Alembic Industrial Heritage and redevelopment at Vadodara, by Karan Grover and Associates

Alembic Industrial Heritage and redevelopment at Vadodara, by Karan Grover and Associates 3

Karan Grover and Associates - Industrial heritage

The Alembic factory is located in the middle of the city and along the main railway line of the city of Baroda. In its 112th year of existence, the first ever Alembic industrial building in Vadodara has seen multiple surgical interventions. Similar to many old factory buildings, the building got altered over time due to change in the original purpose of the facility. Starting from manufacturing penicillin to alcohol.
The space within is meant to serve the Alembic Museum, art studios, display and exhibition space with ancillary spaces for a library, AV room and a café.

Alembic Industrial Heritage and redevelopment at Vadodara, by Karan Grover and Associates 6Our architectural purpose was to approach this is a sculpture is to maintain the true spirit of the building in terms of materials and the physical quality of the space. The only new architectural elements are new partition walls in between studio spaces. The existing building is characterized by arches, which have been blocked. We are opening up as many arches considering the structure of it. The thickness of the main load-bearing walls averages at 0.45m and provides the interior with excellent insulation. We are in the process of creating samples for the finish of the walls. We will be using either sand – blasting or water jet treatment in order to remove the plaster from the brick. In many areas, the plaster is already peeling off and would like to continue with the same.

Alembic Industrial Heritage and redevelopment at Vadodara, by Karan Grover and Associates 12

Another major architectural element is the design of the roof. There are a few structural details that caught our eye. The trusses are riveted as opposed to being welded. The detail of the riveted trusses, is dare I say, riveting. Fortunate for us many of the trusses are in great condition. Only a handful of the trusses will require strengthening. The existing exterior roof material is of Mangalore tiles. These terracotta tiles are battered and will have to be removed. New Mangalore tiles will be installed with added insulation above the top-chord of the truss. We are very keen to leave the purlins and rafters exposed to express the quality of the structure that it once was.

The re-development of the industrial area will see major interventions in other parts of the campus.

Project Facts:

Client: Alembic Ltd.
Location: Vadodara, Gujarat, India
Start Date: March 2017
Completion: December 2018
Plot Area: 87,120 sq. ft
Built Up Area: 12,915 sq. ft
Structure Consult.: ADCE Structure Engineering
MEP Consultants.: Artech Engineering Solutions

Concrete void (Vijay Transtech factory), at Bhiwandi, Maharashtra, by Sameep Padora and Associates

Sameep Padora and Associates

Text: Sameep Padora and Associates, Images: ©Edmund Sumner

Concrete void (Vijay Transtech factory), at Bhiwandi, Maharashtra, by Sameep Padora and Associates 16

The factory is located on a plot in a logistical warehousing facility on the outskirts of Mumbai. As is typical of most industrial warehouses in the area, the default construction material for most buildings is corrugated metal sheathing and the general prevalent built form is opaque without visual or physical connection to the immediate environment, thus turning the precinct into a continuous hard edge.

Concrete void (Vijay Transtech factory), at Bhiwandi, Maharashtra, by Sameep Padora and Associates 18

Our first instinct was to position the project as relief from the experience of this existing impervious precinct mass. On the North-West corner a portion of the site was low-lying, lower than an adjacent seasonal pond. This low-lying part of our site was hence a natural receiver for groundwater levels that rise up during the monsoons. We retained this natural site depression and hence the seasonal ingress of water during the monsoons rather than keep the water out. This move maintains the physical linkages that exist between our site and the surrounding landscape. Over this landscape we cantilevered a portion of our building creating a shaded and naturally cooled social and recreational space where the staff of the factory can take a break from their routines.

While the expression of the building’s heaviness was of interest, the heart of the project is the void of the central open to sky courtyard around which the factory’s building’s production floors are organized. These relatively thin floorplates ensured well-lit work spaces.

The cast-in-place heavy concrete materiality of the ‘porous’ block is in sharp contrast to lightweight but opaque steel sheathing of the buildings around.

Concrete void (Vijay Transtech factory), at Bhiwandi, Maharashtra, by Sameep Padora and Associates 40

The corner void connecting to the central void courtyard creates an extroverted factory type, visually linking to the access road beyond the site as well as offering relief from the impenetrable adjoining building masses.

Concrete void (Vijay Transtech factory), at Bhiwandi, Maharashtra, by Sameep Padora and Associates 66

Lab for a Cement Factory at Goa Sachin Agshikar Architects

Lab for a Cement Factory at Goa Sachin Agshikar Architects

The site for this little lab building is situated on the Eastern border of Goa, in the middle of a cement factory campus.  This factory, towering above the surrounding grey and dusty industrial area, had an intimidating scale. The huge mountains of raw material, the smoke, the steel structures, workers covered with fine cement powder, and the energy with which the machines worked effortlessly, was an unforgettable sight.

A small plot next to the entrance gate was reserved for the lab. With huge silos as a backdrop for our building, the composition was already quite interesting!

Looking at the surroundings and considering the overall scale of the factory, one thing was very clear that the building had to be sculptural and needed a strong colour to stand out.

The plan was simple with rooms placed around a small courtyard with skylight. The labs were on the ground floor and the offices were on the upper two floors. The building was intentionally made three stories to give it a scale, considering the adjacent structures.

The water tank was placed in a triangular tower in the corner facing the entrance gate. The sharp corners of this tank complimented by the angular wall of the conference room on the first floor and the shadows created by the form were enough to give the building the sculptural look we intended to have. It almost tells you a story of how the cement produced in this factory has been used by the Architect, Engineers and the masons as a medium to create something fascinating.

This strange looking building in the unusual context was then painted red. Not only it brought life to the factory complex but is perceived as a little jewel amongst the other grey structures.


Winery at Nashik, by Sachin Agshikar Architects

Winery At Nasik
Winery at nasik
The site was basically a hill and had come at a cost. So it was decided that every inch has to be utilized for the plantation of grapes. The only portion which was difficult to plant was the valley passing through the middle of the plot. This area was chosen to build the winery.

Winery at Nashik, by Sachin Agshikar Architects 81


Winery at Nashik, by Sachin Agshikar Architects 83

Even though this made the construction process difficult, the building blocks emerging unexpectedly from the valley was striking when seen from the road. The contours also helped in creating stepped platforms within the building, helping the manufacturing process of wine using gravity. It was a preferred way of making wine where the grape crusher is located at higher level and the tanks are located below to avoid pumping.

Winery at Nashik, by Sachin Agshikar Architects 85

The main approach road was intentionally taken around the hill so that the building which was quite big in size (as it has to house huge stainless steel tanks), was not seen. Having placed within the valley, it was almost invisible- as you land up on top of the hill which is in level with the roof of the building, which was to be landscaped. A small structure on top indicates entry point to this large building and one is slowly exposed to an interesting space with double height volume and stainless steel tanks and pipes, shining in the controlled natural light entering through the skylights.

A gigantic circular tank was placed on the highest point of the site. A wall peeling off the cylinder was mainly to accommodate the staircase leading to the rooftop. An amazing view of a lake far beyond, is seen from this point.

The final proposal was also to have an Experience Lounge on top of the hill along with library, shop and office space. Unfortunately only 25% of the entire proposal was built and the rest is on hold till date. The images of completed project till date has been given below.




Kronhe Marshall, Re- development and Expansion of a Factory at Pune, Maharashtra, by Christopher Charles Benninger Architects

KRONHE MARSHALL - Christopher Benninger Architects
KRONHE MARSHALL - Christopher Benninger ArchitectsPune based manufacturing setup KROHNE MARSHALL, is a joint venture between the Pune based Industry ‘FORBES MARSHALL’ and the Dusseldorf based German corporation , ‘KROHNE’ . The main focus of the company is to manufacture valves and associated components. Metering valves being the main product of Krohne Marshall, the equipment used to measure the flow of water through these valves is tall stainless steel tower which releases over 2 lakh liters of water in a few seconds. Not only it is the main piece of equipment but highly sensitive with acute calibrations.

KRONHE MARSHALL - Christopher Benninger Architects
Site Plan

The Krohne Marshall factory grew incrementally over the past decades, with no long term vision to grow, hence led to modifying the original structure. A brown field development comes with problems that need articulated hypothesis. The site restrained people and material movement which couldn’t be halted during the rebuilding process. Construction was scheduled to achieve a fine balance between speed and function. The sequence of construction aimed to choreograph smooth operations to ensure no loss in production.
The challenge was to link symbolically an existing structure, with no physical similarities either in space planning, volume or layouts to the new structure to accommodate a state of the art factory. The proposed design arrived at integrating the old and the new by wrapping a perforated aluminum screen like a traditional “Jaali” along the entire façade.


KRONHE MARSHALL - Christopher Benninger Architects
Floor Plan

KRONHE MARSHALL - Christopher Benninger Architects
Sectional Elevation

A large column free space created by post tensioned slabs and beams spanning over 15 meters, flanked by a utility bay zone enclosing all the circulation areas, wet areas and utility shafts. The resulting design approach led to a clear demarcation of functions while streamlining operations. The utility bay along the south west façade additionally prevented unwanted heat gain.

KRONHE MARSHALL - Christopher Benninger Architects

An atrium connecting the old and the new acts as a visual break from machines. An existing concrete roof was removed to create a triple height volume to bring in indirect daylight in the atrium. Overlooking the atrium is a control room, used for the operations of the rigs. The connection or the bridge although a necessary compromise of the design turned out to create seamless connections in the operations of the two halves while celebrating a large space as atrium, as one witnesses entering from the reception to the building. The criss-crossing bridges creates passages connecting the old and new building leading to a visual drama in the atrium.
Architecture sought to bring nature in these stark industrial units to create salubrious work spaces. The indoors of these workshops were celebrated by use of bold primary coloured walls and coloured glass panels mimicking the stained glass fenestration of chapels.

The original setup for 30 office staff expanded to 80 seats. Large spacious cabins besides a board room and a conference room is a unique spread of modular designing. The focus of this space is a glass cylinder puncturing the space. The heavily planted cylinder has a domed roof which serves as an informal break out space for the staff.

The patterned façade composed of aluminum perforated sheets or jaali carrying the Krohne corporation’s identity, the triangle, became the point of reference to design the façade. The triangle being the most stable form, was the basic unit to create interesting patterns of modulated waves on the façade.

The external fire staircase, visually anchors the building on the east side. The chimney works as a beacon for visitors to the factory besides it serves as a place holder to the site. A basement serving as parking and housing utility areas was carved out from the site, which didn’t exist earlier.

All stake holders, such as engineering consultants, contractors, vendors and the Infrastructure Development team rhymed a similar philosophy arriving at a new set of architectural standards for retrofitting of workshops and factories for others to follow.

KRONHE MARSHALL - Christopher Benninger Architects Char

In the times where sustainability is becoming the buzz word, architecture takes the necessary first step of appropriating design, construction, as against bull dozing the site to ground zero to erect yet another mega structure. Such interventions greatly save time, money and material.

Transforming a building that looked like factory to a place that addresses the emotional uplift of the workers, became a takeaway lesson for many to ape. Soon this place gained the status of landmark in the area for the passerby while giving a sense of pride of the work space for the inhabitants. This brought joy to people who work and a pride to who own.

Project Facts:

Client Krohne Marshall Pvt. Ltd.
Built Up Area 8,806 Square meters
Site area 1.14 acres
Design Team:Daraius Choksi, Jasmeet Kaur Jite, Rahul Sathe
Structural Design Antarkar Consulting Engineers, Pune
Landscape Design CCBA, Pune
Interior Design CCBA, Pune
Prime Contractor Harshall Enterprises Pvt. Ltd.

THE DANCING LOUVRES – An industrial adaptive reuse project at Manesar, Haryana, by Renesa Architects

The Dancing Louvres - Renesa Architecture Design Studio
The Concept// Ideology//Thought – THE DANCING LOUVRES

Building an Architectural Language- Statement of Purpose and Defining acts of Correspondence.

The Dancing Louvres - Renesa Architecture Design StudioArchitecture occurs at the meeting of the interior and exterior forces of use and space, where experimentation with material and form occupies an important space . The generation of form cannot be understood only at the level of the built object ,but at the level of the process adopted and preferred, the residue of what we know as process, as a struggle between the vision and the built.

Many types of spaces- as scale, as color , as proportion- are designed within these industrial complexes , allowing for many chance encounters and activities to emerge. Internally a building is a separate story , but from outside , a statement of purpose – an orientation of form and space within its setting. A manipulation of scale across spaces brings a sense of collage ,maybe an accidental collage , which is then contained within the wrapped skin-form to command a presence and existence within its context.

Robert Venturi points out in his written material , Complexity and Contradiction in Architecture – Since the inside is different from the outside, the wall/ louvres become the point of change and hence felicitates an architectural event in its own.

The Dancing Louvres is concentrated within a skin-form, the surfaces define the built volumes through louvres and punctures and develop an architectural image / an idea that fuels a series of formal articulations and discussions within the form, through the form and from the form.

Concept Drawings:

The Dancing Louvres - Renesa Architecture Design Studio
Filter cuts of Light. 

The vertical fin louvred elements also act as a solar shading device particularly with the sun angle facing the facade throughout the day and creates a beautiful soulful play of light patterns through the shadow during the day. The embroidered surface creates a peripheral void that,in addition to bringing in light, also creates a space for ventilation and smoking zone for the office staff. With the ingenious incision of light into the inside of the building showcases the clever use of re-architecting this adaptive re-use of a dilapidated warehouse in the industrial area of Manesar.

//New Architecture in Dialogue with the old – An Adaptive Re-use.

The Dancing Louvres - Renesa Architecture Design StudioThe Transformation of an abandoned warehouse into a aero-component design studio and admin office becomes a meticulously surgical act of inserting technically expressive, delicate and lightweight implants play of steel and concrete. The camouflage of the old and new re-creates a path of adaptive reuse , retaining the sheds and their structural system and only architecturally strengthening parts that were worn out or to accommodate the new. The idea is to make both the parts- the old and new play their honest roles to create an architectural craft out of the mundane industrial sheds. The challenge with adaptive reuse is to keep history alive while evolving a today that is contemporary , comfortable and poetic.

//Re-Architecting a Built Mass,Inside-Out.

A little, perhaps , needs to be done to breathe life back into buildings that have outlived or no longer serve the purpose they were built for in the first place. They may have served their function well. Or may not have. Buildings built for industry are subject to trials often. Rapid advancements in technology bring in obsolescence quickly. Spaces designed for specific equipments or machinery may no longer be conducive to these changes and hence the interesting exercise of “re-engineering” these buildings to adapt to new programmes is the concept behind The Dancing Louvres.

Cut into the Industrial Warehouse// Industry , the new programme consists of essentially two large spatial entities – an office space (spread over two floors) and a working design industry (spread on the ground floor) .

With the Office space catering to the working force at two different levels (zone a and b) , the ideology of recreating a logo based interior space ideology works well in architecturally introducing a brand at the international market level with the hues of blues,greys,whites blending in well to create a smooth , sleek and clean space identity within. The interiors posses a very non-industrial appeal and profess a different philosophy to what one sees outside. The interweaving of different natures of space frameworks ,sets up a very interesting architectural dialogue for the visitors.

Images of interiors:


Project Facts:

Design Team:

Sanjay Arora – Founder| Principal Architect
Sanchit Arora – Studio Head Architect|Concept Design Head | Graphic Design.
Vandana Arora – Interior Designer| Decor Head
Virender Singh- Studio Technical Head| Architectural Assistant
Shitij Dogra – Architect | Conceptualization
Pranat Singh – Architectural Intern
Mayank Goyal – Architectural Intern
Manav Dang – Former Architectural Intern

Vibhor Yadav – RENESA’s Official Photographer.

Owner/Client –
Mr.Vikas Kohli – MD, Ascentech Aero Pvt Ltd.

Consultants | Contractors:

Site Contractor – Star Construction – Mr. Umesh Mehta.
Lighting Consultants – White Lighting – Mr.Siddharth Arora / Mr.Udit Duggal // ADIGAUR TRADERS PVT LTD.
Structural Consultant – Mr. Davender Damle
Graphics Conceptualization – Sanchit Arora , Pankaj Bhaskar, Ravi Bhaskar.

Fratelli Wines at Solapur, Maharashtra, by Sunil Patil and Associates

Fratelli Wines - Sunil Patil and Associates

Fratelli Wines - Sunil Patil and Associates

Fratelli Wines at Solapur

The site for winery is located at Akluj (Dist. Solapur) , Maharashtra having a typical sub- tropical climate. It sits in the middle of 44 acre vineyards with road on the north side. In an industrial building, the performance of the building in terms of it’s function is of paramount importance.

Economy in construction plays an important role as every penny invested is expected to gain calculated income. Besides creating an appropriate environment for the work encouragement, it is a great challenge to achieve sustainability in the building as normally industrial buildings are perceived as menace to sustainability.

The true architecture is beyond all these technical parameters of the building. Every building has the unique soul which expresses itself in it’s unique manner. The soul of this building is the intricately designed spaces which interact with each other in such a manner that the visitor can feel the process of wine making. One can enjoy viewing the vineyards and the processing unit from the wine tasting lounge and feels the entire process of wine making.

The challenging part of the project is to maintain the environmental quality as per the product specification. The winery is divided into three main zones – Manufacturing unit, Administration block and Guest house. The primary and largest zone is the manufacturing unit which needs to follow technical parameters precisely on which its performance is based.

The solar passive approach has been used to attain thermal comfort & use of natural light and ventilation has reduced the running cost of the project adding to its cost effectiveness.

Open spaces are integral part of built form as they tend to modify the microclimate based upon how they are positioned. The main tank hall and the administrative block are placed in such a way that central courtyard is formed. This courtyard remains shaded by the built masses around it hence reducing the heat gain during the day. Building materials form a large component of energy consumption that is why it becomes important criteria for any sustainable building. This project has been built with large use of natural and low cost materials.

Landscape plays a key role in the campus not only as a visually pleasing element but also as a microclimate modifier. The landscape for Winery is designed to merge with its surroundings and has natural flair to it.

The interior is very simple and minimalist. The wine tasting lounge is designed in such a manner that it floats over sprawling vineyards and landscape mound and also has view of the main tank hall through courtyard.


The IncMark – The HT-BURDA DRUCK Press Complex, Greater Noida, Uttar Pradesh

The IncMark - Renesa Architecture Studio - Noida

The IncMark - Renesa Architecture Studio - NoidaThe HT-BURDA DRUCK Press Complex, Greater Noida

The Concept

The Burda-Druck press in Greater Noida,India  designed by RENESA ARCHITECTURE DESIGN INTERIORS STUDIO, is a project on the seams of structural expressionism and contemporary industrial design. Industrial buildings such as the printing press complex have historically been lacking in architectural experience, having lived up to the stereotype of skeletal sheds with a rational spatial configuration centered around huge printing machinery.

RENESA sought to break away from this conventional image with a design that conceals the industrial nature of the space inside a contemporary facade and landscape. The challenge was to create a press complex that does not just celebrate the massive assembly of press machines, but also the workers and visitors that experience this space on a daily basis.

The structural layout of the interior glorifies the functional nature of the building, with a cohesive grid that encompasses the different pockets of spaces that are used in the printing process. At the core of this layout is the Gravure printing press, the complex working of which seemed less intimidating when thoroughly understood through the sequence of various technical processes involved. From the printing press, flanked by the ink and water treatment plants, to the final zone of loading and unloading, the team was able to optimize the machine bay to its full potential.

With an ambition to set an unequivocal example for industrial architecture in India, Renesa intervened on the facade in a playful and contemporary manner, in complete and surprising contrast to the structural and robust interior. The heavy orthogonal mass of the existing press building set the contextual tone for the Burda press building. Renesa sought to use the beige facade language to its design advantage, creating a facade that could reflect Burda’s true international and contemporary appeal.

The IncMark - Renesa Architecture Studio - NoidaThe striking silhouette of the press building is thus designed as an aggregation of heights and volumes, the rigidity of which is muted by glass fenestration of different shapes and sizes across the expanse of the facade. Light floods through these large rectilinear punctures into the expansive space of the shed that accommodates a range of uses under one roof. What has resulted out of this synergy between structure and design, is possibly one of the biggest modern press setups in India – a building that strives to question and redefine the idea of a press complex, and industrial architecture in general.


Project Facts

Project Time: 2010-2012.
Built Up Area – Covered area 15,000 sq.mts .(1,60,000 sq feet ) approx.

Design Team

Sanjay Arora – Founder| Principal Architect
Sanchit Arora – Studio Head Architect
Vandana Arora – Interior Designer| Decor Head
Virender Singh- Studio Technical Head| Architectural Assistant
Nivedita Gupta – Content Writer/Editor/Architect
Manav Dang – Architect


Structural Consultant – Mr.S.V. Damle
Contractors – Ahuja Kashyap Pvt Ltd.

Photographer: Vibhor Yadav

Gateway to Shri O.P.Jindal Power Plant by Revathi Kamath, Kamath Design Studio

Gateway to Shri O.P.Jindal Power Plant - Revathi Kamath

Gateway to Shri O.P.Jindal Power Plant - Revathi Kamath

Designed by Kamath Design Studio, this gateway forms the entrance to an industrial township and power plant. Its form creates a dialogue between local tribal geometries and industrial technology. The design development was undertaken through physical and 3D digital modeling with the geometric information of the digital model being used to create CNC pre-fabricated components that were assembled on site. At 33 meters, this is the largest stainless steel structure in South Asia.

Factory at Chattarpur – Ameet Singh – Design Bureau

Factory at Chattarpur - Ameet Singh - Design Bureau

Factory at Chattarpur - Ameet Singh - Design Bureau

The Factory at Chattarpur is an attempt to pay homage to traditions of Indian Modernism, Regionalism using the language of exposed concrete and brickwork. It is sited in a lal dora (Urban Village) at the edge of South Delhi. The ground floor consists of the production area, showroom space and the first floor consists of showroom & studio space. All the spaces are naturally lit through the usage of elements like light wells, skylights and large glazings. The factory space served a dual purpose of being a production cum exhibition space wherein during product launches it can be completely opened up to the exterior using a series of 10 high sliding and hinged M.S. doors. The interiors are an ‘experimental space under construction’ with a raw aesthetic, partitions were made out of used shuttering plywood, the internal staircase railing and the furniture display shelves are made out of Balli’s (Bamboo scaffolding). The studio and the showroom space on the first floor opened up into a large terrace garden.

All trees extraneous to the building footprint are preserved giving the spaces a very direct connection with nature through light, air and sound. The construction cost is also minimized by avoiding any surface plaster and facade treatment. This project was developed in close collaboration with the client as they wanted their brand values of promoting traditional craft & the aesthetics of ‘Jugaad’ exhibited through there factory.

Forbes Marshall Green Field Industrial Campus, Pune, by Christopher Charles Benninger Architects

Forbes Marshall - Christopher Charles Benninger Architects

Location: Chakan, Maharashtra, India
Status: 2010-Ongoing

The Forbes family, doyens of modern industry in India, have been working out of antiquated, inefficient and chaotic structures, that grew according to need in an ad hoc manner over decades. Typical of the industrial landscape of the Pune metropolitan region, this dulling grey urban landscape arose across the industrial belt, which houses a mixture of Indian and multi-national industries. Sensing the need for change the clients and the architects conceptualized the idea of factories turning into creative work-studios of highly qualified thinker-doers, using high-tech manufacturing. Natural light and trees growing on the workshop floors were amongst the new initiatives employed.

The concept of pollution free, efficient work pavilions, set in a green garden ambiance, was jointly conceived by the architect and the clients, who emerged as patrons of the arts in the process.


The Forbes Marshall Industrial Park, at the new Chakan industrial city in the Pune Metropolitan Region, was conceived to mirror the Forbes Marshall group’s ambitions for high technological and global standards. It was also envisioned as a testament to a social commitment to safety, hygiene and sustainability. Spread over fifty acres, the industrial campus focuses on a central green spine of gardens, water bodies and breakout areas. A new corporate headquarters structure anchors this large space to the eastern entry side, with production units in the form of vast pavilions aligning the gardens. Ancillary activities, like power supply, transport, security, health care, energy management, storage and an extensive Vendor’s Park feed into the production units from a lineal corridor along the southern belt of the site.

The first phase of the campus is composed of two large manufacturing pavilions supported by utility structures and linking roads. Each production pavilion has its integral supporting office spaces facing the garden views in the central garden spine. The work areas are conceived as creative studios, mirroring production flow channels, bringing daylight from vast skylights onto greenery on the working floors. 


The intentions and strategies of the design fall within several inter-connected layers of purpose. At a very basic level, each pavilion on the site is a machine for creating national wealth in its own right and, as such, must be functional, efficient, durable and easy to maintain. At another level, all of the structures are players within an overall campus and they have to be situated within that campus system in a manner that optimizes synergies amongst the various parts. On another level the experience of the individual worker and their team members was conceptualized as something green, light and human.


At all times the strategy was to create an urban landscape that is lively, green and welcoming.

The boiler workshop is the first structure to be completed, covering a footprint of over twenty-six thousand square meters, and reaching twenty-three meters in height, materializing as a cathedral for manufacturing processes. The roofing of lightweight aluminum composite sheets, floats on lightweight steel trusses, designed by the architect, over this volume. Skylights running parallel over these triangular trusses illuminate the pavilion floor. The south facade is composed of a vast aluminum jaali, filtering sunlight through a secondary glass wall. This filtered light, combined with the skylights, ensures minimal use of artificial light over the entire workspace. The north edge of the boiler workshop is composed of ground plus first level office units, sanitary facilities, break-out areas, cafes, training areas and amenities overlooking the pavilion’s working spaces, on one side and facing the green campus spine on the other.  A playful curved glass wall tempers the edges of these human scale, working areas.


The architects’ ambition was for the most unskilled worker and the most senior manager to feel a sense of pride in their place of work.  To quote,

“Positive emotions of pleasant anticipation should swell up as team members approach their place of work each morning. A visitor should feel they are within a vast garden precinct when they reach the Forbes Marshall campus. While knowing it is a global enterprise, signifiers must inform them that they are in a place called Pune.”