DISSERTATION REPORT

ON
INDIAN ARCHITECT

AR. RANJEET MUKHERJEE

B. Arch 3rd Year

2021-2022

Submitted by
AHTESHAM KHAN

Guided by
Ar. Yogesh Bhardwaj

FACULTY OF ARCHITECTURE &

EKISTICSJAMIA MILLIA ISLAMIA
NEW DELHI-110025
 CERTIFICATE
In the partial fulfillment of the B. Arch (3rd Year) degree program, this is to certify that
‘Ahtesham Khan’ worked on the Dissertation Report entitled “AR. RANJEET
MUKHERJEE” under our guidance and supervision.

Ar. Yogesh Bhardwaj

Dissertation Guide

Prof. Hina Zia Prof. S.M. Akhtar

Head of Department Dean

External Examiner 1

External Examiner 2
 DECLARATION

I, Ahtesham Khan, hereby declare that the Dissertation entitled ‘AR. RANJEET
MUKHERJEE’ submitted in the partial fulfillment of the requirement for the award of the
degree of Bachelor of Architecture (3rd Year) is my original research work and that the
information taken from secondary sources is given due citations and references.

Ahtesham Khan
Date: 24/04/2022 Bachelor of Architecture (3rd Year)

Place: New Delhi

2021-22
 ACKNOWLEDGMENT

I would like to thank my guide, Ar. Yogesh Bhardwaj. Without his guidance and persistent
help, this dissertation would not have been possible.

And finally, I would like to express my gratitude to my family and friends who helped and
supported me throughout this dissertation.

AHTESHAM KHAN
B.Arch. 3rd Year
F/O Architecture and Ekistics
Jamia Millia Islamia
LIST OF ILLUSTRATIONS

Fig. Caption Source Page

No. No.
1 Ar. Ranjeet https://static.zingyhomes.com/projectImages/cache/8e/9c/8e9c5 10
Mukherjee 575100c25c5d403115ea72b2d04.jpg

2 Farm House, https://archello.com/project/farm-house 14

Mumbai
3 Crunch Patisserie, https://architizer.com/projects/crunch-patisserie-1/ 14
Gurgaon
4 Entheogenic https://luxury-houses.net/entheogenic-house-a-spiritual- 15
House, Jammu inspired-home-by-the-vrindavan-project/
5 Holmwood https://www.archidiaries.com/holmwood-transfiguration-by-the- 15
Transfiguration, vrindavan-project/
Mussoorie
6 Bhatia Farm https://architecture.live/bhatia-farm-residence-mumba-ranjeet- 16
House, Mumbai mukherjee/

7 Map of the Site Google Earth, edited by Author 17

Location
8 Site context https://thinkmatter.in/2014/12/09/bhatia-farm-residence-the- 17
vrindavan-project/
9 Site Plan “ 18
10 Side View https://www.archidiaries.com/farm-house-india-ranjeet- 19
mukherjee/
11 Aesthetical view “ 19
from pool
12 View from entry “ 19
13 Entrance of main “ 20
block
14 Back view of the https://www.facebook.com/The.Vrindavan.Project/photos/?ref= 20
main block page_internal
15 Front view of the “ 20
main block with
gazebo
16 the traditional
(a) façade… “ 21
(b) “
(c) “
Fig. Caption Source Page
No. No.
17 Water channel https://www.facebook.com/The.Vrindavan.Project/photos/?ref= 22
moat is integrated page_internal
with the foundation
18 Showing the 22
(a) construction of the “
(b) rammed in-situ “
wall by hand
19 Construction of “ 23
roof with inverted
terracotta pots
20 Plan and Section https://www.archidiaries.com/farm-house-india-ranjeet- 24
of the whole mukherjee/
structure
21 Plan of the main “ 24
block
22 Crunch Patisserie https://www.archidiaries.com/crunch-patisserie-the-vrindavan- 25
project/
23 Site Location Google Maps 26
24 The Exterior view
(a) https://www.archidiaries.com/crunch-patisserie-the-vrindavan- 27
project/
(b)
25 seating space
(a) viewed from entry “ 28
(b) side “
26 view toward
(a) counter and “ 28
(b) preparation area “
27 use of metal pipe
(a) “ 29
(b) “
(c) “
28 Sectional “ 29
Elevation & Plan
of the shop
29 Entheogenic https://luxury-houses.net/entheogenic-house-a-spiritual- 30
House inspired-home-by-the-vrindavan-project/
30 Open windows “ 31
letting the
environment flow
inside out
31 Open Courtyard “ 31
Fig. Caption Source Page
No. No.
32 Kitchen with https://luxury-houses.net/entheogenic-house-a-spiritual- 32
dining table inspired-home-by-the-vrindavan-project/
33
(a) Elegant Sofa “ 32
(b) Bedroom “
34 Ground Floor Plan https://thevrindavanproject.in/entheogenic-design/ 33
35 First Floor Plan “ 33
36 Second Floor Plan “ 34
37 Section from the “ 34
middle
CONTENTS PAGE NO.

Certificate 2

Declaration 3

Acknowledgement 4

List of Illustrations 5-7

Abstract 9

1. Introduction 10
1.1. Ranjeet Mukherjee 10
1.2. Career 10-11
1.3. Design Philosophy 11

2. Publications 12-13

3. Notable Projects 14-15

3.1. Bhatia Farm Residence 14
3.2. Crunch Patisserie 14
3.3. Entheogenic House 15
3.4. Holmwood Transfiguration 15

4. Case Studies 16-34

4.1. Bhatia Farm Residence 16-24
4.2. Crunch patisserie 25-29
4.3. Entheogenic House 30-34

5. Conclusion 35

Annexure 36-39

Bibliography 40
 Abstract

The dissertation is mostly concerned with the Indian architect's works and philosophies. The
dissertation will continue after a brief introduction of the architect with an explanation of his
design philosophies and his area of competence based on their design beliefs. Following the
in-depth discussion with the architect, the focus shifts to the architect's work, with two of his
works that are approachable and study-able being explained, further elucidating his design
concepts and philosophy.
The case studies will include the site circulation, public areas and segregation of spaces
according to the movement of humans, and green areas with the landscaping is green zone and
pathway and how it affects the spaces with climate in plaza and green zones.
They work hard to highlight ecologically friendly and contextually relevant projects, as well as
to improve the public space of each city by raising awareness among diverse stakeholders,
government agencies, and other organizations. Finally, the study is ended with the findings
from our investigation of the architect and his projects.
Indian Architect: Ranjeet Mukherjee

1. Introduction

1.1. Ranjeet Mukherjee

Principal architect at ‘The Vrindavan

Project’

Organization: The Vrindavan Project

Education: School of Architecture, CEPT

University, Ahmedabad, IN, BArch,
Architecture (Jan 1999 - Jan 2004)

Areas of Specialization: Architecture,

Interiors, Landscape, Photography,
Writing, Furniture Design

Fig 1. Ar. Ranjeet Mukherjee

Architect Ranjeet Mukherjee, a graduate of CEPT University's Faculty of Architecture

in Ahmedabad, spent nearly five years in Auroville before founding the Gurgaon-based
design studio 'The Vrindavan Project' in 2012. He prefers the term "project" over
"studio" because he considers his design practice to be an evolving process that grows
organically and adapts to each task with complete flexibility, resulting in an overall
continuum that is a "project" in and of itself – "as the studio is not to be static or set in
any particular form."

1.2. Career

The Architect has graduated from CEPT with a bachelor's degree in architecture and
moved on to TU Delft for a master's degree in urban planning. He dropped out of
college and returned to India since his philosophy and school of thought clashed with
the academic program. Ranjeet was inspired to join the Auroville community after
reading books by Sri Aurobindo Ghosh and Swami Vivekananda at home. Working as
an architect for a period there taught him everything, he needed to know about building
properly, but it was secondary to the spiritual reasons for his being there. After four
years of practice from Auroville to Gurgaon's urban jungle, he met his wife, Shreenu
Mukherjee.

At one point, His father-in-law recommended that they should experiment with their
own design language by building a house for the family on their rural farmland near
Mumbai. Just the two of them were to stay on site, acting as design, project
management, and contracting agencies all at the same time... (With very poor Hindi

AHTESHAM KHAN 10
Indian Architect: Ranjeet Mukherjee

and no Marathi language skills). This opportunity resulted in our first published piece,
and it set the tone for all future endeavors.
In deconstructing commercialized construction standards, Ranjeet emphasizes the
significance of developing systems where development is focused at the local level: a
system where power is not centralized in one entity but distributed across an
ecosystem. His ideologies are clearly expressed and reflected in his work. One of his
better accomplishments was designing a farm house for his in-laws, which he
completed shortly after leaving Auroville. The 11-acre project in a mango orchard was
not only a "test of fire," as he calls it, but also a platform for him to promote his ideas
about freedom, supporting local practices, social development, and putting ecology
ahead of ego. Most project resources are channeled through the local context to provide
social sustainability, as Ranjeet argues. Resource optimization led to the development
of construction methods. The walls were composed of pressed earth, with just minor
plastering necessary. He created a long barrel-vaulted roofing structure to reduce the
amount of concrete used while still allowing for proper ventilation.

This opportunity resulted in their first published piece, and it served as a springboard
for all future endeavors. Following that, they decided to change context by taking over
a family asset in Gurgaon that had been sitting idle. This urban jungle has been a
refreshing change from their previous rural workplaces. Since the farm residence,
they've constructed and released a commercial interior project, Crunch Patisserie,
which is located in a Gurgaon retail mall, since the farm. This was a completely
different site setting than they had previously dealt with. At Nainitaal, another farm
residence is being built, with rammed earth walls once again proving to be a success.
In the Greater Noida area, some residential construction ideas are also in the planning
phases.

1.3. Design Philosophy

His design concept is to create an organically growing process that responds to each
assignment with complete flexibility. Because the studio is not to be static or set in any
particular shape, the whole resultant continuum is a "Project" in and of itself.
"Vrindavan" refers to the Divine habitation, a location of His youth and creative area
of operation; as a result, "The Vrindavan Project" is a project that takes place in
Vrindavan.
Solutions to Design:
• Sustainable
• Ecological
According to him, effective design necessitates diplomacy and a grasp of delicate
politics; your client may not always agree with your design choices. While explaining
why your plan is more suited and more sustainable for them in the long run, you must
exercise some moderation. The "client" is almost always a group or family, and
members of these "client" bodies almost always quarrel with one another. This is where
extremely diplomatic negotiation methods are critical in order to ensure that all
participants feel heard and that no one's special concerns are overlooked.

AHTESHAM KHAN 11
Indian Architect: Ranjeet Mukherjee

2. Publications

The Rose Bowl ‘Earth building’

Vol. XLV No.3, Magazine of the EBA
August 2013 New Zealand
November 2013

“The Vrindavan Project” ‘Down to Earth’ ‘A Farm Home of Rammed Earth’

Platform - Creative Home Review Magazine Architecture Update Magazine
Lifestyle Magazine, Marvel Infomedia Pvt. Ltd. ERIL,
March -April 2014 April 2014 April 2014

‘Foodies’ Corner’ ‘Crunch with Harmony’

Inside Outside Design Matrix
Issue 358, Vol.5, Issue 6
June 2015 September - October 2015

AHTESHAM KHAN 12
Indian Architect: Ranjeet Mukherjee

“Talking Techniques”, "Ecologically Sensitive Design"

Design Detail The Tiles of India
The Architecture Magazine Vol.5 Issue 2,
Vol.3 Issue 26, June 2016 July - August 2016`

‘Design that Sustains’ ‘Incredibly Indian’ ‘Hillock Habitat'

Archipedia ACE Update Architecture+Design
Vol.6, Issue 5 Vol.10, Issue 1 Vol.XXXVIII No.3
Jan - Feb 2018 February 2020 March 2021

AHTESHAM KHAN 13
Indian Architect: Ranjeet Mukherjee

3. Notable Project

• Farm House

Location: Onde, Thane,

Mumbai, Maharashtra,
India

Project Year: 2013

Category: Private Houses

Fig 2. Farm House, Mumbai

This structure serves as a private dwelling on an organic farm in rural Maharashtra,

close to Mumbai. The 11-acre plot is undulating with high curves and terraces. The
scarcity of skilled masons in the area proved a significant obstacle. In response to these
circumstances, the Architect and his team assumed the position of contractor and
worked directly with locals from the nearby settlement.

• Crunch Patisserie

Location: Gurgaon, Haryana,

India
Project Year: 2015

Category: Shops

Fig 3. Crunch Patisserie, Gurgaon

Located off Sohna Road in Gurgaon, inside a newly opened shopping center. Mr.
Praveen Kalra, a food entrepreneur, founded Crunch Patisserie as his flagship location.
Disha, his niece, is the pastry chef and oversees food preparation at this establishment.
Eros City Square, like many other modern retail malls, is made up of standardized
modular pieces and is mostly made of industrially created materials.

AHTESHAM KHAN 14
Indian Architect: Ranjeet Mukherjee

• Entheogenic House

Location: Jammu, India

Project Year: 2021

Category: Residential

Fig 4. Entheogenic House, Jammu

The Vrindavan Project created the Entheogenic Residence with the inspiration of spirit
in real life to build a magnificent house. Indeed, there is a default setting, or
prerequisite, for contextual, environmental, and ecological sensitivity. It is vital for
Spiritually led praxis to be composed and constant.

• Holmwood Transfiguration

Location: Mussoorie,
Uttarakhand, India

Project Year: 2020

Category: Private Residential

House

Fig 5. Holmwood Transfiguration, Mussoorie

It was one of the first few structures to be built in Mussoorie, which meant it was more
than a century-old. For Ranjeet Mukherjee, the task was not just renovation, it was
conservation, preservation and recycling of the property.

AHTESHAM KHAN 15
Indian Architect: Ranjeet Mukherjee

4. Case Studies

4.1. Bhatia Farm Residence

Fig 6. Bhatia Farm House, Mumbai

• Project Detail

Area:
Site Area 11 acres
Built-up Area 1700sqft + 1 lakh liter swimming pool.
Location Vrindavan Farms, Onde, Wada-Jawhar Road, Thane,
Mumbai
Architect Ranjeet Mukherjee
Interior Designer Shreenu Mukherjee
Client Anil Bhatia
Commencement of April 2012
Project
Completion of December 2013
Project
Estimated Cost of Rs 50 Lakh Rupees / 82,000 USD
Project

The Bhatia Farm Residence was designed by Mumbai-based architects in the small
town of Onde near Mumbai in Maharashtra. The Vrindavan Project responds to this
kind of functioning, with its intricacies progressing beyond the objective concerns that
define ordinary alienating architecture. The design was gradually enlarged to solidify
links with the context, the idea of sustainability, and the community's inclusiveness,
while being for a private property in this hamlet with a total population of 1147.

AHTESHAM KHAN 16
Indian Architect: Ranjeet Mukherjee

• Location

Vrindavan Farms, Onde, Wada-Jawhar Road, Thane, Mumbai

Fig 7. Map of the Site Location

• Site and Context

Fig 8. Site context

The air in this setting is sultry, hot, and humid, reflecting the climatic influence of the
tropical monsoon regions. The external geometries of the dwelling betray no particular
rhythm when approached, amidst a clearing with trees of the huge organic farm
bordered on its visible limits. The entry ambles along towards the north, descending an
access stair from the parking and alternatively from the farm near the southern end of
the site. Three visible 1700sqft structures follow a diminishing gradation of occupancy
in plan, with the main residential structure at the northern-most end and a gazebo and a
swimming pool with a capacity of 1 lakh liters near the entry. The porch of the home

AHTESHAM KHAN 17
Indian Architect: Ranjeet Mukherjee

bifurcating in abstraction, the gazebo, and the swimming pool all contribute to the
north-south axis. The planning is simple, with an emphasis on structural resolution and
materiality as an important feature to address. The architects went beyond simple idea
integration to a more collaborative approach with the larger community, establishing
long-term partnerships with the environment.

Fig 9. Site Plan

AHTESHAM KHAN 18
Indian Architect: Ranjeet Mukherjee

• Design

This structure serves as a private dwelling on an organic farm in rural Maharashtra,

close to Mumbai. The 11-acre property is uneven, with steep curves and terraces. This
previously barren property has been transformed into a thriving sanctuary of green
tranquilly with hundreds of fruit trees and a diverse biodiversity thanks to the Bhatia
family's care over the years. The client who commissioned this home is an active
ecologist who promotes urban composting in his Marine Drive neighborhood. We are
an architectural design and construction firm dedicated to using only environmentally
friendly materials and technologies. When we were invited to develop this country
house, it was clear right away that our client's concept matched our own.

Fig 10. Side View

The restrained material palette embellishes the structures with earthen hues.

Fig 11. Aesthetical view from pool Fig 12. view from entry

AHTESHAM KHAN 19
Indian Architect: Ranjeet Mukherjee

Fig 13. Entrance of main block

With the exception of a vaulted ceiling, the main structure is simple and symmetrical
in shape, aligning in height with the gazebo. The exterior facade is a finely balanced
interplay of rammed earth walls with strange designs printed on them and an extruded
loggia that mirrors the plinth carved out of and sitting atop a shallow moat. The modest
porch announces the formal approach to the house with circular concrete blocks
walking over a short patch of grass. The living area and kitchen are straight forward,
flanked on either side by two bedrooms with veranda decks. The seating arrangements
on the verandas, which are suspended over the moat, are distinctively defined, with one
having a more formalized inset position between columns and the other being more of
an open space with chairs. The bedrooms are brightly illuminated on the inside,
appearing to be large in scale and allowing light in through the glass-encased ends of
the vaulted ceiling. The connected restrooms are big and have an open-to-sky shower,
adding to the overall experience.

Fig 14. Back view of the main block Fig 15. Front view of the main block with gazebo

AHTESHAM KHAN 20
Indian Architect: Ranjeet Mukherjee

Fig 16 (a) Fig 16 (b)

Fig. 16 (a), 16 (b) & 16 (c) shows the traditional facade carrying a warm, comfortable.

Fig 16 (c)

aura around it displays a raw ethnic essence with bare stones, exposed brick surface and
other such elements
A gazebo made of five interconnected pyramids sits aloft on a narrow spherical
pedestal, matching the entryway to the main structure. On two sides, the four ends of
the overhangs converge on either end of a wall that accommodates in-built seats in its
alcove, making it more of an open-plan recreational pavilion. The space's quasi-
formality and sculptural shape have a powerful physical impact, but its open and
enclosed volume creates a sense of belonging, continuity, and exploration of the
surroundings.

AHTESHAM KHAN 21
Indian Architect: Ranjeet Mukherjee

Fig 17. Water channel moat is integrated with the foundation

The structure of the house is defined by rammed earth walls on a concrete platform
lying in a shallow moat. This earth foundation is capped with a plinth beam linking the
entire base together in order to create structural strength and allow the building to be
disaster resistant. A water channel moat is built into the foundation to offer cooling and
to protect the house from pests while also functioning as a lovely water feature.

Fig 18 (a) Fig 18 (b)

Fig 18 (a) & (b) Showing the construction of the rammed in-situ wall by hand.
Compressed earth is used to construct all load bearing walls for the building, just as it
is for the foundation. These walls are rammed in-situ by hand with a shuttering
mechanism that is simple to assemble and dismantle. The shuttering is meant to
construct any size wall with only one apparatus, reducing equipment and, as a result,
infrastructure expenses. In a single day, an 8ft × 8ft wall panel with a 9′′ thickness may

AHTESHAM KHAN 22
Indian Architect: Ranjeet Mukherjee

be rammed. This method is naturally low in carbon footprint, as well as economically

feasible because it just takes human energy and basic raw ingredients. The house is a
load-bearing structure, and the entire roof is supported solely by these dirt walls.

Fig 19. Construction of roof with inverted terracotta pots

In the areas of the roof where concrete slabs are required, inverted terracotta pots have
been cast into the slab. In a standard slab thickness, these form hollow fillers, reducing
concrete content. These earthen jars are normal sizes found locally and are kept in the
ceiling, viewable from below. This approach produces an aesthetically pleasing waffle
pattern in the slab and significantly reduces the structure's dead load due to the small
amount of embedded concrete. By spanning a brick vault, the principal volume of this
home has completely avoided the use of concrete, removing steel from the equation
while reducing cement content to provide a stable roof. This vault gives ventilation and
illumination to the room, in addition to the natural beauty of such a design. Because of
the vault section's thickness, confined spaces are naturally cooler, which reduces power
use over time.
The scale is brought closer together by the constructed environment. The
architectural language absorbs the surroundings in an immersive way that is also
environmentally friendly. The chaos has a lot of order to it, and the design doesn't have
a narrative aim; rather, the materiality and detailing elicit multiple associations. The
choreography of accrual occupancy, the meandering of landscape elements within the
retaining wall, the siting of the verandahs, the gazebo, and the pools, and the
coordination of all the social agendas of these spaces are all meant to interpret, amplify,
and dramatize multiple readings of the site.

AHTESHAM KHAN 23
Indian Architect: Ranjeet Mukherjee

• Drawings

Fig 20. Plan and Section of the whole structure

Fig 21. Plan of the main block

AHTESHAM KHAN 24
Indian Architect: Ranjeet Mukherjee

4.2. Crunch Patisserie

Fig 22. Crunch Patisserie

• Project Detail

Project Name Crunch Patisserie

Area 350sq.ft
Location GF6 Eros City Square Mall, Rosewood City, Sector 50,
South City 2, Gurgaon
Architect Ranjeet Mukherjee
Interior Designer Shreenu Mukherjee
Client Praveen Kalra
Commencement of December 2014
Project
Completion of April 2015
Project
Materials Used Exposed Country Brick Masonry, RCC Lintel Slab, Counter
Slab, Window Sill Handmade Ceramic Wall Tiles, Natural
Stone Floors, Counter Surfaces Seasoned Teak Wood.

AHTESHAM KHAN 25
Indian Architect: Ranjeet Mukherjee

• Location

Fig 23. Site Location

Crunch Patisserie is a flagship location founded by Mr. Praveen Kalra, a food

entrepreneur, and is located in a shopping centre off Sohna Road in Gurgaon. Disha,
his niece, is the pastry chef and oversees food preparation at this establishment. Eros
City Square, like many other modern retail malls, is made up of standardised modular
pieces and is mostly made of industrially created materials. The main circulation courts
and tunnels are open to the sky, allowing ample light to storefronts while also exposing
them to the weather.

• Design

The site conditions necessitated a synthesis in approach, in which architectural and

interior design elements could coexist harmoniously. A thickened edge of country brick
masonry, framing a spot of light, has substituted the usual glass façade for other stores
at Crunch. By removing the mall's typical Alucobond cap-strip, additional illumination
is allowed in above the lintel. This alteration to the façade allowed for the installation
of a beautiful wooden entryway and threshold, indicating a point of entry. A modest
green canvas awning affixed to the façade provides shade and rain protection for the
fenestrations.

AHTESHAM KHAN 26
Indian Architect: Ranjeet Mukherjee

Fig 24. (a) Fig 24. (b)

Fig 24. (a) & (b) Shows the Exterior view- exposed brick with wood and glass for
attraction and reflection

• Interior
Plank shelves of wood are suspended from a lintel slab above by metal pipe fixtures in
Crunch Patisserie's fixed glass window display. The same metallic pipe detail may be
seen throughout the area in many forms, including shelf brackets, door or cabinet
handles, and structural parts for furniture. Many design components were constructed
and welded on site by craftsmen using locally available standard pipe fittings, utilising
this method. This project aims to show how basic detailing may be used to extract
numerous functions from a single material. Other element forming materials, such as
exposed country brick masonry, which vary in thickness across the area as a means to
fulfil varying usefulness, follow the same principle. This same brickwork can be found
as sofa seats, forming storage, forming dividers, and even standing alone as a pier
supporting the main counter.

In essence, such a venue strives to be regarded as a

genuine modern indigenous product while also adopting some form of contemporary
urban vernacular language. Almost everything in this room was handcrafted in India,
specifically in-situ. The majority of the materials employed are low-energy, naturally
occurring materials. The technology that is being deployed is basic and accessible to
the rural sector. In theory, a model like this could be recreated practically anywhere in
the country by modestly competent craftsmen using only human energy and little
specialised material, equipment, or tools. In contrast to today's age of transience and
disposable consumer culture, the resulting prototype has a strong sense of permanence.

AHTESHAM KHAN 27
Indian Architect: Ranjeet Mukherjee

Fig 25. (a) Fig 25. (b)

Fig 25. (a) & (b) Showing seating space viewed from entry side.

Sustainable solutions should ideally generate employment. Therefore, design decisions

made during this process should focus on the finer points, requiring human energy in
the form of work and artistry. Materiality as a spatial identity, rather than thematic
iconography, was chosen as the design answer to approaching this commercial space,
in order to generate some sense of institutional stability.

Fig 26. (a) Fig 26. (a)

Fig 26. (a) & (b) showing view toward counter and preparation area.

AHTESHAM KHAN 28
Indian Architect: Ranjeet Mukherjee

Fig 27. (a) Fig 27. (b) Fig 27. (c)

Fig 27. (a), (b) & (c) showing use of metal pipe used fixtures, Handles and Hat hanger.

• Drawings

Fig 28. Sectional Elevation & Plan of the shop

AHTESHAM KHAN 29
Indian Architect: Ranjeet Mukherjee

4.3. Entheogenic House

Fig 29. Entheogenic House

• Project Detail

Project Name Entheogenic House

Total Built-up Area 10,000 sq.ft
Location Jammu, Jammu & Kashmir, India
Architect Ranjeet Mukherjee
Interior Designer Shreenu Mukherjee
Client Praveen Kalra
Commencement of March 2017
Project
Completion of March 2021
Project
Materials Used Load bearing, disaster resistant structure. Stone Masonry
Continuous Foundations RCC Plinth, Lintel and Roof Tie
Beams Exposed Country Brick Tile Masonry Exposed
Imperial Brick Masonry Terracotta Pot Roof Filler Slabs
Exposed Brick Jack Arch Roofing Insulated Metal and
Wooden Soffit Hip Roof Seasoned Teak Wood Fenestration
Carpentry Natural Stone Floors, Counter Surfaces, Sills
Built-in Furniture Elements and Fixtures Recycled Wooden
Load Bearing Columns Lotus Pond, Water Body Pool with
Cascade Handmade Ceramic Wall Tiles

AHTESHAM KHAN 30
Indian Architect: Ranjeet Mukherjee

• Design

The Vrindavan Project created the Entheogenic Residence with the inspiration of spirit
in real life to build a magnificent house. Indeed, there is a default setting, or
prerequisite, for contextual, environmental, and ecological sensitivity. It is vital for
spiritually led praxis to be composed and constant. The mansion appears to be very
great from the outside, with plenty of space and a massive design.

Fig 30. Open windows letting the environment flow inside out

With many open windows,

Entheogenic House is light
and airy. The earthy color
palette, the planters, and the
open windows show the flow
of nature from the exterior to
interior and vice versa.The
courtyard's natural spaces
help to create a light and airy
atmosphere. It provides the
resident with a genuine
connection to nature while also
assisting in the reduction of
energy consumption.

Fig 31. Open Courtyard

AHTESHAM KHAN 31
Indian Architect: Ranjeet Mukherjee

• Interior

Fig 32. Kitchen with dining table

Entheogenic House's kitchen features a large table in the center. It is a gathering spot
for families. The wooden color scheme evokes feelings of tranquilly, coziness, and
comfort. Wood species, in addition to coloring, have an impact.

Fig 33. (a) Fig 33. (b)

Fig 33. (a) showing the eye-catching trendy colorful sofa set. On the wooden floor, it
really pops. & (b) showing the bedroom, it has an attractive style with a pink curtain.

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Indian Architect: Ranjeet Mukherjee

• Drawings

Fig 34. Ground Floor Plan

Fig 35. First Floor Plan

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Indian Architect: Ranjeet Mukherjee

Fig 36. Second Floor Plan

Fig 37. Section from the middle

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Indian Architect: Ranjeet Mukherjee

5. Conclusion

This project is about researching the life and works of an Indian architect, in this instance,
Ar. Ranjeet Mukherjee. The study of this architect taught me the value of incorporating
ethnic values, teachings, vernacular architecture, and materials into architectural projects.
The ideas of vernacular, sustainability, and cost efficiency remain the same regardless of
the scale or budget of the structure. And this has been Ar. Ranjeet Mukherjee’s. most
significant contribution to the evolving field of Indian architecture. In practically all of his
works, he has equilaterally preserved his beliefs and philosophies on traditional values,
sustainability, and the vernacular. The main difference between Ar. Ranjeet Mukherjee’s
work and that of many other architects is that he has a distinct craftsman approach to his
designs, which appears to have evolved either consciously or unconsciously from his
ethnicity as an Indian, since Indian architects have long been known for their intricate and
detailed work. His paintings are related to the structures' local surroundings. In his
structures, he has used both complicated and basic geometrical forms, depending on the
typology of the project and the client's requirements. Ar. Ranjeet Mukherjee’s works, to
say the least, are responsive to climate, culture, tradition, and individual needs while also
being elaborative, detailed, and exquisite, giving the impression of being a developed work
of craft.

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Indian Architect: Ranjeet Mukherjee

Annexure
Interview
What do you want to say to the world as an architect? Are you happy with the
work you've done so far?

It's not so much about announcing anything to the public. It isn't a matter of ego. In my
opinion, we are in charge of the transportation of certain materials, the investment of
the customers' resources, the information about some sort of built shape or location, and
the details of all the people participating in the process. We synthesise things as
architects. We bring together a variety of agencies and interested parties. When I
participated in the process shortly after graduation, I discovered there were a significant
number of resources available and you are responsible for managing them on a wide
scale. Resources are the same as carbon footprints and embodied energy and it affects
the environment. Everything we use comes from somewhere: it was mined somewhere,
transported somewhere, and processed somewhere. So how do you manage to design
in such a way that the built form we come up with has the least impact on the
environment, reduces waste, avoids industrial materials, avoids chemicals, and is a
steward of a certain process where the end result (what the product is) happens to be a
form of communication, but it's not to say that's where you begin and end. So, you don't
start where I want to tell the world this, and that's why you design in that way. You
begin with what the site means, what the context is, what the appropriate material is,
and how you can turn a site into a place where many people can make a living and
livelihood; how you can take work away from machines and give it to humans; how
you can promote craft and artist form; and how you can turn it into a natural building
with a lifespan and is healthy. That isn't where you begin; it is where you finish.

Which takes longer: project conceptualization or project design?

Management, on the other hand, requires time. The design process is continuous and
takes place side-by-side. You are designing at all times, whether you are sleeping,
walking, or eating. As a result, designing is a continuous process. You are designing
everything from the concept to the real nuts and bolts. However, such work pales in
comparison to the amount of effort required to figure out how to achieve anything
significant, especially if you are a newcomer. My family does not work in the building
industry. I am the first person in my family to pursue a career in this profession. So, I
don't have any pre-existing structures or procedures to fall back on, and the work takes
care of itself. I'm starting from scratch with all of my systems. I'm a one-person show.
So, it's just me and my interior designer wife. So, I spent the majority of my time
working because there was so much to accomplish.

What drew you to pursue a career as an architect?

It took place many years ago. I was perhaps 5 or 6 years old at the time. It was a space,
and it was some person with whom I have yet to make contact. He was an architecture

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Indian Architect: Ranjeet Mukherjee

student, and the other guy had a room that looked like a student's room. I noticed the
model, the guitar, the music system, and the bunk beds and thought they were
interesting, so it was a space, a place, and someone's physical surroundings when they
weren't there that inspired me. Then, of course, my backup strengthened the
architectural adventure. At that time, architecture was only a notion or a fantasy, so you
went to college and listened to lectures by Rajrewal, Bunkey, B.V. Doshi, and all of
these other giants. The architecture was a little different than I expected, but it was even
more interesting and enjoyable than I anticipated. Of course, Orowell was involved in
the process. That would, I believe, catalyse a very special source of inspiration for me.
Orwell was discussing how architecture could be used to find a new humanity. As a
result, earlier experiences motivated me to pursue a career as an architect, and the
Orowell experience motivated me to pursue sensitive architecture.

Can you tell us about the current architectural trends as a contemporary

architect?

Ans. This is similar to asking what's going on in the medical field these days, because
the medical field is as broad as architecture. For example, in medicine, there is a cancer
specialist as well as those who are experts in numerous fields. People who specialise in
cancer, for example, have a lot in common, but even within cancer, there are so many
diverse ways. Some people try holistic therapy, others natural therapy, some
chemotherapy, and still others surgery. So, it's the same thing with architecture. So
many situations, places, typologies, materials, and all kinds of plans from diverse
communities with different objectives and aesthetics. What occurs is that designers in
the field position themselves according to the type of job they wish to accomplish. So,
I can speak mostly for those who are attempting to do sustainable design and those who
are attempting to do sensitive architecture in which you are talking about decreasing
energy use, carbon footprints, and environmental impact. Only a few of us are
undertaking that work, but if you're wondering what contemporary architects are up to
in the field, then it's true. Different people are building skyscrapers, interiors, scale (the
bigger the building, the better), and residences, so different people are doing different
things, but if you're asking about the general trend, I'd say there is slowly becoming a
realisation that the environment is a big part of our design process because the entire
community of designers, like ordinary people, is facing global warming. The physical
environment is one of the major concerns we are dealing with. People are starting to
think about my money, my project, my commission, and my ego instead of my money,
my project, my commission, and my ego. They'd start thinking about our group as a
whole.

Is terracotta being used to minimise slab load and is it working?

Yes, in a few projects of mine we used terracotta in the areas of the roof where concrete
slabs are required, inverted terracotta pots have been cast into the slab. In a standard
slab thickness, these form hollow fillers, reducing concrete content. These earthen jars
are normal sizes found locally and are kept in the ceiling, viewable from below. This
approach produces an aesthetically pleasing waffle look in the slab and significantly
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Indian Architect: Ranjeet Mukherjee

reduces the structure's dead load due to the little amount of embedded concrete. In
conclusion, terracotta not just helped us in reducing the carbon footprints but also
making the structure more aesthetically pleasing.

What types of projects have you been working on previously?

We've constructed and released a commercial interior project, Crunch Patisserie, which
is located in a Gurgaon retail mall, since the farm residence. This was a completely
different site setting than we had previously dealt with, but it was a lot of fun to put
together. At Nainitaal, another farm residence is being built, with rammed earth walls
once again proving to be a success. In the Greater Noida area, some residential
construction ideas are also in the planning phases.

What has been the most difficult challenge you've faced in the projects you've
worked on thus far?

At various levels, dealing with needless, persistent, illusory paranoia.

What is your Design approach to a project? What kind of project do you have in
your dream list?

Our design approach is meant to be an organically growing process that adapts to each
challenge with complete flexibility. We strive to be as exclusive as possible with our
work, ensuring that we only take on projects that we are passionate about. This is why
we've purposefully kept our company small so that we can maintain a close relationship
with each client while providing each design detail with our undivided attention.
Fortunately, my dream project is already in the works. Hopefully, these visions will
develop through time.

When to start your own practice as an architect?

Recognize when you are ready for the challenge as the first step toward starting your
own practise. This decision's timing would naturally differ from person to person. It is
critical to have patience with oneself. If you're seeking for quick results, don't go down
this road. Have faith in yourself, your job, your destiny, and the 'design' of your reality
as a whole. The key to success is to work toward this vision slowly and persistently. I
had imagined having my own firm since I decided to become an architect and applied
to universities appropriately at a young age. However, I was well aware of the steep
learning curve that would be required prior to establishing one's own practise. As a
result, whenever I worked in an office over the years, I made it a point to apply to small-
scale enterprises in order to understand as much as possible about how a tiny office
operates. After six years of working as an architect at a small but dedicated business in
Auroville, the chance occurred for my wife and me to start our own firm. When you
first start your own practise, you'll be surprised at how many architects are willing to
assist you. Recognize that your elders and mentors may offer you support, direction,
perspective, and inspiration in a variety of ways.
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Indian Architect: Ranjeet Mukherjee

Do you have any advice for the upcoming architects specifically acknowledging
the online classes?

Typically, architectural education has been more practical than theoretical. Materials
must be sourced, textures and colours must be chosen, and goods must be
manufactured. We must visit construction sites, assess their surroundings, and
supervise their progress. Architects are professionals who supply services. We operate
with the goal of creating something concrete, something that we can see. This pandemic
does not indicate that architects have ceased to work. It simply means that our approach
to our work has shifted. You can use social media to raise awareness of your work to a
certain extent. It's a tool that wasn't available just a few decades ago. It allows a select
audience to track one's progress in real time, as well as observe the design and
construction process... not just the finished product This is a one-of-a-kind feedback
mechanism. Personally, I've discovered that our own social media platforms are
primarily forums for students and fellow design professionals to interact with us;
whether it's to exchange ideas or design sensibilities, suggest collaborations, conduct
interviews, or perhaps as a platform for students and architects to express their interest
in working with us. Over these social networking networks, a couple of potential clients
have occasionally reached out to us with project suggestions.

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Indian Architect: Ranjeet Mukherjee

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