MASTERS’ STROKE MATTERS OF ARCHITECTURAL LANGUAGE SUMMER - 2022 AVANEESH NATARAJA UG190239
C O N T E N T S
01 02 INTRODUCTION The portfolio is a compilation of the work done throughout the semester of spring 2020 for the “Masters’ Stroke: Matters of Architectural Language/ style” studio conducted at CEPT University. It is an overview of all the learning outcomes gained from each exercise to the final design proposal which is a culmination of all the skillsets gained during the studio.
STUDIO BRIEF The studio unit will introduce students to the idea of Architectural Language/Style as a medium to realize the same. Students will study the Architectural Languages/Styles of selected architects through series of analytical and design exercises during semester to frame statements elaborating architects’ distinct approaches and attitudes. During semester, these attitudes will be tested and modified when employed to connect various design aspects of a project in a completely different context. Subsequently in the later stage of Studio, students apply their understanding by undertaking Design of a Marine Ecology Substation located at Diu, Gujarat. Faculty - Prof. Sachin Soni T.A- Rajshri Jain
03 04 05 06
PORTRAIT 1-2
CUBE 3-4
MAZE 5-6
TROPHY 7-8
IG POSTS 9-10
DESIGN 11-24 SITE - PROGRAM - CONCEPTS
11-12
SITE PLAN
13 -14
PLAN
15 -16
SECTIONS
17 - 20
PERSPECTIVE - WALL SECTION
21 - 22
MODEL PHOTOGRAPHS
22 - 24
KENGO KUMA YOKOHAMA, JAPAN
01
Kengo Kuma is a Japanese architect and professor in the Department of Architecture at the University of Tokyo. He is considered one of the most significant contemporary Japanese architects. His design philosophy largely focuses on erasing architecture between humans and nature. He defines his architecture to be non monumental, fragmented and approachable to human scale. He tries to achieve this by using fragmented screens and structural systems that combine smaller elements to generate the building form. Japanese traditions and ancient wisdom are his major areas of interest and he constantly tries to apply it in his architecture.
WORK AS A REFLECTION OF SELF Kengo kuma thinks in modules, he believes that ‘systems which has the possibility of an endless combination of small particles produces total freedom in overall design.‘ After a design marathon, Kuma looks into the mirror and imagines the sectional perspective of his last project, G.C Prostho Museum, which defines the features of his face with voids in the wooden lattice and exhibits displayed in the museum space which is in its actual use
02
PHYSICAL/EPHEMERAL SUBSTANCES MASS
A module is multiplied to make systems that grow against gravity
Mass is lifted from the ground to accentuate lightness
SURFACE
Permeable surfaces - Space leaking out to the surroundings
Mass is fragmented to make it more porous and less prominent
MATERIAL
Sliding screens - Flexibility of space
Wood - Sustainable, traditional Japanese, lightness
Dramatic play of shadows changing throughout the day
Chiarascuro - Complex lattices create mutiple shadow patterns.
LIGHT
Interior lights gives a perception of building as a lantern
SPACE
Layered spaces create a threshold to the core space
SCALE
A negative space(void) is created to make the space disappear.
Fragmented surfaces become more approachable to human scale
03
CUBE
The cube reflects Kengo Kuma’s attitudes towards the physical and ephemeral substances. The top and bottom planes of the cube are made out of softwood and given smooth texture in order to resonate with Kuma’s ideas of emphasizing horizontality in his design. The whole cube is lifted from the ground to give a perception of a floating volume. Horizontal wooden slats are stacked and interlocked with each other at the corners for structural support. No vertical member is used in the making of the cube, to further resonate the ideas of horizontality. The use of multiple wooden slats to form the cube conveys Kuma’s idea of architecture being a fragmented system. The form of the screens reflects the quality of its core, which is the flowing property of a hung cloth. The cube manifests the ephemeral nature of Kuma’s buildings by acting as a lamp in the darkness.
04
ORGANISATIONAL DEVICES DATUM
Common space at the entrance becomes a datum for spaces
Processional axis of the Noh performance creates a datum
Horizon becomes a datum for horizontal surfaces
GRID
Structural grids are used as reference to create spaces
Grids are altered according to the functional needs
Grids are skewed at the ends to fit in the site boundary
Linear geometry is broken by addition of an elliptical shape.
Space created with diagonal paths as it signifies a change in Japanese tradition
Hierarchy is created by separating spaces of higher importance
Shallow waterpools aggregate multiplen spaces
MOVEMENT
A void is created to interrupt the sequence and connect to views
ORDER
Roof aggregates the individual spaces and creates an order
05
MAZE
The maze reflects Kengo Kuma’s attitudes towards the organisational devices in his projects. A grid acts as a larger guiding principle of the maze, just like the spaces guided by the structural grid in his projects. Hierarchy is created to the entry and exit points of the maze, by breaking from the orthogonal geometry. At the starting point of the maze, common space is used as a datum with multiple options to move around, few leading to dead ends. The idea of the floor is an aggregator of all the activities is accentuated by the use of all transparent walls. A complexity is brought in by introducing movable walls, just like movable screens in Kuma’s projects.
06
MAKING AND DETAILING DETAIL AS ORDER
Reflection in the water pools give a sense of infinity
Structural elements are wrapped in ‘washi’ paper to give a cozy perception
Walls disintegerate into jalis to enhance fragmentation
PLEXI GLASS
Use of screens to accentuate fragmentation
Light reveals the structure due to the transluency of the surface
Use of plexiglass for roof enhances transparency to sky
DETAIL AS JOINT
Infinite systems made by combining smaller elements
Modules of cedar wood panels with thatch are multiplied
Each plant tray on the facade define the part to whole relation
DETAIL AS NO DETAIL M.S COLUMNS
WATER POOLS
BAMBOO STRIPS
Structure hidden with natural materials to enhance the space
BASE PLATE
Base details of the columns are hidden in water pools
False ceiling made out of paper reveal the structure through shadow
07
TROPHY
The trophy reflects Kengo Kuma’s attitudes towards detailing and making in his projects. Fragmented slats of minimal dimension are stacked upon each other with cantilevering members projecting out. This system conveys Kuma’s idea of using infinite systems, which are usually made of smaller elements, that combine to form larger elements. The whole fragmented system rests on a mirrored base to give a sense of infinity through reflection. This idea is reflected in Kuma’s projects as he creates shallow water pools around his projects, to give a sense of continuity to the fragmented systems.
08
SITE - CONTEXT
Continuity in nature is maintained by creating a void
Seamlessly sits on the undulating contours
Linear arrangement of spaces along the view corridors
Systems are formed based on the availability of materials in accessible dimensions in the existing context
FOREST FLOOR, 2003
A negative space (void) is made in landscape, to make the space dissappear in it
09
Japan as a larger context - The system for the bridge inspired from ancient japanese bridges
The importance given to the horizontality in ancient japanese architecture is reflected in the project
IG POSTS - IN KENGO KUMA’S PERSPECTIVE
A series of Instagram posts were posted during the site visit to Diu. Based on what Kengo Kuma would find fascinating throughout the visit. These observations are further used to develop architectural concepts.
SITE - DIU, GUJARAT
10
SITE - DIU, GUJARAT Site for the project is located between Diu Fort and Government Circuit house on the southern coast of Diu. Marked by the rocky outcrops of coral limestone, this location is frequently visited by locals and tourists due to the breathtaking views of the ocean.
OCEAN
FORT
CITY
PROGRAM - DIU MARINE ECOLOGY SUBSTATION Research- Laboratories and other facilities for 6-8 scientists to conduct field research on marine ecology. Education- Engage school children, youth and eco-enthusiasts with short courses, field tours and lectures. Public Outreach - Spread awareness about marine ecology and impact of human activities on the same among local community and tourists by creating an immersive experience with facilities like an aquarium, exhibitions, awareness tours and other events. Entrance Lounge + Information Aquarium- Immersive experiential space Research Lab + Workstations (6 people) Lecture/ Conference Room (50 people) Library Administration Support + Meeting room Washrooms + Services Cafeteria + Kitchen Souvenir Shop Boat Docking Area + Oceanographic equipment room Outdoor Deck + OTS Gathering Space (150 people) Total Carpet Area Built-up Area
30 sqm 150 sqm 90 sqm 60 sqm 30 sqm 30 sqm 60 sqm 60 sam 30 sqm 30 sqm 570 sqm 800 sqm
CONCEPT - PROCESS
PROCESS MODELS
Focused relationship with
Form disintegrates as it
the sky
emerges out
Diagonal pathway reveals the view - signifying change through ‘Noh’ - philosophy Walkways connecting multiple sunken spaces in order to not affect/dominate the view corridors of the landscape
Models made to explore the develop the form according to its siting in the topography of the site
12
SITE PLAN
Linear organisation aligning with the existing approach path
13
Topography - main spaces tucked into the mounds with deck in the valley
Part of the site, sloping towards the sea - used as O.T.S cafe and boat jetty
SITE PLAN 0
2
4
8M
14
PLAN
SERVICE
MAIN
Space within space - gives a floating perception with gravel as ‘Engawa’
15
Fragmented aquarium- continues into an closed immersive experience room
Diagonal axis signifies ‘change’ according to Japanese ‘Noh’ tradition
5
1
7
3
8
6 4
8
10
2
9
12 11
GROUND PLAN 0
1
3
6M
7
1 - Info Center 2 - Admin 3 - Aquarium 4 - Library 5 - Lecture Hall 6 - Immersive Exhibition 7 - Research Labs 8 - Toilets 9 - Storage 10 - Cafe Kitchen 11 - Souvenir Shop 12 - Cafe Seating
SECTIONS
Space within a space - the core structure and the facade are separated
17
Self shading form - building shades the walkway from south sun and lets in the north light
Fragmented false ceiling made up of thin stone slats texture the ceiling
18
SECTIONS
The form seamlessly sits in the undulating landscape
19
The built form disintegrates into thin stone slats as it emerges above the ground
The building is designed to emerge out from ground always below the eye level
20
WALL SECTION
Facia
C.L.S Clading
Lime plaster
C.L.S SLABS
M.S Box section
Toughened glass
Detail as no detail - the concrete slab is completely hidden by stone cladding and lime plaster
21
Screen detail - Modular steel frame with alternative stone slabs and glass panels to filter light
Thin stone slats of 75mm thickness are used for the facade to increase the perception of fragmentation
WALL SECTION 0
0.5
1.5
3.5M
MODEL PHOTOGRAPHS
Photographs of the structural frame model
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