In this IG Live session, we speak to Monish Siripurapu, Founder of Ant Studio in Delhi, India. Studio Ant works at the intersection of art, nature, and technology. Through their research and development wing Coolant they have made strides in building sustainable innovations through their all natural air cooling products. In this conversation, we discuss the science and method behind building this cooling system. We understand the system of Evaporative Cooling and the opportunities it presents in different contexts. We also speak about the process of research behind building this product and explore the nuances of parametric design. Tune in to watch our entire conversation.

In this IG Live, I delve into the factors involved in taking A Site Positive Approach. I speak about how design can contribute to the land it stands on as well as simple measures that can be taken to ensure the site is preserved and that resources are managed well during and after construction. Over the Live, I explain the importance of the water management systems at our houses in Goa, and the natural systems we have implemented such as a pond and bioswales. I also answer questions about site positivity in the rural and urban contexts, speak about the opportunities offered by certain materials and the feasibility of creating a positive impact. Tune in to watch the entire session.

To know more about taking a site positive approach, you can read our blogpost on the subject which looks at the strategies implemented at The House With Three Pavilions.

A few years ago we were set the task of designing an outdoor spa for one of our projects. The site was a house in Goa and surrounded by spectacular heritage buildings with unique forms and features that are no longer found in present day construction. We decided to use this as the inspiration and decided on a relaxing outdoor spa which would embody some of these details and elements found in these quaint, old structures. We set out to map and document these historic houses, institutions, and simple details of Goa through photographs and drawings. The illustrations below are part of this extensive archival project, and a fun take on some of the beautiful Chapels and Gateways that characterise Old Goa.

In this IG Live, I speak to Malvika Mehta, Founder of MLIME. Malvika's team in Rajasthan has done some lovely work with lime plasters bringing the use of lime to modern buildings while also using it to conserve historic structures. Over our conversation we discuss the romance and practicalities of lime. We compare the use of IPS with lime and oxide, often found in old houses in Goa. We discuss the heritage of lime as well the potential it has to become a contemporary natural material. We get into details about lime's breathability, moisture management, and its effectiveness in indoor-outdoor spaces that are exposed to harsh heat and rain. We also speak about the process of making lime, its maintenance and cost efficiencies. Finally, we discuss the various finishes, colours and textures that a lime plaster comes in.

In this IG Live, we discuss the natural material wood and answer some important questions about our experiences while using wood in construction for our houses in Goa. Over the course of the Live session, I speak about crucial aspects that are often overlooked - such as sourcing and treating wood for the best performance. I have also presented the potential and limitations of reclaimed wood. Finally, I discuss whether wood can be considered a sustainable material.

To know more about wood and its properties, you can also read

ROMANCING WOOD , an introduction about the choice of using wood.

SEASONING WOOD , the efforts and precautions to be taken while treating wood.

IS WOOD A GREEN MATERIAL? , an understanding of whether wood is sustainable.

In this Q&A session, I take up a material that we frequently use in our houses in Goa - Indian Patent Stone or IPS. The material is incredibly versatile as it comes in a wide range of colours and is suitable for a number of surfaces right from floors to walls to counters to inbuilt furniture such as the balcao. Over the session I also answer questions about how the material ages with cracks and address the important precautions that need to be taken while using the seamless material. We discuss the similarities between IPS and oxide floors and how the material application technique has involved. We also speak about the curing and workmanship that is required to achieve the best finish.

Tune in to watch the entire session.

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Geoffrey Bawa is an unforgettable and continuous inspiration to most architects. There is an intangible relationship with nature that is so beautifully established. To see our inspiration translate into our work - in design, in spatial character, in connection and reverence towards nature - finding new meaning in every site we build on, feels wonderful and magical.

As we look back on our projects, it feels great to see many of our spaces carrying the sensibilities and sensitivites that Bawa inspired throughout his practice. The following set of images puts our project photos alongside some expertly crafted spaces byt the tropical wizard. It is our ode to the master architect, a reflection of the small but diverse ways in which he has touched our design thinking and building values.

The Balcao Connection

The interesting architectural connection between Goa and Sri Lanka is visibly articulated in elements such as inbuilt seats. The first picture is a site picture of a porch at our project, The House With Three Pavilions. The Goan Balcaos face each other, framing the entrance to the home pavilion. The second photograph is from Bawa's Lunuganga garden, with the in built seats looking out into the surrounding greenscape.

Windows for trees.

There is always time to frame a view. Vistas of green, however small bring a sense of freshness and colour into any space. The first picture is from our project Navovado, as the building volume is punctuated by foliage and fenestration. The second photograph is from Bawa's Garden, the bark of a tree framed through the small verandah window.

Seats built in to live with nature⠀

The first picture is of an insitu seat built next to the champa tree, watching the coconut plantations beyond on site at The House With Three Pavilions. The second photograph is from Bawa's estate, with an in built seat, finished with a wooden railing back, set in the enclosed gazebo to immerse oneself into the sights and sounds of nature around.⠀

A Hidden Pool⠀

The first picture is of a terrace pool overlooking the trees and the hills at our project Nivim. The second photograph is from Geoffrey Bawa's House for Dr Bartholomeusz, with the pool quietly tucked into the indoor-outdoor courtyard.

Finding Bawa ~ The Stairway Composition⠀
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The first two pictures are from our project Navovado, looking at the stairway as it adds sculptural value and the play of different levels to one end of the living room. The second photograph is from Bawa's Bentota house, looking at his minimal, yet artistic stairway composition.⠀

Read Part I of Finding Bawa here.

Geoffrey Bawa is an unforgettable and continuous inspiration to most architects. There is an intangible relationship with nature that is so beautifully established. To see our inspiration translate into our work - in design, in spatial character, in connection and reverence towards nature - finding new meaning in every site we build on, feels wonderful and magical.

As we look back on our projects, it feels great to see many of our spaces carrying the sensibilities and sensitivites that Bawa inspired throughout his practice. The following set of images puts our project photos alongside some expertly crafted spaces by the tropical wizard. It is our ode to the master architect, a reflection of the small but diverse ways in which he has touched our design thinking and building values.

Building with nature

Watching these two pictures side by side leaves us with a sense of achievement and happiness. The first picture is from our project, The House with Three Pavilions in Goa. The second picture is from Ena De Silva's house, built by the master Geoffrey Bawa.

Verandahs celebrating the trees of the land
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The first picture is from our project Navovado, looking at the old mango tree preserved during construction on site for this vacation house in Goa. The second photograph is from Bawa's Lunuganga estate, framing the magnificent tree by the lake.⠀⠀

Making greenery part of the building elevation
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The first picture is from our project Navovado, as boundaries are blurred between the house and its landscape. The second photograph is from Bawa's Lunuganga country estate, picturing the house among the greenery perceived from the lawn.

A Place in The Shade⠀
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The first picture is from our project The House With Three Pavilions, as the semi open corridor faces the internal courtyard on one side, touching it with an in situ seat and transitioning into different rooms on the other sides, each celebrating different views. The second photograph is from Bawa's estate, as the corridor behaves like a verandah even as it connects the indoor spaces from side to side. ⠀

A Welcoming Wilderness⠀
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The first picture frames the entrance to a pavilion at The House With Three Pavilions, brought alive with the growth of native plant species. The second photograph is from Bawa's Lunuganga garden, with the entrance pathway bordered by the lush wildscape on one side. ⠀

Read Part II of Finding Bawa here.

To the jaded, the mention of green buildings implies a marketing gimmick, and to an idealist, it conjures images of buildings built with mud and bamboo with compostable toilets. Invoking a strong response either ways, we recently concluded a Q&A session on Green Buildings on Instagram. The session had over 300-people join over the course of a 30-minute session. 

The first question that we tackled was, ‘What is a Green Building’? My answer, ‘A green building is one where you’re trying to reduce the impact of the building on the environment.’ It is about making the right choices at every stage of the project, with the ultimate goal to minimise one’s footprint on the environment. To make a building green, the architect must treat the environment as a key design criteria from the first step of the design process right until the occupancy stage. 

It is our commitment to build sustainably and we green certify all our houses in Goa. Our first home, Nivim was the first green certified residence in Goa. It received a gold-level certification and our project Navovado has recently been awarded the platinum-level certification by the Indian Green Building Council. Platinum being the highest level available in the ranking system.

While a building can absolutely be green without a certificate, a green certification is a great way to stay accountable to oneself throughout the design and construction process. It provides the involved professionals with a detailed list of checks and balances with specifications and design criteria that need to be considered and incorporated at every stage of the design and construction process.

In India, TERI (home-grown) and IGBC (offshoot of USGBC) are the primary agencies that issue green certifications. Both these organisations use a credit based system for the evaluation of green building design and performance. The credits fall under the following categories: Site Planning, Water Efficiency, Energy Efficiency, Indoor Air Quality, and Materials among others. Throughout the process, extensive documentation with detailed calculations are required which is then reviewed and tested by the certification body on site. While the system is elaborate, it proves effective as a way to stay true to one’s goals of sustainability. However, it is important for architects to avoid incorporating design elements or features, just for the sake of securing points and focus instead on strategies that are feasible for that specific project life cycle and use.

Demystifying Green Building

I would like to cut through the clutter on this topic. Specially as I would like to demystify the concept and express that green building design is not necessarily a specialized science, nor is it forbiddingly technical where only certain qualified professionals can build green buildings. On the contrary, it is my strong belief that a building built with the basic principles of good architecture would do very well on the green scorecard. The process of green building design starts with a deep understanding of the site, local climate, wind patterns, local materials and resources. Once a building is sited to take advantage of the sun and wind to maximize daylight and cross ventilation, is designed to be responsive to the weather patterns and is built using local materials, then that in itself is a great start towards making the building green.

In the predominantly hot and humid climate in India, one can further think of reducing the heat gain through an informed design of the building envelope. This will have a tremendous impact on the thermal comfort within a building and hence reduce the energy use in the building. Water is another key natural resource that is dwindling with increased human activity on our planet. Rainwater harvesting provides a simple (sometimes ‘no-brainer’) solution to this problem. The idea is simple, instead of allowing rainwater to drain away from your site, one can design systems to either collect it and reuse on the site itself, or feed it back to the earth to recharge the underground aquifers. In addition, a simple introduction of dual flushes can reduce water use by 50-60% and aerators to taps, which can reduce the water use by upto 70% percent. Aerators mix the water from the taps with air, and as a result the water pressure feels the same even when the amount of water flowing through the taps are reduced.

When it comes to building materials, it is wise to use local materials. In most cases, the vernacular building techniques and the local labor would be well versed with the local material. The green quotient of buildings can be further increased by choosing materials with a higher recycled content, higher recyclability, reusing salvaged materials and materials that are rapidly renewable such as bamboo.

The choices to go green are not always straightforward. Cement for example presents a big conundrum in the building industry. The production of cement produces large quantities of CO2, a greenhouse gas with a lasting impact on global warming and climate change. In fact, the production of every kilogram of Portland cement produces an equal amount (one kilogram) of CO2. This presents a huge challenge for our industry where the widely accepted structural material is cement. Wood is another material that presents a difficult choice with sustainability. On one hand, it is a naturally renewable resource and is biodegradable, and wood can be used and reused multiple times. But at the same time, we are cutting irreplaceable virgin rainforests at an alarming pace with long lasting disastrous impact.

Finally, a green building doesn’t have to cost a lot more. Majority of green building strategies are common sense and based on sound architectural principles, which do not come with an additional cost. In addition, there are simple systems that are available at extremely reasonable prices. The aerators mentioned earlier are a free addition offered by most companies that sell sanitary fittings. The difference is for the architect, client and the vendor to be aware of these systems and integrate them into the building design in a timely manner. 

We must as a community of architects pledge to make green building design as important as aesthetics in our projects. A simple change in the thought process can have a long lasting impact on the quality of life for our future generations, which is a cause worth fighting for.

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How does one build in a rural location with the objective to have minimal or zero-impact on the environment?

This question is the primary driver behind the site planning strategy for The House with Three Pavilions located in Goa, India.

The project site is located on the edge of rice paddy fields with a dense cluster of local forest trees on one side and a coconut grove in the middle. The following diagram illustrates some of the critical measures taken as part of the site planning strategy.

WHY IS AN ECOLOGICAL RESPONSE ADOPTED?

• As Goa gentrifies, rampant new construction threatens to rock the delicate balance between nature and man. This project is our attempt to showcase that the built form can tread lightly on the land with conscious design and measured planning. 

• The design focus is to leave a minimal or zero-impact on the functioning natural ecological cycles at the site that pre-date the new construction. 

• The site is geographically located along the path of the watershed from surrounding higher elevations that finally drains into the Arabian Sea. The design planning is oriented to support and improve the water movement through a comprehensive water management plan.

• The water management plan is implemented to address three primary concerns around the site - to recharge the depleted underground water table, to increase water availability for the paddy fields bordering the site, and to reduce the water load on the Municipal Draining system.

WHAT HAS BEEN DONE?

• During the survey, a natural depression was found at the center of the site with a perennial wetland hosting diverse flora and fauna. This existing depression was dug out (until the underground water level in the driest month) and integrated with the existing well on the site. Today, this natural wetland feature is preserved and developed into a seasonal waterbody which also forms the focal point for the landscape created using a native planting strategy.

• All the roof rain water runoff is captured and along with the site surface runoff, it is directed into the central seasonal pond for rain water harvesting. The edges of the pond were formalized with mortar-less retaining walls built in local laterite rubble. This was done to reduce the erosion of the pond edges and to retain the water as a permanent feature in the landscape

• The pond was further connected to a newly planned system of bioswales that spread the collected runoff water over a larger site surface area increasing the rate and extent of percolation on the site. This keeps the level of our underground water table high throughout the year and the soil moist, reducing the garden irrigation requirement in the dry season.

• The bioswales use no cement in their construction and can absorb water through the walls and the base. The construction of the bioswales and the pond without cement, also allows for the water to remain clean without any toxicity of the cement leaching into the landscape.

HOW DOES THIS CREATE A POSITIVE IMPACT?

• The water management was a critical part of this project and offsets the load on the rudimentary public storm water systems found in the Goan villages especially during the heavy monsoons.

• As a result of our efforts, the underground water levels have been improved hence negating the impact of the house construction on the environment. We have been able to prevent any additional flooding at the neighboring fields or any other low-lying area in the village. 

• The project also prioritises the enhancement of the site’s resources and biodiversity. In doing so, it also creates a positive impact on its surroundings by protecting the agrarian viability which is constantly threatened by new construction and increased human activity. Our success can be measured by the number of birds, reptiles, butterflies and insects that can be found on the site today. We have uncovered peacock eggs, cuckoo eggs and baby parrots on our site. It is a win to see that the animals continue to find the site a safe space even as they come in close contact with the human life around, making this truly a space for all seasons and species.

(Water Management Plan in consultation with Pallavi Latkar and team at Grassroots Research Mumbai.)