IMI in Kolkata, India

Nature in its various forms has always been a constant source of inspiration to man.  The sky with its various states and ever changing colors is one of the most dynamic elements of nature and is what has inspired the built form façade. The colored laminate with Vanceva PVB glass on the façade follows no repetitive pattern and is symbolic of the unpredictable nature of the sky. It also represents the vibrancy of today’s youth.

The client brief required a management institute of international standards. Provisions for state of the art facilities and smart classrooms have been made for.  The latest technological provisions in the institute allow for worldwide exchange of knowledge, through conventions and seminars. The architectural language of the built form is a representation of this. The colored façade gives it a unique identity.

The site, situated in a very dense residential urban fabric, was a huge constraint and dictated linear planning. Special efforts were made to ensure create non-monotonous spaces which did not follow expected linear pattern. The narrow entrance to the site did not allow a naturally large frontage and curve glass façade was designed such that it would create the necessary frontage for an institutional building.

The chromatic glass façade comprises of 2 layers of 5mm clear glass each with an intermediate PVB layer 1.2 mm thick which acts as an insulator, reducing the heat buildup inside.  The façade becomes more dynamic by night when the inside lights are switched on and has a mesmerizing effect on the plaza below.

Circulation spaces and spill out zones have been created along the curved glass façade, allowing them to be naturally lit in the day and giving them a more interesting and dynamic feel. Emphasis has been given to interaction points not just for students but also for the faculty encouraging exchange of knowledge and ideas at all levels.

The reception has been designed as a triple height space naturally lit by a huge skylight above. The corridors and spill out spaces culminate around here at the upper floor levels. Care has been taken to ensure that the library is also well lit during the day and has been designed such that it is surrounded by glass on three sides, shaded by the existing trees on site.

Color has subtly been introduced in the interiors as well in the form of colored glass partitions, colored glass slits on the wall or simply in the furniture.

An integrated plaza with a water body has been designed. The water body receives no direct sunlight and creates a comfortable micro-climate. Wherever possible shading trees have been planted and soft landscape has been introduced.

It is an institute that has achieved international standards not only by providing state of art facilities but also by having an architectural expression which represents that.


Project name: IMI, Kolkata
Location: West Bengal, India
Program: Educational building
Area: Site area: 2.75 acres • Building area: 5,000 m2 • Total floor area: 27,000 m2
Year: Completion: 2011
Client: IMI, Kolkata
Project by: Abin Design Studio
Team: Principal designer: Abin Chaudhuri • Design participation: Jui Mallik, Kaushik Majumder, Angshujit Mazumder, Palash Santra, Anjum Kumar, Ranita Biswas, Rajkumar Sinha, Champa Patra
Others: Interior design: Abin Design Studio • Landscape design: Abin Design Studio • Signage: Abin Design Studio • Principal Civil Contractor: MFAR Constructions • Principal Interior Contractor: TOUCHPOINT
Text: Courtesy of ADS Design
Images: Courtesy of ADS Design

The Jurors

The World of Color Awards® was founded to pay tribute to architects, interior designers, furniture designers and other industry professionals who have creatively used Vanceva® color interlayers for laminated glass in their work. Projects are judged by an international jury of celebrated industry professionals in both the architectural, interior design and color marketing industries.  “Our jury represents a diverse spectrum of design innovation and expertise in their chosen fields,” said Aimee Davis, Global Marketing Communications Manager at Solutia. “Each of these individuals are at the top of their professions and are well-respected for their work with color and glass. We are honored to have them lend their time and talents; they are an incredible asset to this competition.”

The esteemed panel of international architects and designers who make up the World of Color Awards™ jury are posting their observations about color in the built environment and beyond.  Continue to be inspired as you learn more about each juror.

Brunete Faccaroli graduated at the Universidade Mackenzie in Sao Paulo and is known worldwide as the colorful architect. “I believe that color means life, energy and movement,” she says. Therefore, the presence of color is a constant in her works. She is a respected and requested professional, for both residential and commercial projects. Among her most acknowledged projects are: The Glass Garden for “Espaco Deca”, 1999, won the CREA Prize from Belo Horizonte, the 1st place at the Espaco D Award, and other national awards; The Glass Garage of “Casa Cor” 2001, – projected in honor of her father; and The Glass Store, 2003 together with Architect Santiago Calatrava; and a complete house in glass located over a water mirror in Alphaville, one of her favorite projects.
Andrew Moor is a specialist ‘architectural glass art consultant’. He has been involved with the commissioning and project managing of glass art projects since 1983. During the 1980′s he worked with the artist Brian Clarke, organising a number of large stained glass projects in large shopping centres. Some were more than 1,000 square metres, or 10,000 square feet in size. He also acted as the international agent of the legendary Derix Glass Studios of Weisbaden. His first book ‘Contemporary Stained Glass’ 1989, (US edition ‘Architectural Glass’) has sold over 35,000 copies world-wide and is widely thought to be a landmark work on the state of the art at that time. His book ‘Architectural Glass Art’ 1997, still available as a collector’s item on Amazon, documented many of the changing methods that were beginning at that time in techniques and artistic styles. His most recent book, ‘Colours of Architecture – glass and colour in contemporary buildings’, 2006, documents the more recent changes in both methods and usage of coloured glass by artists and by architects throughout the world.

Andrew Moor acts both as a consultant and project manager for works in the retail, office, hotel, leisure and private sectors. He has lectured at architectural practices and at conferences and colleges for many years. He has a unique understanding and what can be achieved with glass, and how it can contribute to space and to the appearance of buildings from inside and outside.

Mark P. Sexton, FAIA, LEED AP is a principal and founding partner of Krueck and Sexton Architects. Together with Ronald Krueck, he designs and manages all of the firm’s work. Mark is responsible for the development and execution of design ideas, and for the coordination of project teams. His dedication to craftsmanship, material, and detail enables the firm’s built work to express the values of modern design with a timeless quality. Mark is a Fellow of the American Institute of Architects and is a LEED accredited professional. He has lectured extensively and served on numerous architectural and design juries, both in the US and abroad. Mark is a board member of the Glessner House Museum, and is currently a student mentor at the Illinois Mathematics and Science Academy.
Pitupong Chaowakul was born in Ubonratchathani, Thailand. He has a Bachelor of Architecture degree from the Chulalongkorn University in Bangkok and a Master of Excellence in Architecture degree from Rotterdam University, The Netherlands, while working with Nox architecture in Rotterdam for a year.

Pitupong returned to Bangkok, Thailand in 2003, founding a cross-disciplinary design studio with 5 friends called “Thisdesign,” where he designed for a wide range of projects from concerts and interiors to architecture. He then joined the artist group, “Soi Project,” traveling and doing installation projects in Japan, UAE and the UK. He has also lectured and taught in various schools of design in Bangkok.

Pitupong founded Supermachine Studio in 2009. In 2010, Supermachine was chosen to attend “iLight Marina Bay” in Singapore, where they built the “Animal Tree,” a lighting installation sponsored by Philips lighting.

Also in 2009, he was commissioned as design director for one of the biggest outdoor music events in Thailand, the Big Mountain Music Festival. The second annual event successfully drew more than 40,000 people in 2010, and he is currently designing the festival for its third year.

Supermachine Studio’s project, “Harbormall,” won the 2010 Solutia World of Color Awards®: Inspired by Vanceva and was featured with projects from architects around the world.

Most recently, Pitupong was one of the keynote speakers in the international forum, “Archifest 2010″ in Singapore, organized by the Singapore Institute of Architecture.

Jane Stockel, principal of Hong Kong based Jane Stockel Designs, consults to companies on home/interiors design trends and colors. She specializes in the nuance of horticultural themes, fashion trends, texture, color and Eco directions, helping her clients translate them into global assortments. Jane has contributed to the design panel for the Design and Decoration Trade Show, held annually in Melbourne and Sydney Australia and has been guest speaker for the China Fashion and Color Association in Beijing. She is a longtime chair holder of Color Marketing Group and has served on the board of directors. Jane was recently appointed Special Envoy to the CMG President for the Asia, Pacific Rim Region.

Chihuly Bridge of Glass

Architects: Andersson-Wise, Austin, Texas
Laminator: National Glass

Tacoma, Washington’s spectacular Chihuly Bridge of Glass, which houses the largest public installations to date of Dale Chihuly’ s gla ss sculptures, celebrates glass in more than one way. The Austin, Texas based Andersson-Wise Architects, also used glass to showcase and protect the magnificent collections, which are housed on a public pedestrian bridge open 24 hours a day. The Bridge spans a busy highway and links the Washington State History Museum with the city’s new Museum of Glass: International Center for Contemporary Art.

Since safety, security and modulation of light were critical to the design of the Chihuly Bridge of Glass, the architects sought various solutions to achieve their goals. After considering etched, tinted and sandblasted glazing options, the architects turned to the technical team at Solutia Inc, the world’s largest manufacturer of Saflex® protective interlayers for laminated glass. The interlayer is sandwiched between two pieces of glass, which are bonded together with heat and pressure to give glass impact resistance and other benefits.

More than 100 original artworks from Chihuly’s Venetian series are displayed on an 80-foot display section of the bridge.  “Security was a high priority here,” says Arthur Andersson, principal with Andersson-Wise. The architects chose to protect each object with Solutia’s clear Saflex interlayer in a double laminate configuration. The 0.060″ thick laminate provided both security and safety, as this type of configuration is extremely difficult to penetrate with most hand tools. “If impacted by a vandal, the outer pane of glass might shatter but the interlayer would tend to remain intact and continue to protect the art until the glass panel could be replaced,” says Solutia’s technology manager Julia Schimmelpenningh. It also provides complete clarity for viewing of the art.

The glass used behind the Venetian Wall installations presented an additional design challenge. “We set out to provide a background for the art glass sculptures without making the glass panels completely opaque. We looked for a material that would allow for a subtle view of forms in the distance,” says Andersson. The architects experimented with a range of samples from Solutia’s new Vanceva™ Design Advanced Solutions for Glass™ interlayers, which enable designers to incorporate a wide range of color and designs into glazing systems.

Andersson and his team selected a Cool White interlayer encapsulated between clear interlayers. “The effect is fantastic,” says Andersson. “The glass panels behind the art glass admit natural light. They also allow one to perceive silhouettes of buildings and moving cars down below the bridge without being a distraction to the Venetians.” The glazing configuration has already been tested, when a vandal shot a stray bullet from a distance during the first week the Bridge was open. The glass shattered, but continued to protect the art.

Chihuly’s Seaform Pavilion, which is adjacent to the Venetian Wall on the bridge, presented an entirely different challenge. The Seaform Pavilion is a ceiling made with thousands of glass sculptures from Chihuly’s Seaform and Persian series. Visitors view the ceiling installation by looking up through glass panels, on which the artwork rests. The panels were created with Solutia’s clear Saflex protective interlayers to provide both safety and security as well as meet code requirements for overhead glazing.

“The walls of the Seaform Pavilion, also made from glass, presented the greatest challenge,” says Andersson. “In order to emphasize the glass art above, we needed to limit most of the light coming from the sides at this pavilion.”

After much experimentation, the designers chose a Vanceva Design combination to create the darkened atmosphere needed for this section of the bridge. They created a custom environment by using a multi-ply laminate “sandwich,” which consisted of Evening Shadow colored interlayer sandwiched in between the Arctic Snow translucent interlayers. “This combination of interlayers creates a great enclosure for viewing the glass art, which is illuminated from above. From a distance, one perceives only a hint of pedestrians moving through the walls.”

“The most useful thing about using Solutia’s interlayers is the amazing flexibility they provide,” says Andersson. “By layering films of different tone and color one can easily create filters which modulate light according to specialized applications. We have not found other products that allow such a range of options.”

The Rise of Lamination in Glass and Architecture

Courtesy of jury member Andrew Moor

Laminated glass comprises two layers of glass bonded together by a flexible plastic or resin interlayer that ensures the glass does not break into pieces if fractured.  The three methods in use are known as poured, UV-cured, and dry lamination.

For years, it has been possible to pigment the liquid resin that is used to make poured laminated glass- turning the glass almost any colour, transparent, or translucent. But this process has not been widely exploited, perhaps because each piece is hand-made and the process is not perceived as suitable for mass production.

In recent years, a large global glass company has patented a more mechanized system, developing a method of colouring the dry PVB (polyvinyl butyral) material that is used to laminate glass. Up to four sheets of these coloured interlayers can be mixed together, turning the range of nine base colours into a wide variety of possible tones. We’re now seeing many adventurous architects using colour in the design and execution of their projects, often citing colour as the central aesthetic to their design.

Pigmented laminated glass offers the opportunity to create rich, multicoloured glass or restrained quiet colours. Recently a system called EVA (ethylene vinyl acetate) has become more widely used. This creates much greater flexibility of lamination and allows the creation of many state-of-the-art features.  It has enabled the inclusion of different materials including LED lights inside the laminated glass panels as well allowing the use of textured glass and photovoltaic cells that can convert solar power into energy.

Color for Your Home and Desktop

Celebrate your participation in this year’s inspiring architectural design competition with the 2012 World of Color Awards™ merchandise and wallpaper downloads for your desktop.

Color Perception, Measurement and Comparison… It’s NOT All the Same to Me!

World of color awards

Courtesy of Julie Schimmelpenningh, Global Architectural Technical Applications Manager at Solutia Inc.

Our world is enhanced and our interest is piqued everyday by the colors around us. The colors of the clothes we choose to wear, our cars, our homes and how we decorate our work areas all give some slight inkling into our personality and individualism. It’s the same for a façade or interior glass of a building.  “Some buildings are designed to blend harmoniously into the environment while others are meant to make a statement, stand out and be noticed.” Think of the elegant blue green buildings so prominently seen along coastlines, buildings meant to blend with the ocean, versus Circus Circus or New York New York in Las Vegas, Nevada, meant to draw attention.

The color choices for gl ass in a building can become very complicated if we let them. A basic underst anding of color science is necessary to elevate our underst anding and lead to inspiring selections of color that are endorsed by all members of the project team.

First we need to understand that colors are only seen by humans in the visible portion of the solar spectrum from about 380 – 400 nanometers (nm) through 700 – 780 nm, this varies with the reference consulted.  The colors are “assigned” wavelength regions or “blocks” where they predominately seen, however there is considerable transition between those assigned blocks. For instance, green is noted to occur from approximately 480 – 560 nm with blue occurring below 480 nm and yellow occurring above 560 nm. However, at the upper limit of the “blue” region the color isn’t considered blue, but blue-green. At the bottom end of the yellow region, it’s not yellow, but greenish-yellow.

W ith so many transitional color possibilities, it is no wonder color choices can seem to be a huge task. Couple the number of possibilities with all the variables in perceiving color, no two people see things the same. Variables like light source, viewing angle, the viewer’s sensitivities, perceptions of certain colors, their age and even which sex they are all affect how color is perceived and defined. So how is someone supposed to see the color they like and want, and get that exact color specified and delivered ?

There is no way to control all the variables, so pick a color that best states the objective of your project, ensure awareness of the variables throughout the value chain and don’t be wary to color often! 

Shedding Light on Entry Rules & Requirements

When considering a project to submit, the creative expression of color and light will be your key differentiator among other entries in the eyes of the jury.  The project must have been completed between January 1, 2008 and December 31, 2011.   And submitting your design is free and easy.  Enter your project today.

For additional details and requirements, learn more here. Entries will be open until March 15, 2012 at 11:59 p.m. CST.

Bold Ocean-Colored Glass Attracts Shoppers, Tourists

With its ocean-inspired color palette of indigo blues and sea foam greens, the Harbor Mall, winner of the exterior division of the 2010 Vanceva World of Color Awards, perfectly reflects its Bangsaen beach location.   Visitors to the building encounter a deep-sea atmosphere inside and out, created by layers of transparent, shimmering colored glass that bring to mind the shine and sparkle of sunlight on water.  This feeling of oneness with nature is exactly what the designers of Harbor Mall intended with their selection of graded glass and the framing of the panels. The frames were also used to add dimension and give the Harbor Mall yet another unique characteristic: standing at the corner of the building allows viewers to actually see inside. Integrating this feature into the design was a challenging, but rewarding process for the designers and installers.  As jury member Andrew Moor said, “[The Harbor Mall is] an exceptional project where the glass is bold but adds something to the interior and the exterior and to the overall built environment.”

Not only does the glass design of the building bring shoppers closer to nature, but it also provides another major tourist attraction to the already popular Chonburi province. As word about this one-of-a-kind structure has spread, more tourists than ever have flocked to see the Harbor Mall and its famous oceanic glass. Locals and tourists alike are in awe of both the building and the designers and installers that worked so hard to create this masterpiece.

View Harbor Mall Project Profile

Project Category: Exterior
Project Name: Harbor Mall
Location: Lampchabang, Chonburi, Thailand
Glass Laminator: Thai Techno Glass Company Ltd.
Photographer Credit: Thai Techno Glass
Architect: Pitupong Chaowakul -  Supermachine Studio
Address: 57/7Vibhavadi Rangsit Road Chom Pon, Chatuchak, Bangkok

A Home for Colorful Discussion

Welcome to the World of Color Awards website, also known as The Floor Plan. Throughout the international design competition, this will be your home for updates, inspiration, opinions and colorful discussion.

We invite you to visit regularly or follow the site as it evolves via Facebook and Twitter. The esteemed panel of international architects and designers who will be making up the Jury will also be post ing their observations about color in the built environment and beyond. Because the use of color in design and architecture breaks through cultural and language barriers alike, we will be using this space to explore the world of color that is being built around us everyday – on every continent of the globe.

Here, you will find the work of your peers, information about new technologies and design techniques, as well as an open invitation to become an active member of this international community.

The Floor Plan is your forum, awaiting the insights and inspirations you deem worthy. To contribute, simply contact us, and submit your thoughts here. We look forward to creating a place online where the passion of architecture and design can take root, inspiring the next generation of creative thinkers to explore.

As the World of Color Awards competition nears its end, we will be featuring select entries and reminding you of key dates for entry submission. This is your chance to be recognized on a global stage. Cont inue dreaming in color, and we hope you return soon.

The 2012 World of Color Awards™ – Inspired by Vanceva® is a global recognition program created to honor innovation and inspire the use of color in the built environment.

Architects, interior designers, glass fabricators, glazing engineers and other industry pr ofessionals will be recognized for their awe-inspiring architectural design projects that demonstrate creativity and forward-thinking use of colored glass made with the Vanceva color interlayer system.

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