TEAM SHANAYA WADIA ANANYA NAYAK MOHIT PANDHARKAME SANIKA TALEKAR NEHA MALANI NIKITA JAGZAP GANESH RATHI MRUNALI KOKARE SAMRUDDHI SHINDE JAHNAVI JADHAV
TUTORS
NEHA PANCHAL YAGNIK BATHIJA
BASED ON THE READINGS OF SIMON UNWIN'S ANALYSING ARCHITECTURE
SEMESTER 3 2021 - 22 ARCHITECTURAL THEORY RACHANA SANSAD'S ACADEMY OF ARCHITECTURE
THE TEMPLE IS CARVED OUT OF A SINGLE ROCK AND IS 200 FT LONG AND 100 FT IN BREADTH AND HEIGHT. THE ENORMOUS STRUCTURE IS ONE OF 34 CAVE TEMPLES AND MONASTERIES THAT ARE COLLECTIVELY KNOWN AS ELLORA CAVES. LOCATED IN THE WESTERN REGION OF MAHARASHTRA, THE CAVES ARE A UNESCO WORLD HERITAGE SITE.
PROVIDING ABSOLUTE ISOLATION SERENITY, DEPTH CREATING A SENSE OF INFINITY ONLY ONE WAY IN
INHABITED WALL CONTAINING THE GARBHAGRIHA
MANDAPA SPACE WHICH IS THE IN BETWEEN SPACE FOR INTERACTION
NANDI WAITING SPACE INHABITED IN A WALL
COTTAGE MONOLITHIC STRUCTURE NO CLEAR BOUNDARIES MATERIALS-READILY AVAILABLE
EYE MOVEMENT TEMPLE
LARGER SCALE HUMAN WILL REFLECTED THROUGH DESIGN
SYMMETRY GEOMETRY AXIS
THE EXISTING FORM OF A ROCK IS BEEN CARVED OUT.
HAVING BEEN CARVED OUT OF A SINGLE STONE, IT SHOWS SPATIAL DOMINANCE. SUBTERRANEAN ARCHITECTURE DOES NOT NEED TO OBEY THE GEOMETRY OF MAKING. SPACES MAY BE CARVED OUT OF THE ROCK IN ANY DIRECTION, SO LONG AS THE ROOF DOES NOT COLLAPSE
ROCKCUT SECTION OF THE ROCK
STRUCTURE OF GRAND PROPORTION,, DELICATE IN DESIGN WAS CONSTRUCTED.
STRUCTURE Zone 4 Brahma Garbha Griha
ZONE 3 GODS
MANDAPA STONE BRIDGE NANDI MANDAP
ZONE 2 HUMANS
COURTYARD GOPURAM OUTSIDE COMPLEX
TEMPLE
ZONE 1 DEMONIC INFLUENCE
THE TEMPLE IS DIVIDED INTO DIFFERENT ZONES THAT PROVIDE DIFFERENT TRANSITIONAL EXPERIENCES
ORGANIC BOUNDARY
HINDU TEMPLES REPRESENTS THE STRUCTURE OF HUMAN BODY ACCORDING TO ANCIENT TEXTS AND DEVALAYA VASTU
LARGE CHUNK OF ROCK WAS QUARRIED OUT OF THE HILL SIDE
PRIMITIVE PLACE TYPES GOPURAM 2. VIJAY STAMBH 3.NANDI CHAMBER 4. MANDAPA 5. GARBHAGRIHA 6. SHIVLINGA 7.PRIMITIVE PARIKRAMAPLACE
TYPES 1.Gopuram BISYMMETRICAL PLAN 2. Vijay Stambh ALONG E-W AXIS 3.Nandi chamber ENSURES MAX. LIGHT 4. Mandapa AND VENTILATION IN Garbhagriha THE5.TEMPLE. 6. Shivlinga 7. Parikrama
THE KAILASHA TEMPLE EXHIBITS GOLDEN SECTION PROPORTIONS.
FRAME DEFINE BOUNDARIES. AS THE PLAN OF THE TEMPLE DEFINE THE BOUNDARIES OF THE TEMPLE AREA. FRAMES MEDIATE BETWEEN AND THE OUTSIDE WORLD
SHIKHARA
3 STOREY VIMANA AMALAKA SHIKHARA 8 FACES NANDI SCULPTURE BIRDS, ANIMALS GOD, GODDESS FLOWERS
STRATIFICATION OF ENTIRE VIMANA GRADUALLY RECEDING STORIES IN PYRAMIDAL SHAPE
EAST FACING SHIKHAR -> MORNING SUNRAYS LIGHT THE TEMPLE UP, ESPECIALLY THE SHIKHAR, GIVING A DIVINE FEELING TO THE DEVOTEE
SYMBOLIC
THE TOP OF THE VIMANA IS CROWNED WITH MANGAL-KALASH USED IN HINDU RITUALS. THIS MARKS THE TOP MOST PEAK OF THE TEMPLE.
RELIGIOUS IMPORTANCE
PROTECTS THE STONE BELOW
WHITE COATED MATERIAL
MOUNT KAILASH
THERE ARE REMNANTS OF WHITE COATED MATERIAL ON THE TEMPLE WHICH MAY HAVE ERODED. WHEN IT WAS CARVED AND FRESHLY COATED IN WHITE IT MUST HAVE LOOKED AS THE MOUNT KAILASH DURING DAYLIGHT.
ELEVATION
GARBHA GRIHA
MANDAPA GARBHAGRIHA
THE THICKNESS OF THE WALLS MUST HAVE BEEN DETERMINED USING A GEOMETRY EQUIVALENT TO AD QUADRATUM, WHICH IS CONTINUOUS SCALING OF SQUARE GEOMETRY. THE GARBHAGRIHA IS THE FOCAL POINT OF THE TEMPLE. AS A RESULT, THE MANDAPA, NANDI MANDAPA, AND OTHER STRUCTURES ARE PROPORTIONAL TO THE LENGTH OF THE GARBHAGRIHA.
SIX DIRECTION PLUS CENTER IS UESD IN PLACING THE PLACING SHIVLING IN THE CENTER OF THE GARBHA GRIHA AND IN FRONT OF THE DOOR FRAME WHICH MAKES IT HIGHER IN PRIORITY
THE INHABITATED SPACE CREATED THROUGH THE THICK STONE WALLS ISOLATE ONE FROM THE OUTER WORLD WITH NO OTHER OPENING OTHER THAN THE WAY IN
CURATED AND GROUPED COLUMN MAKES WAY FOR CIRCULATION SPACES AROUND THE COLUMN ITS IS PERCIEVED AS A SLEEK AS ONE HAS A VIEW FROM INBETWEEN THE COLUMNS REDUCING THE OVERALL WEIGHT
RESTRICTED MOVEMENT IN A STRAIGHT LINE WITH FOCUS ON CROSSWALL
NANDI TO SHIVLING PASSAGE FROM THE NANDI CHAMBER ON ENTERING, A PERSON LOOKS AT THE NANDI FACING THE SHIVA LINGAM WHICH IS REACHED THROUGH THE MAHA-MANDAPA RIGHT IN THE FRONT. SO, A PERSON IS NATURALLY DIRECTED TOWARDS THE GARBHAGRIHA.
HIGHLIGHTED AT ANY POINT INSIDE THE STRUCTURE.
GARBHAGRIHA THE AMBIENTLY LIT GARBHAGRIHA IS LOCATED IN THE INNERMOST SANCTUM. THE LEVEL DIFFERENCE OF THE GARBHAGRIHA THAN THE REST OF THE TEMPLE MARKS ITS IMPORTANCE ADORNED BY STATUES AND CARVINGS
LIGHT DARKEST SPACE = GARBHAGRIHA SEMIDARK SPACE = MANDAPA WEL- LIT SPACE = ENTRANCE
EFFECT OF DARKNESS ON SPACESEYES GETS SLOWLY ACCUSTOMMED TO DARKNESS THERMAL COMFORT SPRITUALLY, AS THE DEVOTEE PROCEED TOWARDS THE DARKEST SPACE HIS/HER STATE OF MIND IS NOT PLAGUED BY WORLDLY THOUGHTS
VICTORY TOWER
HUGE DIFFERENCE IN THE SCALE OF STRUCTURE AND THE HUMAN WHICH MAKES ONE TO GUESS THE ESTIMATE DISTANCE OR HEIGHT OF THE STRUCTURE
THE VICTORY TOWER ACTS AS A PARALLEL WALL AND CREATES A SENSE OF DEMARCATION BETWEEN THE PATHS LEADING TO THE CAVES. HAVING A LARGER WIDTH, IT FORCES THE PERSON APPROACHING IT TO TURN TOWARDS LEFT OR RIGHT BEGORE CONTINUING FURTHER.
PARIKRAMA
THE SIMPLE LINE OF PASSAGE WHICH IS PRACTICE IN THE RELIGIOUS MADE INTERESTING BAY ADDING SMALL TEMPLES AROUND IT WHICH MAKES ONES ENGAGED WHILE PASSING THROUGH PARIKRAMA
MANDAPA
THE COMBINATION OF LINE OF DIRECTION, CONVERGENCE OF PERSPECTIVE LINES AND THE FRAME CREATED BY THE COLUMNS AND THE ROOF, CREATED A SENSE OF FOCUS BEING ENCLOSED BY GROUPS OF PARALLEL WALLS.
THE CENTRAL SHRINE HOUSING THE LINGAM FEATURES A FLAT ROOFED MANDAPA IS SUPPORTED BY 16 PILLARS THIS PILLAR ACT AS A FRAME FOR INSIDE SPACE. THE AEDICULE IN THE TEMPLE IS FRAMED WITH WALLS, PILLARS.
PLAN
WE GROUP THE COLUMNS INTO GROUPS OF FOUR DUE TO GESTALTS PRINCIPLE OF PROXIMITY. THIS GROUPING OF COLUMNS ESTABLISHES CIRCULATION SPACES, LEADING THE PERSON TOWARDS A PARTICULAR DIRECTION.
ELEMENTS DOING MORE THAN ONE THING - INHABITED WALL
SIGHT FROM CHITRASHALA (TOWARDS THE TEMPLE)
IDOLS
SIGHT FROM CHITRASHALA (TOWARDS INWARDS)
NARROW PATH DEMARKED BY A SOLID SPACE WALL AND AN ARRAY OF COLUMNS. ONE EXPIRENCES ENCLOSURE. CAN BE ONESELF LOOKING AT THE IDOLS AND INTROVERT. ONE CAN OPEN UP THEIR VISION LOOKING OF THE TEMPLE THROUGH A ROUGH FRAME FORMED BY THE NATURAL CAVE ROCK ON THE TOP
ELEMENTS DOING MORE THAN ONE THING - WALL
THE CHITRASHALA ACTS AS A INHABITED WALL HAVING IDOLS ON ONE FLANGE DIPICTING VARIOUS STORIES ACTING AS A NON STATIC SPACE WERE PEOPLE INTERACT WITH EACH OTHER.
PERIPHERAL GUFFA
TRANSITION FROM SUDDEN LIGHTNESS TO DARKNESS CREATES MYSTERY AND FEAR FOR LORD
SOUND FROM THE SOURCE MEETS THE MULTIPLE ROCKY SURFACES PRESENT & REFLECTS BACK, CAUSING AN ECHO
LINE OF PASSAGE IS USED HERE WHERE MANY CHOICES ARE MADE TO GO THE SINGLE PASSAGE
THE EFFECT OF PARALLEL WALLS CAN BE FELT EVEN IN THEIR ABSENCE. THE COLUMNS SUPPORTING THE TEMPLE REPEAT AT CONTINUOUS INTERVALS IN RHYTHM, ONE PERCEIVE THEM AS A WALL PARALLEL., DUE TO GESTALTS PRINCIPLE OF PROXIMITY. PARALLEL WALLS FACILITATE A SENSE OF MOVEMENT FOCUSING ON CROSSWALL.
RESTRICTED MOVEMENT IN A STRAIGHT LINE FOLLOWER BY A TURN
Plan
GOPURAM
THE GOPURAM AT LOWER LEVEL LEADS TO THE PORTICO AND PAVES THE WAY FOR THE NORTH AND SOUTH COURTS WITH LIFE SIZE ELEPHANTS AND A VICTORY PILLAR
UNRESTRICTED MOVEMENT IN A STRAIGHT LINE
LANKESHWAR TEMPLE
IN THIS CARVINGS THE IMAGE OF GOD OR GODDESS IS FRAMED, OUTSIDE THE TEMPLE THERE ARE CARVINGS OF DEITIES FRAMED WITH THE TWO PILLARS DRAWING OUR EYES TOWARDS THE SCUPTURES.
RESTRICTED MOVEMENT IN A STRAIGHT LINE WITH FOCUS ON CROSSWALL
SCULPTURES AND CARVINGS
TEXTURED PATTERNS
ELEPHANT SCLUPTURES DEITIES
OFFSETS ARE PROVIDED TO SHADE THE VERTICAL SURFACE OF THE STONE WALL REDUCES THE TOTAL SURFACE AREA EXPOSED TO SUN.
THE SURFACE EXPOSED REDUCES THE TOTAL HEAT GAIN IN THE STRUCTURE AND KEEPS THE TEMPLE COMPLEX COOL..
HAMMER MARKS
TEXTURE
SCLUPTURES
THE OVERALL TREATMENT OF DEITIES THE SURFACE PLAYS AN IMPORTANT ROLE IN HOW ONE PERCEIVES A SPACE
THE HORIZONTAL NATURE OF THE SCULPTURES AND HHE HORIZONTALLY FLOWING LINES DAMP THE SCALE OF THE STRUCTURE AND MAKES IT MORE HUMANLY
IT IS SAID THAT HOW YOU LOOK AT A TEMPLE CHANGES ACCORDING TO THE STATE YOU ARE IN, YOUR BACKGROUND YOUR, AGE, YOUR PROFESSION YOUR LIKES AND DISLIKES
THIS SEGREGATION OF KNOWLEDGE IS STRATEGICALLY PRACTISED IN THE KAILASA TEMPLE. THE DEPTH PROVIDED BY THE SHADOW HIGHLIGHTS WHERE WE ARE INTENDED TO OBSERVE
FORM FOLLOWS MODALITY KAILASH TEMPLE CHANNELS SPIRITUALILY THROUGH ITS METHODOLOGY. THE SPACE IS DRIVEN BY THE SENSORY PERCEPTION WHICH REFLECTS ON THE ENGINEERING PROCEDURE.
LOCATED ON AN ELEVATED HILL SLOPE, OVER LOOKING THE GANGES RIVER, THE HOUSE IS INSPIRED BY THE UNBRIDLED ENERGY OF THE GUSHING RIVER AND IT REFLECTS THAT THROUGH ITS DESIGN. THE HOUSE PRIORITISES USER EXPERIENCE, EXPERIMENTING WITH MATERIALS AND BASIC ELEMENTS OF DESIGN.
INTRODUCTION HIGHLIGHT OF THE SITE: SCENIC VIEW OF GANGES RIVER CLIENT'S REQUIREMENT: THREE ROOMS AND SPACES TO RELAX ARCHITECT'S AIM: ORIENTATION OF SPACES SO AS TO SECURE A VIEW OF THE RIVER FOR EACH ROOM.
MASTER SUITE
DINING LIVING ROOM
VERANDAH
DEN
BEDROOM 2
BEDROOM 1
RISHIKESH HOUSE BY RAJIV SAINI
ZONING TIGHTLY PLACED PARALLEL WALLS-TRANSITION FROM NARROW TO SPACIOUS
TEAK FRAMED DINING ENCLOSURE FORMS A BOUNDARY BETWEEN PUBLIC LOBBY AND SEMI PRIVATE DINING MASTER SUITE LOCATED AT THE END-PRIVATE LIVING ROOM FORMS THE HEART OF THE STRUCTURE GATHER IN THIS SPACE TO GET 1ST SIGHT OF EXPANSIVE RIVER BEDROOMS LOCATED AT THE OTHER END OF THE STRUCTURE- PRIVATE SPACE
1. ENTRANCE COURT OPEN TO SKY 2. ENTRANCE LOBBY 3. DINING AREA 4. LIVING ROOM 5. MASTER SUITE 6. VERANDA 7. DEN 8. BATHROOM
9. BEDROOM 1 10. BEDROOM 2 11. BATHROOM 12. PANTRY 13. KITCHEN 14. SPA
LONG SHADED CORRIDORS ARE USED TO SEPARATE PUBLIC, SEMI PRIVATE AND PRIVATE SPACES GIVING THE USER A SOOTHING FEEL WHILE MOVING THROUGH THEM.
MATERIALS
THE HOLIDAY HOUSE NEAR GANGA RIVER THIS HOLIDAY HOME AT THE FOOTHILLS OF THE HIMALAYA MOST OF THE HOUSE IS MADE OF NATURAL MATERIALS EXCEPT FOR THE CEILING AND THE RETAINING WALLS WHICH ARE MADE OF CONCRETE. THE INTERNAL WALLS ARE MADE OF BRICKS THAT ARE PAINTED WHITE OR RANDOM RUBBLE MASONRY.
CORRIDOR USING WOOD CONCRETE AND GLASS DECORATED WITH SPOT LIGHTS
BEDROOM LINED WITH BAMBOO TREES
FLOORING IS OF OCHRE SANDSTONE AND TIMBRE WHEREAS FURNISHING ON THE TEAKWOOD FURNITURE IS WITH COTTON OR LINEN. THE BEDROOMS VIA A CORRIDOR LINED WITH BAMBOO TREES. JUST AT THE MAIN TEAKWOOD DOOR ENTRANCE IS A LOUNGING AREA WITH A VIEW TO THE RIVER. IT HOLDS A GLASS AND WOOD FRAMED DINING AREA.
ELEMENTS DOING MORE THAN ONE THING
ELEMENTS DOING MORE THAN ONE THING USE OF NATURAL MATERIALS • INTERNAL WALLS ARE IN RANDOM RUBBLE MASONRY TO GIVE AESTHETIC TOUCH. • MOST OF THE ELEMENTS AND FURNITURE ARE MADE OUT OF TEAK TIMBER. • LOCAL STONES ARE USED IN CLADDING TO KEEP INTACT THE IDENTITY OF STRUCTURE WITH LOCALITY. RANDOM RUBBLE MASONRY
LANDSCAPE
DECK
LOCAL STONE
ENTRANCE DECK • INFORMAL LOUNGING. • EXTENDED LIVING AREA. • WAITING AREA. • DISPLAY AREA.
LANDSCAPE • BEAUTIFICATION OF SPACE. • CONTRIBUTE SIGNIFICANTLY TO OUR WELL BEING AND QUALITY OF LIFE
ROLE OF DINING
KITC HEN
PLACE TO GATHER
SEMI-PRIVATE SPACE
Dining
BUFFER SPACE
PLACE TO EAT
DINING
LIVING ROOM
LOUVERS A FORMAL PLACE TO DISCUSS
VIEW
LEVEL DIFFERENCE SINKING
KITCHEN
VALLEY
FEELING OF EXPANSE AS A PERSON MOVES FORWARD
PLACE TO COOK
"NO VIEW" PLACED BACKWARDS IN PLAN
SEPARATE ENTRANCE FOR MAID
A PANTRY FOR SERVICE
EASY ACCESS FROM LIVING ROOM
THE PROTUDING WALLS & OVERHANGING ROOFS CREATE A SHADOW ON THE WINDOWS
GOOD CROSS VENTILATION
ANGULAR WALLS ACT AS SUNBREAKERS FROM ALL DIRECTIONS
KITCHEN IS WARMER DUE TO THE COOKING OF FOOD
BEDROOM COMPARATIVELY WARMER
IS
CORRIDORS (INNER PART OF THE HOUSE) REMAIN COOL
IT ADDITIONALLY ENCASES A CIRCULAR, GLASS AND TEAK ENCIRCLED EATING WALLED IN AREA.
IN EXPERIENCING THESE SPACES ONE IS AWARE OF A HIERARCHY OF PRIVACY AND OF A SUBTLE PATTERN OF LAYERS OF LIGHT
TIME AS A MODIFYING ELEMENT
1. BEDROOM 2. BEDROOM 3. COURT 4. BATHROOM 5. SPA 6. CORRIDOR ZONE 1
7. COURT 8. LAUNDRY ROOM 9. DINING AREA
ZONE 2
10. DINING AREA 11. VERANDAH 12. LIVING ROOM 13. GUEST BEDROOM 14. BATHROOM
ZONE 3
THE HOUSE CAN BE DIVIDED INTO 3 ZONES W.R.T. THE ENTRANCE. THUS, PEOPLE WOULD TAKE TIME TO MOVE AROUND & EXPERIENCE DIFFERENT ZONES OF THE HOUSE AT DIFFERENT TIMES OF THE DAY.
LINE OF PASSAGE MAIDS ROOM
ENTRANCE LOBBY
KITCHEN
WALKWAY
LIVING ROOM
COURT
SUNKEN LIVING ROOM MAKES IT APPEAR MORE SPACIOUS AND INVITING ALSO PROVIDING UNOBSTRUCTED VIEWS OF THE RIVER TRANSITIONAL EXPERIENCE BETWEEN 2 ROOMS IS ENHANCED BY COURTS WHICH HAVE A CALMING EFFECT ON USER TH LINE OF SIGHT AND LINE OF PASSAGE HELPS TO CREATE A RELATION BETWEEN THE SPATIAL PATH AND PHYSICAL PATH
IDEAL GEOMETRY
THE RISHIKESH HOUSE HAS A ROUGHLY SQUARE SITE LAYOUT. A SQUARE LAYOUT IS CREATED BY LAYERING SEVERAL GEOMETRIES ON TOP OF ONE ANOTHER. THESE SUPERIMPOSED GEOMETRIES SERVE AS A BASE FOR DETERMINING THE OVERALL PLAN OF THE HOUSE.
IDEAL GEOMETRIC PLAN
MODIFIED PLAN
ACCORDING TO THE DEMANDS AND SPACE REQUIREMENTS, THE ARCHITECT MODIFIED THE SQUARE GEOMETRY OF THESE ROOMS BY GENTLY TILTING THE WALLS, PROVIDING THE PLAN UNIQUENESS AND A SENSE OF COHERENCE.
BY GENTLY ALTERING IDEAL GEOMETRY, THE ARCHITECT ATTEMPTS TO PLAY WITH THE SPACES . EACH ROOM PROVIDES THE USER WITH A DISTINCT EXPERIENCE.. FOR EXAMMPLE -
ELEVATION
THE VARIOUS PLANES ARE INTRODUCED TO DIVIDE THE CUBOIDAL ROOM. THESE DIVERGING PARTITIONS WALLS PROVIDE THE USER WITH A LARGER PERSPECTIVE OF THE OUTSIDE VIEW.
THE SHARED WALL BETWEEN CUBIC ROOMS HAS BEEN ALTERED INTO A SIMPLE CURVE . THIS DISTINCTIVE WALL, WHICH RISES FROM THE FLOOR TO THE CEILING, SEEMS SLEEK AND FLEXIBLE, PROVIDING A PLAYFUL ILLUSION OF INNER WALL VOLUMES .
ELEVATION
STRUCTURE vs SPACE THE SITE CAPTURED THE BREATHTAKING VIEW OF GANGES RIVER AND HENCE THE SPATIAL ORIENTATION OF EACH ROOM REVOLVED AROUND ALLOWING IT TO EXPERIENCE NATURE AT ITS BEST.
WALLS
SPACE
RIVER
AS A SECOND LAYER PARALLEL WALLS WERE USED FOR ZONING OF THE SPACE WITHIN. FURTHER, DISTORTION OF PARALLEL WALLS WAS EXECUTED TO PROVIDE A VERSATILE RANGE OF EXPERIENCES TO THE USER
DIRECTION AND TRANSITION
Entrance Lobby
THE PASSAGE LEADING FROM THE ENTRANCE LOBBY TO THE DECK OUT SIDE IS A SEMI OPEN TRANSITION SPACE THAT TRANSCENDS THE PERSON FROM ENCLOSED SPACES TO OPEN NATURE.
bed
Mas
ter
BEDROOM
SLOPE
Bed Bed
VIEW OF GANGA RIVER
VIEW OF GANGA RIVER
PLACEMENT OF BEDROOMS BASED ON THE CONTEXT.
PLACE TO RELAX
PLACE TO SLEEP
BED IS PLACED IN A NOT-SOPRIVATE SETTING UNLIKE USUAL BEDROOMS, TO ENJOY THE VIEW OF THE RIVER
PARALLEL WALL THE WALL IN THE STRUCTURE NOT ONLY SEGREGATES THE ROOM WITHIN BUT ALSO SEGREGATES THE EXTERIOR SPACES FROM THE ANOTHER WITHOUT BISTURBING THE OVERALL CONNECTIVITY
THE CURED WALL SEGGREGATES THE BEDROOM BLOCKS AWAY FROM THE LIVING ROOM BLOCK AS THE LIVING. ROOM BLOCK AS THE LIVING ROOM IS NOT INCLUDED WITH OTHER BEDROOM BLOCKS AND REQUIRES SEGGRATION.
LIVING ROOM
PARALLEL WALLS HELP CREATE A SENSE OF FOCUS ON THE VIEW BY BLOCKING OUT ANY DISTRACTION THAT MIGHT ARISE DUE TO PERIPHERAL VISION. DISTORTION OF ONE OF THE PARALLEL WALLS IS EVIDENT ALONG BOTH X AND Y AXES, AS CAN BE SEEN IN THE PLAN AND ELEVATION GIVEN BELOW. THIS IS IN ACCORDANCE WITH THE FULL LENGTH WINDOW THAT EXTENDS ACROSS TWO SIDES TO THE ROOM AND HAS BEEN DONE TO ACCENTUATE THE FOCUS ON THE VIEW OUTSIDE.
Focus
Plan
Elevation
DINING ROOM
AN INTERACTIVE, SEMI PRIVATE AREA IN CLOSE PROXIMITY TO THE KITCHEN AND THE LIVING ROOM. THE FEELING ASSOCIATED WITH THE SPACE HAS BEEN MANIPULATED BY CURVING THE PARALLEL WALLS AND EXAGGERATING THE EFFECT OF ENCLOSURE WITHIN THE DINING AREA. SUCH AN AREA ENCOURAGES INTERACTION
Plan
A TABLE, IN ITS SPACE, FRAMES THE LIFE OF A MEAL. IT EVEN FRAMES AROUND IT, WITH WOOD THOUGH THEY ARE OUTSIDE OF ITS RECTANGLE.
DEN
DISTORTION OF PARALLEL WALLS CAN BE USED FOR DIFFERENT PURPOSES. IN THIS CASE, BY PUSHING THE WALLS FURTHER APART AT ONE END, THE ROOM HAS BEEN PROVIDED WITH A WIDER ANGLE OF THE SCENIC VIEW.
Plan
Pushing the walls apart
MANIPULATION OF SPACES
DISTORTION OF PARALLEL WALLS CAN BE USED FOR DIFFERENT PURPOSES. IN THIS CASE, THE WALLS HAVE BEEN PULLED CLOSER AT ONE END TO RESTRICT THE VIEW INTO THE BATHROOM
PLAN
PULLING THE WALLS CLOSER
WALKWAY
THE WALKWAY THAT LEADS THE PERSON FROM THE ENTRANCE LOBBY TO THE LIVING ROOM, THROUGH THE SEMI OPEN COURTYARD SHIELDED WITH A GLASS WALL CREATES A SENSE OF MOVEMENT AND TRANSITION.
THE SEMI OPEN SPACE IS FRAMED BY THE GLASS PANELS. PLAN
MASTER SUITE
ELEVATION
DISTORTION OF ONE OF THE PARALLEL WALLS IS EVIDENT ALONG Y AXIS, AS CAN BE SEEN IN THE ELEVATION. THIS IS IN ACCORDANCE WITH THE FULL LENGTH WINDOW THAT EXTENDS TO THE CEILING OF THE ROOM AND HAS BEEN DONE TO ACCENTUATE THE FOCUS ON THE VIEW OUTSIDE.
THE PLACEMENT OF BEDROOM WAS DETERMINED BY THE VISUAL ACCESIBILTY OF THE LANDSCAPE AND NOT PRIVACY.
USING THINGS THAT ARE THERE
ELEVATED HILL SLOPE MANY ARCHITECTS HAVE EITHER HAD TO CONTEND THE PROBLEMS CAUSED BY HAVING TO BUILD ON SLOPING GROUND, OR TAKEN ADVANTAGE OF THEM.
ELEVATED HILL SLOPE
RIVER FRONT
THE SINGLE STOREY RESIDENCE, WHICH BURROWS INTO THE SLOPING RIVERSIDE TERRAIN.
OVER LOOKING THE ‘GANGES’ RIVER AS IT TURNED AROUND A BEND, THE UNBRIDLED ENERGY OF THE GUSHING RIVER BECAME THE ONE CONSTANT INSPIRATION.
FORM FOLLOWS SIGHT RISHIKESH HOUSE MITIGATES THE SITE IN RESPONSE TO THE VISUAL AND EXPIRENTIAL VALUE OF THE SPACE. THE HOUSE TRIES TO EVOKE SPECIFIC FEELINGS BY MODULATING SURFACES.
READER NOTES
READER NOTES