[AA] anand amin
anand amin georgia institute of technology bs arch 2010 Every designer creates their own distinctive wares; therefore there is always something to learn from each designer. As a student, I have been influenced by my instructors, and always learn new lessons. In the studio, I have found that there is always a compromise between my design intentions and my instructor’s influence. As a designer, I am intrigued by the many divergent processes that can yield architecture. Each project is an opportunity to investigate a new subject. I allow the attributes of each project to fuel what I wish to explore. As a traveler, I am fascinated by culture and place. Whether it is a foreign country or just an undiscovered part of town, I define ‘travel’ as any place I have not experienced before. My travel experiences are always latent in my designs. As a human being, I am concerned with the greater good. I wish to make a positive impact as a designer, and thus attempt to create sustainable, critical, and socially-significant architecture.
SELECTED WORKS
coincidental phenomena
04
deriving and modeling light
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extracting lines, forming harmony
18
game, set, match!
24
folding planes built-scape
30
fall 2008
spring 2008
fall 2008
spring 2008
spring 2009
coincidental phenomena RESEARCH CENTER/ RETREAT FOR AN ARTIST AND A SCIENTIST In a rural part of Georgia, off the coast of a secluded lake and amongst a dense stand of trees, I found a site that mesmerized me. This was the perfect location to investigate phenomenological architecture. I examined how the relationship of a layered skin can accentuate the inherent patterns in nature and create phenomenal experiences. The kinesthetic experience through the center will heighten people’s sensitivity to the dynamic patterns inherent to this site. In particular, I was inspired by a natural phenomenon on-site. Beneath the foliage, looking out at the water, I was struck by what I saw. Beyond the land, on the surface of the water, I saw a light show put on by Mother nature. Sunlight reflecting off the dynamic surface of the water created a flickering effect-similar to seeing a group of fireflies on a summer evening. I allowed this experience to dictate the concept of my project. The approach to the building is aligned with the small island off the coast. To halt additional pavement on the site, I take advantage of the existing road and parking lot. As people weave through the center, they are constantly in spaces with different degrees of enclosure and exposed to different patterns of nature. I created a layered model that interacted with sunlight to begin my initial investigation of the phenomenon. The coincidence of natural forces- earth, water, windcreated the moment. In the model, I attempted to recreate the flickering effect by overlapping transparencies of photos from the site that depicted the three forces.
04
N 5’
10’
15’
30’
phenomenon model
coincidental phenomena
To further understand the phenomenon, I examine each force- earth, water, wind- in isolation. Using trace overlays, at first I simplified the images [blk ink]. Then, I created my own interpretations from the data [red ink].
I proceed to use intuition to create threedimensional models for each force using both [blk] and [red] data. These models derived the different skins of the project.
wind model
coincidental phenomena
The program was classified into three categories: speculate, test, educate. Then the categories were distributed across the site considering public/private relationships with the most public at the entrance of the center and the most private adjacent to the water.
1 2 3 4
5 6 7 8
9 10
SPECULATE
private
TEST public
EDUCATE 1 2
1 artist residence 2 scientist residence 3 art studio 4 labratory 5 kitchen 6 gallery 7 cafeteria 8 production 9 office 10 conference room
3 4 8
6 5 10 6 7
private
public
private
coincidental phenomena Passing through the center, people will come in contact with patterns either actively or passively. Active interaction is stimulated by a complex skin, while passive interchanges are presented naturally from outside forces. The program of a space and its relationship to luminance determined the skin. For example, in transitional spaces, I adapted the wind pattern model into the skin. The inherent dynamism to the pattern implies movement and the sharp shadows would not be disruptive. In spaces that required less intensive light conditions, such as the conference room, I applied a simple glass faรงade and sky windows. In this case, the experience with the patterns of nature would be passive.
view of transitional corridor, conference room, and cafeteria.
deriving and modeling light 33’ 84’ CUBE Due to a recent trip to Rajasthan, India, I was fascinated by the shadows created through a detailed fenestration. I was particularly taken by how light passing through layers could transform into complex shadows. This fascination heavily influenced my project. Part I: Design a cube from solar geometry understandings for Atlanta, GA [33’84’]. The cube was required to have apertures on the ‘roof’ and middle level, and a pool on the ground level. I used a 10 X 10 grid to create two horizontal cuts on the roof and three vertical cuts on the middle level. These elongated cuts would guarantee layering shadows through both floors, regardless of the position of the sun. The shape of the pool was derived from where shadows fell on the ground level, when looking at three distinctive times in a year. The model was a representation of the light coming through the cube on the three distinctive times. I used museum board for all opaque surfaces, and duralar and plastic rods to represent the light. I explored transparency, structure, and reflection in making the model.
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feb
may
june
9am 12pm
12pm
9am 2pm
Part II: Add two more cubes to create a series of three. The first cube I added was a literal interpretation of the previous cube- not a representation of the light but a representation of the cuts. The second cube was a more abstract representation of light through the cuts for three new times of the year. In this cube I used translucent plastic to represent the walls.
april
oct
nov
12pm
10am 2pm
9am 3pm
extracting lines, forming harmony PIEDMONT PARK PAVILION Due to an unrestricting program, I decided to use the project to explore form-making and installation architecture. The site was nested between a footpath and a potential stop on the Atlanta Beltline- 22 mile proposal to create a tram line on top of historic rail track around core Atlanta. I believed the pavilion would have to mediate a seamless transition from the tram tracks to the foot track. After a rainy morning, I went to the site and was fascinated by the growth of monkey grass on the fringes of the lawn. I was drawn to how the monkey grass was a distinctive additive species, yet grew harmoniously with the lawn grass. The monkey grass struck a fine balance between blending-in with and remaining separate from the lawn. I wanted my pavilion to have the same relationship to the land, a piece that would be distinctive, but not disruptive or overt. I derived and aligned my piece with the existing topography and the prevailing winds. I made sure not to disturb the natural runoff, and created a small retention pond at the bottom of the hill. The piece is versatile, because it allows users to traverse on top of, below, or through it. The pavilion provides shade, but does not completely block out the sun. Instead the gaps between the strands create dynamic shadows throughout the day.
18
A
B
traffic lines 0
5
10
15
N
water flow
extracting lines, forming harmony
Using the topography lines, I began to form strands and ‘pinch them off’ the land. After multiple attempts, the form worked congruously in section and in plan. To develop more enclosure within the piece, I joined the ends of the strands to create loops. Therefore, if necessary, it can house more private programmatic elements, such as restrooms. In addition, the looped strands offer structural stability.
game, set, match! URBAN ENVIRONMENTAL CENTER The vacated site was located in the Sweet Auburn Avenue district, a once thriving economic area for Atlanta’s middle-class African-American community; however the area has steadily declined due to a lack of investment. The urban infill assignment asked for an environmental center design, which was based off the organization of a game. I wanted to revitalize the neighborhood and the spirit of the community with my design. I based the design off of the game of tennis. My objective was to impact the community by not only transforming the urban landscape, but also by causing thought-provoking change that would inspire the community. I created two separate series of diagrams showing the trajectory and landings of a tennis ball in a game. [A] represents two amateur players playing a game. The points are short and the ball stays well within the bounds. [B] represents two advanced players playing a game. The rallies are longer and the balls travel deeper in the court.
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[A]: amateur
[B]: advanced
game, set, match!
The formal concept was to have two volumes: one floating and one grounded. The larger volume would float above to create a greener footprint, by reducing the amount of surface area the building took away from the land. This was an environmental concern due to ‘urban heat island’ effect in the city.
[A]: collapsed
The gap between the volumes would allow for an outdoor garden that would increase air circulation through the building. The ground volume derives from collapsing the amateur lines and the floating volume from collapsing the advanced lines. Circulation and program are distributed into the volumes according to the ball trajectories and landings.
[A]: ball spots
Significant overlapping of trajectory lines meant that the balls constantly traveled through that area; therefore the buildings’ circulatory trajectories are placed across those areas. Density of ball landings meant that the ball was often static in that area; therefore I placed gathering spaces in those areas. This allocated most of the program to the periphery, allowing for vistas to the urban surroundings. ground volume plan
[B]: collapsed
[B]: ball spots
elevated volume plan
folding planes built-scape PARKS, PONDS, POOLS, PENUMBRA Coming off a summer spent abroad in Barcelona, Spain, I was fascinated by the superb urban planning in the city. Pedestrian ramblas and public squares encouraged people to get out into the city. Urban design and public space were the subjects investigated in the project. The idea was to read the site as a palimpsest and begin to peel the layers, both physically and metaphorically. From the onset what stood out was the deadend street. I revive this abandoned and forgotten site by bringing back this street, and creating a community oriented-square that is the entrance of my linear scheme.
My initial light and water studies show the change in opacity of hot water poured into a glass. This change from light to dark was a quality I wanted people to experience in the architecture.
30
folding planes built-scape
Quadra-Program: swimming pool, media room, retention pond, and water garden.
SP
WG
WG
RP
SP
I initially used four squares to create a scheme. The third square was pushed further in from the street to signify the entrance and create a public square. I chose to split each program element in half to create different adjacencies. To study potential spatial qualities of the program, I created 1’ X 1’ cubes. The wood and acetate model inspired the media room and the tape model inspired the swimming pool. Using two program elements, I explored potential relationships with each pair in plan and in section.
site
MR
MR WG RP
MR RP
spatial quality cubes
program duality relationships WG and MR
WG and RP
SP and RP
MR and RP
SP and WG
SP and MR
folding planes built-scape
The journeys to the two main programmatic elements are distinctive and marked by different interactions of light and water. Going up a continuous gently rolling plane leads to the swimming pool. Located at the highest point of the site and open-air, allows for this space to have expansive views to the landscape. Light will play with the water and cast its shadow along the clean concrete plane. Water in this journey is always marked by its openness to interaction. A decent down will lead to a much more enclosed, dark space. This is the means to arrive at the media room. Light in this space always comes through filtered. Water in this journey always marks a boundary.
view from entrance
view from the top
[AA] anand amin