1 THE ANDC 2009

ANNUAL NASA
DESIGN
COMPETITION,
2009
REPORT

“RENOVATIO”

RENOVATIO Birla Institute of Technology, Mesra, Ranchi

2 THE ANDC 2009

CONTENTS

• Introduction
• The Poem
• The Site
• Reasons for site selection
• The Author : Rudyard Kipling
• Interpretation
• Evolution of concept
• Concept of the sculpture
• Materials used
• Lighting
• Exhibition Space
• Access and circulation
• Parking
• Conclusion
• Bibliography
• Acknowledgement

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INTRODUCTION

“The mystery of the ascension is of course just that, a mystery. It

demands that we think what is, to many today, almost
unthinkable: that when the Bible speaks of heaven and earth it is
not talking about two localities related to each other within the
same space-time continuum or about a nonphysical world
contrasted with a physical one but about two different kinds of
what we call space, two different kinds of what we call matter,
and so quite possibly (though this does not necessarily follow
from the other two) two different kinds of what we call time.”

The design problem of The Annual NASA Design Competition

2009 required the design of a ‘walk – through’ sculpture in an
area near a water body. The sculpture was to be designed on the
basis of a poem or writing of any poet, writer, singer or artist who
had made a significant contribution to the world with his works.
The design is to be viewed as a tribute to the artist and his works,
and should have a positive impact on those viewing the
installation and on the character of the space around it.

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THE POEM

When Earth's last picture is painted

and the tubes are twisted and dried,
when the oldest colours have faded,
and the youngest critic has died,
we shall rest, and, faith, we shall
need it -- lie down for an eon or two,
Till the Master of All Good Workmen
shall put us to work anew.
And only The Master shall praise us,
and only The Master shall blame;
And no one shall work for money,
and no one shall work for fame,
But each for the joy of the working,
and each, in his separate star,
Shall draw the Thing as he sees It for
the God of Things as They are!

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THE SITE

The Powai Lake is an artificial lake situated in the northern suburb

of Mumbai, Maharashtra in the Powai valley. Built in 1891 by the
British; water from the parent Mithi river fills the lake and finally
end up flowing into the Arabian Sea. The lake was leased by the
government to Mr. Framaji Kavasji Powai, a Parsi merchant, after
whom the lake and the surrounding suburb was named. It is
believed that the present location of the Powai Lake was the
original Powai Valley, a central village, with several clusters of
huts each having its own well. Powai village was served by a
rivulet resulting from the rain waters of the lowest slopes of the
Western Ghats, now seen as the hillock on the South end of the
Lake, with streams from the Eastern & North eastern slopes of
hills. The English planned the lake as a water famine measure and
also meant it to fulfill the water supply needs of Mumbai city. In
1891 two stone dams were constructed across two hillocks; each
dam was and still is about 10 metres high. The spread of the
water body thus achieved was about 370 acres or 2.10 Sq
Kilometres and the depth varied from about 10 ft (off periphery)
to 40 ft at its deepest. The lake is about 17 miles from central
Bombay

The Indian Institute of Technology, Bombay one of the premier

institutions of science and technology in India is located to the
east of the lake. Another institution, the National Institute of
Industrial Engineering (NITIE) is also located close to the lake.
Housing complexes and plush hotels have developed all around
the lake periphery. It is 25 kilometres from Central Mumbai and is
well connected by a network of roads and railway lines.

The drinking water supply objective of the lake was abandoned in

the early 1990s, in view of poor quality of the water stored,
caused due to pollution, water hyacinth and weeds, untreated

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sewage and large silt deposit. In spite of all this the Lake still
remains a popular tourist attraction. The average rainfall at Powai
is about 2,540 centimetres (1,000 in), and the lake overflows for
about for sixty days each year. The overflow from the lake flows
into the parent Mithi River. This time period of overflow of the
lake forms an important part of the concept of our design as well.

The Powai Lake was leased out to the Western India Fishing
Association a semi government organisation who used it for both
fish culture and Angling, the objective of the Association was to
promote angling as a sport. In 1991, realising the rapidly
deteriorating environment and fast disappearing beauty spots in
Bombay, The Maharashtra State Angling Association decided to
amend its Constitution and involve itself in Environment work to
preserve Powai Lake from the innumerable destructive influences
working against it, and in 1991 the following amendment was
introduced - "To actively care for cleaning, developing,
maintaining and beautifying the Environment at Powai Lake". Also
an alumni batch of IIT Bombay is actively involved in the
preservation and restoration of the lake back to its pristine self.
The BMC (Brihanmumbai Municipal Corporation) too has
undertaken work to beautify the lake alongside several non -
governmental organisations. In 1995, the National Lake
Conservation Plan (NLCP) of the Ministry of Environment and
Forests, Government of India, reviewed the condition of Powai
Lake and included the Lake in its list of ten major lakes in the
country for revival and improvements. The restoration/revival
program, fully funded by the NLCP, was launched in April 2002,
and implemented the BMC. This has resulted in the lake being
used for fishing and recreational purposes.

The Hiranandani Group of real estate developers took over the

agricultural land in and around the Powai Lake in 1985 and
converted it into a residential complex. The complex’s architect,
Hafeez Contractor's elevation and facade completely changed the
skyline of the whole area. The population around the lake has
substantially increased over the years, because of this spurt in

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development the value of land in this area has skyrocketed

making it among the prime locations in Mumbai.

The most important factor about using a portion of this lake as

our site stems from the fact it serves as a great picnic spot for
people to wander lazily around its bank and enjoy the bliss of
solitude. The natural beauty of the place enthralls the viewer and
is one of the prime reasons for selection of this particular site. It
also has a variety of animal life including birds and crocodiles The
Powai Lake is used during the festival of Ganesh Visarjan for the
immersion of idols of deities. The site for the whole design covers
an area of 10120.85m2 and its boundary perimeter is 374.95m.

REASONS FOR SELECTION OF SITE

The site is located in a place that is well connected and accessible

from all parts of the city. There was also the need for such a
location where the structure could obtain maximum exposure, the
name Powai itself invokes memories of picnics near the lake!
The Powai Lake being the water body fulfills the design criteria
and its scenic beauty imparts an elegant look to the structure.
The Hiranandani Gardens, a residential complex designed by
Hafeez Contractor forms a backdrop to the Powai Lake, the
structure combines with Contractor’s imposing silhouettes to
transform the architectural character of the place.
Another feature which would have been an extreme detriment in
the selection of site was the monsoon flooding causing the lake to
overflow its banks; this feature was incorporated into the design
to give a full feel to the concept derived from the poem.

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THE AUTHOR: RUDYARD KIPLING

RUDYARD KIPLING was born in Bombay on December 30th 1865

to John Lockwood Kipling, professor of architectural sculpture who
later became the principal at the Sir JJ School of Art, Mumbai and
his wife Alice. Rudyard Kipling is regarded as one of the greatest
early 20th century British writers; a few of his famous works
include Kim, The Jungle Book, many short stories and poems.
Rudyard Kipling's reputation as Britain's unofficial Poet Laureate
has obscured the true nature of his achievement. Far from being
an Establishment figure, he was a fiercely independent poet,
opposed to the dominant political and literary leanings of his age.
His poems range from lifting celebrations of British expansion,
through vivid character sketches of soldiers and seamen, to
political criticism, artistic proposals, and enchanting poems for
children. He had declined most of the many honours which had
been offered to him, including a knighthood, the Poet
Laureateship, and the Order of Merit, but in 1907 he had accepted
the Nobel Prize for Literature. He remains the youngest person
ever to win The Nobel Prize for Literature and was considered the
writer of ‘British imperialism’ mainly because of his views on the
subjugated colonies being the “white man’s burden”. Many of his
views were considered old-fashioned and conservative; the
balance is now being restored. His greatest contribution to society

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has been his writing; his works on human feelings and their
tendencies lets one take a look into their own soul. His life in the
countryside inspired his stories expressing Kipling's deep sense of
the ancient continuity of place and people. He was among the
first who were vociferous in their protests against the rise of the
Nazis in Germany but was widely condemned for the use of the
Swastika in his works, people did not realize that the Swastika is a
Hindu symbol which Kipling adopted far before he Nazis started
using it. Kipling died on 18 January 1936; his birthplace inside the
Sir J.J School of Art is being planned on being converted into a
museum showcasing his works.

INTERPRETATION

The poem signifies the moment that signals the end of the world;
‘when earth’s last picture is painted’ talks about the conclusion of
the shelf life of this place we inhabit. It talks about the time when
everything that is part of this earth shall meet its end, and even
the youngest critic (signifies the last life form on earth) has died.
The first two lines refer to the end of man's reign on Earth and the
"tubes are twisted and dried" mean that there is nothing left for
man to create; this time will be the moment of Armageddon or
total destruction. The poet talks about keeping faith in one’s
abilities to help one rise from the ashes and resurrect themselves
back to their pristine form. When man's time on Earth is done and
the second coming is at hand, the good shall walk with God and
never tire, nor work but for the joy of working and shall draw
images for God in the way that they truly are. The poet is positive,
saying that in the end all will be good and the good shall receive
God's reward. He stops speaking of the world from the human
view to the world as seen by God, where the Master shall praise
us, and only the Master shall blame us, that being different than
this time where other mortals do both and we allow them to affect
how we see the world. Where man works without competition or

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ill feelings, the only thing he wants most is to project and see
things as they are; in their true form and shape; to project things
such as to give pure joy to the beholder. The gist of the poem is
that Kipling uses his prose to convey both the end and the
beginning of the earth; he’s optimistic about the prospects of the
earth and visualizes a utopian society working for joy and
contentment.

EVOLUTION OF CONCEPT

The first thing that strikes your mind as one reads the poem is a
picture of an earth dying a slow death. The first picture shows the
solid earth melting; the melting symbolizes the gradual
destruction of the planet. When a thing starts to burn, its innards
get revealed, the second picture is an attempt in projecting the
picture an earth with its insides revealed. It has nothing left to
show or hide; there is honesty and openness in the earth’s image
now. The third picture shows us finally zeroing in on the form and
look of the sculpture. The fourth and final picture is the last in the
evolution series; it depicts an earth; now burnt and reordered
finally resting in its place. The picture is reminiscent of the time
when the earth was on its last breaths, portions of the earth have
melted and the insides are visible through these huge gaps.
We wanted a name that could echo the feeling of renewal of the
earth, that all hope is not lost and in due course of time the earth
will stand up on its feet once again. The name “Renovatio” is the

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Latin word for Renaissance. Renaissance was the period of rebirth

and revival of arts and literature that originated in Italy and then
spread throughout Europe. It signaled a new beginning and a
fresh outlook for the masses at that time. Since the poem is on
similar lines and is about the soul of the earth beginning a new
existence in a different form after the death of its old one.

THE SCULPTURE : CONCEPT

The walk through sculpture is in the shape of the earth, with

missing blocks in it. Kept on a base whose shape is flowing; to
convey the impression of a melting earth with pieces of it having
fallen off and melted below into a liquid which covers the base of
the sculpture. The base of the sculpture would be surrounded by
water on three sides with an entry from the east side. As a person
enters the installation area, they are confronted by an array of
landscaping of shrubs and trees, further away they get to see the
sculpture and in the distance beyond that they get to see the
Powai Lake. The sculpture signifying a slow death placed in
between the greenery showing life – growth and the blue water
showing calmness – ambition invokes a picture of hope and
salvation inspite of all odds faced. It is meant to show the poet’s
optimism and of the hope he carried in his heart that the rebirth
of mankind would take place.

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The pathway leading to the parking is planned such so that

visitors to the installation would get a good look of the sculpture
as they go around to park or exit from the place. The circular
stands provided just at the entrance; in front of the fountain, are
arranged in increasing height order towards the centre, this is
meant to signify the steps taken by man as he works towards
finding his inner peace once the earth is reborn. It’s an abstract
depiction of humans trying to reach for the stars. These circular
stands would carry a sculpture each depicting the appropriate
emotion. The sculpture would enclose engravings of Rudyard
Kipling’s works, either stanzas from his poems or his short stories.
The open portions missing from the earth provide adequate
ventilation to the sculpture. The sculpture is provided with a
central core along with which the staircase is attached, to access
the top floors. The five floored sculpture, opens on top to a glass
roof; this is to show the sun’s rays entering the sculpture
providing it with the first rays of the morning. This is the
symbolization of life.
The outward appearance of the sculpture would have the map of
the world protruding from its panels. During the monsoons when
the Powai Lake is flooded the sculpture would be allowed to be
immersed in the water. The sculpture immersed in water would
look like a perfect picture of a slow dying earth. All the amenities
would also be immersed with the along with the sculpture, since
no one would venture out during the monsoons it makes perfect
sense to integrate it into the design.

MATERIALS USED

The central core of the sculpture is made out of concrete. This

works as the stabilizing structure for the whole sculpture as it is
strong, hard and compact.
The sculpture too would be made of concrete with steel cladding.
This would allow the play of lights on the sculpture to make it
stand out during the night. The amenities surrounding the
sculpture, the benches and seating areas would also be of
concrete so as to preserve its stability even during the rains.
The roof of the sculpture would be made of self cleaning glass;
this glass would eliminate the need for an external cleaning

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device. It works on the principle of a chemical coating that is

activated by UV rays, this coating breaks down organic dirt and
also reduces adherence of inorganic dirt. When it rains, water
droplets spread out to form a sheet and these wash away any dirt
left on the glass.

LIGHTING

Light is the prime animator of interiors spaces, without light there

would be no visible form of color or texture or any visible
enclosure of interior spaces. The firsts and the foremost function
of lighting design is to allow users to undertake activities and
perform tasks with appropriate speed, accuracy and comfort. Our
ability to see well, that is, to discern shape, color and texture and

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to differentiate one object from other is affected not only by the

amount of light but its quality; also the following factors are
responsible:
Brightness
Color
Contrast
Glare
Diffusion
The lighting not only defines what are eyes perceive but if placed
properly they can show old forms in a new way. The inside of the
sculpture would be lit using diffused lighting, this would not glare
the eyes of the people inside the sculpture but still be enough for
browsing through Kipling’s memorabilia.
Flood lighting and other forms of exterior lighting, are important
in promoting awareness and interest in the centre, in
demonstration the character and architectural form of the
buildings and extending its activities into surroundings. The
sculpture would be flood lit from outside; the lights would be
placed on a higher level to protect it from the floods. Since the
cladding is done using steel the lights would reflect off it.

EXHIBITION SPACE

Each floor of the sculpture is an exhibition space exhibiting either

poems, or snippets from Rudyard Kipling’s works, engraved in

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concrete these would allow the visitor to get an insight into the
poet’s life and works. The exhibition of Kipling’s works would also
include abstract sculptures from his poems and short stories. The
characters he created like the wildly popular Mowgli and Bageera
could be placed alongside to help people especially children
connect to the poet’s works. The uppermost deck of the sculpture
is closed off with a glass roof; the side walls have slits, so people
can take a look outside of the lake and the surrounding
landscape. These exhibition spaces would be lit up with diffused
lights; these would give a soft yet undiminished light to the
surroundings.

ACCESS AND CIRCULATION

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Since the sculpture is a walk-through no barriers have been

provided as its entrance. It’s open for all sections of society and is
completely barrier free. The access road to the area is the Adi
Shankaracharya Road, it’s about 21m wide and is a double laned
motorable road from which people can view the sculpture as they
pass by. Provision also has been made for disable person with
ramps and special elevations at the main entrance.
The landscaping done is such that people flow along with the
paths and are led to the sculpture passing the solitude points on
their way to the main installation. The solitude points have been
designed beside the trees for its shade to be utilised.

CAR PARKING

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Requirements for car parking facilities and other vehicles and

other vehicles depends on the proximity and conditions for use of
alternatively facilities, such as municipal car as municipal car
parks, as municipal car parks, as well as on the availabilities of
public transport.
Here a car park is provided for 65 cars. The car park is positioned
such that those people using it would have to take a detour
around the whole sculpture, this has been done deliberately to let
people soak in the experience of seeing the whole of the
sculpture rather than just the east side entrance of it.
Curbed footpaths, signages and illumination clearly identify
routes to and from the car park to the sculpture and the public
amenities.

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CONCLUSION

The “Renovatio” located at the banks of the Powai Lake

would be a major crowd puller and would educate people
about the life and works of the writer, Rudyard Kipling. It
would be a perfect place to watch the lake’s water rise
and recede and sit and gather your thoughts. The walk
through sculpture would awe people and be much more
than just a ‘piece’ in memory of a writer.

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BIBLIOGRAPHY

REFERENCES

“Selected Poems” by Rudyard Kipling

URBAN DEVELOPMENT DEPARTMENT, Mantralaya, Mumbai
400032, dated 20th February 1991
NOTIFICATION, MAHARASHTRA REGIONAL AND TOWN PLANNING
ACT, 1966

WEBSITES REFERENCES

www.wikipedia.com
www.wikimapia.com
www.msaapowai.tripod.com/history.htm
www.yahooanswers.com
www.able2know.org
www.thefreedictionary.com

ACKNOWLEDGEMENT

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We would like to thank the Department of

Architecture, Birla Institute of Technology, Mesra,
Ranchi, for all the help and support they extended
to us in the inception and completion of this
project. Especially, the Head of Department, Prof.
Dr. Manjari Chakraborty for her support.

We would also like to thank Maharshi

Bhattacharya, Aditya Singh and Shashwat for their
assistance.

PIYUSH MEHRA
ANUPAM SARKAR
DOMINIC MATHEW

RENOVATIO Birla Institute of Technology, Mesra, Ranchi