Index
1. Introduction - Un-titled .
2. Role of Spatial Memory in Cinematic and Architectural Narratives
3. Rekhta-Museum Of Poetry -Architectural Thesis
4. Re-inventing Story of a historical street - Urban Design
5.Miscellenous
adjective: untitled 1.(of a book, composition, or other artistic work) having no name. "her new book, as yet untitled"
un-titled.
“What do you name a thing , that in itself is limitless?”
The title of my portfolio is the comprehensive and direct approach to the field of art and designing that I know and as I know it. Just like so many other things, art is a spectrum of ever changing definitions with no one way to look at it , with no one label to put it in . Last 23 years of my life have introduced me to much more than a defined number of approaches that we can have towards Designing and art . Un-titled rejects the notion of putting a title to a work limiting the scope of it to some mere words . Un-titled provides a chance for that work to mean something entirely different and inclusive to everyone interacting with it. And that precisely resonates with my approach towards designing, for it to be inclusive yet unique to everyone.
The cover page of this portfolio features a photograph clicked by me last fall on the day of a Super moon from my terrace. I somehow believe it captures my way of thinking and the philosophy I intent to follow through my approach towards designing. Almost since I entered this course there was one argument that particularly amused me , the debate revolving around architecture and the need to define it – to come to a solidified conclusion – for if it is art or science . Which also startled me – for I never understood the desperation around the need to define it anyway. The enormity of art is the only thing that I believed can come close to explaining it .The next pages of the document carry works from my last 5 years in my undergraduate studies . I’ve tried to put them in the order of my personal preference in context to my areas of interest and potential research topics .
Role of Spatial Memory in Architectural and Cinematic Narratives
Abstract - The research paper intents to challenge the current realm of architecture to rethink the notions of spatial thinking and its effects on the narratives in the field of architecture and cinema. With the research we discuss on various example The spaces that we live in and breathe in have been impacting us on a metaphysical level that we ignore on a daily basis. When we talk about the memory that it forms, then that is what Spatial memory is. Throughout history, architecture has emerged, evolved and has been perceived as a form of art that blurs boundaries between, science and art. While cinema, though being a relatively new form of this umbrella term, has effected all the other forms so extensively that it almost camouflages itself with some of them. So with this research paper we intend to discuss, the co-existence of cinema and architecture, how they have been affecting each other. Discussing about Narratives in architecture in relation to the narratives in the cinematic universes , we first need to discuss about the how they both blur boundaries that separate them .Architecture and cinema inform , inspire and articulate each other .Cinema imitates the spatio-temporality of built spaces .Architecture has been inspired by cinema in more than one ways and thus cinema becomes a model of spatio-temporality that architecture should aspire to create .Both the narratives have constraints of their own- may it be the technical constraints in architecture, or the time constraints associated with the cinematic universe. But both fields when addressed together can really overcome each other’s constraints , When we are talking about the modes with which we experience architecture , they become identical in the mental space of the viewer , without any fixed boundaries.
Role of Spatial Memory inArchitectural and Cinematic
Drawing Parallels between the two fields
EmotionalAssociation
We watch films and associate with them easily as an audience. We feel transported to another place, inside some other time while watching a movie. We add our own perception, view and interpretations of the narrative that was translated by the director as the Movie. Everything happening on screen causes an emotion shift in our own brain. While it is the protagonist actions or our own anxiety involved with the antagonist plots, the cinema and its Narrative gets on to our nerve. While there is one thing that we primarily ignore while all of this happens. Along with us connecting to the storyline that is running on screen, our brain also analyses all the spaces that are there in the background. Our brain visualizes and construct the spaces and places mentally through visual and spatial cues presented on the screen, we ourselves to an extent feel to be a part of the movie, provided we connect with it
Architects also strive to evoke an emotional response in the person using that building, with their own ways of using space to create cognitive memory as a response of the prospective user’s perception of their design. Hence, films offer a representation that can be helpful for the field of architecture in creation and expression of meaningful emotive spaces.
Cultural and Social Parallels
Both Cinema and architecture are mediums that create, mediate and represent the images of a real life –they can imbibe the picture of culture and a way of life in a particular era, fictional or non-fictional settings. They create experiential settings inspired by the scenes of real life of the people, the narrative is inspired from. Both of these art forms are inspired from real frames of life, events of human interaction and our own understanding of the world.
Expression of spaces
The field of cinema is related to the field of architecture more than other field because of it spatiotemporal structure that join the two fields because both architecture and films articulate a lived space.
Cinema + Architecture – Afield between two these two realms of art
The relationship between architecture and films id of the reciprocity both the fields offer to each other.
Architecture is considered a spatial construction in which time is embedded while on the other hand cinema is temporal construct in which spaces are embedded. This reciprocity between the two fields is critically important because:
1. Architecture and Cinema re two fields that depend on each other for information and inspiration considering both of these are public experiences and not limited to an individual.
2. Cinema replicates the spatial– temporality of the architectural spaces exactly.
3. And hence on various occasion cinema becomes a model that architecture should aspire to create.
This reciprocity majorly exists due to the co-existence of space and time in both of these fields. Architecture that actually connects with the people on an emotional level is the one that majorly stands the test of time.
Introduction to spatial memory
Majority of the population believes memory to be just a chamber in our mind and that our own capacity to memorize something is only as good as our brain. While the reality around this is quite different than our normal perception. Our memories are not just the things we make ourselves to remember but also our body’s experience of a physical space. The philosopher Edward Casey defines a “place” as distinct from a “site” - as a physical location where memories can be contained and preserved. An empty lot, for example, would be considered a site– a generic boundless locale which “possesses no points of attachment onto which to hang our memories, much less retrieve them.”
Spatial Memory – Adefinition
Space is an entity that is evident in itself, but it could be perceived differently by each individual. Our brain allows ourselves to record visual inputs and process them to give us outputs that we can then act upon.
According to studies in the field of cognitive psychology and neuroscience, spatial memory is a type of memory which is responsible for the recording of information about one’s environment, spaces and spatial orientation. So, whenever we walk into a new environment the spaces around us effect our brain directly making an impact on our brain and our spatial memory, and That is what makes us perceive a place, location or space in our own individual way.
Spaces in films
Cinema and the spatial memory introduced by it is majorly dependent upon the act of perceiving a space, how the mind constructs a space inside itself without physical interacting with it. While we discuss about spaces in architecture or films we should remember that space is ultimately constructed inside our minds.
Filmic spaces are a space that is reconfigured by our brain depending upon the visual cues that were shown on the screen; which also helps us connect with the narrative shown on the screen.
Cinema constructs spaces inside our brains that reflect the effects of the spatial memory caused by the same connecting it to our thoughts and emotions for the environment surrounding us. It is a combination of our per-
Our subconscious mind is not just limited to the types of space we physically interact with, they are basically ideas of spaces that are free of physical realities of space, time or environment.
Lived Space
It is amalgamation of the two types of space we discussed earlierMental Space (Mental Psyche) + Material Space = Lived Space (Final bi-product of our perceived space)
Drawing a parallel betweenArchitectural and cinematic narratives
Architecture as well as cinemas begin in the same way as nothing but just an idea, product of our imagination. Cinema becomes a real piece of work after that narrative is written, directed and shot. In a very similar way Architecture becomes a solidified entity through drawings, models expressing an idea inside some architect’s mind.
Elements in a cinema
The cinematic universes are not dependent on one entity but a series of factors that affects them-
• A Narrative
•
Misère scene
•
Editing
Narrative is the way a story is presented in. A concept that runs throughout the filming process. A narrative is limited to the boundaries of a director’s imagination.
On the other hand, Architectural narratives are the ones that bring the spaces around us to life. They tell stories through the fabric of spaces, connecting directly to the emotions of the users, associated with his Spatial Memory.
Architecture is just another way of storytelling and provide the architects with the crucial aid for the transition of any idea into a workable module of a design. Architectural narratives are the main things responsible for the creation of spatial memory.
Spaces are constructed inside an architect’s mind first and then that idea is taken into the physical reality. That idea is then imposed on the life of all the users, making it a part of their sub-conscious and on an extent part of their Spatial Memory. The experience of the space in an architectural narrative is majorly non-linear unlike in films which provide majorly a linear approach to the same.
In cinema a director has full control over place, duration, depth of the shots in each scene, while an architect can never predict accurately how his idea would be conveyed to the end user.
The last question we remain with is that architectural narratives include the development of cinematic narratives as a ground theme for development of architectural spaces?
Architecture is a Conversation,AndArchitectsAre Storytellers
-Bernard TschumiConclusion
The research paper intents to challenge the current realm of architecture to re think the notions of spatial thinking and its effects on the narratives in the field of architecture and cinema. With the research we discuss on two case studies that help us understand both of the fields and how they intersect on various instances. The spaces that we live in and breathe in have been impacting us on a metaphysical level that we ignore on a daily basis. When we talk about the memory that it forms, then that is what Spatial memory is. Throughout history, architecture has emerged, evolved and has been perceived as a form of art that blurs boundaries between, science and art. While cinema, though being a relatively new form of this umbrella term, has effected all the other forms so extensively that it almost camouflages itself with some of them. So with this research paper we intend to discuss, the co-existence of cinema and architecture, how they have been affecting each other. Discussing about Narratives in architecture in relation to the narratives in the cinematic universes , we first need to discuss about the how they both blur boundaries that separate them .Architecture and cinema inform , inspire and articulate each other .Cinema imitates the spatio-temporality of built spaces .
Architecture has been inspired by cinema in more than one ways and thus cinema becomes a model of spatiotemporality that architecture should aspire to create .Both the narratives have constraints of their own may it be the technical constraints in architecture , or the time constraints associated with the cinematic universe .But both fields when addressed together can really overcome each other’s constraints , When we are talking about the modes with which we experience architecture , they become identical in the mental space of the viewer , without any fixed boundaries. This paper intent to challenge the profession of architecture to critically analyse and revise the fixed notions in the field of spatial thinking through cross- disciplinary approach to understand the idea of spatio- temporality embedded in the narratives of both the fields. The dynamics of a film is merged with the spaces in architecture to create a parallel between the two fields. A new relationship based on sensory, social and temporal qualities of mental and physical spaces between the two fields is analysed. There have been numerous attempts of incorporating ideologies of cinema that have inspired the field of architecture and this research paper is one such attempt.
Rekhta– Museum of Poetry, New Delhi 03 /
Keeping in view the various scenarios of current field of literary art, We were required to design a Museum building in New Delhi near Pragati Maidan, which itself is located in an area, that is proposed to be developed as a museum district by the government of India. The museum aspires to be a space that can be a focal point for the literary art of poetry for the city and also adheres to the spirit of the city and its citizens. A whole space dedicated to celebration of art of poetry as we know it. A common platform for exchange of ideas, to promote art we need to preserve and a birth ground for art that needs to get created.
The concept of the design suggests creating not just a public space for people but a common ground for the share of ideas, aspirations and art of poetry in general where the building forms act as the living metaphors for the poets’ mind. A design that focuses on altering the psychological shift caused by a space. As the person proceeds in the Museum he experiences a shift of space accordingly. We are looking at Unboxing public spaces. Making spaces that trigger meta -emotions with their appropriate complexities. The form of the design uses the most simple of all the metaphors that come in poetryTo read between the lines – The design of the building is working with linear integration of spaces – complemented by the complexities of form and scale. Starting in the year 1500BCE the journey takes you through all the major times, events and people that made an impact and resulted in the current scenario of the field. A space would not only give a platform that was long overdue for this form of art, it also would help it reach out to more and more people who can experience this art in its full might.
The following poem translates into a journey thorough history of art of poetry as well as the physical space inside the museum –
“A metaphor of a metaphor for a metaphor.”
Between the lines of an old fable Existed a world where the truth was real
We began before the beginning, when the tree was nothing but a seed
There was water made of fire, And fire draped in cloths, And there was field beyond this, Without wrongs and rights For there always was a light that never dies, There are white marbles after that
People with no faces, Voices that were tired of wars they never fought
There was moon , a finger , a person , The person is looking at the finger ,
While he should’ve been looking at the moon, There were pil- lars inscribed with truths
Some with lies
They all looked same regardless
A storm was on a journey to the top of the hill /To the middle of nowhere,
He carried messages of love , old petals and longing
For it did not know borders, Set by master / Or Slave
In the world or in his mind
Boundaries were a chaos , and so was infinity and oblivion
But they kept writing, there were unfinished stories
Between lives of four strangers ,they would meet again but they did not belong to this part of the poem
There were mountains and then there was ocean
A new root to an old tree
We see light at the end of the tunnel
A new world , We sing , We dance , We speak We shout , In our mind, We are one Uncover the truth , Why should it wear a veil
World already knows her barefaced love
Far in the west , A man sets on a journey towards light Here in the east We set on a journey towards light
Travelling worlds within worlds
Looking for truths within a truth
A lost love , A lost soul, A lost mirror We don’t know that yet What were we looking for?
God /Ourselves/peace/chaos, Everything looked the same As we held our mirrors tightly, Looking for ourselves
Fiding our way back, Where words are empty vessels
Like hearts of people who still dreaded peace Waiting for someone to fill them with the name of “the one” We’ll probably find him at the end of this journey
Or maybe not, This journey was never about the destination We’ll probably just catch nothing but a void, The bird in the cage is long gone
Long gone to call a love that she never found A blind man saw him first in some old street of a saffron town
He was a bird then , and then he was you, And then he was the light The words changed form merged into one, Found ways to change fac- es , switch bodies
Play mouths , blur differences , Water had no colour People were drowning, People looked as they drowned from the shore They both looked the same, There were lovers stuck between time A beloved whose name no one knew, She looked at us The world went in blur, Love was god they said It is going to save us all in the end, But what if we never get to the end What if this is a circle, There’s a sky above us We are in the light , we were finding We are still blindfolded, Waiting for a Voice to guide us out She’s pointing at the moon again, I am still looking at her hands , Under the moonlight, Is an old house -No curtains We can see it’s bare walls, A man waiting at the porch 24/69 Gali Qasim Jaan , Purani Dilli Everyone remembered that address , Except the only one who should’ve
Outside the house , Was a world where colors were boundaries But also a world, where words found their way back to revolutions So when someone shouted Inqalab Zindabad A thousand feet stormed together, Sounding like a thunderstorm That shook a throne halfway across the world As we saw a new sky, There was a dawn made of three colors and thousands of words A smile was shared by million faces or more Alas , that smile did not remain for that long There was dark again, But by now we knew the truth We’ve seen it naked, Dancing in the fields with us Between wounds of our mothers, And tears of our daughters We’ve seen enough to remain quite, We’ve seen enough to not forget We’ve seen enough to know which mirror was truth all along There were words lost between time We need to find them There were stories that they were too scared to tell There were poems written about people , We’ll never know And across that is a field Where all these lost words go After all this is over We’ll meet the truth there.
Section- The theatre space for Kavi Sammelans-(open poetry events)
Section- The first gallery starts with the Vedas which are also considered as a basis of all our literature – the very seed of the huge tree.
Sections- through gallery spaces
This gallery space is inspired by one of literary legends of India- Banbhatt- and his most famous story of Kadambini. The whole space is dedicated to Ban Bhatt’s Era of the poetry. With a chamber in between , acting as a representation space for yet another famous poet- Hari Sena
This gallery space is depicting the events of one of the most important poem of Indian history-Mahabharata and events from Geeta.
This gallery space is takes people through the history of poetry that occurred during the times of Jainism Chitr Kavya being one of the key types of poetry.
Sections- through gallery spaces
Re-inventing Story of a historical street - Urban Design 04 /
This project was done as a part of our 9th semester design studio,
The motive of the project is to redevelop a commercial street in a heritage belt of Dehradun Uttrakhand. The site is located in the heart of the city and is also one of the major transit hub in the city. Astley Hall is one of the oldest buildings of the city with a history of over 120 years it stands as a window into the history.
We were required to do this in a group of 4 people , however in the portfolio I have only included the drawings that were done by me .This was a semester long project and at the end of it we got a chance to showcase it In front of MDDA (Mussoorie Dehradun Development Authority).
Activity Mapping
05 /
Miscellaneous
Next few pages of my portfolio contain my different works in the fields of photography and graphic design. These were done by me for different projects and clients.
Miscellaneous
Logo Design, Branding, poster design, Book Cover designs done for various clients and brands.