Satara Compeition, S+Ps Architects, Pinkish Shah

For People: Satara Municipal Corporation, competition entry by S+Ps – Pinkish Shah and Shilpa Gore

For People: Satara Municipal Corporation, competition entry by S+Ps - Pinkish Shah and Shilpa Gore.
Satara Compeition, S+Ps Architects, Pinkish Shah
For People: Satara Municipal Corporation, competition entry by S+Ps - Pinkish Shah and Shilpa Gore 1
Satara Municipal Corporation: Visualisation

Satara Municipal Corporation

The opening and last sentences of the preamble of the Indian Constitution, “We, the people… adopt, enact and give to ourselves this Constitution signifies that power is ultimately vested in the hands of the people. It interlays the basic tenet of governance and the relationship between the government and the people. However, this relationship of the people, for the people and by the people, with the government is rarely, if ever, enacted out in the spatial dimension of government buildings. The design of a new Satara Municipal Council building attempts to make this relationship between government and people more democratic, transparent, interactive and eventually participative.

It tries to achieve this via two primary ideas. The simplest of places is created when a group of people come together and gather under the shade of fabric cover, like a shamiana. The building’s primary gesture of the roof alludes to that. The site offered views to Ajinkyatara unique identifier for Satara- which we capitalized on to draw people up the building, much like the journey one takes from the base of the hill to the top at Ajinkyatara (Gadh chadla), As one ascends one notices governance “made transparent” and “in action” with government officials and representatives at work in the two wings on the sides. This “ritualistic pathway” through a series of stepped platforms where people can meet, gather and interact with each other and government officials, under the shade of the roof (and not in an introverted closed atrium), and in the benign climate of Satara, creates an OPEN PUBLIC PEOPLE’s PLACE for the citizenry of Satara.

As one reaches the observation platform at the top, the building responds with diagonal views opening out to Ajinkyatara fort, anchoring the building to its location. This diagonal orientation is embedded into the entire DNA of the building-with the structural system of the central bay, flooring patterns, furniture, etc. as also the thin sagging roof under which is the main council chamber, again completely glazed to expose its workings to the entire city when in session.

The offering of this approachable public place for the people of Satara, not just when they have official work, but to use and occupy as a truly public place rooted in its context, will go a long way toward making this project ‘of the people, for the people and by the people’.

Leave a Reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.

Recent

Folles de la Salpétrière, (Cour des agitées.) (Madwomen of the Salpétrière. (Courtyard of the mentally disturbed.))

Gender. Hysteria. Architecture. | “How Did a Diagnosis Learn to Draw Walls?”

Did these spaces heal women or teach them how to disappear? Aditi A., through her research study as a part of the CEPT Writing Architecture course, in this chapter follows hysteria as it migrates from text to typology, inquiring how architectural decisions came to stand in for care itself. Rather than assuming architecture responded to illness, the inquiry turns the question around: did architecture help produce the vulnerability it claimed to manage?

Read More »
Gender, Hysteria, and Architecture - The Witch Hunt. Henry Ossawa Tanner. Source - Wikiart

Gender. Hysteria. Architecture. | “When Did Care Become Confinement?”

Was architecture used by society to spatially “manage” women and their autonomy? Aditi A., through her research study as a part of the CEPT Writing Architecture course, examines the period before psychiatry, when fear had already become architectural, tracing how women’s autonomy was spatially managed through domestic regulation, witch hunts, informal confinement, and early institutional planning.

Read More »

A Modernist’s Doubt: Symbolism and the Late Career Turn

Why did acclaimed modernist architects suddenly introduce historical symbolism like arches, decorative elements, and other cultural references into their work after decades of disciplined restraint? Sudipto Ghosh interrogates this 1980s-90s symbolic turn as a rupture in architecture, questioning whether this represents an authentic reconnection with content and memory, or is it a mere superficial gesture towards absent meanings. Drawing from Heidegger’s analysis of the Greek temple, he distinguishes two modes of architectural representation, ultimately judging that this turn was a nascent rebellion against modernism that may have failed to achieve genuine integration of context, material, and memory.

Read More »
Ode to Pune - A Vision. © Narendra Dengle - 1

The City That Could Be: An Ode to Pune

Narendra Dengle, through his poem written in January 2006, presents a deep utopic vision for Pune—what the city could be as an ecologically sustainable, equitable city that balances nature with development. He sets ambitious benchmarks for prioritizing public transport over cars, preserving heritage, addressing slum rehabilitation humanely, and empowering local communities

Read More »

Featured Publications

New Release

We Are Hiring

Stories that provoke enquiry into built environment

www.architecture.live

Subscribe & Join a Community of Lakhs of Readers