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E L E M E N T E   Jul   Aug 2008
 

E L E M E N T E Jul Aug 2008

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Selected project published by Elemente, a Canadian based Architectural and Design Magazine

Selected project published by Elemente, a Canadian based Architectural and Design Magazine

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    E L E M E N T E   Jul   Aug 2008 E L E M E N T E Jul Aug 2008 Document Transcript

    • Canada’s alternative design magazine DESIGN + ARCHITECTURE + lIfESTylE + I N T E R N AT I o N A l July/Aug 2008 Display until Sept 15 PM41097025 CAN/US $ 8.00 Volume 3 // Issue 3 0 56698 27848 www.elementemag.com 1 03
    • Ar+ architecture and that’s a WRAP... In d Ia’s awa r d-wI nnI ng cr e at I v e te am , co llabo r atI v e a r ch Ite ctur e , p resen ts t h e I r u nIq u e ca s e f o r e cle ctIc ar ch I te ctur e and d e sIgn words :: J lynn fraser // Images :: lalita tharani, ajeeb Komachi elementemag.com .1 0 4
    • PROJECT DETAILS :: Project :: wrap- 3 Project Location :: calicut, India Firm :: collaborative architecture, India Principal Architects :: lalita tharani, mujib ahmed Client :: Jdt, calicut India Project Area :: 1800 sq ft Project team :: nadia & shoukath “we wanted as much stimuli as possible to make the end product a LIVING ORGANISM” - muJIb ah med elementemag.com .1 0 5
    • “doIng archItecture Is not... a result of a ratIonal process, but, [is] intuitive, often layered [with] palimpsests of logical, irrational, bizarre, poetic, clarified and impossible thoughts,” according to mujib ahmed and lalita tharani, the award-winning creative team behind India’s eclectic architecture and design firm collaborative architecture (ca). ca challenges traditional conversations of ioned from gypsum board and steel, is also retail, commercial and residential space with laminated. compact fluorescents illuminate a broad vocabulary of materials and fluent individual work areas on the workstations. translation of space, light, and geometry. “we love to explore,” says tharani, who this approach is exemplified in wrap 3, has a diploma in Interior architecture from a computer room that ca designed for pri- the sophia polytechnic. “we want to inno- mary and secondary students at the Jdt vate on every project.” the firm’s wrap con- orphanage in calicut, India. “we wanted cept refers to its view of erasure of boundar- as much stimuli as possible to make the end ies between walls, floors and ceilings, as well product a living organism. [the work] is about as its willingness to draw upon different disci- creating living spaces,” asserts ahmed, who plines to interpret clients’ briefs. earned a degree in architectural engineering the ca team incorporates design strat- in 1993 from regional engineering college egies from interior design, sociology and (calicut, India). architecture, as well as ahmed’s and tharani’s the 1,800-square-foot computer training respective studio and corporate backgrounds environment seems lifted from the landscape “we don’t want to be shaped as a retail of dr. seuss’s who-ville. cantilevered work- or institutional architectural firm,” ahmed stations “hover” above a ceramic tile floor. stresses. tharani’s dream project would be to on angled walls, windows float like long design a campus for an educational facility, steams of blown soap bubbles. the walls are and ahmed’s would be to design a museum. made from a framework of structural steel begun in 2000, the firm now employs fifteen clad with laminates. ca favours this type of people and has offices in both calicut and steel because it has both “tensile and com- mumbai (formerly bombay). both cities are pressive strength,” according to tharani. located on India’s west coast. ca’s clients the crayon-coloured purple and green are mostly business entrepreneurs. tharani acrylic paint on the walls is appropriate for describes them as “widely travelled” indi- the room’s youthful clients. the ceiling, fash- viduals who are exposed to the latest devel- elementemag.com .1 0 6
    • PROJECT DETAILS :: Project :: wrap- 4 Project Location :: calicut, India Firm :: collaborative architecture, India Principal Architects :: lalita tharani, mujib ahmed Client :: K t c automobiles, calicut India Project Area :: 12,000 sq ft Project team :: shoukath & sandhya banjan elementemag.com .1 0 7
    • “Collaborative is a highly dynamic practice on look for projects globally.” - l a l I ta t h a r a n I elementemag.com .1 0 8
    • PROJECT DETAILS :: Project :: concept pavilion Project Location :: mobile Firm :: collaborative architecture, India Principal Architects :: lalita tharani, mujib ahmed Client :: titan Industries Project Area :: 1450 sq ft Project Team :: shoukath & sandhya banjan elementemag.com .1 0 9
    • “The pavilion is designed to maximize the interface between the audience and the products.” opments in art and architecture. ahmed space that would “convey the future direc- for a booth displaying timepieces. the notes that 90 percent of the clients are tions of the company [while] showcasing floor’s dark carpeting provides a neutral under the age of 40. the different brands of the company.” background for the display cases – or although ahmed claims to be unfamiliar boldly coloured in red and tan, the “domains,” as ahmed calls them. with stanley Kubrick’s movie 2001: A Space booth’s floor-to-ceiling modules curl “we are more peter Keating than howard Odyssey, the aesthetic in ca’s concept around rectangular glass vitrines display- roark,” ahmed says, referring to the ego- pavillion is strikingly similar with its retro ing watches, jewelry and designer eyewear centric and domineering architect-protag- 1960s futurism. as in the wrap 3 project, made by titan. the modules are designed onist of ayn rand’s The Fountainhead. “we ca’s vocabulary of free-flowing floors, long with heights of 3,000 millimetres and 2,400 dislike the point of view of the god-like sightlines and expansive space makes the millimetres. made in a number of widths, architect,” adds tharani. nevertheless, ca 1,450-square-foot travelling exhibition the modules can be arranged into differ- will “restructure” a client’s brief if they feel booth seem larger than it is. ent groupings. it lacks vision, as they did with the concept “the pavilion is designed to maximize fluorescent lights along the ceiling pavillion. ahmed likens relationships the interface between the audience and and supporting walls are inset in a criss- with clients to a “double-edged sword” the products,” ca wrote of its approach to crossing pattern, guiding the visitor’s and observes that they can be “tenuous, the design. the booth can be expanded gaze downward to the vitrines. long because the client says that they want x, or contracted as needed. the client, titan hatch marks on the ceiling, called the and then we have to educate them.” Industries – a division of the tata group, a “hour roof Zone,” change colour as time In the case of wrap 4, the client, global company based in India – wanted a passes, an appropriate visual metaphor hyundai, asked for “a nice backdrop 604-881-4881 | www.frasershading.com | www.mechoshade.com elementemag.com .1 1 0
    • for the product display.” CA noted that architect Charles W. Moore, whose angles team approach to building may be holding its “ensuing architectural response did and emphasis on basic forms can be seen back the country’s architectural innovation: exactly the opposite of the [client’s] in CA’s work. The cantilevered “outcrop- “In terms of the intellectual part of archi- brief.” Taking their wrap concept to a pings” and the sense of immense space tecture, India is still catching up. Industry, grand and extreme form, CA created a in the public buildings of Spanish architect the contractor and the architect are linked car showroom that allowed 360-degree Rafael Moneo are echoed in CA’s approach in the West. They are completely dis-linked viewing of the cars, and took advantage to angles and boundaries. Ahmed also cites in India. Which is why India can’t produce of the former warehouse’s 12,000-square- Louis Kahn, Charles-Édouard Jeanneret- contemporary architecture.” Ahmed foot space. Gris (Le Corbusier) and Frank Lloyd Wright notes that, while the economies of India Reminiscent of a Möbius strip, WRAP 4 as influences. These architects are known and China are growing at the same time, illustrates CA’s distinct approach to bound- for their strong forms and their ability to he believes it will take “50 years for India ary-erasing walls, floors and ceilings. The distill a building to its essence. to catch up.” In India the mindset has to showroom’s ambience is that of a pared- Ahmed denies that his early studies change. “The mentality of the clients has down futurism. Long, rectangular hatch with Californian potter and architect Ray not changed,” Ahmed observes – even marks – a recurring motif – decorate sec- Meeker, who along with Deborah Smith though, he concedes, “the middle class is tions of the blue strip, which forms the established Golden Bridge Pottery in changing the profession.” display platform for the cars. A sense of Pondicherry (found at the south-east tip of India’s lack of infrastructure, combined speed emanates from the long white hatch India), still influence him. It can be argued, with the CA team’s desire to explore and marks, the angled white countertops and however, that Meeker’s fire-stabilized mud innovate, may draw them to projects out- the angled blue strip. The Hyundai logo is buildings and ceramics, for which he is side of the country. “Collaborative is a also smoothed and angled to match the famous in India, gave Ahmed a respect highly dynamic practice on look for proj- room’s sleek aesthetic. for volume and for the sensuousness of ects globally,” says Tharani. “We would Tharani and Ahmed are influenced by curved form. love to do some institutional projects in well-known architects from a variety of In India, Ahmed believes, the lack of Europe and North America…We are wait- cultures. Ahmed points to the American technology, dependable infrastructure and ing for the call!” elementemag.com .1 1 2