Amrik Aujla Design Porfolio:
Architectural Explorations & Proposals of Intersectionality, Safety and the Psyche
Design is one the fundamentals of our human existence and I believe therefore, that it has the power to resolve much of the issues that we face as a collective. Addressing ideas, of addiction, safety, queerness and the psyche, my portfolio aims to explore how design can be used to positively influence the way we behave and experience the world.
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Bring it to the Runway: A QTIPOC Event Space which Considers Safety and Expression
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Architectural Shadowplay: A Gallery Space Designed for Collective Shadow Work
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Addressing Addiction Within Lincoln: Intervention Raising Awareness of Addiction
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Architectural Narrative Exploration of the Park Estate, Nottingham
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QTIPOC Housing Project: Process Models and Sketches
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Structural Model Study: The Observatory
Bring it to the Runway:
Providing performance and creative spaces for the QTIPOC community, using their lived experiences to provide safe spaces to exist.
Taking inspiration from Paris is Burning, the project looks at QTIPOC safe spaces and the art form of voguing to provide a workshop and performance spaces for queer, trans and intersex people of colour within Lincoln. The project begins as through a spatial tracing of voguing and then uses the notion of framing to explore how spaces can feel safer and more empowering for QTIPOC folk.
Creating an Event Using the language of framing, an event space was developed, inspired by Queer Ballrooms.
A tracing of the dance form of voguing to develop a design language, emobdying the essence of voguing- dialogue, dynamism
Conceptual Abstraction into Architectural Form- Plan Development
Event Space Section The event space consists of a triple height space under which the voguing takes place, with an informal seating area surrounding the space, while the rest of the space exists on a single plane to reinforce the idea of equality within the community.
Bar Section The bar is a seperate space from the main event space to differentiate alcohol consumption from self expression, encouraging the idea of being oneself without relying on alcohol.
Architectural Shadowplay:
Sequencing Light, Shadow and Atmosphere to Transform a Gallery Space into a Space of Collective Shadow Work
The role of art in our society has become increasingly shallow- being seen as a mere decoration or expression of status , rather than a deep expression of the human condition, with which one can reflect on their own life and collectively face the uncomfortable parts of their psyche- collective shadow work. Using Jung’s ideas of the shadow self, the project plays with the idea of light and shadow to create meditative atmospheres in which art is exhibited, with hopes that a more meditative approach to experiencing art will allow for a deep appreciation of the works, restoring the power of art to truly ‘move’ a person.
Shadow Work Defining and exploring stages of shadow work, through the creation of abstract spatial forms which become the basis of spatial experiences and atmoshperes, creating an architectural language of repeatings
1:500 Axonometric Drawing The design language repeats solid and voids, revolving around a central multi storey atrium. Throughout each space, the pattern alternates according to each spatial function to reach a desired atmosphere, framing key views aroud the site.
The building footprint uses the initial concept modelling and wraps it around the site, turning its back on Wesminster Palace and opening onto Westminster Abbey.
A series of diagonal concrete create a shadow ed corridor
leading up a framed view of Big Ben and the Houses of Parliament,
at which point the visitor turns their back to it to enter the main gallery space.
The sequence serves as a prologue to the nature of the building -to reject existing structures in order to find one’s own voice.
The staircase to the first floor provides users with a tiered seating system to create a more intimate atmosphere, with the small apertures along the side, contrasting the pattern of the entry sequence, suggesting an introspective atmosphere. This transitory space also provides temproary seating for live performances, which can be viewed as one walks through this liminal space.
The final sequnce begins in the basement floor, in which alcoves within the corridor allow for individual contemplation, meanwhile glimpses of light bring the visitor towards the door for single exhibitions. As one enters the room, they are greeted by a work of art beneath a double height space, lit by light coming in from the storey above.
This final sequence serves as an architectural parallel for collective shadow work, in which one uses art as a tool to dig deep within themselves to reach an elevated state of conciosuness.
Embedded within the corridor wall are small alcoves in which one can sit and contemplate on the arwork, oneself, or simply bask in the silence.
Each area feeds into a central void space in which large installations can be viewed from each different level, allowing for the work to be viewed from multiple visual persepctives, embodying the aim of the building an exploration and celebration of one’s own method of thought. The void is toplit, allowing light to penetrate into the basement floor, creating a dynamic play of shadow and light as the day moves on.
Section Scale 1:200
Addressing Addiction Within Lincoln:
Raising Awareness of Addiction Through the Provision of a Safe Space For Victims
The north end of the City of Lincoln was crowned by Lincoln cathedral- an architectural celebration of its former glory- arches, butresses, vaults- a connection to the power of the divine, while the south end of the city was a space of decay and addiction- the shadow of the persona that Lincoln projects. The project proposes an intervention, the antithesis of the chapter house, inspired by Lincoln’s interstitial spaces, that bridges the gap between these two sides of the city. Loacted on the mouth of the River Witham, the intervention sits on confluence of the river, pedestrian and vehicular paths. The project aims to provide a wethouse function for victims of drug addiction to safely use drugs, while also providing space for a counsellor: the Reconciliator. The location on the confluence of public footpaths aims to bring awareness of this issue to the general public and provide victims of drug addiction with the support of a counsellor.
The Initial photography series depicts key moments in the mnarrative of the city. It depicts a dichotomous language of above and below, holy and demonic figures, landmarks and interstices. These dichotomies therefore become the state of the city- as seen in the disconnect between the idyllic medieval persona of the city and the harsh reality of the drug addiction which the city experiences.
A visual mapping of these key narratove moments allowed for the language to inform an abstracted archtiectural language which tells the conceptual story of the project. One in which two seperated layers become intertwined and through a dialogue, leading to a state of integrationdepicted as a sort of crowing.
Development sketches and models exploring a plan, lighting, atmosphere and entrance perspectives. The initial spatial sequence involves a movement around and beneath the site- a parallel to the slow descent into addiction.
The next sequence explores the notion of lifting the lid of the topic of addiction to the public. It uses the architectural language of the buttresses of the medieval architecture within Lincoln to reveal to the public those who have fallen into the cycle.
Descent Into Addiction 1. Descension 2. Moment of Distorted Reality 3. Substance Pit 4. Opening The Underbelly 5. Room of Intoxication 6. Public Platform of Revelation 7. Self-Acknowledgment 8. Public Acknowledgment 9. Corridor of Relapse 10. Return to the Waking World Reconciliation 11. Public Platform 12. Self Reflection 13. Counsel Chamber Rebirth 14. Fabric Roll 15. Cloaking Platform 16. Substance Amnesty 17. Reflection of the City
Descent Into Addiction 2. Moment of Distorted Reality 3. Substance Pit 4. Opening to the Public
The next sequence explores the concept of drug use as the polar opposite of connection. It explores the parallels between spiritual connection through the spin on the architecture of Lincoln cathedral, using arches. As the users progress through the wethouse space. the ceiling becomes lower, causing a bowing of the head before a moment of self acknowledgement- a parallel to bowing one’s head before the altar.
The final space architecturally hugs the first few spaces, while providing a space for a counsellor, for those emerging out of their drug induced state. The purpose of the space is to ritualise and celebrate the silent struggles that victims of addiction face and also normalise the experiences with the public to integrate them back into society.
Descent Into Addiction 2. Moment of Distorted Reality 3. Substance Pit The Underbelly 5. Room of Intoxication 7. Self-Acknowledgment 8. Public Acknowledgment 9.Corridor of Relapse 10. Return to the Waking
Reconciliation 11. Public Platform 12. Self Reflection 13. Counsel Chamber Rebirth 14. Fabric Roll 15. Cloaking Platform 16. Substance Amnesty 17. Reflection of the City
Architectural Narrative Exploration of the Park Estate, Nottingham: Exploring Notions of Saftey and Division Within Architecture
On walking through the Park Estate in Nottingham, a multi million pound housing estate adjacent to the City Centre, feelings of unease were felt- a surreal feeling unsaftey and otherness. This felt bizzare due to the fact that archetypically, the suburbs are a safe space, devoid of the harsh realities of inner city living. Directors David Lynch (Twin Peaks, Blue Velvet) and Jordan Peele (Get Out) have used the trope of the ‘Wealthy Suburb’ as the sites of their respective films, subverting the sense of idealism that comes with a space such as this. In doing so, their works have raised important question regarding race, class and the human psyche. Exploring the physicality of St Barnabas Cathedral, The Park Tunnel and the Park Estate , the project begins to weave a narrative within the site through: - Photo series that explores key surface and interstitial elements of the Park Estate - Short film which begins to tap into the relationship between these elements and subsequent atmospheres - Physical collage that distills these elements, feelings, atmospheres and relationships into an abstract representation of the site The intention of the project is to investigate and explore the gut feeling I felt in the space, to attempt to understand what was the driving force behind them and what these findings can reveal about the current zeitgeist.
Exploration of the Surface Key Characteristic Elements of the Site The first photo series captures key motifs tha can be observed when walking around the site. The intention of the series is to embody the apparent character of the site, viewing it as a quaint place with a rich and traditional architectural language, however as the series progresses, these features take on a more sinister feeling.
Exploration of Interstices Exploration of Textural and Atmospheric Conditions The second series go deeper within the smaller ‘in between’ spaces within the site, however this abstraction begins to reveal a different language, an uneasy feeling created by corrosion and detritus within the architectural elements. The intention of the series is to provide the shadow version of the site, establishing the duality of the ‘Rich Suburb’- it is both protagonist and antagonist simultaneuously.
Short Film: The Surface and the Shadow of The Park Estate The short film plays out like a Lynchian fever dream, to conjure a feeling of the site which embodies feelings of unease, tension, otherness and the unknown. In between the explorations of the key spaces, are uncomfortably detailed shots of textures that make up the site, causing feelings of trypophobia. Overlayed are ghostly figures, symbolising the presence of few people in and around the site.
The film reveals the shadow of the ‘Wealthy Suburb’ archetype- the antithesis of idealism and safety. This exists hidden in plain sight, it reveals to us the uncomfortable realities of the society we live in. For the notion of an idyllic multimillion pound housing estate to exist, there must exist a dystopia. There must exist spaces which have an opposing quality, within the city and the wider context of the UK. These spaces reveal a polarisation of a society divided by economy and class.
The Collective, The Individual and the Threshold Between St Barnabas Cathedral The spire of St Barnabas cathedral which overlooks the Park Estate. Its upward movement suggests a connection to the sublime thus allowing us to all exist on the same level before something greater than any one individual. The Park Estate However this notion conflicts with the ideas of the Park Estate, in which the radial road pattern focuses in on itself, rather than something greater than itself- i.e the wider city. The Park Tunnel The Park Tunnel therefore acts as a mediating space between these two entities. It can be seen as a space of unification -a space of balance and integration between two ends of a spectrum.
Visual Narrative depicting a person experiencing the duality of the site and the choice that comes with choosing which side of the dichotomy one exists.
The final collage proposes an abstracted architectural language of shards existing over light and shadow, unified over two ends of the spectrum by one force.
Acceptance of Innate Qualities
An Architecture of Reconcilition
Holistic Living
QTIPOC Housing Estate:
A housing estate designed to empower QTIPOC creatives and provide a safe space of visibility and acceptance.
The following pages are development sketches and models, exploring a housing project designed especially for queer and trans people of colour. A narrative of empowerment, visibility and acceptance was developed into an architectural language which would become the basis of the forms and detailing, while an iterative modelling process took place for the overall building massing.
An abstracted architectural language exploring the themes surrounding the empowerment of Queer and Trans People of Colour. Supporting are subsequent sketches which have potential to become architectural detailing
The Development of this lagnuage results in a cross section and facade srudy of an architecture which both empowers the user inside it but also intimidates those around it- a reversal of the power dynamics between QTIPOCs and their straight counterparts.
An iterative model making process to explore the forms and building footprint
Structural Model Study: The Observatory