Established by Sourabh Gupta at the dawn of the new millennium, Archohm isn’t your typical architecture firm. This multidisciplinary studio is a force that rebels against convention, keeps challenging the boundaries of what design can achieve in India, and has grown from a bold idea into a high-spirited force with over 100 staff across offices in Noida, Mumbai, and Shillong. With principals Mridu Sahai Patnaik and Kunal Savarkar by his side, Sourabh has guided Archohm through 25 years of transformation and evolution, looping cultural sensitivity into projects that spread across urban planning, cultural institutions, and private residences. As they commemorate this milestone in 2025, it transpires as a movement—one that diversifies India’s built environment with optimism and valour.
“‘Spontaneously’ is the word that best describes this,” they remark while explaining how Archohm grew from Delhi’s quirky ‘caterpillar’ pedestrian subways to a practice that refuses to fit in a box. From the sculptural Mumbai Metro stations to the heritage-driven Hussainabad Masterplan in Lucknow, Archohm’s work is an exemplification of their mantra—“We will design everything. Period.” This refusal to be pigeonholed comes from a founding ethos Sourabh instilled early on; “A guiding thought behind Archohm from its inception has been a desire to be larger than the founder.” It’s a vision that has nurtured a collective of dreamers (architects, engineers, and creatives) who see
design as a tool to solve society’s myriad challenges.
In this interview, Sourabh, Mridu and Kunal peel back the layers of Archohm’s unconventional methodology. There is a sense of warmth in how they talk about those early days and moments that still make them smile. Kunal remembers being drawn in by that first ‘caterpillar’ subway in 2007. “It’s been a journey filled with cement, steel, travel, and magic,” he says, “where no two days have been the same”. For Mridu, it was a chance meeting with Sourabh, a family friend, that pulled her in. Fresh from studying fashion in the UK, she saw in him “a passionate young design entrepreneur and a man on a mission,” and together they built The Design Village, their decade-old design school.
“The interesting aspect is that we all feel ‘young’,” they all confess, hinting at a future brimming with ambition. Archohm’s journey has been anything but straightforward—shaped by marathon public projects like Dilli Haat Janakpuri, which took eight years of perseverance, and diplomatic victories like the Taj Ganj Redevelopment in Agra, where they persuaded the Supreme Court to replace tarmac with red cobbles to protect the Taj’s marble. These accounts of moral fibre and ingenuity define a practice that prospers on tightropes, treading a fine line between grandeur and responsibility.
“We strongly believe we can make a difference to India,” they affirm—a conviction that fuels their work across both public and private spheres, from metro hubs to minimalist residences like the LIT House. Archohm’s portfolio fascinates with its versatility. The Museum of Socialism signifies their holistic approach, with every detail crafted in-house. The Dalmia Gopichand Odisha Badminton Academy, a hemispheric configuration, aims to put Odisha on the global sports map, while the Patna Riverfront reimagines urban edges with the river as the protagonist.
Looking ahead, Archohm’s principals are full of infectious energy. They hint at rebooting with fresh typologies and geographies, unwilling to let 25 years define their limits. “We spoke the engineering language; of speed and solutions,” they recall of the Mumbai Metro, a mindset they’ll carry into new frontiers—perhaps sustainable riverfronts or sports cities that inspire hope. Their hunger for talent remains insatiable, seeking hardworking learners who believe in problemsolving. As Sourabh puts it, “Archohm is a practice where talented and hardworking professionals can see growth, fulfilment and the joy of seeing their dreams come to life—in a literal sense as well!”
Through trials, triumphs, and a relentless pursuit of impact, Archohm is setting up benchmarks of how architecture should be and not just what architecture is. In the pages ahead, dive into their tale of imagination, resilience, and a defiant refusal to settle, proving that after a quartercentury, this ‘young’ practice is just getting started.
Kashish Kaushal (KK): Sourabh, I want to start from the beginning but also not put you through the pain of repeating yourself. So, let’s remix the question a little: Looking back 25 years, what’s the origin story (any anecdote) or a ‘what if’ moment from those early days that still makes you smile, and how did it secretly fuel the firm’s ethos?
Sourabh Gupta (SG): I could start by saying I could write a book on my failures. There’s no end to the ‘what if’ moments, but I’m too much of an optimist. I keep my ‘DL2S F1244 Kinetic Honda’ in my office room to constantly remind me of all the good and the bad. To us, every project we lost was, of course, unfair to us, and the ones we won were obviously secured through awesome processes. That said, every challenge we faced was an opportunity. Every time I saw large-scale interventions in Delhi, be it the metro stations or public spaces, I felt so much more could be done. I knew that infrastructure defines our skyline, the image of a city, and it propelled us to look at it more closely and attempt to engage with it. At the office, we call it the ‘Delhi tax’—the extraordinary motivation and effort needed to make our city count. Working on projects like the Delhi-Gurgaon
Expressway as an experiment in experience design for commuters was a new beginning for the city—how an expressway could behave and have an identity, how it could look and feel architectural. Twenty years ago, and even now, it’s a new and unknown phenomenon.
More recently, the arched cable footbridges of Delhi have become an image of the city. We fought for them with the Public Works Department and every lobby to go the distance, and now we see these arches springing up everywhere.
It was a worthy investment. And now, we are the architects of the New Delhi Railway Station, the largest and densest node in this part of the world. This is where one needs to channel all creative energies and enthusiasm into making infrastructure projects a moment in time to reorganize our urban fabric. Stations are gateways into the city, an introduction—a city’s visiting card. They need all the architectural attention. One must transform these machined spaces into places for people.
KK: Kunal, you’ve been part of Archohm’s story as well—can you share what drew you to this multidisciplinary practice, and how your role has evolved over time?
Kunal Savarkar (KS): We architects are romantics at heart, and storytellers, and this story begins with playing LEGO together as children aged 5 and 7! We built entire towns out of marble chips, a byproduct of hand cut marble, sadly replaced by machine cutting. On a serious note, it was Sourabh’s delightful ‘caterpillar’ subway structure that drew me first to Archohm- back in 2007. And since then, it has been a wondrous journey, filled with cement, steel, travel and magic; where no two days have been the same. From associating for a project to working on our Libyan mega projects in the Sahara Desert, to helping create the first Archo-tour, being part of the first Archoforum; editing the first Archohmeter, and I could go on and on. But- and this goes for all at Archohm- it’s a journey of self-growth and discovering one’s potential.
KK: Mridu, as a key figure in the firm, how did you come to join Archohm, and what was it about the studio’s approach that resonated with you?
Mridu Sahai Patnaik (MS): I studied fashion at NIFT New Delhi and at 21, I met Sourabh, a family friend. I was at the time busy making bags and clothes of cork and my interests were always multidisciplinary. And perhaps that is where there was a certain alignment. Therefore, once I graduated from the UK, I joined him in the practice. He was a discerning architect, a passionate young design entrepreneur and a man on a mission. Sourabh studied in the Netherlands and hence we also shared the vision of bridging the gap between design education in India and the world, except that he came with deeper courage, audacious optimism and provided the project the means to do so. Piggybacking Archohm, while running the practice, we worked together on our dream project of our design institute – The Design Village which is now a decade old. Archohm is the mothership of our design school.
In essence, the philosophy of Archohm truly comes out through this – of our intention of going beyond architecture, always having an aspiration to do something for the country we belong to and for the fraternity we come from. Being at Archohm for over 15 years, now when I look back, not only did I embrace Architecture 101, but I felt that all our audacious ideas and wish lists seem to have come true simply because of our open attitude as a practice. I remember making a bucket list on the day I came and within a year I had outgrown it! Archohm has been like a playground, a laboratory that has propelled many successful careers. It is heartening when I still regularly get calls from Archohm alumni (yes that’s what they are called) that their time at the studio has been one of the most defining experiences of their lives – be it the nature of work, the rigour experienced or being thrown at the deep end.
KK: With over 100 staff members at offices in Delhi and Mumbai, how did the office grow and evolve to this scale?
SG: Architects, engineers, interior designers, and creative people of each and every hue and shade have contributed to making Archohm the vibrant young practice that it is, even aged 25. The scale of our projects, the challenging timelines, their diversity of end-use and clientele; these factors contributed to our team growing horizontally across states and vertically deeper into various domains.
In an evolving India, speed is of essence, also, the complexity of our evolution needs more hands on the deck. We look at this as an opportunity to grow people within and around us. We constantly debate scale with sanctity and speed of design. It takes a village…’ and the key word for us is ‘impact. and we do what it takes as an office.
KK: In the architecture world today, everything seems to be driven around the idea of ‘star architects’ wanting to imprint their own stamp of architecture, regardless of contextual integrity – Archohm refrains from this phenomenon. Why?
MS: The relationship between architecture and the environment is paramount for fostering a healthier planet and for the long-term well-being of both society and the Earth. Therefore, the role of the architect needs a redefinition – from that of a Star architect to being a Service architect. Let the Star architect be the most responsible one! At Archohm we have always sought directions in contemporary Indian architecture.
Our work is a testament to our decolonized avatar and a nod to the resilient Indian that resides in it. Constantly we struggle not to let our clients ape the past or the West. It is time, as architects, to pivot – to become torchbearers and benchmarks of how architecture should be and not just what architecture is. Responding to immediate context is not enough, our local and global responsibility must be considered. We pledge to think of the planet first, to create a brand-new tabula rasa – one that is accountable and adaptable. One that never stops asking questions. And never stops finding solutions.
KK: Architects may not be the best managers of an office. How do you navigate this issue at your practice?
KS: Architects need to be good negotiators. They need to constantly navigate within boundaries of client brief and budgets. They also need to have the courage and skill to go the distance on the ‘right’ agenda. They need reasonably good management skills. However, we do face this challenge at different stages – some architects are extremely designerly and conceptual while others being great technically and then there are ones that have client management skills. Currently we are experimenting with dual leadership comprising of a Design Leaders & a Project Manager. This is a global drift in architectural organisations. Collaboration and teamwork are key in these complex times.
KK: How do you strategize the business development effort? Is there a conscious choice to have a fair share of Public and Private work or is this driven by the scale and nature of the project? What are the key considerations for participating in a bid or doing a competition?
SG: Archohm began with a small public project which Delhiites referred to as the ‘caterpillar’ pedestrian subways near the bustling Moolchand intersection. We are a rare practice, with our work being divided almost equally into monumental public works including administrative buildings, commercial centres, metro stations, TOD hubs, hospitals, agricultural mandis, as well as private residences, developer-led projects and interiors. We strongly believe we can make a difference to India, we want young Indians to be exposed to the best design possible, to understand that the journey to being a first-world nation begins with thought, in one’s mind. Participating in bids or competitions is thus a necessary evil, which we look at as part of the pain of giving birth to projects of societal change.
KK: Given the large volume of applications to your practice, how do you recruit talent? What are the key values and attributes you look for in an aspiring candidate?
MS: We are hungry for talent. We have always been. We want to attract all who see design as a solution to the myriad problems faced by society. Unfortunately, we are unable to accept more than a miniscule percentage of those who apply to work with us, but we are keen that designers from diverse regions work with us. We look for hardworking learners who believe in problem-solving.
On a humourous note, our CFO had a sign in his office that read ‘no cribbing’. We mean that!
KK: What is the culture at the practice? How do you retain talented people?
MS: Well, we’d like to think that we offer a very conducive learning environment and therefore we are constantly in a state of flux. We always like to believe there is no room for office politics because everyone is so busy all the time!
We hold ourselves to high benchmarks and that takes work. Archohm is a practice where talented and hardworking professionals can see growth, fulfilment and the joy of seeing their dreams come to life- in a literal sense as well!
As a parting shot- this is a team that believes in having a lot of fun together. There is never a dull moment in Archohm – with something or the other happening every week, and of course you can chill on our terrace lawn, grab an Araku coffee on campus or knock a shuttlecock about in our indoor badminton court.
We are a restless and rigorous practice.
KK: How did Archohm approach the Taj Ganj Redevelopment in Agra to balance stakeholder interests and rejuvenate the urban fabric?
SG: The tale of Taj Ganj, Agra, emerges from the qualitative relationship between built volume and built density—the open spaces and their spatial configuration—the urban layout. The vernacular materials, sensitive interventions and green spaces imbibed together are key elements for the urban microclimate. The project connects the built environment, natural flows, systems and living traditions to take responsibility and rejuvenate the urban historic fabric of Agra. While the idea has been to make visitors keep coming to Agra, to prolong their stay and thus revive the urban economy, the intent has been to create a symbiotic conversation. In concurrence, the interests of all stakeholders have been considered—tourists (both national and international), local denizens, policy makers, people, artists and historians alike. With the inception of Taj Ganj redevelopment project, from large scale interventions to the street level signages, from planning to the last detail of pavements, the emphasis has been on vernacular materials—red sandstone, cobblestone, perforated jali and urban greening while simultaneously preserving the existing green spaces. Thus, the old city literally lays out a “red carpet” for all, to visit the world-wonder and more importantly, to help citizens preserve their livelihoods.
There were a total of 11 stakeholders of the Taj complex. The primary one being Uttar Pradesh Tourism Department. However, U.P. Rajkiya Nirman Nigam was appointed as the nodal agency for commissioning the design and execution to the consultant and contractors. The project underwent layers of approvals from the forest department, the Taj Trapezium Zone, National Monument Authority
and the Archaeological Survey of India, that vetted the project and its impact on their respective domains. Amidst navigating bureaucratic hurdles, contractor dynamics, media scrutiny, and public opinion, even the Supreme Court had to be convinced by showing how the annual tarmac overlays of the roads were polluting the white Macrana marble and therefore had to be replaced with the local red Agra cobbles—rationales on the basis of cost, maintenance, aesthetic and narrative had to be presented. The journey was long and with a lot of lessons—especially those of diplomacy.
KK: What inspired the vision for the Hussainabad Masterplan in Lucknow, and how did it evolve from its original brief?
MS: The city of Nawabs is blessed to have rich heritage and the old city’s architecture has been a witness to the same. However, old Lucknow was a dense chaotic urban complex. In order to bring its age-old stories to citizens and tourists, we proposed to rejuvenate the old city by connecting all heritage monuments from Bara Imambara to Chota Imambara through a meaningful and experiential pedestrian route. The integrated development of Hussainabad zone therefore is a step towards acknowledging heritage value through urban design. The master plan envisions this public space as a heritage hub with programs like the Avadh Museum, services, amenities, adaptive re-use of old buildings, multi-level parking, food courts and establishing new relief road networks in the larger context while widening alternate routes. They essentially anchor the transformation into a fully pedestrianized stretch. India is in a state of flux, our systems are evolving and getting more and more streamlined. In such a scenario, questioning the brief still stands a fair chance. It may come as a shock that the rejuvenation project of the old of Lucknow’s original brief was to relocate a smelling sewage treatment plant that lay enroute the Rumi Gate. Once we visited the site, the opportunity became clear. With intent and persistent persuasion, we reframed the project’s vision—to connect all heritage monuments from Bara Imambara to Chota Imambara through a meaningful and experiential pedestrian route.
KK: How did the collaboration with MVRDV shape the Oranje housing project in Lucknow, and what makes it stand out in Indian residential design?
KS: Oranje—a self-contained housing project brings a paradigm shift in how housing projects are conceived in India. Situated in one of the upcoming areas of Lucknow on a 7-acre plot of land, Oranje overlooks the Gomti river across its green buffer. It comprises a total of 437 units with a mix of typologies from 3 BHK standard apartments to 3 & 4 BHK units with exclusive terraces as well as luxurious 5 BHK penthouses with private terraces. Conceptually, the design breaks away from the conventional tower morphology, where a typical tower is designed and stamped all over the site with little regard for orientation, massing, variation or privacy. Contrary to this, dwelling units in Oranje are arranged in a ring form around a large courtyard, ensuring landscape connection for each apartment. The central courtyard has been planned in a way that it creates the maximum possible distance between two apartments allowing for enough privacy as well as adequate natural light and ventilation to all units. The massing of the built form modulates at the upper floor to make room for private terraces, thus breaking the monotony in the silhouette. As a result, no two towers are identical. For the Oranje housing project, Archohm invited Dutch architectural firm MVRDV to collaborate to incite developers to break away from the builder syndrome of 2ft architecture that of facades and FAR, prevalent in India today.
KK: What makes the Museum of Socialism a standout example of Archohm’s multidisciplinary approach?
SG: The JPN Museum of Socialism is a museum on the ideology of “socialism” propagated by renowned national leader—Shri. Jaya Prakash Narayan. It is also a gateway framing the JPN International Center, placed as a wedged-shaped monument. Its stepped roof terminates in a pavilion that gives a panoramic view of the R.M. Lohia Park. The museum inserted as an anchor point, defining a principal node of the city along with its bold and sculptural form, seems destined to remind people of the immense power they possess; the power to bring about change. The museum is an experience in space design with the depiction of Jayaprakash Narayan as a chronological narrative of a linear journey. It is divided into two zones; the zone of absorption and the zone of reflection. As the names suggest, these spaces enable absorption of information triggering curiosity and contemplation which then is expected to lead to reflection and assimilation. Thus, the museum is not just a container that preserves frozen albeit inspiring moments of the past but breeds them and ensures that they percolate into current reality and lay the foundation for the future. While various exhibits and narratives remain center stage, the building offers surfaces, volumes and elements as tactile backdrops. The Museum of Socialism is a perfect example of a project which follows a non-silo design approach. Urban design, architecture, interior design, experience design, graphics, product, publication, branding and even the paperweight of the museum were designed all under one roof. The victory of the project is the seamlessness of how design decisions flow to the last detail. From conception to completion, it has been one of the most holistic projects undertaken by the studio.
KK: How did Archohm maintain focus and momentum during the eight-year journey of Dilli Haat Janakpuri?
MS: As a design philosophy, with two Dilli Haats already in the city, the design elements were questioned at multiple levels. Fundamentally, all Dilli Haats—artisan markets—need to have a common ground of bringing artisans to interface with city dwellers by eliminating the middlemen. All the Haats need their own identity to attract people not only from their own neighborhood, but from the city and country at large. Haats have to be progressive, in tune with today’s times while respecting the craft and cultural centricity of the project.
The design solution therefore is a conversation between the past and the present, acknowledgement of the traditional and adaptation of the contemporary, both in concept and construction. The final functionality found an indoor, well-equipped, 800-capacity auditorium for formal concerts and an informal open-air amphitheater that works simultaneously with independent spaces and support services. A large, air-conditioned food court extends into shaded courtyards and expansive greens for the basic need of spillovers. Formal, informal and open shop spaces are created to bring in the required sensitive adaptations of malls, markets and bazaars into this Haat. An independent fine dining with an extended banquet facility is created to reinforce the business plan of this complex cultural complex. Dilli Haat Janakpuri was the first significant public project of the office and it took eight years to realize. In these eight years, the government administration got shuffled, and six executive engineers changed. Five project architects relayed the project. The project was a marathon and a test of patience. What kept one motivated was that the project was not shelved, the impact of the project outweighed the multiple, repetitive, rigorous design discussions. At the end of the day, the architects were the only constant stakeholders. “In my opinion, this young practice was always there to share and exhibit the importance and role of design in the development and growth of this country.”—Jose Kurian, former chief engineer, Delhi tourism and transport corporation.
KK: What was Archohm’s strategy for designing the Mumbai Metro stations to address both functionality and urban identity?
KS: The metro stations commissioned by the Mumbai Metropolitan Region Development Authority (MMRDA) are designed with a variety of details to give a visually calm infrastructure oasis to the city. The idea was to conceive a system that could adapt to the constraints of the context, without compromising on the identity of the station. Every pain point in the experience was addressed and the vocabulary of the station in this dense and tight metropolitan morphology was prioritized. From vertical louvers that give a monolithic appearance to the actual frames that provide much needed rain and sun protection. The metro station color scheme orientates the city with its commute system. The minimal interiors and materials keep the ‘building’ in the background of its commuters. All utilities, lights, and pipes have been hidden meticulously while remaining functional. Controlled use of glass and aluminum has been done to withstand the sea salt and rains. Finally, the metro columns and the viaduct that span the entire Mumbai are marked with a crisp color line that does add to the visual chaos of Mumbai but as a navigation signage. From ‘let the architect decide the flooring pattern’ to ‘design the complex composition of these junctions’, we have come a long way. Unlike other architectural commissions, metro projects are classic examples where engineers call the shots, head decisions, and direct construction. This phenomenon limits the architect’s scope to superficial form and color, as mere aesthetic advisors. There are usually a lot of methods and no madness in such projects—disruptions are unwelcome, and rethinking, and reinventing are not appreciated. Unless your design idea solves some clear issues and makes some paradigm shifts in the protocols, it heeds no interest. We spoke the engineering language; of speed and solutions. The final design walked the path of simplicity and rhythm to ensure smooth execution and perhaps less effort, and thereby less resistance. Our product had to be tested. At an urban level and at an architectural level; and to keep things minimal was a defining choice. One had to respond to the chaos and clutter of Mumbai’s contradicting coexistence; the spread of slums and tall towers. We responded with restraint. The idea was to conceive an avant-garde system, a kit of parts that can adapt and still keep its identity intact. Proposing and vetting every drawing being dished out for the construction of more than eighty stations has been a trajectory most cherished.
KK: How does the Dalmia Gopichand Odisha Badminton Academy in Bhubaneswar reflect Archohm’s vision for sports architecture?
SG: The Odisha Badminton Academy is an enormous, inverted hemisphere that sits like a sculpture with the playing courts elevated above the entry plaza. The envelope of glazing at the lower level makes the building seem to levitate above the ground from a distance. The hemisphere building mass naturally forms the triple-height entrance area with a cafe and a commercial space. The structure also houses a gym, library and a science room at the mezzanine level, training facilities with 8 international sized badminton courts, a 500-seater spectator area, coach rooms, and public amenities. The court area remains a dark box; as per its functional need. However, the cut-outs in the slab along the inner shell facade provide enough natural diffused light to the spaces. This configuration prevents glare and restricts sunlight and heat insulating the courts within. These spaces have neatly integrated the services into the geometry of the whole. The night lighting plays with the form to give an impression of a shuttlecock.
The project aims to position the state of Odisha on the international badminton map to nurture world-class shuttlers. At the ground, the project opens up to large stadium facilities. At the top, it invites the city to experience the panoramic viewing ring. The spherical outer shell has both practical and symbolic considerations. Not only does it offer structural resilience against the annual onslaught of cyclonic winds in Bhubaneswar, but it also signifies a beacon of strength and resilience for the national academy. At dusk, the building is a visual spectacle that celebrates the academy’s presence, a gesture marking Odisha’s emergence as a prominent sports destination.
KK: What role does the Arthshila gallery in Okhla play in fostering cultural appreciation within Delhi’s urban context?
MS: The role of museums has evolved taking various forms and scales, one of which is the modern-day gallery in the neighborhood. The importance of art and culture in our cities is indisputable. Private galleries play various roles in introducing art and culture into everyday life. From bringing the community together to helping emerging artists, galleries have revitalized neighborhoods.
Arthshila galleries in various cities of India are perhaps the pioneering ones in this realm. They provide a space for public participation, debates, dialogue, and meetings to cultivate a sense of belonging and identity among the users. What has been unique is that each gallery prioritizes a program based on its neigbourhood audience ranging from theatre in Patna, library in Bhopal to an art gallery in Delhi. Stimulating cultural appreciation, such spaces are also accompanied by coffee shops, bookstores, and event spaces for collective and individual reflection in the bustle of the city.
Opened recently, Arthshila at Okhla endeavors to epitomize the essence of exhibition spaces within the context of Delhi. Central to this concept is the notion that “exhibition becomes the core,” influencing every aspect of the building’s conceptual planning and program design. The centre seeks to build a culture of art appreciation, accessible to everyone. The various programs of the building allow this collection to present itself in a stimulating mix of genres and artists manifesting an immense history, rich with heritage and tradition and those that influence contemporary expressions. The building features a multitude of exhibition spaces, open and semi-open, an auditorium and a cafe. Designed to articulate its purpose, the building’s narrative boldly communicates its intent.
KK: How does Archohm approach designing homes that bring a sense of calm to modern Indian families, and what project best illustrates this philosophy?
KS: Being minimal is a true luxury in today’s world of stress. In the current context of India, residential dwellings have done more harm to Indian urbanity than any other building typology. Every inch of ground is maximised, irrespective of the need, as if most houses are built for the envy of the neighbour. However, primarily, residences also reflect the aspirations of India’s modern society today—families who wish to be together yet crave a sense of personal space, who are rooted in India but hold a global perspective, and who strive for the difficult balance between intimacy and independence. The architecture of family homes epitomises this essence. Every family member bears ownership and is represented through space-making and experience design yet aligns with a common whole. Therefore, a ‘neutral’ stance is taken to cater to different personalities across generations. The response is deliberately designing spaces with sensory deprivation—a breather for the dwellers and a visual oasis for the city where buildings are at peace. The LIT House embodies the concept of a ‘forest in outer skin, walls made of glass,’ realised through a design approach. This innovative design integrates traditional courtyard principles into a contemporary context, creating a seamless connection with the expansive plot. Two floating concrete slabs define the structure, housing a diverse array of programs within their volumetric interplay. The juxtaposition of introverted austerity with interconnected openness showcases a state-of-the-art architectural symbiosis. Materiality and spatial expression blur the boundaries between indoors and outdoors, from forests to glass, while glass boxes encasing the residence add a layer of intrigue to the design narrative.
KK: What principles guided the Patna Riverfront Development to integrate the river as a key stakeholder in urban revitalization?
SG: Riverfronts in India elevate significance, as their expansion seamlessly integrates with both the city’s natural and urban elements. Originally conceived to install sculptures along JP Ganga Path, the project now seeks to uplift the riverfront ecosystem and introduce new programs to revitalize the riverside. By integrating the Ganga River into the city fabric, the project aims to create a ‘live’ edge celebrating the recreational and traditional aspects of Patna. Therefore, the project’s intent is to develop the riverfront as an active green urban edge that celebrates the city, and its culture. An integrated master plan, tailored to the context and stakeholder input, has been proposed to create an active, large park, or “Samagra Udyan,” with various elements seamlessly integrated.
The Patna Riverfront project attempts to set a benchmark in riverfront development in India, where the primary stakeholder of the project is the river itself. Most riverfronts have evolved into vibrant centres of recreation, tourism, and economic activities for social, cultural, and religious gatherings in modern cities, often neglecting the river. It has now become urgent to prioritise environmental sustainability and ecological considerations in such projects. The riverbank is fluid and dynamic in nature, hardscaping the same, detrimentally harms the coast, its ecology and marine life. With this mentality, the project aims to rejuvenate not just the urban life of the city of Patna, but also the natural ecosystem by creating a large green park on the river edge providing sustainable recreational and cultural activities, organizing informal businesses, sports and designing better public spaces with creative amenities. The ratio of built interventions to the open spaces will be 5:95 to impose minimum to no destruction to the existing stakeholders.
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