Residence 414, Panchkula, Haryana, by Charged Voids

The house, designed for a single old lady and her tenants was devised as a free plan around a central courtyard. The levels & accesses were carefully divided between the lady and the tenants to allow comfort & privacy.
To freeze emotion into architecture
To practice restraint of opening
To gain the strength of enclosure
To satiate spirit in the space
To celebrate life in dance
Residence 414, Panchkula, Haryana, by Charged Voids 1

Brief: To design a house for a single old lady & her tenants for ensuring security.

Site: The site is located in Panchkula (Haryana), a satellite town just adjoining the border of Chandigarh.  Chandigarh city was designed by Le Corbusier and is a symbol of modernism in India. The site is in a newly developed plotted sector, adjacent to the newly developed information & technology park of Chandigarh.

Concept: The concept was devised as a free plan around a central courtyard. The levels & accesses were carefully divided between the lady and the tenants to allow for comfort & privacy.

Residence 414, Panchkula, Haryana, by Charged Voids 3
Concept sketch

The architecture vocabulary is derived as a response to all the development happening in the close proximity to site & neighbourhood. The stark contrast of glass facades of the IT park on one hand and the old existing clusters and slums on the other hand were responded to by developing a blank facade consisting of the most basic architecture element, ‘plane’ . The stacked planes clearly state the need to go to essential architecture in midst of the insensitive development happening all around.

Residence 414, Panchkula, Haryana, by Charged Voids 5

Planning:

The overall plan was organized around a central courtyard that interacted differently with the interior spaces on different levels. It is open & accessible on the ground floor while the first floor has a ribbon ventilator to ensure the privacy of the ground floor.

The lower level housed the lady with a material bedroom in the front & guest room at the back. The public spaces like the living room, lobby, and dining all flowed into one another along with an open kitchen. A separate spice kitchen along with all other amenities has been provided.

Since the ground level houses the primary occupant, the volumetric expansion was ensured by having a double-height living area. Although the lady wanted to rent the upper floors, she was very keen to have the terrace to herself. This is organized by separate elevator access that opens directly onto the terrace from her entrance foyer.

The first floor has a 3 bedroom unit and public areas that flow onto private terraces. The second floor houses a one-bedroom unit with an open pantry. It also has 2 separate units for the domestic helps of the lower floors. They too have been given separate private terraces that are not visible in the façade to ensure pristine maintenance.

The parking and access for the lower floor are from the northeastern side of the site while separate parking and access to the upper levels are towards the south.

Material palette:

The overall material palette is limited to only white marble & Sivakasi gold granite along with simple white painted surfaces. The flooring on the ground floor is white marble to ensure a luxurious feel while on the upper floors it is the same granite. The textures & finishes on the granite have been explored using a number of traditional techniques & craftsmen.

Images

Drawings

Typology: Residential
Location: Panchkula, Haryana
Completion: November 2017

Principal Architect: Aman Aggarwal
Design Team: Swati Agarwal, Meher Aditya
Photographer: Nakul Jain

Structural Consultant and Contractor: Er. Pankaj Chopra


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

Source - Deccan Chronicle

Wall As a Public Space
“To read public space only as a spatial condition, as a matter of square footage, zoning, or physical access, is to miss half the picture.”
—Reshma Esther Thomas

Reshma Esther Thomas examines how Hyderabad’s flyover pillars, painted with Cheriyal-style murals under the GHMC’s ‘City Art Scape’ initiative, reveal the paradox of managed public space. What appears to be beautification is actually cultural assertion in the wake of the 2014 bifurcation, bureaucratising a surface that once belonged to those without institutional power.

Read More »
Khazans in Slavador du Mundo, Bardez, Goa. © Kusum Priya (1)

The Map That Was Never Yours
“If publicness is reduced to what is legally accessible, then these landscapes were never public to begin with.”
—V.V. Kusum Priya

As part of our editorial: What makes a space public?, V.V. Kusum Priya argues that Section 39A of Goa’s 2024 Town and Country Planning Act this isn’t just a legal issue, and that it’s the erosion of an unrecognised but collectively sustained commons, and a question of what “public” really means and who benefits from the legislations surrounding this.

Read More »
Life on the public spaces in downtown Calcutta. Source - Wikimedia


“Appropriation of public spaces is the genesis of political movements, of ideological apparatus, and of endangering the city’s multi-dimensional fabric.”
—Dr. Seema Khanwalkar

Dr. Seema Khanwalkar, explores how the public spaces in India are dynamic, contested areas shaped by informal economies, migration, and social negotiation. She reveals how the transactional activities democratise ownership of these spaces, while the political and religious appropriation increasingly displaces this organic vitality, creating exclusion and anxiety. This shrinking of inclusive public space threatens urban social fabric, yet remains largely absent from city planning conversations, making it a far deeper crisis than mere encroachment.

Read More »
Sen Kapadia


“… people like Sen [Kapadia] don’t really leave. They become the questions we continue to ask.”
—A Tribute by Nuru Karim

Nuru Karim reflects on his relationship with Sen Kapadia through three transformative “states of being”—as a student, as a studio colleague, and as an independent professional. To capture Sen’s essence, Karim draws on three powerful metaphors: a mountain (commanding yet silent), a banyan tree (generous and sheltering), and a river (unseen yet ever-present). Together, these images paint a portrait of a man whose quiet depth left an indelible mark on all who encountered him.

Read More »

Featured Publications

New Release

Stories that provoke enquiry into built environment

www.architecture.live

Subscribe & Join a Community of Lakhs of Readers

We Need Your Support

To be able to continue the work we are doing and keeping it free for all, we request our readers to support in every way possible.

Your contribution, no matter the size, helps our small team sustain this space. Thank you for your support.

Contribute using UPI

Contribute Using Cards