Indian Architect & Builder, through a two-part series titled ‘Practices of Consequence’ (Volumes I and II), delves deeper into contemporary Indian practices that have carved a unique identity and place for themselves in the country today. This article, part of the first volume of the series, takes a closer look at ‘Abin Design Studio’, a Kolkata-based architectural firm.
In a city that, though culturally rich, has remained fairly neglectful of contemporary architectural developments, Abin Design Studio’s dynamic philosophy attempts to trigger a ‘think revolution’ by challenging the conventional and recreating the city-scape of Kolkata. Abin Design Studio was founded in October 2005 by Abin Chaudhuri, who partnered with Jui Mallick in 2006. What started off as a small three-person firm is now a frontline organisation rendering complete design solutions from conceptualisation to realisation of space, object and visual.
The projects have a strong spatial quality which fuse lessons from past traditions with aspirations of the present in a sparkling coup of energy. Their passion to transform and nerve to challenge is almost incomparable. Indian Architect & Builder’s interview with the founders, after the break…
Arthur Andersson of Andersson-Wise Architects wants to build ruins. He wants things to be timeless – to look good now and 2000 years from now. He wants buildings to fit within a place and time. To do that he has a various set of philosophies, processes and some great influences. Read our full in-depth interview with Mr. Andersson, another revolutionary ”Material Mind,” after the break.
Indian Architect & Builder, through a two-part series titled ‘Practices of Consequence’ (Volumes I and II) delves deeper into contemporary Indian practices that have carved a unique identity and place for themselves in the country today. This interview, part of the first volume of the series, takes a closer look at ‘Indigo Architects’, an Ahmedabad-based architectural firm.
IAB: Please describe your work.
Uday + Mausami Andhare: We have positioned our efforts in the field of architecture in the context of our time, which is ridden with great contrasts. On one hand, rapid and haphazard development in the cities is putting the existing infrastructure under a severe strain and on the other, smaller towns and villages continues to suffer age-old neglect in the area of planned growth and quality of construction. With fast-depleting resources, the onus of a sensitive approach to these realities is a dire need…And architecture has the power to effect change, of course. The question is about being effective in various contexts. Urban, rural, big, or small, private or public, it is imperative to give utmost care and dignity to the smallest of efforts. Perhaps, this may be a model that allows well-meaning practices to carry on with their tasks with an integral focus, in any profession.
Green, or living, walls have begun popping up and growing across commercial interiors everywhere over the last decade. To understand how a living wall functions, and how to design one, we went straight to a pioneer in the profession: Ms. Birgit Siber of Diamond Schmitt Architects in Toronto. The synthesis of natural systems and building systems had been in her mind since her days as a student, but the major break came in 2000, when her team constructed a massive living wall for The University of Guelph-Humbar. To understand how architects are closing the gap between interior and exterior via the living wall, read the full interview after the break.
Indian Architect & Builder, through a two-part series titled ‘Practices of Consequence’ (Volumes I and II) delves deeper into contemporary Indian practices that have carved a unique identity and place for themselves in the country today. This article, part of the first volume of the series, takes a closer look at ‘mayaPRAXIS’, a Bengaluru-based architectural firm.
While anchoring each work in its specific site and circumstance, mayaPRAXIS is a synthesis of Vijay Narnapatti and Dimple Mittal’s sensibilities, which endeavor to obtain a deeper experience of time, space, light and materials. A continuum of specific situations enables works of distinct individuality and stylistic variety from project to project. Every project has a realm of details where the essential qualities are crystallised and catalysed at multiple scales.
Indian Architect & Builder’s interview with the founders, after the break…
Our very talented friend Federico Babina has been responsible for some of ArchDaily’s most popular posts lately. The creativity behind his ARCHISET, ARCHIMACHINE, ARCHIPORTRAIT, ARCHIST, ARCHIBET and ARCHICINE have garnered thousands of shares on social media. Since we loved Babina’s serialized architectural illustrations, we were thrilled when he saw his latest set: the ArchDaily logo imagined in and around the world’s classic architecture. Read on for our interview with the architect and graphic designer.
ArchDaily: Can you introduce yourself?
Federico Babina: My name is Federico Babina. I am an Italian architect and graphic designer (since 1994) that lives and works in Barcelona (since 2007). But mostly I’ve been a curious person (since forever).
AD: What’s an interesting fact about you?
FB: Every day I try to rediscover a way to observe the world through the eyes of a child. Children are able to have a vision of things totally uninhibited and without the conditioning of the experience. Children’s drawings are always amazing and beautiful in their spontaneous simplicity and clarity. I like trying to explain the world I see through different techniques of expression. I like the richness of the language and the diversity of its forms. I do not want to confine me in a prison of a style or shape.
AD: In what ways does your training as an architect affect your style as an illustrator?
FB: Any architect has to explain his projects through illustration and drawing. Design is the first way to give shape and body to a project. In this sense every architect should be a graphic designer. I was born with illustration. It’s been part of my life since I was a child. I started with book stories, I passed through the comics and then I arrived to architecture. Drawing and illustration and making architectural projects are, for me, one of the ways to recount and capture thoughts, feelings and emotions. Every project has a story and every project is a witness of a story. I ‘m fascinated by the idea of being able to blend the world of architecture and illustration: transform the architecture in an illustration and illustrations in an architecture.
The following are excerpts from one of 41 interviews that student researchers at the Strelka Institute are publishing as part of the Future Urbanism Project. In this interview, James Schrader speaks with Adam Snow Frampton, the co-author of Cities Without Ground and the Principal of Only If, a New York City-based practice for architecture and urbanism. They discuss his work with OMA, the difference between Western and Asian cities, his experiences opening a new firm in New York, and the future of design on an urban scale.
James Schrader: Before we get to future urbanism, I thought it would be interesting to look a bit into your past. Could you tell me about where your interest in cities came from? Were there any formative moments that led to your fascination with cities?
Adam Snow Frampton: I was always interested in cities, but not necessarily exposed to much planning at school. When I went to work at OMA Rotterdam, I was engaged in a lot of large-scale projects, mostly in the Middle East and increasingly in Asia, where there was an opportunity to plan cities at a bigger scale. In the Netherlands, there’s not necessarily more construction than in the US, but there is a tradition of thinking big and a tendency to plan. For instance, many Dutch design offices like OMA, West 8, and MVRDV have done master plans for the whole country.
Indian Architect & Builder, through a two-part series titled ‘Practices of Consequence’ (Volumes I and II) delves deeper into contemporary Indian practices that have carved a unique identity and place for themselves in the country today. This article, part of the first volume of the series, takes a closer look at ‘Hundredhands’, a Bengaluru-based architectural firm.
Patient and purposeful, the work of Hundredhands responds to fundamental concerns of form and space, material integrity, economy and efficiency with a strong efficacy with respect to function and relevance. With a team of architects and architecture trainees directed by Bijoy Ramachandran and Sunitha Kondur, Hundredhands has a significant investment in the conceptual development of their work and architectural discourse as an extension.
Pragmatic and grounded in ‘doing’, the built work of Hundredhands is developed through an analytical process of drawing, physical and virtual model-making, detailing and a control on the process of building. Their buildings have a sense of clarity that comes through methodical process and elimination of the unnecessary. They use contemporary building technology and materials responsibly and with due regard to available skill. Their architecture is enriched through selection and restraint.
Indian Architect & Builder’s interview with the founders, after the break…
We were excited to have the chance to speak with DUST when we lectured at U of Arizona a few months ago. The project for a villa in Tucson that DUST shared with ArchDaily in 2009 gained a lot of attention before it was even built–particularly for its use of a traditional construction system (rammed earth) and a bold material palette. The large walls act as thermal masses but are, most importantly, part of a system that is deeply connected to the site.
We wanted to talk with principal Jesús Robles (who founded DUST with Cade Hayes) to find out more about DUST’s latest work, especially since they know how to design and build with a very low impact, allowing them to be hands-on and innovative in terms of materials. For the interview, DUST brought us to the remote stretch of land in the San Rafael valley where they have been working on their latest project, Casa Caldera. You can see the progress of this house made of scoria here.
Since childhood, growing up on a farm outside of Nashville, Wendell Burnette has been inspired by nature; indeed, the amplification of the natural site has highlighted his body of work. In the following question and answer by Guy Horton of Metropolis Magazine, the Pheonix-based architect speaks about memories, inspiration and experience.
Wendell Burnette’s journey through architecture has taken him from Frank Lloyd Wright’s Taliesin to some of the most beautiful landscapes in the world, where he has designed a type of architecture that resonates with the power of natural surroundings. It has also taken him to one of the world’s fastest growing cities, Phoenix, Arizona, where his practice, Wendell Burnette Architects, is based and where he calls home. More recently it has brought him to Los Angeles where he is the current Nancy M. & Edward D. Fox Urban Design Critic at the USC School of Architecture. He is also Professor of Practice at The Design School at Arizona State University’s Herberger Institute of Design and the Arts.
I spoke with Burnette about his approach to architecture, the importance of direct experience, and the meaning behind his current USC studio, “Earth Curvature”.
As both crowdsourcing and crowdfunding gather momentum in the architecture world, they also gather criticism. The crowdsourcing design website Arcbazar, for example, has recently attracted critics who label it as “the worst thing to happen to architecture since the internet started.” A few months ago, I myself strongly criticized the 17John apartment-hotel in New York for stretching the definition of “crowdfunding” to the point where it lost validity, essentially becoming a meaningless buzzword.
In response to this criticism, I spoke to Rodrigo Nino, the founder of Prodigy Network, the company behind 17 John, who offered to counter my argument. Read on after the break for his take on the benefits of tapping into the ‘wisdom of crowds.’
Not so far in the future, smartphones and laptops will go the way of the beeper and fax machine, fading into obsolescence. Soon, according to MIT Media Lab’s Joseph Paradiso, we will interface with the physical world via wearable technologies that continually exchange information with sensors embedded all around us.
Paradiso has been at the forefront of these developments for decades, exploring new applications for sensor networks in everything from music (he will lead a presentation of the lab’s musical innovations later this month at Moogfest) to baseball. In recent years, his group’s research has focused increasingly on smart buildings. I spoke with him about the implications of his work for the future of architecture and the built environment.
You run the Responsive Environments group at the Media Lab. Can you describe some of your work in the building realm?
We caught up with Arthur Andersson of Andersson-Wise during last year’s AIA convention, where he received FAIA status. As the firm’s design director, Andersson shepherds their work through the various phases of the design process with a particular attention to the client’s role.
The work of Andersson-Wise can be defined as authentically local, with a strong emphasis on materials and details. The Texas-based architects use passive energy approaches in their large projects that appear as if they have been extrapolated from their detailed, smaller scale projects. The W Austin, the only mixed-use LEED Silver building in Texas, has design features that strategically reduce energy usage and heat gain. Sustainability in architecture is at the core of their approach–deeply rooted in the spirit and materiality of the buildings.
Their versatility is evident in their successful completion of projects of different scales. They place a premium on the practice of drawing by hand and, as a result, their projects achieve a certain level of sustainability that doesn’t detract from Andersson-Wise’s portfolio of timeless work.
Check out Andersson-Wise’s projects on ArchDaily: