P o r T f o l i o
A D H A R S H
01 CONTENT
COMMUNITY LOCALE pg.no. - 04-09
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LAYERED LENSES
pg.no. 10-14
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THE SUBLIMINAL CURVE pg.no. 15-17
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THE PARASITIC TRELLIS pg.no. 18-21
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EXPLORATION WORKS pg.no. 22-29
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COMMUNITY LOCALE
location: Kovilmedu,Coimbatore
The design for an addition to a temple complex in a neighbourhood in Coimbatore to facilitate community gathering and collective growth of a micro urban setting. The project is a two fold exploration programmatically and use of materiality to elucidate the cohesive architectural language.
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R O O F P L A N O N N O R M A L DAY S
C O N C E P T The temple which is located at the shorter edge of the site served little purpose to host gathering during festivities. The design solution here was to incorporate a kitchen and dining facility to allow for crowd concentration. A light bamboo roofing structure over the extended plinth manifested the play of changing light and shadow through the day.
ROOF PLAN ON OCA SSIONS
D E S I G N Bamboo framework
Used fabric
Collapsible system
G R O U N D F LO O R P L A N
E L E M E N T S
The design of the kitchen as the hearth of the intervention allows the function to take centre stage. The extended plinth sets the datum for hosting crowds while not necessarily congregating in one place. The form making of the project is such that it dictates the movement pattern within the complex. E A S T E L E VAT I O N
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M a t e r i a l i t y The choice of bamboo as a primary material for this project is to elevate this highly versvatile material and its abundance of structural integrity. The roofing for the temple complex sets the tone for the rhythmic bamboo slats setting a language, which is followed along the open extended plinth. Bamboo also provides scope for future expansion and temporary extensions, left as a choice to the neighbourhood to suit their needs.
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C O N C E P T As part of the two fold exploration, the major parcel of the site is envisioned as a space for community benefit. The design approach here is to use the linearity of the site to advantage and create an open plinth level plan which functionally serves the programs included therein. The site entry from the adjacent road dictates the division of the built into primarily two blocks which are brought together by the architectural rhythm and consistent semantics across the entirety of the site.
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P R O G R A M M E For the facility to serve as a sink for community betterment programs, the functions are limited towards the field of craftsmanship. The two main workshops in the former part of the building are for exploration using stone and bamboo. The latter half of the site hosts more public functions such as the cafe and the exhibition space. The programs were guided by the urban study of the said neighbourhood and therefore are the most apt for the locality.
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Temple Kitchen Storage Performance space Bamboo workshop Bamboo sorting unit Common workplace Stone workshop Stone chiseling zone Loading/Unloading zone Stone storage bamboo storage Cafe Seating Exhibition area Toilets Parking Silk workshop Terrace
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The fluidity of the built form follows the linearity of the site. The prudent use of the spatial voids along the site allow for breathing spaces and facilitate crowd movement in a site of this nature. The storage and vehicular parking were assigned in an attempt to minimise un-utilised spaces. The material language from the use of bamboo is carried across the site and is boldly expressed in the exhibition area, creating an interesting backdrop to all public functions to take place in future. S e c t i o n
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LAYERED LENSES This project, part of the campus design and development studio is an exploration of a fresh take at design for a film institute. The institute is an homage to veteranz actor Vishnuvardhan, and is located on the same site that holds his burial. The design approach was an attempt at using the natural conditions on site to the benefit of informing design decisions.
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S I T E Populated contours with the larger part of the rear end forested. The urban context was one of developing neighbourhoods, with basic facilities in place barring a few settlements of housing or commercial outfits. The challenges of a contoured site such as surface water run off, punctuation of built and unbuilt spaces, excessive cutting and filling, etc were tackled deftly in the design approach.
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L E G E N D 1. Library 2. Admin block 3. Kitchen 4. Cafeteria 5. Theatre 6. Storage 7. Drama studio 8. Classrooms 9. Photography studios 10. Videography studios 11. Sound engineering studio 12. Editing studio 13. Vfx studio 14. Hostel 15. Toilets
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The concept was guided by the inherent requirements to make a feasible structure for the film institute. The challenge of accommodating the programmatic requirement of an entire campus in a heavily contoured site was guided by the layering of functionalities. The planning of the volumes was dictated by tracing the movement of surface water runoff and creating circulation tracing the same path. The sequential chronology of the spaces, the circulation and the contours synchronised with each other’s rhythm formed this project’s ideological crux.
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D E S I G N E L E M E N T S M A T E R I A L I T Y
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The design is a play of levels and layering of functional spaces which eventually define the language of the campus. The plinths of the various built forms have been choreographed to follow the flow pattern of surface runoff while each possesses its own characteristic realm. The key design element is the play between the voids encapsulated within the built and the design sensibility that campuses thrive in these voids. The shared walls and varying built volumes were all critical to the translation of the design.
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THE SUBLIMINAL CURVE A hypothetical premise for a music school project in a public cul-de-sac in the urban heart of Bengaluru, is designed with the principles of “context - specific design”. This project is a design intervention with a sculptural quality of space and is guided by on site urban pattern study.
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S I T E The site was a part of a public park on the banks of Sankey tank in Bengaluru. The major challenge was to introduce a design intervention in the path of public movement and not appear intrusive. The site conditions are mostly flat land and embankment conditions on the edge of the water level.
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Studios Lecture halls Reception Staff room Principal’s cabin Toilets OAT AV Room Storage
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D E S I G N
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The design was created keeping in mind the need to minimize disruption of the natural crowd movement pattern that existed on site. The open air theatre acts as the notional center of the music school and is set against the backdrop of the waterbody. The classrooms were arranged spatially along the curve of the movement path as dictated by the study of circulation patterns. The recording studio and allied spaces were subterranean due to the functional requirement of the spaces. The built form is such that it facilitates views into the open vista of the school.
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THE PARASITIC TRELLIS A hypothetical premise to simulate design thinking in the housing studio, was to create 11 houses on top of a bridge. This exercise promoted creative stimulus to understand the structural integrity of the bridge and design homes which foster a sense of functional and spatial completeness.
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C O N C E P T The concept was derived from the structural grid of the bridge and combining it with a cantilevering component. The design was envisioned to become parasitic on the existing form of the bridge and subsequently grow appendages from itself. The interior spaces for the 11 homes were designed with a minimalist sensibility keeping the entire structure light on the dead weight.
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M A T E R I A L I T Y
The design elements in this project were the characteristic large voidal windows which created visual interest in the elevation combined with the metal trellis of vertical landscape which ties back into the concept of parasitic existence. The built form along with the quirks of the materiality envisioned to articulate the concept of occupying an entity such as the bridge and making it home.
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EXPLORATION During the course of my education in architecture, I understood that inspiration in design is not limited to built form. The utilisation of my time found meaning by creating art via different media and exploiting the horizons of my creativity. The section below is divided into 5 parts and elucidates my tryst with various mediums of expression in a wide ranging scale to give the reader a glimpse of my evolving skillset.
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EXPLORATION THROUGH 2D ART These works of art are a window into my interest of visualising spaces and concepts by putting to use my skill of sketching. Many of such creations have found their way into my architectural work and continue to inspire my understanding of spatial configuration. These works of original art keep me simulated and rejuvenate my creative spirits.
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EXPLORATION THROUGH MODEL MAKING Scaled model making aids my understanding of spatial configurations and volumetric exploration. The recreation of a built project via models helps understand the design approach clearly and inspires further critical design thinking. I have used model making as a tool for creative outlets in each one of my studios and have greatly benefited from the same.
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CONCEPT MODEL -Inspired by Italo Calvino’s Invisible City of Isidora An exploratory model for the purpose of ideating built form based on Italo Calvino’s famous written word, this model was a part of an exercise to articulate inspirations.
SHIZUOKA TOWER -KENZO TANGE This is a scaled model of Kenzo Tange’s 1967 Shizuoka Press and Broadcasting Center created for the purpose of case study as part of the Theory of Architecture - II studio.
CASA BIANCHI, -MARIO BOTTA This is a scaled model of the famous Casa Bianchi, complete with its iconic bridge created for the purpose of conducting case study for the Theory of Architecture - I studio.
PROTOTYPE RECLINER
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This model was a scaled prototype for the Craft in Architecture studio, built using bamboo struts and mechanism operated using wires.
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EXPLORATION THROUGH LIGHTING DESIGN As part of my personal interests, I have explored design of various products and commodities in real time scale and experimented with lighting fixtures. These creations have found their way into living spaces and have served their time as works of art.
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EXPLORATION THROUGH INSTALLATIONS I have worked with materials such as bamboo, fabric and rope in the past to create real scale installations for my alma mater’s exhibitions and in living spaces. This hands-on approach has informed me of each materials strengths and weaknesses and that inturn inspires my design of architectural spaces.
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EXPLORATION THROUGH PHOTOGRAPHY The course of my education has allowed me to travel for documentation to destinations that are inspirational and mesmerising. For me the best way to articulate learnings on these trips have been through photographic media and I use my editing skills to make the most of these captures.
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R A J A S T H A N
H A M P I
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Adharsh P +91 8610673543 rajputadarsh098@gmail.com
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