Rahul Mehrotra

Rahul Mehrotra - an overview of the architectural projects of this apparently regionalist and post modernist architect.The scale of projects undertaken by him are varied and extensive.

1. RAHUL MEHROTRA

2. AN INTRODUCTION Principal of architecture firm RMA Architects (founded in 1990 as Rahul Mehrotra Associates) of Mumbai, India Professor of Urban Design and Planning and Chair of the Department of Urban Planning and Design at the Harvard Graduate School of Design (GSD) in Cambridge, Mass., USA. Has designed projects that range from recycling urban land and master planning in Mumbai to the design of art spaces, boutiques, weekend houses, factories, social institutes and office buildings across India – thereby engaging diverse issues, multiple constituencies and varying scales: from interior design and architecture to urban design, conservation and planning

3. PHILOSOPHY ‘Architecture is the physical manifestation of a society’s aspirations in the broader sense.’ He believes that architecture is potent enough to be a deadly tool that creates boundaries, or thresholds between communities. His designs, therefore attempt to visually eliminate the threshold. “Good architectural practice is one that acts responsibly for its broader environment and is sensitive to the fabric and grain of a city…” Unlike many other parts of the world, we don’t have restrictions on the forms or colours of our buildings. Driving down a road in any Indian town, you’ll see all buildings different, having an identity of its own, each standing for something totally different. And this is a reflection of our society- secular and democratic.

4. WHAT IS POST MODERNISM ABOUT?

5. TWO BAY HOUSE, ALIBAUG INDIA

6. Situated on a plateau at the foothills of the Western Ghats, the house is diagrammatically separated into two bays on the basis of privacy levels of the programs, one for the bedrooms, the other for support spaces

7. A gravel forecourt welcomes inhabitants, leading towards a garden of raised linear planters and elevated patio. The residence is divided into two bays, placing the private and common spaces on opposing sides of the site. a lap pool spans the length,  creating a distinct separation of zones.

8. Floor plan, TWO BAY

9. A lap pool separates the two zones, thus creating physical separation yet maintaining a visual connection. The pool also facilitates the cooling of the house — each bay is one room thick, and thus the breezes that flow through the house are humidified as they blow across the water.

10. Raised linear planting elements extend the broad horizontal lines of the building into the landscape.

11. Tucked away just off of the mid-landing of the entry steps, an elevated patio accessible from the kitchen wall allows the residents to receive visitors outside of the house, with an impressive vista west to the mountains beyond.

12. The materials used in the house, basalt stone for the plinth and a clay tiled roof, resonate with the building traditions of the rural landscape in which it is set. A stone base and roof canopy are given visual separation enhancing the tectonic reading   Reflections and subtle material hues that reflect the changing light in the space between the bays (right ) light and material sensibilities  revealed throughout

13. MAGIC BUS CAMPUS, MUMBAI

14. The tectonics of the building was developed as a kit-of-parts that could be configured for various institutional uses ranging from community toilets to clinics and education centers in the slums.

15. Location: Panvel , Mumbai, India Architect In Charge: Rahul Mehrotra Consultants: Vijay K. Patil & Associates, D.R.Bellare , Riyaz Rangwala , Sunil Services, Sewri Area: 2,415 sqm Year: 2007 The campus for the Mumbai-based NGO, Magic Bus, contains dormitories, administrative buildings and a dining facility for children from the slums of Mumbai who visit the campus for training programs .

16. I n order to create a sense of familiarity, the palette of the buildings was comprised of the ordinary materials that are used for everyday buildings in slums and squatter settlements, where most of the participating children live. T hrough the process of design, it was also imagined how these buildings could be embedded back into the slums, to serve as community centers and other public programs.

17. HATHIGAON, JAIPUR, RAJASTHAN

18. Rahul Mehrotra’s firm RMA won a competition organized by the Rajasthan government for a housing project for mahouts, the Hindi term for elephant riders. The design strategy is based on the need to improve an area devastated by indiscriminate exploitation of sand quarries, capitalizing on the potential offered by the artificial orography created by quarrying. the quarries thus become reservoirs to collect rainwater.

19. T he elephants are housed in garage-like rooms with exits on the outer, non-courtyard-facing, sides of the buildings. F amilies cook and eat meals outside, and children can play away from the elephants.

20. T he dwellings are small—200 square feet—and arranged in sets of four, wrapped around communal courtyards . The housing units are organized in clusters and situated on portions of the site that are not used for the landscape regeneration.  Courtyards and pavilions supplement the otherwise small spaces that are allocated in the budget for the essentially low-income housing project. The courtyard becomes part of the living space. all the houses have electricity and running water .

21. The limited budget available to construct the housing led to use of simple building techniques and common materials available on site.  The distribution of the plan and volumes of the built spaces provides an effective response to the need for a high level of natural ventilation and passive cooling. The housing units are organized in clusters and situated on portions of the site that are not used for the landscape regeneration. Unlike other architecture projects, this project has landscape as the centre and architecture has evolved around it.  

22. O ver the years, as an architect, R ahul Mehrotra has become less concerned with controlling all details; instead, he is fascinated by the way the  residents ’ contributions become part of the final product . the individual housing units are arranged in a number of groups integrated into the redesigned natural areas and are additionally organized around central courtyards which act extensions of essential living space and an important place for socializing.   T he simultaneous presence of both elephants and humans is resolved with a clear functional division of the respective living spaces, while maintaining a sense of community and genuine sharing of spaces between the animals and their mahouts. ‘Our country certainly should not unthinkingly adopt western ideals when it comes to an architecture competition and instead look for local solutions. we don’t need your glass buildings and your eco labels in India.’ - Rahul Mehrotra

23. VISITORS’ CENTRE AT PRINCE OF WALES MUSEUM

24. Located next to a grade I heritage structure, this building’s stainless steel-clad elliptical roof supported by columns secured with a pin joint base. The lightweight canopy extends to form a wrap around veranda. the interior offers a 200 seat auditorium as well as filling programmatic functions such as ticketing, luggage storage, museum shop and restrooms . R eflective surfaces of stainless steel cladding make for a dynamic canvas with reflections and colors from kinetic human streams that pass by the building

25. 1. Baggage check 2. Security check 3. Ticket kiosk 4. Museum shop 5. Multipurpose hall 6. Cafeteria 7and 8. Toilets 9. Verandah

26. A. kalzip tapered B. glass wool insulation C. tie beam D. ring beam E. bracket web plate F. SS sheet G. drip mould H. SS rectangular tube I. column cap plate J. SS seamless pipe cladding K. column base plate L. SS plate cut to profile M. column base plate N. SS plate cut to profile O. hole for SS pin P. SS plate Q. stiffener plate R. base plate S. insert plate

27. THANK YOU Zeus Pithawalla 37 Garima Rajput 38 Manasvi Rane 39 Rithika Ravishankar 40 Shivali Sanap 41 Vishakha Savatkar 42 Bibliography: www.rmaarchitects.com www.designboom.com www.archdaily.com