterns which harmonize with the floor colours. GI sheet is used in consideration to the roof slope, with a false ceiling of bamboo ‘mat plywood for thermal and sound insulation, which further imparts a sense of warmth. Preference of a hand-crafted material such as bamboo mat over the conventional plywood TYPICAL SECTION THROUGH EXTERNAL WALL _/0¥52 valuable skil to be preserved — 26 wuwindlaninstituteofarchitects.com unas oe iene NETTUTE CF ARCTECS| ‘APRIL 2017THE ATELIER SCHOOL, BANGALORE This tree form, while being a structural element, allows the roof to be perceived from a height that children can relate to. Itis also a reinterpretation of learning under a tree, a common sight in rural parts of the country. ‘The building consists of four classrooms, a studio and 2 childhood stimulation centre around a central piazza, with filter spaces allowing transition between the rooms and the plaza. ‘The toilet is designed with consideration to the young age group, cubicles scaled appropriately for children as well as their need to be supervised. Open drains in the wash area and urinal walls are incorporated for ease of use and maintenance. Light durable furniture made of honeycomb boards and paper tubes further encourages kids to explore and play with the environment. The versatility of the material permits a variety of configurations. Rainwater is harvested from the entire roof area, filtered and collected in the sump tank which overflows into a groundwater recharge well, effecting water security. Solid waste from the school is disposed of in twin leach pits which Project Details are effective in returning nutrient to the soil. Project category : Public & Institutional Projects Project Name: The Atelier School Exploratory learning is encouraged through a permeable Completion Date : 15th July 2016 design of the interiors - walls of varying heights enclosing rey eran curvilinear classrooms and common spaces under a skylight: dotted roof. The roof is supported on eight columns, each in the form of a branching tree, Plot Size + 21004 Saft. Built-up Area: 10603 Sqft. ‘APRIL 2017 JoumaLormiencunnsrrurcoratcarics —— wawwindlaninstituteofarchitectscom 27‘TRANSITIONS IN ARCHITECTURE : THRESHOLD AS A SPATIAL CONTINUTY Transitions In Architecture : Threshold As A Spatial Continuty ‘Sushama S. Dhepe - Email: sushama.dhepe@gmail.com Sushama S. Dhepe is an architect and valuer and presently working as Associate professor at Bharati Vidyapeeth deemed University, college of Architecture, Pune. She is presently pursuing her doctoral research from Rashtrasant Tukdoji Maharaj Nagpur University. Dr. Sheba Valsson - Email: sheebavalsson@gmail.com Dr. Sheeba Valsson is Principal at Shri Datta Meghe College of Architecture, Nagpur. She has been. awarded MASA(Maharashtra Association of Schools of Architecture) best teacher Award 2011 in the field of Architectural Technology. She is in Board of studies of Board of Architecture under the Faculty of Engineering and Technology, RTM Nagpur University. ABSTRACT: The study investigates how traditional architecture manifests and integrates in contemporary architecture. Focus is on threshold as a spatial element in domestic architecture. In indian perspective, threshold represents cultural character, climatic volues ond is evident of metaphysical ideo. The attempt has been made to understand how threshold as traditional element is Used in contemporary architecture and to find out the reason behind the particular element which leads to adopt with change in time. The method employed in this study was to examine thresholds in contemporary houses where architects successfully ‘made application of traditional architecture. Cases have been selected from Pune in Maharashra state of India, as Pune is hhaving rich history, heritage and culture. For analysis, three architect's projects were selected where architects have explored the traditional architecture while designing threshold. The paper analyses three thresholds designed by different architects with different approach to integrate traditional architecture through it. It was found that traditional architecture has been ‘manifested in contemporary architecture through style as well as character. Approach to integrate the spatial element is by abstracting, picking up and reusing element. KEY WoRDS : Traditional Architecture, Cotemporary Architecture, Threshold, Manifestation, Integration, 1.0. INTRODUCTION The process of change occurs in accordance with time in architecture. The continuation of past and seeking anew present is the idea of creating a true integration between the traditional and the modern. The paper focuses on how traditional threshold as spatial element is integrated in today’s architecture. In answer to this question, the case studies have been selected from Pune in Maharashtra, India. In architecture ‘threshold’ is not only a strip of wood or stone placed at doorway but also an entrance through which a person enters the house or place or city. For this paper threshold as transitional space at entrance from public to private of domestic building is considered. The method used in these case studies was applied to explore traditional Investigated and finally the conclusions were made. In order to explore traditional architecture, literature survey of, traditional thresholds was done with respect to cases selected. 1.1 LITERATURE REVIEW In India, traditionally the houses always have a threshold. Itis visible as a small wooden strip which forms the part of the door frame; or an extended one which is large enough to accommodate certain activities such as verandah; of a single door. Sometimes, itis seen in the form of gateways too. This element varies depending upon the community. It is not mere ‘the entry to house but more than that and signifies several things (Jain K., 2002)-Threshold has been associated with architecture in contemporary architecture. In this context of study, an approach to integrate traditional architecture and ‘manifestation in terms of style (manner of making the element or way of expression) and character (quality) were several rituals, sentiments and metaphysical Ideas (Tillotson, 11998). Ceremonies on all important occasions connected with threshold. Threshold has been decorated and worshipped even today in India, 28 wuwindlaninsttuteofarchitects.com nua ‘APRIL 2017,Fg. 1(0)- Gateway Entrance (Shanivor wode) Source :htps:/inlohertagesites wordpress.com ‘A. CONCEPT BEHIND THE THRESHOLD AS SPATIAL ELEMENT In Hindu philosophy, prime importance is given to the transition between two stages, two aspects or two realms, (ain, 2002). For example 'Sandhya' the time between day and right, is considered to be best for performing rituals in Indian life. Sandhi-is the place where the two elements merge and do rot lose their identity (Parikh P., 2008). In architecture, transitional space is expressed through thresholds. Two ‘opposite worlds come together through it. It links the two areas with different environmental qualities. It connects ppublic and private; inside and outside; internal and external; ‘open and enclosed spaces. It connects house to a street. It provides a gradually changing experience. In traditional buildings, the threshold is slightly elevated. The purpose behind this isto prevent intrusions and to keep out insects and reptiles (Thapar et el., 2004). In this way the platform or steps at entrance become the mode of transition between built form and land (Jain K., 2002) .This element helps to avoid immediate change moving from external brighter spaces to internal darker spaces. It provides interactive space. It acts as @ buffer as well as physical link. Threshold not only connects but also separates two spaces (Singh R.,2015). In order to celebrate the juncture, the scale of the entrance is heightened and enhanced by delicate decorative details (Parikh P., 2008). Ithas @ special meaning in Indian architecture and Pune is no exception. B. TRADITIONAL DOMESTIC THRESHOLDS IN PUNE Pune had experienced several dynasties in history such as Yadavs, Mughals, Marathas and British. Generally, Pune has Peshwai and colonial traditions seen its architecture, With respect to domestic architecture, ‘Wadas' flourished during ppeshwa period and ‘Bungalows’ were introduced during colonial period (Diddee J.& Gupta S.,2004).Threshold in the pre-colonial Wadas and Colonial Bungalows or mansions were expressed differently in Pune. ‘TRANSITIONS IN ARCHITECTURE : THRESHOLD AS A SPATIAL CONTINUTY Fig. 1(b)- Osan Entrance (Rawad ot Bho), Source: htt://mazebhor blogspot. ig. 1 c)- Doorwoy Entrance Not Wedo) Source: JoymalaDidcee (2000) P78 During the Peshwa period, entrance to Garhi (fortified house), was usually an imposing gateway and highlighted by the presence of 'nagarkhana’, from which the nagara (a large Drum) was played, Shaniwar wada, an old testimony shows this features (Figl-a). Entrance to Wadas had verandah like spaces, which have two platforms on each side of the door, with pillars supporting the upper floor. It was called Osar.it was connected with public street and private house. It was Usually @ well dimensioned and defined space. The entrance to the rajwada at Bhor,Pune (Fig.t-bjdepicts a large door positioned centrally and platforms located on either side. Sometimes threshold of Wada were expressed through doorway as depicted in Fig.1-c. A lintel of door carved with image of lord Ganesha. It was decorated with a garland of mango leaves and marigold flowers.The door sill of the thresholds is known as ‘Umbharatha’ in Marathi language. Umbartha of Wada was ritually patterned with rangolis drawn with rice flour paste. During colonial period, distinct settlements patterns emerged ‘The Bungalows built were surrounded by large compounds and gardens. In colonial bungalows, porch and verandah are considered as spaces between the house and landscape architecture, Porch is basically a semi-open space which gives ‘the shelter from sun and rain. Fig.2 ~a show a porch of typical Cantonment Bungalow. The porch protected the visitors alighting from the carriage and climbing the steps that lead ‘towards verandah, the intermediate space between the inner room and compound.Verandah is an in-between space, neither indoor's, nor outdoor's; neither completely public, nor completely private; and neither formal, nor informal. The verandah was used for many activities. twas the place, where afternoon tea was taken or visitors were entertained. In the rainy season, people could enjoy after lunch walks, This space had played a mediating role. Deep verandah was the effective architectural space that controlled the heat in colonial period. Verandahs also helped in preventing the sunrays from ‘APRIL 2017 numa oe wow indianinsttuteoferchitects.com 29‘TRANSITIONS IN ARCHITECTURE : THRESHOLD AS A SPATIAL CONTINUTY 9. 2(a)- Entrance to Mansion, go Khan Palace ‘Source :htps//oloyingathmemores com reaching the walls of the main room. Verandah with porch, thresholds were also found in the mansions built by Anglo, Indians like Aga Khan Palace (Fig.2-b), Jeejubhai Mansions etc. In Modi colony Parasis built some apartment like structures (fig.2-c) in 1930-1940's where, verandah acted as a threshold between the street and the house, ‘Thus the verandah at entrance was designed during pre- colonial and colonial period. This element becomes significant in terms of religious, climatic functional, social, cultural point of view. This place, sometimes semi-open space and sometimes open, but basically the transitional space. This is, the character. Therefore, application of this in the contemporary is studied, Fig. 2 (b)- Entrance to Parshi House, Mod! Colony Source *2eaymola Dddee (2000) 148 2.0 METHODOLOGY This paper analyses the application of traditional element at entrance. To analyse this paper three routes were adopted as an approach of architect to integrate traditional element and ‘manifestation of element through character and style in contemporary architecture, First is the examination of ‘manifestation in terms of character, second is manifestation in ‘terms of style and third the examination of approach, Style is the manner of making the element which is tangible and character or attribute which is intangible The focus is on threshold cases in Pune, which symbiosis tradition and contemporary architecture. APPLICATION OF TRADITIONAL TH IRESHOLD AS SPATIAL ELEMENT. gu gu gu caer: | | case : case 3: Khadake House! Jain House | | Bapat House >| character >| character >| character si ¥ Style ¥ Style ¥ Style ‘Approach ‘Approach ‘Approach u EVALUATION / CONCLUSION Fg, 3- Method ofthe study 30. wuwindlaninsttuteofarchitects.com numa oe rece ascurecs ‘APRIL 2037, ig. 2(¢)- Entrance to Bungalow, Cantonment Bungalow3.0 TRADITIONAL ARCHITECTURE In contemporary architecture, traditional architecture and its elements have been used as a source of inspiration. Paper attempts to understand how and why threshold as spatial element has been used in contemporary architecture of Pune. The following houses in the contemporary architecture designed by different architects demonstrated the traditional threshold in the design. 3.1 KHADAKE HOUSE Khadake house is designed by the architect Girish Doshi. This hhas been built in 2006 for a joint family who had earlier lived in a traditional Wada, Itis designed like a Wada having modernist characteristics. Two separate gates provided for vehicular and pedestrian access in the houses of Khadake, ELEMENT IN CONTEMPORARY Fig. 4 (a)- Entrance of Jos Wade Source http:/ranva01.tripod com joshiwade htm} 3.1.1 Character A threshold at Khadake House has been continued with the idea of traditional oasri as element. Osari of Wada, the entrance from the street often has platforms on either side of, door as depicted in Joshi Wada(fig.4-a).This transitional space in the Wada not only allows movement from inside to outside and vice versa but also encourages residents and passers-by to pause for a greeting or gossip. This opportunity for conversation helped the residents of the wada to be connected with the neighborhood socially (Burte, H. 2010).In the Khadke house, this social aspect of osari has been adopted by organising the two platforms flanking entrance door. Old people from neighbourhood often sit there as their grandchildren play on the street. The roof of the gate offered a shelter from sun and rain. The gateway of compound ‘transformed into semi-covered veranda like space and gave identity of place. 3.1.2 Style "Khadake House’, shows expression of threshold with contemporary style. The architect borrowed the ‘osari element with change in style as modern. Looks of entrance does not resemble the tradition. The material, way of construction and location of threshold have been changed in Khadake house. In traditional wada, threshold was attached to ‘the house and had a direct access from the street, It was the extended element from built form. In Khadake house its, detached from main structure and located as gate of the ‘compound, as contemporary architecture needs to follow building by-laws. Itacts as an entrance gateway as well as ‘TRANSITIONS IN ARCHITECTURE : THRESHOLD AS A SPATIAL CONTINUTY verandah or osari. The simple cuboids structure of international style and not having column as traditional style cof osari, Thus the integration of styles happened at global and local level, 3.1.3 Approach In the Khadke house, a traditional idea has been adopted. Architect. has transformed the osari, Socio-cultural characterises of osari have been carry forwarded in Khadake House. Entrance provides opportunity for conversation and used for informal contact. Covered gate also provides climatic aspect. Entrance has been raised by providing extra height of gate more than the normal gates of compound and reflects the ‘metaphysical idea of transitional space. Approach is not imitation or repetition of traditional threshold osari.Itis reinterpretation of osari. Traditional architecture has been Fig. 4 (b)-Entzance of Khodoke House continued by abstracting the element, with analogous spatial organisation. 3.2 JAIN HOUSE Its the bungalow in cantonment area, designed for the Joint family. t was constructed approximately in 2002, It has been designed by architect Manish Banker. Jain’s house is giving _limpses of colonial tradition. In Jain’s house threshold porch has been used. 3.2.1 Character Porch is the semi open space that serves the purpose for parking. In Jain’s house porch also acts as a deep verandah, Here the porch which runs in front of house is like an extended verandah like space with columns supporting the roof, without the platforms. Itis used for the parking as well as entertaining visitors, taking tea at evening etc. This gives flexibility for functional use rather than specific use. This place allows living possible in transition between private rooms and landscape area. The climatic, cultural and functional characteristics of porch have been continued in terms of threshold in Jain’'s house. 3.22 Style Here architect has adopted the porch element with colonial style since site has been located in Contentment area.The porch has columns supporting the triangular root, which represents the colonial feel. The columns, entablature and pediments are blending with “Raj Bungalow" look, The traditional colonial building of Jeejubhai castle (Fig.5-a) ‘APRIL 2017 numa oe worwindianinstituteofarehitects.com 31Fp. 5 (a). Entrance of Jejubho! Castle (now Sadhu Voswoni Mission) Soure :hep/funn.soahuvesivon ora/ine-3htm ‘TRANSITIONS IN ARCHITECTURE : THRESHOLD AS A SPATIAL CONTINUTY Fig. 7(0) Entrance to Bopot House (1978) Source Narendro Dengle (2207) 8.158 F716) Entrance to Bopat House (1996) Fig. 5 (2) - Entrance of Jin House depicts the design and components of facade design Nowadays, this mansion is used for Sadhu Vaswani mission, ‘The way of articulation on the components of threshold in Jain's house is similar to colonial period such as ionic columns, white colour, and triangular pediment. 3.2.3 Approach Architect has pulled out the component of thresholds such as column; entablature and pediment, which belong to colonial tradition. The contextual facade design led back to colonial period. Its the reminiscing of bungalows and mansions. The characteristics as well as expression of the spatial element at entrance have been continued from traditional to contemporary architecture, The characteristic element with traditional colonial style has been manifested in the Jain's house, 3.4 BAPAT HOUSE This contemporary home carries the distinct flavour of Wada. It is @ new form of old Wada, New house of Bapat (Fig-b) has been constructed with timber used in earlier house (Fig-a) on a new different location. The owner of the house is a lover of traditional building element therefore structural members including post, beams, rafters along with elements like windows and doors of old house have been utilised. This house has been designed by architect Narendra Dengale and ‘owner; architect Meera Bapat in the 1996, 3.3.1 Character Two separate gates have been provided for vehicular and pedestrian access. The huge wooden door has been set in brick compound wall and a pitched roof has been placed over entrance. Entrance door is designed at a bigger scale than the Fig. 7(e)-Front facade of Bopat House Source-Narendra Dengle (2207 P.153 contemporary door set up in Bapat House. In this way it enjoys the junction of street and house by heightening the door in the compound wall of S' height. The dimension of doors with same scale and proportions in the traditional architecture has been retained by making its reuse ‘The earlier Bapat Wada had semiprivate raised verandah at the entrance which forms venue for social gathering and to socialize with neighbours. It was the verandah with built-in platforms for visitors to sit on. In today's Bapat house, there are two square platforms at seat height with approximately seat dimensions, on either side of the door. They are free for use by strangers for sitting on it. The entrance is covered with sloping Mangalore tiled roof provides protection from sun and rain, The social characteristic of threshold has been pertained in Bapat House. 3.3.2 Style ‘Traditional Wada contains 'Dindi Darwaza' inside a huge entrance door, especially in Garhis and Rajwadas. This was the scaled down version of the kind of doorway that had been used earlier in Fort wadas. It was a small door approximately four feet to five feet in height and crafted within one panel of ‘he entrance door. It was used for all daily pedestrian traffic This was oblivious for security reasons. This small section of door makes entry to someone's domain very humble manner as in the temple. The house is also the temple of god. The similar Dindi door had the entrance door of Bapat House. The same feature remained called Dindi Darwaza which is not relevant today, but reminds memories associated with the past. Style in terms of material, ornamentation of door, sizes and dimensions of features gives the expression of traditional architecture. 32 wuwindlaninstituteofarchitects.com numa oe ‘APRIL 2037,— ‘TRANSITIONS IN ARCHITECTURE : THRESHOLD AS A SPATIAL CONTINUTY — 3.3.3. Approach structural and constructional element of old Wada. Features and characteristics of traditional elements remained constant embedded in contemporary style expression of ‘house. Characteristics element with traditional style has been integrated with the contemporary architecture by the Architects Reusing the material is the sustainable approach. Conservative Contemporisation approach of architect has been seen in Bapat House. The traditional elements, materials and dimensions are sustained here naturally by recycling the 4.0 RESULTS AND DISCUSSION All cases of Pune have been illustrating continuity of elements with style and characteristic. Influence of character as well as style hhas been seen in contemporary architecture. Continuity in terms of character can form learning from the past. Continuity in terms Cf style can form imitation of past. Character has been expressed through spatial organisation (khadake house) and scale and proportion (Bapat House) whereas style has been expressed by continuing the components of that element with same manner of, articulation, It was found that approach to integrate, assimilate, adopt and reinterpret the forms, features, ornamentation; construction techniques were associated with the entrances of the past thresholds. All has been summarised in tablet. Physical Period of structure of | Character Style ‘Approach continuity of Threshold tradition Case1:Khadake House | Osari Intermediate space of Modern | By abstracting | Peshwai Tradition house and street element - venue for social gathering, gossiping (Case 2: Jain House Poarch ~ intermediate space Traditional | By picking up Colonial Tradition between house and elements belong compound to tradition Case 3: Bapat House Single Boor | ~ Intermediate space Traditional | By Reusing the | Peshwal Tradition between house and street element from = Interactive space Traditional Table 1 Comporatve Anaya of Cases 5.0 CONCLUSION ‘Threshold as spatial traditional elements has been applied in According to conducted studies and analyses, traditional contemporary architecture with several approaches as architecture manifest in contemporary architecture through style as well as character. It could be imitation of past or 1. By abstracting the traditional element. learning from the past. In today’s context we can learn much, from these traditional elements without trying to imitate it. 2. By picking up traditional element belongs to tradition. Traditional elements need to be adopted today’s condition not only by considering environmental aspects but also respecting 3. By reusing the traditional element. socio cultural values of its contexts REFERENCES : 1. Burte,H. (2010,June 12),old-elements, new house, New Delhi. Retrieved from http://www. business standard.com/article/beyond- ‘business/old-elements-new-house11005100031_ htm. ‘Choudhary A, (2002}.0ld memory down a new lane,Focus 33-37. Dengle,N. (2007), Zarohka . Nashik: Brain Tonic publications Ltd. Diddee, 1, & Gupta S. (2000). Pune Queen of the Deccan: Pune, India: Elephant Design Pvt.Ltd. Gupta, R. (2013): The courtyard Wada of Moharashtra. New Delhi, India: Council of Architecture. Jain, K. (2002). Thematic Space in Indian Architecture, New Delhi,ndia: India research press. Konhere, 6. (2013). Temples, Wadas and Institutions of Pune : A legacy and Symbolism in Architecture. Pune : BNCA. Czorbon, 6,8 zrhon IF (2016), Learning from experiences in Architecture : Fathy, Correa, Cansever. International review of socal science and humanities, 11, 41-53. Retrieved from www.irssh.com. 9. Parikh, P. (2008). Hindu Notions of Space Making. CEPT University Ahmadabad, Indio: SID Research cell, schoo! of interior Design. 410. Singh ,, (2015 Apri 23),Understanding the traditional spaces: Importance and Role n Indian Architecture, Retrieved from ‘ttp://nixyhukayy.xpq.uol.com. br/luSpei8wjSi.htm 411, Thapar, B, Manto SK, & Bhalla S, (2004). Introduction to indian Architecture. Perplus Eltions, Lt. 412. Tillotson, 6 4.8. (1998). The paradigms of Indian architecture: Space and time in representation of design. Calcutto,Chennal, Mumba: Oxford university press. 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With warm regards, President ‘The Indian Institute of Architects 38 wwwrindianinsttuteafarchitects.com unas oe iene NETTUTE CF ARCTECS| ‘APRIL 2017NATIONAL CONVENTION 2017 NOVEMBER 10-12, 2017 JANATA MAIDAN, BHUBANESWAR HOSTED BY : IIA ODISHA CHAPTER “BHUBANESWAR” Known as the “Temple City” has a unique position by virtue of the ability to seamlessly integrate its rich cultural heritage with a strong regional economic base. Founded during the Kalinga Empire over 3,000 years ago, Bhubaneswar today boasts of a cluster of magnificent temples, constituting a complete record of Odisha temple architecture from its early beginnings to its culmination. Bhubaneswar is an ancient city in India's eastern state of Odisha, formerly Orissa. Many temples built from sandstone are dotted around Bindu Sagar Lake in the old city, including the I Ith-century Hindu Lingaraja Temple. Outside Rajarani Temple are sculpted figures ‘of the guardians of the 8 cardinal and ordinal directions. Jain antiques, weaponry and indigenous pattachitra paintings fill the Odisha State Museum. The Modern city of Bhubaneswar, which has already been laid by Pioneers like German architect Otto Konigsberger and Julius Vaz i 1946 for this wonderful “Lord of the Earth (TRIBHUBANESWAR)” better known as Bhubaneswar now. The citizens of Bhubaneswar can take pride in the several distinctions bestowed to the city, including: |. Only Tier-2 city in the country to host the top five Indian IT companies : Infosys, Wipro, Tata Consultancy Services, Tech Mahindra and Mindtree; 2. Ranked 3rd Best Place to “Do Business in India” by World Bank; 3. One of the planned four “Information Technology Investment Regions” in India. Further, Bhubaneswar also plays an important role as a regional gateway to the Golden Tourist Triangle of Puri, Konark, and Chilika Lake. Its strategic geographic location along the east coast of India, has positioned Bhubaneswar to serve as the gateway to South-east Asia with easy access to existing and emerging ports, petrochemical and steel hubs at Paradeep, Kalinganagar, Dharma and Gopalpur. Additionally, a number of new ports are being proposed along the ‘Odisha coast, which will further improve connectivity required for exports. So IIA Odisha Chapter is privileged to host the IIA NATCON 2017 ‘on 10th to 12th of November 2017 @ Janata Maidan, Bhubaneswar. We seek your valuable presence and participation to make the event Grand Success. i With Best Regards Ar. Sagarendra Mohapatra Chairman IIA Odisha Chapter. ‘APRIL 2017, JounaLormievcunnsrrureoraacarics — wawwindlaninstituteofarchitectscom 39Eat A AWARDS 2016 - INDUSTRIAL & INFRASTRUCTURAL PROJECT The Pavilion for Sea Plane Terminal & Boat Club, Nashik ‘Ar. Rohan S. Deore - Email: swastikarch@rediffmail.com Swastik, the Architectural Firm headed by Ar. Rohan S. Deore is involved in Projects related to Architecture, Project Management, Interior Design and Landscape Design. Some of the prominent projects by the firm are, Sapkal Knowledge Hub (Nashik), Orchid international Schoo! (Nashik), ‘Shivsharda Public School (Bed), Maharashtra University of Health Sciences (Nashik), Sahyadri Farmers Producer Co. Ltd., (Nashik) and the ongoing Farmers’ Mall for Sahyadri Retail Agro Ltd. (Nashik) Iwas @ quest for creating an Iconic structure while designing @ sea plane transport hub and Boat Club for Maharashtra Tourism Department at the Gangapur dam, Nashik-a pilgrimage city, a tourist destination & a rising business centre, ‘The transport hub was designed as the landing point for the sea planes to enhance Nashik-Mumbai connectivity as a gen next level of transportation. ‘The site was finalized with an intention to create a visual journey for the tourists; to get a breathtaking vista of the horizon, where the dam water meets the mountainscape of the famous Anjaneri hills and the Trimbakeshwar hills PLAN DEVELOPMENT... 4 > ~ FJ site PLAN 40 www indlaninsttuteatarchitects.com numa. ore nou REPUTE Gran “APRIL 2017,‘THE PAVILION FOR SEA PLANE TERMINAL & BOAT CLUB, NASHIK Se tae See ‘The solution impelled the creation of a soaring pavilion where the design took its cue from the transverse structure of a sail boat — the form, the anchor and the inflated sails. The pin ~ joints between the column and inclined trusses of roof create a floating effect. ‘APRIL 2017, JounaLormiencunnsrrurecraacarics —— wawwindlaninstiuteofarchitectscom a1‘THE PAVILION FOR SEA PLANE TERMINAL & BOAT CLUB, NASHIK The elemental unifying walls were designed to segregate the public and technical domains. The landscape pathways and sit outs looking out towards the water front have been designed to look like a continuation of the flooring pattern and courts inside the pavilion. Shade and shadow pattern have been applied in designing fenestrations such as grid walls, perforated louvers, size and depth of cantilever. The project was a juxtaposition of challenges ~ convincing the traditional mindset of the clientele and the structure itself, It was a novel experience to go through 2 process of reverse designing where the architect's visualizations was first culminated to form a model and then the drawings. ‘The challenge was also to balance the contradictory design factors in an open structure and be climatically responsive. The structure posed a challenge in terms of construction drawings wherein a mechanical engineer had to be roped into ‘the team for detailing. The entire structure was site fabricated, The constraints of the challenges were overcome to finally create the PAVILION, and the deliberateness of its intent added a new fragment to absolute architecture, where the structure acknowledges the place ~ progressive and reflective. The orientation of the PAVILION allows an easy and unobstructed dialogue with the vast expanse of the picturesque surroundings, seamlessly integrating the landscape with the travelling experience. 42. www indianinsttuteofarchitects.com numa oe ‘APRIL 2037,‘THE PAVILION FOR SEA PLANE TERMINAL & BOAT CLUB, NASHIK As visitors walk around in the pavilion building they can connect with the sky through the large glass covered sky light and also associate with the surrounding beauty through the perforated metal louvers, {As one alights from the sea plane on the floating jetty to head towards the terminal by a boat, the pavilion acts as a landmark to draw attention to the RISING NASHIK campaign, ‘APRIL 2017 Project category Project Name ‘completion Date Location Area Project Detai Industral & Infrastructural Projects ‘The Pavilion for Sea Plane Terminal and Boat Club 30 June 2015. ‘Gangapur Dam, Nashik, Maharashtra 21330 Sat www indianinstituteofarcitects.comET ais IIA AWARDS 2016 - INTERIOR PROJECTS - RESIDENTIAL Residence 137, Bengaluru ‘Ar. Adwitha Suvarna - Email: collageas@gmail.com ‘Adwitha Suvarna, isa practicing architect based in Bangalore. She is the founder partner and studio head of COLLAGE- architecture studio, which was established in the year 2009. Born in Bangalore, she received her bachelor’s degree in architecture from BIT, Bangalore in the year 2002. After having worked as trainee in C&T, she joined the same firm as an architect and worked in the team headed by Ar. Sanjay Mohe. In the year 2004 she joined Mindspace Architects and was a part of the same til ‘march 2011, During her tenure in Mindspace, she was a part of many residential and institutional projects such as Care Engineering College, Trichy and Shreenidhi international school, Hyderabad. APrivate Residence in Bangalore, completed in the year two thousand and fifteen for a family of three people. As per the dlients taste, the house is luxurious yet_minimalistically designed, with the Use of unique details to further accentuate spaces. Designed to respond to existing architecture and trees, it maintains privacy from the outside and promotes visual connectivity on the inside, This visual and physical connectivity allow for further flexibility of spaces and making maximum use of day-lighting. GROUND FLOOR Foyer Gkichen ormallining 7Sevant’ quarter 220 Faraly room SDining area 10Powdertoom —SLeunge RST FLOOR, 2iedroom 7.Glass bridge 3Dressing Servants quarter ‘Toilet 44 sewer indianinsttuteotarchitects.com numa. ore nou REPUTE Gran “APRIL 2017,RESIDENCE 137, BENGALURU wor indianinstituteofarchitects.comRESIDENCE 137, BENGALURUEas NA AWARDS 2016 - INTERIOR PROJECT - NON RESIDENTIAL Cubix Home, New Delhi ‘Ar. Kapil Aggarwal - Email : spacesarchitects.ka ‘Ar. Kapil Aggarwal did his B.Arch in 1996 from MIT, Manipal. He has an inclination for fine arts since childhood, He considers himself an artist turned into an architect, and considers his project an extension of his art form, He has been working on projects carrying from furniture designing to corporate building schools, residence, restoration projects. Spaces Architects@ka, an international ‘Award winning Architectural firm, established in 2012 has executed more than 100 projects ranging from furniture to corporate buildings with numerous publications. CONCEPT: The office for real estate consultant has been conceptualized as a modern white office with fluid forms. The client requirement was to have 2 MD cabin with Conference for 8 seater with a reception and waiting. The site being linear with 14° wide with a depth of 80! was a challenge to create individual cabins which were to placed one behind each linearly creating a corridor space connecting them, to avoid it ‘the conference placed at the centre of the space has been designed in elliptical oval form to have free flow also the cabin behind was designed with angled glass partition to connect corridor space with the interior space visually thus creating interesting movernent spaces at the same time creating transition. The design concept was intended to try and experiment with fluid forms, also it was @ challenge to create a white interior space, the design and concept was very raw for our style of working, ‘APRIL 2017 JounaLormiencunnsrrureorascarics —— wawwindlaninstiuteofarchiteciscom 47LeGeND 1. Entrance 2. Waiting Area 6. Workspace 1 3. Reception 7. Conference Area 4, Pantry 8. Director’s Room 5. Toilet 9.M.D’s Cabin ‘CUBIX HOME, NEW DELHI The service areas are kept in front, behind the Reception. The front of the Office being 11’ with kitchen wall in fluid profile forms a backdrop for the Reception, A building model designed has been placed vertically on the wall in front of the Reception adding character to the space. The Reception table designed follows the fluid concept of the space with abstract backlit panels. is in harmony with curved back wall which takes a peel form, the top curve panel extending ‘towards workstation and other supported by angled column. ‘The ceiling in the front area has abstract forms with the one above the reception having ‘multiple battens with semi elliptical backlit 48 www indianinsttuteofarchitects.com unas oe iene NETTUTE CF ARCTECS| ‘APRIL 2037,‘CUBIX HOME, NEW DELHI ‘The conference room has multiple layered Ag ce to panels with glass slits, the form at the {Retanon eon centre acts as a transition dividing the Seen er office n public and semi-private space. The ful extends othe cellng and tothe hanging light so. The conference table ha been designed by combining multiple curved panels ied together with gas topineliptical shape. The loos back creating an ambience inthe space. The coridt leading to the ear room as been designed with multiple prolet mages displayedinblackwhich withthe hid, form cling in abstract shape back panel. reflects the pattern on the floor also. " ‘The cabin behind the conference has angled glass panels on either side to visually connect with the outer space. The ceiling of the cabin designed in curved profile with multiple grooves. has an abstract shape ceiling hung below. Project Details Project category: Interior Projects - Non Residential Project Name: CubixHome Completion Date : 09Sep2013, Location + New Delhi Area 1200 Saft ‘APRIL 2017 JoumaLormievcunnsrrurroratcarics — wawwindlaninstituteofarchitectscom 49IIA AWARDS 2016 - HOSPITALITY & RECREATION Xandari Harbour, Kochi projects@stapati.com Stapat's architecture emerges from a sensitive understanding of the context; one where the evolution of design is firmly rooted in the region's traditional narratives, while interpreting the elements in 3 modern context. Tony is also the Founder Chairman of Avani Institute of Design, a Center of Excellence in Architecture and Design education located in Calicut, promoting a holistic approach to design education to develop well-rounded professionals equipped with the sensitivity, empathy, social and technical skill sets to address the ever evolving concerns of our environment. Tony is part of the Kochi-Muziris Biennale 2016, and hhas designed the Biennale Pavilion, which has been receiving some really positive reviews. ery Selene coe pens as rior ‘Saieue sen poe anon ei eeu i : ih i ‘Seal Gpn”sac"sonngO B i 7 i i 50. wwwindlaninstituteofarchitects.com unas oe iene NETTUTE CF ARCTECS| ‘APRIL 2037,XANDARI HARBOUR, KOCHI ay 73 if i Layout plan ‘The existing nondescript budget hotel structure presently had to be corverted into a high end boutique hotel with ‘much more luxurious spaces. Thus the common coridors in the rear were taken into the rooms and private courtyards with 2 garden were created in front to access the individual ooms elevating the sense of privacy as well as exclusivity, XANDARI HARBOUR ‘APRIL 2017, JounaLormiencuwnsrrureoratcarics — wawwindlaninstituteofarchitectscom 51XANDARI HARBOUR, KOCHI ‘The entry I unique ~ a large restored eld wooden doce SS Ieads ene inte an intimate pamage and creates 4 oa ‘efreshing plane ftom the monotonous facades of the ‘aller The feception 1s Informal, flexible and. loosely defined and sets the tone for a lively playful spatial ‘seperience, There i = soarnless transition from the eception Into the central courtyard, presenting & fascinating frame of the watertront, 52 wwwindianinsttuteofarchitects.com unas oe iene NETTUTE CF ARCTECS| ‘APRIL 2037,XANDARI HARBOUR, KOCHI The existing godown was converted into a restaurant with a beautiful double height volume opening out to the waterfront. The space articulates a contemporary design aesthetic while accentuating the charm of the old structure, the existing structure was reinforced to take up the additional load and a steel and glass structure was added to create a mezzanine floor that introduced an interesting juxtaposition of volumes, The weathered look of the existing walls were untouched to retain the original feel with minimal dashes of contemporary materials introduced imparting a rustic sophistication. The rooms are an expression of the contemporary regional aesthetic, with an interesting mix of handmade floor tiles, polished concrete flooring, oxide finishes, saw cut wood, cement board doors and beaten brass. Innovatively detailed furniture, bespoke accessories and thoughtfully handpicked fabrics accentuate the sense of refined luxury. Project Details Project category : Hospitality & Recreation ProjectName —: Xandari Harbour Completion Date : 05 Mar 2014 Location Fort Kochi Plot Size 68867 Sat area 38050 Sq.ft ‘APRIL 2017 JouaLormiencuwnsrrurroratcarics —— wawwindlaninstituteofarchitectscom 53IIA AWARDS 2016 - CONSERVATION PROJECT Beri Chettiar House, Chennai Ar. V.. Vigneswar - Email: architectureplusvalue@gmail.com VSS. Vigneswar is a Practicing Architect and Visiting Faculty based in Chennai. He heads ARCHITECTURE PLUS VALUE, an award-winning Architectural Practice of high quality design repute. ‘What defines A+V is its commitment to the idea of adding value through sensible design. ‘AAV currently handles more than 1-million square feet of projects in Chennai, Bangalore and other places, many of which have received recognition in National and International Platforms. Vigneswar completed his Bachelors in Architecture from C.E.P.1 University, Ahmedabad and his Masters (Mse-Exchange) at T-U. Delft, The Netherlands. BERI-CHETTIAR HOUSE | ‘Type : Hertage Restoration & Adaptve Rese Location : Parktown, chennal ‘Area 7200 sqft! 689 sam Project Cost :As.15,00,000 (15 Lalhs) isTORY Ti 00-year ote bts eae ne ‘ea Chemal, Parton Lacs a the Chal Cr ‘Sot me ahs charge na ovrDe yeas ata beome bust commer cay was tit ha sce Pane fe ‘a Kalas Ctr whe boone fe Be Cet Sorin ‘wont crea 1900+ The house was ily sid he ‘eeerens suraundo fe rh Fat Seog, Tre hzefous he tere of radeon tar rte anf bat sine Wo ig fhe omc of te community. aso sje ane ies of ate peouachet = pace the ure. The ow fond n alpsoe ste ar yee ot emotion ae rd pres have sca ad Bang at DESION BREF Wows archecs reenter sich bul ‘sana of aon sehocue wich nents be peoned fuze pena The omer nee pone and 9 ele Feseach wit condyeg on Ew DODD an se S10 Task ‘espyemng expen ot tadons rcntrnee The Fears ws {alow yaaa anaes one Nat carsvaton. We ales thm rd tt he ings sag rade be eve ey 8 ret ECONOMIC VABILTY: Aso the pot roded be ables he in vue was nh Tetow te tet as rate vile he conesional he tulng ie a fice 5 ‘epg feea and eaves ie 2 ecooricaly wale model of Heage Coneavabon DeSIEN PROZESS ctu anys war care ua ul F) REARCOURTYARD- Dispcsted OPENTERRACE ~ Weatherng eas meogoed fue ue. The nary bldg meas were state wih StucuralFalur and Vator Damages the semaged porns. Meine, to mike the ullng reewnt to tacos realy wafolawes wo sates Fate ein pte st the fase vere re-oced an trough sig nostons © the (pen ade aon olan else savease ad erty we eee ose te hue no tai oe paces The rts) gin ana erin tens wa reseed ad te reingofice ‘oe Dente gea del fom nem. Seca) a9 ene yer ot ‘Sein were ade fo th bulking. The Pury, Eectial ar Fre Stet ystors nee pees svn eae he seth functnig ote bldg Ova rots a sites ape ot heh ttn fy een and hint trae gene ‘ota pe ne eae Montel HTV-DA Aas 208 (Hage rebar iar ubiced ht THE HNOU-abia Restore od Rowse, 20th | Soe agus 2014) SRetedl cet Moiuch wos Cnr ws pcmcia ow [PS ineratonaEanene onthe Sacral fae of Htore PHOTOS TAKEN BEFORE F DETALED PHOTOGRAPHS -Vacras Trae and imbs Elem Contactors nates 201 sis apt it 54 wwwindlaninstituteofarchitects.com numa oe ner oF ances ‘APRIL 2037,BERI CHETTIAR HOUSE, CHENNAI FLOOR PLANS : These color coded floor plans shows the various ‘occupancies of the house and the tenanted portions. The original plan was keptintact but made viable through carefully designed modifications to the circulation and usage patterns. LEGEND Fata Wea Tastoa House - Ome Fetal + ce ea? FIRST FLOOR PLAN Fret rent ame tect oe ne rosa BEFORE RESTORATION oO — «FRONT ELEVATION DRAWING Conca ance in Rot ‘APRIL 2017 JounaLormiescunnsrurrcratcarics — wawwindlaninstituteofarchitectscom 55BERI CHETTIAR HOUSE, CHENNAI ‘APRIL 2037,BERI CHETTIAR HOUSE, CHENNAI 2 eps ‘APRIL 2017, JouaLormiencusnsrrurcoratcarics —— wwwindlaninstituteofarchitectscom 57EWG Tas IIA AWARDS 2016 - ARCHITECTURE UNBUILT PROJECT Bamiyan Cultural Centre, Afghanistan ‘Ar. Girish Dariyav Karnawat - Email : gdk@gdkdesings.com Ar. Girish Dariyav Karnawat has over 25 years of professional, research and teaching experience in Architecture. He established his design firm - GDK designs in 2001. He has designed and executed ‘most of his projects across several states considering functionality and superior workmanship and has won several prestigious awards. He has worked with several renowned International and Indian Architectural Firms from 1992-2000. He has organised and participated in several seminars and exhibitions and delivered several lectures across the country. ‘The project is being treated as another archaeological site - discovered; one that is incidentally found. The project is also seen as 2 place that gives a sense of belonging to the local people by engaging them from the beginning into the process of building, and taking their services and expertise. The project is seen beyond being a mere museum and the focus s on the life of the local people. The struggle is towards balancing the survival of history/ culture versus day to day life. A project ofthis nature is almost a luxury, unless it engages the people of Bamiyan in building it, running it and maintaining it. It was very important that the expression of the building is non-intimidating, modern and contemporary. Materials and techniques of the construction for the building have been chosen keeping the above ideas and concerns in mind. Essentially, the most natural instinct was to use mud bricks, rammed earth, compressed earth blocks, stone/wood for construction, Simultaneously, the caves and niches in the Buddha cliff suggest that the soil in the region is semi rocky and malleable. Thus, the spaces can be carved and excavated. 58 wuwindlaninstituteofarchitects.com unas oe iene NETTUTE CF ARCTECS| eRIL 2017BAMIYAN CULTURAL CENTRE, AFGHANISTAN The building is sited on the upper level of the site and the lower level is offered as a garden, The bund dissolves the sharp boundary line between the site and the town, and simultaneously creates a protective armature around the site. Gaps in the bund offer ‘multiple entries to the cultural centre and space within. The main vehicular entrance is a large ramp, starting from the south-west corner of the site, and leading down to the courtyard which is sunk 5 mts. below grade. ‘The west face of the court is defined by the exhibition galleries. These are long spaces carved into the earth and ending on the west edge of the site; framing the Buddha cliffs beyond. The galleries are covered with vaults constructed with Nubian technique using mud bricks. The artefacts within are preserved in niches. Streaks of light brought in through punctures in the vault; create the resemblance of an archaeological setting. ‘The opposite side of the courtyard steps up to create another smaller courtyard around which are organized the educational and administrative functions of the cultural centre, Held between the galleries and the work-spaces, the third side of the court is edged by the performance space. The fourth face of the courtyard leads below to the lower level of the site into a garden, which then terminates into an outdoor amphitheatre. Project Details Project category : Architecture Unbult Projects The garden is enclosed by a dense orchard and a mixed Project Name: Bamiyan Cultural Centre plantation of native trees towards the east. The cliff edge of _ Location Bamiyan, Afghanistan the garden is hemmed by tanks that hold rainwater. These are Plot Size 279861 Sq.ft covered with wooden slats that become platforms in the aa 23185 sat landscape looking out to the Buddha cliffs ‘APRIL 2017 JoumaLormiencunnsrrurcoratcarics —— wawwindlaninstituteofarchiteciscom 59A AWARDS 2016 - SOCIALLY RESPONSIBLE ARCHITECTURE The Temple and the People, Telangana ‘Ar. K, Hari Krishna - Email: harikrishna.sea@gmall.com Hari krishna did his Bachelors from Andhra University. The SEA - Studio for Environment and Architecture was founded by Hari Krishna, Shyam and Venu Gopal in 2009 and the name was derived ‘ot just from a connection to our respective hometowns but also as a symbol of understanding to changing perceptions and seamless adaptation to any situation. Our work also reflects this, philosophy of sensitivity and adaptation to any context, she Temple @ Situated in Vennached, a sleepy, quite village located 150 kms The people away from Hyderabad city, in a remote location of Gandeed ‘mandal of Ranga Reddy district, the village and surrounding localities of Kosigi, Tandoor, and Kodangal present a vernacular of low slung huts, closely spaced to form narrow intimate streets. “Tandur” a locally and abundantly available cool grey stone dominates the built-scape with its stark grey color as roofing, walling and flooring material. The temple sits at the confluence of three streets that form the entrance into the village, framed by a magnificent tree becomes the village ‘community space for all. The temple design isa direct response ‘and an extension to this socially, and culturally and spiritually A plac of rest repose and worshis during the day and beacon of vant important space. har represent the conection to bat the earth an the sy, roted In Pe ==> ‘The initial idea was to create a perforated periphery (Jal) that would act as an enclosure as well as facilitate the flow of space from the exterior to the interior, with the locally available “tandur” stone. The stone was then abandoned for structural stability and durability concerns and replaced with extruded hollow clay bricks that provided a rich contrast of warm brick red against a backdrop of cool grey tandur stone and a strong connection to the earth. The perforated screen then took on a life ofits own brought about by an intricate play of rhythms and transformations using the simple geometry of the modular brick to create intricate forms that echoed the traditional profiles of the temples lid 50 wwwindianinstituteotarchitects.com numa. ore nou REPUTE Gran “APRIL 2017,‘THE TEMPLE AND THE PEOPLE, TELANGANA ‘The base is defined by the raised plinth that is extended outwards opposite the Tree bringing together the communal and the spiritual, scaling up the area available for art music and culture. The central platform is surrounded by the “pradakshina” path, which is bounded by a brick wall The cross alignment of bricks allows smooth flow of air into the temple premises. The ascending order or bricks in each layer creates openings, which cause an interesting play of light. The corners are made amorphous by locating the columns in the center wwomnmnn and freeing up the extremities. ‘The Shikhara whichis 20’ high stands out amidst the village, cons same language as the walls, giving afine sculpted appearance. it ends with an aperture due to which the Garbagrina below is iluminated with diffused ight. ansome ‘APRIL 2017, JounaLormiencunnsrrureeraacarics —— wawwindlaninstiuteofarchitectscom 61‘THE TEMPLE AND THE PEOPLE, TELANGANA HUH HHT te me tt Ma qe fa ‘The Jali,both, opaque and transparent, Solid and fragile comes together to create place of rest, repose and worship during the day and a beacon of light like a lanter in the night merging gently into the village through its finger like shadows cast on the ground. The rhythmic proportions of the wall and the shikhara representing the connectio to both the earth and the sky, roated in the ground yet reaching to the skies and connecting to the people in between, ws The design and the construction of the temple took an all-new popes ‘meaning when the entire village came and participated in‘ Projectcategory : Socially Responsible Architecture animated discussions on the form and wondered and ProjectName The Temple and the People questioned and fed and feted the architect Completion Date : 27 Now 2015 Location Vennached, RR District, Telangana The energy this process generated i reflected in the building plot Size + 3600 st and its success asa space that brings the people together. rea + 720050 ft 62. wwwindianinsttuteofarchitects.com unas oe iene NETTUTE CF ARCTECS| ‘APRIL 2037,ee ee + Great Master's Award/Chairman's Award which is by nomination for lifeime /outstanding contribution to Architecture is "GIVEN ONCE IN TWO YEARS". { mee It is due with 28th JKAYA. Nominations shall be ited with 28 JKAYA. yaar" \; All other Awards are declared annually by selection of a project completed during Nawards ] calendar year 2015/2016. There is no entry fee. 2. AWARDS CATEGORIES for 27th JK AYA_ GREAT MASTER/CHAIRMAN’S AWARD (Award ou) Open to Architects from India, Bangladesh, Bhutan, Kenya, Maldives, Mauritius, Nepal, Seychelles, Sri Lanko, Tanzania & Uganda INR 3 Lacs (Approx. US$ 5000), Trophy & Citation. oe GREEN ARCHITECTURE (Environment Conscious pin) (There is one award ‘a {20 point write-up justin areen status isa MUST. Each pont not exceeding two ‘sentences. Drawings should show green features in ditnct colo. Mention skal be made bout number of occupants of the buldng & use of buldng) 1.1 Open to Architects from India, Bangladesh, Bhutan, Kenya, Maldives, Mauritius, INR2 Lacs (Approx. US$ 3300), Nepal, Seychelles, Sri Lanka, Tanzania & Uganda Trophy & Citation. INDIAN ARCHITECTURE AWARDS (IAA) (There ate 1.2 Architect of the Year Award INR 1.75 Lacs, Trophy & Citation Commendation Awards For: 1.3 Private Residence (PR) INR 1.75 Lacs, Trophy & Citation 1.4 Group Housing (GH) INR 1.25 Lacs, Trophy & Citation 1.5 Public Building (PB) INR 1.25 Lacs, Trophy & Citation (in case of Public Building, minimum built-up ‘area should be 1000 Sq) 1.6 Religious Architecture (RA) INR 1.25 Lacs, Trophy & Citation (Projects Completed between Jon-2012 to Dec-2016,) 1.7 Young Architects Award INR 75,000/-, Trophy & Citation 1.8 Architecture Student of the Year INR 25,000/;, Trophy & Citation (Only for Colleges in India) Winner Student shall be awarded at National Level with all other winners INDIAN STATE ARCHITECTURE AWARDS (ISAA) "(There are three awards un [Focus States/UT: Punjab, Chandigarh (UT), Himachal Pradesh, J&K] 1.9. State Architect of the Year Award INR 1.25 Lacs, Trophy & Citation 1.10 State Architect Commendation Award INR 75,000/-, Trophy & Citation 1.11 State Young Architect's Award INR 50,000/-, Trophy & Ci FOREIGN COUNTRIES’ ARCHITECTURE AWARDS (FCAA) FCA) hee aretivee awards under [eeeetonl eet cladash, et temakeene ent Mersin Nee See, Si lanka, Tore eee 1.12 Foreign Countries’ Architect of the Year Award __ INR 1.75,000/-, (Approx. US$2900) Trophy & Citation 1.13 Foreign Countries’ Commendation Award INR 1.25,000/-, (Approx. US$2000) Trophy & Citation 1.14 Foreign Countries’ Young Architect's Award INR 75,000/-, (Approx. US$1250) Trophy & Citation GRAND TOTAL 14 prizes Last date for submission of Entry : 30th June 2017 For details logon to www ayakcement.com _ aa iis: 6)h3—6ULYTvU—™—C<é«COMAEPI) Sonor ed Sedo terry egies Cada me eee) Lge Maven) ORL ec ge CREE) CT TES eA Shy eer mc N Green Architecture (Environment Conscious Design) (Eigibe Courses: nia, Bangladesh, Bhutan, Kenya, Maldives, Ce Ne eee) UOTE CO aC Ce ace Foreign Countries’ Architecture Awards (FCAA) coe eer eres eee ee ey corte) aa Si-e)o ota Indian State Architecture Awards (ISAA) ere Ue eee cee] Sooner) For Code of Participation Cec ker cera Care Eeionisceca a7) 221, Ashok Nagar eee RCE Oa Ea Ne oer) eso J.K, Wall Putty 4K. Water Proofing Compound CATES Ra eon eneen Cima a CEs us Apres esTerade) die aco MN ONC) oan