Royal Enfield Garage Café at Calangute, Goa, by Studio Lotus

royal enfield garage cafe by studio lotus

Royal Enfield Garage Café at Calangute, Goa, by Studio Lotus 3Royal Enfield has a mandate of bringing richer and a more comprehensive experience of their iconic global brand to their customers. As the next level of Brand Immersion, the brand is set to launch highly-curated, larger experiences in key motorcycling destinations. These go beyond selling motorcycles and gear, into offering a space for the motorcycling community to congregate in and experience the Royal Enfield brand and its commitment to “Pure Motorcycling”.

In continuation of the highly successful roll out of the Retail stores, Royal Enfield’s retail design and architectural agency Studio Lotus took the brief forward and converted a much loved, quaint Goan eatery called J&A at Baga creek into the multi-dimensional Royal Enfield Garage Café.

The exciting new space is a seamless amalgamation of retail space, a bar &restaurant, a gallery space, a bike-customization area and a service center.The design approach to the Architecture and Interior Design builds around the core values of the Royal Enfield brand: Timelessness, Craftsmanship and an unadulterated love for motorcycling.

The buildings are planned on a half-acre plot of land as a series of independent yet interconnected structures, each of which tells its own story. The industrially-crafted retail building with its zinc roof, laterite infill walls and the now distinctive “Royal Enfield” charcoal grey metal and glass facade effortlessly bridges its Goan setting with Industrial craftsmanship.

The central traditional Portuguese style structure where the old J&A kitchen used to be,manifests as the anchor of the space.Converted into a multifunctional gallery, the space currently houses and tells the story of the legacy motorcycles of Royal Enfield – from the 1939 flying flea to the original 1963 café racer and other engines and replicas that form the brand’s rich history.


The facade of this building has been treated with specially-commissioned, locally-executed artworks inspired by a Royal Enfield iconography based Azulejos-inspiredinstallation that is created by Codesign and is hand-painted on tiles byGoan artisans.

Attached to this heritage structure is an exciting double-height space formed by a steel framework and a traditional Goan roof. These form the bar area and the first floor dining space, that has incredible views of the Baga creek. The double-height bar volume has a hand-painted backdrop by Monde Art, which takes the viewer through a meandering Goan road trip. Highlighted by customized brass headlight pendants, the bespoke sandblasted timber Bar top brings alive Royal Enfield’s presence across the world. A slowly moving, High-Volume, Low Velocity rotor mounted of the 20-ft high ceiling ensures a gentle breeze in the space at all times. The first floor lounge wall has an exciting installation byHanif Qureshi of St+Art.Flanking this structure at the rear is a state-of-the-art Service center with a bike customization zone, encouraging customers who don’t have the resources or space to turn their imagination into reality. Here, one can find all the essentials – a tool kit, for instance – required to customize a motorcycle.

The entire cluster of buildings have been set around a charming courtyard and coconut trees to deliver an experience that is Timeless, Contemporary, charmingly ‘Goan’ and unabashedly “Royal Enfield” at its core!

Project Facts

Name of the project : Royal Enfield Garage Café

Location:Calangute, Goa

Typology: Mixed-Use (Branded Environment)

Name of the architectural firm: Studio Lotus, Delhi

Design Principal: Pankhuri Goel

Design Team: Ambrish Arora, Shalini Satish Kumar, Raman Vig, Laura Robin

Client: Royal Enfield

Project area : 9,600 sq.ft

Year of completion : 2018

Photographer : Andre J Fanthome

Consultants :

Art / Artefacts : Monde Art, Hanif Kureshi (St+Art Foundation)

Mechanical : Edifice Consultants (MEP)

Environmental : Graphics Codesign

Landscape : ROHA Landscape Architects

Residence for Mr. Shaheed, at Elangode, Kerala by Nufail Shabana Architects

Nufail Shabana Architects

Residence for Mr. Shaheed, at Elangode, Kerala by Nufail Shabana Architects 15Residence for Mr. Shaheed

Date of completion : 12th august 2018

Location : Elangode , Kerala

Design intent :

A Mellow confluence

Residence for Mr.Shaheed  is designed  for a  modern day family with aesthetic sensibility which recalls their local roots with traditional wooden furniture and dark flooring .the residence interior offers a palette of varying textures and finishes with the tiles used throughout the house.Quite a monochrome theme maintained throughout the house , the central hall gives a space of awe to the viewer with the greenery placed on the side of the deck .


Client brief :

The sitout designed for a traditional family in kerala meets the requirements of the client to provide a cozy evening retreat space for a gathering .The courtyard ,yet another feature placed centrally helps in filtering natural light through the central hall area.

The presence of tall and huge windows throughout the house gives amples natural light adding to the exiting aura of the décor .


The design evolves around the concept of having a subtle interior with monochrome colors and textures throughout the residence .The overall theme is quite minimal ,contemporary and chic  with wall textures to bring in the definition to the wooden furnitures used here.

The black matt finish tiles adds to the palette of finishes as a silent yet powerful underlining element  to give the interior a contemporary and chic look. All toilets have been designed with utmost clarity of space and the subtle look of the tiles selected add to the glamour and fineness of the theme …


Unbuilt : TRACES – GHOST TOWN REFUGE, at Craco, Italy, by Claudio C. Araya, Yahya Abdullah


Unbuilt : TRACES - GHOST TOWN REFUGE, at Craco, Italy, by Claudio C. Araya, Yahya Abdullah 45TRACES – GHOST TOWN REFUGE

How can a site carved from stone retrace the footsteps of the human fingerprint? An empty town with infinite stories, both of abandonment and fantastical romantics, must remain. Breathing a new life to forgotten history requires a careful surgical operation, like the recovery of a broken water vessel. The fragments speak stories of townspeople and the activity they have left behind, leaving only traces. A fossilized town can now be dis¬covered and restored as individual moments. Meshing the damaged ruins through an operation of nesting and stitching begins to relive the town through a dialogue with the contemporary. A new system of nesting within the old, maintains the relic of the previous age while the necessity of the new may come to life.

Unbuilt : TRACES - GHOST TOWN REFUGE, at Craco, Italy, by Claudio C. Araya, Yahya Abdullah 51OLD IS NEW

New volumes only find themselves embedded within ru­ined walls, allowing visitors to rediscover Craco through an archaeological type experience. The refuge shelters are embedded within a nest which act as a protective skin for the ruined walls. The notion of embedded box­es come to play, leaving visitors with legible layers of history. A gallery pathway is introduced within the cen­tral zone, linking


Unbuilt : TRACES - GHOST TOWN REFUGE, at Craco, Italy, by Claudio C. Araya, Yahya Abdullah 59GHOSTED MESH

One must get lost in the forgotten, to truly discover its value. Every visitor’s journey is part of the restoration process. A site of the past is monumental to the person; the surgical stitching of a ruin becomes the mending of the soul. An operation of protecting the old, becomes a renewed spirit of the visitor. Craco is the embodiment of layered stone

Unbuilt : TRACES - GHOST TOWN REFUGE, at Craco, Italy, by Claudio C. Araya, Yahya Abdullah 61Unbuilt : TRACES - GHOST TOWN REFUGE, at Craco, Italy, by Claudio C. Araya, Yahya Abdullah 63PROJECT FACTS

Location: Craco, Italy

GPS Coordinates: 40.379916, 16.437084

Client: YAC, Craco ricerche

Authors: Claudio C. Araya, Yahya Abdullah

Design Year: 2020

Area: unknown

Status: 1st Prize Competition, Cultural, Touristic infrastructure

Rane Vidyalaya at Trichy, by Shanmugam Associates

Rane Vidyalaya, Trichy, Shanmugam Associates

Rane Vidyalaya, Trichy, Shanmugam Associates

Rane Vidyalaya CBSE school is an educational campus for K12 and a CSR initiative by Rane Foundation India Pvt. Ltd, a leading industrial conglomerate. Theerampalayam, the rural region where the school is located, has no proper educational institutions that offer quality learning. The closest city, Tiruchirapalli which is a Tier-II city in the state of Tamil Nadu, India, is 20 kms away. Neighborhood districts are a mix of small rural villages whose occupation is agriculture and unskilled labor. The project was envisioned as a whole but executed in two phases. Presently Phase 1 has been constructed for an area of 50,000 Sq.Ft. The intent was to create an infrastructure that would have a positive social impact on the local community and also showcase the core values of Rane.

Rane Vidyalaya, Trichy, Shanmugam Architects Construction techniques from regional context, structured pedagogy of the Indian educational system and construction cost of $20 / Sq.Ft formed the underlying basis for the design development. Inspiration came in from the 6th century built Thiruvellarai temple’s walls and the layered cross sections of 50 year old houses in the region. Construction methodology, that was followed consistently in these walls, was layering starting from huge random rubble and stone at bottom, to finer solid brick work, mud and slate on top. Alternating wall layers of red wire cut bricks from local kiln and grey fly ash brick recycled from industrial cement waste were used.

The kindergarten classrooms are designed to have individual garden’s that encourage seamless outdoor and indoor integration of space. With every increase in grade, classes become more functional to induce structured learning. The overall design approach was to avoid sharp edges in walls, columns, slab edges and in every detail possible to ensure safety.

Located in the tropical belt of interior Tamil Nadu, the intent was to have the space ventilated naturally with sufficient lighting. All walls are stopped at lintel height and have openable windows above, to allow hot air to dissipate and increase cross ventilation. Terracotta jalli has been used as secondary shading devices. Major openings along the predominant SE & NW wind direction and minor wind tunnels in east-west direction between classrooms are created to have a comfortable micro-climate.

Taking inspiration from temple mandapams where huge gatherings took place, there is an enclosed central courtyard planned with perforated light wells in the roof. This courtyard would serve as a multi functional place of congregation for lunch breaks, school assembly, exhibition space, co-curricular training and small gatherings. The courtyard is placed in such a way that it is visually connected at all levels.

Rane Vidyalaya at Trichy, by Shanmugam Associates 73

All these architectural features, incorporating use of red solid bricks, baked earth tiles, terracotta jalli and grey fly ash bricks, help address the micro climate, create interesting light & shade experiences through roof perforations, provide safe green courtyards and sufficient ventilation. At the same time they also speak the design language of the local region, source material from the surrounding area, create a fun educational environment and give a wholesome cost effective solution.


Project Facts:

Project: Rane Vidyalaya / Shanmugam Associates
Architects: Shanmugam Associates
Project location: Trichy, India
Area: 50000 sqft
Year: 2018
Principal designers: Shanmugam A, Raja Krishnan D, Santhosh Shanmugam,
Design Team: Srinivasan, Satish Kumar, Balasubramaniam, Mohammed Ismail,   Rukmani Thangam, Praveen Kumar
Photo Credits: LINK Studio, Bangalore
Structural Design: Ramkumar, Rays Consultants
Engineering: Hitec Construction, Trichy
PHE Consultants: D&D Consultants

Truck Driver’s Village, at Chitradurga, by Rohan Chavan Architects.

Truck Driver's Village, at Chitradurga, by Rohan Chavan Architects. 83

India’s trade and transportation rely heavily on trucks and truck drivers, a profession that has seen a rapid decline in numbers, due to negligible amenities and excessive responsibilities. At present,  truck drivers have little to no restrooms or pit stops during long-distance journeys. In 1982 for every 1000 trucks there were 1300 drivers available, this number has reduced to 750 by 2012 and predicted to be 450 by 2022. In other words, 50% of the country’s trucks remain stranded on road due to a shortage of truck drivers. We need truck drivers to make goods available to the doorstep of the shop. If this trend continues cities will fall short of food and groceries.


The Truck Drivers Village is a project designed for the truck drivers community, it sits on a 2.5-acre site. The building occupies only 7% of the site area and the remaining area is open space, parking and fuel station. Conceptually the facilities are arranged as a series of courts and verandas referencing the courtyard houses of the south. The courts are equipped with facilities to eat, to sleep, to hang out and to recreate. These facilities are supported with ATM, first aid, drinking water, toilets and bathing facilities, washing and drying clothes, salon, a convenience store and a workshop for trucks.
The landscape in the courtyard is rendered with huge boulders and discrete vegetation to create a micro-climate and to reference the landscape of Chitradurga.

Toy Story, Play School at Bangalore, by Collage Architecture Studio

Toy Story, Play School at Bangalore - Collage Architecture Studio

Toy Story, Play School at Bangalore - Collage Architecture StudioClient brief:
The client approached us with a dream to build a visionary unique pre-school, Toy Story, Play School,  which would become an epitome of the future education system. Just like a conventional school the brief demanded classrooms, but as flexible spaces, instead of four walls. Activity Zones with multiple functions catering kids between ages 2 to 5 was among the primary requirements, as they believed in creative expression. The design also called for safety as a priority, along with a combination of open spaces, interactive corridors and spaces which provide maximum transparency for teachers. Maximum efficiency was to be drawn from light, ventilation and air circulation.

Our Approach:
Our approach was to defy the idea of closed classrooms, monotonous corridors which will lock our imaginations away for eight hours every day. This inspired us to create a veritable toy house (TOY STORY) – incorporating everything that excited kids, for example; shape, colors, objects which would develop curiosity and inquisitiveness. Spaces defined by the scale of kids that allow curious minds run wild, corridors that run across every space allowing for seamless visual connectivity and a central court along with multifunctional spaces where kids can play, explore and interact. These spaces encourage the three things that kids today rarely get to do in a school environment – explore every single aspect of their surroundings, experiment with everything they learn about, and expand their horizons by creatively learning in a new and different way.


Our intent was to sculpt an interior environment to nurture the untamed young mind, from the very first day the child steps into the school. Through each space he/she is introduced to concepts and ideas which they can relate to and understand with minimal effort and further induce them into a self learning and exploration process. Through research we arrived at the fact that maximum development/growth of the child both mentally and physically occur during the ages 2 to 5 and hence every space had to be sensitively curated and designed to cater to the requirements of the distinctive young minds. This streamlined our interior design intent to create a journey – new born to a responsible intelligent child.

Activity room:
It has a theme of a toy house, along with a flight of cushioned stairs for safety and plenty of storage for toys to make it more welcoming for the kids. This space could be defined more as an extended play ground along with the amphitheatre.

With the constraints of the site and requirements of the client, it was difficult to introduce a play ground in the school which was very necessary for kids; hence we created more transparent and open spaces on the ground floor also responding to the slope of the site. The central court opens into the exhibition on the left and the semi open amphitheatre on the right. These spaces double up as gathering spaces during events or as play ground and assembly area for the kids.

Toy library:
Toy library is a modern concept, which is an amalgamation of the conventional Montessori lab, library, and digital labs. In this space the kids are exposed to old school learning techniques with wooden toys followed by books and then digitally through I-pads. Toy Library, being one of the unique features of the school we have reflected their logo i.e a PENGUIN while designing the interiors of this space.

Common areas have been designed and detailed to create a harmonious amalgamation between ART and ARCHITETCTURE as it is said that Art is a place for children to learn, to trust their ideas, themselves, and to explore what is possible. Play of colour, with light, material and patterns to create a holistic composition and surprises through the building.

The colourful skylight mimics the pattern of the waves and contradicts the transparency of the water in the pool. A mural of Abdul Kalam has been delicately handcrafted with nails and interwoven threads. For the railing, Channapatna toys of various forms painted in natural colours are used to compliment the white building that acts as a canvas.

Project Facts

Category : Institution
Location : Bangalore
Site Area : 4800 sqft
Built Up Area : 14,526sft
Year of Completion : 2018
Project Architects: Swapnil Valvatkar, Prachi
Design Team: Bhavana, Shubha, Chethan (Structural)

K.J. Somaiya IT Cafeteria Pavilion, by Sameep Padora and Associates

K.J. Somaiya IT Cafeteria Pavilion, by Sameep Padora and Associates

K.J. Somaiya IT Cafeteria Pavilion, by Sameep Padora and AssociatesThe site for the new building is flanked on the west by an existing adjoining 8 storey engineering college building within which the café kitchen is located and on the North by the studio’s earlier project for an Information Technology college building.

K.J. Somaiya IT Cafeteria Pavilion, by Sameep Padora and Associates
Exploded View


The Café Pavilion a partially open dining space, is an addition/extension to an existing indoor cafeteria at the K.J. Somaiya Institute on their Sion campus in Northern Mumbai. The pavilion was designed to accommodate the dining space as well as create a physical link between these two existing buildings with a brick amphitheatre as the central pivot. Designed as a continuous platform, the dining space plinth weaves between existing trees, connecting both the buildings covered by a light translucent roof that floats above. The multi-wall polycarbonate roofing is aligned to match the height of the light shelf of the neighbouring IT building. The roofing membrane is suspended from a beam structure above the membrane so the roof plane appears continuous from below, with occasional shadows of tree foliage falling on it thus animating the space below.

K.J. Somaiya IT Cafeteria Pavilion, by Sameep Padora and Associates 100

K.J. Somaiya IT Cafeteria Pavilion, by Sameep Padora and Associates
Exploded View

The beam structure is held in place by peripheral circular columns which hold light fixtures as well as a cantilevered fixed seat all along the periphery of the plinth. This single detail of the column to seat, column to beam and beam to the roof membrane structures the entire project. The edge of the multi-wall polycarbonate roof structure hence stands independent of the columns making it appear light and independent of the vertical support.



Project Facts:

  • Project Name: K.J. Somaiya IT Cafeteria Pavilion
  • Architecture Firm: Sameep Padora & Associates (sP+a)
  • Design Team: Nikita Khatwani, Subham Pani, Aparna Dhareshwar,
  • Completion Year: 2019
  • Built Area: 1000 sq m
  • Project Location: Mumbai, Maharashtra. India (
  • Photographer: Sergio Ghetti
  • Structural Consultant: Rajeev Shah
  • MANUFACTURERS / PRODUCTS LEXAN multi-wall polycarbonate JSW Steel Sections
    Lighting by Tulip Corporation
    Kota Stone Flooring
    Jalaram Brick

Masala Republic at Hyderabad, by RMDK Architects

Masala Republic by RMDK Architects

Masala Republic by RMDK ArchitectsA chic restaurant in the young city of Hyderabad, Masala Republic is designed as a celebration of the quirks, vibrance and liveliness of the youth and their aspirations. Conceptualized by Dhruva Kalra of RMDK as a rich sensory experience with the playfulness of modern aesthetics, this restaurant is the perfect balance of elegance, comfort and contemporariness.

Embracing the client’s proclivity for innovation, luxury, freshness and simplicity, this space is cozy, young and dynamic with an ingenious overlay of materials, lines, colours and textures. The space is treated as an elaborate art palette, combining various details together, representing the extensive multi-cultural and inclusive and innovative menu of the restaurant. Spread over two levels, this restaurant builds a distinctive visual narrative with individualistic spatial treatments for the ground floor, the upper floor and the outdoor ice-cream section.

The highly minimal and modern entrance with grey toned, arched, French doors with huge glazing, create a striking impression and a visual fluidity, drawing visitors in. The interiors are a mix of rustic warmth, sleek modernity, and classical sophistication, with a base color palette of earthy neutrals and warm greys. The Herringbone flooring and accent walls, along with the exposed wooden in rough cut wood, emphasize on the versatility and beauty of natural wooden tones and textures, giving the space a balanced contrast and a welcoming ambiance.

The plaster and patina textured walls make for a unique art feature, further highlighted with the delicate copper arch panels, and dull gold spoked wheel lighting installations. The arched high chair seating area is designed as a stand-alone art exhibit in contemporary grey, with engraved wooden blocks and patchwork floor tiles. Artistic lights, relaxed furniture along with the fusion of rough-cut wood and patchwork tiles for the food service counter, ties the entire space together, creating a refreshing experience.

The formal dining on the upper floor is an indulgent space with luxurious flooring in black granite with white streaks, black and white Herringbone patterned tiles with monochrome patchwork tile detailing, and wooden flooring. The suspended wooden and linear lighting rafters create an interesting play of the ceiling inside the main dining area. The mono-striped walls and tables, along with monochrome furniture, wooden accent wall, indoor planters and minimal lantern lighting create mutedly lavish and graceful gastronomic experience.
The copper pendant light installations, sandwiched between the huge, minimal glass glazing, and the geometric, wooden wall divider in the semi outdoor seating, act as an artistic ceiling panel, thus creating a stunning experience. The hanging metal frames, and the blue and yellow furniture further add a vivacity to the entire space.

Masala Republic, thus, plays with different volumes, materials and functions to create an Avant Garde expression of contemporary art and luxury, integrating the whole space into a nonchalant, bold and scintillating sensory experience.

Studio 3, New Delhi, Office of Architecture Discipline

Architecture Discipline


Architecture Discipline StudioAs the studio enters its teenage years of existence, it demanded a fun yet “architecturally charged” environment to conduct business. Moving out of a busy commercial surrounding to a quiet piece of land amidst blooming mustard fields hidden within the commotion, that is Delhi.It can be challenging to locate the studio; placed within the quaint boulevards lined with ficus foliage often hindering views to the randomly placed non-descriptive black gates. However, the gate has a “white” google pin for the curious eyes.

The visitor’s ingress on a bed of gravel guarded with trees on either side hiding the front lawn to the east. The gravel acts a porous surface which allows patches of reeds and grass to grow through- transforming landscape everyday. One moves down this ceremonial pathway to be greeted by a deep red, shipping container floating on a mound of earth surrounded by token greenery. This cuboid is deconstructed with an acoustically lined double glazed facade, exposing the warm birch ply walls to the visitor. The insides host a white Saarinen-esque table with a deconstructed polder couch upholstered in grey and military green- the space doubles up as a break-out zone for private conversations/meetings or just some alone time after rigorous roundups with peers.

Site Plan - Architecture Discipline Studio

Turn away from the Red box, and we come across “The studio”, a white box-orientedeast-west, nestled within dense foliage of ficus trees. The entire east façade is glazed, farmed within “super” thin black metal sections. The elevation looks over the private front lawn guarded by trees with trim foliage. The setting allows for the yard to be lit throughout the day, providing diffused light into the workspace and reducing the reliance on artificial lighting. Perforated screens on the south-facing windows cut down the glare while giving a glimpse of the constantly changing sky and the dense foliage enclosing the site.

The roof is constructed out of large Kashia-stone and finished with a thin layer ofscreed, sandwiching insulation and waterproofing- An old age technique known as “Tukdi slab”. The increase thermal mass from the stone provides delayed heat transfer through convection within the layers. The slab rests upon on metal girders supported over load-bearing brick walls. The insides being exposed brick work finished in a water-based matte-black paint required moisture free walls; thus the outsides are finished with hydraulic lime plasterand painted in white: reflecting direct and indirect solar gains. The overhangs are carefully designed to cutdown the incidental sunlight and minimise the energy consumption without compromising on the desired comfort levels of the interior spaces. Following a minimalistic approach, which is both progressive and modern, the studio emphasises materiality which hearkens back to the early 19th century. The 48-day frugal build is a testament to the saying “True to the material”, making the experience of the studio analogous to the narrative of its construction.
The visitor directly enters 4m high space overlooking the open-library section of the studio and consequently settle themselves on to a colourful “wishbone“ chair placed around the white library table- transforming the space for casual discussions and greetings. The walls display a journey of the firm, different projects and accolades. Ideally one would place a giant table in a linear space, but a deliberate attempt is made at carefully layering the space into bays which is obstructed by elements to create depth and interest.

Interiors are predominantly charcoal black walls, offset by birch ply tables over natural finish cork flooring. The unique rhythms of brick piers and the windows provide juxtaposed grids of structure and planning, adding a new layer of complexity within the 4m high volume of free-flowing space.

All workstations are aligned perpendicular to the length of the built in the open studio space. As a creative practice, we believe design as a layered and additive process; the users keep adding diverse elements to the studio- A red bird was recently placed afloat at the entrance. Ancillaries and the conference room are separated from the multi-space office environment using black partitions with discrete doors leading into a concealed closet and general cloakrooms. The conference room is a manually operable floating partition with sliding ceiling, inspired by elements from Pierre Chareau’s Maison de Verre. It can be extended to become an acoustically sound space or collapsed to become a part of the studio workspace, adding flexibility to the layout. The signature wall of the meeting room is painted white to capture the inflow of natural light through the glazing and give emphasis on the display panels. The Backdrop of the open workspace is shelving unit made out of recycled strand-board, housing the paper pantry and the media hub on one side and a nested bonket seating for the pantryon the other.

The studio offers spaces that are varying in character and volume such as the mezzanine level, music room and the break area that act as different emotive spaces. The scaffold lattice structure is another frequently used space for retreat along with the badminton court. The idea of the scaffold is to indicate continuity and construction.

By integrating nature and activity with a working space, Architecture Discipline creates a productive, synergetic environment that defines their vision for a new office experience.




Project Facts:

Location | Delhi
Name of Client | Architecture Discipline
Principal Architect | Akshat Bhatt
Design Team | Akshat Bhatt, Himanshu Chopra, Paritosh Singh
Total Cost | 60 lakhs
Site Area | 87300 sq. ft.
Built-Up Area | 2200 sq. ft.
Start Date | July 2017
Completion Date | August 2017
Photographer | Jeetin Sharma
Structural | Isha Consultant Pvt. Ltd., Project Lead: VP Aggarwal

Mechanical | Techfour Engineers
Landscape | Architecture Discipline

Lighting | Architecture Discipline
Electrical | Lirio Lopez, Project Lead: Linus Lopez

HVAC | Techfour Engineers
Plumbing & Firefighting | Techfour Engineers

Civil | Isha Consultant Pvt. Ltd., Project Lead: VP Aggarwal
PMC | Architecture Discipline
Acoustic Engineering | Architecture Discipline

Ranjekar House, at Khanapur, Maharashtra, by M+P Architects Collaborative

Ranjnekar House - M+P architects, pune

Ranjnekar House - M+P architects, puneThe half-acre contoured site is a quiet and breezy place with an ancient fort towering on one side and views of farms and deciduous foliage on other sides. A stream runs along the north boundary of the site. Our client grows vegetables and local fruit trees on this little piece of land. This small house is designed for him to spend time with family and friends on weekends.

Ranjekar House, at Khanapur, Maharashtra, by M+P Architects Collaborative 161

The brief was simple- Create a living space for a small family or for a larger gathering for all age groups of people. We added to the program a semi open deck and a covered terrace which ensured good use of the house during torrential rains as well as hot summers.
There existed a retaining wall on site and a beautiful teak tree. We located the house to tightly fit in the corner beyond the teak tree such that the foreground towards the house is maximised. The deck gets a clear view of the surrounds. The corbelled load-bearing brick walls allow for a larger cover on the upper terrace. Openings frame the view of Sinhgad fort which is a beautiful historical landmark. The terrace was also planned to be staggered such that it can be enclosed in the future to create a second space with its own toilet. However small a project, the service requirements are always important, for which we provided a service slab which carried the water tanks and solar PV provisions. The roof floats between the parallel walls thus keeping the east west vista open for sweeping wind.

Building materials:

The foundation was built in plum concrete and RCC. The superstructure was built in locally available red brick. An RCC slab was simply supported on the parallel load-bearing walls. The roof structure was made in MS tube sections and corrugated GI sheet. Teracotta clay tiles were used for the internal flooring, Shahbad stone was used for the deck floor and Kadappa stone was used as staircase treads. Doors and windows were made in powder coated GI sections. External weather shades were made with cement fibre sheet.

For a project that’s thirty kilometres outside the city, the cost of construction usually goes up mainly due to materials transport and labour costs. With this in mind, we kept the design for this residence simple and stacked with the floating deck supported by two columns only. This reduced the foundation and excavation volume itself. The primary building materials – Brick and stone were sourced from local quarries and kilns. The upper floor is a simple semi covered terrace space and the openings also did not require any windows or chajjas. The main walls were purposely left un-plastered from outside to avoid additional material and cost of plaster and paint. All the joints were finished with cement pointing instead to make the walls non porous and clean. This helped keep the cost of civil work low. Simple and easy to maintain finishing material like rough Shahbad, rough kadappa stone, terracotta tiles and grey granite for door frames and window cills were used. Client’s old granite kitchen counter top from their old house was also reused in the pantry. All these strategies helped in the finishing costs in check without compromising on the quality of space and construction. The total per sq.ft. cost of construction for this entire project came to Rs. 1,750/- per sq. ft.

The colour of the stone and brick of this residence ensures that it merges well with the surrounding natural landscape and allows nature to take the centre stage.

Project Facts

Built area: 100 sq m
Project location: Khanapur, Maharashtra – India
Lead Architects: Pooja Chaphalkar and Meghana Kulkarni

Pooja Chaphalkar and Meghana Kulkarni

Additional Credits:
Design team: Sanjay Jadhav, Sanjushree Kose, Tauseef Hasan
Contractor: Mr. Kedar Deokule
Budget: ₹ 17,50,000/-

Crescent School of Architecture, Chennai by architectureRED

Crescent School of Architecture, Chennai, by architectureRED

Crescent School of Architecture, Chennai, by architectureREDDistinctly identifiable by its stepped terraces and red striated facade, the Crescent School of Architecture occupies a relatively small lot of the 60-acre university campus, in Vandalur, Chennai. The project brief envisioned studio spaces along with lecture halls and administration areas – which we chose to augment with necessary ‘de-programmed’ spaces for collective working and gathering. This allowed for the exploration of redefining not only the nature of spaces found in an architecture school, but also offering us the possibility to inform the future pedagogic programme that it could accommodate.

Typically, a school would house endless corridors with rooms on either side. Spaces offering opportunity for discussions and chance encounter is severely limited, which in turn confines its users to following a dreary routine. Overturning this notion of conventional space-making in an institution by replacing it with spaces that can have transformative pedagogical implications becomes imperative; wherein collective creation is encouraged within the institution’s pedagogic programme, by explicitly offering spaces that urge for learning outside of the confines of the classroom.

Key Plan Crescent College of Architecture, architectureRED

Crescent School of Architecture, Chennai by architectureRED 167

Crescent School of Architecture, Chennai by architectureRED 169With a programme that is two-fold in nature, both extroverted and introverted, any architecture school requires spaces that allow its users to work in multiple ways. The ideal school should allow for an open-ended programme. Through means of an unconventional spatial method, our architecture school presents its users with various options for inhabitation and use.

Conceptual Diagrams

Extending the ground plane into the building became imperative because of the limited site allocated for the large programme of the architecture school. We chose to eschew the need for a restricted entrance and instead chose to maximise the openness of the building’s connection to the ground – creating a large shared piazza that extends the urban structure of the university campus into the school, and flows through an open stilt area to the edge of the reserved forest. One is offered a multiple choice of accesses, including an open yet shaded access to the first floor. Instead of merely vertically extruding a courtyard, here the ground plane is multiplied, staggered at each level and overlapped. An additional ‘new ground’ is thus created at every floor level within the building – that stretches the piazza and the open stilt / free plinth upwards into the building volume. This continuous, stepped void created acts as a diagonal courtyard – offering, in this case, exhilarating vistas across the terraced-landscape-like formation, besides becoming the key congregational and social space for the school.

These voids – in addition to making the building mass lighter, also perform the important task of creating an ‘outdoors-like’ experience – with the wind blowing through, the sun traversing across the spaces during the day, and the shaded spaces feeling connected to the elements and the campus (to which the building forms and urban edge) – with views across the reserved forest on the west side and the campus towards the east and south.

Each studio space opens onto its adjoining double height terrace (shaded by the overhanging floors) through a set of large sliding folding doors – offering the possibility of open studio/workshop spaces and/or open exhibition and review spaces – that can be viewed together diagonally across, during ‘open-house’ days and common review days. Design studios that are placed adjacent to one another may be transformed into one large space hosting shared classes or studios between two different sections, avoiding complete isolation. Each design studio also accommodates a mezzanine level that houses its respective lecture hall.
The Crescent School of Architecture aims to deploy a spatial methodology to suggest possibilities in which different programmes may be adapted through innovative infrastructural and spatial solutions and possibilities.

With open spaces present at its base that offer possibility of intense activity, gathering and socialising, a strong connection between the school building and the campus is reinforced. This connection infiltrates the structure enhancing its experience in the hope of giving birth to a new system where users can begin to take charge and re-configure spaces that adapt to changing needs and demands, tuned towards their own specific purposes, and as such the buildings posits a proposition for a sustainable institutional architecture that will adapt to its times.


Project Facts:

Project Credits
Project Name: Crescent School of Architecture
Project Type: Institutional
Location:  Vandalur, Chennai, India
Client:  Crescent University
Project Status:  Completed, 2019
Built-up Area: 1,25,000 sq.ft
Client Team: V.N.A Jalal, M.S Jagan, Shuja Ahmed, Jamal J
Project Design Team:  Biju Kuriakose, Kishore Panikkar, Kani Pandian, Yasir Azami, Gero Rajan, Jagadesh, Chandana Ramesh, Reshma Chandrashekar, Syed Munavar, Shashank Muralidharan
Structural Engineers:  Somadev Nagesh Consultants
MEP Consultants: Air Treament Eng. (P)ltd.
Photographs: Fazal Hussain, Lakshiminaraayanan, Smrithi M Kulkarni

Satara Municipal Corporation, Competition Entry by KENARCH Architects, Pune

Satara Municipal Corporation - Kenarch Architects
Satara Municipal Corporation - Kenarch Architects
Satara Municipal Corporation – View

The aim for this project is to develop an architectural expression that harmonizes its surroundings with the built form over time, not only in terms of an architectural language, but also with respect to the spatial quality.

Inspired from the Courtyard typology of the traditional building “The Wada’s” from Satara, the building is devised as a courtyard type, introverted plan.

A language of solidity and transparency is juxtaposed to capture the soul and purpose of this building, delicately balancing strength and fragility. Inspired from the nature of the modern day corporate offices, the idea is to create TRANSPARENCY in spaces which shall in turn create transparency in the way of working; this openness in the spaces can improve the overall efficiency in working.

The visitors are welcomed by a strong fortified wall in Black basalt Khandki (local stone) stone masonry, which resembles its connection to its roots of the traditional Wada’s. This Stone wall also signifies strength and protects the fragile transparent image of the building.
The project sits square and firm on ground yet subtly opening up through the lower floors. A strong visual link / axis connect the Indian National flag at the North and terminate at the Shahid War Heroes Smarak in the South. The entrance plaza results in effective visual connection and physical continuation of space into the courtyard.

The building houses two parking floors (basement and stilt floors) , three floors for public offices (first , second and third floors) and two V.I.P floors (fourth and fifth floors). As one moves inside, the space transcends into the central atrium / courtyard. The spaces gradually start unfolding its true nature and its relations with the different office departments.

The idea is to create a public space that flows at many levels. Corridors / connecting bridges overlook the central courtyard at all levels. This serves the dual purpose of transforming mundane movement spaces into active stop places for interaction and in creating a continuous connected network of gathering places not only in the horizontal plane but also vertically.

The courtyards act as lungs and maximize the use of natural daylight and enhance natural ventilation passively cooling the building. Natural light pours in throughout the day and thus reduce the need for artificial lighting. The Skylight above the courtyard are well ventilated with evacuator fans which extract the trapped hot air. The orientation and placement of the smaller courtyards respond to the solar angle such that generous mixes of shaded and sunny spaces are produced to be equally comfortable in summer and in winter.
To cut down heat absorption substantially from the east and the west, cavity walls made up of Aerocon block masonry from inside and exposed brickwork from outside are proposed, and vertical creeper jaalis on the openings have been proposed to bring in cool filtered air inside the building.

A robust yet simple structural system is used to dilute the complexity of the purpose of the building and also make the construction economical.

The materiality reinforces the duality in time – aspirations of a developing nation with roots ingrained deep in a rich cultural past. The building boldly displays a mix of local stone, exposed bricks and concrete which is maintenance free. The materials are carefully selected considering the climatic needs of the region while retaining the progressive design intent and their ability to age gracefully.

Satara is known for soldiers who laid down their lives to fight for our country. As a tribute to the great history of soldiers from Satara, a War memorial is proposed and strategically located so that it can be viewed from all the public spaces and connecting corridors. Inspired from the “Char Bhinti Smarak” in Satara, the Shahid War heroes Memorial points upwards towards the heavenly sky, signifying their ultimate sacrifice.

Satara Municipal Corporation, Competition Entry by KENARCH Architects, Pune 248The cafeteria and the fitness Centre are located at the rear side and can be accessed by the rear side road. This location ensures that these activities can remain open even during govt. holidays, while the main administrative building is closed.

The roof of the main building can have around 300 no’s: of photo voltaic panels and can generate electricity catering up to 20% of the electrical needs for the whole building.

The approach is to address the core needs of any public building i.e. user friendly spaces, maintenance free material palette and climate responsive architecture by making maximum use of natural light and ventilation and create an HUMBLE yet PROMINANT Icon for Satara City.

Drawings and Details

Climate Response:-

  • Cavity walls comprising of Aerocon block masonry from inside and exposed brick work masonry from outside reduce the thermal ingress of the inclined sun angle from the East and the West.
  • Vertical creeper jaalis filter the hot air and brings in diffused light as well as cool air from the Western openings. The smaller size of openings ensures Venturi effect and cools the air.
  • The flowering creepers on the building façade are selected as per the availability of the sun, these creepers serve dual purpose of shading the building as well as signifying its relation with the flowering Kaas Pathar, which also forms the important identity of Satara region.
  • Bigger openings on the Northern façade bring diffuse light into the office areas throughout the day. Staggered massing of the North façade, shades the summer sun during Uttarayan.
  • Courtyards act as lungs and maximize the use of daylight and enhance natural ventilation passively cooling the building.
  • Store areas, like the purchase dept. and the record rooms are located at the south side. These areas act as thermal buffer spaces and reduce the ingress of heat from the southern sun.
  • Smaller openings and accessible vertical creeper jaali ensures good protection of the southern façade reducing heat gain.
  • Abundance of diffused light and effective cross ventilation ensures lesser dependency on the artificial energy usage, thus reducing the carbon footprint of the building in the longer run.
  • 300 no:s of solar panels on the roof top protects the roof surface from direct heating and also produces electricity upto 100 KW with min. 420 Units/Day power generation which is equivalent to around 17-20% of total power consumption by the building.

Project Facts

PRINCIPAL ARCHITECTS : Ravi Arun Kanhere & Arun Kanhere
Team Architects:- Nivedita Bhave & Geeta Bamboli , Rohit Gujarathi
Climate Analysis :- V.K e:- Ar. Anagha Paranjpe Purohit & Ar. Kanchan Sidhaye
Structural Engineer :- Er. Vilas Purandare
Solar photo Voltaic energy Analysis :- Er. Unmesh Deshpande

Satara Municipal Corporation, Winning competition Entry by VEEKAS Studio, Pune

Satara Municipal Corporation - Vikas Bhandari - VEEKAS
Satara Municipal Corporation - Vikas Bhandari - VEEKAS
View of the proposed Satara Municipal Corporation

As one walks towards the building the eight flower beds in the compound wall and two on each side of the building welcome the visitor invoking the resemblance of the KAS PATHAR.

The four long columns subtly covey the function as Administrative one.

Satara Municipal Corporation - VEEKAS Studio
Concept Sheet

Enjoying this entry, one arrives in Atrium which acts as a binding space for all the happening right from 24.0M. Satara Koregaon Road to the farthest point of the site on south. qThe functions are organised around this atrium with administrative ones on lower and two upper floors are for democratic functions with the council hall as crown celebrating democracy.

SHIVAJI MAHARAJ statue at the focal point in atrium commemorates the heritage. And along with MAHARAJ’s Adnya Patra it reminds of How a just Administration must be.

The atrium further gives access to the ancillary building on south consisting of the exhibition hall, cafeteria and fitness centre. This building also has independence access ensuring availability independent of Nagar Palika office ensuring larger use and thus can generate some revenue. At the entry to the exhibition hall foyer at a lower level is a replica of the feature from BARA MOTECHI VIHIR AT LIMB.

The exposed roofs are covered with synthetic turf and with water sprinklers to drain the heat through evaporation. Groundwater recharging with rainwater, using the treated water for landscaping, photovoltaic and vertical axis turbines on one hand generate electricity and on the other hand demand for electricity has been brought down by use of landscape screens on the east and west facades of the building.

The building is planned for energy efficiency leading to near sufficiency.



Satara Municipal Corporation, Competition Entry by Architect Vivek Dixit

Satara Municipal Corporation - Competition Entry by Vivek Dixit
Satara Municipal Corporation: Competition Entry by Architect Vivek Dixit.
Satara Municipal Corporation: Competition Entry by Architect Vivek Dixit.


The skyline of the surrounding was studied to decide upon the height of the admin building mass so that it towers over the surrounding built environment to make it iconic. A modern manifest of light pole (Deep mal) in brass and copper metal cladded sculpture catches the attention and takes one to the vast fore court of the building. The front edge of the site is perforated to maintain connect with the city. The forecourt of the building gives the space back to the city in the form of the amphitheatre.

The citizen is taken through the arrival court to the podium to enter the foyer. This raised plinth depicts the authoritative ethos of the administrative building of Satara which was the admin seat of the Peshwa Dynasty. The front face of the building has angular facade and composition of the building mass resembles and depicts the bastion and gateway with ‘Meghdambari’ of Maratha architecture. The footprint of the building which has linear wings and series of courtyards is inspired from the Rajwada of Satara. The planning is based on the courtile principles of Maratha architecture with public and private court. The building is designed with seven courts placed at various levels to perform different functions as Satara city is named after the seven forts. The building depicts the three initiatives of Satara Municipal Council, use of solar energy, ‘Pustakaanchegaon’ and cultural activity.

Green Features:

  • The office spaces of the Satara Admin building are oriented around the courts to enjoy natural ventilation and daylight.
    Introducing Earth tube ventilation strategy by taking advantage of basement excavation, the pipes of required length running at the periphery provide 6-10 no. of air changes (required as per NBC) and pre-cooled air with the temperature drop of 26-29 degree which is with in adaptive thermal range.
  • All spaces in the building including the Main Council Hall is naturally lit with the help of skylight, peripheral windows with clear storey.
  • The fenestrations on the South façade have low sills to allow the daylight to reach the depth of the space.
    Horizontal slit windows on the East and West façade with appropriate shading device in the form of exposed form finished concrete box & Clear storey allows the light to filter in, without glare.
  • Because of planning, design of openings and shading devices, all habitable, service as well as circulation areas are well lit, eliminating the need of artificial lighting throughout the day.
  • Proposed wall section comprising of 100 mm thick pigmented RCC pardi as the exterior skin + 50 mm thick polystyrene insulation + 200 mm thick aerated concrete block masonry with 15 mm thick gypsum plaster meets the ECBC baseline i,e. 0.4W/ sq.m. deg.k.
    (Conventional wall section : U – value – 2.6 W/sq.m.)
  • The pigmented exposed concrete as the exterior façade reduces the life cycle cost of the building.
    40 % of TR reduced as compared to conventional building because of insulated walls and radiant cooling system.
    PV panels are placed at terrace level of capacity 70 kwp.
  • Annual consumption for lighting and HVAC for standard building design – 627000 units per annum.
  • Operational energy savings in the designed building due to daylight, – 175700 units per annum.
  • Use of LED fittings, radiant cooling and reduction in air conditioning (Rs.13.0 Lakhs approx.)
    tonnage because of envelope design.
  • Energy generation through PV panel – 98000 units
    (Rs.7.5 Lakhs approx.)
  • Total operational energy savings per annum – 273700 units
  • Total cost saving in energy bills per annum (Rs.20.5 Lakhs approx.)
  • Annual CO2 emission reduction – 150 ton.



Satara Municipal Corporation: Competition Entry by Studio PPBA

Satara Municipal Corporation: Competition Entry by Stuio PPBA

Satara Municipal Corporation: Competition Entry by Stuio PPBASatara Municipal CorporationDesign Concept:

In India, the sky has profoundly affected our relationship to built form, and to open space. At each moment, subtle changes in the quality of light and ambient air generate feelings within us, feelings which are central to our beings. This goes in hand with our idea to enclose the administrative functional part into four monumental blocks, whereas the ancillary activities surround them under the sky.

The expression of the building is just simple stone walls which inspired from the surrounding forts. These stone walls rising towards the sky standing on either side mark the stature of the administrative indulgence. Thus, creating a sense of place which can provide a monumental, dignified and symbolic setting in the city’s urban fabric.

The outer streetscape blends with the welcoming ceremonial plaza moving the hustle-bustle smoothly in & out. The lyrical qualities of light and shade, the beauty that can be found in humble materials, the power of colour, and the joy of woven narratives in space embrace the idea that has been put forward.

Fort symbolizes a warrior’s kingdom, royal retreat, bloodshed battlefields & a threshold of a settlement that dwells inside. Its aura, scale & every stone-carved dignifies its strength & security. We have tried to pass on the warmth of these forts to the monumental walls that stand-alone symbolically.

The associated services such as reuse of wastewater, ample natural light and ventilation, shaded courts, overall heat reduction from the exterior have facilitated a sustainable approach to the perception in general.
Yet with the modern calibration of textures & complimentary materials, the building is a marriage of the past & the present for a better tomorrow.

It nurtures the dignity to serve the people!