OPEN BOOK

1

“I put my heart and my soul into my work, and have lost my mind in the process.�

Vincent van Gogh 2

BHOOMI DESAI M.ARCH

bhoomidesai26@gmail.com 669-300-9770

CONTENTS

07

BRIDGING THE GAP

An adaptive reuse project on campus connecting two arts and design schools.

Prof. Darren Petrucci

17

STRUCTURED ECONOMY

A group project to design a student pavilion for the school in downtown Phoenix.

Team mates: Sarah Malak and Nicolas Ansara Prof. Philip Horton

27

CONSTRUCTION DRAWINGS

Designed a multipurpose stage for a school and made construction drawings for the same.

Prof. Neeti Shah

37

FIELD WORK

Internship for a period of one year and a half.

Ar. John Kane (Architekton) Ar. Nuru Karim (Nuru Design) Ar. Nilesh Patel (Open Ideas)

51

A.U.M.

Thesis project on a meditation center in India.

Prof. Vishal Shah

59

CITY AS A PARK

Dynamic urban space for Downtown Phoenix.

Prof. Edward Cook

6

BRIDGING THE GAP ADAPTIVE REUSE

7

Adaptive reuse can be defined in three ways: 1. To retain the hearth (structure) and change the exterior.

2. To retain the plan and function of the building and remodel the building.

3. To retain the facade and remodel the interiors.

Design problem: Design a building’s envelope that both protects the “private” and communicates with the “public.” Within the envelope, synthesize the parameters of the building program, desert environment, and unique urban conditions of the Phoenix metropolitan area.

Site: Art school and NEEB hall (lecture hall) on ASU campus The design school has an exhibition room on the ground floor, which opens up to a plaza that is shared by the lecture hall, the art school and the design school. All the buildings date back to the time when they used corrugated concrete walls. Shear walls make the structure of the buildings. The School of Arts has a gallery/ exhibition hall on the ground floor that does not open up to the plaza due to the shear walls.

Thesis: Concrete (dead) walls that lower down the interaction between the users.

Anti-thesis: The plaza that connects all the three buildings.

Synthesis: Use the exhibition room in the design school as the connecting dot and use the circulation pathways as galleries.

1

2

3

Left: Plan showing the extensions from the dead walls.

Right: Wall section through the extended platform from the shear wall. I adopted the concept of keeping t enough natural light, hence I opened up the studios, had made them larger than they are right now, and gatherings.

PROPOSED STUDIO EXTENSION

STUDIO

SERVICE CORE

DIRECTOR’S ROOM

STORAGE

PROPOSED STAFF ROOMS

STAFF ROOM

CONFERENCE ROOM

ART GALLERY STAFF ROOM

PROPOSED DECK

NEEB HALL (Lecture Hall)

the structure as it is and adding more function to the building. The studios in the School of Arts do not have d added wings to the building, giving it a pin-wheel plan. The plaza, as of now, is used for exhibitions and

SPACE FRAME

PROPOSED STUDIO

5/8” GYP. BOARD (2) 2x4 PROPOSED STUDIO R-19 INSULATION BARRIER BATTENED RAFT FLOOR CORTEN STEEL

DEEP COMPOSITE STEEL DECK FLOOR

EXISTING SHEAR WALLS

PROPOSED DECK

PROPOSED STUDIO

PROPOSED EXTENSION TO THE ART GALLERY SHADED PLAZA/ EXHIBITION AREA

This portfolio is an open book of the process I have undergone over the years of becoming more of a user a scenario. An intervention is a never ending process. It is a loop that never ends.

12

than a designer. Consumption of the elements instead of the production improves my understanding of

13

A view from the Forest Mall. This street connects the Design school, School of Arts, lecture hall, Memorial Union. The NEEB plaza was intended to invite people from the Forest Mall.

16

STRUCTURED ECONOMY ADAPTIVE REUSE

17

18

The blueprint of Downtown Phoenix states the following: 1. To extend the downtown in a linear manner 2. To have educational economy along with business economy.

3. To bring in people to occupy the urban spaces.

Design problem: Design problems emphasizing the comprehensive integration of building systems and technologies as influences on architectural form.

1. To develop a deep understanding of the importance of integrating site design, codes and regulations, structural systems, environmental systems, building envelope systems and assemblies, building materials and assemblies, building service systems, financial considerations, and construction processes throughout the design process.

2. To develop the ability to explore and evaluate potential design solutions iteratively, using a wide array of tools: sketches,photography, Building Information Modeling (BIM), physical modeling.

AC AD EM IC

BU

P U B LIC

SI

NE

SS

19

Left: Section model under construction. The purpose of making a model of this section was to show the various activities, structure, skin, and services. Right: Sectional model

20

Below: (Top) Interim plan showing the division of spaces.

(Bottom) Resolved plan of a typical floor.

Right: Wall section showing the proposed activities.

1

2

4

3

5

7

6

8

9

11

10

12

A

A JANITOR

B

B

TELE. RETAIL SPACE

RETAIL SPACE UP

RETAIL SPACE

RETAIL SPACE

RETAIL SPACE

RETAIL SPACE

DN

DN

ELEC. ROOM

UP

C

C

D

D

FOOD COURT

E

E DRESS LOBBY

F

LOBBY

F

G

G RETAIL SPACE

RETAIL SPACE

H

H

I

I FAN ROOM

ELEC. ROOM

DN

UP

UP

DN

TOILET (M) TOILET (F)

RETAIL SPACE

TOILET (M)

STORAGE

TELE.

STORAGE

KITCHEN

JANITOR

JANITOR

TOILET (F)

J

J

K

K

1

2

1

2 30'-6 1/16"

4

3

3 21'-8"

5

4 25'-8 31/32"

5 25'-4 31/32"

7

6

6

9

8

7 51'-2 21/32"

8 51'-2 21/32"

11

10

9

12

10

11

12

21'-8"

12'-4"

28'-0 1/32"

29'-10 1/2"

A

Cafe'

C

D

E

F

G

8'-11 17/32"10'-7 3/32" 10'-3 5/8" 10'-7 5/8" 11'-4 19/32"

UP UP B

Student Building Lobby

EOSS Open EOSS Workstations

Study Media Lounge Lounge Terrace

Office Building Lobby

DN

25'-3" 6'-0"

Study Lounge

Casual Lounge

UP UP

H

UP UP

Elect.

Tel.

Work Room

Storage Janitor

I

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

22

Fan Fan Room Room

UP

tel. tel.

elect. elect.

Janitor Janitor

OFFICES

Taking into consideration the agendas of the blueprint of Downtown Phoenix, we proposed to combine all the three users (business, academic, public) and provide a platform for the graduates to flourish with the help of the community and the business tycoons. Cronkite School of journalism and law, lies adjacent to this one. In order to give justice to the users of both the buildings, we proposed to have an urban room on level one to activate the room visually and physically.

SOLAR TERRACE

EVENT SPACE

EVENT SPACE LOUNGE

OFFICES

OFFICES

OFFICES

URBAN ROOM

Site: Arizona State University Downtown Phoenix campus.

Design proposals: 1. Provide an urban room opening up on the less known avenue.

2. Combine the business economy and academic economy by providing an office wing.

3. The urban room becomes the port of entry for all the three users.

4. Provide retail shops which dissolve the separation between street and building and leads to the urban room.

5. Provide fire exits in four corners of the building to hold the event space.

6. The event space hangs in the air.

OFFICE LOBBY

RETAIL PLAZA

23

A view from Central Avenue, which is the spine of Downtown Phoenix. Downtown Phoenix has a vision of developing the downtown in the form of crystal canyon, which means linear growth over a dot.

25

26

Photograph of the model showing the existing amphitheater in the background.

Materials used for the model: Stockings,Styrene sheet, dry cane.

CONSTRUCTION DRAWINGS TECHNICAL DETAILS

27

28

A studio structured to focus on drafting construction drawings, and exploring materials and their joinery.

Design problem: Roofing and roof materials, construction technology, and material exploration. To design a semi-covered stage for live performances and mass gatherings.

Site: Existing amphitheater situated in the center of a C-shaped university building.

The existing structure is made out of steel and concrete, which is open from all the sides.

Proposed idea: 1. Design the aesthetics of the structure.

2. Give some life to the under-used stage.

3. Solve the problem of electrification.

4. Add wings to the stage, making room for the backstage equipments.

Left: (top) Centerline plan (bottom) Longitudinal section A-A 29

KEY PLAN

30

The idea behind the project was to explore new roof materials and roofing systems using the semi-covered stage as the medium.

The concept behind the shape of the covering was continuance. Keeping the purpose of mass gatherings and live shows in mind the shape of the covering has been designed to fulfill the same.

Roof covering: PTFE Structure: Frame structure with cables to hold the aluminum frame.

31

32

This was a project where students were supposed to draw construction drawings for an exposed RCC house. It was a group effort. My role in the team was to figure out the details of the openings, draft centerline plans, design the kitchen, draft plumbing details, wall sections, section, and draw the graphical schedule of openings.

Structure: Exposed Reinforced Cement Concrete Shear walls.

Left: Openings Sheet (bottom) Render of the exposed RCC house

33

34

Longitudinal and cross sections through the house Top: Section BB Below: Section AA

35

36

A view from the passage way showing the interiors of the student lounge at Chandler Gilbert Community College.

ON-SITE EXPERIENCE ARCHITEKTON NURU DESIGN OPEN IDEAS

37

38

“Tell me and I forget, teach me and I may remember, involve me and I learn” -Benjamin Franklin An intern is supposed to draft construction drawings, pull all nighters, work eight hours a day, and keep one’s design ideas in one’s head. This was not the case with me at Architekton.

Principal architects Ar. John Kane and Ar. Joe Salvatore treated me as their employee.

Over the summer, they familiarized me with tasks like dealing with clients, concept drawings, visit site, assist them to various meetings with consultants and clients, and team work.

Apart from all that, the team of two interns refurbished the material library and did a design competition to rebuild the firm’s conference table.

Left(top to bottom): Conceptual diagrams for a university. On site with contractors.

Right: Picture showing the transformation of the library as per the Specification sections.

39

40

Our Lady of Joy is an old church in North Phoenix. My task was to model the existing church in SketchUp and propose design interventions to change the following: 1. Reposition the choir platform.

2. Redesign the baptistery.

3. Change the flooring.

4. Add more seating.

We provided more than the clients asked for. We added aesthetics and architecture to the existing building.

Design proposal: 1. Make the Altar ADA accessible.

2. Make room for the choir.

3. Reposition the side altars that hold Virgin Mary and Joseph.

After closing the deal with the clients, it was my job to make the construction drawings in Autodesk Revit. I worked on an interior design project as well. My task was to design a students’ lounge at Chandler Gilbert Community College and present it to the clients. I proposed a lounge that can potentially become a hangout place as well a study room for the students.

41

1 A301 110'-0" 22'-0"

25'-0"

16'-0"

-

25'-0"

22'-0"

--16'-8"

4'-0" 1'-4"

22'-8"

2'-0"4"

16'-0"

4"2'-0"

22'-8"

1'-4" 4'-0"

16'-8"

---

18'-0"

1 A401

1 A402

A ltarfurni tabern acle ture

UP

4'-0"

23'-2"

24'-6"

1'-0" 1'-4"

2 A402

4"

4'-2"

1

-

4'-0"

---

4'-0" 4'-8" A301

4'-8"

4'-0" A301

A231

3 A402

2'-4" 6'-4"

30'-5 13/16"

2

3

1'-0"2'-0"

32'-5 13/16"

2 A401 34'-8"

1'-0"

2

---

1 A301

1'-0"

21'-0"

1'-0"

64'-0"

1'-0"

86'-0"

22'-0"

110'-0"

Top: Plan showing the changes and proposed ideas.

Right: (top) Detail of the new side altars and ramp; (bottom) Demolition plan.

42

21'-0"

1'-0"

112'-0"

4'-8"

A231

2

A231

1'-10 3/16"

1'-10 3/16"

4

4'-0"

89'-0"

4'-8"

29'-2"

29'-2"

4'-2"

6'-0"

A231

---

5" 16'-6"

-1'-7 1/16"

4'-0 "

4'-0 "

2' - 0" R

UP

?

5'-7 "

-1'-5 3/16"

1

120

2'-3

°

"2

15/1 6"

6'-0 "

150°

1'-6

3 -1'-4 5/16"

120

4

°

6'-6

" 4"

1'-2 "

150°

5'-8 "

1'-6 "

1

3'-0 "

90°

A201

"

2"2CL "

-9"

4'-8

1'-6 "

"

1'-6"

-1'-4 1/4"

---

1

4

A231

A231

A231

2

1'-10"

5'-0

1'-6 "

-2"

2'-1 1"

90°

4'-1 3/1 6"

90°

A231

3

OLdDfufurnrnit iture Ol urela yo ut

43

44

Ar. Nuru Karim, principal architect at NU.DE. architects, is an ardent follower of Zaha Hadid. He studied at AA, London, and was an intern at Zaha Hadid architects. Karim is into transforming architecture and community involvement using parametric design strategies. While at Nuru Design, I had an opportunity to visit sites, draw construction drawings, and work in a team. The project on the left was done using Rhino and scripted in Grasshopper. The design proposal has won several awards for material exploration and design strategy. The intervention was to invite the community to generate electricity for the shanties in Mumbai, India.

Material: MDF Software used: Rhino and grasshopper

Left: (top) Elevation of one module (bottom)Mock-up model of the intervention 45

46

Top: Plan showing the modules connected to each other by small pieces of MDF. Bottom: Elevation

47

6440

C

D

672 472 200

E

1876 1676

F

1524(EQ)

1524(EQ)

1524(EQ)

1524(EQ)

G

6096

1

1

2

2

3

3

2742

A

B

6440

48

C

4

4

5

5

6

6

Open Ideas is a firm based in Gujarat, India, which focuses on designing integrated interventions with an equal importance given to the skin of the building. I had an opportunity to meet consultants, visit sites, design the interiors of an apartment house, and draft construction drawings.

The project on the left shows a bridge designed for a residence, which connects two rooms and overlooks the drawing room. The lighting fixture for this bridge was inspired by the lights at Chicago Art Center. It was during this period of internship when I drafted plumbing drawings, false ceiling drawings, electrification drawings, and landscape drawings.

49

50

Photograph of model showing the housing designed for the residents of the center.

A.U.M. A PLACE OF SELF HEALING

51

52

lt often lacks a clear definition for meditation. Some define it as a relaxation technique; a technique in which one focuses on one’s breathing in a calm way. Others define meditation by its goal: a state of complete concentration with no extraneous thoughts, a State of complete mindfulness, living in the here and now, a choice-less awareness, without analysis and intellectual constructs (opening-up awareness)1.

Design problem: Action, Utterance, and Mind-A.U.M.(the notion of Brahma Kumaris (a sect in India which preaches the principles of living a happy and a noble life, through meditation and lectures)The objective of the project was to design a center for the Brahma Kumaris at a village, the village that was a part of the several freedom movements of Gandhi.

Design proposal: 1.Keeping the meditation center as the heart of the site.

2. Connect the rest of the program in such a manner that none of the elements are left aloof from the meditation center.

3. All the other parts of the program are connected to the meditation hall through landscape and various other activities.

(Reference: Buddhist Meditation and Depth Psychology; The Psychology of Moditation. Oxford Science Publications,1987; A Scientific I Personal Exploration Meditation: Self-Regulation Strategy & Altered Stale of Consciousness. New York : Aldine, 1980)

53

54

Plan and section through the meditation hall.

55

56

Photograph of model showing the meditation hall.

57

58

The courthouse can be used as a Foodtruck spot.

CITY AS A PARK URBAN DYNAMIC SPACES

59

60

“Within a large space, without form or definition, and be determined by the activities and arrangement within the space�

-Francis D.K. Ching Urban dynamic space: 1. A place where people are care-free 2. A space that is used all round the year and all day, all night.

3. A place that breaks the rules of standardization With increasing demands on utilization of public space, diverse and evolving cultural and natural forces necessitate design interventions that are responsive and adaptive.

Design problem: The prime objective of the project is to address public use and development of the space.

Site: A strategical model for a district within a district.

Downtown Phoenix, Arizona

Left: Site and diagrams showing how humans can take over the city.

Bottom: A canopy covering the abandoned spaces .

61

How to persuade people to walk?

1. A reason to walk (balance of uses) 2. A safe walk (reality and perception) 3. A comfortable walk (space and orientation) 4. An interesting walk (signs of humanity) -Jan Gehl (Cities for people) Principles adopted from Kevin Lynch’s book ‘Image of the city’: 1. Five elements that give an image to the city.

2. Give a pause to the machine life.

3. An image is drawn by the users-involve them 4. Every place has an important element lying beneath the smoke if the vehicles that needs to be dug out to be seen by the community.

East-West Main Streets

North-South Main Streets

Blocks turned into a park

62

Axonometric view of Downtown Phoenix showing the current setting of the cityscape.

63

64

A view of the Courthouse plaza at night. Cantilevered extension from the parking structure.

65

PARKING W. ADAMS ST.

phoenix CITY HALL

Comerica THEATRE W. WASHINGTON ST.

W. JEFFERSON ST.

N OE PH

m IX

lc pa i ci un

rt ou

PARKING

WELLS FARGO plaza

CITY COUNCIL chambers

MARICOPA county court house

UNITED STATES district court

PARKING LAW library

ATTORNEY’s office

Downtown Phoenix has a Warehouse district and a Government district lying next to each other. Both the districts remain quiet and empty during most of the days, due to obvious reasons. During summer (as seen below) the usage of the city reduces due to immense heat and hot and dry winds. During winter (top right), people would want to step outside and embrace the pleasant weather. Downtown Phoenix lacks an image that defines a city. Taking into considerations the five elements of Kevin Lynch, I’ve used elements of the city and joined the dots.

M

IL NC U O rs y C mbe t i C ha c

66

a coric C unop O H U tya O R U T S E

M

CIL N U s CO ber y Cit ham c

a coric C unop O H U tya O R U T S E

Yellow is the color of celebration. I studied the traffic, existing open spaces, existing plazas, routes, and location of parking structures, and superimposed them on each other. That gave me a zone that could be played with. Using one element-wall-I placed them in a manner that a person can navigate through this zone and explore the city. The parking structures turn into platforms where people can host an event and convert the streets into a vehicle free zone.

When activities are plugged into the existing places, the places become lively and are consumed by the users.

67

68

A view of the Courthouse plaza at night. Used for hosting festivals and events.

69

In 1953, Robert Rauschenberg set out to discover whether an artwork could be produced entirely through erasure—an act focused on the removal of marks rather than their accumulation. Rauschenberg first tried erasing his own drawings but ultimately decided that in order for the experiment to succeed he had to begin with an artwork that was undeniably significant in its own right.

He approached Willem de Kooning (1904–1997), an artist for whom he had tremendous respect, and asked him for a drawing to erase.

Somewhat reluctantly, de Kooning agreed. Rauschenberg erased the artwork leaving behind the traces of the art on the paper. This technique revealed all the layers of the original artwork that were erased by de Kooning before presenting it to the world as the final product.

The act of Robert Rauschenberg left the viewers with questions. Was it an act of homage, provocation, humor, patricide, destruction, or, as Rauschenberg once suggested, celebration? Erased de Kooning Drawing eludes easy answers, its mysterious beginnings leaving it open to a range of present and future interpretations.

BHOOMI A. DESAI

bhoomidesai26@gmail.com 669-30o-9770 EDUCATION

2010-2015 Faculty of Architecture, S.C.E.T., Surat, Gujarat, India 2015-2017* The Herberger Institute of Design and the Arts (HIDA) , Arizona State University,U.S.A.

SOFTWARE

Autodesk AutoCAD, Revit Adobe Photoshop, Illustrator, InDesign, Lightroom Rhino SketchUp+ V-Ray Microsoft Office Lumion Velux Climate Consultant HEED

MANUAL SKILLS

Model making using boards, paper, plastic, styrofoam, polystyrene, acrylic, wood Sketching using inking points, pencils, charcoal, copic pens Worked as a Lab Aide at HIDA-3D printing, laser cutting, and printing

EXPERIENCE

Was a Teaching Assistant for Prof. Elena Rocchi (Ph.D in Theory and History of Architecture at ETSAB Barcelona, Architect, Artist and Visiting Clinical Assistant Professor at ASU The Design School) and Prof. Thomas Hartman (Associate professor at ASU The Design School) 72

INTERNSHIP

2014

Intern, Nuru Design (NU.DE), Mumbai, India Conducted site visits, drafted working drawings, worked with consultants; worked on various building typologies (religious, high rise residential); designed industrial product and marketing video for a manufacturer; participated in eVolo’14.

2014-2015 Intern, Open Ideas, Ahmedabad, India Conducted site visits,worked with consultants; worked on various building typologies (commercial, low rise residential, landscape and interior designing of low rise residential units.

2016 Intern, Architekton, Arizona, United States I had a unique experience at Architekton. Over the summer, they familiarized me with tasks like dealing with clients, concept drawings, visit site, assist them to various meetings with consultants and clients, and team work. Apart from all that, the team of two interns refurbished the material library and did a design competition to rebuild the firm’s conference table.

EXTRA CURRICULAR ACTIVITIES

Won Design Excellence Spring 2016 Award at Arizona State University Travel Studio to New Zealand, 2016 Active participation in NASA (National Association of Students of Architecture) projects Participated in India Design Competition while training under Ar. Nuru Karim-A group effort, 2014 Participated in LA Journal, 2013 Participated in IGBC competition, 2012 Participated in a study tour to Europe, 2010

73

74