City: NASHIK

PROJECT NAME: YCMOU Library and Multimedia Centre

DESCRIPTION OF THE PROJECT:

This is to certify that Following measures have been considered as per Green Building Considerations:

Climatically Responsive Design with Maximum use of Daylight and Natural ventilation to reduce the Electrical Load.

Light Weight Insulated Roofing with North Lighting reduces overall structural load of the Building.

Roof Ventilation with the Use of Turbo Wind Extractors.

Planning Considerations: Respecting Natural Contours and Minimum Intervention with Natural Topography

Rain Water Harvesting for recharging of Bore wells and for Landscaping and Use of Grass Pavers for parking area for Rainwater Harvesting.

Solar / Sun path Analysis and Avoided Excess Heat Gain by use of Appropriate Fenestrations and Protection.

Building Lighting System Consists of Extensive Use of CFL’s to reduce Electricity Consumption.

Use of Natural Stone Cladding and External Flooring.

Use of Matt Finish Vitrified Tile for Flooring with Recycled content: Pre-Consumer – 17% and Post-Consumer – 7.6%.

Use of Low VOC Paints.

Use of low Flow Plumbing Fittings to reduce Excess of Water flushed.

Use of Native and Adaptive Landscape.

Laminated Glass used for glazing having Low ‘U’ Value lowers Heat and Sound Gain.

Followed Proper Construction Practices like – Labour Camps and their Hygiene, First – aid, etc.

 

THE BRICK HOUSE

The brick house occupies a land parcel of 800 sq.m. on the suburban edge of Kalas in Pune-with a reserve forest on the east and a haphazard cluster of slums and unorganized housing on the access road to the west.

The above situation creates an interesting opportunity to flip a typical suburban house condition and open up the major public areas to the backyard garden looking towards the forest beyond. Instead of the mundane suburban house the strategy here is to evoke a feeling of living in the country-side.

The living space, designed as a public node surrounded by built spaces, opens up to the verandah allowing a seamless view of the lawn and forest beyond. The east-west orientation of the living space welcomes the warm morning sun and some migrating birds and peacocks from the forest. The cooking, dining, sleeping, and bathing areas are aligned to the south and west of the site to protect the living areas from direct heat. Each bedroom is designed considering the intuitive usage of space with inbuilt seating and furniture to go beyond the normative idea of formal living spaces. Each bedroom has got three different types of windows, one for seating -to enjoy interior space and exterior views, another small window for cross ventilation -peeping in the living space- and the third is a balcony to go out and enjoy the distant landscapes.

The house is conceived as an introvert form with a solid mass of brick which stands still, blank and bold from outside. The dynamic play of light and volumes is revealed only when one enters and walks through different spaces inside. The space is composed of all natural and earthy materials like the Black Granite floor – a reference to the monolithic basalt plinth of a typical historic temples and forts in the regions-; the exposed brick walls constructed using Racking Monk bond-resembling the traditional Indian weaving patterns and adds a different value to the most conventional material like a brick; the wooden ceiling which floats above the public areas with pergolas at the edges and the center of it, creating an ever changing pattern of light throughout the day, making it a unique experience to be in the space at different times of the day; finally, the grey-green cement box windows, sills and inserts with operable louvered windows to adjust with the changing weather conditions, framing views of the surrounding garden and distant forest.

This house is an attempt to create a level of privacy within the urban environment, where the users could interact with each other and nature as playfully as possible. Keeping all the formal layers of life aside and take a pause from the busy life of the city.

The Arghya farmhouse is a quiet residence for a spiritual client; built on a Nashik farmland bunded towards a dam. Merely a quarter of the entire four acre plot is held by this house, which is laid out along a single horizontal plane to convenience the movement of the elderly client. Five principal lines define the formal and spatial composition of the house – those that also connect land and water, the sky and the earth, inside and outside, the built and the green, in effect, the private and the public. Sitting between the boulders and the stream, silence and sound of nature, the Arghya farm house offers multiple opportunities to its users to unify with nature, and take recluse in its own interior setting. The house and the site are seamlessly interwoven within each other in different ways, creating multiple contemplative corners between the mountain and the water.

Material of Construction and Details

In order to maintain a low-key tranquil environment, the project works with a minimal palette of basic construction materials of brick and concrete. It has been painted with water resistant lime based paint from inside, outside and even toilet walls. The flooring is leather finished Anita grey Indian stone, and even on decks the same marble is cut and used in small pieces including all wastage as well. All furniture, doors and windows in teak wood. All fabrication work and sculptures is in corton steel, which is kept raw.
The house is covered from the above by a terrace garden.

Special features

The house has been set within the site so as to not overpower its surroundings. The design has been made climate conducive by creatively altering the topography on the west side to allow natural air and light, creating a flow of cross ventilation. Special sculptures have been commissioned to be placed at strategic intersecting axes that marry art and architecture. The house frames uninterrupted views of the dam, while also creating private pockets and spaces for contemplative meditation.

Panel writeup

The House of Five Lines

Arghya Farmhouse, Nashik, by Space Studio Architects

Arghya farmhouse is a quiet residence for a spiritual client; built on a Nashik farmland bunded towards a dam. Five principal lines define the formal and spatial composition of the house – those that also connect land and water, the sky and the earth, inside and outside, the built and the green, in effect, the private and the public.

Cascading down through a series of pedestrian steps, the forecourt of the house gets defined by the first line – a wall with a long slit that frames the dam against the green. It directs us into the covered portico bending us into the direction of the entrance. As one enters, a big view of the pool opens up, bounded on the right by the second principal wall that playfully layers the house and connects to the water stream that runs beyond in the back.

The third principal wall-line acts as a retaining wall holding and allowing the earth for the home. This wall contains the kitchen within its U-fold, and has a U-cut within it to allow the stream-fountain inside. This central private sit-out in the house brings together the five elements of water, earth, sun (fire), wind and light (space). The fourth and fifth walls define the spaces for the private bedrooms and their public counterparts.

Sitting between the boulders and the stream, silence and sound of nature, the Arghya farm house offers multiple opportunities to its users to unify with nature, and take recluse in its own interior setting. A terrace garden on top of the house becomes not only an extended landscape of the house, but also integrates it with the topography of the original site. Moreover the house and the site are seamlessly interwoven within each other in different ways, creating multiple contemplative corners. Held between the mountain and the water, the house is a gesture in five lines folding life in an attempt to make architecture timeless.

Viveda Wellness Retreat is set amidst 50 Acres of unspoiled natural terrain and grounded in Ayurveda, Yoga and Vedanta combined with traditional therapies which enhance and augment the original. The central theme of the sanctuary is to live the inner self journey from the mundane to the spiritual, by embracing nature in every sense of existence. The challenge in designing the healing space was to ensure the continuity of some of the traditional values and cultural elements. 

The site is located near Trimbakeshwar, within the Sahyadri mountain range. Located in a small village called ‘Beze’, the site is in the vicinity of a number of dams and opens up to serene views of the Sahyadris. This enables a mostly cool, dry and pleasant weather for the region with ample rainfall.  This topography has created a unique micro-climate in the village, with temperatures 5 to 6 degrees lesser than the urban areas nearby. 

A conscious effort was put into understanding the evolution of a typology followed by dharamshalas, sarai, temple complexes, and Hammams and going back till the great bath in Harappa. Historically, these spaces used to warmly welcome the traveler, provide them with a resting place and food, and also healed them. This typology transformed into a modern-day healing spa and resort which we see today. Reinterpreting the same in modern times, the idea is to create a space that helps one break away from their busy, mundane life and reconnect with nature and the inner self. 

We manifested the thought of learning everything from the immediate surroundings –a sensitive lifestyle followed by the villagers, where handcrafting was the primary way of doing things, to materials and technique of construction, all coming from the immediate context. Materials like stone, wood, and traditional Indian clay roof tiles -which are one of the most natural materials- respond well to the local climate and alter the spatial experience of the resort. The varying volumes animated by light, shadow and the texture of the materials, evoke strong emotions and deep experiential memories. 

By collaborating with local masons and craftsmen, we attempted to create something prehistoric, in harmony with the traditional and ancient practice of Ayurveda and naturopathy, existing since centuries. The focus was on creating an experience which takes you away from the present hustle bustle of urban life to the past to heal yourself. The architecture portrays a symbiotic relationship between cultural elements and the natural surroundings. The form and volume of every space is evolved from an in-depth understanding of the respective functions creating a heterogeneously homogenous space which grows organically throughout the site, merging with the surrounding landscape.

Green Status pointers for Viveda Wellness Retreat:

1. Stone has a high thermal mass and absorbs the heat from solar radiation. Stone being the main material of construction, the temperatures in the interiors are lower and a comfortable environment is maintained throughout the year.
2. Green pockets have planned throughout the project where Trees and vegetation lower surface and air temperatures by providing shade and through evapotranspiration. These pockets also improve the air quality and lower greenhouse gas emissions.
3. The major building materials are wood and stone which are both procured locally, within a radius of 50 km, which accounts for very low embodied energy of the materials.
4. Clay pot tiles for roofing have been used, made by a local potter within 25 to 30 kms of the site with local soil, responding well to the local climate. These tiles are made in a small home kiln and were baked less resulting in lesser carbon footprint.
5. Rootzone technology is used for the treatment of treatment of sewage, wastewater, sludge, mud, and oil. This biological treatment of waste water takes place in a soil volume, which is penetrated by roots, as it is a natural process, there is no energy required and there is zero carbon emission.
6. The building largely relies on natural light and ventilation.
7. The planning of the project consists of circular forms which do not restrict the flow of the wind and there is unobstructed cross-ventilation.
8. Minimal use of concrete, steel and sand has been done by avoiding large span slabs, RCC columns and beams and plaster for walls and slabs. This reduces the carbon footprint.
9. Use of paint and synthetic wooden polish has been completely avoided. Hence there are no VOCs (Volatile organic compounds).
10. Indigenous and native species have been planted throughout the site to contribute to the larger ecology of the context.
11. Water bodies are also made in local basalt stone and minimal use of ceramic tiles to reduce the embodied energy.
12. Use of hardscape in the outdoor areas is completely avoided and pathways are made with stone dust to make the ground impermeable. 

Description of the project:

The site is located near Trimbakeshwar, within the Sahyadri mountain range. Located in a small village called ‘Beze’, the site is in the vicinity of a number of dams and opens up to serene views of the Sahyadris. This enables a mostly cool, dry and pleasant weather for the region with ample rainfall.  This topography has created a unique micro-climate in the village, with temperatures 5 to 6 degrees lesser than the urban areas nearby. 

A conscious effort was put into understanding the evolution of a typology followed by dharamshalas, sarai, temple complexes, and Hammams and going back till the great bath in Harappa. Historically, these spaces used to warmly welcome the traveler, provide them with a resting place and food, and also healed them. This typology transformed into a modern-day healing spa and resort which we see today. Reinterpreting the same in modern times, the idea is to create a space that helps one break away from their busy, mundane life and reconnect with nature and the inner self.

Materials of construction and details:

We manifested the thought of learning everything from the immediate surroundings –a sensitive lifestyle followed by the villagers, where handcrafting was the primary way of doing things, to materials and technique of construction, all coming from the immediate context. Materials like stone, wood, and traditional Indian clay roof tiles -which are one of the most natural materials- respond well to the local climate and alter the spatial experience of the resort. The varying volumes animated by light, shadow and the texture of the materials, evoke strong emotions and deep experiential memories.

Special features:

Revival of local art and craft in the region like hand-dressed stone masonry, wooden post and beam structures with traditional joineries and pottery for creating traditional Indian roof tiles.

Use of local materials procured within 50 kms of the site.

The combination f built and unbuilt spaces with courtyards and skylights makes the built forms porous and breathable.

The project is largely influenced by forts in the region which have a homogeneous character of stone and a symbiotic relationship with the immediate landscape.

‘KAVIDHAN’ – where the poetry of life breathes……

Every living creature is reflection of ‘the elements of nature’, responsive and sensitive towards every littleness of the planet. Its belongingness to the place defines its core values and generates the ‘intangible ideas of living’.

As seventy percent of the crowded Indian context is bonded by common walls in old city fabric of traditional housings. It retains unique sense of belonging in response to climate, context and past. The need for expansion over generations has woven with a sense of freedom informally evolving and varying as per the individuals over the ages, but in an order to ‘respond the time & place’.

Today’s need and time has opened third dimension to reobserve dwellings beyond the only need to expand rather deeply think to respond the ‘values living within’.

‘KAVIDHAN’ a 120’X 11’X 47’ East-west niche carved between the two common walls in the densely populated rural place ‘vansda’, reveals on the edge of Maharashtra and Gujrat. A home for varied biodiversity. A place for community to live in coexistence with nature. The atmosphere of the place is serene and charged in the symphony of supernatural elements of nature (Earth, Sky, Water, Wind and Fire). The dimension fulfills this in- between-ness of man and nature creating a harmonic balance through five elements courts in the house. The memory of mountain creeks in the journey left behind beholds deep values of place, people and culture.

Urning this memory of experience into the feeling of space.

The chaotic chanting of the surrounding disables at the dawn as the early east rays enters, cleansing over the series of spaces tuning the water resonating within. The indirect east light illuminates the double height space above the kund at the heart of the house. Purifying the spaces by satisfying the principles of Jainism.

The porosity of breathing spaces make feel the west prevailing breezes from the court filled with aromatic fragrance making it an inviting space to the house. It activates in the morning to collect flower for rituals and children’s pondering with grandparents awakening them with words of experience and guidance under shade making a meaningful space of learning for generations. In evening the family together enjoys in the comfort of cool breeze, acting like an otla- a semi open threshold of inside and outside. These spaces begin to expand in multiple ways as the user imagine to live with it over time, responding each season to dwell with.

The internal section of the house creates the external ideas of living in the old context. The five staircases in the house elevates parallel up to the court, forming a pause to interact at every level in an ease, creating memories in togetherness. The playful plinths (earth court) interwoven becomes a part of children overlooking the kitchen maximizing its use for multiple activities. The kitchen, dining space, water court and earth court are highly interactive core and social throughout the day camouflaging each other’s values in performing the activities of the day. Simply grounding themselves at the dining as a ritual of gratitude in the presence of natural energies around. The bedrooms overlook the central space while the core offers an open-ended vision up the sky keeping eye control over spaces.

Each space responds & dedicates each one character’s stage of life and their true nature making it more valuable and very own. The multidimensional courts and spaces sculpted in-between grey washed walls creates inquisitiveness, yet offers a ‘freedom of choice’ to each individual let ‘deeply ponder within and without’, making it a constant space of solace.

The external response to the immediate context and climate with chapru-sloping roofs and balconies to create a dialogue with the neighbourhood. The aagashi- (terrace) is the place of special importance to the state for celebrating seasons throughout the year, summer- cool breezes and yearly household activities, rains- being part of nature, winter- kite flying festival. The terrace garden is accompanied with the mezzanine of the west master bedroom acting like an extended space to meditate and work in solitude.

More of seen its dynamically unseen story of the house to witness is an open-ended reel of experiences and also of its completeness in the subtle contrast of light and dark. The contraction and expansion of spaces in series avails the explorer to disappear and reappear throughout the house in infinite opportunities of creating memories and experiences. The monolith appearance is a silent poetry awakening and resembling to the spiritual values reverberating in the spaces.

House without a form- just atmosphere.

Architecture cannot be seen in isolation. Habitable spaces need to be unique to their context, user and unsaid brief, simply as two humans are not similar. We believe every house should be crafted in response to this, to create originality and retain the unique character shaped by the place, people, and time.

House 20 X 22 is located in Nashik in a low rise and densely populated locality majorly consisting of row houses, due to the close proximity of houses, these constantly overlook into each other. The site sits along the North East corner of a cross junction formed along narrow streets, this corner has a tree and has always been a meeting place, a pause point for the colony.

In response to context and user, the brief derived was to achieve a house with inward looking private spaces with a possibility for them to expand into outside as and when required.

The project started with us looking for all the freedom inside a restrained margin that the house could offer as a habitable space to the users while still being a secured envelope. Due to the restricted size of the plot, the building took form of two storeyed house which appeared as a vertical built with disassociation to the scale that of the neighbouring houses.

Thus, came the use of marginal spaces with compound wall as an enveloping element. This organization of folding compound wall gave shape to multiple usable courts and the scale of built was able to break the verticality of building. The permissible built expanded towards these envelopes forming larger spaces inside both visually and physically which could be used for different activities as well.

Five envelopes are formed, the first envelope is placed on NE corner junction and is kept low in scale and it became the pause and a first place of interaction with the house. This space is shaded & surrounded by an existing tree and acts as a public courtyard for the house, a gathering space and also can be used for parking.

It leads you to the second envelope which is planned as the semi-public courtyard. The organization of this cuboid behaves as an extended entrance where the family and the guests can reside. The high walls of this court provide a sense of enclosures and forms an informal living area. The entrance of the house is scooped out from this courtyard which orients the user towards the interiors.

The Ground floor consists of living room, kitchen, dining and utility. The living Room is oriented towards the NW corner where it flows into the third envelope formed at the outermost edge. The scale of this envelope creates a visual barrier from the neighbouring house and allows wind and light to flow in smoothly.

All the services are kept in south-west as this become visual barrier due to the placement of neighbouring houses. Staircase is also planned in this corner which leads one to the bedrooms.

On the first floor, the bedrooms connect to outside by recessed standing balconies. Strategic placement of these vertical niches allow the upper floor to connect with the courts, family spaces and neighbourhood. This gesture of having a vertical opening has come from the wadas of Nashik, where the vertical windows allows for adequate intake of light and ventilation while maximising privacy indoors.

The formation of building appears as cubes interlocked while the finishing and ornamentation is kept minimal. The expression of the house is kept as multiple white walls with strategic folds which also expresses the inclusive nature of the Indian families.

The hierarchy of the Public, Semi-public and Private spaces; the idea of Open, Semi-open and Closed spaces, for different occasions, time periods and varying climate, all of these aspects of a house have been conceptualised in a tiny plot of 20×22 ft through interlocking cubes.

Name & Location :The PAViLiON……Sea Plane Terminal and Boat Club, Gangapur dam, Nashik

Cost of the Project : Rs.11.69 crores Built-up area : 1534.65 sq. meter

Description of the Project : “Sail Away – Explore, Dream, Discover” is what the soaring PAViLiON calls out. It was a quest for creating an Iconic structure for Maharashtra Tourism Department at the Gangapur dam, Nashik – a pilgrimage city, a tourist destination & a rising business centre. The transport hub was designed as the landing point for the sea planes to enhance Nashik-Mumbai connectivity as a gen-next level of transportation and for recreational Boating activities. The site was finalized with an intention to create a visual journey for the tourists; to get a breathtaking vista of the horizon, where the dam water meets the mountainscape of the famous Anjaneri hills and the Trimbakeshwar hills. The important reference point was the idea of sail boat that stands against wind and water, which were the main elements of the site. The design took its cue from the transverse structure of a sail boat – the form, the anchor and the inflated sails 

Materials : The entire pavilion was structurally designed in steel frame structural system to achieve large spans with minimum depth & size of the main members. For the Infills, silted soil from the dam was re-used. Hunter Douglas perforated louvers for facades.  High strength Galvo-aluminium roof sheets with glass-wool Insulation for roof. Pavilion frame is of Mild Steel structure with Stainless steel pin joints. Sky lights with toughened glass. The pavilion was fabricated at site. 

Special features – The Pavilion taking its cue from the transverse structure of a sail boat adds a new fragment to absolute architecture, where the structure acknowledges the place – progressive and reflective!! The orientation of the PAViLiON allows an easy and unobstructed dialogue with the vast expanse of the picturesque surroundings, seamlessly integrating the landscape with the travelling experience. It was a novel experience to go through a process of reverse designing where the architect’s visualizations was first culminated to form a model and then the drawings! The challenge was overcome to balance the contradictory design factors in an open structure and be climatically responsive. 

The pin – joints between the column and inclined trusses of roof create a floating effect. The elemental unifying walls were designed to segregate the public and technical domains. The landscape pathways and sit outs looking out towards the water front have been designed to look like a continuation of the flooring pattern and courts inside the pavilion. Shade and shadow pattern have been applied in designing fenestrations such as grid walls, perforated louvers, size and length of cantilever.

The minimalistic design of the space, with paneled perforated louvers all around and an ascending floating roof gives the visitors an open yet enclosed experience. As one alights from the sea plane on the floating jetty to head towards the terminal by a boat, the pavilion acts as a landmark to draw attention to the RISING NASHIK campaign. The Man, with an innate yearning towards nature, revels in this space and the enriching experience it provide

 The PAViLiON…………For Sea Plane Terminal and Boat Club, Gangapur dam, Nashik

 

GREEN STATUS POINTS –

Use Of Recyclable Materials – The Pavilion is a structure constructed with steel and glass which is 100% recyclable. Bare minimum use of concrete reduces wastage and does not pose problem of waste disposal.

Sustainable Site Development – The silted soil from the dam was re-used for raising the site and for landscaping. Desilting the dam has led to improved reservoir capacity and increased water storage in the dam.

Natural Lighting –   Due to its open planning and use of perforated louvers, maximum use of natural daylight is achieved. Absence of solid walls and the presence of skylights eliminates the use of artificial lights during the day.

Natural Ventilation – The pavilion’s south west orientation towards the wind flow coming from the dam water and by the sun-path makes it a climate responsive design. This orientation helps to achieve unobstructed vista of the dam water, vast unblocked expanse of the sky and of natural winds.

Use Of Turbo Vents –  For the enclosed toilet block changing rooms and admin block, turbo vents have been installed to enhance natural ventilation. Also skylights in this area produce natural light.

Use Of Solar Panels –  Energy efficiency is maximized with the use of solar panels in the admin and service blocks for energy generation especially for LED lighting and water heating systems thus reducing the dependency on traditional power sources.

Rain Water Harvest –  Rain water collected from the roof of the pavilion as well as from the admin and service blocks is redirected through down-take pipes and filtered naturally through layers of aggregate and fine sand to be reverted back to the dam.

Sewage Treatment Plant–  As it is a public space, a sewage treatment facility has been provided, from which the soil waste and gray water is used for plantation over large acquired Government lands at a lower stream of dam.

Optimizing Land Use –  There was abundant land around the dam available from the government for this project however just 1.5 acers of barren waste land was taken as the site for to minimize harm to the natural habitat

A Step Towards Carbon Neutrality –  The use of recyclable materials, reuse of soil, maximum use of natural light and ventilation and use of alternate energy sources enables the projects to take a right step towards carbon neutrality. Also the pavilion promotes use of seaplanes which are more eco-friendly than other motorized transport modes.   

Name & Location: KUSUMAGRAJ SMARAK, NASHIK.

Cost of Project: (INR) 3.5 Cr.

Built-up area: 1483 Sq.m.(In case of Public Building minimum built-up area should be 1000 sq. meter)

Description of Project:

Kusumagraj Smarak is a memorial evolved as a social and environmental response accommodating vari- ous cultural activities responding to the memories of the legendary Marathi Gyanpith Award winner poet ‘Kusumagraj’. The entrance is adorned by four ‘Kadama’ trees – one of the favourites of the poet. The en- trance canopy represents the structure resembling old colonial guesthouses which were cherished by him. The subterranean earth shelter is simple and humble reflecting his down-to-earth personality.

The architectonic walk through the cobbled paved pathway with the framing of connecting bridges of land- scape above, serving as a central spine for the complex enables a journey through his life history abutting ‘Jeevan darshan’ hall, Library, Art gallery, audio-visual rooms, seminar, music and drama practice halls for multi-cultural activities and other allied rooms, finally culminating into a proposed amphitheatre surround- ing a rain water reservoir.

This environment conscious design holds with it the traditional values along with its contemporary aura.

Materials of Construction Details :

The built structure has been conceptualized, designed and constructed as a building in the nature, which is sustainable and environmental friendly. The architectural design approach is holistic, with an aim to create a facility that is not merely functional, but innovative in its response to issues of sustainability and energy efficiency. The spatial configuration juxtaposed within the natural setting results in visual transparency and facilitates a free flow of earth, air and water in the built environment.

The structure has been conceived and built in such a way that it descends in harmony with the natural site contours. The building is constructed in RCC frame structure with exposed concrete retaining walls. The earth structures with green top provide effective natural insulation to the building. Optimization of the build- ing envelope and shadow pattern applied in designing fenestration, location and sizes with appropriate whether protection helps in reducing the excess heat gain. The day light factor is compensated with the use of skylights and clear storey windows. Stack ventilation with turbo roof extractors are used to enhance natural ventilation. Natural stone like Kota is used for flooring, while paving is done in local black basalt. Low VOC paints have been used. Low energy consumption lights like CFL and LEDs are utilized for build- ing lighting system. Roof rain water is harvested and water efficient fixtures and fittings are used for sanita- tion and plumbing.

Special Features:

In a place like Nashik where the climate allows and encourages outdoor living, the set up where romanti- cizing nature is most inspiring, manmade connections with nature have been established by giving utmost importance to the natural landscape and setting. In this instance, the design philosophy focuses on the desire to maximize the outdoor spaces, which permeates in the peaceful memorial where people can relax, enjoy various activities, exchange ideas and reconnect with the nature.

Being centrally located Kusumagraj Smark is designed not just as a memorable but as an active hub for literature, arts and performing arts. It is an urban insert, a public space to breathe, to interact, to walk, to gather.

The central connecting spine of the complex is planned as a street with different activity pockets where citizens can interact to build better, healthier and more engaging community. Over the years the building is performing just as it was conceived and planned for – a place that belongs to the city, the community that shares its meanings and stories.