Anupama Kundoo architects. Portfolio. 2021

Anupama Kundoo graduated from Sir J.J. College of Architecture, Mumbai and started her practice in Auroville in 1991. Anupama Kundoo architects is currently based in Berlin, Pondicherry and Pune. Together with key team members, architects Sonali Phadnis and Yashoda Joshi, Anupama Kundoo provides architectural, planning and urban design services.

Anupama Kundoo graduated from Sir J.J. College of Architecture, Mumbai and started her practice in Auroville in 1991. Anupama Kundoo architects is currently based in Berlin, Pondicherry and Pune. Together with key team members, architects Sonali Phadnis and Yashoda Joshi, Anupama Kundoo provides architectural, planning and urban design services.


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<strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong><br />

Berlin · Pondicherry · Pune

Architecture is a living, dynamic and intelligent force that<br />

embraces the past, present and future all at once.<br />

Our architecture is the result of building knowledge and<br />

building processes.<br />

It responds to a diversity of concerns through integrated<br />

design thinking, and has the potential to create health, happiness,<br />

and well-being through shaping the built environment<br />

and steering the way forward for an evolving human society.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>


Residence Bonheur Pondicherry, 2018<br />

Shah Farm Houses Brahmangarh, 2015<br />

Residence Kanade Pune, 2015<br />

Residence Paul and Claudine Auroville, 2003<br />

Wall House Auroville, 2000<br />

Residence Hemant and Divya Auroville, 1998<br />

Residence Pierre Tran Auroville, 1992<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Residence Bonheur Pondicherry, 2018<br />

Project Team: Sonali Phadnis and <strong>Anupama</strong> <strong>Kundoo</strong><br />

Contractor: Kadir and Creations<br />

Set in the urban context of Pondicherry’s planned rectangular<br />

grid city, Bonheur is a 3-storey apartment<br />

building that is designed for to accommodate various<br />

the young families of the next generation and their<br />

parents in the same building, along with some common<br />

facilities and a dispensary for paediatric patients on the<br />

ground floor.<br />

The architecture is introverted, disclosing very little from<br />

the street view, and the apartments are distributed<br />

around a central courtyard arrangement that provides<br />

contact to the earth and sky. Smaller courtyards and<br />

open to sky perforations expand the courtyard principle<br />

in the service area and the vertical staircase element<br />

to create a sense of visual continuation of the outdoor<br />

experience.<br />

It also enhances the natural ventilation that is necessary<br />

for climatic comfort in the humid context. The interiors<br />

are characterised by their views overlooking the courtyards<br />

and the large usable verandahs that mediate between<br />

the outdoors and the indoors.<br />

Vertical fins screen the street side façade and protect<br />

the intimacy of the apartments from the street side, but<br />

also from the glare of the sun, without compromising<br />

on the entry of the much needed breeze.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Residence Bonheur Pondicherry, 2018<br />

Project Team: Sonali Phadnis and <strong>Anupama</strong> <strong>Kundoo</strong><br />

Contractor: Kadir and Creations<br />

Set in the urban context of Pondicherry’s planned<br />

rectangular grid city, Bonheur is a 3-storey apartment<br />

building that is designed for to accommodate various<br />

the young families of the next generation and their<br />

parents in the same building, along with some common<br />

facilities and a dispensary for paediatric patients<br />

on the ground floor.<br />

The architecture is introverted, disclosing very little<br />

from the street view, and the apartments are distributed<br />

around a central courtyard arrangement that provides<br />

contact to the earth and sky. Smaller courtyards<br />

and open to sky perforations expand the courtyard<br />

principle in the service area and the vertical staircase<br />

element to create a sense of visual continuation of the<br />

outdoor experience. It also enhances the natural<br />

ventilation that is necessary for climatic comfort in the<br />

humid context.<br />

The interiors are characterised by their views overlooking<br />

the courtyards and the large usable verandahs that<br />

mediate between the outdoors and the indoors.<br />

Vertical fins screen the street side façade and protect<br />

the intimacy of the apartments from the street side, but<br />

also from the glare of the sun, without compromising<br />

on the entry of the much needed breeze.

Shah Farm Houses Brahmangarh, 2015<br />

Project Team: <strong>Anupama</strong> <strong>Kundoo</strong>, Yashoda Joshi<br />

Structural Engineer: Zarna Barday<br />

Contractor: Vilas Vare Constructions and Sekar<br />

Sokkalingam<br />

Built at the edge of a river on agricultural land, the complex<br />

is shared by two residences. Natural basalt stone is<br />

chosen as the primary locally available building material<br />

and combined with handmade terracotta hollow tubes<br />

for vaulted roofs as already used in the Wall House. Apart<br />

from their main residences, the site includes collective<br />

shared buildings accommodating caretakers’ residences<br />

merged within the design of the compound wall, and a<br />

cylindrical water tank, both in stone masonry.<br />

The residences themselves, are composed of alternative<br />

massive construction of stone masonry volumes interspersed<br />

with vaulted volumes of space that are visually<br />

more transparent, the vaults spanning the spaces between<br />

the massive stone masses. The underneath<br />

spaces of the vaulted spaces are thus used for the more<br />

social spaces such as living and dining areas, while the<br />

more private areas are accommodated within the stone<br />

walls. This strategy allows the continuous view of the<br />

water-front through the selected axes of the house, from<br />

areas located higher up in the sloping terrain.<br />

The ground floor spaces are contoured to hug the sloping<br />

site with sequences of steps that cascade along the<br />

territory and continue through the house into the<br />

immediate exteriors. As a contrast to the natural colours<br />

and textures of the key materials of terracotta and basalt<br />

stone, coloured oxides on selected plastered surfaces<br />

and floors provide a counterpoint of contrast in colours<br />

and textures, and complete the soothing environment<br />

of a refuge in the natural landscape away from the<br />

megacity.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Residence Kanade Pune 2015<br />

Project Team: <strong>Anupama</strong> <strong>Kundoo</strong>, Yashoda Joshi<br />

Structural Engineer: Ranjit Ghatge<br />

Contractor: J. V. Erectors, Sanjay Deshpande and<br />

Vikas Murmure<br />

Situated in a residential area in Pune, of single-standing<br />

houses, Residence Kanade inconspicuously coexists<br />

with its surroundings. Prevailing byelaws conventionally<br />

result in no more than a 3-meter wide belt of vegetation<br />

around houses. Through a central narrow water body<br />

that seems to cross through the house, and an adjacent<br />

double height space, porosity is achieved with the illusion<br />

of a much larger presence of nature as the central<br />

experience, despite being an urban residence.<br />

Living and working spaces for visiting artists and audiovisual<br />

get-togethers are included. Vistas of the outdoor<br />

are aligned to flow through and through key living and<br />

dining spaces, the landscaped exteriors at either end of<br />

such axes. Verandas and terraces on various levels and<br />

long cascading steps along water bodies encourage<br />

the interior activities to spill over to transition spaces<br />

between inside and outside, the defining element of a<br />

home that is intimate within and without.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Residence Paul and Claudine Auroville, 2003<br />

Project Team: <strong>Anupama</strong> <strong>Kundoo</strong>, Vinayagam<br />

Structural Engineer: Dr. Ambalavanan<br />

Contractor: Kolam<br />

A two-storey house built using rammed earth walls<br />

sourced from onsite, this residence was the second<br />

home planned for Paul and Claudine who visited once<br />

or twice annually.<br />

The footprint was determined by the size of a generous<br />

bedroom space with a dressing area and bathroom,<br />

and an open to sky terrace with a small pool.<br />

The ground floor, the result of the private space<br />

required, was restricted to a small functional kitchen<br />

and a tiny living dining area, which could easily expand<br />

outdoors on to a terrace to receive people.<br />

The residents were very taken up by the Wall House and<br />

wanted to have the same terracotta roof, in combination<br />

with rough stone. To enhance the impact of the rammed<br />

earth walls, earth was used as pigment in the cement<br />

floors as finishing.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Wall House Auroville, 2000<br />

Project Team: <strong>Anupama</strong> <strong>Kundoo</strong>, Ravi, Vinayagam<br />

Contractor: Kolam<br />

Wall House is situated outside the planned city limits<br />

of Auroville, in Auromodele, an area designated for<br />

research and experimentation.<br />

Technologically, it involved local materials in new and<br />

inventive ways given the global resource crunch and<br />

rapid urbanisation. Landscape design, an integral and<br />

inseparable part of the overall architecture, worked<br />

with the topography to integrate the indoor-outdoor<br />

transition as an integral experience. Wall House was<br />

the culmination of an ongoing extensive research and<br />

experimentation in low-impact building technologies<br />

that are environmentally and socio-economically<br />

beneficial, by negotiating the balance between hi-tech<br />

and low-tech and incorporating everyday materials<br />

through techniques that include the participation of<br />

those with lower skills and education with few skilled<br />

craftsmen.<br />

Such hybrid technologies focus on new ways of using<br />

age-old local materials that combine hand skills and<br />

local craft traditions alongside knowledge-based scientific<br />

systems. A laboratory for research and experimenttation,<br />

this was a prototype for future development.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Residence Hemant and Divya Auroville 1998<br />

Project Team: <strong>Anupama</strong> <strong>Kundoo</strong><br />

Contractor: Kolam<br />

Wood Work: Paul Vincent<br />

Since he had first come to Auroville, Hemant had lived<br />

for several years in a very simple thatch hut on granite<br />

pillars simply tied together with coconut rope, just like<br />

many others do in their early years in Auroville. However,<br />

after those initial years, they looked forward to living in<br />

a house that offered more permanence and comfort.<br />

Outdoor areas freely penetrate the indoors, and there<br />

are two courtyards enclosed within the ground floor<br />

by arranging simple rough granite pillars in a series;<br />

one as an extension to the bathroom, to provide it with<br />

a patch of earth and sky and the other, adjoining the<br />

living room, incorporating a small water tank that can<br />

be use in summers to dip in, before the water is taken<br />

to sustain the garden. The joists were cut out of really<br />

old (around 50 years old) casuarina trees and are far<br />

stronger than people expect, at that age. Casuarina,<br />

as it is mostly known for its use as scaffolding and for<br />

temporary building works, is usually harvested at three<br />

to seven years.<br />

The transition spaces between the house and the garden<br />

are naturally landscaped in an unnoticeable way,<br />

mainly consisting of the same repetitive elements, brick<br />

paving, granite benches and pillar screens, boulders<br />

and pebbles.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Pierre Tran Residence Auroville 1992<br />

Design: <strong>Anupama</strong> <strong>Kundoo</strong><br />

Contractor: Sumark<br />

The project show-cased a range of efficient roofing<br />

systems that were first realised in Wall House, Auroville,<br />

and which led to wider scale application in other projects<br />

in the local area.<br />

Designed for climatic comfort based on South-east<br />

orientation. Vaulted roofs, cavity walls and ferrocement<br />

fins regulate the glare and yet allow natural ventilation.<br />

The roof is composed of hollow terracotta roofing tubes,<br />

specially made for the purpose, assembled into catenary<br />

vaults. This eliminates the use of structural steel or concrete,<br />

while providing insulation.<br />

The success of this technique led to a series of experiments<br />

involving insulated and modular roof alternatives<br />

that can be seen in later works.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

2 HOUSING<br />

Full Fill Homes Chennai/Auroville, 2015<br />

Light Matters Housing Auroville, 2013<br />

Volontariat Homes for Homeless Children Pondicherry, 2008<br />

Creativity Urban Eco-Community Auroville, 2003<br />

Sangamam Collective Housing Auroville, 2003<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Full Fill Homes Chennai/Auroville, 2015<br />

Project Team: <strong>Anupama</strong> <strong>Kundoo</strong>, Alba Balmaseda,<br />

Sebastiano Giannesini, Yashoda Joshi, and Sonali<br />

Phadnis<br />

Structural Engineer: Dr. Venkata Rangarao<br />

Contractor: Sekkar Sokkalingam<br />

In response to the growing homelessness and concerns<br />

about affordability, not only in economic but also in<br />

environmental terms, Full Fill Homes are envisioned as<br />

speedy and affordable housing units that have low environmental<br />

impact, using a combination of sophisticated<br />

and low-tech.<br />

It is made of ferrocement, a highly resilient material that<br />

she has been researching for over a decade. 25 mm thick,<br />

the cement is reinforced with chicken mesh and can be<br />

prefabricated in masons’ backyards to yield a set of versatile,<br />

lightweight parts. These can then be assembled at<br />

speed (6 days) to produce homes that are low-cost, practical,<br />

stackable (for high density), durable (for a variety of<br />

climates) and beautiful: ferrocement is easy to tint with<br />

pigments, so facades can be enlivened with a range of<br />

colours.<br />

This prototype was produced in Bharatipuram, Auroville,<br />

and installed at the 57th Annual National Association of<br />

Students of Architecture at MIDAS Chennai for testing the<br />

design in full-scale. It is now relocated to Maitreye,<br />

Auroville.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Light Housing Auroville, 2013<br />

Project Team: <strong>Anupama</strong> <strong>Kundoo</strong>, Yashoda Joshi,<br />

and Sonali Phadnis<br />

Structural Engineer: Dr. Venkata Rangarao<br />

Contractor: Sekkar Sokkalingam<br />

Light housing is a prototype for building with a lighter<br />

environmental impact in the context of growing concerns<br />

about the affordability of housing, and not only in money<br />

terms. ‘Light’ also symbolizes knowledge; and the theme<br />

focuses on minimising the ‘material’ required by using<br />

appropriate geometry, form and efficient structural<br />

design together with hybrid construction technologies<br />

that balance between low-tech and hi-tech.<br />

The key strategy for reducing cost, time consumption<br />

and material use in the production of houses is to reduce<br />

the chief housing component to a lightweight roofing<br />

element that minimises the need for columns, beams<br />

and walls. The chicken-wire mesh within the ferrocement<br />

structure also makes the unit resistant to seismic loads.<br />

The roof form is derived from research on origami<br />

creasing patterns that give thin paper strength and<br />

rigidity. A suitable form is developed according to the<br />

proportions suitable for modest human habitation. The<br />

module is designed for versatility through combination<br />

and repetition in order to arrive at a range of applications<br />

for various occupations suitable to members of the<br />

household. The module is applicable to a range of<br />

contexts such as disaster relief, slum upgrading,<br />

temporary housing in sensitive landscapes and youth<br />

hostels.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Volontariat Homes for Homeless Children Pondicherry, 2008–2010<br />

Client: Volontariat NGO<br />

Project Team: <strong>Anupama</strong> <strong>Kundoo</strong>, Vinayagam<br />

Firing Technology and Overall Guidance: Ray Meeker<br />

Contractor: Mahasaraswati<br />

These homes are planned to accommodate 15 children<br />

and 5 foster parents. This project was built using a rare<br />

technology pioneered by Ray Meeker of Golden Bridge<br />

Pottery, which consists of baking a mud house insitu,<br />

after constructing it.<br />

A fired house or a fire-established mud house is in principle<br />

a mud house built with mud bricks and mud mortar<br />

that is cooked after building as a whole to achieve the<br />

strength of brick. The interior space of the structure is<br />

stuffed with further mud bricks or other ceramic products<br />

such as tiles, and fired as if it were a kiln.<br />

Typically kiln walls absorb about 40 % of the heat generated.<br />

In this technology, the house is the kiln, and the<br />

‘heat loss’ is directed towards firing the house and stabilizing<br />

it from water damage. The fuel cost is largely accountable<br />

to the products inside. The strength of brick<br />

in principle would be achieved for the piece of mud.<br />

Further, the cement in the mortar mix would become<br />

unnecessary.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Creativity Co-housing Auroville, 2001–2003<br />

Project Team: <strong>Anupama</strong> <strong>Kundoo</strong>, Vinayagam,<br />

Sonali Phadnis<br />

Structural Engineer: Dr. Ambalavanan<br />

Integrated water management: Harald Kraft and<br />

Aurofilio Schiavina, Kraft Associates<br />

Contractor: Auronirmata<br />

A prototype for collective living promoting community<br />

and sharing, the project was planned as one of 5 housing<br />

clusters for around 360 deliberately diverse residents.<br />

Realized as an example for an independently managed<br />

cluster accommodating 50–60 persons, residents shared<br />

common facilities at cluster-level and have some facilities<br />

for use by the larger community.<br />

The excavated onsite soil was used to build rammed<br />

earth walls in a contemporary technique using a special<br />

large formwork, adding 5 % cement for water resistance,<br />

lending a contemporary character to a material associated<br />

with the vernacular. Specially designed insulating<br />

terracotta roofing units on part-prefab beams were assembled<br />

as an easy modular construction of high insulation<br />

properties. A root-zone treatment plant recycles<br />

sewage water for irrigation.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Sangamam Collective Housing Auroville, 2003<br />

Project Team: <strong>Anupama</strong> <strong>Kundoo</strong>, Vinayagam,<br />

Sonali Phadnis<br />

Structural Engineer: Dr. Ambalavanan<br />

Integrated water management: Harald Kraft and<br />

Aurofilio Schiavina, Kraft Associates<br />

Contractor: Auronirmata<br />

Sangamam is situated at the outskirts of Auroville, Tamil<br />

Nadu, in an area affected by environmental and social<br />

problems including water scarcity, saline water intrusion,<br />

soil erosion and declining soil fertility, unemployment<br />

and inadequate housing, educational and medical<br />

facilities.<br />

The age-old rammed earth building technique is introduced<br />

in a more sophisticated form to achieve better<br />

standard of finish, more strength and water-resistance,<br />

and enabling a quicker modular method of building.<br />

The vault developed in the earliest project turned out to<br />

be so cost-competitive that although they were designed<br />

for sophisticated projects with big budgets, they were<br />

appropriate for use in extremely low-cost social housing<br />

projects as in some houses in Sangamam. Cost per<br />

house is $ 4,500.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>


Sharana Daycare Facility Pondicherry, 2019<br />

Loo Café x Waterloop Hyderabad and Auroville, 2019<br />

Library Nandalal Sewa Samithi Pondicherry, 2016<br />

Auroville Town Hall Complex Auroville, 2005<br />

Multipurpose Hall S.A.W.C.H.U. Auroville, 2000<br />

Keystone Foundation Kotagiri, 1997–2016<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Sharana Daycare Facility Pondicherry, 2019<br />

Project Team: Sonali Phadnis and <strong>Anupama</strong> <strong>Kundoo</strong><br />

Contractor: Kadir and Creations<br />

Sharana is a social and development organization<br />

established to address the critical educational needs of<br />

socioeconomically disadvantaged children and<br />

communities in urban Pondicherry and its surrounding<br />

villages. Sharana’s foundational belief is that all human<br />

beings are equal in rights and dignity, and everyone is<br />

entitled to food, clothing, and shelter.<br />

The architecture revolves around the central strip of an<br />

inner garden court with large multipurpose activity<br />

spaces at the rear of the site, and reception/administration<br />

services at the front on the street. The building<br />

is constructed as reinforced cement concrete slabs on<br />

columns of the same material.<br />

To enclose the various spaces economically, walls are<br />

made of porous terracotta screen modules that can be<br />

quickly erected and eliminate the need for windows<br />

and frames while allowing ventilation throughout the<br />

wall surface, economically achieving the required<br />

conditions for climatic comfort in the tropical context.<br />

These screen wall elements allow transparency from<br />

the floor upwards, allowing small children to remain in<br />

visual contact with the garden outdoors.<br />

The porous elements express transparency and inclusiveness<br />

as per the aims of the institute, and in practice<br />

require no additional finishes like plasters and paint<br />

as in regular masonry, while also minimizing maintenance.<br />

In order to give the activity rooms their own identity<br />

and sense of enclosure, and to break the monotony of<br />

long corridors, the geometry of angular walls as composition<br />

elements is the ordering principle. This feature<br />

gives the corridor and entrance areas a sense of enclosure,<br />

identity, and a sense of intimacy appropriate to<br />

the scale of small children, and helps them with orientation<br />

within the complex, completely deconstructing<br />

the impression of long monotonous corridors.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Loo Café x Waterloop Hyderabad and Auroville, 2019<br />

Credits: <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong> in collaboration<br />

with Jane Withers Studio, and Ixora Corporate Services,<br />

commissioned by and created in cooperation with the<br />

British Council and supported by the Government of<br />

Telangana<br />

Loo Café x Water Loop is an initiative to create a new<br />

model for public toilets in Hyderabad that celebrates<br />

water and connections between human and environmental<br />

systems. At the crossroads of function, education,<br />

and experiment, it includes low-cost modular<br />

elements that can be adapted for different sites.<br />

As well as providing free public toilets maintained by<br />

revenue from the café, the new model showcases<br />

sustainable practices by making them a visible, engaging<br />

and interactive part of the building’s design. In the<br />

face of climate change and increasing water stress,<br />

Loo Café x Water Loop explores alternative systems for<br />

ecological sanitation that emphasise circularity, and<br />

foregrounds interconnections between humans and<br />

the environment, shit and the food chain, technology<br />

and community.<br />

It integrates concepts like drink rain’, ‘loop the poop’,<br />

‘harvesting pee’, ‘no flush’ as well as ‘wonderwater<br />

menu’ which sheds light on the water footprint of ‘how<br />

much water do you eat’. In addition a dashboard of<br />

sophisticated monitoring through sensors share the<br />

vital statistics of usage patterns and impact of the<br />

systems with visitors.<br />

The modular prefabricated construction system is<br />

based on <strong>Anupama</strong> <strong>Kundoo</strong>’s extensive research with<br />

ferrocement since the 1990s, with the motto ‘by helping<br />

communities to fabricate a set of simple building<br />

components, we can build knowledge and bring housing<br />

back to the people’. It is a further development of<br />

her ‘Easy WC’ prototype built in 2015. This low-cost,<br />

low-tech system delivers a strong, durable and versatile<br />

set of elements with a toilet and shower cubicle<br />

pm either sides of a covered platform with a washbasin<br />

and can be assembled in a day. The system can be<br />

plugged onto a freestanding septic tank, dry toilet pit<br />

or to a drainage system depending on the context.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Library Nandalal Sewa Samithi Pondicherry, 2016<br />

Project Team: <strong>Anupama</strong> <strong>Kundoo</strong>, Sonali Phadnis<br />

Set in a residential area of rapidly urbanising Pondicherry,<br />

the new library building is realised as a social<br />

infrastructure facilitated through the social organisation<br />

Nandalal Sewa Samithi.<br />

Affordability being a key consideration, the library is<br />

a humble and yet striking construction built in locally<br />

made exposed bricks, that would stand out as an<br />

institutional building in the context of plastered and<br />

painted masonry construction of the surrounding<br />

houses and apartment buildings.<br />

The roof profile indicates the open book, as also the<br />

screening elements conceived in ferrocement technology<br />

symbolising constant progress through knowledge.<br />

The orthogonal walls on the upper floor lean outwards<br />

towards the top like a crown, as the building is aimed at<br />

serving the community and investing in their empowerment<br />

by encouraging reading and learning. As land is<br />

limited in the context of the residential plot sizes, the<br />

terrace upstairs is designed to compensate for the<br />

necessary open space for contemplation and for informal<br />

outdoor events that can bring the community together.<br />

The inclusiveness of this facility is demonstrated through<br />

the inclusion of braille books for the visually impaired.<br />

This particularity is reflected architecturally in the way<br />

braille typeface is integrated into the building elements<br />

to create porous patterns in the brickwork, screens and<br />

ceiling. Light patterns in the form of braille language<br />

leave their imprint on the interior spaces so that those<br />

who can see, are visually aware of the language of those<br />

who cannot, and thus expand their sensitivity to the<br />

differently abled.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Mitra Youth Hostel Auroville, 2005–2006<br />

Project Team: <strong>Anupama</strong> <strong>Kundoo</strong>, Vinayagam, Sonali Phadnis<br />

Structural Engineer: Dr. Ambalavanan<br />

Contractor: Mahasaraswati<br />

Mitra Youth Hostel is a facility planned to welcome visiting<br />

youth for short and medium term stay in Auroville. Located in<br />

the planned city center of Auroville, based on the architect’s<br />

urban design for the area, this 3 storey building is situated in<br />

the habitat belt of the city’s central administrative area very<br />

close to the Town Hall Complex.<br />

With single and double rooms, and 2 dormitories per floor,<br />

a total of 60 people can be accommodated during full occupancy.<br />

The design arranges the various rooms along a singly<br />

loaded corridor, which bends along the assigned plot in an<br />

obtuse angle that encloses a paved courtyard that is shaded<br />

by the building and therefore useable by the residents as a<br />

public space. Terraces and spaces for occupation by smaller<br />

spontaneous groups on various floor levels allow the hostel<br />

to have a social nature facilitating contact between residents.<br />

Each room has a small private balcony facing away from the<br />

social side of the building.<br />

Common bathrooms and kitchens are provided per floor as<br />

spaces that foster sharing and community living while also<br />

allowing the facility to be affordable to visiting youth from<br />

diverse backgrounds. An external staircase allows people to<br />

return to their rooms without having to enter through an office<br />

or administration desk. The building is constructed with<br />

plastered brick masonry, and reinforced cement concrete<br />

slabs.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Auroville Town Hall Complex Auroville, 2006<br />

Project Team: <strong>Anupama</strong> <strong>Kundoo</strong>, Sonali Phadnis<br />

Structural Engineer: Dr. Ambalavanan<br />

Integrated water management: Harald Kraft and<br />

Aurofilio Schiavina, Kraft Associates<br />

Contractor: Auronirmata<br />

This project marks the concrete step that Auroville took<br />

towards realizing its planned city, contrary to its organic<br />

growth approach until now. This cluster of buildings will<br />

accelerate the realization of the administrative zone and<br />

the town hall complex.<br />

The challenge was to create an urban feeling with only<br />

three buildings that would attract the further development<br />

of this area, contributing to the character of the<br />

city to come.<br />

The attempt was to demonstrate the language of the<br />

interconnecting elements between the buildings in<br />

such a way that the urban character would be compact<br />

built spaces interspersed with service areas and public<br />

circulation.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Multipurpose Hall S.A.W.C.H.U. Auroville, 2000<br />

Project Team: <strong>Anupama</strong> <strong>Kundoo</strong>, Sonali Phadnis,<br />

Ramesh Palikara<br />

Structural Engineer: Dr. Ambalavanan<br />

Contractor: Kolam<br />

Efficient structural design can lead with substantial savings<br />

in steel and cement, the two most commonly used<br />

high energy materials. A circular open pavilion of 16<br />

meters diameter is supported by some additional service<br />

rooms. After several iterations the concept chosen for<br />

execution was the one that used 75 cubic meters of RCC<br />

instead of 125 cubic meters amounting to substantial<br />

savings. The structural system has a major influence on<br />

the architectural form and space.<br />

Inspired by the work of Pier Luigi Nervi this project has<br />

involved the further development and use of ferrocement<br />

technology to reduce the use of structural steel to<br />

chicken mesh compared to conventional higher diameter<br />

steel bars. In this case though ferrocement was<br />

used as economical moulds, as lost shuttering to enable<br />

that radial beams with an efficient curved profile could<br />

be cast insitu. Sloping exposed reinforced concrete<br />

columns reduce the span of the roof.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Keystone Foundation Kotagiri, 1997–2016<br />

Project Team: <strong>Anupama</strong> <strong>Kundoo</strong>, Yashoda Joshi and<br />

Sonali Phadnis<br />

Engineer and Contractor: Narasimman Engineers<br />

Set amidst the Nilgiri mountains in Tamil Nadu, the<br />

picturesque site is a very steep hill surrounded by tea<br />

plantations. Keystone Foundation is an NGO with the<br />

mission to enhance the quality of life and the environment<br />

with indigenous communities using eco-development<br />

approaches. They are recognised for supporting<br />

the sustainable practice of traditional honey hunting in<br />

South India and in helping them find lucrative markets<br />

to sell their produce for a fair price.<br />

The campus was gradually developed as the organisation<br />

grew over the last 20 years and the architectural<br />

process developed alongside the growing success of<br />

the institution. Starting with the first 4 buildings around<br />

a central plaza, the design concept was to celebrate<br />

decentralised action symbolised by small freestanding<br />

buildings, rather than an institutional look of a large<br />

single building that would overpower the site and<br />

perhaps intimidate the tribal communities who would<br />

need to interact with the interdisciplinary community<br />

on the campus.<br />

This concept was expanded by choosing rammed earth<br />

construction using onsite soil and local carpentry skills.<br />

The first structures housed the mountain apiculture<br />

center, environmental development unit, marketing<br />

and packaging unit, and the training and networking<br />

unit. Over the years, a honey and coffee production<br />

workshop, a tribal development center, dormitories and<br />

guest houses, and a cafeteria were added.<br />

Technology transfer was initiated through skill exchange<br />

workshops, and various buildings produced over the<br />

years with a sense of restraint from the <strong>architects</strong>, to empower<br />

local builders to realise the project with available<br />

skills.<br />

The key feature is the extensive program accommodated<br />

in a very compact design taking advantage of the steep<br />

slopes, and liberating a lot of land that can remain<br />

unbuilt.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>


Samskara · Made in India, New Delhi, 2014<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Samskara · Made in India New Delhi, 2014<br />

Project Team: <strong>Anupama</strong> <strong>Kundoo</strong>, Ali Dabirian, Shweta<br />

Jain , Yashoda Joshi, Ankit Mittal, Namita Nathani and<br />

Sekar Sokkalingam.<br />

A key material used is large white granite slabs with grey<br />

speckles, finished with traditional hand levelling techniques<br />

to reveal a more interesting texture and enhancing<br />

the natural material rather than its common current<br />

application as shiny machine polished reflecting surfaces<br />

most commonly seen in hotel lobbies and such.<br />

The skills of a Tamil Nadu stonecutters community lend<br />

themselves to produce a landscape of undulating floors,<br />

shelves, and benches in solid granite that will make the<br />

flat and otherwise heavy material look fluid and elegant.<br />

The other key material is ferrocement, more contemporary<br />

and sophisticated material that is also essentially a<br />

hand crafted elements.<br />

As the exhibition reveals the luxury potential of craft, for<br />

me, the real luxury is the sheer time devoted to the making<br />

process; neither the craftsmen nor the users have<br />

any sense that they are ‘wasting’ time.<br />

The project was awarded with the<br />

2015 NDTV Commercial Interior Design of the Year.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

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Line of Goodwill, Auroville, 2017 – ongoing<br />

Inverse Functions, Planning for African Future Cities,<br />

inside ‘Africa: Big Chance, Big Chance’, Triennale di Milano, 2014<br />

Auroville City Centre, Auroville, 2004<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Line of Goodwill Auroville 2017– Ongoing<br />

Design Team : <strong>Anupama</strong> <strong>Kundoo</strong>, Yashoda Joshi,<br />

Paloma Fernandez-Daza, in collaboration with<br />

Ratan J. Batliboi Consultants Pvt. Ltd., Mumbai<br />

Planned as an urban project of cohousing clusters, the<br />

Line of Goodwill is the first high density compact<br />

housing envisaged for Auroville to take a bold urban<br />

step, fifty years after its foundation, in the direction of<br />

the compact pedestrian city planned by its Chief<br />

architect Roger Anger. To compensate for the low-rise<br />

housing in the green city of Auroville, and still provide<br />

the required compactness and density, Anger introduced<br />

urban structures that he called Lignes de Force,<br />

the most distinct elements of the city concept. These<br />

extremely long porous structures rise tall above the rest<br />

of the city at one end, and gradually slope down over<br />

the entire length to reach the ground at its other end.<br />

In the residential zone, the towering heights are located<br />

towards the periphery of the city, their terraces facing<br />

the city centre. These structures enhance the dynamic<br />

spiralling movement of the town plan, absorb density<br />

with a minimum of circulation on the ground through<br />

vertical development and provide vistas and views of<br />

the city itself from various viewpoints that would<br />

otherwise not be visible in this relatively flat land.<br />

The quest was for a new high-density typology for<br />

‘urban eco-communities’ that is neither a tower nor a<br />

uniform low-rise development but looks at collective<br />

housing and related social infrastructure as a ‘hillscape<br />

for coexistence’. The aim was to envision a vibrant and<br />

integral solution to various urban challenges through<br />

an integral rethinking of architecture and urban design<br />

theoretically as well as practically, addressing<br />

environmental, social and economic sustainability<br />

holistically.<br />

Line of Goodwill stands as alternative to the sprawling<br />

residential structures that necessitate motorized transport,<br />

and prevent the critical mass needed to realise<br />

public transport as a city infrastructure giving the Auroville<br />

dream a new boost and creating ample accommodation<br />

for arriving people of a new generation. It concentrates<br />

the needed infrastructure while serving as a<br />

prototype for residential development in urban India<br />

with its given land crunch, redefining collective living<br />

centred around pedestrian mobility, integration of<br />

renewable energy and integrated water management<br />

concepts and innovative opportunities for sharing.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Inverse Functions Planning for African Future Cities ,<br />

inside ‘Africa: Big Chance, Big Chance’, Triennale di Milano, 2014<br />

Design Team : <strong>Anupama</strong> <strong>Kundoo</strong>, Alba Balmaseda,<br />

Andrea de Toni, Marta Casarin, Valentina Rossi,<br />

Laura Mosconi, and Ricardo Gadotti<br />

Human life, an integral part of the planet earth will not<br />

threaten others that inhabit the planet. Compared to a<br />

century ago we are now using 10 times as much energy<br />

as we did to sustain. Our current lifestyle is using significantly<br />

more resources than a century ago, and is expected<br />

to increase dramatically due to rapid urbanisation<br />

of developed countries if the trend continues. New<br />

urbanisation models are urgent, which imply a complete<br />

reversal of urban living trends, manage natural<br />

resources judiciously, and reduce pollution of water, air<br />

and soil, while providing a higher quality of collective<br />

life based on knowledge and collective responsibility.<br />

Technologies used negotiate the degree of high-tech or<br />

low-tech, between hand-made and machine made,<br />

achieve models of affordable habitat relevant for future<br />

cities anywhere in the world where affordability is a<br />

growing concern, not only in economic terms but also<br />

environmental terms.<br />

The proposed city with a population of 150,000 occupying<br />

around 5km diameter and 20 km2 area, is a prototype<br />

for the several small-scale cities that can be<br />

plugged on to the railway network that is currently<br />

being reinforced, in places where solar and wind energy<br />

are easy to tap. The idea of efficient public transport<br />

over private transport will continue thus, right into the<br />

city while strengthening the intercity connections.<br />

The key areas of repositioning and inversions are as<br />

follows:<br />

1. Leaving the Ground to Nature<br />

2. Reclaiming roofs as public space<br />

3. Floating living spaces between open sky and<br />

free ground<br />

4. Concentrating services along 3 spines<br />

5. Green network of mobility<br />

6. Reversing the Tower<br />

7. Managing water through diverse sources<br />

8. Providing energy through hybrid systems<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Auroville City Centre Auroville, 2004<br />

Design Team: <strong>Anupama</strong> <strong>Kundoo</strong>, Mattia Mancini, Valentina<br />

Rattini, Mattia Tombesi, Josephine Hansen, Pryanka Shah,<br />

Sari Bianca Basini<br />

Auroville, a city-in-the-making, is located 150 kms south of<br />

Chennai, Tamil Nadu, South India, envisaged for a population of<br />

50,000, with the aim of achieving human unity. Inaugurated on<br />

28. February 1968, Auroville has presently more than 1,500 residents<br />

from 35 countries. The City Centre of Auroville covers a<br />

surface of 384 acres with a radius of 690 meters around Auroville’s<br />

centre.<br />

Due to the scattered land situation and stewardship in the early<br />

years of Auroville, the development had grown very haphazard.<br />

Further, the cost of infrastructure in proportion to the cost of<br />

structures is far too high if this trend continues.<br />

Today, however, most of the land is purchased in the city centre<br />

area and it is very feasible to concentrate the development<br />

around Matrimandir, which is now complete.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>


Taking Time, Louisiana Museum of Modern Art Denmark, 2020<br />

In the series ‘Architect’s Studio’<br />

Building Knowledge, 15 th International Architecture Exhibition –<br />

La Biennale di Venezia Venice, 2016<br />

Feel the Ground, 13 th International Architecture Exhibition –<br />

La Biennale di Venezia Venice, 2012<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Taking Time Louisiana Museum of Modern Art, Denmark, 2020<br />

Design Teams:<br />

<strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>: <strong>Anupama</strong> <strong>Kundoo</strong>,<br />

Sonali Phadnis, Yashoda Joshi, Paloma Fernandez-<br />

Daza, Luna Bucherer, Alba Balmaseda Domingez,<br />

Akshid Raj, Javier Monsalve Olabarri, Shreya<br />

Deshpande, Vignesh Gopinath, Sejal Gundecha, Smita<br />

Patil, Kiran Dhotre, Anne Louise Bjerre, Nishith<br />

Kapadia, Nimesh Detroja, Alekhya Krishna, Riddhima<br />

Gupte, Devashree Bhave, Brijesh Wagdoda, Anuja<br />

Parekh, Soham Tondwalkar, Mann Shah, Ketan Ahvad,<br />

Arjun Nair, Katharina Zurmühl.<br />

Stadt Bau Kultur Fachhochschule Potsdam<br />

Student participants: Philip Baum, Dovesh Bundhoo,<br />

Ketavan Gujejiani, Emilia Machleid, Feia Nehl, Carl<br />

Rehnert, Marie Rochnia, Martin Siedler, Fabio<br />

Sorrentino, Veronika Stratiewski, Yasmine Toubel,<br />

Lisa Vescovi, Elena Wunschmann.<br />

School of Architecture Yale University<br />

Summer studio ‘Urban Eco-Communities’ taught with<br />

‘Critic in Architecture’ Sarosh Anklesaria<br />

Student participants: Anna Borou Yu, Camille Chabrol,<br />

Katie Lau, Thomas Mahon, Andrew Miller, Alexandra<br />

Pineda, Bao Lin Shen, Arghavan Taheri, I-Ting Tsai,<br />

Justin Tsang<br />

KADK Royal Danish Academy<br />

Student participants: Maurane Gabriel, Yi Go, Alma<br />

Kelderer, Anna Orbanic, Kunyue Qi, Alisa Wang.<br />

Institutional collaborations<br />

Fachhochschule Potsdam<br />

Yale University<br />

Universität Stuttgart<br />

KADK Copenhagen<br />

Interdisciplinary and industrial collaborations:<br />

Transsolar KlimaEngineering, Naushad Ali, Armor<br />

Group, Petersen Tegl, Bau Kunst Erfinden, FSB, Taiyo,<br />

Ratan J Batliboi<br />

Curators: Kjeld Kjeldsen and Mette Marie Kallehauge<br />

Video installation: Javier Callejas<br />

Exhibition photos © 2020 Kim Hansen,<br />

Louisiana Museum of Modern Art, Humlebæk, Denmark<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Taking Time Louisiana Museum of Modern Art, Denmark, 2020<br />

The fourth monographic exhibition of a series called<br />

The Architect’s Studio, <strong>Anupama</strong> <strong>Kundoo</strong> – Taking Time<br />

showcases the process of the studio in acknowledgement<br />

of the value of time, cooperation and collaboration.<br />

As <strong>Kundoo</strong> says “Time is the most essential resource<br />

that we have access to as living beings.<br />

What else do we have that is truly ours, except our own<br />

time? The work of our lifetime occurs as part of a large<br />

collective action in time and in space; we build knowledge<br />

collectively. The first section of the exhibition,<br />

THE ARCHITECTURE OF TIME, gives the visitor access to<br />

her research archives, which include her first sources of<br />

inspiration, processed materials and architectural<br />

works. Under the categories Life, Mind and Matter, we<br />

see <strong>Kundoo</strong>’s investigations into the nature of materials,<br />

the tectonics of the earliest living beings, and mankind’s<br />

ways of processing the material, which she calls<br />

“the thinking hand”.<br />

The collection of processed materials and tools falls<br />

into three categories: Stone and Wood, Earth, and<br />

Ferrocement and Concrete, each illustrated by a<br />

number of 1:50 models, all of which are crafted in a<br />

reduced scale, in the original materials.<br />

On the balcony between the two large rooms of the<br />

exhibition is a 1:1 construction of a single residential<br />

cell that forms the basis of her Auroville co-housing<br />

project. The unit is an extension of her previous Full Fill<br />

Home prototype.<br />

<strong>Kundoo</strong>’s work stands on three “legs”: her own practice,<br />

research and teaching. Her research-oriented<br />

practice and practice-oriented teaching is embraced<br />

in the second main theme of the exhibition, CO-CREA-<br />

TION. Here we see her concepts for a large urban development<br />

Line of Goodwill, for the city of Auroville. It is<br />

a prototype for high-density co-housing that rethinks<br />

urban habitat in the context of non-ownership of land.<br />

Radical social innovations become possible through<br />

the creation of human-scale communities, including<br />

circular systems and the sharing of resources. A model<br />

(1:50) of the entire 240,000m 2 housing project is shown<br />

in the exhibition, and part of the facade is built in 1:1<br />

as an example of <strong>Kundoo</strong>’s development of intelligent<br />

facades.<br />

Kjeld Kjeldsen<br />

Mette Marie Kallehauge<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Building Knowledge. An inventory of strategies La Biennale di Venezia, Venice 2016<br />

Project Team: <strong>Anupama</strong> <strong>Kundoo</strong>, Alba Balmaseda,<br />

Sonali Phadnis , Yashoda Joshi<br />

Structural Engineers: Prof. Dr. Mike Schlaich,<br />

Dr. Arndt Goldack, Dr. Alex Hückler (all TU Berlin)<br />

Building Knowledge: An Inventory of Strategies was<br />

<strong>Anupama</strong> <strong>Kundoo</strong>'s installation at La Biennale di<br />

Venezia, Venice 2016 as part of Reporting from the Front<br />

curated by Alejandro Aravena.<br />

“When the opposites in a duality work in union, there<br />

is enrichment and knowledge. If the quest for knowledge<br />

is ahead of reflection there can be destruction.<br />

Knowledge informs the act of building, and building<br />

widens knowledge.”<br />

“By helping communities to fabricate a set of simple<br />

building components, we can build knowledge and bring<br />

housing back to the people.”<br />

With additional support of: Italcementi, UCJC Madrid,<br />

Eco Clay, Laminam, Perfialsa Portugal, Grupo Modular,<br />

Jordahl.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Wall House One to One La Biennale di Venezia, Venice, 2012<br />

Project Team: <strong>Anupama</strong> <strong>Kundoo</strong>, Michael Dickson, and<br />

Alvise Marzollo.<br />

Structural Engineer: Greg Killen<br />

Inside the 13th International Architecture Exhibition – La<br />

Biennale di Venezia Common Ground, directed by David<br />

Chipperfield, Venice, Italy<br />

Chipperfield’s curatorial text accompanying the<br />

installation: “<strong>Kundoo</strong>, an Indian architect now based in<br />

Australia, has built an ambitious, 1 : 1 facsimile of the<br />

Wall House, a building she designed in Auroville, India,<br />

in 2000. The common ground is in its making. A team of<br />

Indian craftsmen, some of whom had never before left<br />

their home country, were brought to Venice to construct<br />

the project in collaboration with staff and students from<br />

the University of Queensland, and students from IUAV in<br />

Venice, creating a skills exchange across three continents.<br />

The final piece embodies the dialogue between<br />

construct on cultures, and also is a showcase for<br />

<strong>Kundoo</strong>’s architecture, a lyrical modernism at ease with<br />

the demands of its climate”.<br />

With the additional support of: University of Queensland,<br />

Think Brick, Sharad Hegde, Viabizzuno progettiamo la<br />

luce.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>


Green Carpet, Scenography for the Q Berlin Questions, Schiller Theater, 2017<br />

Waterwall, IE University, Segovia, 2015<br />

Liquid Wall, IBERO University, Mexico, 2015<br />

Unbound Library of Lost Books, Barcelona 2014<br />

Books in Bloom, Museo Ico, Madrid 2014<br />

Light Matters, Bielefelder Kunstverein, Bielefeld, 2013<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Green Carpet Scenography design for the Q Berlin Questions, Schiller Theatre, 2017<br />

Project Team: <strong>Anupama</strong> <strong>Kundoo</strong>, Alba Balmaseda,<br />

Akshid Raj<br />

As the project name ‘Green Carpet’ suggests, the scenography<br />

design for the first of Q Berlin Questions series,<br />

intended to reset the atmosphere in which ideas are<br />

exchanged between people, and re-examine the traditional<br />

image of conference settings.<br />

The created atmosphere was of an outdoor summer<br />

night gathering where people have the memory of<br />

having engaged in long conversations without the urge<br />

to 'leave the auditorium' as soon as the talks are over. In<br />

conventional conferences there is typically the speaker<br />

vs. the listener positioned on two sides as it were, and<br />

the audience is placed in a passive role, which urges<br />

them to flee outside from time to time for a break. In the<br />

context of Berlin, in mid October with the cold and windy<br />

days approaching, the intention was to recreate the<br />

memory of the relaxed mood of summer’s ‘outdoorness'<br />

that made one feel attracted to remaining indoors by<br />

creating the feeling of already being ‘outdoor’.<br />

Berlin Questions aimed at raising bold questions of the<br />

uncertainties that haunt contemporary society. The<br />

intention was to be able to deeply engage in these<br />

unsettling conversations by being in a space of certainty.<br />

Natural live elements like earth and grass were the<br />

principle ‘materials’ that created the setting. This gave<br />

the message that life on earth that has sustained over<br />

time provides the stability, and contact to ground<br />

realities of the planet itself. The materials that are alive<br />

and natural (real grass) provided a sense of trueness and<br />

authenticity, being deeply rooted in the planet beyond<br />

man, yet cosy so that one feels in contact with oneself<br />

while being among the crowds/collective.<br />

The seating arrangement deconstructed the monolithic<br />

seating rows of the Schiller theatre, by removing certain<br />

chairs, rearranging the space democratically like an<br />

arena, breaking the confrontational positioning of the<br />

speaker and audience by adding further seating on the<br />

stage. The centre stage was a void, the free space for the<br />

new and unplanned to occur. A water body, the source<br />

of life on earth, represented the fluid and the moving<br />

element set in the stable mass of earth and vegetation.<br />

The added seating included informal reclining chairs and<br />

garden seating to suggest and encourage the audience<br />

to find comfortable positions and enable them to take<br />

time and engage while relaxing and reflecting.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Waterwall IE University, Segovia, 2015<br />

Project Team: <strong>Anupama</strong> <strong>Kundoo</strong>, Alba Balmaseda<br />

‘Waterwall’ is an installation that reestablishes the value<br />

of water in Segovia, a city that is internationally<br />

renowned for its aqueducts, at an age where this<br />

precious resource cannot be taken for granted.<br />

The installation is a transparent fluid curtain made with<br />

water bottles, a method to store and transport water just<br />

like the aqueducts. Both cases are enabled by design. In<br />

the age of climate change water is arguably a key issue<br />

in society. Water is precious and essential to sustain life,<br />

and with the growing concerns about its shortage and<br />

quality it is even more precious. Securing water to sustain<br />

future life is a design challenge. This is the message<br />

that this installation transmits.<br />

‘A message in a bottle’ is delivered to people who participate<br />

in the event at the IE University. Bottles with messages<br />

are distributed from the Waterwall day by day till<br />

it disappears. This is a performance about how people<br />

in a community are able to dematerialize the conception<br />

of solidity associated to walls through fluidity.<br />

After drinking the water, people may leave their own<br />

message about water inside the empty bottle. These<br />

messages will reach other participants in another place<br />

and time in the future.<br />

This is only the starting point, or the source of a new<br />

cycle of water reaching people.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Liquid Wall Mexico,<br />

2013<br />

Project Team: <strong>Anupama</strong> <strong>Kundoo</strong>, Alba Balmaseda<br />

This workshop is a three days experience building a fullscale<br />

hands-on learning urban installation in Mexico<br />

City. The aim is to develop a self supporting liquid wall<br />

reusing waste materials and filling them with water. In<br />

this case we have chosen tetra pack and two tons of<br />

tetra packs were given for this purpose.<br />

The construction process of the installation and the<br />

installation itself is part of the event Mextrópoli 2015,<br />

organised by Arquine.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Unbound: The Library of Lost Books Barcelona, 2014<br />

Project Team: <strong>Anupama</strong> <strong>Kundoo</strong>, Ali Dabirian,<br />

Alba Balmaseda.<br />

Structural Engineers: Prof. Mike Schlaich and Dr. Arndt<br />

Goldack (both TU Berlin); Lara Pellegrini, Diego Sisí and<br />

Joan Agustí (Pedelta Barcelona)<br />

In collaboration with: Institute for Advanced Architecture<br />

of Catalonia (IaaC), University of Queensland<br />

(UQ) and Technische Universität Berlin (TU).<br />

As part of the commemoration program, Tricentenari<br />

BCN, ‘Unbound: The Library of Lost Books’ was an<br />

installation built in Plaça Salvador Seguí beside the<br />

Filmoteca de Catalunya in Barcelona, in 2014.<br />

It is a bookless library with a live program of reading,<br />

provoking thought about the library of the future in the<br />

digital age. The focus is on the content of the book and<br />

the act of reading.<br />

‘Unbound’, a term that relates to the description of<br />

books, also expresses liberty and the idea of plenty, of<br />

limitlessness. ‘Obsolete’ books are recycled as a construction<br />

material, to build a canopy shading the square<br />

in summer. Liberation is lightness. Light-weight structures<br />

for heavy-weight books transcend the sense of<br />

‘weight’ to focus on the perception of the ‘light’ element<br />

of the book: content.<br />

A project by Ajuntament de Barcelona, curated by<br />

Benedetta Tagliabue and Àlex Ollé and produced in<br />

collaboration with IaaC Institut d’arquitectura avançada<br />

de Catalunya / Institute for Advanced Architecture of<br />

Catalonia and University of Queensland, Brisbane.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Ongoing Projects<br />


Books in Bloom Museo Ico, Madrid,<br />

2014<br />

Project Team: <strong>Anupama</strong> <strong>Kundoo</strong>, Alba Balmaseda<br />

Books ‘the building blocks’ of society are facing extincttion.<br />

Transition/evolution in the ‘form’ of the book<br />

through time has led to books becoming lighter, losing<br />

their materiality, now often only virtual. ‘Obsolete’<br />

books locked in storage about to face their end, are<br />

rescued from pulping or burning, and brought back in<br />

circulation in a second life. They are recycled as construction<br />

material, rather than for its content that is<br />

immaterial.<br />

with books. The contemplation is about the impact of<br />

the ‘dying book’. The direct engagement and full-scale<br />

explorations with physical books as building material is<br />

symbolic of an approach that ‘any locally appropriate<br />

material’ can lend itself to the construction of architectture.<br />

Faced with a ‘new’ and ‘unconventional’ building<br />

material, first-hand explorations lead to discoveries of<br />

the materials properties and suitable architectural technologies.<br />

This method of self-discovery would help <strong>architects</strong><br />

to design new technologies for even ‘conventional’<br />

materials.<br />

Rescued ‘unwanted’ books are made available to workshop<br />

participants as food for thought, and for exploring<br />

as building material. This exploration is about building<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Light Matters Bielefelder Kunstverein, Bielefeld, 2013<br />

Project Team: <strong>Anupama</strong> <strong>Kundoo</strong>, Yashoda Joshi,<br />

Sonali Phadnis, Sekar Sokkalingam<br />

Structural Engineer: Dr. Venkata Rangarao<br />

The aim is to explore building strategies that create a<br />

higher quality of life, with a lighter environmental impact.<br />

‘Light’ also represents knowledge; and the theme<br />

focuses on minimising ‘material’ required by using<br />

appropriate geometry, form and efficient structural<br />

design together with hybrid construction technologies<br />

that are a balance between low-tech and hi-tech.<br />

In the current environment of extreme concerns about<br />

resource depletion, it becomes all the more important<br />

to use structural ingenuity and engineering to produce<br />

light-weight efficient structures that use less quantities<br />

of materials, apart from judiciously selecting materials<br />

based on their low environmental impact. It is critical to<br />

promote building materials with low-embodied energy<br />

materials and building technologies that provide opportunities<br />

for labour and socio-economically benefits the<br />

local area through a holistic and contextual approach to<br />

sustainability.<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>


Using time tested material in new ways<br />

Round wood construction<br />

Natural stone<br />

Interlocking terracotta cones for vaults<br />

Terracotta trapezoidal units for jack-arch slabs<br />

Terracotta filler slab<br />

Rammed earth<br />

Material innovations<br />

Baked in-situ earth construction<br />

Pre-fabricated ferrocement elements<br />

In-situ ferrocement structures<br />

Forms and Formwork<br />

Origami crease patterns for strengthening thin elements<br />

Ferrocement as lost shuttering<br />

Terracotta pots as lost shuttering<br />

Vaults without formwork<br />

Urban waste as building material<br />

Obsolete books and magazines<br />

Tetra Pak®<br />

Waste denim<br />

Bicycle wheels<br />

Glass bottles and cups<br />

2<br />

portfolio <strong>Anupama</strong> <strong>Kundoo</strong> <strong>architects</strong>

Resilience One to One: Setbacks

CONTACT <strong>Anupama</strong> <strong>Kundoo</strong> achitects<br />

Berlin Pasteurstrasse 31<br />

10407 Berlin<br />

Germany<br />

Pondicherry<br />

Pune<br />

7, Rangapillai street<br />

JJ apartments 3 rd floor Flat B<br />

605101 Pondicherry<br />

India<br />

1225/D Vinayak Ashram<br />

Karnik Heritage<br />

Fergusson College Road<br />

411004 Pune<br />

India<br />

Email<br />

info@anupamakundoo.com<br />

yashoda.joshi@anupamakundoo.com<br />

sonali.phadnis@anupamakundoo.com<br />

www.anupamakundoo.com<br />

https://www.facebook.com/kundooanupama<br />

https://twitter.com/<strong>Anupama</strong><strong>Kundoo</strong><br />


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