Afrin was a very active Student Ambassador from the 2025-26 cohort. She began by responding to the C20 Initiative by sharing information and photographs of the Ripon Building in Chennai. Built in 1913, the building is the historic headquarters of the Chennai Corporation and designed in the Neoclassical Style. Over the years, it has undergone several restoration efforts to preserve its heritage and now stands as a symbol of Chennai’s rich architectural and civic heritage.
She then held a screening of the Nagari films — Level Up!, Sparrow, Udta Banaras, and Homes on the Line, for the student body of her college. She shared how different batches responded to films based on their academic exposure — the juniors reflected on growth and learning through ‘Sparrow’ and ‘Level Up!’, the mid-level batches had engaging discussions on culture and urban identity after watching ‘Udta Banaras’, and the senior students had a meaningful conversation on housing, displacement, and the social responsibility of architects through ‘Homes on the Line’.
The task she carried out was a design exercise involving students across all five batches of architecture. They took an abandoned and under-utilized site — the area under the Maduravoyal bridge in Chennai — and redesigned it for the people using Charles Correa’s principles of design. The session was engaging and very interactive.
Sukhi was a very active Student Ambassador from the 2025-26 cohort and contributed regularly during the monthly meetings.
She chose to screen the Nagari films on two separate occasions as a part of her task. Four films—A Work in Progress, While Walking Through the City, Level Up!, and Udta Banaras– were screened, each followed by a 20-minute discussion that the student helped guide. These discussions critically explored both cinematic techniques and the underlying architectural and urban themes. Key conversations included reflecting on the long-term life of buildings and the idea of “building to last,” examining issues of walkability and livelihoods in urban spaces, emphasising the importance of universal accessibility as a fundamental design principle, and debating the complexities of development versus displacement. Through these curated screenings and thoughtful dialogues, the student created a collaborative and reflective learning environment, encouraging participants to engage deeply with contemporary urban issues while also setting the stage for future discussions and debates.
She also initiated a series of diagramming sessions and discussions centred around Charles Correa’s work, using them as a starting point to expand into the study of other architects and their projects. These sessions aimed to help students better understand architectural works while also introducing diagramming as an analytical and representational tool. In addition, the student regularly organised debates inspired by the Nagari film series, creating a platform for critical dialogue and encouraging participants to engage with broader urban and architectural issues. Overall, the program has influenced how she thinks about her college experience and future opportunities. She has already discussed ideas with the student council and is interested in introducing initiatives such as the diagramming sessions, a session on universal accessibility, reading sessions, and a 60-hour design brief, potentially linked to insights from the diagramming exercises.
For the 2021–22 batch of student ambassadors, the Foundation maintained an ongoing dialogue by providing monthly updates about ongoing and forthcoming projects, forums, and publications, ensuring that ambassadors stayed informed and engaged with its activities.
One of the primary initiatives focused on raising awareness of modern and postmodern Indian architecture among students in their own cities. Ambassadors were encouraged to actively explore their surroundings, identify modern and postmodern buildings nearby, and delve into their histories. Working in collaboration with the Foundation, they contributed to the creation of a live map of these buildings, highlighting their significance and helping them gain the recognition they deserve. The Foundation also offered support in reaching out to the architects or relevant authorities and explored the possibility of hosting open-house events, where the entire student cohort could visit these sites and experience the architecture firsthand.
Another key initiative, Re-interpreting Charles Correa, was linked to the Foundation’s effort to publish a monograph on his work. As part of this project, student ambassadors were invited to redraw and reinterpret various works of Ar. Charles Correa. The initiative encouraged students to engage with his architectural legacy creatively, giving them the freedom to explore their own perspectives while understanding the design principles and thought processes behind his iconic works.
The third initiative, Pedagogy Dialogue, was conceived as a conversation series aimed at gaining deeper insight into the diverse teaching methods employed in architecture and design colleges across India. Through these dialogues, students were able to learn about different approaches to architectural education, the philosophies guiding them, and how pedagogy shapes the way future architects think, design, and respond to their environment. Together, these initiatives provided a holistic platform for the ambassadors to connect with architectural history, contemporary practice, and education in meaningful and engaging ways.
2021-2022 Cohort
Shannon Maria – Centre for Environmental Planning and Technology, Ahmedabad Vama Shah – Balwant Sheth School of Architecture, Mumbai Rachit Somani – School of Environment & Architecture, Mumbai Drashti Shroff – Kamla Raheja Vidyanidhi Institute for Architecture and Environmental Studies, Mumbai Ayushi Thakur – Sir J. J. College of Architecture, Mumbai Varun Phadke – D.Y. Patil College of Architecture, Navi Mumbai Anisha Hemanth Kumar – SJB School of Architecture, Bangalore Sheikh Mehruk – UVCE, Bangalore AN Muthuswamy – SRM school of Architecture and Interior design, Kanchipuram Diganth D – BMS College of Architecture, Bangalore Sakshi Ahuja – Jawaharlal Nehru Architecture and Fine Art University, Hyderabad Dulçio de Melo – Goa College of Architecture, Panaji Shevi Saxena – Jamia Millia Islamia, New Delhi Aaditi Sharad Tantak – Hiray school of design, Mumbai Manasa Ravikumar – Academy of Architecture, Mumbai Pinak Dalwadi – SAL School of Architecture, Ahmedabad Megh Mittal – VIT’s PVP College of Architecture, Pirangut Sathia Priyan – National Institute of Technology, Tiruchirappalli Poornima H – Acharya’s NRV School of Architecture, Bangalore Muskan Singhania – National Institutes of Technology, Rourkela Srabasti Lahiri – Piloo Mody College Of Architecture, Cuttack Kushal Jaiswal – Lokmanya Tilak Institute of Architecture and Design Studies, Navi Mumbai
Aashumi Shah – Centre for Environmental Planning and Technology, Ahmedabad Shreya Gupta – Balwant Sheth School of Architecture, Mumbai Akshay Savla – School of Environment & Architecture, Mumbai Yashvi Gala – Kamla Raheja Vidyanidhi Institute for Architecture and Environmental Studies, Mumbai Shreya Joglekar – Sir J. J. College of Architecture, Mumbai Gayatri Verma – D.Y. Patil College of Architecture, Navi Mumbai Nithya – SJB School of Architecture, Bangalore Keerthana Kishor – UVCE, Bangalore Amrutha Viswanath – SRM School of Architecture and Interior Design, Kanchipuram Shree Shakthi Vani – Karpagam Academy of Higher Education, Coimbatore Tarun – BMS College of Architecture, Bangalore Sakshi Ahuja – Jawaharlal Nehru Architecture and Fine Art University, Hyderabad Ayesha de Sousa– Goa College of Architecture, Panaji Dyan Kavan Lobo – Wadiyar Centre for Architecture, Mysore Snigdha Rao – Jamia Millia Islamia, New Delhi Vedant Desai – Hiray school of design, Mumbai Krish Jaiswal– Academy of Architecture, Mumbai Ragini Jain – School of Planning and Architecture, Bhopal Vaidehi Joshi – SAL School of Architecture, Ahmedabad Shivam Agrawal – VIT’s PVP College of Architecture, Pirangut Keerthi – National Institute of Technology, Tiruchirappalli Rehan Gattu – Acharya’s NRV School of Architecture, Bangalore Muskan Sighnania – National Institutes of Technology, Rourkela
“From very early on, I understood that design was a way of problem solving rather than just an exercise in aesthetics or personal expression. In architecture especially, it’s about organising space thoughtfully; considering how people move through it, how they use it, and how it responds to climate, site conditions, and available resources.” – Architect, educator, curator, and director of Charles Correa Foundation, Nondita Correa Mehrotra reflects on a design approach shaped by context and lived experience. She shares insights on meaningful spaces, climate responsiveness, and architecture’s evolving role
“Today our architecture is banal, partly because of contemporary existence is so, but also perhaps because we do not seek to express anything profound (or deeply felt) about ourselves, or the society in which we live,” wrote Charles Correa in an essay titled The Blessings of the Sky. This roots his entire architectural philosophy, visible across most cities of the country.
The next edition of the CCF Student Ambassador Program will be open for nominations shortly.
Eligibility
A student from the 3rd year of a Bachelor’s program in Architecture, Urban Design, or Urban Planning.
Highly interested, motivated, individuals who are interested in building a network, and contributing to our repository of resources.
Roles and Responsibilities :
To raise awareness and inform fellow students of CCF’s various initiatives.
To facilitate and ensure a wider reach of CCF’s resources and to expose students to Correa’s ideologies – this might include coordinating various public forums between CCF and your unique institution.
To participate in monthly update meetings (approximately 45 minutes long) and help in administering various tasks/activities/programs that are being proposed.
To represent your College at specific events, where you may present the work of your institution and engage in a greater public discourse.
To organize activities by hosting book clubs/film screenings/sketching activities within the campus.
To inform students on the CCF publications and their availability on our website.
To suggest potential collaboration between CCF and the student body during college festivals, events and college clubs.
To have fun! The Charles Correa Foundation encourages all Student Ambassadors to willingly embrace their roles and responsibilities, and explore new avenues that we can facilitate for you, ensuring that your participation is both meaningful and enjoyable!
Nominations
The next edition of the CCF Student Ambassador Program will be open for nominations shortly.
A meandering journey through the archives of one of Charles Correa’s most significant institutional projects.
One of the many courtyards that organize IUCAA’s masterplan. Photograph taken by Mahendra Sinh.
For a novice, at least in the complex fields of astronomy and astrophysics, the most gripping part of outer space is its scale — the sheer enormity, the vastness, the dizzyingly unfathomable extents of ‘nothingness’. Working with an archival masterplan of the Inter-University Center for Astronomy and Astrophysics, or IUCAA, gave me the same feeling of disorientation. Completed in the early 1990s, IUCAA was the second ‘Inter-University Center’ (IUC) — autonomous centers set up by the University Grants Commission designed to act as national coordinating bodies to create centralised facilities that could be shared by all universities. In July 1988, IUCAA was granted 8 hectares of land near Pune University, and Charles Correa was chosen to design the buildings.
Reading a plan for the first time is a bit like learning the rhythm of an unfamiliar song, and this one — especially at the masterplan scale — was particularly elusive. Correa himself1 describes the structure of the plan as more organic than a strict grid;
“an axis which is actually shifting, yet not breaking off at any point…”
The very apparent asymmetry that this generates is what makes the building contemporary. Compounding this was the sheer scale of the institute; in 1992, just 4 years after being granted a site, it stood as a mammoth 150,000 square foot campus.
The 3 sites of IUCAA, with the central institute, interspersed by campus roads. Archival drawing from the Charles Correa Archives.
When a project is studied as a process rather than an outcome, a retrospective curation becomes all the more complex. Every line I drafted was accompanied by a lingering angst – that I was not correctly capturing the original intention of the architect, that the wall itself was built differently than the drawing, that there was somehow more to these walls that I was blissfully unaware of. This was when I took a deep dive into ‘the IUCAA story’ – how it had been written about, spoken about, critiqued – essentially positioning it in its context. It was quite evident that collaboration must have been essential for a project of this scale to have been executed in such a short time. After realising that Correa accepted the project on the condition that the scientists worked with him to bring the imagery and concepts of astronomy into the builtform, I knew that these were the tenets of this institute, and what made it so unique.
But what does this abstraction – the ‘cosmos’, the mandala – mean for an architect? Correa’s translation of concepts into architectural gestures was not an act of force or imposition, but rather an acceptance of the land, the trees, and the terrain. While IUCAA is known for its imagery, such as the Foucault pendulum and its spiral staircase, there are much subtler nuances that catch one by surprise.
The ‘sweeping lines’ of black stone, articulated as black walls. Archival sketch by Charles Correa, from the Charles Correa Archives.
The first gesture that I noticed in the plan was the sweeping lines – articulated as imposing black walls that are meant to draw a visitor in. Even a CAD drawing reflects the sure movement of the hand that sketched them. An elevation revealed the layers of the walls: local basalt at the base, followed by courses of a blacker kuddapah, and topped finally by glossy black granite, described by Correa2 as
“black on black on black – the infinity of outer space.”
Three layers of black stone allude to the increasing ‘blackness’ of outer space. L: Archival drawing from the Charles Correa Archives | R: Photograph taken by Rahul Mehrotra.
As I worked my way through the rigour and complexity of the masterplan one block at a time, the organic nature of the grid, flowing and bending for light and openings, began revealing itself. A conscious effort was made to treat each block not as an isolated entity but a part of a system, understanding the whole as much more than the sum of its parts but also the part itself as a whole. The play of scale — unapologetically cosmic one minute and tenderly humane the next — beautifully parallels a layperson’s understanding and perception of the ‘cosmos’.
Slowly, the distinctly ‘Correan’ aspects of the project started to emerge. The interplay of volume and void, the articulation of spaces around courtyards: places in the sun and shade, so to speak. The variation in these open spaces is reminiscent of the hierarchy of courtyards in Belapur Housing, built in Navi Mumbai just a few years prior (the project was completed in 1986, two years before IUCAA began).
L: The play of scale is beautifully seen in the statues in the central courtyard. Photograph taken by Rahul Mehrotra. R: The figure-ground plan depicts the interplay of volume and void. Archival drawing from the Charles Correa Archives.
The largest of these courtyards — the central square — takes the form of a ‘kund’, or well; another clear indicator of its architect. However, rather than being filled with water, the kund is bound by a delicate pattern of granite steps, with stones set into the grass along one diagonal, almost flying apart. On investigating this further, I saw the careful balance between the allusion to astral imagery and the grounding of an architectural gesture – in this case, directionality.
The stones that span the diagonal of the kund ‘fly apart’ with energy. L: Archival drawing from the Charles Correa Archives | R: Photograph taken by Mahendra Sinh.
This kund was intended as a metaphor for the expanding universe: the stones are ‘bursting’ with centrifugal energy but also set a directional axis that leads to other facilities in the centre of campus.
The two ‘Pillars of Charles’3 which flank the narrow path at the entrance – columns of exposed concrete melting into the powder blue of the sky – hold the anecdotal memory of one of the young architects in Correa’s office who had climbed the column and poured blue paint on it. These pillars reappear almost 30 years later in an institution halfway across the world; the Champalimaud Centre in Lisbon.
The ‘Pillars of Charles’ at IUCAA in Pune (left) and at the Champalimaud Centre in Lisbon. L: Photograph taken by Rahul Mehrotra | R: Photograph taken by Colin Mosher.
When I studied the dome that lies to the west of the kund, I saw that it was quite literally a reflection of the heavens. The scientists at IUCAA had calculated, through complex mathematics, the exact distribution of stars as they existed in the sky the day IUCAA’s foundation stone was laid — 8.30 pm on December 29 1988. This ‘star pattern’ was then mapped onto the dome, where small pieces of glass were placed before it was cast. The finished dome was painted black on the inside, creating the effect of standing in bright daylight under a bedazzled, ‘starry’ sky. Far from being alien and unknown, IUCAA now felt so familiar; I could see how astronomers sometimes referred to faraway stars as their friends.
The bedazzled dome with glass-puncture stars of sunlight. Photograph taken by Mahendra Sinh.
If, as Correa describes4, “the entire building is like a painting”, then its archival study has been more like a dance. My perception of scale transformed from the disorientation of reading the masterplan to the intimate familiarity I had with each block and its unique gestures. In reconstructing from the Archives, engaging with the project clarified my responsibility: not to recreate the most correct drawing or convey the most accurate version of events, but rather to tell a story — to someone who may not speak the language of space, architectural or scientific. One where the collaborative nature of the program was first reflected in its design and construction, where symbology, science, and structure found a common home.
The story of IUCAA.
– Written by Amrita Goyal, Research Fellow
IUCAA is one of close to 200 projects that the CCF team has been curating for the upcoming monograph on Charles Correa, scheduled for release later this year. If you have any information or drawings related to any of Charles Correa’s works, please reach out to us atconnect@charlescorreafoundation.org.
Footnotes:
1, 4 ‘Charles Correa – Traditional Concepts, Astral Effects’, and ‘Profile – Charles Correa’, cover story by Chintamani Bhagat, Indian Architect & Builder, Bombay – August 1991, pg. 31-32. 2 ‘Pradakshina: The Works of Charles Correa’, by Charles Correa (Special Report), Approach, Tokyo – Summer 1994, pg. 5. 3 ‘Architecture, Astronomy and the Cosmos: From Conversations to a Masterpiece’ by Ajit Kembhavi, presented at the Z-Axis Conference 2024, Mumbai — October 13, 2024. Kembhavi’s talk was instrumental in gathering anecdotal evidence of the project.
Kala Academy, Goa’s iconic cultural hub, faces significant structural challenges, warns a recent inspection led by IIT Madras. The expert team, including civil engineering professors and PWD officials, conducted a thorough visual inspection and recommended an extensive structural overhaul based on observed corrosion risks and water damage.
Venue: Maquinez Palace, Old GMC Complex, Panaji, Goa
India has a strong tradition of films that explore cities as characters in themselves — their social dynamics, architecture, chaos, and contradictions. Over three days, the Nagari Film Festival presents a curated lineup of Indian films and discussions that engage with urban life through fiction, documentary, and experimental cinema.
The festival opens with the Nagari 2025 Award Ceremony, premiering this year’s anthology of short films and initiating a dialogue on the role of the public realm in our cities. The following days feature themed screenings and conversations exploring how cinema reflects, critiques, and reimagines the urban experience.
There are multiple ways to reach Goa, with air travel being the quickest option. Goa International Airport (Dabolim, GOI) in South Goa is about 30 km from Panaji, while the newer Manohar International Airport (Mopa, GOX) in North Goa is around 35 km away.
If you’re arriving by train, the main stations are Madgaon (Margao) and Vasco-da-Gama. The Konkan Railway offers scenic routes from Mumbai and Karnataka, with direct trains also available from other major cities across India. The closest station to Panaji is Karmali Railway Station.
Goa is also well connected by road, with both Kadamba Transport Corporation (KTCL) and private operators running frequent bus services from major cities like Mumbai, Pune, Bangalore, and Hyderabad.
Within Panaji, you can easily get around using the city’s EV Smart Buses, which operate across six routes and connect key parts of the city. Auto-rickshaws and pilot bikes (motorbike taxis) are also available, offering flexible and affordable ways to travel short distances. The easiest and cheapest option is to rent scooter bikes.
Click the poster to watch the film or follow the link here.
In the bustling Sadar Market of Agra, a group of children who sell balloons in the market take us along as they navigate between work and play, hostility and joy, commerce and friendship in the urban space that is designed to exclude them. In this vehicle-choked public realm, we observe their routine of overcoming various barriers and intuitively carving spaces for themselves. With their games and tender resilience, Pakdam Pakdai celebrates children’s agency in employing the act of play to claim space amid the relentlessness of the city.
Manaveeyam
Click the poster to watch the film or follow the link here.
Street cultures across the world can shape socially conscious societies. This documentary asks whether public space development is merely an infrastructure upgrade or a catalyst for cultural evolution. Manaveeyam Veedhi, once informally reclaimed by street collectives, was renovated in 2023 as a cultural corridor under Kerala’s Smart City Project, ensuring 24/7 public access. The film explores its spirit through stories of inclusion and accessibility, following a young man who works as a juice maker at Manaveeyam and later becomes a singer through music collectives, a non-binary lesbian who shares their story of how the space gave them the confidence to acknowledge their identity. We also see artists as well as families mingling together to make it a vibrant space. The film also reflects on civic responsibility, asking how people engage with the freedom such spaces offer and concludes with an introspection on whether the Manaveeyam model can be sustained and replicated in future.
ফুল গাড়ি (Scent of Nocturnal Flowers)
Click the poster to watch the film or follow the link here.
Phool Gari (Scent of Nocturnal Flowers) explores a small patch of land beside Barasat station that transforms each night from a bustling auto stand into a flower market. As the last autos leave, flower vendors arrive, setting up makeshift shelters, dozing under the open sky, and waiting for the first Bongaon Local, the train they call Phool Gari, to begin their trade. As metro construction slowly encroaches, swallowing the space they call their own, the film observes their quiet rhythms, the delicate balance between labour and survival, and the fleeting moments of community that emerge in the margins. Phool Gari reflects on belonging, resilience, and the struggle to hold onto life in a suburban landscape that constantly redraws its edges, where the same ground quietly serves different livelihoods across the day and night.
Pascal Premier League
Click the poster to watch the film or follow the link here.
Pascal Premier League is a film about the transformation of a street with a deep history of violence, displacement, and change into a space of joy and community. Set on Shahid Road in Jogeshwari East, a neighbourhood once marked by the 1992–93 Bombay riots, the film observes how a group of young boys reclaim this narrow lane by establishing their own cricket league. What was once a site of fear and memory now becomes a field of play and laughter. The act of reclaiming this space is both resistance and celebration, reflecting how everyday life, imagination, and play can redefine the meaning of public space in a city constantly reshaped by ever-consuming change and evolution
Deewar Nāma (Chronicles of the Walls)
Click the poster to watch the film or follow the link here.
Deewar Nāma (Chronicles of the Walls) is a reflective documentary that journeys through Mumbai’s walls — from the bustling lanes of Charni Road to the fading murals of Bandra — uncovering how they speak, remember, and sometimes disappear. What begins as a filmmaker’s casual curiosity about street art unfolds into a meditation on expression, erasure, and ownership. Through encounters with muralists, commuters, and anonymous street artists like Tyler, the film captures the fragile dance between creation and censorship, memory and renewal. Each story — of a woman seeing her past on a painted wall or an artist risking arrest for his message — reveals how the city’s surfaces mirror its soul. As the colours fade and the walls are repainted, Deewar Nama asks: when everyone can speak, what truly deserves to be said?
How much space does a firefly take?
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‘How much space does one take’ is a question Kabir asks as he performs his solo play about his trans-ness and belonging in a city. Interwoven with phone calls from different trans people recounting their experiences of navigating urban public space, his play takes shape to become a testament of trans memories, struggle, and reclamation. The film questions the idea of identity driving one’s experiences with public space. Who are the cities made for? Who are they accessible to? Why do queer people need to be invisible while traversing through the city?
Hissa
Click the poster to watch the film or follow the link here.
Hissa tells the story of two migrant barber brothers who have spent their lives cutting hair on the streets of Mumbai’s Dhobi Talao. Their small setup survives on the edge of legality as their chairs and mirrors spill onto the road. Though they come from the same family of barbers, their dreams divide them. The younger wants to return home once his son begins earning, while the elder believes the city has become his home. The story is narrated by a young girl, the elder brother’s daughter, who recalls a fable told by her grandfather about frogs seeking shelter in a pond full of fish during a drought. Through her voice, the film reflects on what it means to belong, to survive, and to choose one’s place in a restless city. Hissa is about inheritance, and a claim to space in the contested public realm.
Mauj Ni Khoj (Seeking Fun)
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In the small city of Bhuj, two young Muslim women navigate societal and familial restrictions, carving out fleeting moments of joy in the city. The film follows their friendship, revealing how the public realm is both constraining and resilient, where small defiant acts create space for “mauj” (fun). Through their eyes, we explore: What does “mauj” mean for young Muslim women in the small city of Bhuj? Where do the boundaries of safety and freedom lie-and who draws them?. Their story is not just about restriction, but also of finding laughter in the margins, about friendship as sanctuary, and about the quiet, everyday acts of rebellion that make fun possible-even if only for five minutes at a time.
In Search of Humans
Click the poster to watch the film or follow the link here.
Set in a restless Kolkata, ‘In Search of Humans’ observes a city where digital and real worlds merge, dissolving the boundaries of public space and human emotion. Through fragments of protests, daily life, and screens projecting chaos, it reflects a time shaped by fear, surveillance, and disillusionment. A poem flows through these moments, weaving collective anxiety, loss, and fragile hope into the city’s pulse. Blending documentary, AI-generated imagery, Gaming graphics, and personal archives, the film reveals how people move within self-made boxes. Amid this fractured landscape, ‘In Search of Humans’ searches not for answers but for traces of empathy, tenderness, and resistance that still survive in silence.
महाद्वार (Mahadwar – The Great Corridor)
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Mahadwar journeys through the fading rhythms of Mahadwar Road — a historic street in Kolhapur that once pulsed with trade, devotion, and daily life. As large-scale redevelopment plans surround the Mahalaxmi Temple, the film reflects on what is lost when progress erases memory. Through nostalgic visuals, intimate sounds, and a deeply personal voiceover, the director revisits the street of her childhood to understand its transformation. Between the noise of politics and the quiet resilience of people, Mahadwar stands, asking: Are development and expansion truly the same? What happens to the life of a street when its physical body disappears, but its pulse still lingers in memory?r
Through The Dappled Light
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Through the play of dappled light, the film reflects on the lives of Chandigarh’s informal workers: visible yet overlooked, ever-present yet structurally invisible. These lives exist in the shadows, not in hiding, but not entirely in the light of urban recognition. Through the stories of a barber, a chaiwala, a kelewala and labourers, we explore how their presence, among the trees of Chandigarh, offers affordable services and helps generate a social public realm for the lower-income classes. Chandigarh’s planned 74,000-tree cover offers much-needed relief from the elite and programmed, hard, paved and monotonous edges of the roads and sectoral grids. These workers occupy this shade without tenancy or title, instead operating under intermittent licenses issued post the 2014 Street Vendor Survey. As they anchor themselves with these trees, they momentarily step outside their ‘worker’ identities to rest, to play cards, to share tea or gossip, and to simply be.
Valai Pinnal
The film is yet to be completed and will be added later on our YouTube channel. Keep an eye out for the film.
The fisherfolk of Nochikuppam navigate the shifting landscape of their homes in the wake of government interventions. Through myriad acts of preservation of materials, documents and oral knowledge, the film explores the people’s resistance and their relationship to space.
The Charles Correa Foundation (CCF) announces a vacancy for a Senior Fellow at the studio based in Fontainhas, Goa. Submit your applications before 19 October 2025 for a position opening November 2025.
Requirements:
Professional degree in architecture with at least two years of work experience.
Demonstrate leadership in team-building.
Familiarity with accounting and estimates, understanding of WordPress and social media platforms.
Ability to delegate work and manage the day-to-day activities of the Foundation.
Proficiency in the following software: Autocad, Sketchup, Adobe Suite (Photoshop, Illustrator and InDesign).
Portfolio of work (include academic and professional work), maximum 15 pages.
Essay – 500 words (max). Choose any one of the following prompts:
Based on CCF’s motto of ‘Education and Research in Human Settlements’, propose a pilot project for the Foundation, briefly touching upon all the aspects required to take it forward. You may refer to ongoing and past initiatives of the Foundation for inspiration (available on our website: charlescorreafoundation.org).
Are structures built within the last 100 years—what we call modern heritage—worth actively preserving? Write a case for or against this question critically referencing a structure that has been (or is scheduled to be) demolished.
Writing sample from an earlier academic paper or journal publication.
JOB DESCRIPTION
Primary responsibility is to assist the Director and Managing Trustee in order to ensure the smooth execution of CCF activities.
Organise national and international events, exhibitions, lectures, workshops and conferences which discuss the Charles Correa archives and ideas for improving the urban realm.
Guide and support the Research Fellows in incubating research or projects around the improvement of our natural and built habitat.
Coordinate with relevant partners to publish on Charles Correa’s philosophy and work, as well as Foundation projects and research
Write about concerns and issues related to architecture and urbanism, represent them through the CCF blog, newsletter, etc.
Lead the documentation of drawings and photographs of Charles Correa’s built and unbuilt projects, sketches and essays.
Present Charles Correa’s archives, his philosophy, and work, to student groups, and professionals visiting the Foundation.
Oversee the day-to-day running of the Foundation studio alongside the administrator, including keeping an account of costs incurred and basic accounting of the Trust.
The Charles Correa Foundation (CCF) announces the 2025-2026 cycle of the Research Fellowship, a program based in Fontainhas, Panaji, Goa.
Apply by 19 October 2025 for a year-long position opening November 2025 with the following qualifications:
Proficiency in using the following software – InDesign, Photoshop, Illustrator, AutoCad + SketchUp.
Academic Architectural Portfolio.
Essay – 500 words (max). Choose any one of the following prompts:
Are structures built within the last 100 years—what we call modern heritage—worth preserving? Write a case for or against this question referencing a structure from your city.
How are cities talked about? Choose a film (it can also be a short film or a documentary) with an urban lens and analyse how it portrays a city, elaborating on how film can be a medium for urban discourse.
Writing sample – from an earlier academic paper.
During the Fellowship, you will be required to:
Work on the documentation of drawings and photographs of Charles Correa’s built and unbuilt projects, sketches and essays.
Reference archival material to redraft drawings for publications/exhibitions. Assist in creatively designing and scheduling of the events related to the activities of the Foundation.
Organise and work on outreach programs of the Foundation through publications, conferences, exhibitions and workshops.
Assist in work related to acquiring funding for projects or events related to the activities of the Foundation such as preparation of dockets, posters, invitations, etc. Work on writing up about concerns and issues related to architecture and urbanism, and represent them through essays, blogs, etc.
Creatively communicate outputs and learnings from past and on-going projects to increase the Foundation’s engagement across various social media platforms and our website.
Make presentations on the Charles Correa Archives, on his philosophy and works, to keen visitors coming to the Foundation, ranging from travellers, student groups and professionals.
Assist in preparation of project proposals, surveys and documentation, mapping and analysis, graphics, essays and presentations related to the research project, including coordination with agencies (government or private) for permissions, status, fees, etc.
Fellows will receive a monthly stipend of ₹22,000/-
The Charles Correa Gold Medal is an award initiated in 1998 by Indian architect and urbanist Charles Correa. Through the format of the Gold Medal, the Charles Correa Foundation intends to not only challenge students and schools of architecture to focus on pressing issues, but also to emphasize the role that architects can play in society as “agents of change”.
This year, the Charles Correa Gold Medal focused on thesis projects that addressed ‘Equitability through Design’. By raising the question, ‘Who are we designing for?’ the Gold Medal sought to reflect on the opportunities and responsibilities that we as architects have in creating spaces that are equitable and inclusive. This encompasses equal access to space, shelter, infrastructure and the commons.
AWARD CEREMONY
This year, the Award Ceremony took place at the Ice Factory Ballard Estate, Mumbai on the 16th of September at 6pm. The evening commenced with the launch of the newly published ‘Designing Equitable Cities’, followed by a discourse from Samir D’Monte on his range of projects, before culminating with a brief jury deliberation session and lastly, the Award Ceremony for the Charles Correa Gold Medal 2025.
BOOK LAUNCH – ‘DESIGNING EQUITABLE CITIES’
As part of the Award Ceremony of the Charles Correa Gold Medal 2025, Amit Chandra, co-founder of the A.T.E Chandra Foundation and Chairperson of Bain Capital, was invited to launch the newly published ‘Designing Equitable Cities’ – the Z-axis 2018 conference proceedings. The third edition of Z-Axis – the biennial conference organized by the Charles Correa Foundation – drew on expertise from around the globe to debate and articulate the agency of architecture and planning in creating equitable cities. With the theme ‘Designing Equitable Cities’, the conference brought speakers from across the world to offer their perspective on urban equity.
TALK BY SAMIR D’MONTE
Samir D’Monte, founder of SDM architects and jury member of Charles Correa Gold Medal 2025, presented select works to the audience, with a talk titled ‘My journey as an architect, and how to save Mumbai city.’ His work spans technically intensive buildings, institutions, housing, industrial projects, and master plans. Notable works include the BMW Guggenheim Lab Mumbai, a floating restaurant in Goa, conservation of the Jaisalmer Fort, and aircraft hangars at Delhi Airport.
JURY DELIBERATIONS
Four out of the five jury members deliberated this year’s theme ‘Equitability through Design’ and the thesis entries that most accurately addressed the prompt, tackling spatial injustices through design. Rohan Varma’s address to the audience was in the form of a short video, reflecting his take on this year’s theme and the relevance of choosing the right train of thought to anchor one’s design interventions.
JURY
The jury for the Charles Correa Gold Medal 2025 is Vandana Ranjit Sinh (Architect and Academic), Shilpa Ranade (Architect, Researcher, Writer), Rohan Varma (Architect and Researcher), Ainsley Lewis (Urban Designer and Academic) and Samir D’Monte (Architect and Urban Designer), where they mainly looked for entries that consider the site and context of the proposed project with clarity in the formulation and addressal of real-life issues.
Gold Medal 2025 Winner
‘Architecture of the Sacred Commons : Pamban Island’ by Kshitij Churi
This design intervention is ecological in origin, and laudable for its programmatic evolution of ‘modern sacredness’; it illustrates a great continuity of what is a sacred and fast disappearing way of life. Water conservation forms have been venerable and deeply rooted to our culture, and the program speaks to making those nuances accessible to all. From more traditional notions to the contemporary, the translation of these notions have unfolded with restraint and intelligence. Equity is addressed through accessibility; a series of water bodies made available to the community. A very elaborate study drawn with a sensitive hand.
Honourable Mentions
‘In the search of light : A case of Subhash Nagar’ by Akash Kamble
When the needs of the community are not considered, who are we designing for? Backed by a participatory approach, the case of Subhash Nagar contests the status quo of current SRA (Slum Rehabilitation Authorities) working models in large metropolitan cities such as Mumbai. Following an excellent study on the unit and typology, equity through design is achieved by actively involving the end users to reimagine their homes and surroundings as a pleasant and liveable community. The volumes of spaces were addressed across multiple scales and user groups, culminating in the synthesis of many disparate elements into one cohesive whole. A commendable, honest and hopeful take on affordable housing.
‘Aabhas : A sense of Home’ by Pranjal Prakash Tak
This clever, convincing proposal balances standardization of units and the adaptability of spaces to create versatile communal areas. Through a systematic approach, it achieves a technical resolution of the typology. This in turn facilitates placemaking in a temporal setting, lending agency over the land. Equity is at the forefront of the design, reinforced by the possibility of customizable clusters and densities, entirely facilitated by the users. ‘Aabhas’ is a refreshing and relevant inquiry on housing models for transit populations; those who build our houses!
AWARD CEREMONY
Watch the Award Ceremony of the Charles Correa Gold Medal 2025 above.
Vandana Ranjitsinh is an architect and educator who is a Founder Principal of Ranjit Sinh Associates. A graduate of the Centre for Environmental Planning and Technology, Ahmedabad, Vandana began her career with prestigious firms like Atelier Dolf Schnebli Associates, Switzerland; with Kamu Iyer at Architects Combine, Mumbai and Kuenleg Professional Consultants, Bhutan. At Ranjit Sinh Associates – established in Mumbai in 1982 – her work focuses on a commitment to design and environmental sustainability. With over four decades of experience as an educator, Vandana has taught Architectural Design and Theory at the Kamala Raheja Vidyanidhi Institute of Architecture, Mumbai since 1993, where she has previously held the position of Chairperson of the Academic Forum. She has conducted workshops and has been a juror across various universities. In 2011, she was awarded Best Architectural Design Teacher by the Maharashtra Association of Schools of Architecture.
Samir D’Monte
Samir is the Principal Architect of SDM Architects, a Mumbai-based firm he founded in 2008. With over 23 years of experience in design and execution of large-scale projects, his work spans technically intensive buildings, institutions, housing, industrial projects, and master plans. Notable works include the BMW Guggenheim Lab Mumbai, a floating restaurant in Goa, conservation of the Jaisalmer Fort, and aircraft hangars at Delhi Airport.
He is also a founding member of Bandra Collective, a group of architects working on public projects in and around Bandra, where he has contributed to the Carter Road Promenade redesign and the revitalisation of Ranwar Village. Deeply engaged in citizen-led initiatives, Samir continues to shape both built environments and public life in Mumbai.
Ainsley Lewis
Ainsley Lewis, Dean of the M. Arch program at USM’s Kamala Raheja Vidyanidhi Institute for Architecture and Environmental Studies (KRVIA), is an urban designer and has been a distinguished academician for more than two decades. His pedagogical philosophy centers on the synergy between architectural research and manifestation, grounded in semantics and phenomenology. He has contributed significantly to architectural education through capacity-building workshops and lectures on Architectural Design, Informal Housing, and Conservation. Professionally, his firm’s exploration of spatial nomenclatures has earned him national and international recognition, including the UNESCO Asia Pacific Cultural Heritage Award of Merit in 2019 and IIA National Award winner in 2021. He recently presented a paper at the UIA2024KL international conference of architects. His work has been published in professional journals of architecture, conservation, urban design, and interior design.
Shilpa Ranade
Shilpa Ranade is a practising architect and researcher based in Mumbai. She is founding partner with Quaid Doongerwala of the firm Design Cooperative (DCOOP), where her portfolio includes campus planning, institutional buildings, housing, interior and product design. As a researcher, her areas of interest are architectural theory, gender studies, and the intersection of social and material space. Shilpa is the co-author, with Shilpa Phadke and Sameera Khan, of the critically acclaimed book “Why Loiter? Women and Risk on Mumbai Streets”. She is actively involved in pedagogy as a visiting faculty and reviewer at institutes across India.
Rohan Varma
Rohan Varma graduated as an architect from the University of Mumbai and worked for Charles Correa between 2008 and 2010 before receiving his master’s in architecture from the TU Delft as a Tata and Mahindra Scholar. He currently divides his time as the Principal Architect of VARMA Architects with his work at the TU Delft, where his doctoral research and teaching activities focus on affordable housing in the rapidly urbanising cities of the Global South. In 2018, he co-curated an international travelling exhibition on the housing designs of Charles Correa. More recently, in 2020, he was appointed as a Delft Global Fellow, and in 2022, he, along with his colleagues at TU Delft, won the global edX Prize for the online course ‘Global Housing Design’. In 2023, he was appointed editor of the journal Delft Architecture Studies on Housing.
Nearly three months after the Indian Institute of Technology (IIT) Madras agreed to conduct the long-awaited structural audit of the Kala Academy, the Goa government is yet to begin the process to onboard the experts officially.
Author: Fathima P.V Site Location: Willingdon Island, Kochi, Kerala Institute: MES College of Architecture Advisor: Ar. Vijaya Nhaloor
Description
‘Rooted in Reality, Responsive by Future’ is a design philosophy that begins by acknowledging the truths of an existing place, its people, building patterns, and lifestyle while shaping interventions that can adapt to future needs. It is about respecting the identity of a community while equipping it for resilience and growth. In this rapidly urbanizing society, the chance of eviction for underprivileged settlement like Vathuruthy colony is high, often in the name of ‘development.’ This thesis challenges that approach, proposing an inclusive alternative for the Tamil migrant community on Willingdon Island. Established in the 1960s to support naval base construction, the colony has grown organically, developing strong social ties but also facing congestion, poor infrastructure, and flood vulnerability. Through a land pooling strategy, the design reorganizes the fabric into cluster-based layouts that retain familiar spaces while introducing improved housing, shared public areas, and climate- resilient infrastructure. The approach ensures equitable access to resources, prevents displacement, and strengthens community identity, transforming Vathuruthy in a way that evolves from its past while preparing it for the future.
Author: Sivani Dirisala Site Location: Hyderabad, Telangana Institute: Wadiyar Centre for Architecture Advisor: Nelson Pais
Description
In contemporary urban environments, particularly in cities like Hyderabad, the adoption of standardized construction technologies, combined with bylaws such as an uncapped FSI, has fueled a surge in high-rise developments dominated by typical 3BHK and 4BHK layouts, regardless of actual demand. While these practices streamline construction and reduce timelines, they have also led to a homogenization of housing—prioritizing profit and maximizing returns. This market-driven approach creates a monopoly over centrally located land, making housing in the city center inaccessible to the working class and other family structures.
This project positions itself as a counterpoint to existing housing models in the city’s core. Instead of vertically repeating a single layout and multiplying it across the site, it introduces varied layouts that respond to diverse family structures. The design takes a different approach where the smallest parts also dictate how the overall project turns out. The relationships between these units are explored to create shared spaces and commonalities across multiple scales, reimagining density as a network of connected communities. The proposal aims for a context-sensitive density model—one that prioritizes livability and long-term community well-being over short-term commercial gain.
Author: Priyal Patel Site Location: Vishwanath Gaali, Varanasi Institute: MIT School of Architecture, Pune Advisor: Dr. Neeti Tirvedi
Description
The handloom industry of Benaras has served the livelihoods of over 75% of the population, predominantly comprised of Muslim weavers, for more than 400 years. The craft is developed as a legacy of their ancestors, continued by successive generations. However, the lackadaisical view towards the weavers in Benaras have forced them to live in a sub- human environment, creating an adverse impact on the craft of handloom weaving, leading to migration of weaver’s community to the periphery. The craft is facing the threat of extinction due to the exploitation of weavers by Gaddidars (traders), and growing usage of power looms, which enable faster and more cost-effective production. Housing Conditions: Due to insufficient income, multi-weaver families live in overcrowded and uninhabitable conditions, sharing the same limited space for both domestic activities and weaving production. According to the research and documentation of existing dwelling units in Vishwanath Gaali, we observed the need for a space which would incorporate the weaving activity separately along with the domestic work. The Aim of the Project: The aim of the project is to commercialize hand loom weaving by bridging the gap between the weavers and the local community in the old town of Varanasi. The intent is to create tangible spaces for intangible interactive experiences that engages both residents and weavers, bringing the craft into the public realm by showcasing it on the streets of the city. By integrating tangible aspects of urban design with the intangible cultural heritage of weaving, the initiative seeks to safeguard the weaver community within the old town, thereby preserving the essence of traditional hand loom craftsmanship. The Site Plan: The design of the site plan is inspired from the process which is involved in pre and post weaving activities. The project aims at creating a weavers walk which would involve the experience of viewing the processes of weaving by the tourists. The weavers would also be provided with stalls at the end of the walk where they can display their art and sell their products together. The design of the site plan is done in a way to encourage the weavers to carry out activities such as washing of threads and dying work done together in the central area of the site. This would ultimately connect the local weavers to their potential clients simply without an interference of the traders. This also involves an additional source of income for the women to run food stalls along with their weaving studios. This would inculcate in them, a sense of inclusivity and security within the community of the old town of Varanasi and ultimately preserve the age-old craft of handloom weaving.
