ARCHITECTURE
PORTFOLIO ANSH VAKIL
SELECTED WORKS FROM 2012 - 2015
UNIVERSITY OF SOUTHERN CALIFORNIA SCHOOL OF ARCHITECTURE
1241 W37TH PL, APT 4 LOS ANGELES, CA 90007 avakil@usc.edu (415) 309 - 9758
2
USC
X/A
USC
USC
USC
SPRING 2014
SPRING 2014
SUMMER 2014
FALL 2014
FALL 2014
SPRING 2015
WOODSHOP
USC
SPRING 2012
THE TREE
BATH HOUSE
FASHION RUNWAY
FUNCTIONLESS
LINGO
MODERNIQUE HOME
CCSF
36 - 41
28 - 35
24 - 27
20 - 23
12 - 19
6 - 11
4-5
3
TIMELINE
THE TREE GROUP PROJECT
CCSF SPRING 2012
4
CONCEPT
‘THE TREE’ STANDS AS A PHYSICAL CONSTRUCTION OF URBAN REALITIES, AND SITUATIONS. IT IS A DIALOGUE BETWEEN THE VIEWER AND THE SPACE HE STANDS IN. ‘THE TREE’ TWISTS IN RESPONSE TO THE WALL THAT FALLS IN IT’S BACKGROUND AND PROJECTS OUTWARD TOWARDS THE VIEW AHEAD. THE ROUGH AND DENTED SURFACE PROJECTS A SENSE OF PROVOCATION, STIMULATION AND INTIMIDATION. THE INTENTION OF REVEALING IT’S BARE STRUCTURE COMPLIMENTS IT’S MONUMENTAL ONENESS.
BASE
CONNECTORS
SCULPTURE
MATERIALS • • • • •
2’ X 4’ WOODEN PLANKS ALUMINUM BARS PVC CONNECTORS METAL BOLTS 8” SCREWS
CONTRIBUTION
DESIGN OF THE SCULPTURE, CONSTRUCTION OF THE BASE AND CONNECTORS.
TWISTING MOTION ITERATION I
TWISTING MOTION ITERATION II
TWISTING MOTION ITERATION III
THE VIEW
Catalogue STEP 1:
STEP 2:
STEP 3:
Process of Aggregation
BATH HOUSE INDIVIDUAL PROJECT
USC SPRING 2014
6
Private Space
Private Space Bath Tub
Private Space
Shaded Lounging Changing Room
Storage
Sun - Bathing Area Spatial Distribution
Private/Public Space
Public Space
Movement
(5) (4)
(3) (2)
N
(1)
PROGRAM: 1. CHANGING AREA 2.SUN-BATHING AREA 3. SHADED LOUNGING 4.SMALL STORAGE 5.SOAKING TUB
Plan @ 5’ 6”
0
1
2
5f
8
Section @ Y 0
1
2
5f
Section @ X
0 0
1
2
1
2
5f
5f
9
CONCEPT
A boolean union of spheres that explores circulation. The design is based on choreographing movement within it’s space which led to a form that challenges the concept of open and closed spaces. Since movement is an important factor influencing the design, a strategic rule of aggregation that influences the user’s experience is established.
The design transitions from a private to a public space as you look at it from left to right. Having perforated and fully open spaces enables natural light to influence the user’s experience as he moves from one space to another. Therefore, the experience at any given point in the design changes relative to time.
10
CHARACTERISTICS
1. The smallest and closely tied spheres characterize a private space. 2. The perforated, larger and loosely joint spheres characterize a semi public/semi private space. 3. The largest and sliced spheres characterize a public space.
0
1
2
5
0
1
2
10f
5
Five spatial typologies were designed, which could be combined in various ways so as to house the programmatic areas. At times, one typology characterizes one specific space, while at other times, two typologies interact with one another in characteizing a single space.
10f
11
FASHION RUNWAY INDIVIDUAL PROJECT
USC SPRING 2014
12
Enclosed Skin Effect
Semi Enclosed Skin Effect
Structural System Enclosed Structural Effect
Semi Enclosed Structural Effect
Surface Interaction
Skin System
13
PROGRAM: 1. CHANGING AREA 2. WORKING AREA 3. GARMENT STORAGE 4. PREP/STAGING AREA 5. LOUNGE AREA 6. AREA FOR AUDIENCE 7. CATWALK/RUNWAY
(5)
CIRVULATION: MODEL MOVEMENT
(1) AUDIENCE MOVEMENT AUDIENCE SEATING
(2)
(7) (4)
(6)
(3)
MOVEMENT DIAGRAM
Movement
14
CONCEPT
Developing a modulated surface using triangles that offer an ever changing spatial experience as you move through it’s space. The concept of this design challenges the traditional skin over structure approach and explores the revers, i.e. structure over skin. This approach led to moments with spatial qualities defined by the materiality of it’s components; sometimes these moments occur in between two systems (skin and structure), while at others, it is defined by a singular system (skin or structure).
CHARACTERISTICS
Public and Private spaces are defined by the density of triangles used within that space. 1. Private spaces are characterized by the more tight and cohesive use of elements. 2. Public spaces are characterized by the more loose and open use of elements. Given the skeletal frame of this design, light plays a major role in influencing the user’s spatial experience and this effect is controlled by using elements at different angles, orientation and scale. Stage 1:
Stage 2:
Stage 3:
Process
15
PROGRAM:
C
B
C
B
1. CHANGING AREA 2. WORKING AREA 3. GARMENT STORAGE 4. PREP/STAGING AREA 5. LOUNGE AREA PROGRAM: 6. AREA FOR AUDIENCE 7. 1. CATWALK/RUNWAY CHANGING AREA
(5)
2. WORKING AREA 3. GARMENT STORAGE 4. PREP/STAGING AREA 5. LOUNGE AREA 6. AREA FOR AUDIENCE 7. CATWALK/RUNWAY
(1) (2)
(5) (1)
(2)
A
(4)
(7)
(4)
(7)
(6)
A
(6)
A
(3)
A (3)
C
C Plan @ 5’ 6”
B 0
2
4
8
0
2
4
8
B N
16
PROGRAM:
C
1. CHANGING AREA 2. WORKING AREA 5’ 6” STORAGE 3. GARMENT 4. PREP/STAGING AREA 5. LOUNGE AREA 6. AREA FOR AUDIENCE 7. CATWALK/RUNWAY
B
5’ 6”
(5) (1)
Section @(2)B
Section @ C
(4)
(7)
A
(6) (3)
C Section @ A
B 0
2
4
8
17
Private Space
Cocoon Effect
Structural System (Wood)
Semi Private/Public Space
Skin System (Museum Board)
Public Space
Finale
18
19
Functionless INDIVIDUAL PROJECT
X/A SUMMER 2014
20
BRIEF ANALYSIS:
Formal Aspect: Mechanism Aesthetic Research: Functionless
WORKSHOP TOPIC:
A formal exploration of advanced geometries (Conceptual Geometry) as the means to find a mechanism that generates a type or genealogy of parts, which can allow for an innovative Architectural Space.
Arm Muscle Composition
Knee Joint Analysis
Project Inspiration
Process
Step 1:
Side Profile
Step 2:
Step 3:
Growth
Stage 2
Stage 3
CONCEPT
Stage 1
A formal exploration of the human body composition and a rather unexplored stand on the concept of functionless form. The design process began with the exploration of the human body and it’s biomechanics as a whole so as to address the concept of it’s functionality; in other words, identifying different elements that make up our body led to exploring how each of those elements performed it’s role in the mass, skin, and structural system. Thereafter, volumetric and massing studies were carried out to garner the perfect form that would assist in the process of aggregation (Stage 1) so as to provide support directly where needed. The design that first began as an abstract exploration of form and body composition, now (Stage 2) spreads over the shoulder to the rest of the body so as to establish a more cohesive bond between the design itself and the host, which in this case is the human body. At tage 3, the tentacle system that performed structural responsibilities has evolved from connecting just two volumes to a huge mass. 22
23
Lingo
INDIVIDUAL PROJECT
USC FALL 2014
W Sunset Boulevard and La Baig Avenue. City of Los Angeles.
RESIDENTIAL HOTEL STUDIO
D B
C
A
B
C
D
E
F
F
A E
RESIDENTIAL
SUPERMARKET
COMMERCIAL/PARKING
CONCEPT
Each building has a unique typology, which when stripped down to it’s simplest form begins to represent letters of a new architectural language. Their composition represents not only their individual function but also how the language they begin to create is read by the viewers. The idea of having this new language compiled within a ‘metaphorical’ book is what served as inspiration to the elevation drawing. The elevation has a form of attitude that provides structure to the language and houses it within it’s frame. Similar to the real world, wherein, every building has a specific structure which is a product of certain decision making and is built within a site. When each of these six buildings are look at collectively, they begin to represent a language of their neighborhood that describes the conditions and variables influencing that particular site. 25
DRAWING
Now, transitioning into a twodimensional drawing, the argument of how program influences type and typology is raised. Each building has a unique way it interacts with it’s context and this drawing serves to form a relationship between solid and void. This analysis shows a dialogue between the two, wherein, the void evokes a sensibility of a space and the solid defines that space. The tectonic language developed through this drawing exhibits a conversation between the planar and volumetric language.
MODEL
The model uses each of the six buildings’ typology to create the new architectural language. Each piece represents a letter in the new language and can be put together in a number of ways that is limited only byt it’s geometry and the boundary of the site.
STEP 1:
TYPOLOGIES
STEP 2:
STEP 3:
STEP 4:
PROCESS OF AGGREGATION
MODERNIQUE HOME INDIVIDUAL PROJECT
USC FALL 2014
28
SKYLIGHT (TRANSLUCENT)
MAIN HOUSE ROOF (OPAQUE) GALLERY ROOF (OPAQUE)
MAIN HOUSE WINDOW (TRANSPARENT) GALLERY WALL (TRANSLUCENT)
MAIN HOUSE WALL (OPAQUE)
CANTILEVER SUPPORT
CONCEPT
The concept of light along with it’s transparent, translucent and opaque effect it has on the site is what drives this design. The essence of this project is to create the ideal ambience throughtout the house that changes relative to the programmatic spaces. Additionally, the idea of questioning reality and the viewer’s perception is being explored so as to teach the user how to look at things anew as they move through the project.
GALLERY WINDOW (TRANSPARENT)
STUDIO SEATING ‘A’
GRASS AREA
STUDIO SEATING ‘C’
STUDIO SEATING ‘B’ WATER DANCE STUDIO FLOOR
29
30
SITE PLAN SITE PLAN
Site Plan
N N
0
2
4
8
0
2
4
8
C
DESIGN
2
3
4
1
B
B
5 7 (i)
6
A
A 7 (ii)
PLAN @ 5’Plan 6”
C
@ 5’ 6”
C
2
B
1
+ 6”
+ 9”
8
2
B
B
+ 6”
+ 9”
+ 6”
2
A
4
2
+ 6”
+ 3”
2
0
C
1
B
2
1. MASTER BEDROOM 2. GUEST BEDROOM 3. UTILITIES / STORAGE 4. BATHROOM 5. LIVING ROOM / KITCHEN 6. GARAGE 7. ARTIST GALLERY: (i) PRIMARY EXHIBITION (ii) SECONDARY EXHIBITION
Keeping with the historic look of the Mar Vista Tract neighborhood, the facade facing the street has been relatively untouched. The interior, however, has been remodeled to have an open layout and bring in more natural light. With regards to the backyard, a study on the sunlight patterns formed on the site revealed a very distinctive ‘L’ shape area that would be ideal to house more programmatic spaces. Since the essence of the design is to create more translucent spaces and diffuse the harshness of light in the transparent spaces so as to acieve an ideal ambience throughout the project. The artist gallery responds directly to the diagonal path of the sun so as to make the most of the natural light throughout the day, while the dance studio is one-level underground that has it’s own natural ambience. The use of clear glass in the vertical direction and translucent glass in the horizontal direction creates a blurred reflection of the surrounding landscape that makes the viewer feel part of the outside, eventhough they are inside the house.
2
+ 3”
A
A 3
+ 6”
+ 12”
3
+ 6”
PLAN @ 5’ 6”Plan below @ ground 5’ 6” below PLAN @ 5’ 6” below ground
+ 9”
A
+ 12”
1. DANCE FLOOR 1. DANCE FLOOR 2. SEATING 2. SEATING 3. GATHERING SPACE 3. GATHERING SPACE
+ 9”
ground
C
C
0
2 0
2
4
4
8
8
Diagonal Section through the ‘Artist Studio’
+ 12’ 6”
+ 5’ 6” 0 - 5’ 6”
Section @ A 0
SECTION A
2
4
8 + 12’ 6”
+ 5’ 6” 0 - 5’ 6”
Section @ BB SECTION
0
2
4
8
+ 12’ 6”
+ 12’ 6” + 5’ 6” + 5’ 6” 0 0 - 5’ 6” - 5’ 6”
SECTION C Section @ C SECTION C
0 0
2
2 4
4
8 8
33
MAIN HOUSE SKYLIGHT (TRANSLUCENT)
GALLERY ROOF (OPAQUE)
MAIN HOUSE ROOF (OPAQUE)
GALLERY SKYLIGHT (TRANSLUCENT)
MAIN HOUSE WINDOW (TRANSPARENT) MAIN HOUSE WALL (OPAQUE)
GALLERY WINDOW (TRANSPARENT) GALLERY WALL (TRANSLUCENT)
34
35
WOODSHOP GROUP PROJECT
USC SPRING 2015
Honeycomb Structure to Cable Beam Connection
Cable Structure
Honeycomb Structure to Aperture Connection
36
CONCEPT
THE ‘WOODSHOP’ WAS INSPIRED BY THE IDEA OF CREATING A STUDIO THAT NOT ONLY SERVES AS A WORKSPACE FOR STUDENTS AND PROFESSIONALS ALIKE, BUT ALSO, AN INTERESTING JUXTAPOSITION BETWEEN ICONIC DESIGN AND OPTIMUM EFFICIENCY IN IT’S UTILITY.
MATERIALS • • • • •
CABLES SHEET METAL METAL BOLTS ACRYLIC WOOD SKEWERS
CONTRIBUTION
DESIGN OF THE ‘WOODSHOP’, CONSTRUCTION OF THE PROTOTYPE AND ILLUSTRATION.
37
DESIGN
South Elevation
B
A
A
OFFICE SPACE (FIRST FLOOR)
THE ‘WOODSHOP’; WITH IT’S PITCHED ROOF, ANGLED FACADE, CABLE SYSTEM AND SELECTIVE APETURES ATTEMPTS TO MERGE ICONIC DESIGN WITH OPTIMUM UTILIZATION OF SPACE. HAVING THE STRUCTURAL ELEMENTS LOCATED ON THE OUTER RIM OF THE DESIGN ALLOWS FOR A LONG, OPEN AND UNINTERUPTED WORKSPACE. CONTROLLED APETURES PROVIDE ESSENTIAL LIGHT TO THE WORKSPACE WHILE STILL MAINTAINING AN INSPIRING AND COMFORTING AMBIENCE. THE UNDULATING REAR WALL NOT ONLY SERVES AS A VISUAL APPEAL BUT ALSO UTILITARIAN BY PROVIDING SPACE FOR STORAGE THROUGH IT’S VARYING DEPTH.
B
Plan @ 12’ 6”
Honeycomb Structure
B
Hexagonal Envelope BATHROOM (GROUND LEVEL) A
A
Aperture
Plan @ 8’ 6”
B
Aperture Detail
Roof
West Elevation
Trusses
12’-6”
Hexagonal Envelope
Section @ B
Cable Stayed Structure 12’-6”
Base
Section @ A
39
FACADE
CABLE SYSTEM
PITCHED ROOF
PROTOTYPE
SKYLIGHT
CONNECTIONS
APERTURE
SKIN SYSTEM
CROSS BRACING
40
41
THANK YOU.