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BSSA aspires to be a School of Contemporary Thought. Learning Architecture at BSSA is about People, Process and Technologies. Architecture is about the holistic understanding of People, Culture, Heritage and Art. BSSA wants to understand people and to be able to build for them. Architecture is about understanding Processes rather than Products. BSSA focuses on understanding and analysing Processes in Nature, Science, and Society. BSSA is a Process based Design School.
Publisher Balwant Sheth School of Architecture
Editor Dean: Trilochan Chhaya
Designed and Edited by Students of NMIMS BSSA (Batch 2019)
Editorial Team Saloni Agarwal Shreya Chheda Parshav Sheth Vishal Rohira Meet Thakkar Nakshi Shah Uroosa Petiwala Nishiki Verma Shivani Bakru Urmi Nandu Varun Vashi
Project Guides Trilochan Chhaya Namrata Shah Anjana Chhaya Anand Pandit Tapan Mittal
Copyright 2017 Balwant Sheth School of Architecture SVKM’s NMIMS All rights, no part of this publication may be reproduced or transmitted in any form or by means, electronic or mechanical, including photocopy, recording or any other information storage and retrival system prior permission in writing from the publisher.
BALWANT SHETH SCHOOL OF ARCHITECTURE EDITORIAL 2017-18 Illustration: Extension to Casa Barragan, Plan by Flora Sheth. Illustration Š Vishal Rohira.
A C K N O W L E D G M E N T S T h e fo llowin g co mp ila tio n wo ul d n’ t ha ve b e e n p o s s i b l e w i t ho ut t he p e r s is te n ce o f o u r A D me nt o r s, P ro f e s s o r Tr i l o c ha n C hhaya , P ro f e s s o r Na mra ta S h a h , P ro f e s s o r A na nd Pa nd i t , P ro f e s s o r A nj a na C hhaya a nd P ro f e s s o r Ta p a n . T h e ir d e t e r m i ne d a p p ro a c h t owa r d s s ha p i ng o ur d o c ume n ta tio n h a s r e n d e r e d m o s t o f t hi s c o m p i l a t i o n p o s s i b l e. It is a ls o imp e ra tive to th a nk e ve r yo ne f ro m B S S A B a t c h 2 0 1 4 - 2 0 1 9 fo r b e in g fo r th co m i ng t owa r d s t hi s d o c um e nt a t i o n.
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I N T R O D U C T I O N T h e fo llowin g co mp ila tio n i s a d i r e c t r e p r e s e nt a t i o n o f t he b o dy o f wo r k th a t wa s ex p lo r e d by th e B S S A b a t c h o f 2 0 1 4 - 2 0 1 9 d ur i ng t he i r 3 r d ye a r o f a r c hi t e c t ur e. E a c h p a ge co n ta in s a n a n t ho l o gy o f i nd i vi d ua l s t ud e nt s d e s i g n p ro j e c t . It h a s b e e n co mp ile d to get he r t o g i ve a n i d e a o f o ur b r i e f a nd i t s r e s p o n s e a like. T h e s tu d e n ts ha ve p i c ke d a n a r c hi t e c t e a c h b a s e d o n t he i r p e n c h a n t towa r d s th e a r c hi t e c t s wo r ks a nd s t y l e. They ha ve s t ud i e d i n d e ta i l t he a r c hi t e c t s ow n ho us e. T h is exe r cis e h a s g ive n u s s p e c i a l i ns i g ht s i nt o t he m i nd s o f o ur c ho s e n a r c h ite cts. We h a ve ex p l o r e d c o nc e p t s, t he o r i e s, i d e o l o g i e s, m a t e r i a , f u n ctio n a lity, cir cu la tio n a s we l l a s e nvi ro nm e nt a l r e s p o ns e s s t e m m i ng o ut o f t he ho us e. Ou r r e f le ctio n s h a ve b e e n d e ve l o p e d a nd s y nt he s i ze d t o t a ng i b l y fo r m a n in s e r t o f a ‘Gu e s t H o u s e ’ t o t he ex i s t i ng ho us e. S t ud e nt s a t l a r ge ha ve tr ie d to b le n d with th e exi s t i ng f a b r i c , hi g hl i g ht a r c hi t e c t ura l s t y l e s a nd e le me n ts a s we ll a s c o ns t r uc t m o no l i t hs t o c r e a t e a new f a b r i c . Par s h av S h e t h B S S A E dit o r ial
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CONT CONTENTS
TENTS A C K N O W L E D G E M E N T S I N T R O D U C T I O N A R C H I T E C T S
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A RC H I ARCHI AlvarAalto | AlvaroSiza | AnupamaKundoo | | | 01
02
73
74
15
16
Charles & | Ray Eames | ErikGunnarAsplund | 79
80
43
44
JohnUtzon | KiyonoriKikutake | LuisBarragan | | | | | 35
36
25
26
13
14
51
52
63
64
PalindaKannangara | PeterGluck | PeterZumthor | | | | | 03
04
RichardNeutra | 23
24
19
20
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57
58
21
22
37
38
RudolfMichaelSchindler | 49
50
TadaoAndo | ThomasHerzog | ToddSaunders | | | 29
iii
30
39
40
41
42
TECTS ITECTS |
BalkrishnaVithaldasDoshi | 75
76
CurzioMalaparte | | | 45
46
53
54
77
78
FrankGehry | GeofferyBawa | HassanFathy | | | | | 27
28
59
60
65
66
31
32
55
56
Michael & Patricia Hopkins | OscarNiemeyer | | |
05
06
61
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RenzoPiano | 11
12
SeanGodsell | | 09
10
71
72
WalterGropius | | 07
08
67
68
Richard
62
69
&
|18
70
Su
Rogers
17
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ShirishBehri |
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WernerSobek |
33
47
34
48
iv
A a lto c h o s e h is s tr u ctu r e s a s a m e d i um t o ex p l o r e q ue s t i o ns o f va r y i ng d is p o s itio n s. H e cr e a te d fo r m s t ha t e na b l e d hi m t o ha r m o ni o us l y wo r k with co n tra d icto r y e le me n t s. H i s a p p ro a c h c o ul d b e s um m e d up a s t he ‘P h ilo s o p hy o f In clu s io n’, p a r i ng up t a ng i b l e a nd no n- t a ng i b l e a s p e c t s o f d e s ig n in g a n d exe cu tio n - s uc h a s m a t e r i a l w i t h p s yc ho l o g i c a l wo r l d ; te c h n o lo gy a nd a r t ; hum a ne ne s s a nd a ut ho r i t y. H e d e ma r ca te s th e in te r na l s p a c e s w i t h ex t e ns i ve us e o f d i s c o nt i nuo us wa lls a n d m u ltip le le ve ls i ns t e a d o f d o o r s, ke e p i ng vi s ua l c o nne c t i o n i nt a c t . Fo r my d e s ig n , I s e le cte d t he b a c kya r d o f t he ho us e o n t he s l o p e, a l l ow in g th e ga r d e n in th e ce n t e r t o fo r m a p s e ud o c o ur t ya r d . I l i m i t e d t he p ro g ra ms to a liv in g ro o m , ki t c he n, d i ni ng a r e a , a b e d ro o m w i t h a t o i l e t a n d a s tu dy ; exclu d in g a nd i nc l ud i ng t he vo l um e s i t ho ug ht a p p ro p r i a t e. T h e p o s itio n s o f th e f e n e s t ra t i o n a r e w i t h r e s p e c t t o t he ex i s t i ng ho us e a n d th e ma te r ia ls u s e d de m a r c a t e t he p r i va t e a nd t he p ub l i c s p a c e s.
01
Alvar Aalto
by
Saloni Agarwal |
01
02
Pa lin d a Ka n n a n g a r a is a n a r c hi t e c t w ho s e wo r k i s b a s e d o n a n a e s t he tic a n d s p a tia l ex p lo ra tion w i t hi n c o nt e m p o ra r y S r i L a nka n c o nt ex t . H i s h o me / wo r k s p a ce - th e s tud i o dwe l l i ng, i n C o l o m b o i s a t e s t i m o ny t o hi s n a tu r e s e n s itive ye t m o d e r n t a ke o n a r c hi t e c t ur e. T h e h o u s e a cts a s a th r e s h o l d b e t we e n t he c i t y a nd t he va s t g r e e ns r i g ht b e h in d it, a n d th e h o u s e it s e l f d o e s j us t i c e t o b o t h. M a d e e nt i r e l y o f exp o s e d b r ic k s a n d co n cr e te, t he ho us e l o o ks l i ke a s i m p l e c ub e a t f i r s t b ut th e s e ctio n r e vea l s t he i nge ni o us d i vi s i o n o f s p a c e.
03
PALINDA KANNANGARA
STUDIO DWELLING
URBAN FRINGEWETLANDS
Palinda Kannangara is a Sri Lankan Architect known for his 'minimalistic' designs of residences and leisure homes. His architecture uses modern technology and advance stuctural design to create structures that are remarkably responsive to the site and the environment. His work exhibits a great contast between simplicity and complexity - providing equal respect to contemporary and traditional sri lankan housing.
entrance lobby study / installation area living area kitchen and entertainment
A
courtyard bedroom bathrooms
A’
SECTIN AA’
THRESHOLD PERMEABLE PRAGMATIC CONTRAST Pa l i n d a Ka n n a n g a r a
by
Samvit Bhanot |
02
04
H o p k in s h o u s e by Mic h a e l & Pa t ri ci a H o p k i n s i s o ne o f t he i r f i r s t s t r uc tur e s a s a j o i nt p ra c t i c e. A lig h twe ig h t s te e l s tr u ctur e w i t h g l a s s f a c a d e s. A s we l l a s a ho us e, a s tu d io wa s n e e d e d . T h e s t r uc t ur e i s d e t a c he d f ro m t he s t r e e t r e s t r i c t i ng its fo o tp r in t, le a v in g a 1 0 m by 1 2 m r e c t a ng l e o n t wo l e ve l s w i t h a s t e e l g r id o f 2 m by 4 m. Fro m t he f ro nt , t he ho us e a p p e a r s t o b e s i ng l e - s t or ey, b e ca u s e th e s ite is 2 . 5 m b e l ow t he ro a d . S i d e wa l l s a r e o f a n i ns u la te d me ta l d e c k in g a n d f ro nt a nd b a c k wa l l s ha ve f ul l - he i g ht s l i d i ng g la s s d o o r s, with n o ve r ti c a l f ra m e s. The i nt e r na l p l a nni ng i s o p e n a nd f lex ib le. T h e b a s ic s tra te gy a nd c o s t r e s t ra i nt s ha ve p ro d uc e d a b ui l d i ng o f s i m p l i c i t y a nd r e f i ne m e nt . T h e g u e s t h o u s e n e e d e d t o b e b ui l t i s i n s uc h a way t ha t i t d o e s n’ t o ve r p owe r th e ex is tin g s tr u ctu r e, ke e p i ng t he s a m e g r i d o f 2 m by 2 m i n p l a n like th e H o p k in s h o u s e. Fro m t he f ro nt i t a p p e a r s t o b e a o ne s t o r ey s tr u ctu r e a n d g o e s 2 .5 m b e l ow t he s i t e. The m a t e r i a l s us e d a r e wo o d a n d s te e l to ke e p t he l i g ht ne s s o f t he s t r uc t ur e.
05
M i c h a e l & Pa t r i c i a H o p k i n s
by
Shivani Bhatia |
03
06
Wa lte r G r o p iu s is wid e ly r e ga r d e d a s o ne o f t he p i o ne e r i ng m a s t e r s o f mo d e r n is t a r c h ite ctu r e. Gro p i us t hro ug h hi s m o d e r ni s t p r i nc i p l e s c r e a t e s b u ild in g s th a t a r e p u r e ly o r ga ni c , b o l d l y e m a na t i ng t he i r i nne r l a w s, f r e e o f unt r ut hs a nd o r na m e nt a t i o n. Gro p iu s h o u s e co mp r is e s o f a j ux t a p o s i t i o n o f t ra ns p a r e nt , t ra ns l uc e nt a n d o p a q u e e le me n ts ca u s i ng t he d e m a t e r i a l i za t i o n o f s p a c e s, t hus, p rov id in g d ive r s e co n n e ctio n s w i t h na t ur e. The d e m a t e r i a l i za t i o n a l o ng w i t h th e fo r m/ p la n o f th e s tr u c t ur e w i t h i t s d e l aye d ye t uni nt e r r up t e d c o nne c tio n s b e twe e n s p a ce s cr e a t e s a s e ns e o f p e r c e p t ua l a m b i g ui t y. The o r ie n ta tio n with r e s p e ct to s unp a t hs, l o c a t i o n o n s i t e a nd t he fo r m a d va nc e s o n Gro p iu s ’ p r in cip le s ge ne ra t i ng a s y m b i o t i c r e l a t i o ns hi p b e t we e n na t ur e a nd a r c hi t e c t ur e.
07
Walter Gropius
by
Moses Cheyadenl |
04
08
S e a n G o d s e ll b e lie ve d in us i ng t he l a nd fo r m t o t he b e ne f i t o f t he ho us e a n d , th e r e fo r e th e o ccu p ant s. The s hi f t a nd fo r m o f t he l a nd s c a p e, how e ve r s ma ll, h e lp e d in clima t e c o nt ro l . H i s ex t e ns i ve ex p e r i m e nt a t i o n w i t h s imp le, dy n a mic e n ve lo p e s a nd uni q ue ve nt i l a t i o n s y s t e m s e na b l e s t he h o u s e to b e s e lf - p owe r e d. The Kew H o us e, he b ui l t fo r hi s w i f e a nd s o n, is ex tr e me ly min ima l, with p a r t i t i o ns t ha t c a n b e s hi f t e d t o m o d i f y t he cir cu la tio n p a th . T h e a d d it i o n t o t he Kew H o us e b ur row s und e r g ro und a nd a tte mp ts to e le va te h is s t ra t e g i e s a nd e nha nc e t he nua nc e s i n p r i va c y a nd voye ur i s m .
09
Sean Godsell
by
Shreya Chheda |
05
10
Re n zo P ia n o is b e s t k n ow n fo r hi s hi g h- t e c h p ub l i c s p a c e s, t hi s wa s hi s f ir s t r e s id e n tia l p ro je ct. H e b e l i e ve s i n t he c o nc e p t o f d i vi s i o n o f s p a c e s, ju s t like yo u ca n s e e in th e d e s i g n o f hi s p ro j e c t . H i s c o nc e p t i s t o f i r s t d iv id e s p a ce s a n d th e n b l e nd t he m i nt o t he s ur ro und i ng e nvi ro nm e nt . Yo u ca n s e e h ow o n e s id e o f th e ho us e ha s g l a s s o n i t s e nt i r e f ro nt e l e va t i o n, by d o in g s o h e is lin k in g t he ex t e r i o r s ur ro und i ng t o t he i nt e r i o r. N o t o n ly th a t b u t h e h a s a ls o c r e a t e d a c o ur t ya r d i n t he ho us e i n o r d e r t o v is u a lly lin k th e d if f e r e n t s p a c e s i n t he ho us e. The p ro p o s e d g ue s t ho us e is d e s ig n e d to b e b u ilt r ight b e s i d e hi s c ur r e nt ho us e ke e p i ng i n m i nd t he s a me i d e o l o g i e s a s Re nzo P i a no.
11
Renzo Piano
by
Farah Dar uwala |
06
12
“My h o u s e is my r e f u ge, n o t a c o l d p i e c e o f c o nve ni e nc e ” - L u i s B a r r a ga n L u is Ba r r a g a n’s c h ild h o o d t r i p s t o Euro p e s ha p e hi s d e s i g n p hi l o s o p hy. H e is in f lu e n ce d by F e r d ina nd B a c fo r hi s l a nd s c a p e d e s i g n. H e b e l i e ve s in ‘ E m o tio n a l A rc h ite ctu r e ’ a nd wa nt s t o b r i ng b a c k t he c ul t ur e o f M ex i c o. B e lie v in g in th e id e a o f c o l o r s a nd t he i nt e r p l ay o f l i g ht , he us e s ge o me tr y in h is d e s ig n a n d p l ay s w i t h t he s c a l e a nd c o nne c t i vi t y b e t we e n t he l aye r s.
13
Luis Barragan
by
Damini Gudhka |
08
14
Wa ll H o u s e is s itu a te d out s i d e t he p l a nne d c i t y l i m i t s o f A uro vi l l e, i n A u ro mo d e le, a n a r e a d e s i g na t e d fo r r e s e a r c h a nd ex p e r i m e nt a t i o n by A n u p a ma Ku n d o o. T h e a r c hi t e c t ’s r e s i d e nc e, i t c o m p a c t l y a c c o m m o d a t e s e ve r yd ay n e e d s wh ils t e f fo r t l e s s l y ex p a nd i ng t o a b s o r b g ue s t s. I t a tte mp ts to n o t o n ly r e d e f i ne t he b ui l d i ng p ro g ra m fo r a p r i va t e r e s id e n ce, it te s ts va r io u s s p a t i a l a nd t e c hno l o g i c a l i nno va t i o ns t o i nfo r m o th e r p ro je cts. S p a tia lly, i t r e d e f i ns b o r d e r s a nd t ra ns i t i o na l s p a c e s i n r e s p o n s e to th e clima t i c c o nd i t i o ns a nd c o nt e m p o ra r y c ul t ur e. In th e ex te n s io n ke e p s la nd s c a p e d e s i g n a n i nt e g ra l a nd i ns e p a ra b l e p a r t o f th e o ve ra ll a r c h i t e c t ur e. I t wo r ks w i t h t he t o p o g ra p hy t o i nt eg ra te th e in d o o r- o u td o o r t ra ns i t i o n a s a n i nt e g ra l ex p e r i e nc e. I t ke e p s th e s a me s e n s itive lin e a r g r i d w i t h m i ni m um fo o t p r i nt hi g hl i g ht s t he i nt a c t va ul t i n t he e l e va t i o n. T h e Wa ll H o u s e a s we ll a s t he ex t e ns i o n i s t he c ul m i na t i o n o f a n o n g o in g ex te n s ive r e s e a r c h a nd ex p e r i m e nt a t i o n i n l ow - i m p a c t b ui l d i ng te c h n o lo g ie s th a t a r e e n v i ro nm e nt a l l y a nd s o c i o - e c o no m i c a l l y b e ne f i c i a l . It in co r p o ra te s e ve r yd ay m a t e r i a l s t hro ug h t e c hni q ue s t ha t i nc l ud e t he p a r ticipa t i o n f ew s ki l l e d c ra f t s m e n.
15
Anuoama Kundoo
by
Rakshita Jain |
09
16
“ I t h i n k t h e f ut ur e i s goi n g t o h a ve le ss and le ss of m ass. You don’t look ou t of little
s quar e wi n dows agai n s t mas s. E ve r y thing is a stru ctu re . T he re is no de finition eve r y t h i n g i n t erm ing le s. ” - R i ch a rd Ro ge rs
D e vo te d to co n tin u a l cir cu l a t i o n, i t s f unc t i o ns s c ra m b l e d , i t s b o und a r i e s b lu r r e d , r e p r ie ve d th e p ro m i s e o f m o d e r n a r c hi t e c t ur e b e i ng m o r e l i vea b le a n d n o t a n e n tra p m e nt i n c l e a n l i ne a r d i vi s i o ns a nd s y m m e t r y. Owin g to mo d e r n te c h n o lo g i e s t he w ho l e ho us e i s d e s i g ne d a s a t ra nsp a r e n t, f lex ib le tu b e wh ic h c o ul d b e a d a p t e d a nd ex t e nd e d , o r c o mp le te ly o p e n e d u p to in vol ve e ve r yo ne. The c l o s e r e l a t i o ns hi p b e t we e n th e h o u s e, th e ga r d e n , E r n e s t o Ro ge r s ’ f ur ni t ur e, a nd D a d a Ro ge r s ’ p o tte r y a n d th e in te r io r s wa s m a d e m o r e p ro m i ne nt a nd l i ve l y w i t h t he p l ay f u l co lo u r s th a t e nc a p s ul a t e d t he a d a p t a b l e s p a c e s. T h e id e a o f a r c h ite ctu r e b e i ng a d a p t i ve t o t he ne e d s o f p e o p l e ra t he r th a n p e o p le a d ju s tin g to a r c hi t e c t ur e a p p e a l e d t o m e t he m o s t i n d es ig n in g my ex te n s io n to th e p ro j e c t . The s p a c e i n i t s e l f wa s s o o p e n ye t s o co mp le te th a t I fo cu s e d o n no t d i s t ur b i ng i t ’s ha r m o ny w i t h t he i ns e r t b u t by fo llowin g s imila r lin e s t o c r e a t e a n i ns e r t t ha t a l l owe d t he p l a c e to tra n s fo r m a n d a cco mmo d a t e i n- ho us e ex hi b i t i o ns o f t he r e s i d e nt ’s c r e a tiv ity a n d p ro je cts. It wa s a c o ns c i o us e f fo r t t o m a i nt a i n t he r e s i d e nt ’s p r iva c y by h a v in g th e g u e s t ho us e o r a m o r e p ub l i c l y a c t i ve p o d a way f ro m th e q u ie te r liv in g u n i t s a nd t he a r c hi t e c t ’s wo r ki ng s t ud i o, w hi l e a ls o ma in ta in in g f a ir ly a cc e s s i b l e i nt e ra c t i ve i ns e r t s w hi l e c o m m ut i ng i n a t ub e - l i ke f a s hi o n.
17
Richard and Su Rogers
by
Va i d e h i J a i s wa l |
10
18
D e s ig n e d by Pe te r G lu c k, Towe r H o us e i s a va c a t i o n ho m e fo r t he G l uc k f a mily. T h e s ite ex p e r ie n c e s a t ra ns i t i o n f ro m t he o ut e r s p a c e b e i ng a fo r e s t wh ic h th e n e n g u lf s a n o r c ha r d a nd t he n o n a p l a i n f l a t l a nd l i e s th e towe r h o u s e. T h e s tr u c t ur e i s b a s i c a l l y a huge d i ni ng a nd ki t c he n s p a ce wh ic h is h e ld u p o n t o p o f t hr e e f l o o r s o f b e d ro o m s. The ki t c he n a n d liv in g ro o m a r e in a way c a nt i l e ve r i ng f ro m t he m a i n s t r uc t ur e. T h e p ro p o s e d g u e s t h o u s e i s i n t he s a m e s i t e b ut s l i g ht l y d i s t a nc e d f ro m th e Towe r H o u s e wh ic h in a way m a i nt a i ns p r i va c y fo r b o t h t he s p a c e s a s we ll r e ta in s th e s a me v i ew fo r t he new s t r uc t ur e a s we l l a s i t d o e s n’ t b lo c k th e v iew fo r th e o ld s t r uc t ur e. The p ro p o s e d s p a c e fo r g ue s t s ha s b e e n d e s ig n e d to s ta n d o n s t i l t s o n a a r t i f i c i a l l y c r e a t e d wa t e r b o dy. T h e g ro u n d le ve l h a s th is s p a c e fo r va r i o us a c t i vi t i e s fo r t he g ue s t s t o b e in vo lve d in d u r in g th e ir s t ay. O n t he f i r s t f l o o r i s t he b e d ro o m a s we l l a s th e ro o m fo r d is cu s s io n w i t h t he a r c hi t e c t . O n t he l e ve l a b o ve t he r e i s a s ittin g o u t s p a ce wh ic h i s he l d by c a b l e s. The g l a s s s t a i r c a s e s a nd t he s ta g ge r s a r e th e h ig h lig ht s o f b o t h t he d e s i g ns w hi c h i n a way c r e a t e lin k b e twe e n b o th th e s tr uc t ur e s. The w hi t e o a k t r e e s a nd t he wa t e r b o dy a dd va l ue t o t he d e s i g n.
19
Peter Gluck
by
Va l l a r i J a l l a n |
11
20
T h e ex te n s io n o f th e Pe te r Z u m t h o r ho us e d e r i ve s i t s fo r m f ro m hi s p r i n cip le s o f min ima lis m a n d s i m p l i c i t y. I t ’s i ns p i r e d f ro m Z um t ho r ’s p ur e s p a ce s th a t ex u d e a s e r e n e, c a l m a nd s e a m l e s s b l e nd w i t h t he l a nd s c a p e ye t s ta n d o u t. T h e g u e s t ho us e i s d e s i g ne d t o r e t a i ne d Z um t ho r ’s p r i va c y, ye t ma ke in te ra ctio n with t he g ue s t s ve r y c o nvi ni e nt . The g ue s t ho us e ha s a va n ta ge p o in t o ve r- lo o ki ng t he r i ve r va l l ey w i t h a ve r y t ra ns p a r e nt d e s ig n e n a b lin g th e m to e nj oy p a no ra m i c vi ew s w i t ho ut d i s t ur b a nc e.
21
S 1:500 I T E
PETER ZUMTHOR Architect Peter Zumthor is known for his minimalist and modest approach to design. He says that a building should exist by itself, it should not represent anything except being. For him, it is not only important how a floor, stair, wall, room or faรงade look, but also how they feel when one touches them with his or her finger tips, how they smell, how they resonate and sound. The sense he tries to instill into materials is beyond all rules of composition, and their tangibility, smell, and acoustic qualities are merely elements of the language we are obliged to use.
SHIFTING VERTICAL PLANES
LINEARITY SENSITIVITY PRIVACY UP UP DW
CIRCULATION UP
DW
OFFICE UP
DW
BED ROOM
UP DW
UP
DW
DW
KITCHEN DW
LIVING ROOM
1:200
Peter Zumthor
by
Krishna Jani |
12
22
R ic h a r d N e u tr a in tro d u ced t he i nt e r na t i o na l s t y l e i n t he U ni t e d S t a t e s o f A me r ica . H e wa s b o r n a nd e d uc a t e d i n B r i t a i n a nd i s know n fo r hi s p h ilo s o p hy o f b io - r e a lis m, l i nki ng b o dy a nd m i nd , p hy s i o l o gy t o p s yc ho l o gy. T h e o u td o o r is a n in t e g ra l p a r t o f s p a c e s N e ut ra c r e a t e s, t hey a r e th e co n tin u u ms o f in d o o r s p a c e s. H i s a r c hi t e c t ur e b l ur s t he ex t e r i o r f ro m t he i nt e r i o r. In my ex te n s io n I h a ve tr i e d t o c r e a t e t hi s c o nt i nuum by p ro vi d i ng d i f f e r e n t d ir e ctio n s to d if f e r e nt i a t e b e t we e n d i f f e r e nt f unc t i o ns ra t he r t ha n p ro v id in g d o o r s. I h a ve us e d d i f f e r e nt l e ve l s i n c o ur t ya r d t o p ro vi d e th e co n tin u u m b e twe e n b o t h t he ho us e s. I ha ve a l s o us e d B r i s e - s o l e i l s, o ve r h a n g s a n d h u ge win d ow s w i t h r e f l e c t i ve g l a s s t o b l ur t he i nt e r i o r t o ex t e r i o r
23
Richard Neutra
by
Devangi Kansagra |
13
24
‘ T h e Me ta b o lis t Move m e n t ’ , ga t he r i ng m o m e nt um i n t he 1 9 5 0 s t hro ug h th e 1 9 7 0 s is a p o s t- wa r Ja p a ne s e a r c hi t e c t ura l m o ve m e nt t ha t f us e s id e a s a b o u t a r c h ite ctu ra l m e ga s t r uc t ur e s w i t h t ho s e o f o r ga ni c b i o l o gica l g rowth . T h e id e a o f p e r m a ne nc e f us e d w i t h t e m p o ra l i t y g o ve r ne d t he d e s i g n i d e o l o gy. T h e S k y H o u s e by Kiyo n o ri K i k u t a k e, i nf l ue nc e d by L e - C o r b us i e r ’s b r uta lis t s ty le, in co r p o ra te s c o nc r e t e a s a m a t e r i a l d ue t o i t s l o nge vi t y (p e r ma n e n ce ) a s th e co lu m ns a nd c ur t a i n wa l l s w i t h m o va b l e ‘ ro o m s ’ d ue to th e ir a d a p ta b ility (te m p o ra l i t y ) . The us e o f a wa f f l e s l a b e na b l e s co mp o n e n ts to b e p lu g ge d i n a nd r e m o ve d a t o ne ’s c o nve ni e nc e, s i g ni f yin g o r ga n ic g rowth . Ta k in g a d va nt a ge o f p r e f a b r i c a t e d c o m p o ne nt s, t he d e s i g n i s vi s i o na r y. My in s e r t fo cu s e s o n ta k i ng t hi s i d e o l o gy fo r wa r d t hro ug h t he i nc o rp o ra tio n o f tra d itio n a l Ja p a ne s e j o i ne r i e s. M a ki ng t he e nt i r e s t r uc t ur e dy n a mic th ro u g h th e s e joi ne r i e s a nd i nc o r p o ra t i ng c e r t a i n ‘M et a b o l i s t ’ p r in cip le s like p lu g g in g - in a nd t e m p o ra l i t y a s we l l a s t he i nc l us i o n o f Ja p a n e s e cu ltu r e wo u ld in a way, p ay ho m a ge t o t he vi s i o na r y a r c hi t e c t a n d e n v i s i o n m e t a b o l i s m i n t he f ut ur e.
25
Kiyonori Kikutake
by
Anshul Karani |
14
26
“ I w as n’t t r yi n g t o make a bi g or pre ciou s sta te m e nt a bou t arc hite ctu re or tr y ing to do an i mport an t wor k: I w a s tr y ing to b u ild a lot of ide as. ” - F r a n k Ge h r y F r a n k G e h r y ’s a r c h ite ctu r e i s s o m e t hi ng I a d m i r e d b ut c o ul d c o m p r e he nd ve r y little ; th e r e a s o n s b e hi nd hi s fo r m s i s no t s o m e t hi ng I und e r s t o o d . S o by ta k in g h is h o u s e I th o u g ht i t wo ul d he l p m e d e c o d e hi s a r c hi t e c t ur e. T h is h o u s e a ls o b e co me s hi s ve r y i ni t i a l p ro j e c t w he r e he t r ul y ex p r e s s e s hi s p hi l o s o p hi e s. In itia lly, le a r n in g a b o u t hi s i ns p i ra t i o ns, how t hey d e ve l o p i nt o hi s p h ilo s o p h ie s a n d f in a lly hi s exe c ut i o ns ( o t he r p ro j e c t s ) . The n by d i s m a ntlin g h is h o u s e to u n ve il hi s c o r e c o nc e p t s fo l l owe d by s y nt he s i s. I t i s imp o r ta n t to s e e h is o th e r wo r ks a s i t m a d e m e l e a r n a b o ut hi s a p p ro a c h a n d h is d e s ig n s ty le s. Ove r t he ye a r s, w ha t I r e a l i ze i s how hi s d e s i g n s t y l e c ha nge s : Ju x ta p o s itio n o f Fo r ms, br e a ki ng vo l um e s i nt o i nc o m p l e t e ge o m e t r i e s. Fro z e n S e q u e n ce a n d Mo t i o n L i ne s, d e s i g n g i ve s a s e ns e o f m o ve m e nt with th e u s e o f o r ga n ic for m s. S c ul p t e d m a s s e s m o l d e d by L i g ht . Vo l um e s d e s ig n e d f ro m in s id e to out , a d d o d d s w i t h e a c h o t he r vi s ua l l y b ut c o nn e cte d f ro m t he i ns i d e t ra ns i t i o na l l y. F in a lly, exe cu tio n o f a n ex t e ns i o n. The g ue s t ho us e i s a l m o s t a s f ra g m e ntin g a vo lu me a n d mo d u la ti ng o f w ha t wa s ex i s t i ng ; t he ga ra ge. W he r e a s th e lib ra r y is ex p r e s s e d f ro m i ns i d e t o o ut w i t h o d d s t o t he g ue s t ho us e. B u t th e two me e t a t th e tra ns i t i o n w hi c h wa s d e s i g ne d by und e r s t a nd i ng th e cir cu la tio n a nd ex p r e s s i ng i t a s m o t i o n l i ne s.
27
Frank Gehry
by
Fauwaz Khan |
15
28
T h e id e a o f a s p h e r e is co nc i e ve d f ro m t he f a c t t ha t Ta d a o An d o l i ke s t o cr e a te a wo r ld o f h is own w i t hi n hi s s t r uc t ur e, a s e p e ra t e wo r l d g o ve r ne d by th e s a me f a cto r s th e o ut s i d e wo r l d i s d e p e nd e nt o n. W hi l e a nd o ha s h is own way o f cr e a tin g th i s wo r l d i ha ve s t r uc k up o n a c e r t a i n f ew e l eme n ts th a t ha ve he l p e d c r e a t e my ow n. T h e mo s t imp o r ta n t e n tity o f t hi s wo r l d , my wo r l d i s t hi s s p he r e. Thi s s p h e r e is h ow I th in k a ny p e r s o n c a n r e l a t e t o a wo r l d f ro m i ns d e a nd f ro m a d i s t a nc e. A s ta ir ca s e f ro m o u ts id e t he s t r uc t ur e t a ke s a p e r s o n d i r e c t l y f ro m t he p a r k in g d ro p o f f in to th e g ue s t ho us e t hro ug ht t he e nt ra nc e o n t he we s t . A s p ira l s ta ir ca s e a ls o co nne c t s t o t he g ue s t ho us e f ro m w i t hi n t he A t e l i e r.
29
Tadao Ando
by
Kshitij Mahashabde |
16
30
Ha s s a n F a thy h ig h lig h ts th e p r i m a c y o f hum a n va l ue s i n a r c hi t e c t ur e, th e imp o r ta n ce o f u n ive r s a l ra t he r t ha n l i m i t e d a p p ro a c h, us e o f a p p rop r ia te te c h n o lo gy, n e e d fo r s o c i a l l y o r i e nt e d c o - o p e ra t i ve c o ns t r uc t i o n te c h n iq u e s, e s s e nt i a l ro l l o f t ra d i t i o n. A s ca n b e s e e n f ro m th e p la n a nd s e c t i o n d ra w i ng s o f t he ho us e a b o ve, th e wa lls o f th e h o u s e a r e ve r y t hi c k, w hi c h wo ul d he l p p ro t e c t t he in te r io r s f ro m th e ex tr e me s uns hi ne a nd he a t o f t he o ut d o o r s. The t hi c k wa lls a ls o s e r ve a s “ex te n s ive t he r m a l m a s s e s ” t o “ s t o r e c o o l ne s s a t ni g ht a n d s lowly d is s ip a te it d u r in g t he d ay ” . The b ui l d i ng ’s w hi t e c o l o ur wo ul d h e lp it ke e p co o l in th e h o t c l i m a t e o f i t s c o nt ex t . The ho us e ’s c o ur t ya r d a r e a a llows d ay lig h t to e n ter t he ho us e a nd a l s o he l p s w i t h ve nt i l a t i ng t he ho us e. T h is s tr u ctu r e ta lk s a b o u t tra d i t i o n & a d a p t a t i o n t o t he e nvi ro nm e nt . I t s e e k s to th e n e e d s o f th e p e op l e a c c o r d i ng t o t he c l i m a t e t hey dwe l l i n. T h e d e s ig n s u s ta in s to th e p la c e i t s i t s w i t hi n. I nt e ra c t i o n b e t we e n hum a n, n a tu r e & a r c h ite ctu r e is th e key a d va nt a ge o f t he s t r uc t ur e by c ha nge o f s ca le s, ma te r i a l s & s i m p l i s t i c e l e m e nt s.
31
Hassan Fathy
by
Ruta Mehta |
17
32
“ I t i s di f f i c ul t t o i magi n e an y activ ity as u nre la te d or cu t off from the totality of
l i fe. Arc h i t ec t ur e t oo, i n i t s gre a te r v ision, is life itse lf , the re by com m u nica ting, re s pon di n g an d bel on gi n g t o t h e fascina ting ly inte rre la te d w e b of life. � - S h i ri s h B e ri
T h e d e s ig n f its s n u g ly in to t he hi l l y s i t e a nd no t o nl y o p e ns up t o t he l a ke v iew b u t it a ls o b r in g s in ve r y g o o d ve nt i l a t i o n. W i t hi n t he ho us e, t he r e is a f lu id tra n s p a r e n c y b e t we e n va r i o us s p a c e s a nd f unc t i o ns by m a i nta in in g v is u a l co n n e ctiv ity c r e a t i ng a n o p e n, ho l i s t i c , uni f i e d s p a c e t ha t h e lp s co n n e ctin g w i t h p e o p l e a nd t he na t ur e a ro und .
33
Shirish Behri
by
Jay Mehta |
18
34
A r c h ite ct J ø r n Utzo n wa s t he r e l a t i ve l y unknow n ‘ D a ne ’ . B o r n i n C o p e nh a ge n in 1 9 1 8 , U tz o n s tu d i e d a r c hi t e c t ur e a t t he c i t y ’s Roya l A c a d e my o f Fi ne A r t s. H is f r e q u e n t u s e o f b io lo gi c a l m e t a p ho r s t hro ug ho ut hi s c a r e e r a nd t he a p p lica tio n o f th e s e id e a s i n hi s wo r ks r e f l e c t a d e e p r e s p e c t a nd un d e r s ta n d in g fo r th e wo r k i ng s o f na t ur e. U t zo n’s a i m wa s t o r e c r e a t e i n th e u s e r s o f h is a r c h ite ctu r e t he s p i r i t a nd s e ns a t i o n o f a p l a c e t hro ug h h is d e s ig n s. T h is h e d id th ro ug h hi s na t ur e - i ns p i r e d d e s i g ns, e na b l e d by p r e f a b r ica tio n te c h n o lo gy. U t zo n’s key i d e a s we r e r e f l e c t e d i n hi s vi s i o n s ta te me n t ca lle d “Th e I n n er m o s t B ei n g o f A rc h i t ec t ur e.” T h e id e a is b e in g r e f le cte d w hi l e c o ns t r uc t i ng hi s ow n ho us e. W hi l e d e s ig n in g h e u s e d ‘A d d itive A r c hi t e c t ur e ’ - c o m p o s i t i o n by a d d i t i o n, c o ns tr u ctio n th ro u g h mo d u la r a s s e m b l y. I t i s t he c o m b i na t i o n o f p r e f a b r i c a te d co mp o n e n ts in a s tr u ct ura l a s s e m b l y t o a c hi e ve a uni f i e d fo r m a nd p ro fo u n d u s e o f p ara l l e l l i ne s ve r t i c a l l y a nd ho r i zo nt a l l y. T h e s a me p r in cip le s a r e hi g hl i g ht e d w hi l e d e s i g ni ng a n ex t e ns i o n t o hi s ho us e.
35
John Utzon
by
Pratvi Mehta |
19
36
“ Arc h i t ec t ur e h as i t s own r eal m . It has a spe cial phy sical re la tionship with life. I do
n ot t h i n k of i t pr i mar i l y as eithe r a m e ssag e or a sy m bol, b u t as an e nve lope and bac kgroun d for l i fe w h i c h goe s on in and arou nd it, a se nsitive containe r for the r h yt h m of foot s t eps on t h e f l oor, for the conce ntra tion of work , for the sile nce of sle e p . ” - Pe t e r Z u m t h o r
Z u mth o r ‘s a r c h ite ctu r e h as a b e a ut i f ul s i l e nc e t ha t he a s s o c i a t e s w i t h a ttr ib u te s s u c h a s co mp o s ur e, s e l f - e vi d e nc e, d ura b i l i t y, p r e s e nc e a nd in te g r ity. H is h o me - s tu d io i s a b ui l d i ng o r ga ni ze d a ro und a p a t i o w i t h a n e lo n ga te d ge o me tr y th a t o p e ns t o t he we s t , w i t h t he s p a c e s t ra ns i t i o ni ng f ro m p u b lic to p r iva te a s yo u c i r c ul a t e t hro ug h t he b ui l d i ng. The ge o m e t r ic s h a p e s a n d s imp le col o r s c o nt ra s t w i t h t he b us t l e o f t he ex ub e ra nt ve ge ta tio n . To th e a r c h ite c t , t he m ul t i p l i c i t y o f i m p r e s s i o ns, s e ns a t i o ns a n d e mo tio n s is o f u tmo s t i m p o r t a nc e. Z um t ho r H o m e & S t ud i o p l ay s w i t h a n in d iv id u a l’s ex p e r ie n c e o f t he s p a c e s t hro ug h l i g ht a nd m a t e r i a l s a n d tex tu r e a n d s p a ce. T h e t a c t i l e q ua l i t i e s o f t he m a t e r i a l s - c o nc r e t e, wo o d , g la s s - a r e h ig h lig ht e d t hro ug ho ut t he s p a c e w i t h a m a t e r i a l c o mp o s itio n g i vi ng r i s e t o s o m e t hi ng uni q ue. Re f le ctin g th e r e s tra in t and m a t e r i a l i t y o f t he H o m e - S t ud i o, t he g ue s t h o u s e is d e s ig n e d a s a di r e c t ex t e ns i o n t o t he A r c hi t e c t ’s ho us e, s t r i vin g to co n tin u e th e s a me o r d e r o f s e q ue nc e o f s p a c e s, w i t h t he i nt e r na l cir cu la tio n ca r e f u lly d e s igne d s o t ha t t he g ue s t / c l i e nt i s a b l e t o us e t he k itc h e n a n d o th e r a n cilla r y s p a c e s w i t ho ut d i s r up t i ng t he e nvi ro nm e nt o f Z u mth o r ’s p r iva te s p a c e s. The g ue s t b e d ro o m i s s l i g ht l y ra i s e d a nd d e s ig n e d fo r u tmo s t p r iva c y, a nd i t i s a l l owe d t o a c hi e ve uni nt e r r up t e d v iews o f th e va lley th ro u gh a s l i g ht a ng l e a way f ro m t he H o m e - S t ud i o.
37
Peter Zumthor
by
Alefiyah Merc hat |
20
38
T h o ma s He r zo g ’s h o u s e is a c l i m a t e r e s p o ns i ve a nd s us t a i na b l e d e s i g n. It u s e s low e n e r gy d u e to t he o ne s i d e d t a p e r e d ro o f w hi c h ex t e nd e d t i l l th e g ro u n d . T h e h o u s e is d e s i g ne d w i t h t he he l p o f a g r i d a nd f ur t he r d iv ide d i nt o r e c t a ng ul a r b ay s. Ta k in g in s p ira tio n f ro m th es e c o nc e p t s, t he g ue s t ho us e t o o i s c l i m a t e r es p o n s ive a n d s u s ta in a b le d ue t o i t s a d j a c e nt t a p e r e d ro o f s. I t ’s d e s i g ne d by ro ta tin g th e g r id 4 5 ° . The p l a c e m e nt o f t he g ue s t ho us e i s s uc h t ha t it d o e s n o t in va d e th e p r i va c y o f t he a r c hi t e c t s ho us e i n a ny way w hi l e ma in ta in a s imila r v iew. It a l s o a l l ow s fo r t wo e nt ra nc e s : f ro nt a nd b a c k. T h is ma in ta in s th e p r iva c y o f t he g ue s t a s we l l a s t he a r c hi t e c t . The 4 5 ° g r id a ls o le t’s th e g u e s t ho us e c a p t ur e w i nd c o m i ng f ro m t he s o ut h we s t . T h u s, ke e p in g i t s us t a i na b l e a nd us i ng l ow e ne r gy.
39
Thomas Herzog
by
Janhavi Mhatre |
21
40
B e r ge n b a s e d a r c h ite ct To d d S a u n d e rs’ s e l f - d e s i g ne d ho m e i s a s o a rin g s y mp h o ny in No r we g ia n wo o d s. H e d e s c r i b e s t hi s p ro j e c t a s ‘ Thr e e s tic k s, s ta c ke d o n to p o f ea c h o t he r.’ A t a s t r e t c h, t he a na l o gy ho l d s – t he h o u s e is co mp o s e d o f th r e e wo o d - c l a d e l e m e nt s, o ne ve r t i c a l , t wo ho r iz o n ta l – b u t it’s f a r mo r e a c c ura t e t o d e s c r i b e i t a s a s t r i c t l y f unc t i o na l c o m p o s i t i o n. My a d d itio n to th e h o u s e i s a n a t t e m p t o f t ra ns l a t i ng t hi s f unc t i o na lity u s in g a d if f e r e n t la n gua ge, w i t h va r y i ng fo r m s a nd m a t e r i a l s. Thi s s tr u ctu r e a cts a s a n o f f ic e a nd a s a g ue s t - ho us e fo r To d d S a u n d e rs. I t is my ve r s io n o f th e h o u s e, t r y i ng t o ke e p t he s y m p ho ny a l i ve w hi l e a l s o br e a ki ng a way f ro m i t .
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To d d S a u n d e r s
by
Simran Moorjani |
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E r ik G u n n a r A s p lu n d wa s a S we d i s h a r c hi t e c t . H i s a r c hi t e c t ur e ha s a s tro n g e mo tio n a l r e s o n a n c e, c o nj ur i ng up m e m o r i e s, m o o d s a nd a s s o c i atio n s th ro u g h h ig h ly e vo ca t i ve fo r m a nd s y m b o l i c d e t a i l s. H i s a r c hi t e ctu r e a p p e a r s to co n tin u e t he 1 9 t h c e nt ur y ’s c o nc e r n w i t h s i g ni f i c a nc e a nd symbolism. T h e a p p e a ra n ce o f f u n ctio na l i s m i n S we d e n i s a l s o l i nke d t o t he na m e o f E r ik Gu n n a r A s p lu n d , h im b e i ng c o ns i d e r e d t o b e t he i nt ro d uc e r o f f unctio n a lis t a r c h ite ctu r e h e r e. A s yo u c a n s e e f ro m hi s m a i n p ro j e c t ga l l e r y a b o ve, th e S we d is h a r c h i t e c t ’s s t y l e va r i e d t hro ug h t i m e a nd a d a p t e d a lo n g with th e in te r n a tio na l d i r e c t i o ns, b ut a l l o f t he d e s i g ns m e nt a i n p e r s o n a l in te r p r et a t i o ns o f t he m o d e r n i d e a s o f fo r m . A s p lu n d ’s p r iva te s u mme r ho us e r e f l e c t s a c e r t a i n c o zi ne s s a nd s i m p l i c i t y yo u mig h t n o t f ig u r e to f i nd i n a n a r c hi t e c t s ho m e. The d e s i g n ex p r e s se s a f r ie n d ly, o p e n a n d i nvi t i ng a t m o s p he r e w i t h i t s b a c k r e s t i ng o n a clif f a n d f ro n t o ve r lo o k in g t he b e a ut i f ul s i g ht s o f t he b ay. The b e a ut i f ul g r e e n o f th e la wn a n d th e s t a r k w hi t e o f t he wo o d e n b o a r d f a c a d e m e e t in a n e le ga n t s y n e r gy co n t ra p o s e d by a ro ug h t i l e f l a t a ng l e d ro o f. The S ca n d in a v ia n in f lu e n ce s a r e ve r y p r e s e nt i n t he o ve ra l l d e s i g n, b ut yo u h a ve to a d mit th a t a ce r tai n s e ns e o f e l e ga nc e a nd s o p hi s t i c a t i o n ex ud e s f ro m th is a r c h ite ctu ra l p iec e, e ve n yo u c a n no t q ui t e s e e m t o f i nd a t a f ir s t g l a nc e t he s o ur c e o f i t . Lo o k in g f ro m th e clif f o ve r t he ho us e a nd b ay yo u c a n a d m i r e t he p e r f e c t in te g ra tio n o f th e h o me i nt o t he l a nd s c a p e, i t s e l o nga t i o n t owa r d s t he s h imme r in g lig h t a n d ex po s ur e t o t he ne a r fo r e s t . O ve ra l l , a S c a nd i nav ia n d e s ig n with a m o d e r n t w i s t a nd r e s p e c t fo r na t ur e.
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Erik Gunnar Asplund
by
Ritika Narang |
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C u r z io Ma la p a r te ’s h o u s e i s a hy b r i d o f c l a s s i c a l a nd m o d e r n a r c hite ctu r e : cla s s ica l in its m o num e nt a l i t y, a nd m o d e r n i n i t s c o nt ro l o ve r th e la n d s ca p e. C e r ta in dua l i t y i s c r e a t e d i n t he ho m e, i n t he way o ne in te ra cts with n a tu r e a n d i n how i t i s p r e s e nt e d t o vi s i t o r s. I t ge ne ra t e s a la n g u a ge th a t is fo r e ign t o i t s e nvi ro nm e nt , i m p o s i ng i t s ow n r ul e s by g iv in g it a mo n u me n ta l c ha ra c t e r w hi l e c r e a t i ng a ha r m o ni o us r e l a t i o ns h i p w i t h t he e nvi ro nm e nt . V illa Ma la p a r te wa s b u ilt w i t h l o c a l s t o ne ex t ra c t e d f ro m t he s i t e i t s e l f ; a s a r e s u lt, it is a s if th e ho us e ha s e m e r ge d f ro m t he l a nd s c a p e o ve r wh ic h it is p la ce d , th e s t a i r s s e e m t o exc e e d t he c l i f f, c r e a t i ng a new h e ig h t o n it. T h e Gu e s t h o us e r e nd e r s s i m i l a r c ha ra c t e r i s t i c s w i t h f un n e le d s p a ce s ex a g ge ra t i ng s t r uc t ura l m o num e nt a l i t y.
45
Curzio Malaparte
by
P r i ya n k a Pa r e k h |
24
46
We r n e r S o b e k ’s R 1 2 8 is a r e vo l ut i o na r y ex a m p l e t he c o nve r ge nc e b e twe e n e n g in e e r in g a n d a r c hi t e c t ur e. Thi s g l a s s b ox i s n’ t j us t a ho m e t r ue to h is b e lie f s, b u t is a way o f l i vi ng. C o nve nt i o na l i d e a s o f p r i va c y a nd s p a ce a ttr ib u te s a r e s tr e t c he d i nt o s l e nd e r s t r uc t ura l m e m b e r s t ha t s upp o r t t ra ns p a r e nt g l a s s f ra m e s. R 1 2 8 .1 is a n a tte mp t to und e r s t a nd t he t ra ns l a t i o n o f t he i nt e nt i nt o i t ’s f in a l e mb o d ime n t. W h a t lo o ks l i ke a n a l i e n p a ra s i t e c l i ng i ng t o i t s ho s t , R 1 2 8 .1 a s a g u e s t h o u s e wa r m s up t he us e r t o t he b e l i e f s a nd i d e a s t ha t th e a r c h ite ct p o s s e s s e s i n a m uc h s ub t l e r f a s hi o n.
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Ru d o lf Mic h a e l S c h in d le r ex p e r i m e nt e d w i t h new t e c hni q ue s a nd m a t er ia ls a n d n a me d h is fo r m o f a r c hi t e c t ur e a s ‘ S p a c e A r c hi t e c t ur e ’ - b e s t s e e n in h is own h o u s e, wh ic h fo c us e d o n d e s i g n o f i nt e r i o r s p a c e s. S i m p l e, d e lica te, p owe r f u l & s e r e ne we r e t he c o m m o nl y us e d wo r d s o f m o d e r n d o me s tic a r c h ite ctu r e. S c hi nd l e r us e d s p a c e d e s i g n - wo r d s ha ve l i t t l e me a n in g u n til o n e h a s m o ve d t hro ug h a nd wa l ke d a ro und o ne o f hi s b ui l d i ng s. T h e mo ve me n t o f o b s e r ve r i s a n i m p o r t a nt e l e m e nt i n und e r s t a nd i ng a nd fo r ex p e r ie n cin g h is wo r k. C o m p o s e d s e q ue nc e o f fo r m s, p a t t e r ns a nd mo ve me n t f u r th e r s th e o p enne s s w i t hi n t he s t r uc t ur e. The e l e m e nt s us e d s lits, c h imn ey s a n d win d ow - no t o nl y he l p ex p e r i e nc e t he o p e nne s s w i t hi n th e s tr u ctu r e, b u t a ls o mo d e ra t e t he t e m p e ra t ur e c ha nge i n t he a r e a . T h is p lay s th e v is io n o f a p e r s o n wa l ki ng t hro ug h a nd ex p e r i e nc i ng t he lig h t p e n e tra tio n s in th e s p a c e. The s l i t i n wa l l s c r e a t e t he s e s p a c e s t ha t in te ra ct with d if f e r e n t light s , d i f f us i ng a nd a f f e c t i ng t he vi s i o n o f o ne. A n a ly s in g d if f e r e n t v iewpo i nt s c r e a t e d by t he s e e l e m e nt s a nd und e rs ta n d in g a lte r n a tive o p e ni ng s i n a s p a c e, s p a c e a r c hi t e c t ur e wo r ks m o r e with in th e s tr u ctu r e b u t a l s o s how s t he d e p e nd e nc y a nd i nt e r d e p e nd e nc y o f t he i nt e r i o r a nd ex t e r i o r.
49
Ru d o l f M i c h a e l S c h i n d l e r
by
S k i k h a Pa t e l |
27
50
L u is Ba r r a g a n’s a r c h ite ct ur e i n M ex i c o s how s t he us e o f t y p i c a l c l e a n lin e s o f th e Mo d e r n is t mo ve m e nt , us e o f b r i g ht c o l o ur s i ns p i r e d f ro m t he tra d tio n a l Mex ica n a r c h ite c t ur e a nd a l s o a n a r c hi t e c t ur e t ha t p o r t raye d e m o t i o ns. T h e id e a o f s u r f a ce s a n d p l a ne s e m e r g i ng o ut o f B a r ra ga n’s wa l l s t hus fo r min g a p a r t o f h is h o u s e i n a d i f f e r e nt way i s us e d t o und e r s t a nd a nd ex p lo r e th e id e a o f co lo ur s, l i g ht a nd how e a c h o ne b e ha ve s w i t h t he o th e r a n d to ge th e r a s a w ho l e. The g ue s t ho us e e m e r ge s f ro m t he b o unda r ie s o f th e h o u s e a n d thus fo r m s a c o m p l e t e s t r uc t ur e by i t s e l f i nf us e d with B a r ra ga n’s e le me n ts by a na l y zi ng t he m , c o nne c t i ng t o t he ho us e i n a u n iq u e way, h a lf f a llin g in s i d e t he b o und r y a nd ha l f o ut s i d e t he b o ud r y co n n e ctin g to th e n a tu u r e s ur ro ud i ng i t , fo r m i ng a uni q ue f r i nge t ha t d ef in e s th e bo und r y o f t he ho us e e ve n m o r e. T h e e n tra n ce to th e h o me i s f ro m t he ga r d e n. The ga r d e n fo r m s a b uf f e r s p a ce b e twe e n th e h o u s e a nd t he g ue s t ho us e. M o ve m e nt w i t hi n t he g ue s t h o u s e a llows a v iew o f th e ho us e a nd t he vi ew o f t he s ur ro und i ng a r e a b eyo ng t he wa l l .
51
Luis Barragan
by
Ta n v i Pa t e l |
28
52
“ A h ous e like m e. � - C u rz i o M a l a p a r t e T h e e cce n tr ic id e o lo g ie s o f t he w r i t e r, f i l m - m a ke r a nd a r c hi t e c t , r e vo l ve a ro u n d in ci d e nt s t ha t ha ve s ha p e d hi s l i f e. C a s a Ma la p a r te ca n b e in t e r p r e t e d a s a hy b r i d o f c l a s s i c a l a nd m o d e r n a r c h ite ctu r e : cla s s ica l in i t s i m p o s i ng m o num e nt a l i t y, a nd m o d e r n i n i t s d o me s tic f u n ctio n a l s ca le w hi c h o f f e r s s he l t e r a nd c o nt ro l o ve r t he l a nds ca p e b eyo n d . It is in th is p a r t i c ul a r d i f f e r e nc e i n s c a l e t ha t a c e r t a i n d u a lity is cr e a te d in th e ho m e, e s p e c i a l l y i n t he way o ne i nt e ra c t s w i t h n a tu r e a n d i n how i t i s p r e s e nt e d t o vi s i t o r s. C o n ce r n e d o n ly a n d o n ly w i t h t he ex p e r i e nc e ra t he r t ha n t he o r y o r p ur e lo g ic, C a s a E mp ir ico is a r e vi s ua l i za t i o n & c ul m i na t i o n o f p hi l o s o p hi e s tra n s la te d to a r c h ite ctu r e. Ta ki ng i ns p i ra t i o n f ro m M a l a p a r t e ’s p e r s o na a n d p ro f e s s io n , it is a n a t t e m p t t o c r e a t e p e o t r y t hro ug h a r c hi t e c t ur e.
53
Curzio Malaparte
by
Vishal Rohira |
29
54
Ha s s a n F a thy, in s te a d o f b l i nd l y fo l l ow i ng t he we s t , i n a n e ra o f m o d e r n is a tio n , b e lie ve d th a t i t wa s ne c e s s a r y t o c r e a t e a l a ng ua ge w hi c h wo u ld b e a p p ro p r ia te to t he c ul t ur e, e c o no my a nd s p e c i f i c c l i m a t e o f t he r e g io n . A n a ly s in g a n d le ar ni ng f ro m t ra d i t i o na l a r c hi t e c t ur e, a c c e p t i ng th e me th o d s th a t h a ve p ro ve n t he i r m e r i t o ve r t he p a s t hund r e d s o f ye a r s to cr e a te i n ro a d s i nt o s us t a i na b i l i t y. T h e p lu g - in b e in g d e s ig n e d i n t he 2 1 s t c e nt ur y a i m s t o c a p t ur e t he s a m e e s s e n ce by r e s p o n d in g to t he r e g i o na l a nd c ul t ura l d i m e ns i o ns. The o r ie n ta tio n a n d p la ce me n t is s uc h t ha t i t d o e s n’ t b l o c k t he w i nd f l ow i ng i nt o th e ex is tin g s t r uc t ur e a nd a l s o t ra p s t he w i nd . In s te a d o f th ic k wa lls o f s t o ne, i t us e s t he p ro p e r t i e s o f a i r by c r e a t i ng s e r v ice co r e s a t th e e d ge s a nd r e p l a c e s t ra d i t i o na l w i nd c a t c he r s by p a v ilio n s. T h e d e s ig n r e vol ve s a ro und t he i d e a o f ‘ Ja nna t ’ w hi c h i s c o nce ive d a s th e u ltima te s e ar c h fo r wa t e r a nd he nc e t he i d e a o f b r i ng i ng wa te r in to th e s tr u ctu r e. T he p r e s e nc e o f a wa t e r b o dy a l s o he l p s t o ge n e ra te lo ca l win d s d ue t o c o nve c t i o n, ke e p i ng t he p l a c e c o o l .
55
Hassan Fathy
by
Akshita Sabarwal |
30
56
It fo llows th a t th e d e e p e r t he a r c hi t e c t ’s e nga ge m e nt i n t he e nt i r e p ro ce s s, f ro m th e e a r lie s t p ha s e s o f c o nc e p t i o n t o t he f i na l d e t a i l s o f c o ns tr u ctio n , th e g r e a te r th e c ha nc e s fo r t he a c t ua l r e a l i za t i o n o f a d e s i g n a n d th e e m e r ge nc e o f g o o d a r c hi t e c t ur e. Fro m a mo r e p ro s a ic p e r s pe c t i ve, we a t t e m p t t o b r i ng i nt o a l i g nm e nt t he n e e d s, th o s e co n ce p tu a l a t t r i b ut e s, o f a s uc c e s s f ul b ui l d i ng : i t s c o nt ex t , o r its f it in to its p la ce ; its p ro g ra m o r us e ; i t s s t r uc t ur e, o r i t s s c ul p t ura l ma te r ia l p r e s e n ce ; a n d it s s o c i a l i m p e ra t i ve, o r i t s va l ue t o s o c i e t y a s a w ho l e. C o mp le te o ve r la p wo u ld i n f a c t r e p r e s e nt t he p e r f e c t d i a g ra m . O f co u r s e, th e p e r f e ct d ia g ra m i s no t a c hi e va b l e. B ut t he g r e a t e r t he d eg r e e o f th is o ve r la p, a n d t he q ua l i t y o f t he p o e t i c ex p r e s s i o n o f t ha t o ve r la p in th e b u ild in g ’s f i na l fo r m , g r e a t e r i s t he m e a s ur e o f i t s s uc c e s s.
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Peter Gluck
by
Saniya Sac hdeva |
31
58
T h e Ge h r y Re s id e n ce is l o c a t e d i n S a nt a M o ni c a , C a l i fo r ni a . I n 1 9 7 7 , Fra n k a n d B e r ta Ge h r y b o ug ht a p i nk b unga l ow t ha t wa s o r i g i na l l y b ui l t in 1920. F r a n k G e h r y wa n ts to ex p l o r e w i t h t he m a t e r i a l s he i s a l r e a dy us i ng - me ta l, p ly wo o d , c h a in l i nk f e nc i ng, a nd wo o d f ra m i ng. I n 1 9 7 8 , he c h o s e s to wra p th e o u ts ide o f t he ho us e w i t h a new ex t e r i o r w hi l e s t i l l le a v in g t he o l d ex t e r i o r vi s i b l e. Le a n in g f ro m Ge h r y ’s p r i nc i p l e s a nd i ns t a nc e s I r e a l i ze t he i m p o r t a nc e o f u tiliz in g d if f e r e n t ma ter i a l s i n my s t r uc t ur e, p l a c i ng e a c h e l e m e nt i n a p a r ticu la r ma n n e r. T h e s t r uc t ur e i m p a r t s a n i l l us i o n o f i t f l o a t i ng i n a ir d u e to th e g la s s s tr u c t ur e t ha t i t r e s t s o n. The r e s t o f t he s t r uc t ur e ca n tile ve r s o n a ll th e fo ur s i d e s. The unc o nve nt i o na l d e s i g n c o nt i nue s with th e ro o f o f th e s tr u ct ur e w hi c h i s up t ur ne d a nd i nc o r p o ra t e s a ra i n h a r ve s tin g s y s te m a n d g la s s p a ne l s fo r a d e q ua t e s unl i g ht i n t he ho us e.
59
frank gehry G E H R Y
R E S I D E N C E
The Gehry Residence is located in Santa Monica, California. In 1977, Frank and Berta Gehry bought a pink bungalow that was originally built in 1920. Gehry wanted to explore with the materials he was already using — metal, plywood, chain link fencing, and wood framing. In 1978, he chose to wrap the outside of the house with a new exterior while still leaving the old exterior visible. He hardly touched the rear and south facades and to the other sides of the house he wedged in tilted glass cubes
section AA’
section BB’
entrance lobby and living room kitchen and dining studio bedroom bathroom
Frank Gehry
by
Vivan Sanghvi |
32
60
Mic h a e l a n d Pa tr ic ia Ho pk i n s, t he a r c hi t e c t s a nd t he ow ne r o f t he H o pk in s h o u s e in H a mp s te a d , L o nd o n we r e t he w i nne r s o f t he Roya l g o l d me d a l in 1 9 9 4 . T h ey h a d a n i nno va t i ve a p p ro a c h t o c o ns t r uc t i o n, d eta ile d d e s ig n , h o n e s t ex p r e s s i o n o f m a t e r i a l , e ne r gy e f f i c i e nt d e s i g n a nd th ey we r e th e le a d i ng hi g h- t e c h a r c hi t e c t s o f B r i t a i n. T h e ir h o u s e h a s a s imp le a nd s e ns i t i ve a p p ro a c h t o t he d e s i g n. The us e o f me ta l a n d g la s s ma ke s i t f l ex i b l e a nd f l ui d . The s t r uc t ur e i s t ra ns p a re n t le ttin g it a lo t o f lig h t . Thi s g l a s s b ox i s s e ns i t i ve t o t he e nvi ro nm e nt a ro u n d . T h e to p o g ra p hy is we l l us e d m a i nt a i ni ng t he p r i va c y. The p ub l i c s p a ce is o n th e u p p e r mo s t l e ve l w hi l e t he p r i va t e i s o n t he l owe r l e ve l a llowin g th e k id s to r u n a ro und i n t he l a w n a r e a . I t i s o ne o f t he i c o ns o f mo d e r n ity wh ic h c r e a t e d a c o o l a us t e r e e l e ga nc e. T h e g u e s t h o u s e is d e s ig ne d ke e p i ng p hi l o s o p hy a nd t ho ug ht i n m i nd , g iv in g a mo r e o p e n p u b l i c s p a c e a t t he up p e r l e ve l , c r e a t i ng a s e ns e o f in s id e - o u t a n d ge ttin g t he na t ur e w i t hi n. The l owe r l e ve r i s us e d fo r p r iva te ro o ms. T h e ma te r i a l s us e d a r e t he s a m e a s t he a r c hi t e c t ’s ho us e, g iv in g it th e s a me c h a ra ct e r. The g ue s t ho us e e ve n ha s t he s e p l ay o f vo lu me s a n d s p a ce s gi vi ng i t a m o d e r n a e s t he t i c a p p ro a c h.
61
M i c h a e l & Pa t r i c i a H o p k i n s
by
Manushi Shah |
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T h e wo r k s o f L u is Ba r r a ga n c a n b e s e e n a s a s e ns i t i ve m o d e r n d e s i g n co mb in e d with th e u n d e n i a b l e i nf l ue nc e o f M ex i c a n c ul t ur e. H i s wo r ks in tr ig u e th e min d a n d e l e va t e t he s o ul by t he ex p e r i e nc e t hey o f f e r. H owe ve r, Lu is B a r ra ga n’s p r i va t e r e s i d e nc e s ur p a s s e s t he m i c ro s c o p e o f ge n e r ic co n ce p ts a n d th e or i e s, a nd g i ve s a t r ue i ns i g ht t o t he s p i r i t o f B a r ra ga n. S tu dy in g th e h o u s e th ro u gh p ho t o g ra p hs a nd p l a ns, a l a by r i nt h o f s p a c e s s e e m to a p p e a r a n d d is ap p e a r e f fo r t l e s s l y. B a r ra ga n’s ho us e b e c o m e s p r iv y to th e B a r ra ga n’s id e a s o f a ho m e, a nd by ex t e ns i o n, t he o b s e r ve r. H o me b e co me s a me mo r y o f m o m e nt s. The B a r ra ga n ho us e i s a s y m p ho ni c co lle ctio n o f s u c h mo me n t s. I t s p r i ng s no s t a l g i a a nd a we i n e ve r y ro o m , th ro u g h e ve r y win d ow o r e ve r y p a i nt e d wa l l . B a r ra ga n c a p t ur e s m o m e nt s th ro u g h h is s e n s itive u s e of wa l l s t ha t c r e a t e s p a c e s w i t hi n s p a c e s. The p la n s a r e d icta te d by th e d ue l e nvi ro nm e nt s b e t we e n w hi c h t he ho us e i s lo ca te d . H e u s e s lig h t a n d c o l o ur t o t i e t o ge t he r c o nt e m p o ra r y a r c hi t e ct ur e a nd c ul t ur e. T h e g u e s t h o u s e is h e n ce a t r i b ut e t o t he s e m o m e nt s. H i d d e n f ro m vi ew, a lo n g p a s s a ge way le a d s t o t he e nt ra nc e o f t he ho us e. The g ue s t ho us e fo llows a lin e a r ity with th e c o nt ra s t i ng s i t e c o nd i t i o ns s i m i l a r t o t he m a i n h o u s e. T h e wa lls cr e a te c o nve r g i ng a nd d i ve r g i ng s p a c e s w hi c h d i r e c t th e u s e r to th e d if f e r e n t p a r t s o f t he ho us e. The l i ne a r fo r m c r e a t e s a s e r ie s o f f u n ctio n s wh ic h be c o m e m o r e p r i va t e t owa r d s t he e nd . The us e o f co lo u r in th e g u e s t h o u s e c r e a t e s a vi ew p o r t ra i t , w he t he r i t m ay b e a v iew f ro m a win d ow o r a c o ur t ya r d . The s e e l e m e nt s he l p c r e a t e a m p l if ie d ex p e r ie nc e s w hi c h e m p ha s i s t ha t s p a c e.
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Competition Winner
Luis Barragan
by
Flora Sheth |
35
64
“ Wh en you l ook a t t h e bet t er exam ple s of w ha t re m ains to u s of the se e arlie r b u ild -
i n gs, you wi l l f i n d t h a t t h ey all look a t life in Cey lon squ are ly in the face. T hey look a t t h e r ai n , a t t h e t er mi t es, a t the social ne e ds, a t the v iew to be had from ve randahs an d wi n dows, a t t h e n ee ds of life a t the tim e … ” - Ge o f fr ey B a w a
G e o f f r ey Ba wa ’s h o u s e i n C o l o m b o i s a n exe r c i s e i n ho r i zo nt a l d e ns if ica tio n . T h e r e s u lt o f d ec a d e s - o l d p ro c e s s o f a nnex a t i o n o f fo ur row s o f ex is tin g b u n ga lows is a l a by r i nt h o f ro o m s a nd ga r d e n c o ur t s w he r e th e tra d itio n a l h ie ra r c h ie s o f f i g ur e - g ro und o r i ns i d e - o ut s i d e r e l a t i o ns d is a p p e a r, wh ile th e i l l us i o n o f a l i m i t l e s s s p a c e i s c r e a t e d . T h e ex te r io r ga r d e n s a r e c o nt a i ne d w i t hi n s ur f a c e s a r e p o s i t i o ne d r es p e ctf u lly r e n d e r in g th e m e q ua l i m p o r t a nc e a s t he i nt e r i o r ro o m s a nd p lay a s imila r ro le in th e d e f i ni t i o n o f t he ho us e. C o ns e q ue nt l y, t he G ue s t H o u s e in te n d s to cr e a te a p ro c e s s i o n t hro ug h t he ex t e r i o r ga r d e ns, ge ne ra tin g a r c h ite c t ura l e l e m e nt s t ha t ha i l t he o ut d o o r s.
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Geoffery Bawa
by
Pa r s h a v S h e t h |
36
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T h e d e s ig n is co n s is te n t w i t h B a uha us p hi l o s o p hi e s o f s i m p l i c i t y, f unc tio n a lity, e co n o my, ge o me t r y, a nd a e s t he t i c b e a ut y d e t e r m i ne d by m ate r ia ls ra th e r th a n a p p lie d o r na m e nt a t i o n. The o r d e r o f m a s s a nd vo i d ex p r e s s e d d if f e r e n t fo r m s o f m a s s e s. The o ve r l a p p i ng o f t he m a s s e s ge n e ra te a r hy th m o f s e c t i o na l s ur f a c e s, w hi c h a r e f i t i nt o a c ub e a s s e c t i o na l m a s s e s. P ro je ctio n o f th e tra n s itio na l d e nt i l m a s s e s d e f i ne f unc t i o na l s p a c e s. Thi s d e s ig n a p p ro a c h with th e ve r na c ul a r o f t he s ur ro und f a b r i c a t e s d i f f e r e nt fo r ms o f o p e n in g s a s a f us i o n o f ho r i zo nt a l a s we l l a s ve r t i c a l r i bb o n win d ows. T h e d ra ma tic impa c t w i t h t he m i ni m a l i s t c o l o ur s c he m e a nd ha l f timb e r in g in tro d u ce d if f e r e nt ex p e r i e nc e a t e ve r y p o i nt . H a vi ng c o ns i ste n c y o f f e a tu r e s like f la t ro o f, c ub i c fo r m a nd a ng ul a r e nt ra nc e c a no py g u id e d s o lid fo r ms a n d s im p l e ge o m e t r y. The f l a t - ro o f e d ho us e i s b ro a d b a s e d in a p p e a ra n ce a n d r e s e m b l e s a t a l l r e c t a ng ul a r t e a p o t w i t h p l e nty o f cle a r s h a r p co r n e r s a nd g l a s s f a รง a d e s g i vi ng a d e c o ra t i ve m o t i f.
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Walter Gropius
by
U n n a t i Va r m a |
37
68
O s c a r N ie mey e r wa s a n a r c hi t e c t w ho d e s i g ne d s t r uc t ur e s t ha t ha ve f r e e f lowin g fo r ms. A s a d e s igne r he i s ve r y s e ns i t i ve t o t he f a b r i c , t he s c a l e h e d e s ig n s in va r ie s f ro m a t ow n p l a nni ng t o hi s ow n ho us e. H e wa s a l s o a key f ig u r e in th e d e ve lo p m e nt o f m o d e r n a r c hi t e c t ur e a nd s ha p e d t he c i t y o f B ra s i l i a . T h e g u e s t h o u s e I p ro p o s e d t o b ui l d i n hi s ex i s t i ng p r e m i s e s i n ho us e i s a s tr u ctu r e th a t h a s to co ex i s t w i t h t he c ur r e nt s t r uc t ur e b ut no t d i s t ur b it. T h e s h a p e o f th e s tr u c t ur e o r i g i na t e d f ro m t he c o nt o ur s o n s i t e. Thi s s tr u ctu r e, co n s tr u cte d o n t he s a m e l e ve l , i s b ui l t i n s uc h a way t ha t yo u a p p r e cia te a n d u n d e r s ta n d t he a r c hi t e c t ’s wo r k f ro m a d i f f e r e nt a ng l e, with o u t d is tur b i ng t he f a m i l y ’s p r i va t e s p a c e.
69
Oscar Niemeyer
by
Ta n a y Ve r m a |
38
70
A u s tra lia n a r c h ite ct S e a n Go d s e l l ’s Pe ni ns ul a ho us e i s a va c a t i o n ho us e s itu a te d o n a co n to u r, f a c i ng t he s e a . The ho us e c o ns i s t s o f a s i m p l i s t i c fo r m a cco mp a n ie d by a dy na m i c , f unc t i o na l f a c a d e, m a d e o ut o f wo o de n ja r ra h s cr e e n s, wh ic h fo r m s ha d ow s o f va r i o us p a t t e r ns t hro ug ho ut th e d ay, ma k in g th e h o u s e a c t l i ke a ‘ g i a nt s und i a l ’ . A l s o, t he f a c a d e p ro te cts th e h o u s e f ro m the f r e q ue nt s a nd s t o r m s p r e va l e nt i n t he a r e a . In th e p ro p o s e d ex te n s ion, t he s i m p l i s t i c fo r m o f t he ex i s t i ng ho us e i s p laye d with a n d f in ge r- li ke p ro j e c t i o ns a r e m a d e t o ex t e nd o ut wa r d s, ma k in g th e h o u s e we ll l i t a nd ve nt i l a t e d . The ex i s t i ng c o ur t ya r d i s s a n dwic h e d b e twe e n th e ar c hi t e c t ’s ho us e a nd t he p ro p o s e d g ue s t ho us e ma k in g it a n in te ra c t i ve s p a c e fo r t he a r c hi t e c t a nd g ue s t . T h e ex is tin g co n to u r is u til i s e d a nd d i f f e r e nt p ro g ra m s a r e s e p a ra t e d by g iv in g d if f e r e n t le ve ls to e a c h o f t he m he nc e m a i nt a i ni ng p r i va c y i n t he h o u s e wit ho ut t he us e s e p a ra t i ng wa l l s.
71
Competition Runner-Up
Sean Godsell
by
Aditi Vyas |
39
72
A tr u e ma s te r o f Mo d e r n i s m , o ne o f t he m o s t hi g hl y r e ga r d e d a r c hi t e c t s o f h is ge n e ra tio n ; Po r tu g u e s e a r c hi t e c t Ă l va ro S i z a ha s c r e a t e d hi s ow n u n iq u e a r c h ite ctu ra l ima ge t hro ug h hi s s c ul p t ura l wo r ks. H i s wo r ks d e ve l o p f ro m a ve r y in tu itio n al und e r s t a nd i ng o f m o ul d i ng s p a c e. H i s wo r ks a r e b e s t d e s cr ib e d a s a fo r m o f “ p o e t i c m o d e r ni s m â€? . S i za wa s c r e d i t e d a s b e in g a s uc c e s s o r o f e a r l y m o d e r ni s t s. S iz a u s e s s h a p e s a n d fo r m s t ha t a r e c a r e f ul l y i t e ra t e d t hro ug h l i g ht . H e illu s tra te s a b a la n ce b e t we e n hi s p ro j e c t s a nd hi s s ur ro und i ng s by a ma lga ma tin g e le me n ts in t o c o nt i nuo us fo r m s. H i s ho us e i t s e l f r e f l e c t s h is cla r ity o f th o u g h t, it s h a p e s m a t e r i a l i nt o a n ho ne s t a r c hi t e c t ura l a pp ro a c h t owa r d s s i m p l i c i t y. C o n s e q u e n tly, my in s e r t tr i e s t o p l ay w i t h t he ex i s t i ng ge o m e t r y o f a ng u la r p la n e s, cr e a tin g r hy t hm i c t ra ns i t i o ns us i ng b a s i c i d e a s o f p ro p o rtio n . T h e in s e r t its e lf is m o d ul a t i ng l i g ht a nd s ha d e t o c ra f t a r e s p o ns e ge ne ra t i ng r e p o s e.
73
Alvaro leite Siza Vieira, born in July 1962 is a Portuguese architect and designer. Known for his clean & modern expressive style, portuguese tradition & sculptural art works defined as poetic modernism. “Emotion being very important in Architecture.�
The stories and its emotions, figures and humans relations, personalities that derive from history, versus the sensibility, recreating individually realities, the tensions, the conflicts, the mismatches, between other dramas that surround this activity - transforms into a geometric abstraction.
THM RHY S ION T R PO PRO RY MET O E G
Alvaro Siza
by
Anam Zatkal |
40
74
Fro m th e ve r y e n tra n ce, a r c hi t e c t B . V. D o s h i ’s ho us e w i t h i t s b r i c k p a vin g, ex p o s e d b r ic k wa lls, t i m b e r d o o r s a nd t he g r e e n p e e p i ng f ro m i n b e twe e n a ro u s e d a n e a r thy a nd r us t i c f e e l i ng w i t hi n m e. A d d i ng t o i t , a p lay o f vo lu me s, th e ma g n e t i c c ha r m o f a n M . F. H us s a i n p a i nt i ng a nd a n e n ga g in g d is p lay o f s cu lp t ur e s f ur t he r i nt e ns i f i e d i t s a p p e a l a nd a l l ur e A p p e a r in g q u ite s imp le a n d o bvi o us i n i t s o r ga ni s a t i o n, t he ho us e e nj oy s ma n ifo ld b e n e f its r e co g n is e d o n c l o s e r i ns p e c t i o n. C o m p a c t ne s s a c hi e ve d th ro u g h min ima l tra n s itio n a l s p a c e s w i t h a c r i t i c a l j ux t a p o s i t i o n p ro m i s e s n a tu ra l cro s s ve nt i l a t i o n a nd l i g ht t hro ug ho ut . T h e id e a o f jig s a w lo d g in g c a m e by t he p o s s i b i l i t y o f p r i va t e a nd o p e n s p a ce with co n cu r with s c e ne a ro und . B y c o nt e m p l a t i ng M r. B V D o s hi ’s h o me I a tte mp te d to s e e how hi s ho m e ha d i m m e ns e s p a c e s w hi c h wa s wo r ke d to ge th e r in to o n e, e a c h o f t he s p a c e s we r e i nve s t i ga t i ng g i ga nt i c ra n ge o f s ce n e. T h e p ro p o s e d vi s i t o r ho us e wa s wo r ke d w i t h a s i m i l a r a im co n s id e r in g th e climat e i n A he m d a b a d , t he ho us e ha s o p e n p a t i o a n d imme n s e win d ows to b r e a k t he hi nd ra nc e o f i ns i d e a nd o ut s i d e t he s tr u ctu r e. T h e mo d e le r s h o us e i s wo r ke d by a ne t wo r k c o nf i g ura t i o n a nd wh ic h is u tiliz e d a s a p a r t o f t he vi s i t o r ho us e a l s o.
75
Balkrishna Vithaldas Doshi
by
Hetvi Mehta |
41
76
“ Now I l i ve on an i s l an d, i n an au ste re and m e lanc holy hou se, w hic h I b u ilt my se lf on a l on el y c l i f f a bove t h e s ea. the im ag e of my de sire. � - C U R Z I O M AL APART E C a s a Ma la p a r te is a h o u s e i n P unt a M a s s ul l o i n t he e a s t e r n p a r t o f t he Is le o f C a p r i, Ita ly. It s its o n a d a nge ro us c l i f f 3 2 m e t e r s a b o ve s e a l e ve l o ve r loo ki ng t he G ul f o f S a l e r no. A f te r th e o b s e r va tio n s a nd a na l y s i s o f s t a i r c a s e, r i g i d fo r m , p a no ra m i c v iew, u s e o f lo ca l ma te r ia l , w i nd ow s, m i ni m a l i s t i c i nt e r i o r; t he p l ug i n o f g u e s t h o u s e wa s d e s ig n e d. The r i g i d i t y i s b ro ke n by s hi f t o f vo l um e. The s tr u ctu r e f its in to th e ro c k a s a p a r t o f i t t he way t he r e s i d e nc e i s p a r t l y u n d e r g ro u n d . T h e o p e n in gs a r e m a d e l a r ge r t o ge t b e t t e r p a no ra m i c vi ew. T h e p lu g in g u e s t h o u s e ha s t wo l e ve l s. The e nt ra nc e l e a d s t o a c o m m o n in te ra ctive s p a ce b e twe e n t he g ue s t a nd t he r e s i d e nt . The n l e a d i ng fo rwa r d to th e tra n s itio n a l s p a c e. I t ha s a s t a i r c a s e t a ki ng yo u t o t he l owe r le ve l wh ic h h a s th e b e d roo m a nd wo r ks p a c e a nd a b a l c o ny. The up p e r le ve l co n s is ts o f th e liv in g ro o m , t he ki t c he n a nd d i ni ng. The g ue s t ho us e b r e a k s th e r igi d fo r m i n p l a n a nd e l e va t i o n b o t h. T h e g u e s th o u s e h a s s imila r i t i e s a nd d i s s i m i l a r i t i e s t o t he ex i s t i ng ho us e wh ic h ma ke s it a p l ug i n a s we l l a s a s t a nd a l o ne s t r uc t ur e.
77
Curzio Malaparte
by
Radha Kamdar |
42
78
U n d e r s ta n d in g C h a r le s a n d Ra y E a m e s ’s s p a c i a l l y p l e a s a nt m o d e r n r e sid e n ce d e s ig n e d fo r th e C a s e S t udy H o us e P ro g ra m w hi c h fo c us e s o n us e o f n ew ma te r ia ls a n d te c hno l o gy t o d e ve l o p s t udy ho m e s d ur i ng Wo r l d Wa r I I . T h e in te n tio n o f th e p ro je c t i s t o d e s i g n a g ue s t ho us e o n t he s a m e p ro p e r ty with th e d e s ig n phi l o s o p hi e s a nd m e t ho d s a p p l i e d by Ea m e s.
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Charles & Ray Eames
by
Ric ha Kewlani |
43
80
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G UPP GR RO OU MM
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PROF. TRILOCHAN CHHAYA & PROF. NAMRATA SHAH
PROF. ANAND PANDIT
SamvitBhanot
ShivaniBhatia
ShreyaChheda
MosesCheyaden
I
DaminiGudhka VallariJallan RutaMehta AlefiyahMerchant AkshitParmar VishalRohira VivanSanghvi HetviMehta
PROF. ANJANA CHHAYA
II
S
VaidehiJaiswal KrishnaJani JayMehta PratviMehta RitikaNarang TanayVerma AnamZatkal RichaKewlani
PROF. TAPAN
RakshitaJain
SaloniAgarwal
DevaniKansagra
FarahDaruwala
FauwazKhan
AnshulKarani
JanhaviMhatre
KshitijMahashabde
ShikhaPatel
SimranMoorjani
AkshitaSabarwal
PriyankaParekh
ManushiShah
TanviPatel
FloraSheth
SaniyaSachdeva
AditiVyas
ParshavSheth
RadhaKamdar
UnnatiVarma
III IV
86
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87
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W
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“ An i dea i s s al va t i on by im ag ina tion. ” - F r a n k L l oy d W ri gh t Newto n’s F ir s t La w s ta te s t ha t a n o b j e c t w i l l r e m a i n a t r e s t o r i n uni fo r m mo tio n in a s tra ig h t lin e unl e s s a c t e d up o n by a n ex t e r na l fo r c e. I n my h u mb le o p in io n s tu d e n ts a r e m uc h t he s a m e, a t l e a s t a nd e s p e c i a l l y us. T h e B S S A b a tc h o f 2 0 1 9 is o ne s uc h b a t c h. We w i l l r e m a i n i n o ur s t a t e o f mo tio n u n le s s a fo r ce a cts t o c ha nge o ur s e t m o t i o n. The 3 r d Ye a r D e s i g n C o mp e titio n s e r ve d t o b e t he ex t e r na l fo r c e we r e c ko ne d w i t h. On e ca n b e t th a t mo s t o f us ha d no I d e a w ha t ex a c t l y we we r e a p a r t o f, th e h e a t o f a co mp e tit i o n wa s s o m e t hi ng we ha d ne ve r ex p e r i e nc e d . E ve n a t its s ca le, th e id e a o f c o m p e t i ng wa s exc i t i ng. I t ga ve e ve r yo ne a f r e s h c h a n ce to p u t th e ir b e s t fo o t fo r wa r d . H owe ve r o ur a p p ro a c h wa s a little s kewe d a t f ir s t, a s t he i ni t i a l d ay s o f s t r ug g l e c o nt i nue d , ke e p i ng u p with th e d e a d lin e s s ta r t e d b e c o m i ng d i f f i c ul t . Thro ug h o ur s t ra nge r e a liz a tio n s o f th e n a tu r e o f c o m p e t i t i o ns, we s o o n r e a l i ze d o ur p o t e nt i a l to s tr e a mlin e o u r n a v iga t i o ns. The s ho r t s p a n o f t he p ro j e c t ke e nl y s e t o ur p ro j e c t i l e. We s a w in o u r s e lve s a ce r t a i n ze a l t o c o ns t r uc t uni q ue ex p r e s s i o ns. We b e ga n to o b s e r ve a n d ex a g ge ra t e. I s ay o b s e r ve b e c a us e t ha t ’s w ha t o u r b r ie f s e s s e n tia lly ma de us d o : t a ke i ns p i ra t i o ns f ro m t he a r c hi t e c t ’s p e r s o n a liz e d imp r in ts. It wa s a s i nt i m i d a t i ng a s i t wa s exc i t i ng. A s s t u d e n ts o f a r c h ite ctu r e, s tudy i ng a r c hi t e c t s a nd t he i r i d e o l o g i e s o f c o n s tr u ctin g s p a ce s is ex tr e me l y l ur i ng. B ut a s hum a ns, o ur d e s i r e t o m a ke a h o me is s u p r e me. T h e b r ie f c o m b i ne d t e m p t w i t h c o m fo r t : t o ex p l o r e a n a r c h ite ct’s h o u s e, th ro u g h o ur eye s, t o t he n r e f l e c t up o n t he i r b ra i n c hi l d t hro ug h o ur l e ns e s. In th e p ro ce s s o f co mp e ti ng, we p ro d uc e d wo r k t ha t fo r ge d o ur uni q ue imp r e s s io n s, e vo lv in g with a p ro fo und s e ns e o f d e s i g n d e ve l o p m e nt we r e co g n iz e d a n d b a ttle d w i t h i t s c o nt i nue s na t ur e. O ur ‘ L o o k B o o k’ i s a n e d ito r ia l e n d e a vo r in p ro vo ki ng r e s p o ns e s a nd ge ne ra t i ng r e f e r e nc e s th ro u g h r e p r e s e n tin g o u r p ro c e s s. We ha ve c o m e t o a r e a l i za t i o n t ha t a r c h ite ctu r e b ra n c h e s f rom a p p ro p r i a t i ng i nd i vi d ua l r e s p o ns e s t ha t d iv u lge th e ms e lve s th ro u g h l o g i c a l o r e m o t i o na l p ro g r e s s i o n o f t ho ug ht a nd is m a ni f e s t e d t hro ug h f ro m . We h o p e th at t hi s b o o k ha s he l p e d yo u l o o k. Par s h av S h e t h B S S A E dit o r ial
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Editorial 2016-17