 &lsquo;Bonochhaya` is an exclusive housing project themed around the heritage of Shantiniketan, which as a place, is a tribute to the legacy of Rabindranath Tagore. It is a project for a luxury retreat with a rural, nature-inspired flavour. Built as the client Interaction zone for &lsquo;Bonochhaya`, the experience centre for this development is designed to bring out all these aspects and more. Nature, romanticised through the emphasis on sitting in the shade of trees, is an integral part of the design and is woven in through its conceptualisation. The glass waiting lounge overlooking the open-to-sky deck invites one from the street to taste the environment created through these green connections. With temperatures soaring upto 45&deg;C, it was imperative that the design keeps out the harsh summer sun. Double brick walls and Southward-tilted terracotta tile roofs were ideal passive cooling measures to employ as they also lent an earthy vibe. The sloping roofs were split into 3 different heights to work as an interesting way to bring greens in to the various volumes. The shaded northern green courtyard capitalised on existing trees and translated into the 'Soul' of Shantiniketan life. Inspired by Tagore's teachings, tribal art, intrinsic to Shantiniketan, was woven into the design and graphics. Brick walls and Terracotta Tiles complement the Steel Structure and Concrete floors to bring out the contemporary and forward-thinking nature of the true Tagore disciple. 

Shantiniketan

Bonochaya Experience Center

 As a policy towards promotion of sports and extra-curricular activities, Bengal's state Government offered a sum of 2 lakh rupees to all state clubs and associations in early 2017. Football has always been an integral part of the cultural fabric of Bansberia. One of the local coaching clubs approached Abin Design Studio to build a clubhouse made especially to facilitate young passionate footballers in the area. Excited to engage in a project for the people of the neighbourhood, ADS jumped in with both feet to develop the Waterfront Arena. A working design and rationalised budget was arrived at after due consideration of constraints, manpower and resources with an outlook towards easy maintenance and upkeep in the future. A funding strategy was formulated to ignite interest amongst the local community and influential people in the area. The Studio requested their city based associates to contribute raw material creating a material pool that kick started the entire process. Collaborations with local builders and engineers further economised the venture. Set along the backdrop of an existing water body and overlooking a football field, the project is a community club that maximizes its unique physical context. The project treads lightly in response to its picturesque context where the narrow strip of land is reclaimed to create a responsible waterfront development. The ground floor houses a multipurpose gathering space that seamlessly connects with the outside. It has the toilet block with showering facility, separate for male and female users. On the upper floor is rotated to act as a viewing deck for matches. The staircase to the upper floor is modified to form a gallery seating and the space below used as Store and Pantry. The project is a search, from social existence to the dynamics of space and form, from the beauty of light and shadow to striking a harmony with nature. Located in the rural town of a developing nation, the community faces numerous challenges. There is lack of even basic infrastructure like sanitation, clean water supply, critical health care and regular power. In this context, the aspirations and dreams of a community that improves the quality of one`s life, is never on the development agenda. The project aimed at a holistic sustainable development for the community. Minimizing the cost of construction became a critical issue. Built primarily with the contribution of the community members, responsible consumption and production was the key goal of the project. Construction materials were sourced locally while the engagement of local workmen promoted inclusive and Sustainable Economic growth of the community. Members of the club had no access to clean water and Sanitation during the training session. One of the primary utilitarian aspects of the club building was to provide dignified solution to this. Drinking Water and showering facility was thus planned here. Separate provision made for girls hopes to encourage them to take up sporting activities as well.  

Bansberia

Waterfront Clubhouse

 In 2012, while already a member of one of the community clubs in Bansberia, Abin decided to assist with the design of their yearly pavilion. The most vital aspect was the intent to instil the importance of good design as an idea to the community at large. The Bamboo Pavilion was a temporary temple 'pandal' built for Bansberias annual Kartik Puja Festival. It was a temporary structure to shelter the focal idol. Set amidst a carnival atmosphere, the constant flux of people was a factor considered while conceptualizing its design. The two main factors were reusability and economizing, especially because of constrained budget. This being a community project, involvement of the club members provided enthusiastic manpower. The idea was to convey playful movement through colour and light. The use of retro-reflective vinyl stickers was an alternative to costly coloured LED lights, therefore acheiving a similar effect at a lower cost. A rising circular volume was visualized, emphasizing the focal idol while directing movement around the pavilion in a manner to create a journey of ever-changing views. Gliding sight-lines across a coloured spectrum gave the effect of movement among, between and above the elements of the pavilion. Locally available bamboo cut to specific lengths was used to create a gradually rising volume. These were rooted to the ground in a regular grid and were painted in spectral hues. Close to 1800 bamboo poles were arranged according to their lengths ranging from 2 feet to 15 feet. These were manually sorted and grouped lengthwise. Each group was then assigned one of 15 colours that were painted over each pole. Retro-reflective vinyl stickers were pasted at the top of each bamboo. Coupled with hired halogen lights, the stickers gave the pavilion the desired glowing effect. The final outcome was one of bright playful colours in a celebratory atmosphere by day and added unconventional festive lighting by night. Bamboo, being durable, bio-degradable and locally available, was a strategic choice of material for the project. The poles were planned for reuse after the festival and were carefully re-catalogued and stored for the future. They have currently found use as decorative fencing for the football field of the same community. 

Bamboo Pavillion

 This association came in the form of a collaboration with the region's Panchayat. As is the Government's convention, a budget of 2.5 crores was allotted for the construction of an auditorium in Adisaptagram for private and public events. Planned to be built in the typical format of a Government convention hall, the local councilor was insistent that they could do better than a cookie-cutter 'decorative' facade and really add functional and aesthetic value with a contemporary approach.   This Community Hall came with a lot of constraints from the governing bodies. With the intent of reaching out to the people at large, Abin Design Studio took up the project embracing all the conditions set forth. The building had to be devised with minimal changes to the existing footprint, it was to be built by a contractor whose primary expertise was in the construction of road-side municipal drains, it needed to be within the specified budget with no room to overshoot, and in accordance with unnecessary bureaucracy, red tape, and impractical protocols.   The facility is designed to serve as a peri-urban district community hall. It is equipped with a small auditorium and multi-function halls to hold social events and gatherings for the local people. The architectural expression draws cues from the surrounding context, drawing inspiration from the local terracotta temple forms- emphasizing the idea of layering through patterned fenestration and facade cutouts.   Built as an opaque mass with minimal glazed surfaces, the structure responds to the hot and humid climate of the region. The interface with the road allows barrier-free access, with a layer of the facade angling outward in order to create a shaded, yet porous gathering space. A set of gallery steps smoothens the transition between the built form and its environs, incorporating a landscaped mound which also serves as a visual buffer.   Architectural solutions were devised that explored better spatial arrangements without deviating too much from the original footprint, designing simple yet effective details that could be carried out by an inexperienced contractor. The use of local materials and methods was proposed that would work within the budget even if it meant providing their professional services pro-bono. Scheduled to be completed by mid-2020, the design hopes to invoke a sense of appreciation for architecture to the community and a notion that there is always room to improve from conventional presets. While the Government does take responsibility to provide infrastructure, as a community if we take up the initiative, we can play a significant role in enhancing our experiences. 

Adisaptagram Society Hall

A landscape driven, ecologically responsive built strategy was adopted for this large campus design to develop a contemporary manifestation of the &lsquo;Gurukul` way of living; where the development is consolidated to form a high-density built environment, conserving ample virgin landscape to be regenerated as forest cover. The primary intent was to perpetuate and preserve ecological justice and yet set the tone for sensible development in the metropolitan area.   An attempt has been made to consolidate results in social cohesiveness and resource-sharing, further optimized through utility of multifunctional flexible spaces. Green Fingers penetrate the built mass from the peripheral green verges and public streets in the transverse direction creating a pedestrian network as seen in traditional Indian cities. The architectural expression of the campus of Maharashtra National Law University is perceived as a tribute to the long standing testimony of the state`s excellence in building with nature through Rock cut Architecture - where the built and the un-built intertwine in a seamless relationship fostering evocative experiences of light and shade, inside and outside, sky and ground. 

National Law University

 This museum and academic research centre pays tribute to the great revolutionary poet of Bengal, Kazi Nazrul Islam. We have made an attempt to reflect his philosophy and ideals through our design. His rebellious ideas often challenged conventional practices for the greater good. His love for the motherland and his avant-garde poems had changed the way people thought. We have tried to capture his ideas and transform them into meaningful spaces. By fusing together seemingly disparate design elements, a radical and inspirational monument has been developed. The site is located on an arterial road of a planned township of the city. Being surrounded by generic built forms with no active public spaces nearby, we were prompted to create a breathing space amidst the dense city fabric of this area. The architectural language has been developed to express the personality of Kazi Nazrul. It is simplistic and introverted creating an urban contrast with its existing setting. The sculptural design approach articulates the context of the life of the poet. The built form and its treatment invoke a feeling of dramatic justice through the language of architecture. Starting from the massing right up to lighting design, every aspect of the building reflects the individuality of the poet. An inward looking built form has been devised using interactive juxtaposition of simple masses creating a sense of activism and contemplation &ndash; a fire within. An inviting entrance plaza is fashioned by strategically raising certain masses. The fragmented massing around a courtyard forms a central green relief space. Taller massing towards the South West ensures that this public zone stays shaded through the day. Additionally the courtyard is designed to act as a source of diffused natural light to the interior spaces. Considering the nature of the functions within, it was important to restrict the exposure to direct sunlight. The use of thin exterior RC walls saved energy, cost and time while providing essential protection from the harsh sun. The use of concrete provided us with the opportunity to explore innovative ways of treating the building. The monolithic yet sculptural exposed concrete form reflects boldness and purity, characteristics intrinsic to Kazi Nazrul himself. An indigenous sculptural feature wall has been devised with an inscribed abstraction of the poet`s most admired poem. CNC cut foam has been used as formwork on a dyed exposed concrete wall to achieve the desired effect &ndash; a first in the country. 

New Town

Nazrul Tirtha

HappyWorks - working pod is a response to the shift in working culture that the world faced in early 2020. With &lsquo;Work From Home` becoming mandatory at the time, the perception of a viable workspace has found various interpretations. Reducing the current office infrastructure to a space which would only be used for collaborative work, a lot of industries have acclimatized to their employees working offsite long term.       With many offices normalizing, and even preferring, the WFH ethic, the onus of equipping one`s home to suit this mode of employment falls on the individual. In a developing country like ours, it is not always possible for everyone to sustain a comfortable working space within their homes.       In light of this, the working pod`s smart pods provide a formal working environment for those looking for such a solution. The pod houses different types of work stations catering to all i.e. from small groups to individual stations. To balance the work areas, break-out zones with indoor screening, dry caf&eacute; and warming stations, outdoor courtyard and amphitheatre have been incorporated.       All of these programs seamlessly flow into each other, giving one freedom to choose and maneuver easily. The natural lighting, the shaded courtyard, connects the users to the natural elements and aids in invigorating them. Being modular in design, the pod has been planned at various nodes in Newtown. All that is required is a small parcel of Land. 

Cocoon

 Located in South Kolkata at a very important junction, the site sits between two golf clubs &ndash; Tolly Club and Royal Calcutta Golf club towards the West and east respectively. The design therefore essentially captures the site potential and offers the best views of the city to the apartment owners. Being a premium residential complex with a hi-street retail facility, the club and community activities have been designed on the podium level, intercepted with nature, which provides  a secluded and peaceful ambience in spite of its otherwise dense urban context. A skydeck at an upper level connects all the residential towers  and creates an elevated ground plane to serve as a landscaped community space  connecting the residents of the upper levels as well to nature and allowing al to enjoy the amazing view of the golf course on either side. 

Tollygunge

CTC Residential Towers

 This school fa&ccedil;ade project came to us at a stage when the construction of the 2 academic blocks was already underway. The blocks were rather generic, with 6 floors of classrooms, labs, and other facilities arranged towards the periphery around matching central courtyards. Our brief was to work within these existing parameters to make a school. So we developed a design program in terms of circulation, movement, ventilation, classrooms and other concerns.&rdquo; The first step was to create an identity for the school. Our approach was to create a screen that wraps around the buildings and unifies them visually. Also, we intended for the central courtyards of the buildings to merge with the play area creating a seamless connection between junior and senior school. Graphical representations of symbols, alphabets and numbers became an inspiration for the screen. Younger children relate to simple lines as letters of the alphabet and as they grow, abstractions of the same would start to look more like alpha, gamma and pi. Thus, Familiar shapes and symbols were used to create a bespoke stencil screen around the existing unremarkable building mass. The facade not only provides shade to the classrooms from the harsh sun but also lends the school a distinct identity. 

Newtown School

The art gallery forms an integral part among the amenities built for the Bonochaya Township. Built in intricate red brick details it helps to contextualize its presence in a landscape of red soil. It overlooks into a small open space that is kept in its natural state and can seamlessly extend into informal activates. 

Bolpur

Bonochaya Art Gallery

On the other side of the intersection from the Wall House is a 'Thakur Dalan', a permanent covered podium reserved for frequent rituals of various deities and a focal venue of religious festivals. During the construction of the residence, the patrons of the trust that maintains this pavilion approached Abin Design Studio for an effective intervention.   For the conception of Narayantala Thakurdalan, the relationship of the people with the place was observed over a span of several weeks - how some people would offer their prayers twice a day while many visited only occasionally, how a few devotees spent considerable amounts of time offering obeisance while others simply bowed their heads from their cycles as they rode past. This place of worship played a different role in each person's daily life and this provided cues for the design of the space.    This small yet interesting corner in the centre of the community became the source of inspiration &ndash; it hosted holy rituals at celestial intervals, remaining as an empty sacred space for the rest of the year. The form generated acknowledged this pattern as a wholesome mass with the symbolic gesture of a missing temple.    Although the existing structure held immense sentimental value to the people of Bansberia, they were quick to take on ADS's suggestion to rebuild completely when they saw how the new proposal respected the same idea and sentiment of the place.   Seed money was provided by influential clients and funds were collected from members of the community to inculcate a sense of belonging and ownership. The studio also contributed to the project while putting the ADS Workshop to good use.    The corner is designed to be column free and porous encouraging congregation during festivities to spill over the physical edge of the structure. It was detailed with modular pre-cast jali units - that optimized the time and resource. Based on the drawings provided, the customised ply formwork for the jali was made by the locals. The pavilion`s finishes were designed to be simple with an unpretentious purity keeping construction and maintenance costs to a minimum.   The temple was completed in six months from design to realization. It hosted the community`s Durga Puja festivities in October 2018. While the final outcome was well appreciated by the community, it must be noted that some feedback was received where it was felt that the previous structure, having had long-term association with the members, seemed more 'at home' than the new one. 

Narayantala Thakurdalan

 Designed as a public space for people to memorialize the specificity of Bengal`s Partition history and its aftermath. A place where the history of partition of Bengal may be conserved, interpreted, studied, cherished and made available for the benefit of the people of the country. The museum will also focus on the quiet continuity aspect of the Bengal partition in our living heritage - in language, literature, food, fabric and the performative arts. The visitor is taken through a journey to induce some feelings, whether awe or claustrophobia through varying intensity of spatial quality and light intensity. Some spaces have more light than others, some narrower, some wider, some higher, the experience is ever enchanting and surprising. 

Partition Museum

 Adisaptagram is a small town in the Hoogly district a couple of miles from Bansberia. Upon learning about the accolades earned by the Bamboo Pavilion, Mr Das - owner of a few brick manufacturing units and a respected, influential person in the region - sought to approach an architect to build himself an extension for his home. Going against the norm of employing civil contractors and masons for any building works by appointing a design professional was, until then, something unheard of. Hearing about the neighbourhood boy running an architectural practice in the big city, he was encouraged to approach Abin Design Studio for their services. Pool House, as it came to be known, was the first-of-its-kind consigned project in the vicinity. With initial inputs from the client, the suggested program comprising a swimming pool, gym, guesthouse and lawn for this residential extension spoke volumes about changing lifestyles in peri-urban areas. The client also found comfort in giving freedom to design with a modern outlook. What started as a casual social favour, ended as a sophisticated and complex manifestation of ADS's expression. Set amidst lush greens of rural Bengal, Pool House is an extension to the ancestral home of Mr Das. Having procured some land on two sides of his existing bungalow, the client, a fitness enthusiast, required a swimming pool, gymnasium, open lawns and guest entertainment areas as an addition to his residence. Basic Vaastu guidelines dictated the pool to be located towards the East of the bungalow. The built mass of the extension was thus planned towards the North-East enabling unobstructed light and ventilation to both the existing residence and the newly planned gymnasium and guest block. This moreover facilitated open views of the swimming pool and the northern lawns from both structures. The gym and guest block itself is designed in a simple, sleek language with overhanging frame balconies and a statement external staircase. Louvred fenestration allows filtered light in to the indoors creating a soft play of light and shade. A hot tub has been designed under the bridge access to snugly sit amid softcaped features. Two accesses from the first floor of the existing bungalow to the pool complex were designed as architectural features. The entry from the South-East corner of the house makes its way across a small bridge turning into a cantilevered staircase. The bridge mass itself proves to act as a visual barrier from the South-lying road. The fenestration for this gangway has been crafted with sleek wooden louvers to provide privacy while still enabling ventilation. The entry towards the North-East corner of the bungalow is designed as a modern deck cantilevering out on two sides. This minimalistic structure complements the existing old archetypal residence. A crafted granite staircase leads one down to the extension. 

Adisaptagram

Pool House

This two-storeyed residence has the advantage of a large foreground imagined with lush greenery and a winding driveway leading up to the building. The first floor, cantilevered in two directions, creates an inviting canopy into the villa. A large central courtyard binds the spaces together and is dramatically lit by a circular skylight and punctuated by a sculptural staircase. The indoor and outdoor spaces although well-defined, extend into bio pools and decks, and yards, visually blurring out the boundaries and creating a seamless expanse of landscapes throughout the home.

Cantilever House

 Shantiniketan is the cradle of the Bengali Renaissance, primarily because of its close ties with Rabindranath Tagore. This is the place where the red soil and the air breathes music, art, and, culture. Inspired by this unique setting of Shantiniketan, a centeramidst nature emerges as a cusp of culture and heritagewhich resonates with Bengal ethnicity in a different spectrum.It is a unique confluence of workshops, exhibitions, and art galleries. The strategy taken was simple: to retain the profile of the old residence an additional extension to the same slope of the house is introduced. This createsan elaborate shading device for the open plaza to protect it from harsh sun and rain and alsobecomes the unique feature that narrates the language of the space and adds a cultural scale to the building. The exterior landscape becomes a part of the building as it is used for sculpture court, pantry and outdoor seating. A soft threshold has been established through the playful arrangement of seating blocks that sits at the juxtaposition of the indoor and the outdoor. Terracotta tiles on the roof and MS structure are the primary elements of this project. Pandomo flooringis seen in the interior where the exterior is cladded with black kadappa stone. 

Takshila Foundation

 The client of Wall House procured a parcel of land across the street from his home as a parking lot for his vehicles. ADS was approached to provide for a garage structure with staff quarters above. Given its simple program, ADS convinced the client to use this opportunity for doing a lot more and think of how it could give back to the community.   The Gallery House was then planned as a garage on the ground level with a multi-purpose activity space on the upper level intended to be used by the neighbourhood as well. Encouraged to maximise the public utility of this building, its design was conceived to extend into the street, both visually and physically.   The building was designed on a site of area 330 square meters to serve the local community in the peri-urban locale of Bansberia, West Bengal.   As a decision to introduce another architectural expression to the community, the building took cues from Bengal's terracotta temples. Exposed brick masonry walls inlaid with ceramic blocks define the building character as a contemporary expression of the inspiration. Collaborating with a ceramic artist, rejected ceramic blocks produced for industrial use, were collected. Terracotta bricks were procured from a river-side brick field located nearby. These two were combined, using locally prevalent finesse of building masonry.   Inspired by the way the building was coming up, the client decided to let go of his initial requirement of a garage and embraced the suggestions of re-purposing the ground floor has a community hall while the upper floor houses a multipurpose-room, a sitting area and a pantry. The multipurpose-room was to be used primarily for providing tuition classes and yoga sessions to the local community. At night, this space functions as a dormitory for resident staff. The client enjoys a sense of pride and joy of ownership seeing the space put to good use. Every year this locality holds a festive procession along the narrow, winding neighborhood lanes, as a part of a cultural celebration. Reciprocating this, the building steps down towards the street forming a gallery for the onlookers to sit, who gather at the street-side during this event. Through judicious planning and play of voids in volume, the integral space of the building was shared with the neighborhood people as a humane gesture of giving back to the local community, without disrupting the privacy and security of inner functions. 

Gallery House

 IQ City is an integrated township of 100 Acres having Housing, Educational and Commercial development. The challenge for the insertion of a 45,000 sq.ft. Nursing college in the site having development area 100Acres, was to find an architectural language that harmonizes with the surrounding that has been conceived and build over time by various architects -an unassuming architectural expression that doesn't compromise on the spatial quality was required. The building is therefore devised as a courtyard-type, introverted planning with minimalistic facade expression. Working in this context, a language of solidity and emptiness was juxtaposed to capture the soul of healing, delicately balancing strength and fragility. The building is situated in the educational precinct of the 'IQ City' development at a striking corner plot. While the surrounding buildings curve in response to the roundabout, the project sits square and firm on ground yet subtly opening up through the scooped out lower floors. The rooms in the corner of this square building are removed to create an entrance plaza which results in effective visual connection and physical continuation of space into the courtyard. This plaza corresponds to the entrance to the Medical College building and its double height foyer in the opposite side. Also being adjacent to the grounds of the temple complex on the southern side, the plaza is thus designed as an extended public space. A robust yet simple structural system is used that reflects the gravity and simplicity of the purpose of the building. Pockets of openness echo the hope that needs to emanate from a caregiver. The building`s robust and unassuming character is punctuated by deliberate voids. This interplay of void and solid becomes one of the key elements of the project. Planned around a central courtyard, the idea was to create a public space that flows at many levels. Ample terraces overlooking the central courtyard are created at all levels as extension of corridors. 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 Courtyard and Terraces maximize the use of daylight and enhance natural ventilation passively cooling the building. The orientation and placement of these voids respond to the solar angle such that a generous mix of shaded and sunny spaces is produced to be equally welcoming in summer and winter. 

IQ City Nursing College

 An exercise in Juxtaposing Reminiscence, instead of letting the treasures be a part of the past, we have attempted to recreate them in a modern setting so we remember our roots, yet grow with time. The building character is defined by exhibiting the diverse local materials through modern aesthetics. It weaves in history with an outlook towards the future. The main idea of the design is to showcase the legacy of mythological carvings through contemporary aesthetics. 

Bhubaneswar

JSW Corporate Office

 The past always catches up with us. IMI Bhubaneswar aims at presenting a timeless piece of architecture which bridges the gap between the past and the present cultural and social life of the people of Orissa. Orissa is a state widely known for its opulent cultural heritage and rich architecture. Instead of letting the treasures be a part of the past, we attempt to recreate them in a modern setting, so we remember our roots, yet grow with time. Keeping in mind the extreme tropical summer temperatures, the structures have been designed and oriented on site to minimize heat gain and reduce use of electro-mechanical energy. Interactive zones where students can spill out, unwind or just be inspired are a very essential part of campus design. A lot of attention has been paid to the spatial quality of the central plaza as it is the interactive node of the campus. A central water court acts as a natural exhaust by cooling the air passing over it and hence making the court a solace in the hot summer. The iconic tower in the centre of the plaza acts as a wind breaker and also helps in the evaporative cooling, hence controlling the micro climate of the nodal plaza. Locally available laterite and khondalite has been extensively used as material for the outdoor areas. The central stepped plaza has been designed using solid laterite blocks. The energy spent in transportation was cut down immensely. Rain water harvesting has been employed to conserve water. The water bodies throughout the site act as catchment areas catering to the dual purpose of water conservation as well as controlling micro climate of the site. The huge library block has been strategically placed to cast shadows all over the central plaza at different times of the day thus creating comfortable outdoor spaces in the scorching heat. To cut down heat absorption substantially, large overhangs have been integrated in the design from the very beginning to create huge shadows on the building itself and the outdoor spaces. The atrium of the library block has been pushed outside with an inclined glass box to invite natural light in, hence reducing the cost for artificial lighting. Daylight analysis reveals that the design of interior spaces allows for optimum daylight penetration with the aid of the huge glass wall in the library atrium. Moreover low VOC paints have been extensively used keeping in mind the indoor air quality and the public health. 

Bhubaneshwar

International Management Institute

 The corporate office began as a forefront of experimentation with spatial narrative through craftsmanship. An organization of stalwarts, intent of creating an atmosphere of ethical equanimity, the client gave its blessing to transcend the boundaries of 'container' and 'content'. The client being an avid patron of the arts and an enthusiastic collector, the design intervention required a corporate office that merged with the idea of a contemporary museum. The space was specifically designed to house artefacts and human aspirations, along with a running work environment. The central core diffuses into multi-planar spaces, with natural light washing across the full-height atrium, filtering into seamless working spaces, segregated vertically as required in the hierarchy of corporate offices. Although physically segregated to justify efficiency of function, the spaces are visually connected, transcending boundaries of closed office habitats, celebrating art and life through accessibility and ownership through a sense of pride. A play of monumentality and intimacy, subdued material palette, and larger-than-life focal elements was implemented for a grand entrance atrium. The design is reminiscent of the life-affirming river &lsquo;ghats` of the country, leading up to the spires of temples and places of collective wisdom where everyday life meets spirituality. The grand steps leading up to the atrium; declare a proprietorship over the valuable collection of art, leading up to the library shelves, which house the invaluable collection of literary treasures. The challenge of 'content display' has been addressed by utilizing partitions between several conference rooms, which have been re-imagined as the library shelves. Each lobby introduces the design language of each floor. The reception desks have been treated in various ways to express the same. From back-painted glass to even leftover carpet rags, use of colour, artwork and material has been utilized to create customized statement pieces.  

RPSG Corporate Office

 This temporal pavilion is a totally net-zero installation with all materials used is 100% recyclable. The main pavilion is made of mild steel is to be dismantled and reused and the idols are made of scrap recycled metal will be retained as a sculpture for private collection or in art galleries. Other construction elements include bamboo and ply-board, also to be reused for other future pavilions. Apart from this other decorative elements are all crafted and re-used from newspaper. It is the first time Abin Design Studio has designed a pavilion built for the &ldquo;Durga Puja&rdquo;, the biggest community festival of the City. It is a collaborative effort between people across various disciplines. The first to mention among them would be the local community or &lsquo;Para` (in Bengali) for entrusting us this huge responsibility and their immense amount of enthusiasm. Their passion and pride has been the driving factor for all of us. Apart from this the pavilion is conceptualized between our studio team of architects along with sculptors who designed the idols and accessories, and musicians who developed the background score. The whole setup has been executed by a team of more than 50 people, engineers and fabricators, artists, technicians of light and digital projection. The whole effort has been backed and supported by volunteers of the Behala Nutan Dal Club. &lsquo;Children` and &lsquo;Childhood` are going thru a crisis in the Global context. They are set in mundane moulds of this society governed by preconceived notions of education and lifestyle. Some children are even more unlucky to lose their childhood because of political turmoil and inhuman violence. The society needs to voice its opinion on this issue. &lsquo;Art` can be one such very strong medium to express the concerns pertaining to the children, who are actually the future flag bearers and responsible for the progress of our civilization.  The installation is based on the idea of &lsquo;Childhood` - the most formative and beautiful phase of human existence. At the entrance of the installation, an abstract flight of birds overhead depicts the freedom of thought and creativity in young children. The wings gradually diminish and the birds tessellate into an array of boxes. Along with the deconstructed arrangement, the boxes put forward a commentary on the scenario of a child`s immense inherent potential getting slowly confined into a metaphorical box. The form of the installation then compels the viewer into a &lsquo;void`, a place to sit and contemplate, in the axial presence of &ldquo;Maa Durga&rdquo; - the source of energy, compassion and rejuvenation. This moment for reflection is intended to stir people into rethinking about the future of our children. The overall experience of this art installation is to demonstrate a transcendental journey of freedom, agony and joy in childhood! 

Behala Nutan Dal

Festive Pavilion

 Located in a dense urban context, the brief was to design a villa with a jewellery showroom on the ground and first floor. The essence of the design was therefore to visually segregate the commercial and the residential areas and also design the residential part maintaining enough privacy from the neighboring buildings on either side which are too close to this building. The other challenge was to make the overall building look like a residential one and restrict the commercial shop overpower the residential use. Deep verandahs and planter beds create a bold elevation and also bring relief to the otherwise urban context of the villa surroundings. The use of ribbed concrete adds to the boldness of the design and lends a monolithic design approach which skillfully ties both the building uses in a harmonious way. 

Jamshedpur

Singhania Residence

<p>The school of architecture and planning Bhopal was designed to inspire future architects, as well as become an iconic landmark amidst other institutions. Keeping in mind the local requirements of Bhopal as well as the needs of an educational institution, SPA Bhopal has turned out to be a landmark for us as well.</p>

School of Architecture and Planning

 Built-in very frugal and simple materiality, the club forms an important nerve center for the Bonochaya Township. Sloping roofs, intimate pockets of green, and the play of natural light give this place a unique sense of being. 

Bonochaya Club

 Inspired by the account of one of the woodworkers at the Pool House where his life transformed from being a political worker to a skilled craftsman, Abin felt a responsibility to do something for the local community.   It led to the idea of setting up a workshop and material research unit which would provide a backbone for explorative and execution works taken up by Abin Design Studio; a co-beneficial system that would provide support to the practice and stable employment to improve the livelihood of locals.   The Adisaptagram workshop was thus established in Adisaptagram. Having been able to provide employment to 20 locals by the end of the first year, it proved to be a successful endeavour. ADS is currently in the process of a massive expansion of the workshop and hopes to provide job opportunities to more people by moving more of its back-end work off-site.   The proposed workshop extension is programmatically conceived to allow craftsmen and stakeholders to explore and collaborate on building techniques related to carpentry, metalwork, building finishes, material, etc in a singular space along with exhibition spaces and workspaces for supervisors. The proposed major road is along the south side of the site which divides a pond adjacent to it and further an arterial road moves along the east frontage of the site.   The building in its conception takes advantage of the south-east wind direction combined with evaporative cooling from the pond but also shades the facade from harsh sunlight. The idea thus is to puncture the facade like a vertical cove and project outward by 4 feet from the built mass to create depth to block direct sunlight and create resting spaces for workers at the workshop.   The entry to the building is from the south-east side leading into double-height workshop spaces arranged in an open plan envisioned to allow flexibility in functionality and interaction across the floor plate. The catwalk at the first level along the central spine acts as a visual axis to usher visitors towards the main exhibition spaces and meeting areas located at the south-west side of the building adhering to Vaastu. It also accommodates an introvert green court of 4.2m x 2.0m so as to allow the &lsquo;eye to rest` as said by Charles Correa.   The projections along the facade are designed as sleek boxes made using two layers of MS plates for heat insulation and are opened at top, with operable louvers, in a north-facing direction for cross ventilation; the space between consecutive &lsquo;boxes` is covered in sloping G.I sheets resting on M.S rafters as the area receives heavy rainfall. The structure is thus worked out to allow ease in construction while indulging ephemeral functions. Overall, the idea is to break the typology of a factory-like space and establish a language that allows the inclusion of stakeholders within the craftsmen`s space within an architectural framework that develops a strong tectonic relationship with the context. 

Adisaptagram Workshop

 The construction of Pool caught the attention of another resident of Bansberia. Impressed by the work that was happening; he was motivated to approach ADS for professional help as well. Looking to build an extension for his residence as well in an adjacent plot, his requirement comprised converting a brick-lined pond to a swimming pool with structures housing a gym, changing rooms and guest entertainment lounges flanking the pool and lawns. The landscape incorporated a barbeque station, a sunken sit-out and a small aviary amidst the hard and soft scaped open areas. The House of Sweeping Shadows posed a different challenge altogether. A small shell of a two-storey building already stood on the edge of the pond. Conceived by the client's father, the structure was built in the prevailing style by local masons as a composition of decorative columns supporting a pitched concrete roof. While the client wished for a contemporary recreational outhouse with a much larger program, he was reluctant to break this building for sentimental reasons. Given the unremarkable nature of the existing building, we were prompted to encase the mass with a modern facade to create a bolder form. A self-supporting metal structure was devised with minimal anchoring on the building within. This in turn enabled the incorporation of a verandah on the upper level. The resulting complex was a very different design expression to any precedents. The composition of masses, bold crafted metal extension with soft verdant landscape, and the dark hues complementing the open skies over the reflective water body made for a serene, contemporary extension to the client's residence. Designed as a curved, louvered surface, the crafted metal facade casts mesmerising shadows in the interior spaces. There is a soft play of light and shade as the sun moves across the horizon through the day. Rectilinear punctuations along the curve, crafted as this lamina surfaces using sheet metal, strategically open out the spaces to the idyllic views outside. The interiors are treated in simple lines with whitewashed walls and contemporary furniture over a daring red floor. Open louvers allow for the verandah to stay well ventilated while keeping the sharp south-western sunlight at bay by breaking it up into thin tendrils of light. The sunken sit-out is contrastingly rendered in pigmented concrete complemented with views of the pool, verdant plant-beds and the aviary. 

House of Sweeping Shadows

 Located in the bustling city of Kolkata, Navyom is a minimalistic pavilion developed on its remediated site. The site, once a waste yard, includes two large banyan trees that become the determinant of the design. Navyom functions as a mock-up for the upcoming apartment on the site that it overlooks.   The rectilinear form sits lightly on the elevated landscape improving the viewpoints of the building. The form bends and transforms as it circumvents the existing trees. The chamfered ends on both sides become cosy balconies expressing the experience one would have in their purchased apartment. The design is punctuated with tiny pockets of vegetation. The projected frame guides vantage point whilst creating overall visual balance. The metallic mesh lights the balcony in intricate beams, in the nature of, light filtering through dense foliage. The metal mesh that envelops the pavilion is reclaimed from an old project of the client. The spaces are carefully curated and planned.   The reception table is custom designed to fit the comprehensive design language. The meeting rooms are oriented close to the canopy of trees, making the function more comfortable and sustainable. The mock-up living room cum discussion room is placed in the other end attaching itself to the balcony. The earthy tones reflect on the interiors as well, with a subdued colour palette reflecting it`s modernism and minimalism. The building does not overpower the site and comfortably fits the human scale without being underwhelming. The mostly monochromatic colours of the interior bring out the volume to its best.   The landscape is a humble attempt at the recreation of nature. Assorted flora of various scales makes it appear less man made. The pavement is organic and experiential as it is intended. Navyom is a philosophical combination of &lsquo;remediation` and &lsquo;place making`. 

Navyom

At a busy intersection in Bansberia were three adjacent plots that one gentleman had procured over time. Visiting the Pool House and House of Sweeping Shadows encouraged him to approach ADS for his private residence. The client's prime requirement was that of a 12-foot tall boundary wall for ensuring privacy and security.       The main requirement of the client was for a secure and noise-free home. After due analysis of the corner plot for Wall House, it was observed that Building a wall along the junction`s corner posed as an obstuction towards perceiving oncoming traffic on either of the roads and would prove disastrous for this collision-prone junction. Reluctant to give up the idea of a tall boundary wall, it took Abin a period to six months to reason with and convince the client to appreciate the difficulty of the situation. It was finally agreed upon for the wall to be taken into the plot at the corner to provide an extension to the sidewalk and enable clear sight lines around the turn. The space outside the wall was landscaped with low-height shrubbery as a vibrant enhancement of the pavement.       Minimal setbacks and the unavoidable boundary wall prompted the idea of integrating the wall into the design of the House itself. It was designed with a combination of a contemporary Weathered Steel cladding in simple lines and carefully coordinated pattern complementing the timeless and monolithic feel of Silver Travertine. The large openings and the dramatic angles of the walls provide dynamic glimpses into and of the house from many vantage points.       Enveloped within this strategically articulated feature wall, the house is designed as an inward-looking series of masses with internal courtyards to bring in light and ventilation. The transition from outside to inside proves a spatial experience as one encounters open-to-sky, shaded and covered areas in a harmonious sequence. Multiple courtyards enabled a variety of experiences through lawns, &lsquo;kund` seating around a bio-pool, semi open sit-outs, decks and terraces to form an interesting, vibrant home.       Within the walls, the spaces interact closely with each other, across double-height spaces and large glazed walls. The lounge, living spaces and bedrooms are arranged to have interesting views of the pool and landscaping inwards and framed views outside. A dramatically sleek M.S. staircase is not just simply functional but also effortlessly sculptural. The unique combination of materials and elements, like the light and lofty M.S. staircase with the warm wooden frames and the modern weathered steel with the timeless stone cladding, lend a chic yet everlasting quality to the home. 

Wall House

 Set amidst a rural backdrop, this training center addresses the outlook of the client, their philosophy of micro-financing for the rural population and an endeavor to promote them. Envisioned as a building made from earth itself, the design utilizes natural and simple material as well as techniques of green roofs, earth berms and natural light and ventilation while incorporating the flavor of Shantiniketan. 

Bandhan Training Center

Located in one of the largest townships in the country, The Centrum Club's planning is inspired from traditional 'wada' houses of Maharashtra where groups of rooms are arranged around one or many courtyards.    In this clubhouse, the courtyard is translated as an activity zone comprising swimming pools and a deck. This water court is flanked by naturally ventilated, semi-open hallways that organically extend to form the cafe and juice bar around it's edges. While connecting various enclosed functions, they also connect to the open children's play areas creating an interesting juxtaposition of open, semi-open and covered spaces, blurring the boundaries of inside and outside. The material palette is also a steady transition across the spaces furthering the intent of seamlessness.   Dynamic volumes in massing encapsulate the built and un-built spaces while keeping the courtyards shaded from Western sun and glare. A composition of bold exterior finishes in Weathered Steel and Rough Plaster are punctuated by graphically located openings to frame views of the distant hills. Dramatic light and shadows, and playful glimpses across inside and outside extend the building's reach beyond the physical site. 

Mumbai

The Centrum Club

 The studio is engaging design in the urban fabric and peri-urban edge, as a catalyst for deliberate change. His work focuses on the idea of holistic design, not just limiting to ideas, but also physical manifestation through multi-disciplinary collaboration. His explorations intend to push the boundaries of thought, prevalent socio-cultural landscape and spatial construct, challenging the role of architecture in the society, by being unafraid of unfamiliar explorations. The studio is also the recipient of several national and international accolades, along recent publication &ldquo;making of Place &ldquo;published by CEPT University. 

Abin Design Studio

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