Team I was in charge of the compilation, and photographs was provided courtesy of the architects. A lovely union of Indian art and design can be seen in the new gvk chhatrapatishivaji international airport terminal 2 in Mumbai, which is the commercial capital of India. This terminal was designed by skidmore, owings & merrill (som) architects. The new elongated x-shaped air hub was opened on January 10, 2014, and it orchestrates the complicated network of people and aircraft into a design that seems natural and reacts to the region’s rocketing expansion. The airport was also launched on this day. The new terminal consolidates domestic and international passenger services under a single massive roof, making it one of the biggest in the world to not have an extension joint. This improves the efficiency of terminal operations and shortens the distances that passengers must traverse. The long-span capabilities of the steel truss construction allow for the spacing of thirty 130-foot columns, which generates a big column-free center pedestal. This design is evocative of the open pavilions and indoor courtyards seen in traditional regional architecture. There is a reference to the peacock, which is both the national bird of India and the emblem of the airport, in the little disks of colorful glass that are recessed inside the canopy’s coffers. These disks are scattered throughout the hall below. Rather than compartmentalizing terminal functions, three symmetrical concourses radiate outwards from a central processing core or ‘headhouse’ that sits atop highly adaptable and modular concourses. These concourses, in turn, are easily reconfigured to “swing” between serving domestic flights and international flights, thereby maximizing the terminal’s perimeter for aircraft gates. Terminal 2 has a high-performance glazing system that has an unique frit pattern to reduce glare and ensure maximum thermal efficiency. The terminal’s curtain wall has perforated metal panels that filter the low western and eastern sun angles, creating a comfortable day-lit space for passengers who are waiting. Additionally, the terminal has responsive daylight controls that balance the levels of light both outside and inside, resulting in optimal energy savings. It is said that strategically placed skylights throughout the check-in hall reduce the terminal’s energy usage by 23 percent, while a 50-foot-tall glass cable-stayed wall that is the longest in the world creates a transparent facade, going back to times of yore and allowing accompanying well-wishers to watch as their friends and family depart from the airport. In the same way that the four-story terminal commemorates Mumbai’s new high-tech, global character, the construction is loaded with answers to the local context, history, and culture. Interiors that make strong use of Indian textiles were designed by prominent Indian fashion designers Abu Jani and Sandeepkhosla, who are recognized for their unique flare for Indian patterns. They were responsible for creating the interiors that reflect this usage. The atmosphere of the terminal is elevated above the typical, often unimaginative airport experience by the incorporation of culturally referential fixtures and details such as custom chandeliers inspired by the lotus flower and traditional mirror mosaic work created by local artists. Additionally, over 6000 artifacts sourced from across India and a mammoth art project featuring 1500 artists contribute to the overall design of the terminal. The terminal is a showcase of the history and traditions of India and Mumbai, and it is also an unprecedented achievement in terms of its structural and technological development, thanks to the use of contemporary materials and technologies as well as cutting-edge strategies that set a new standard for the design of modern, environmentally friendly airports. Please visit inditerrain.indiaartndesign.com in order to see the photographs.
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