Isckon
For me, a design solution has to reflect simplicity in structure and form. The form in turn should reflect the material it is made from. When this project came to me, I felt that that it should reflect the spiritual values that Isckon stands for. I worked towards a design which would spiritually express the this idea by expressing truthfulness in material and structure.
Their requirements for the temple were slightly different form a normal Hindu temple. It included a congregation and meeting hall along with the Garbha griha and so on.
I worked on this project for about a year and made two models. I decided to let the strength of the concept do most of the talking for me.
The land that they had in Mayapuri is bounded two rivers and a road on the other side. Due to waterlogging in monsoon, they had decided to fill it up. The land being about 150-160 acres, the cost would be prohibitive. I suggested that we could use this natural phenomenon. I was of the opinion that the temple could be built in the lake and the temple should be approached by bridges. They liked the idea. In that part of India, people extensively use boats for transport and this made an impact on me. We designed it in a way that people can go around the temple and then enter it. So this is how the whole concept was built by seeing the site, the condition and the requirements.
As far as the material was concerned, no stone was available in the region. Most temples in the region were constructed out of lime and bricks. Simultaneously, Isckon had also set up a small factory for terra-cotta in which they were making a banner with Gods and Goddesses. I decided to use this Terra-cotta as a basic cladding material. Precast Concrete, as the modern material, would be used for the structure. We designed the entire complex in two or three design modules. We had decided to use this module with cast in situ concrete and clad it with terra cotta and some golden tiles in between which would shine.
It would have been a fantastic project if it was realized.
Bombay Gujarat Cloth Market, Surat, Gujarat.
A group of merchants from the Mulji Jetha Market approached the architect to design a new shopping complex for the whole-sale silk market which has developed in Surat over the centuries. Although the existing market was found to be dirty and congested, the vibrancy of life and interaction between buyers and sellers inspired the architect to recreate a design which would help retain its dynamic atmosphere. In a covered arcade, spaces were thus retained for exhibiting sign boards, glittering bulbs and cloth lengths, but with visible demarcation of shop areas, and enough room for free and easy movement.
To remove congestion, all the shops are placed on the first floor, approachable by ramps, from a street-like corridor. A small platform is provided outside each shop where the customer and shopkeeper conduct their transactions. Customers agents have been provided with small office-cum-residential areas in the market complex. The complex thus has to be a self-contained unit, requiring, in addition to the shops, an infrastructure of banks, a post office, a hotel and restaurant.
OWNER: Bombay Gujarat Art Silk Vahepari Mandal
CONSULTANTS: Duban Consultants, Bombay
PRIME CONTRACTOR: Charotar Construction
COVERED AREA: 39,498 sq. mt.
YEAR OF COMPLETION : Phase I & II : 1972-1982
COST: Rs. 250,00,000
Bakrol Housing, Dist. Anand, Gujarat
I was awarded the project on the basis of a prize won in the all-India competition on low-cost housing, organised by HUDCO and the Hari Om Ashram. It was a challenging task to construct 200 houses within 10 months, and that too within an amount of Rs. 4000 for the construction of each unit.
To remain within the constraints of the budget, various alternatives were considered for getting the maximum area covered at minimum cost. Keeping this in mind, the use of material, which would need to be transported from distances, was ruled out, and only the locally available material was selected, tested and used. I went to Bakrol to see the site. I decided to get the material from a radius of 1 km. There were canals being made near Anand and a lot of brick bats were available. I found it useful.
A can making factory used to reject improperly printed cans. This also we decided to use. Because of the cost factor, I decided to use bricks as the main material, even in the roof. I constructed a vault in brick bats of 9 ft. near my office. I tested it by loading it with 15 people on top. After I was thoroughly satisfied with it, I decided to make all the houses I made almost on cross wall system. Since the technique of vaults required neutralizing of the horizontal thrust on walls, a system of row houses with courtyards was evolved. This system was finalized after studying the prevalent social behavioral pattern, and after various groupings of houses had been analyzed to suit the site.
In the minds of the people living there, it is a “pucca” structure. The planning of the scheme incorporates outside spaces like courtyards and the cost came to 10 Rs/sq.ft. at that time. Due to this costing, I could design 300 sq. ft. per house for which I got a prize.
OWNER: Gujarat Rural Housing Board
CONSULTANTS: Mahendra Bhavasar, Vadodara(structural)
PRIME CONTRACTOR: Charotar Construction
COVERED AREA: 45.93 sq.mt per unit
YEAR OF COMPLETION: 1978
COST: Rs. 4,200 per unit
School of Architecture, Vallabhvidyanagar, Gujarat.
“As the site was surrounded by various hostels, I decided to close off the school from the outside, and create an open space or courtyard within the building complex, towards which all activities would center. The corridors were sunk so that studio areas could maintain their privacy, and at the same time have an unobstructed view of the courtyard. The corridor walls were conceived as exhibition areas for students' works, and the corridors themselves as an intimate space for staff and student interaction. The courtyard is linked to the open exhibition-cum-activity hall. The idea for this came after a significant amount of thought for the Indian conditions. Most of the buildings designed for such purposes in the earlier part of twentieth centuries would invariably have long corridors and hallways. This would prove very cumbersome functionally where security is an issue. In India one needs internal looking spaces with courtyards. This way the problem of security can also be solved. The open space which you have incorporated inside makes it ore spacious and the building doesn’t feel alien to this land! The exterior construction of the building is of earthwork up to a 2.4 mt. level, which merges harmoniously with the landscape, and also provides insulation.
Internally, the corridor and the classrooms are designed not to disturb the proceedings of the classes.
When we decided to shift the college here from Baroda, I had no other thought but a cozier, comfortable atmosphere and environment for my students. Sometimes, you learn more in a comfortable environment. You like to sit near a tree, you like to discuss and communicate with your friends. Here, I believe, it increases communication.
OWNER: Parisar Trust
CONSULTANTS: A.S.Himmatbhai & Co.
COVERED AREA: 2045 sq.mt.
YEAR OF COMPLETION: 1985
COST: Rs. 25,00,000
Farmhouse for Self
Architect Suryakant L. Patel possesses in the isolated wilderness of the ravines of Mahi river of Gujarat, a outstanding house which blends modernity to traditional architectural practices.
It is perched on a hillock about ten meters and the brick walls tend to merge with the undulating landscape all around. Fortress like, and yet pleasantly inviting the house is built like a pleasure pavilion. Thick walls and an abundance of terraces flow easily in and out of the house. Moreover, the clever partition of openings, allied with an intelligent disposal of facades facing the valley, make for an effective circulation of air which is more ingenious but softer than western air-conditioning, to combat the heat. The rich vegetation around is an added help. The ground is covered in white mosaic tiles which reflect sun's radiation instead of absorbing it, and the water.
Radiating an unusual tranquillity, one cannot help but imagine it to have sprung from the Genius of the place. The circular volumes and brickwork rising to the top majestically bear a testimony to this.
It was to reside with nature that he constructed this house with utmost care over the years. Some thirty years ago when an opportunity presented itself he acquired 60 hectares, of land in Bhimpura, which he knew well, having hunted there as a child with his father. On a hill overlooking a river he built a shelter, which he replaced sometime later with a modest lodge of bricks and wood where he could rest with his hunting companions after a day full if emotions. Gradually, Suryakant came to his lodge to spend his week ends. He tasted peace. He dreamt. He fully benefited from this time suspended in space. He saw how life want by in peace, when one was in the company of friends, in a landscape which evoked the dawn of this world. Every return to noisy suburbs was a mortification
A desire arose in him and he constructed a vast property where all his family could settle for long periods.It became, he recalls an obsession. “For years I thought of this project. I had total liberty; I was my own client, the space was not measured for me. But do you know what I finally did after having carefully elaborated the whole scheme. I went to the spot and drew the plan on the ground with a stick! Everything was built like the growing of tree; as time went by, taking one's time leaving place for the unexpected. I wanted my house very open to nature” he says, “to sunrise or sunset, moonlight, to the beginnings of the monsoon. I did not want to leave out anything open to the elements, the house had however to protect me from their excesses! Majestic though it is, to mingle with its site, it should envelope me in this peaceful warmth, in which we all want to be cradled at the end of the day”.
More than any other a house which an architect has constructed for himself, is an indiscreet mirror of his deep personality.
For me, a design solution has to reflect simplicity in structure and form. The form in turn should reflect the material it is made from. When this project came to me, I felt that that it should reflect the spiritual values that Isckon stands for. I worked towards a design which would spiritually express the this idea by expressing truthfulness in material and structure.
Their requirements for the temple were slightly different form a normal Hindu temple. It included a congregation and meeting hall along with the Garbha griha and so on.
I worked on this project for about a year and made two models. I decided to let the strength of the concept do most of the talking for me.
The land that they had in Mayapuri is bounded two rivers and a road on the other side. Due to waterlogging in monsoon, they had decided to fill it up. The land being about 150-160 acres, the cost would be prohibitive. I suggested that we could use this natural phenomenon. I was of the opinion that the temple could be built in the lake and the temple should be approached by bridges. They liked the idea. In that part of India, people extensively use boats for transport and this made an impact on me. We designed it in a way that people can go around the temple and then enter it. So this is how the whole concept was built by seeing the site, the condition and the requirements.
As far as the material was concerned, no stone was available in the region. Most temples in the region were constructed out of lime and bricks. Simultaneously, Isckon had also set up a small factory for terra-cotta in which they were making a banner with Gods and Goddesses. I decided to use this Terra-cotta as a basic cladding material. Precast Concrete, as the modern material, would be used for the structure. We designed the entire complex in two or three design modules. We had decided to use this module with cast in situ concrete and clad it with terra cotta and some golden tiles in between which would shine.
It would have been a fantastic project if it was realized.
Bombay Gujarat Cloth Market, Surat, Gujarat.
A group of merchants from the Mulji Jetha Market approached the architect to design a new shopping complex for the whole-sale silk market which has developed in Surat over the centuries. Although the existing market was found to be dirty and congested, the vibrancy of life and interaction between buyers and sellers inspired the architect to recreate a design which would help retain its dynamic atmosphere. In a covered arcade, spaces were thus retained for exhibiting sign boards, glittering bulbs and cloth lengths, but with visible demarcation of shop areas, and enough room for free and easy movement.
To remove congestion, all the shops are placed on the first floor, approachable by ramps, from a street-like corridor. A small platform is provided outside each shop where the customer and shopkeeper conduct their transactions. Customers agents have been provided with small office-cum-residential areas in the market complex. The complex thus has to be a self-contained unit, requiring, in addition to the shops, an infrastructure of banks, a post office, a hotel and restaurant.
OWNER: Bombay Gujarat Art Silk Vahepari Mandal
CONSULTANTS: Duban Consultants, Bombay
PRIME CONTRACTOR: Charotar Construction
COVERED AREA: 39,498 sq. mt.
YEAR OF COMPLETION : Phase I & II : 1972-1982
COST: Rs. 250,00,000
Bakrol Housing, Dist. Anand, Gujarat
I was awarded the project on the basis of a prize won in the all-India competition on low-cost housing, organised by HUDCO and the Hari Om Ashram. It was a challenging task to construct 200 houses within 10 months, and that too within an amount of Rs. 4000 for the construction of each unit.
To remain within the constraints of the budget, various alternatives were considered for getting the maximum area covered at minimum cost. Keeping this in mind, the use of material, which would need to be transported from distances, was ruled out, and only the locally available material was selected, tested and used. I went to Bakrol to see the site. I decided to get the material from a radius of 1 km. There were canals being made near Anand and a lot of brick bats were available. I found it useful.
A can making factory used to reject improperly printed cans. This also we decided to use. Because of the cost factor, I decided to use bricks as the main material, even in the roof. I constructed a vault in brick bats of 9 ft. near my office. I tested it by loading it with 15 people on top. After I was thoroughly satisfied with it, I decided to make all the houses I made almost on cross wall system. Since the technique of vaults required neutralizing of the horizontal thrust on walls, a system of row houses with courtyards was evolved. This system was finalized after studying the prevalent social behavioral pattern, and after various groupings of houses had been analyzed to suit the site.
In the minds of the people living there, it is a “pucca” structure. The planning of the scheme incorporates outside spaces like courtyards and the cost came to 10 Rs/sq.ft. at that time. Due to this costing, I could design 300 sq. ft. per house for which I got a prize.
OWNER: Gujarat Rural Housing Board
CONSULTANTS: Mahendra Bhavasar, Vadodara(structural)
PRIME CONTRACTOR: Charotar Construction
COVERED AREA: 45.93 sq.mt per unit
YEAR OF COMPLETION: 1978
COST: Rs. 4,200 per unit
School of Architecture, Vallabhvidyanagar, Gujarat.
“As the site was surrounded by various hostels, I decided to close off the school from the outside, and create an open space or courtyard within the building complex, towards which all activities would center. The corridors were sunk so that studio areas could maintain their privacy, and at the same time have an unobstructed view of the courtyard. The corridor walls were conceived as exhibition areas for students' works, and the corridors themselves as an intimate space for staff and student interaction. The courtyard is linked to the open exhibition-cum-activity hall. The idea for this came after a significant amount of thought for the Indian conditions. Most of the buildings designed for such purposes in the earlier part of twentieth centuries would invariably have long corridors and hallways. This would prove very cumbersome functionally where security is an issue. In India one needs internal looking spaces with courtyards. This way the problem of security can also be solved. The open space which you have incorporated inside makes it ore spacious and the building doesn’t feel alien to this land! The exterior construction of the building is of earthwork up to a 2.4 mt. level, which merges harmoniously with the landscape, and also provides insulation.
Internally, the corridor and the classrooms are designed not to disturb the proceedings of the classes.
When we decided to shift the college here from Baroda, I had no other thought but a cozier, comfortable atmosphere and environment for my students. Sometimes, you learn more in a comfortable environment. You like to sit near a tree, you like to discuss and communicate with your friends. Here, I believe, it increases communication.
OWNER: Parisar Trust
CONSULTANTS: A.S.Himmatbhai & Co.
COVERED AREA: 2045 sq.mt.
YEAR OF COMPLETION: 1985
COST: Rs. 25,00,000
Farmhouse for Self
Architect Suryakant L. Patel possesses in the isolated wilderness of the ravines of Mahi river of Gujarat, a outstanding house which blends modernity to traditional architectural practices.
It is perched on a hillock about ten meters and the brick walls tend to merge with the undulating landscape all around. Fortress like, and yet pleasantly inviting the house is built like a pleasure pavilion. Thick walls and an abundance of terraces flow easily in and out of the house. Moreover, the clever partition of openings, allied with an intelligent disposal of facades facing the valley, make for an effective circulation of air which is more ingenious but softer than western air-conditioning, to combat the heat. The rich vegetation around is an added help. The ground is covered in white mosaic tiles which reflect sun's radiation instead of absorbing it, and the water.
Radiating an unusual tranquillity, one cannot help but imagine it to have sprung from the Genius of the place. The circular volumes and brickwork rising to the top majestically bear a testimony to this.
It was to reside with nature that he constructed this house with utmost care over the years. Some thirty years ago when an opportunity presented itself he acquired 60 hectares, of land in Bhimpura, which he knew well, having hunted there as a child with his father. On a hill overlooking a river he built a shelter, which he replaced sometime later with a modest lodge of bricks and wood where he could rest with his hunting companions after a day full if emotions. Gradually, Suryakant came to his lodge to spend his week ends. He tasted peace. He dreamt. He fully benefited from this time suspended in space. He saw how life want by in peace, when one was in the company of friends, in a landscape which evoked the dawn of this world. Every return to noisy suburbs was a mortification
A desire arose in him and he constructed a vast property where all his family could settle for long periods.It became, he recalls an obsession. “For years I thought of this project. I had total liberty; I was my own client, the space was not measured for me. But do you know what I finally did after having carefully elaborated the whole scheme. I went to the spot and drew the plan on the ground with a stick! Everything was built like the growing of tree; as time went by, taking one's time leaving place for the unexpected. I wanted my house very open to nature” he says, “to sunrise or sunset, moonlight, to the beginnings of the monsoon. I did not want to leave out anything open to the elements, the house had however to protect me from their excesses! Majestic though it is, to mingle with its site, it should envelope me in this peaceful warmth, in which we all want to be cradled at the end of the day”.
More than any other a house which an architect has constructed for himself, is an indiscreet mirror of his deep personality.
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