Imaging Water Commons_Vāstu Shilpā Foundation Whorkshop in Ahmedabad

VĀSTU SHILPĀ FOUNDATION

2019 HABITAT DESIGN STUDIO

Balkrishna Doshi / Founder

Khushnu Panthaki Hoof / Director

Ahmedabad, Gujarat, India

Habitat Design Studio Dossier 2019

Tanvi Jain, CEPT, Intern

Ehsan Alam, Intern

University of Michigan - Ann Arbor

Taubman College of Architecture and Urban Planning

María Arquero de Alarcón, Director, Master of Urban Design,

Introduction

We are a group of students, designers, and professionals from all over the world who seek to learn about socio-politically driven design in response to a water crisis in India. We gather to learn from VSF and become acquainted with the historic city of Ahmedabad through the lens of different local architects, professors, activists, and many other key players.

While the heart of Ahmedabad has been recognized and protected by UNESCO, the peripheries and the west side of the river continues to expand while ghosting its inner city. As the riverfront is reclaimed by a globalizing culture, this international studio seeks to question its intentions and test possible futures.

Pictured left to right: Manasa Ifel, Anhong Li, Yiying Tang, Jessica Yelk, Shourya Jain, Yixin Miao, Sean Xin, Austin Kronig, Sachet Kiran, Yanbo Li, Tristan Snyder, Karan Ranka, Gwen Gell, Visitor, Andrea Marquez. Not pictured: Mandar Gandevikar, Raghu Kathpalia, Kaustubh Mirajkar, Yeash Suratwala

ITINERARY

Field Trips

Ruda, the wife of the Vaghela chief Vikramsinha, built this stepwell. It has three entrances, which meet in huge square platforms internally by four pavilion towers, and stepped corridor descending to an octagonal shaft, terminating in a square pond. A five storeyed subterranean structure in a trabeated form of construction is located at adalaj on the caravan route from Ahmedabad to Patan.

the wife of the Vaghela chief Vikramsinha, built this stepwell. It has three entrances, which meet in huge square platforms internally by four pavilion towers, and stepped corridor descending to an octagonal shaft, terminating in a square pond. A five storeyed subterranean structure in a trabeated form of construction is located at adalaj on the caravan route

Sangath is an interpretation of Indian culture in contemporary times. Between the play of vaults, the sunken studios and the engaging roofscape, one experiences a structure which has spatial thresholds, layered spaces and a suitable approach towards its climate. The journey through the complex is not only indirect but almost choreographed so as to give moments and spaces to pause and re orient themselves.

Sangath is an interpretation of Indian culture in contemporary times. Between the play of vaults, the sunken studios and the engaging roofscape, one experiences a structure which has spatial thresholds, layered spaces and a suitable approach towards its climate. The journey through the complex is not only indirect but almost choreographed so as to give moments and spaces to pause and re orient themselves.

Section through Adalaj Stepwell

Section through Adalaj Stepwell

Section through Adalaj Stepwell

Section through Adalaj Stepwell

Section through Adalaj Stepwell

24 TH

The natural slope of the land was once utilized to collect water against an embankment. Settlements grew and thrived on the edge of that embankment while agricultural land was scattered around the body of water with its edges leaking into the land and receding with the seasons. Rancharda lake was one of many such lakes.

The natural slope of the land was once utilized to collect water against an embankment. Settlements grew and thrived on the edge of that embankment while agricultural land was scattered around the body of water with its edges leaking into the land and receding with the seasons. Rancharda lake was one of many such lakes.

The natural slope of the land was once utilized to collect water against an embankment. Settlements grew and thrived on the edge of that embankment while agricultural land was scattered around the body of water with its edges leaking into the land and receding with the seasons. Rancharda lake was one of many such lakes.

The natural slope of the land was once utilized to collect water against an embankment. Settlements grew and thrived on the edge of that embankment while agricultural land was scattered around the body of water with its edges leaking into the land and receding with the seasons. Rancharda lake was one of many such lakes.

The natural slope of the land was once utilized to collect water against an embankment. Settlements grew and thrived on the edge of that embankment while agricultural land was scattered around the body of water with its edges leaking into the land and receding with the seasons. Rancharda lake was one of many such lakes.

An open Pavilion to the South of the tomb complex was harmoniously developed by Muhammad Begda who excavated a tank with steps of cut stone and inlet sluice. The other tomb chambers on the western side of the complex are of Bibi Rajbai and Muhammad Begda, the king of Gujarat.

An open Pavilion to the South of the tomb complex was harmoniously developed by Muhammad Begda who excavated a tank with steps of cut stone and inlet sluice. The other tomb chambers on the western side of the complex are of Bibi Rajbai and Muhammad Begda, the king of Gujarat.

An open Pavilion to the South of the tomb complex was harmoniously developed by Muhammad Begda who excavated a tank with steps of cut stone and inlet sluice. The other tomb chambers on the western side of the complex are of Bibi Rajbai and Muhammad Begda, the king of Gujarat.

An open Pavilion to the South of the tomb complex was harmoniously developed by Muhammad Begda who excavated a tank with steps of cut stone and inlet sluice. The other tomb chambers on the western side of the complex are of Bibi Rajbai and Muhammad Begda, the king of Gujarat.

An open Pavilion to the South of the tomb complex was harmoniously developed by Muhammad Begda who excavated a tank with steps of cut stone and inlet sluice. The other tomb chambers on the western side of the complex are of Bibi Rajbai and Muhammad Begda, the king of Gujarat.

24 TH FEBRUARY SUNDAY

24 TH FEBRUARY SUNDAY

24 TH FEBRUARY

FEBRUARY

SUNDAY

SUNDAY

24 TH FEBRUARY SUNDAY

RANCHARDA LAKE

RANCHARDA LAKE

RANCHARDA LAKE

RANCHARDA LAKE

RANCHARDA LAKE

SARKHEJ ROZA

SARKHEJ ROZA

1458 AD

SARKHEJ ROZA

MAKARBA

1458 AD

SARKHEJ ROZA

1458 AD

MAKARBA

SARKHEJ ROZA

1458 AD

MAKARBA

1458 AD

MAKARBA

MAKARBA

Kankaria lake is the second largest lake in Ahmedabad. It was completed in 1451 during the reign of Sultan Qutb-ud-Din Ahmad Shah II though its origin is placed in the Chaulukya period sometimes. A lakefront is developed around it, which has many public attractions such as a zoo, toy train, kids city, tethered balloon ride, water rides, water park, food stalls, and entertainment facilities.

Kankaria lake is the second largest lake in Ahmedabad. It was completed in 1451 during the reign of Sultan Qutb-ud-Din Ahmad Shah II though its origin is placed in the Chaulukya period sometimes. A lakefront is developed around it, which has many public attractions such as a zoo, toy train, kids city, tethered balloon ride, water rides, water park, food stalls, and entertainment facilities.

Ahmedabad Textile Millowners’ Association Building was built in

Ahmedabad Textile Millowners’ Association Building was built in

Designed by Louis I Kahn in 1962, the IIM Ahmedabad Campus is an epitome of brick construction and site planning with monumental scale and spaces. The use of exposed brick for three dimensionally curved structured arches, buttresses and piers was a reintroduction and transformation of a traditional material of

MARCH

SATURDAY

INDIAN INSTITUTE OF MANAGEMENT

IIM, AHMEDABAD

LOUIS I KAHN

1962-1974

VASTRAPUR

Campus.

The concept of a spiral museum, created in 1931, was incorporated in Tokyo and Chandigarh too. It is the result of the architect laying emphasis on geometrical composition and thinking analogically, in terms of a natural snail (shell). The whole structure stands on a pirouette inside a courtyard which gives it a floating effect as if it is separated from land.

SANSKAR KENDRA MUSEUM

As an addition to the cultural complex of city museum by Le Corbusier, the theatre building structure is a series of reinforced concrete frames. The building becomes a statement of early exploration in Contemporary Indian Architecture in the city of Ahmedabad by Doshi.

TAGORE

MEMORIAL HALL

BALKRISHNA DOSHI

Designed by architect Charles Correa in 1964, this museum complex adds to the original campus of Gandhi Ashram and fits most convincingly with its courtyards, exposed brickwork and pyramidical roofs without losing out on its contemporariness or dignity. The ashram is located on the bank of the River Sabarmati.

Designed by architect Charles Correa in 1964, this museum complex adds to the original campus of Gandhi Ashram and fits most convincingly with its courtyards, exposed brickwork and pyramidical roofs without losing out on its contemporariness or dignity. The ashram is located on the bank of the River

For the school of Architecture at CEPT University, a simple structure of parallel, load bearing brick walls and concrete beams and floors was decided upon. Climatic control features include deep overhangs shading southward facing openings, minimized openings to east, and west, thick walls for insulation and structure, overlapping sectional volumes and double heights for convective cooling, north lighting for glare control, lush greenery and landscape features like sunk basement and bermed lawns.

For the school of Architecture at CEPT University, a simple structure of parallel, load bearing brick walls and concrete beams and floors was decided upon. Climatic control features include deep overhangs shading southward facing openings, minimized openings to east, and west, thick walls for insulation and structure, overlapping sectional volumes and double heights for convective cooling, north lighting for glare control, lush greenery and landscape features like sunk basement and bermed lawns.

SCHOOL

An art gallery for the notable artist M. F. Hussain designed by architect Balkrishna Doshi, is an underground ferrocement structure with optimally structured roof shells clad in china mosaic protruding over ground. The projecting skylights give in mythical light within to create dynamic spaces changing with time and season. The Gufa is located opposite Gujarat University.

An art gallery for the notable artist M. F. Hussain designed by architect Balkrishna Doshi, is an underground ferrocement structure with optimally structured roof shells clad in china mosaic protruding over ground. The projecting skylights give in mythical light within to create dynamic spaces changing with time and season. The Gufa is located opposite Gujarat University.

IIM CEPT STUDIO (MOA).

LECTURE SERIES

AwA k ENING THE S ENSES

Mind / Body Performance

Murli guided us through an eye-opening and unforgettable experience through body language and expression. We were asked to participate in different group activities and sound performances that tested our comfort zone, trust, and connections.

AwA k ENING THE S ENSES

In traditional yoga, there is a heavy emphasis on redistributing energy with breathing and physical movement techniques. We first started in the main performance hall on the third floor facing the stage and ended the yoga seminar facing the sunrise in the open air. We were taught by the same instructor who guides B.V. Doshi.

AwA k ENING THE S ENSES

Music

A sarod is a traditional stringed instrument that has a fretless wooden fingerboard with a wooden and sheepskin body. Sohan Neelkanth leaded the morning activity by sharing a few songs and stories. Although Sohan is chiefly an architect, his talent and experience in music has given him opportunities to perform in public and private concerts.

AwA k ENING THE S ENSES

Spiritual Movement

Mandakini Trivedi is a renowned Mohiniyattam dancer that evokes a intense and emotional feeling in her way of movement. She is passionate about sharing her journey as a dancer and as a spiritual performance artist. She shares her experiences in Indian spiritual thought in this seminar using different hand techniques. She gave a brilliant dance performance later that evening after her lecture.

SOCIAL Ev ENTS

Excursions

In preparation for studio work, we explored Ahmedabad during different times of the day as a group. We spoke with residents, went shopping in Manek Chowk, and got lost in the old city pols. We mostly traveled by rickshaw, which is a very fast and instinctual form of transportation.

LOCAL FOOD

Gujarati

The food in Ahmedabad contain many rich flavors of the vegetarian variety. In the mornings, we typically drank tea and ate soft idli dosa with different sauces. For lunch, one of our go-to places was a 10 min walk from our studio location that cost as little as 70 rupees (=$1 USD; although typically meals cost R$120500). We developed a habit for drinking afternoon chai tea and became addicted to the sweet taste of lassi. Some of our favorite dishes are panpuri, dhokla, and undhiyu.

wOR k ING SESSIONS

Final Review

During the week, we worked in Le Corbusier’s Mill Owner’s Association Building and became fond of the open air working spaces. We found ourselves becoming attached to certain areas of the building where would spend most of our time working on our projects. During our working sessions, we were also mentored by faculty regularly to give feedback on our progress. On the last Friday for our Final Review, we invited outside guests to participate in an open and collaborative discussion.

01 Back to the River

REINTERPRETING THE LINES

We read the city of Ahmedabad and its Sabarmati riverfront through the lines inscribed in the urban landscape. The riverfront renders as a series of rigid parallel lines contrasting with the intricate delineation of the old city pols. The natural, lost texture of the river reflected on the idea of lines as weaves defining a playful dialogue with the urban fabric. Today, the river serves as a rigid container and a separator, a silent and dormant landscape.

ACCESS | CONNECT | RECLAIM

Our project retraces the former conversation of the river and its city by using the idea of meandering traces,ground conditions and memories of past to weave back east to west and offer access to the river bed. The erosion of the river gullies will progressively eat into the built fabric of the city and the proposed river front infrastructure. The idea is to use these traces to bring the city to the river and integrate the two city sides. The reclamation of the riverbed by cutting of the water supply would allow a larger link to use negative spaces as moments of accessibility through various program intervention s by redefining the past traces of ground conditions and seasonality of the river and hence the use of riverbed.

We see these areas as places that we can intervene as they hold memories. Also, it provides one of the moments of meandering of erosions. This site could be defined as something that could be defined as a situation of messiness within the city highlighting all the conflicts that provides challenges within the city and on the other hand institutions that represent power of the city. This site reflects all the civic values, defines social fabric of the city holding institution like mill lands highlighting very important presence of prosperous past which are abandoned today v/s specific cultural institutions on the other side. This site creates or offers the condition of fragmented microcosm. The idea is also to find opportunities in the manipulation of ground by revealing and

understanding cycles of water, seasonality of river and opportunities it contains and still holds for the city. Projects propose the concept of cutting supplement of water from Narmada and regaining the idea of seasonal river as legibility of seasonality starts with the very bed of river. Entire riverfront project is the depiction of river as ‘lake’ and providing us ‘Fictional river’ to give democratic access to river while in our opinion this could be achieved even by revealing the natural riverbed and bringing back river to fabric and people. Hence, by understanding whose river it is? By reclaiming grounds and understanding multiplicity of ground conditions–existing, former, created and even further conditions proposing interventions that could address these challenging social,

Riverfront Wall Overpass Waterfront

Riverfront Wall Overpass Waterfront

economic and environmental conditions. The design interventions for further zoomed in areas are more like little surgeries within the social fabric of slum to redefine the interface of the domestic use and needs of people living in theses slums and responding to their immediate needs as well as redefining larger infrastructural interfaces that could define larger intentions and motives for the defined area and for the city. (For larger infrastructure – idea could be explained by the sketches,for e.g., that of terraced landscape that could be used to treat storm water and sewage water before it gets to the river and also terraces as

places of opportunities where slum or people in immediate context can became stakeholders of this landscape at the same time providing their resources to the city). Understanding existing terrains as spaces of opportunities to bring back idea of seasonality, ecology and natural processes which could become transformative recreational spaces within the fabric. The main idea is redefining these areas as spaces of wander and discovery in the city. In the process redefining larger metropolitan area with elements that are tangible and address to humans.

1_Fragmented Microcosm

Water Filteration System

02 Void of Escape

Gwen Gell, Anhong Li, Kautubh Mirakjar

A livable city provides a range of experiences at your fingertips. Cities are full of choices of vibrancy and activities, but a public space away from the chaos within the city is essential to provide a choice of escape. We call these places voids. While escape is determined by the individual, the designer can create these voids at different scales to curate different types of escape. Our original proposal looked at the escape of people and water within the city. Our research lead us to identify the connection between Kankaria Lake and the Sabarmati Riverfront. Upon further investigation, the physical water connection became a metaphor as there is no natural surface-water connection, however similarities lie in the way these spaces are use, as a void of escape.

To maintain a void, there must be a barrier to protect and identify the void. Another element of the void is the threshold, to provide access and the mental transition between a place of intensity to a place of release. Voids also need the juxtaposition of intensity in order for the void to become the place of escape. Between the Kankaria Void and the Sabarmati Void lies a chaotic roadway,

filled with pedestrians, cars, motorbikes, rickshaws, autos, bicycles, buses, vendors, animals, etc. Kankaria Void and the Sabarmati Void anchor this design. Along this roadway link, we identified several voids, our proposal looks at three different scales of escape voids. Our design creates or enhances the existing voids within the city. It provides space to slow down in an accelerating city.

03 Urban Fabric Threads

We aim to bring the water to the city (the people) and the city (the people), to the water. We will do this by revealing a single thread of the existing urban fabric by creating a physical flowing ribbon that acts as a conduit for the people and water to flow.

This ribbon will twist and turn, varying in height, thickness, material, permeability, and program. This will be accomplished while celebrating the seasonality of the climate, while collecting, storing and moving rainwater, and instigating new ways for people to interact with water. The ribbon’s purposeful location and areas of interest will reveal and celebrate historic monuments and narratives of the city.

POINTS OF COLLECTION

The Sabarmati riverfront lacks exuberance in its water thriving and standing out as a connecting feature. Here we try and symbolize the atmosphere of a ‘Maidan’ (an urban open playground) in terms of spirit, level differences and variation in volumes and textures. By revealing existing points of interest in the city and introducing moments of “collection” of both people and water, we aim to guide from these points of collection to the waterfront. In turn, we are also creating a path suggestion for those coming from the waterfront, leading them to hidden gems in the city. This “ribbon” or path changes shape, form, continuity, and texture as it travels through the city, while remaining connected. The concept is that those happening to cross a path may decide to follow it to see where it leads – bringing them to historic monuments, areas of water celebration, or to the waterfront itself.

GOALS

The main goal of the ribbon is to collect and distribute also including a physical connection. The waterfront is difficult to get to, especially as a non-local, and there are few points of connection from the actual city, requiring a maneuver of several grade changes. This aims to better connect the city physically to the waterfront, and to directly connect people from the bridges. Creation of vertical assembly to the top of the bridges to link a crucial access point gives multiple links from different directions. Inclusion of the concrete walls as spaces of pausing, resting and diverting helps in our ideology of breaking a mundane pedestrian path. Addition of shade, to aid in comfort of spatial experience, we plan to inculcate vast entities of landscaped patches.

The ribbon brings people to significant sites while also creating new points of interest via the structure itself. While it creates new spaces in some areas, it also blends into the cityscape while adapting the city texture in others. The ribbon creates a variety of spaces for both crowds and individuals, spaces of business and spaces of reserve.

We want to introduce permeability to penetrate through the division of heritage and modern infrastructure. The design creates many green spaces and brings permeability back to the city in many areas. This greenery is complemented by a theme of water throughout. Our goal is to connect people to the water, so one of the ways we are doing that is by bringing

the water to the people and creating areas of collection, connection, and playful interaction to encourage multiple modes of engagement. This movement of water throughout will also be a celebration of the seasonality of the water.

This ribbon is one thread of the urban fabric we have chosen to highlight, it is revealed among many others. This narrative looks at historic buildings at the birthplace of the city, and connecting them back to the waterfront, the basis for where the city was begun to begin with.

Our design looks at daily and seasonal shifts in terms of zoning and connecting recreation. We look on to development of perpendicular, horizontal and cross axis junctions with woven fabric of loose strands that help people come to the river and inversely take water back to the people on land at the Old city and new.

The Sabarmati River used to be a seasonal river, while it is still affected by the rains, it is no longer a seasonal river through Ahmedabad. However, the city still very much experiences the rainy season- so we aim to bring some of this seasonality back to the river both symbolically and physically. The ribbon will collect rainwater for movement and drinking, create permeability to the earth as a path for water back to groundwater, and move to create interactive moments. The ribbon moves vertically and horizontally we will achieve this with variable sectional connections, juxtapositions, height differences and volumes in terms of usability of spaces.

REVEALING

REVEALING

Ahmedabad

Ahmedabad

SERIES NO. 1

REVEALING THE CITY’S HISTORY AT IT’S BIRTHPLACE

Interventions

Bring the city (people) to the river + bring the river to the people

By disrupting the abruptness of existing infrastructure and creating literal, symbolic, and visual connections. We will create a conduit for the water to reach the city, and for the city to reach the river.

Celebrate the city’s history + legacy, while moving towards the globalizing riverfront

By creating moments in front of and interacting with historic monuments, we will create a connection from these historic locations from the birth of the city back to the river: the reason for the city’s original location establishment.

Create “destination”

By specifying areas of activity, creating instances of water interaction and shade. We will reveal existing destinations in the city often overlooked while creating new spaces, and framing the riverfront itself as a destination.

Celebrate seasonality of Ahmedabad’s water

By having some of the water features feed off of the monsoon rains, to create a visual and tactile connection. Collection of this rainwater to drain into the river; a gesture of bringing seasonality back to the river

04 Trickles and Torrents

To “civilize” the people of Ahmedabad the British sealed century-old wells under false pretenses. Locations that granted autonomy and social organization among the residents were erased and the upkeep of historic ornamentation were severed. To “socialize” the Sabarmati River, massive amounts of concrete suffocated vibrant communities that relied on the river’s accessibility and seasonality. Our proposal is to reintroduce a reactive water infrastructure that enables economic and social mobility across different urban fabrics. Instituting a system of structures that surgically redefines the nature of forgotten waters. Systems of reimagining the historic wells of Ahmedabad’s pols, addressing the nature of water after its use and how can these minor alterations multiplied can begin to preserve/build social and monetary economies in the historic city.

A system of decentralized waste digestion ponds in an informal community allows for a symbiosis of health-conscious design and agriculture opportunity. By enabling a community to substantially profit we have created a new power structure in which the slum is no longer the underdog. Minor interventions at a small scale across large populations can create a system of mutually beneficial cooperatives instead of authoritarian removal. Similarly, a well that once provided water at a community level enabling social connection between families that encouraged a permanence in their neighborhoods can be reintroduced as a social node within a withering core.

Informal Settlement / Existing Tributary

05 SEEDS

“From a small seed a mighty tree may grow.”

The rigid order created by the monotonous design of the riverfront project killed the imagination of Sabarmati. The clear boundary and strict administration fail to attract people and thus created an urban wall condition where the beauty of dynamic and chaotic life is kept outside. Our idea is to plant seeds along the riverfront as well as in the city and break the wall condition by perforating the “wall of order” towards both the direction of water and city. By combining the strategic plan with tactical design, we offer a variety of seeds ranging from different size, program and time. The idea of seeding thus becomes a series of urban experiments that not only offers imagination but also allows failure and adjustments.

GATE

PLAZA

AQUADUCT

06 Reclaiming the Sanctuary

Our design approach centers around reintroducing a new topography along the riverbed in the spirit of creating moments of sanctuary. Sanctuaries are abundant throughout the city, yet they have largely been severed or disconnected as a result of the Sabarmati Riverfront project. As architects, we do not accept the current situation along the Sabarmati Riverfront. What began as an image-making infrastructural project to globalize the city has largely divorced itself from having a truer sense of place.

The Sabarmati riverbed once served as the spine of the city, providing the stage and theater for historic events and cultural activity. While we are not calling for a total reversal— we are calling for a radical rethinking of the river. This starts with returning the waters of the Sabarmati to its source, the Narmada, and ending the fiction and fixation that the waters all belong to Ahmedabad. Our project largely exists between the walls of the Sabarmati River, yet seeks to pull context and inspiration from the surrounding city. The city has laid the groundwork for basic infrastructure, yet it remains an incomplete project. And at present, the Sabarmati resembles a walled condition. These walls have largely dug a deeper divide between two parts of the city. However, these walls present a unique opportunity for exploitation.

What is severely lacking along the Sabarmati Riverfront is a sense of sanctuary, or are lease from the everyday. The walls on either end of the riverfront offer an opportunity to rework how the Sabarmati relates back to its people, and not just the other way around. This is a project that is evocative of the past and projective toward a new future. A future in which sanctuary coarses through the heart of the city and people are able to reclaim elevations of the riverfront.