CFP_ROWC Exhibition Booklet Spring 2021 by CEPT University

Reading Objects, Writing Craft & Perspectives

Spring Semester 2020

CEPT FOUNDATION PROGRAMME

This is a draft version. Not to be used or circulated without explicit permission from the CEPT Foundation Programme.

CONTENTS

INTRODUCTORY WRITING FOR EXHIBITIONS

An Explosion of Parts

Reading the Client’s Mind

Deciphering the Konark Sun Temple

Pix-ure Perfect

A haunted scene

Sizing Down a Street

Illustrating minimalism

Essence in a Room

A Zombie Trip

Drawing parallels- S7

Rolling in Sequence

Unlocking the Door Lock

Invitation of A Talk Show Of Shigeru Ban

RepresentiNg the Whimsical

Pixelating The Form

Stop N Observe

Handing Over Posters

Compartments of Swiss Army Knife

DOCUMENTING PROCESS A Tale of Two Streets

Traffic and Parking Affected by Neighbourhood Amenities

Through the Eyes of a Foodie

More To Explore

DESCRIBING SPACES

Walk Through A Building

Roof Terrace: Influence of Climate on Daily Use

The Sleeping Chamber

109

Anil Dada’s Lounge

115

Living room- Space through door

121

The Airy Room with Sunlight

127

STEPS TOWARDS RESEARCH

135

Villa Savoye

137

The Ena de Silva House

145

Flow and Language: Villa Savoye

157

The Villa Savoye

161

Mosaic

167

Live Up

179

PERSPECTIVES

199

Musings on ‘Medium as Muse’

201

Capturing Art by Ravinder Reddy

202

Medium as Muse: Ravindra Reddy: A Talk by Anupa Mehta

203

Inspiration, Intention and Interpretation: G. Ravinder Reddy’s Sculptures

205

Perspectives Reflections

207

Perspective

208

The second semester of the CEPT Foundation Programme focuses on building on the skills acquired during the previous one, in both Studio and Reading Objects, Writing Craft, to move towards more complex ones. In studio, this translates into a focus on analytical skills, leading eventually to a first encounter with design. Side by side with this, in the writing component of the programme, the students move towards more complex articulations of their work. Some of the exercises, especially as they are linked with the studio work, are intended to help the students use reading and writing to concepturalize and share with an audience, specific aspects of their work. They develop an ability to think in a structured manner about the processes the students undertake in studio, especially for exercises which involve mapping—and therefore a process entailing qualitative, rather than just quantitative information that one has to work with—or others which are making oriented. A Spring semester during Covid times is one in which the ‘making’ component of the programme is considerably reduced, for lack of access to workshops and

READING OBJECTS, WRITING CRAFT

the necessary materials, with an impact on the kind of process the students are able to engage with and describe as well. However, mapping and data representation continue to provide an opportunity to explain, in steps, to an audience who does not belong to the same design background, the logic of investigation as well as representation. Alongside, the concern with being able to describe one’s work for exhibitions and portfolios continues, through a reflection on the most significant aspects to draw the viewer or audience’s attention to, when they look at one’s work. These are exercises which focus on an ability to anticipate the reader’s responses, and to write sharp, concise text which represents and claims the work introduced. A departure from the approach taken during the first semester, the component of Reading Objects, Writing Craft which addresses research skills has focused much more closely on the ability to read and engage with reference materials. This has come at the meaningful recommendation of the Board of Review, and has constituted an experiment which would allow the team to modify the overall (year-long) approach to research. Rather than devote their attention to writing an essay, the students focused on identifying relevant materials, articulating a question of concern and conducting research. This exercise, undertaken in groups, allowed them to read with the checks provided by a peer group, and required an ability to summarize, identify pertinent parts of the text and represent them visually. The final outcome of this exercise has not been an essay, but a presentation (including a set of PowerPoint slides and oral presentations to one’s peers and tutors) of work at the level of a very detailed concept note. From a pedagogical point of view, the exercise was an opportunity to concepturalize and carry out a discrete building block for research, which can now be integrated into the first (Monsoon) semester of the Foundation Programme, in the form of a highly structured, guided process, which can then be revised more independently during the second (Spring) semester, building towards an expository or descriptive essay. 8

The shift in emphasis also comes at a good time, since baseline as well as student interaction show increasing inaccuracies in reading and comprehension, and difficulties engaging with texts of moderate levels of complexity. The structured process of reading, added to the structured writing that the programme already had in place, provides techniques that students may use independently later, if they become habitual practices they engage in. For instance, skimming, annotating texts while performing a close reading, mapping ideas visually, help students identify, read and remember more, but they need to be ongoing practices, and not just exercises introduced during one semester of their journey at CEPT. On a final note, the disclaimer regarding the students’ design-specific knowledge base remains the same. At this stage, the students are encouraged to write and present their understanding honestly, to the best of their knowledge, but also with a realization that this knowledge is going to change and inaccuracies will become apparent.

Grades Legend

R6 READING OBJECTS, WRITING CRAFT

SAMPLES OF STUDENT WORK

Reflecting on Studio Exercises 11

READING OBJECTS, WRITING CRAFT

SAMPLES OF STUDENT WORK

Introductory Writing for Exhibitions 13

INTRODUCTORY WRITING FOR EXHIBITIONS

R6.1

Reflect on the studio exercises you have done so far, focusing on what you have learnt, and asking yourself: ‘If someone looked at my work without me present to explain what the intention was, what would I want them to notice?’ Use your sheets to point out the intention behind your work and the way in which you have realized this intention. Reflect in particular on what each exercise has taught you, which will feed into your design processes. The writing will be restricted to mazimum 200 words, intended for an audience who does not specialize in design - imagine having to explain your work to a prospective client or a visiting relative. Make sure you integrate your theoretical understanding into your write-up and acknowledge appropriately the reference materials you have made use of. The content of your writing and speaking, while not using jargon, should be able to reflect your ownership and understanding of both the process and its outcomes. The quality of writing, here, will serve a very specific purpose: all around are colleagues who have gone through similar processes, putting out into the world similar outcomes. What can you emphasize in your work, and how might you phrase it, so that viewers are interested in engaging with it? Think of details as ‘small’ and ‘insignificant’ as the way you title your piece and the first sentence meant to draw the audience in. Think also of writing that promises to the viewer that there is more to be seen and discussed - make use of each word and opportunity it offers judiciously, building a sense of curiosity. At the same time as you plan your writing, keep on talking to all those around, whether colleagues, friends or family, about your work, paying attention to what interests them, what persuades them to have a look, but also to the way in which your own ability to articulate what you do evolves over time.

READING OBJECTS, WRITING CRAFT

KNOWLEDGE

SKILLS AND ABILITIES

PROCESS AND PEER LEARNING

DESIGN • Defined within the corresponding Studio exercise

READING • Intended reader • Register • Persuasive writing • Statement of purpose

• Reading to identify intended reader and corresponding register • Reading to identify and adopt writing techniques

• Group discussions regarding effectiveness of style and techniques

WRITING • Brevity and conciseness • Persuasiveness • Register • Writing for exhibitions (introductory text, group

• Writing free of jargon, persuasive, concise text in simple language

• Reviewing text for clarity • Reviewing text for persuasiveness • Editing for concisenes

SAMPLES OF STUDENT WORK

AN EXPLOSION OF PARTS U20091 The sheet displayed is an exploded view of a LED torch with 1:1 ratio. It was hand drawn and later scanned for submission. A torch with a minimum of 12 parts was required to be drawn. All the parts were first drawn on an A3 sheet using a micron pen, which were later traced on a gateway sheet with a pencil. A gateway sheet is just like a tracing sheet. The labelling was done later. Drafting tools were used instead of making all the parts freehand. The parts shown in the sheet are arranged in an order of assembly of the torch. The projection lines indicate where each part goes and gets attached. A few of the parts are cut in half to show the sectional view for further understanding, such as torch body and battery. While working, a lot of patience and concentration was required, which I developed eventually. Other than these, accuracy was another skill I developed as each part had to be carefully measured and drawn on the sheet with the exact measurements. These skills will help me in my professional life as they are necessary in the design field.

READING THE CLIENT’S MIND U200027 The sheet depicts a collage made based on an analysis done to understand the personality of the painter, Amrita Sher-Gil. The collage was composed digitally using Adobe Photoshop which made it easier to experiment with various pictures and arrange it in multiple different ways before reaching the final outcome seen here. The analysis was conducted through research based on the painter’s professional as well as personal life. The idea behind this exercise was to understand her personality to an extent that the collage represents what I think may be a space she could live in. Words like open-minded and free-spirited stood out to best represent her, which further became the base through which this semi-open space was created. The exercise taught me how to associate words with objects and spaces which, as a designer, is crucial while designing a built space particular to a client’s requirements.

SAMPLES OF STUDENT WORK

DECIPHERING THE KONARK SUN TEMPLE U200151

A celebration of geometric beauty, the plan of the Konark temple here is simplified to highlight its elemental organisation. The walls outlined in red emphasize the very angular shape of the temple while the green lines signify the derivation of the plan from a quintessential grid. The yellow lines are the basic axes while the two blue axes reveal the symmetric design of block1 and the linear and asymmetric arrangement of the three temples. This sheet also contains a small representative diagram to clearly exhibit the use of grid formation in the entire plan. Hierarchy (the rank of importance) and balance (overall distribution) also play a significant role in highlighting block 1.a and 1.b in the design. This sheet, created digitally on Autodesk Sketchbook, which was chosen for its versatility, not only improved my abilities with this software, but also increased my observation power and knowledge of organisational principles, which are a requisite for design and architecture.

READING OBJECTS, WRITING CRAFT

SAMPLES OF STUDENT WORK

PIX-URE PERFECT U20095

This is a pixelated painting of a flower, made on an A4 cartridge paper using poster colours. I used flat brushes for this painting, as they made it easier to fill the squares, unlike the round brushes. This was one of my most satisfying experiences because usually, my paintings tend to get quite messy, but this one turned out to be neat. Mixing and making the colours was a bit of a problem at the start because I wasn’t sure how much water was needed. Thankfully, most of the squares got the right consistency, and I learnt how to apply paint uniformly. This exercise taught me to take things slowly, as one little mistake could have ruined the whole painting. In a way, this exercise made me face my fears and prove to myself that my painting can definitely improve if I just stay patient and focus.

A HAUNTED SCENE U20225

This drawing was inspired from an imaginative text about an abandoned haunted place. The aim was to create a drawing that captures the essence of the place. Spooky elements from the text like red moon, night sky, iron splinters and charcoal houses are incorporated in the drawing. Additionally, the bloody rocks and heap of skulls in the cave add finishing touches to this haunted place. Everything is placed strategically such that it includes as many elements as possible. For instance, the view selected captures the inside of the cave and outside which enables showcasing of smaller objects like skulls placed in near distance as well as larger objects like charcoal houses placed afar in one frame. The process of imagining something and then being able to execute it on paper as the way it is in one’s head in the best way possible is the main skill acquired from this exercise.

READING OBJECTS, WRITING CRAFT

SAMPLES OF STUDENT WORK

SIZING DOWN A STREET U20149

This piece is void of imagination and is rather based on estimation. It is a street section that I have gauged (estimated the dimensions of), drawn and measured. Starting with the ground line, I included undulations that represented sand and a line to show the road. I drew the telephone tower first as it is rigid and can be used as a reference to draw the other elements. As a reference for the viewer, the human figure was added. With regards to presentation, I chose a 1:100 scale which means that one unit on the paper is equivalent to 100 times its measure in real life. I used pencils, microns and a red pen to mark gauged, measured and critical dimensions (measurements that ensure that the product can be used by a human), respectively. Gauging these measurements improved my accuracy which will aid me in noticing irregularities in future designs without having to measure them.

SAMPLES OF STUDENT WORK

ILLUSTRATING MINIMALISM U200184 Aiming to identify the principle of organisation in design for each image on the sheet and representing it through a simple coloured diagram, the sheet comprehends the principles effortlessly. The organisations in the photographs are created by making the use of very minimalist and repetitive household objects for better clarity of the concept. The sheet also illustrates minimalism through a number of objects chosen to depict various types of principles. Even the diagrams below the photographs are very minimalistic and use only circles and rectangles with flat colours to help relate to the images and visualize it easily. Minimalism can also be seen in the arrangement of the images and the diagrams, that itself follows one of the rules of organization, hence making it a crucial factor for better representation in practicality. Making even just the simplest change in the fashion of the objects they are arranged in can completely change its meaning.

ESSENCE IN A ROOM U200015 Amrita Sher-Gil was a woman of many interests and ideas, and this collage of a leisure room is an attempt to capture the true essence of her eclecticism, much like the last sheet. It makes use of the following elements that form a cohesive whole and point to the same. The use of vintage wooden furniture and traditional clothes is a nod to her sophisticated style as well as her Indian roots. The wall painting and carpet on the floor express her adoration for European and Bohemian art styles respectively. Her love for books and travelling have been emphasised through multiple bookshelves with suitcases kept on the top. The mirror and self-portrait hint at her narcissistic personality, while also adding to the overall aesthetic and texture of the room. The entire space was cultivated on Adobe Photoshop. This process of individualisation will help me design specific spaces for clients in the future.

READING OBJECTS, WRITING CRAFT

SAMPLES OF STUDENT WORK

A ZOMBIE TRIP U200168 The sheet depicts an imaginary city after a zombie attack.. This sketch was done using mixed media on an A3 cartridge sheet. We made a lot of process sketches and started building our imaginative scene. I enjoyed this exercise because there was no restriction on what design we make. The process sketch helped me to understand how to build up an environment. The digital medium gave more options for rendering and helped us to explore a lot. This exercise helped us to improve our imaginative skills. This type of exercise helped us to communicate our ideas through the drawings. This exercise will be very useful for architects to explore their ideas easily by drawings. I also learned how to improve my way of thinking in between a group of people.

DRAWING PARALLELS- S7 U200120 The sheet represents how a mere photograph of a door was the main source of inspiration to design a product, a satchel bag in this case. The aim was to analyze and understand the whole composition and the design of the door in the photograph. The design of the bag as seen in the sheet incorporates all the major features of the door like the colour, geometry, finish, and even the small accessories draw inspiration from the elements of the door and its surrounding. The sheet shows the front, back, 3-D view, and the design of the lock strap alongside the text explaining why all the main elements and details were designed that way, after all, every decision that went into the design of this bag was well thought of and corresponded with the door’s design. This was the very first insight into the way a designer takes inspiration from the simplest things in the surroundings.

READING OBJECTS, WRITING CRAFT

SAMPLES OF STUDENT WORK

ROLLING IN SEQUENCE U200075 This exploded view (sequential drawing of the components) of Roller Skates shows all the details, the joinery and the positions of its components. After studying all the parts carefully on dismantling it, I was able to draft (accurate and precise drawings made using set squares, parallel bars, etc.) each component in a proper sequence as they follow a common axis on which they are joined to each other via screws or bolts. Dismantling the skate brought in me a sense of patience and observance and made me capable of fixing back many objects. I also learnt that as a designer, the sequence, precision and proportions of components play an extreme role as even a slight error could cause malfunctions and the research before working on any project is the key to produce good work, for example, the information labelled in this sheet is well researched and thus enhances it’s quality.

READING OBJECTS, WRITING CRAFT

SAMPLES OF STUDENT WORK

UNLOCKING THE DOOR LOCK U20099 This sheet shows an exploded view of a mortise door lock set along with the names and functions of the individual components. The illustration is done using fineliners in 1:1 ratio on an A1-sized gateway sheet, which is translucent paper having a smooth surface. Fineliners sized 0.3mm were used to draw the outlines while a 0.05mm fineliner was used for the smaller details. The individual parts are composed in a way that the observer gets a sense of how the lock is assembled, with the dotted lines indicating where each part connects to the other. The exercise helped me in observing and understanding how the arrangement of each part is essential for the lock to function properly, as well as drawing it in a clean and crisp way. This will be of use to me when designing and depicting objects with more complex mechanisms.

INVITATION OF A TALK SHOW OF SHIGERU BAN UG190624 This sheet shows the poster of the talk show of Ar. Shigeru Ban. This poster was made keeping his personality in mind. For making posters attractive the choice of font, background color, the context in the background, and important details shown in manner is very important. Shigeru ban always likes to wear black color, so keeping in mind the poster is made monochromatic. He is the master of origami(projects of paper) and he knows how to play with paper, so keep this point in the poster to choose the background context. Here there were some of his origami projects shown in background context. And the important details for the show are shown in the bottom left corner with a simple font which colors black resembles his personality as he always likes to wear black. From this poster learn to make posters in a professional way where you can show the weight of certain details in the poster.

READING OBJECTS, WRITING CRAFT

SAMPLES OF STUDENT WORK

REPRESENTING THE WHIMSICAL U20100 Converting written thoughts into a painting, a space, that is a part of a descriptive imaginary-world write up, is visually represented on this sheet. This art of visualising, creating and representing any non-existing space from our subconsciousness is an important part of a designers skills set. With a unique view, presenting both the sky and the ground, this digital representation tries to cover the maximum number of characteristics of the space. The foreground is emphasised with the help of the dark background. With the help of vibrancy of colours, the focus has been brought upon the river and the moss. The layered styling of the elements enabled visual fading of colours, which provides a sense of 3D and depth. The selection of textures and colours helps with the narration of the material. From the lustrous river bed to the vivid moss fibres, the intricacies of the text are depicted flawlessly, adding up to the overall personality of the scene.

PIXELATING THE FORM U20190 Pixels build up an image and help us out to recognize any object or any image hence each pixel is a sample of an original image. This sheet displays the pixelation of an image of a face. Here the pixels are carried out in a grid form of a 1*1 cm square box. Different shades of colours play an important role here to bring the exact image out of it, and one of the most predominant things here is patience as it played a major role in colouring each grid box. As it’s said God lies in detail here the details are the different tonal values that are lightness and darkness of each shade which are matched with the area percentage of the image, therefore, it brings out the rasterized form of the image. Simultaneously, when one partially closes his/her eyes and observes the pixelated image one can easily perceive the image on the left.

READING OBJECTS, WRITING CRAFT

SAMPLES OF STUDENT WORK

STOP N OBSERVE U20232 This was a very fun thing to do, in this, we have to see and observe the space and the composition and we have to identify and understand the principles. We have to observe the principles like dominance, symmetrical, harmony, contrast, hierarchy, movement, or direction of what space is defining for example if we talk about the second photo at the top, it is the photo of a portable keyboard, it defines symmetrical as if we cut that into the half we can see the symmetrical balance if we look at the keys it represents the pattern and if we observe the colors it’s black and white which represents the contrast in it. This was made using the digital software Autodesk Sketchbook. By doing such I learned about observing the thing and the spaces around me how everything is in some kind of composition. This will further help me in making or designing the space.

HANDING OVER POSTERS U20020 An exhibition piece representing an abstract poster based on Steve Jobs which is made digitally on an A3 sheet. This simple yet eye-catching poster was made in a way that the viewer notices the biggest element that is the apple and the cut part that has Steve Jobs that surely many will understand. The main focus was on the placement of the words. A simple title for the poster but the word “mind” here stands out. The word and where it is placed on the poster adds to each other. This becomes an even more attention-grabbing element. The texts are placed to create a balance and to maintain their flow of reading. Colors play a role in posters. This poster is made by using only three colours, which are white, blue and red. The dark background and the red apple overall creates a visual hierarchy. Keywords: Logical order for reading, Play with words, Use of appropriate fonts.

READING OBJECTS, WRITING CRAFT

SAMPLES OF STUDENT WORK

COMPARTMENTS OF SWISS ARMY KNIFE U20216 This is an exploded axonometric view(45 degree) of swiss army knife containing 25 parts including rivets and bolts done with a microtip pen. Blades, scissors, spacers and cases are made of stainless steel. To draw this exploded view, the swiss knife was to be dismantled, every part of it measured and then drawn. The direction of each blade going inside a compartment is shown by adding semi circular dotted arrows beside the blades. That also shows how a blade moves freely till what angle and then moves out or goes in. The vertical dotted line shows the direction of the nail that goes through the holes in each blade. When I dismantled the knife completely and drew each of them in sequence onto paper I noticed each compartment has a blade and support plate that helps separate the tools. It was quite a work of patience to draw so many small components neatly, precisely and with measurements.

READING OBJECTS, WRITING CRAFT

SAMPLES OF STUDENT WORK

Documenting Process 41

READING OBJECTS, WRITING CRAFT

DOCUMENTING PROCESS

R6.2

The text that accompanies the studio exercise S11. Mapping and Data Representation, is somewhat different from an exhibition introduction. There is no word limit, though we still want to be concise, and we are looking to capture two aspects: 1. What were the specific steps involved in making a map for your neighbourhood, including your methodology? 2. How do we describe the final outcome (your map) to someone who doesn’t know how to read a map, but is interested in understanding it? The write-up should have a title that is representative of both the process and the outcome, and is different from the title of the map itself. The first part of the text would have to focus on the process, including all the steps taken to build the final map, explaining why each had to be done, how it was undertaken, what posed problems in each step, the decisions made at each stage. The broad steps could (but need not) follow the outline: •

Identification of area

•

Preliminary observations of the area + identification of thematic focus (if it exists)

•

Preparing a basemap

•

Collecting data

•

Samples for data representation

•

Final decisions regarding data representation

The second part of the text would address more directly the final outcome. It should answer the question: what does the map show and how? using examples from the map to illustrate. The text can make use of Work in Progress sheets, details of the map to show legends and specifics.

READING OBJECTS, WRITING CRAFT

KNOWLEDGE • Writing about process and methodology

SKILLS AND ABILITIES WRITING

• Describing steps of a process sequentially

PROCESS AND PEER LEARNING • Informal peer feedback • Incorporating feedback

SAMPLES OF STUDENT WORK

A TALE OF TWO STREETS U20013 The exercise ‘Mapping and Data Representation’ required us to make maps that would convey information that isn’t available on Google Maps. It encouraged me to think about my own experiences of the neighbourhood and all aspects that only someone who has lived here for some time would notice. I chose to highlight the contrast in vehicular and pedestrian traffic on two busy roads in my neighbourhood of Kothrud, Pune. Identification of Area: The first step in creating the map was to select an area in my neighbourhood that had several attributes like temples, walkways, etc. which could be studied further. After going over a large area, and including and removing several parts multiple times, I finally selected a 600m x 600m square area for mapping (Fig. 1). Preliminary Observations of the Area + Identification of Thematic Focus: As the Covid-19 situation in my area was very bad, I mostly had to work based on my memories of the neighbourhood. Having lived here all my life, this was fairly easy. First, I identified and listed down all the major attributes of my neighbourhood. These attributes included1. Presence of Banks and ATMs 2. Many Cafes 3. Three gyms 4. Open Grounds 5. Movie Theater 6. Lots of trees 7. Temples 8. Regional Government office 9. Badminton Court 10. Small shops – Clothing stores, Grocery stores, Hardware shop, Oil shop, Motor repair shop, Electronics shop, Medical Store, Incense shop, Tailoring shop, Jewellery shop, salon, Courier shop, etc. 11. Business Bay 45

READING OBJECTS, WRITING CRAFT 12. Mixture of residential, mixed-use and commercial buildings 13. Big Bazaar 14. Croma 15. Roadside Parking (P1, P2) 16. Footpaths 17. Canopy benches 18. Street Vendors – Jewellery stall, used books stall, tea stall 19. High-rise luxury condos After discussing with my tutors, I decided to focus on two main roads (Fig. 2) in my area and highlight the differences between them using zoomed-in illustrations of different sections of the street. What interested me most about these roads was that despite having almost the same dimensions, there was a stark contrast in the vehicular and pedestrian traffic on the two roads. Preparing a Basemap: Next, I prepared an accurate basemap by tracing over the elements either digitally or hand-drafting with tools. A basemap is the background layer with only essential geographic information on which further layers of data are added. It is the core of the map. I chose to make my basemap digitally in Autocad. Lineweights were of utmost importance while preparing the basemap. Different line weights were used for different types of buildings, trees and roads. This ensured enhanced readability of the map. I used five different line weights, one each for roads, residential spaces, commercial spaces, mixed-use buildings and trees. The trees are circles having lighter lineweight and reduced opacity. As we can see in Fig. 3, the roads have a slightly heavier lineweight, but they’re still not as prominent as the buildings, which have the heaviest lineweight. A “scale” is a must while making any map. The scale for my basemap was 1:1000, as can be seen in the graphical scale at the bottom right corner in Fig. 3. Figure 2: The Roads in Focus Note. The roads that I chose to study are highlighted in red and blue. Adapted from Google Earth. Copyright by Google Earth. Figure 3: Basemap

Note. The upper right corner has been cut off as there was no relevant information. Notice the graphical scale and North direction symbol in the bottom right corner of the map. Copyright 2021 by Anandita Onkar.

SAMPLES OF STUDENT WORK

Figure 1: The Selected Area Note. My house is at the bottom left corner of the square. Adapted from Google Earth. Copyright by Google Earth.

READING OBJECTS, WRITING CRAFT

SAMPLES OF STUDENT WORK

Collecting data: Most of the data used in the maps was from memory. I studied the buildings on these two streets, whether they were residential or commercial, the parking spaces, roads that the two streets led to, and many other aspects which could affect vehicular and pedestrian traffic. I made quick sketches of sections of the two roads to represent the various aspects I was going to be looking at in the final map. Fig. 4 shows a quick sketch of the first road in focus. While making this sketch, I explored the key aspects of this road - the presence of mixed-use buildings on both sides of the road, an abundance of parking space, many cafes and restaurants with tables put between the road and the buildings and the road’s connectivity to main roads from both sides. These were the factors that could affect the traffic on the road. Fig. 5 shows an exploration of the second road in focus, similar to that as in Fig. 4. This was a fairly commercial street, so it had a few additional attributes like street vendors and dedicated parking for each building in the basement. It was very interesting to study the differences and similarities between these two roads as I noticed many details about them that I had overlooked all my life. I used my own experiences and those of my family and friends to prepare a database for my final map. Samples for Data Representation: Our tutors advised us to go through maps on the internet and see various data representation methods. I tried out a few different methods like using 2D icons throughout the maps to represent different activities and 3D isometric representation of the roads, that could represent all the necessary and relevant information and narrowed it down to two possible methods. This process included a lot of trial-and-error to find the one method that could have the most impact,

READING OBJECTS, WRITING CRAFT

Figure 4: Quick Look at Road 1 Note. The sketch shows a quick representation of the road. It highlights the major activities seen along this road and the notes at the right talk about the possible reasons for the type of traffic seen here. A small legend has been made just below the road section. Copyright 2021 by Anandita Onkar.

Figure 5: Quick Look at Road 2 Note. This quick sketch shows a section of the second road. Notes, similar to the ones in Fig 4, have been

SAMPLES OF STUDENT WORK

READING OBJECTS, WRITING CRAFT

SAMPLES OF STUDENT WORK

Figure 7: Final Map of Road 1 Note. Each road was colour coded, the first road was assigned a teal-green colour. This colour is also seen in the isometric section of each part. The sections are arranged to continuously represent the road. Copyright 2021 by Anandita Onkar.

READING OBJECTS, WRITING CRAFT

SAMPLES OF STUDENT WORK

READING OBJECTS, WRITING CRAFT and could convey most of the information. Final Decisions Regarding Data Representation: Both possible methods were capable of conveying the required information. However, after discussing them with the tutors, I decided to go with the second method in Fig. 6 as the first one would have made the final sheet look too congested. The second method entailed breaking down each road into smaller sections with the main attributes like shops, parking spaces, footpaths, benches, street vendors, rickshaw stands, etc. and zooming in on those sections. This method would help me focus on every part of the road in detail, leave enough room for annotations, and ensure the sheet’s neatness. I chose to make the final map in Adobe Illustrator as it creates vector-based illustrations ensuring high-quality files. As I hadn’t used this software a lot before, it was very challenging to create so many illustrations in merely a few days. The entire process involved a lot of googling and watching YouTube tutorials to learn how to use various tools. Deciding what illustrations to show was fairly easy as I had decided to represent the street and its elements as they were in real life. I made a few human figures, a car, a scooter and a rikshaw; and just repeated them throughout by changing their colours.

Final Outcome: The final outcome consists of two maps - one for each street. It contains zoomedin sections of the roads, as was mentioned before. These maps explain concisely the contrast between the two roads, without the use of technical jargon and hence

READING OBJECTS, WRITING CRAFT can be read by anybody, regardless of their knowledge on the subject. These maps could help the reader understand the area better. This map of Road 1 shows five different sections of the road, arranged in a way to show the road in its entirety. Every section has a layer of added information, and a small note explaining what the section shows, and how that particular aspect of the road affects the traffic. Similar sections have been made in the second map. Sections in both maps show one side of the road in detail, while the other is kept in plan view. In this section, we can see the vehicular and pedestrian activity on the road. Various pedestrian activities have been captured in the section - Jogging on the footpath, sitting in the side garden, waiting for taxis and rickshaws and standing by the shopping carts after coming out of Big Bazaar. Various vehicles can also be seen on the road, these are the vehicles that we usually see in the area. Sections like these with easy-to-understand illustrations, annotations and labels that go along with these illustrations make reading the map easy for everyone.

SAMPLES OF STUDENT WORK

READING OBJECTS, WRITING CRAFT

SAMPLES OF STUDENT WORK

TRAFFIC AND PARKING AFFECTED BY NEIGHBOURHOOD AMENITIES U20049 Maps are of much importance to many people, including designers. They help the reader look at the area mapped in a smaller, more organized way that helps them comprend their surroundings. Hence mapping is an important skill to learn as a designer. The process of mapping my neighbourhood, Thaltej, started out by having to choose a 500 sq.metre area in which my house is located. This selection of the area couldn’t be random, it had to be well thought out so that it could be more beneficial for the coming two parts of this exercise. I chose the area keeping in mind the various amenities such as schools, colleges, hotels, temples etc., which are located in close proximity to each other, that my neighbourhood has to offer as I felt it is one of the most notable characteristics. I could build around it and figure out what should be mapped in the final part of the exercise. Once the area was decided, it was marked on Google maps, and a rough map was made to represent and name the important attributes, which were the neighbourhood amenities in my case, as well as the roads and greenery with the help of the marked area in Google maps. Making this map helped me get a better sense of my surroundings in relation to where I live, which is where the tiny black house is marked in Figure 1. The next step was to make a more detailed map that showed all the buildings, roads and greenery by tracing the marked Google map on a software called AutoCAD. This was done to study the marked area in its entirety so that one could understand how the urban area is planned. I tried to show the attributes that were noted down in the first part of the exercise in this map as well. The commercial/ important buildings were highlighted in red which can be seen in the image below and trees were shown, as they are quite permanent in nature and hence showing them is of importance, keeping in mind their sizes. Making the base map helped give a clearer understanding of the neighbourhood before making the final map.

Figure 1: Places of Interest in my Neighborhood Note. Rough sketches were made to indicate some of the important buildings that affected the traffic on a daily basis. The sketches helped visualise the area better. From (Unpublished portfolio from CEPT Foundation Program Studio) by D. Shah, 2021, CEPT University. Copyright 2021 by D. Shah. Figure 2: A Laborious Process Note. Tracing Google Maps to show all the buildings in the 500 sq.m. area enlightened me in terms of my surroundings. Despite having seen all the buildings separately, seeing them all at once helped me realise how many there were in totality. From (Unpublished portfolio from CEPT Foundation Program Studio) by D. Shah, 2021, CEPT University. Copyright 2021 by D. Shah.

READING OBJECTS, WRITING CRAFT

Figure 3: Process of Mapping Note. On the left is my first attempt at mapping and the approach was showing it in a 3 dimensional view and on the right is my second attempt, which looks similar to the final map, except the colours. In this exercise I learnt the importance of colour theory in a map. The map should be visually pleasing for the reader to want to read the map, but care should be taken to make sure that the different elements are distinguishable enough for the easy reading. From (Unpublished portfolio from CEPT Foundation Program Studio) by D. Shah, 2021, CEPT University. Copyright 2021 by D. Shah.

SAMPLES OF STUDENT WORK Once the base map was done, specific attributes were to be selected and based on that, a map was to be made. In the initial stages, I wanted to focus on the traffic, pedestrian traffic and the traffic flow of the neighbourhood, but it was soon realised that the foot traffic wouldn’t be legible on the map as it would make it complex and chaotic, making it very hard to read. Hence, I decided to change what I wanted to map, and chose to show the traffic and vehicle encroachment at different times of the day. Changes in the way that the map was to be represented were also made. Before, it was to be shown in a 3 dimensional view, but I realised that traffic would be mapped better if it was shown from the top. The same can be observed in Figure 3., where one can see how traffic is much easier to read in the map on the right than compared to the one on the left. Hence a shift from Sketchup software to AutoCAD was made to make 2 dimensional maps showing plan views of the area. Since I wanted to map the traffic, I went out at different times of the day and counted the buses, cars and two wheelers that were seen on a road at that particular time and noted it down. For the vehicle encroachment mapping, two streets were selected. These streets were selected on the basis of prior knowledge of how many vehicles were found parked there on a daily basis. The first street was one in which there is a marketplace. Because of the presence of the market, the street remains busy in comparison to the rest at almost all times of the day and a lot of people parked haphazardly too. On the second street there is a school, a college and a gym as well. I had been given permission to mark the traffic as if the current situation of the pandemic wasn’t there and the schools and colleges were working offline. This decision was made because the arrival and dispersal times of the students greatly affected the traffic. To map the parking, similar to how I mapped traffic, these streets were observed during different times and the number of two wheelers and four wheelers that were parked there were noted down and the way in which they were parked was also observed. To make sure that the parking in the streets was more legible for the reader, the two streets were shown in a zoomed-in view. The final sheet indicates the traffic in the neighbourhood and the parking/vehicle encroachment in two streets at 7am, 10am, 4pm and 7pm to get a better idea of how the traffic changes during the whole day. With the help of these maps, one discovers that the main road, Priyakant Marg stays the busiest at 10am and 7pm, while the other two streets shown in the zoomed-in views are the second most affected by the traffic and highly affected by the parked vehicles. It goes to show that the amenities, the police station, hospital, hotels, educational institutions and temples, among many others, play a big role in the flow of traffic in the neighbourhood.

READING OBJECTS, WRITING CRAFT

Figure 4: The Final Representation of the Traffic and Parking in My Neighborhood Note. An explanation and legend have been provided to understand the maps in a better manner. Dull colours have been chosen for the background, residential buildings, green spaces and trees, while brighter colours have been used to highlight the commercial buildings and traffic. There is also a graphical scale on the bottom right corner so the reader is aware of the actual scale of the maps. From (Unpublished portfolio from CEPT Foundation Program Studio) by D. Shah, 2021, CEPT University. Copyright 2021 by D. Shah.

SAMPLES OF STUDENT WORK

READING OBJECTS, WRITING CRAFT

SAMPLES OF STUDENT WORK

THROUGH THE EYES OF A FOODIE U20144 The image shown below is in Figure 1 is that of a rough mapping of the area of Goregaon east in mumbai, Maharashtra. This mapping exercise was done to make us a bit more understanding about the ways in which data is represented in maps, this had involved various activities like going out of my house after a long while and mapping every single discernable feature i could find in the vicinity, including open ground, bus stations and even forest cover. I took this area because it was close to my home, so close in fact that my locality makes a small cameo in the map. Another major reason was because i marked out dynamic and static properties of the area for a good and accurate representation. It was quite an ordeal thinking about a valid static mapping as i wasn’t sure if any of my ideas were good enough to produce a good map. Then I had an idea, everyone eats food, and what if I use my in depth experience and knowledge of this area to show the best places to eat here as you can see in Figure 1. The second part of the process to make a base map of the neighbourhood, i,e, we had to trace our area from an image taken from google maps in either AutoCad or Adobe Illustrator so that i get a stencil to draw lines over. Although lots of people used Adobe illustrators, i was not able to use it as my licence for AutoCad had expired and therefore could only use Adobe Illustrator. Therefore i cant really do a comparison of ease of use but from what i had experienced in AutoCad previously, Illustrator definitely felt easier to work with as it was much easier to work with layers. The base map was the first time I saw my locality as a planned neighbourhood. The basemap had a basic info about all the buildings in the locality, although not marked out, with the help of the rough map (figure 1) and basemap (figure 2) and a general sense of comparison, we could accurately find all the different buildings that exist in the area and accurately name them to some extent as they can serve as important landmarks to identify the location of the eating spots.

Figure 1: My neighbourhood as a rough map Note. Notice that the different colours used in the map seemed very distinctive to each other and made sure that there was no confusion between the map and the background. Copyright 2021 by Swayamsiddh Dash Figure 2: My neighbourhood as a base map Note. Notice that the different buildings and the streets are represented in much more detail now, with more surrounding buildings also represented now. Copyright 2021 by Swayamsiddh Dash

READING OBJECTS, WRITING CRAFT

SAMPLES OF STUDENT WORK The beginning of the final product started out with a huge shift in the medium that I was using to represent the map with, I went from representing the area in a 2D view to representing it in 3D view. I started out with a basic working of the area in sketchup, showing all the highrises and representing them as accurately as i could, then bringing in the streets that wind through the area of my neighbourhood. The first attempt as seen in figure 3 was the first attempt at 3D, with not all the elements of the area visible to the viewer but a general idea of all the buildings and elements that i wanted to represent in the area. The hardest part about this step of the process was to figure out how to show the various parts of the build and distinguish between the representation of Landmarks, Recreation areas and places to eat but, i finally ended up just using different colours for the location marker pins as it was distinct enough for a person to distinguish from a white and pale blue background. The second attempt at the base of the final map came out better in my opinion, with a lot more of the map being visible to the viewer, this was achieved easily by just changing the camera angle slightly into an isometric view. Now in this view, we could see the various parts of the map in crisp detail, being able to distinguish where the location pin is pointing even, which was kind of an ordeal in the last iteration. The Highway that runs along on the right side of the map is one of the most important landmarks we could represent as a lot more people know about the Western express Highway than they know about Oberoi mall. The different recreation areas and open fields also became a lot more visible, now it was a lot easier to distinguish the shape and size of them, bringing in an even greater amount of representational ability.

Figure 3: My neighbourhood as a 3D map Note. The different parts of the map are now represented in 3d and location markers have been added but it is not very clear due to the view that we have taken. Copyright 2021 by Swayamsiddh Dash Figure 4: My neighbourhood as 3D map, now in a different view Note. The different parts of the map are now represented in 3d and location markers have been removed temporarily, but now the different buildings and elements are much more clear. Copyright 2021 by Swayamsiddh Dash

READING OBJECTS, WRITING CRAFT

SAMPLES OF STUDENT WORK This iteration of the mapping representation where the product came close to the final attempt in any capacity, and also the first time the dynamic representation was visible on the map. For the dynamic representation in the map I went with showing the bus routes at different times of the day, showing the traffic density in the areas and also what routes the buses take generally at that particular time of day as people may travel to this place to eat food at the famous spots, so they require information abou the transport options. The hardest part in this iteration was to find out the bus routes and timings for a particular time of day as I could not move out of my house due to COVID-19. Although I could not move out of my house, I found an app on the net that could show the routes and timings, even the live location of the buses in the area throughout the day with a very high level of accuracy. Although identifying the bus routes had become much easier with the introduction of the app, the logging of these routes fell on me in the end, and it was very painstaking to document the movement of busses throughout the day and bring about the most accurate part of this map in my opinion. In this iteration the map came as close to the final map as it could and also brought with it a new idea, The idea of representing the important elements of the map such as the various landmarks by highlighting those elements with the colour red. As you can see in Figure 6 the buildings are a lot more distinguishable now, with the different legends striking out for the viewer as soon as they see it. The bus route representation was also reworked and now the representation for car and pedestrian traffic were given new symbols for representation, namely with a small car icon. There was also an introduction of representation of the general flow of traffic in the map, showing in which direction the traffic generally went in at a particular time of day. Figure 5: My neighbourhood as 3D map, now arranged in a A3 Note. The map has been duplicated 4 times and now arranged in a A3 neatly to represent both the dynamic and static elements . Copyright 2021 by Swayamsiddh Dash

READING OBJECTS, WRITING CRAFT

SAMPLES OF STUDENT WORK

This was the final representation of the map, with a huge overhaul in the arrangement of the different elements in the sheet, i removed the dynamic representation for 2 am as it was pretty similar to the one for 12 am and also because i required some more space to enlarge the map and show it more clearly, which required a lot more area than it previously had.

The title for the mapping was also finalised in this step and I went with the first title I had thought of. “A plate next to the highway”, is almost a clear link to an old tv show called “highway on my plate” which also showed the best local areas to eat, much like i have shown in my data mapping. As you can see in Figure 7, this iteration also brought in the introduction of 3d models of trees in its midst, these 3d tree models showed the foliage of the area and told the viewer about the greenest areas in the map.

Figure 6: My neighbourhood as 3D map, now rearranged in a A3 with labellings Note. The map has been labelled about the various important elements, a red hue is added to important buildings and it has been partially rendered to make it much more pleasing to the eyes . Copyright 2021 by Swayamsiddh Dash Figure 7: My Final Product Note. The map has been labelled about the various important elements, a redundant part of the dynamic representation is removed and now a final title has been added to the map . Copyright 2021 by Swayamsiddh Dash

READING OBJECTS, WRITING CRAFT

Figure 1: Pin Your Interest Note. Different activities shown by specific icons, and the comparison of activity happening in day and evening are shown using different colours in the marker. Figure 2: Cognitive Map Note. The symbols and colours used for representing different area

SAMPLES OF STUDENT WORK

MORE TO EXPLORE U20111 Living next to a busy road has never been boring, there are a lot of activities and places to explore.Though there are a lot more interesting activities taking place in these areas, I tried to capture the landmarks and major activities happening in my neighbourhood. For a better understanding and to provide a greater insight I also compared the activity rates during day and night in those areas. Moreover to make this exercise interesting i have also shown a street view of the most busy road of my neighbourhood. There were many interesting areas to pick but the area which caught my attention the most was the area below because it covers all the major activities that I intended to map. I plotted an area of 690m by 690m on Google Earth app and made a cognitive map of my neighbourhood which showed all the major landmarks, like the police station, malls, garden, temple, bank etc.

READING OBJECTS, WRITING CRAFT

Figure 3: The Base of All Maps Note. Different colours representing different kinds of buildings and area

SAMPLES OF STUDENT WORK Then I took a tour of my neighbourhood observing different types of buildings, major landmarks and different types of activities happening around. Then I placed the Google Earth image in Autodesk Sketchbook and started tracing it with different line weights, opacity and colour, tracing every tiny little detail from the Google Earth image for my base map. I used different line weights for denoting different types of roads, Highway, primary roads and secondary roads with opacity increasing from secondary road to highway. I used different colors for showing different types of buildings and places, like light grey for bungalows, blue for apartments, yellow for commercial buildings, different shades of black for roads, etc. After tracing all the details of my neighbourhood, I took a new canvas in Autodesk Sketchbook, bigger in size than that of the base map, and placed the basemap on the left hand side and a N symbol for denoting north direction on the bottom right side of base map. Then I used a writing pen tool for writing, heading, name and location of the area on the top right corner with a large font size so that it is easily readable and draws the reader’s attention. After analysing all the activities throughout the day and drawing conclusions from them, a final map was made using the base map that I prepared. In order to signify the activities and the places I used symbols to address them and to compare the activity rates I designed a symbol with the idea of location symbol used for marking locations and filled different colors to indicated the activity rate during day and night by changing its proportion inside the symbol, to give another dimension to my mapping skills. I also included a street view of the location which is overcrowded throughout the day, to give viewers an idea about the place and also jotted down activities happening in the places I marked in my map. This exercise made me look at my neighbourhood with a different perspective and now I have become more observant and aware of my surroundings . I discovered that most of my neighbourhood consists of residential areas and so many small local shops which I barely noticed. This exercise also enabled me to think creatively regarding mapping and symbol designs and provided me with a sense of achievement and satisfaction with my work and taught me that: “Great Work May Take Time And Patience But Gives Immense Joy When Accomplished”.

R7 READING OBJECTS, WRITING CRAFT

SAMPLES OF STUDENT WORK

Describing Spaces 79

READING OBJECTS, WRITING CRAFT

DESCRIBING SPACES

Just as in the first semester we focused on learning to see pieces of furniture and products around as like designers would, this semester we begin to look at spaces around us similarly. Find a built space that you have access to (your home/ block of flats/ a neighbourhood park/ an acquaintance’s work space etc) and something that interests you about it (as a designer!). Capture details of the experience of the space for multiple types of users. Connect these experience to the architectural elements which form it, and with the building materials you are able to identify. Use photographs, plans, sketches to support your description. Process and Steps: Step 0 In groups of 4, read through the guidelines, choose one from among the sample texts, read it together and answer the questions: 1. What does the text focus on describing? (the experience of a specific user? The way materials generate a specific experience? The way form generates a specific experience?) 2. What are the important things the text notes about •

Approach to the space (the way you reach/ see/ experience the space when you arrive there)

•

The boundaries of the space (a house, a building, a room within a building, stairs and corridors in a building, etc)

•

The way the text talks about each architectural element in the space (form, material, texture, light, colour, sound, etc)

•

The way the text explains the connection between the elements

•

The kind of users the text talks about and those the text does not talk about

READING OBJECTS, WRITING CRAFT Step 1 Find a space that allows you to do a detailed description and name the focus of your description. This could be anything like: •

A general overall description of a room (you cannot do an overall description of anything larger)

•

Movement through a larger space/ a building

•

Changes in light through a space

•

Different users experiencing a specific space, depending on who they are and their role there (the focus is on the built/ architectural elements, not on the interior design/ furniture)

•

Specific architectural elements in a larger space (openings, flooring, play of volumes)

•

Anything else that interests you

Write what interests you in 2 sentences and take enough photographs/ have enough sketches of it to show that you have enough to say. Step 2 In a group of 5, read/ watch one more text, focusing on the following questions: 1. When the writer looks at the space as a designer, what do they notice? 2. What architectural elements do they talk about? What is important to say about each? 3. How do they connect each architectural element to others around, and to the bigger context? 4. How do they connect aspects of each/ multiple architectural elements to user experience? 5. How do they move from one description aspect to another? 6. What kind of photographs are used to show what they want to focus on? Write down all the points you find relevant and present them to your peers. 82

DESCRIBING SPACES

Step 3 Use your experience reading through others’ texts, and all the images you have put together to write the first draft of your description. Make sure you keep in mind the checklist/ sequence below: 1. Naming the space/ building 2. Approach: what does the space present itself like, in relation to context, as one moves towards it? Does it direct movement, stand out, draw attention to itself, merge with the context? Is the approach meandering, direct? 3. Volumes: what is the overall balance of volumes as one nears the space? What does that to do the senses (think light and shadow for sight, the sound of wind through a narrow corridor, the texture of tall doors with wooden panels etc) 4. Plan type with underlying geometry 5. Building elements and materials within the narrower space you have chosen: what is the logic of their location and use? 6. Ornamentation 7. User experience in relation to each one of these. For each of these, make sure you are writing about all your senses. Step 4 In a group of 5, read/ watch another text and answer the following questions: 1. What are the different aspects the text talks about? 2. In what sequence does it talk about them and how does it connect them? 3. What kind of photographs does the text use? Individually, also answer these: 1. Does my own description talk about all these aspects (where they are relevant?) 2. What is missing in my description/ flow? 3. Do I need to add photographs? Use these points for peer feedback as well 83

READING OBJECTS, WRITING CRAFT Step 5 Go back to your text, incorporate feedback and add content. Rework it so that the sequence allows the reader to feel that they are walking through the space and they are able to experience it the way you want them to. Make sure: 1. Your text does not jump from large to small to large again, without reason. 2. Your photographs focus on specific aspects (the change in flooring as you transition between rooms; the detailing of a baluster; the quality of the kota stone used for the stairs; the specific brick bond used) and your captions name and draw attention to these 3. The users you have thought about are different in terms of age, class/caste, gender, ability, occupation within the space.

DESCRIBING SPACES

KNOWLEDGE

SKILLS AND ABILITIES

PROCESS AND PEER LEARNING

DESIGN • Architectural elements

• Understanding design in relation to context • Articulating one’s understanding designrelated concerns • Asking questions of the practice of key designers, pertinent to one’s professional field

• Acquiring disciplinespecific knowledge through individual and peer group research • Articulating disciplinespecific concerns

READING • Reading for knowledge • Reading for style

• Identifying the workings of structure and style in a given text

• Learning through group reading and discussion

WRITING • Describing material qualities of spaces in relation to user experience • Structuring descriptions of spaces • Connecting title- imagecaption- text

• Describing spaces through • Informal peer feedback physical qualities and user • Incorporating feedback experience • Providing a descriptive structure/ sequence which enables the reader to imagine the space

READING OBJECTS, WRITING CRAFT

SAMPLES OF STUDENT WORK

WALK THROUGH A BUILDING

U20099

The Muhaisnah Residence Building 1 is often misunderstood as two buildings instead of one by anyone other than its residents. The main reason for this is the unique triangular shape of the building and the presence of two lobbies. The main entrance door of the building is a swing glass door facing the main road, and it takes us to a lobby. In the lobby, the space on the left is occupied by a small couch and a security desk. Several residents wait for their transport to school or work in this lobby every morning. Moreover, this lobby would perhaps have been the first interior part of the building seen by most of the residents as it serves as an information desk for the newcomers. Therefore, it is commonly referred to as the main lobby. Directly opposite the main entrance door, another glass swing door can be seen. This door takes us to the topmost parking level out of the three levels of the parking garage (two of which are underground). Walking across the parking garage, we reach the second lobby located almost opposite the main lobby. It is mostly used by the residents as a shortcut to the mosque behind the building, and by those whose apartments are accessible faster via the two elevators in the same lobby. This lobby is not as adorned as the main lobby as its entrance cannot be seen from the main road and hence, is not used to attract new tenants. The lack of furnishing therein results in the space only being used as a path to the outside of the building and not as a place to relax and is, therefore, referred to as a secondary lobby. It consists of two elevators and has three glass swing doors, two of which open to the ground floor parking lot, and the third which opens to the outside. The building consists of a total of eleven floors (excluding the parking garage) - the ground floor, nine residential floors, and the tenth floor devoted to recreational amenities, such as the gym, and is denoted by “HC”, which is short for “Health Club”. To the right of the main entrance door in the main lobby, two elevators, highly similar to the elevators in the secondary lobby, can be seen and are the main mode of transport to the different levels of residential apartments, as well as to the two underground parking levels. These elevators only provide access up to the highest residential floor or the ninth floor. The topmost level cannot be accessed by using 87

READING OBJECTS, WRITING CRAFT

SAMPLES OF STUDENT WORK

READING OBJECTS, WRITING CRAFT

SAMPLES OF STUDENT WORK

READING OBJECTS, WRITING CRAFT

SAMPLES OF STUDENT WORK

READING OBJECTS, WRITING CRAFT these elevators. To use the recreational facilities, it is required to ride the elevators from the secondary lobby, as these provide access to all of the parking levels, residential levels, as well the HC level. (It also makes sense to get off the elevators from the main lobby at any one of the residential levels and walk through the corridor to reach the two other elevators, and use those to reach the HC.) The elevator opens at the HC level and to the left, we see the gym. To the left of the gym, a single flight staircase consisting of ten steps can be seen. This staircase leads us to a glass door that connects to the terrace which contains the swimming pools. Turning left from before this staircase, we see the sauna, steam room, and two separate changing rooms for men and women. Directly opposite the glass door of the pool, is a wooden door. This door leads us to the main stairway in the building that connects to the secondary lobby. It has landings at all of the residential levels and is meant to be used in case of emergencies such as a fire. Between any two levels, there are two flights of steps and two landings. Each step has a tread of 28cm and a riser of 14 cm. The landings have a width of 118cm and a length of 295cm. The handrail is made of metal and is high enough to prevent accidents. The wall adjacent to the first landing has a huge window, approximately 415cm in height and there is a similar window at every level. These windows allow for a view of the adjacent buildings and the mosque. The size of the windows also allows its users to experience bright sunlight during the day and a glittering view of the neighbourhood during the night; the higher the level, the better the view. The stairway is positioned in such a way that the windows are on the same side as the main entrance to the secondary lobby. This stairway is used by people going to the gym as it serves as a warm-up, and by people who have finished swimming and want to dry off before entering their homes. The wide steps also act as a play area for children. The stairway ends at the ground floor, and we open a wooden door to arrive at the secondary lobby. Adjacent to this door is a second wooden door serving as an entrance to another stairway, which leads to the two basement parking levels. Exiting this stairway at either of the basement parking levels, we come out into smaller lobbies having two glass swing doors each, which opens to the parking lots. These lobbies are only meant to be used as a comfortable space for people waiting to ride the elevator to their respective levels. The building houses two other stairways that are very rarely used by tenants. These connect the bottommost floor of the parking garages to the highest residential floor of the building. Almost every part of the building, including the stairways, have false ceilings, and is equipped with central air conditioning and motion-sensing lights.

Depending on which side each tenant’s apartment is positioned on, the residents

SAMPLES OF STUDENT WORK choose to enter through the main lobby or secondary lobby and take the elevator to their respective levels. There are also two garbage disposal rooms present near the elevators. The triangular-shaped building accommodates the three stairways such that they are almost equidistant to each other, and each side of the triangle has one stairway. It enables each tenant to choose a stairway that provides quick and easy access to their apartments. It can be noted that almost all of the tenants of the Muhaisnah Residence Building 1 have undergone a similar experience of utter confusion during their first few weeks residing in the building due to forgetting where their apartments are located. The presence of twelve identical doors on each floor, two oppositely located entrances, and the long corridors that seem never-ending are the reasons behind this. However, once accustomed to the overall layout of the building, the tenants enjoy a highly convenient environment filled with good services.

Figure 1: Recreational Amenities Note. The image on the left shows the stairs leading to the swimming pool; the air conditioning vents can also be noticed on the ceiling. The image on the right shows the corridor comprising the changing rooms, steam room, and sauna. By N. Naveed. Copyright 2021 by N. Naveed. Figure 2: A Path with a View Note. The railing and the glass window can be seen in the image on the left, while the image on the right shows the stairway connecting two floors. By N. Naveed. Copyright 2021 by N. Naveed. Figure 3: Design of the Corridor Note. The first image is of the corridor on a residential floor. The design of the floor and wall tiles can be seen. The second image shows two elevators that are located on the same side as the main lobby. The false ceiling, motion-sensing lights, and ac vents are apparent here. By N. Naveed. Copyright 2021 by N. Naveed.

READING OBJECTS, WRITING CRAFT

SAMPLES OF STUDENT WORK

ROOF TERRACE: INFLUENCE OF CLIMATE ON DAILY USE

U20027

From the scorching heat of the summer to the high winds in the monsoon, owning a roof terrace does have its perks as well as its flaws. Located on the top of a nine-storey apartment building in the city of New Delhi, it acts as a personal open space away from the rush of the city. The only interaction the terrace has with the rest of the apartment is through a 2m high metal gate located on its south-east side (Figure 1). Opened at least twice a day, the creaking sound of the door alerts its inhabitants of visitors. Mostly inhabited, actually… completely inhabited by more than 60 species of plants, what first used to be an empty space now serves the purpose of a roof garden and a respite from the daily bustle of life. From the ninth floor, to access the roof, two flights of stairs can be used, which merge together into a narrow corridor just beside the roof (Figure 1). The lack of lighting fixtures and presence of only one window in the corridor creates a dramatic contrast as one enters the terrace with a burst of sunlight momentarily shocking your senses. The roof, built in the shape of a rectangle, Spans an area of 20m x 8m, with its longer side facing the north-west. Due to the various protrusions in the periphery wall and an ornamentation element present in the north corner, the actual walkable space gets reduced (Figure 1). On entering the space, what catches the eye first are the two metal canopies with bamboo roofs placed on opposite edges of the space, a set of metal-framed baroque-styled benches with wooden seats flanking a center table, and a whole lot of greenery to complement them (Figure 2). What first started as an experiment to see how the space can be better utilized, now turned into a hobby for me and my family. This hobby presented itself in the form of gardening which was put to good use as well, as besides growing just ornamental plants, plants such as tulsi and curry leaf are also grown, lending a hand in the daily cooking happening in our home downstairs. The overall roof is surrounded by a metre high cream-coloured brick parapet wall on the three sides across the gate which gradually rise to about two metres as one walks towards the north-west edge. Blue-coloured plastic panels are placed on top of these walls which cantilever towards the periphery of the roof, thus adding to the beauty of the space as well as protecting the ninth-floor balconies from the frequent showers of rain. To create this structure, two blue-coloured thin sheets are used as layers with a framework of metal rods holding it in place. Due to the use of these layers, the space inside is left hollow. Over the years, the combination 97

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SAMPLES OF STUDENT WORK of this hollow structure along with the high winds have caused some of these sheets to separate from the roof and fly off. This was considered potentially dangerous since falling off such a height and with high-speed winds carrying it long distances in the air, who knows what damage it could create. The responsible authorities were notified of this, but no changes have been made till now. Learning from this experience, even though on a smaller scale, we were able to identify a similar hollow structure on the roof of the two canopies. Being sloped in nature, they were even more perceptible to the high winds and were thus changed to a flat bamboo roof. The small gaps within this bamboo roof (Figure 4) allowed air to pass through, helping to increase its resistance to the wind and create a Venturi effect , thus cooling the plants underneath it on harsh summer days. Four hollow structures nudge out from the main boundary of the roof through which pipes and electrical appliances are fitted connecting the roof to the ninthfloor homes (Figure 5). Their semi-open coverings make it easier for any kind of repair work which needs to be done. The pipes within these walls also lead to two taps present on the west corner and the south-west edge of the space, allowing us to water the plants through garden hoses. Throughout the year, the interaction of the space with people depends highly on the climatic conditions. From the rise of the sun in the east to its setting in the west, the roof receives direct sunlight almost the entire day. Due to this, the heat generated by the layer of PCC on the brick flooring makes the space unbearably hot during the months of May and June. But regardless to say, the increased exposure to the sun also makes the space a blessing to have in the winter months. During this period, the space finds itself filled with people. In the afternoon, these visitors, mostly the people involved in the maintenance of the building, use the space to warm themselves up while enjoying the freshness of the plants around them whereas the cold winter nights bring along with them, barbecues and bonfires, creating social gatherings and causes of celebration. The awe inspiring views act as a bonus enhancing the experience of anyone who visits the space. The change in climate also affects the pattern followed by the maintenance man involved in the regular sweeping of the space who, in the summer months, cleans the roof in the morning and gradually shifts to the afternoon as the year turns towards winter. A similar pattern is also followed by the gardener who visits the place at least once every week for the purpose of fertilizing and pruning the plants. Visiting this space for more than six years now, the roof still continues to teach me how architecture can and should be inspired by the regional climate and how people can be more involved, more perceptible to enjoying a space that provides them a sense of comfort. The various ups and downs of its design allows the space to be humble and at the same time, be appreciated for all its glory.

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Figure 3: The Missing Panels on top of the Parapet Walls Note. The removal of the top layer of the structure in the left image, thus allowing the framework to be visible from the outside. The right image also shows the use of a metal overhang to support the cantilever of the structure. Copyright 2021 by Arjun Batra.

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Figure 4: The Bamboo Roof of the Canopy Note. The greenery surrounding the canopy due to the shade it provides. The right image shows how the creeper uses the bamboo to climb its way up to the canopy’s roof. Copyright 2021 by Arjun Batra.

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THE SLEEPING CHAMBER U20043 My memories of my home in Noida go back to 2007, when our family had moved into this house for the first time. My father’s job forced us to constantly move between different cities every 2 to 3 years. But after 6 years of hopping to different cities, we finally came back to Noida and settled in the same home. My father decided to renovate the house when we moved back in. The room I live in right now, although being the same room I had as a child, is completely different. One of the most integral changes to the bedroom has been the merging of my room with the balcony. The partition wall has been broken down and completely removed to merge the balcony and the room into one. The metallic grill covering the balcony has been replaced by French windows in order to make the space more modern. Earlier since the balcony wall blocked natural lighting in the room, we depended on artificial lighting. This new spacious room with east facing windows allows the sunlight to fall in and make it warm and cozy during winter mornings when I am curled up inside a thick blanket. The breaking of the partition wall has created a vast seating area under the windows. If one wants to sunbathe in the morning they can spend it in the seating area. This is possible because the windows are situated right above the make-do couch at a perfect height due to the sill being at a lower level. The bookshelf filled with books and art supplies is within hands reach from this cozy seating area. This makes this the perfect spot to spend leisure time reading books, doing artwork or playing music on the guitar. The experience of spending time doing leisure activities is enhanced by the surrounding brick and concrete walls. The light beige colour of these walls reflects light well and makes the living space look bigger, hence adding visual depth and an illusion of space. Paired with a subtle coved white ceiling (the edge where the ceiling and the walls meet) it adds to the visual appearance of the room. In contrast to the warmth provided by the walls, the teal coloured curtains cool down the space by absorbing the harsh sunlight during afternoons and evenings. This colour palette was chosen to make the room more contemporary and simple. The walls encloses the room in a simple rectangular space with indentations in them to accommodate wardrobe and furniture pieces. The queen sized bed fits snugly in the entrance area. The headboard is again very simple without any fancy railings to match the style of the room. However, since the room has a narrow width, the bed almost touches the entrance door when opened and creates a very narrow space to enter and access the other part of the room. This makes the overall layout of the room a bit inefficient, but the extra balcony space makes up for it. The wall on the other side of the bed has another small window with a metallic diamond shaped grill. This window is usually kept closed as it is broken. 109

READING OBJECTS, WRITING CRAFT Under the grilled window the air conditioner has been placed since that place is pre-designated for incorporating the AC. Extreme summers often get slightly uncomfortable as the air conditioner is placed at such a low level and the cold air is not distributed evenly throughout the room. But the marble flooring compensates for this by not heating up and cooling the room. This also proves to be helpful as it allows us to walk with bare feet inside the room without our soles being burnt off. My sister and I interact with the room almost similarly. We both are very much into arts and crafts, as one can tell by looking at the wall, so intuitively a generous amount of our time is spent in our miniature studio space at the desk. This desk is placed right in the middle of the room beside the column of the earlier balcony. A generous amount of natural light reaches the desk as its not much far away from the windows, and thus allows us to work smoothly. Apart from the generic use of my bedroom, it is a great hangout spot for me and my friends. We usually have snacks and refreshments and play board games or talk while either sitting on the bed or the make-do couch depending on the space required. This room is a cozy space physically as well as mentally. I have spent the entirety of my days in this room during childhood as well as now. In the architectural aspect, the space doesn’t fail to serve the purpose of providing the bare necessities like comfortable temperatures, spacious room and a private space. The walls create a warm atmosphere, the vast windows allow us to look beyond the personal space and the layout provides ample space to live comfortably. These different elements of the space come together as a whole to create a better living experience.

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Figure 2: The United Balcony Note. The image on the left shows the balcony before the partition wall was broken down. If this had not been done, the room would have been exposed to outside weather and dust at all times since there is no enclosure, by D. Saxena. Copyright 2021 by D. Saxena.

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Figure 3: A Narrow Passage Note. The bed takes most of the area and leaves a narrow passage for entrance. The movement around here can get cluttered when guests decide to show up, by D. Saxena. Copyright 2021 by D. Saxena.

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Figure 4: Contrasting Windows Note. The grilled window has not been renovated and is similar to the one in the balcony when we first moved in. The new French windows allow more sunlight to pass through relatively to grilled windows and also look more modern and contemporary, by D. Saxena. Copyright 2021 by D. Saxena.

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ANIL DADA’S LOUNGE U200142 It is rightly said, “May your home always be too small to hold all of your friends.” (Shutterfly Community, 2021). Well, this phrase holds completely true for this single bed, day-rest room of Anil quite literally. Anil is the watchman of my house who performs his daily errands and gets his daily rest in this 2.5 m by 1.2 m room. This small room dwells right beside the main gate of the house where things almost get passed by, unnoticed by the guests in the house. However, the uniqueness of the structure and ingenuity in its design is what makes it leap off the page (refer to Figure 1). The room is cuboidal in shape with its roof pitched at a height of 2.1 m from ground. Since the room is small and can get suffocating from inside, it has multiple openings for proper ventilation and security reasons. The three exposed faces of the room visible from the outside have an arched window embedded in each allowing Anil Dada to keep a watch on the house even while sitting inside. Each window is placed in a grilled frame with the main wooden sash embossed 3 cm inside. The window on the front facade has a nail jutting out from the frame (refer to Figure 2). This nail is used for hanging a cloth bag which stores the keys of all the cars in the house. There is only one way of entry and exit from the room that is a 7 feet tall wooden hinged door. The peculiar observation about this 7 feet tall door is that 2 feet of the lower part of the door is below the ground. This makes the opening height of 5 feet from ground having people to bow down in order to enter the room and causing uncomfort. The main door in the centre follows 3 large steps for the feet to touch the ground. As a result, special care is taken of the room in the monsoon season. A waterproof sheet locally called ‘tarpail’ is placed at the ground level above the steps to prevent rainwater seepage. However, since the structure is 30 years old, the wood of the door has undergone cavitation creating several random holes on the bottom side of the door. As a result, rainwater still manages to seep in and clog the place. The entire structure is built up of concrete with the external walls cladded with white Banswara marble, imported directly from the Banswara village in Rajasthan. Interestingly, this stone matches the one used in the entire exterior of my house. The roof of the room is not flat and is grooved to avoid rainwater to settle and get drained down to the ground. It is made up of a local stone, customized and painted red, in contrast to the white Banswara marble. Figure 1: Sketching the Details of the Exterior Note. The sketch highlights placement and overall proportions of the elements. It also gives an idea about the structure and material of the walls and roof. Copyright @ 2021 by Suvidhi Jain.

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READING OBJECTS, WRITING CRAFT In spite of being present on the boundary wall of the house, the commotion and disturbance around it are minimum. My house resides on a secondary lane dominated solely by residential houses. So, the number of cars passing by during the day are not much. The only brouhaha it is filled with is all the kids playing in the porch at different times of the day (refer to Figure 3). There is just a single bed present inside the room so only one person gets their day rest at a time. The room, even though small, is fully equipped with all the necessities like a watercooler, bulb, portable fan, an attached bathroom etc. The open area on the right side of the room is used as a garbage storage area. It is ironic when one notices the efforts made in making it a living space but still placed right beside the garbage bins. Maybe it was built there due to unavailability of space elsewhere or maybe nobody even noticed or cared about it. The room faces the West direction and hence receives maximum sunlight during the day. The afternoon sun bathes the marble in its warmth, giving it a golden glow. Anil usually enjoys his morning chai and evening sleep in the winter season but is nowhere to be found near his room in the summer season during the day. Evening chai accompanied by the daily banter is the daily routine of all the house help in my house. They gather on the porch and either place their chair in front of Anil’s room or sit inside. There have been instances when we have hit the cricket ball directly at them, breaking a tile or two or making 2-3 chai cups spill. But Anil being Anil, instead of shouting at us, praises the shot and laughs it off. The room has just one bulb inside it and becomes quite dark at night. This makes this place a perfect spot for hiding in the game of hide and seek. As mentioned earlier, this room has the maximum exposure to sunlight during the day. All the family members in the house use this to their advantage and use the roof of the room as a platform to dry out wet shoes, clothes, bags etc. My dadima has got a nail hammered right below the roof and above the window on the front facade. This nail is barely noticeable so she uses it to hang the keys of the main gate of the house (refer to Figure 4). My mom always averted me from going inside that room which as a kid made me even more curious about the room. Its design itself has an element of curiosity and oddity which makes people stop and have a good 2 min look at it. The room in Figure 2 looks quite old and rustic but that does not hold it back from being the perfect hiding spot for me and hangout spot for Anil Dada. It is indeed the perfect fit for my house as it complements the look of it and multiplies the homeness of it. Bibliography Shutterfly Community. (2021, March 13). The Best Quotes About Home. Ideas & Inspiration. https://www.shutterfly.com/ideas/quotes-about-home/

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Figure 2: The Front Facade of the Room Note. The cloth bag containing all the keys and the secret niche below the roof can be clearly seen in the picture. Copyright @ 2021 by Suvidhi Jain.

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Figure 3: The Evening Affairs Note. The image shows the evening scene on the porch at my house. The kids often play or ride their scooty keeping the outdoors full of commotion. Copyright @ 2021 by Suvidhi Jain. Figure 4: The Key Hole Note. The image shows a zoomed in view of the secret niche below the roof. The niche is created by excavating the marble from an area and eventually drilling a nail inside it. Copyright @ 2021 by Suvidhi Jain.

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Figure 1: Sketching the Details of the Exterior Note. The sketch highlights placement and overall proportions of the elements. It also gives an idea about the structure and material of the walls and roof. Copyright @ 2021 by Suvidhi Jain.

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LIVING ROOM- SPACE THROUGH DOOR U20034 While one enters the space from the foyer, one can see small linking spaces which connect to all the other rooms. As shown in figure 1 (left), there are two sliding doors on either side, each with a supporting wooden frame on which carvings are made to make it look more appealing. The choice of glass doors was made to make the space look big and unfettered, which allows the natural light to enter the space unhindered and allows the person sitting inside the living room to see the corridor movement. These doors are made up of tempered glass which is generally thick in size, which prevents it from breaking easily. Most often when the doors are shut, it is least noticed by anyone and they rush into the door and hurt themselves, due to such transparency. The glass doors are supported by white plastered walls on both sides. The walls were coloured white to make the room look bigger by reflecting the light entering from the windows. The room is 10 feet high and 15 feet wide which is bigger than the other spaces on the residence, which allows space for more people to sit comfortably. Due to such wide space, most of the activities of the house are carried out here. During vacations, the living room becomes the place to accommodate friends and cousins and becomes a play area. Small gatherings are carried out in the living room due to breathable space where 15- 20 people can sit with ease and comfort. Due to such wide space, the front wall of the living room is covered with three windows. The long and wide rectangular windows are divided into two parts with a wooden column. As shown in figure 3 (left ), the metal “jali” is attached to the window which is covered with white paint to prevent it from rusting. The diamond shape jali was fixed with a window for safety. The choice of placing this kind of jali was to add as a decorative element to space. Due to three windows, the ample amount of light entering the room creates a fresh, cool and breezy atmosphere throughout the day. As shown in figure 3 (right), this is his favourite spot to sit in the morning as the fresh breezy air hits on the face and light falls directly on the newspaper, while he is reading the newspaper and having his tea and breakfast. Keeping in mind the hot and harsh summers of Ahmedabad, the white glossyfinish vitrified tiles were made to reflect the sunlight entering the northeast direction through the windows to make the room look bigger and work best to maintain certain coolness. The reason for picking white colour as flooring was due to its tendency to reflect light, resulting in less heating up of the floor. Though in winters the vitrified tiles get pretty cold and walking on them seems difficult due to their coldness. It is more difficult for my grandfather to walk on such flooring as it risks him from falling. Their walks on this flooring become very slow due to a lack of grip between their feet and floor. This type of flooring gives comfort to the 121

one sitting on it and maintains coolness and warmth. Lying on the floor and looking up high towards the ceiling one notices the white ceiling with a pink rectangular cutout in the centre where the lights are placed. The false ceiling in the living room is made up of POP. The barrel-shaped ceiling on either side of the walls coloured with pastel green becomes the major source of light at night or when guests come over. The lights placed inside the curve ceiling take the shape and spread light with a wider coverage giving a pleasant look. 122

Figure 1: View from the foyer Note. The figure on the left is the view of the space from the foyer giving a sense of an approach to space. And the figure on the right shows the sliding glass door with the wooden frame. By D. Shah. Copyright 2021, by D. Shah.

All the architectural elements such as the walls, the windows, the ceiling the partition and the flooring together play an important role in making and building the space, keeping in mind the minute details of everyday life activities and creating a common space for everyone which is accessible throughout the day, a space that brings the family together, hosts small get-togethers and is everyone’s relaxing spot after the long tiring day.

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Figure 2: The Living Space Note. The three windows facing towards the north direction lets the circulation of air in a smoother manner passing through the hallway to the sliding doors. By D. Shah. Copyright 2021 by, D. Shah. Figure 3: The Diamond Jali Note. The figure towards the left focus on the diamond shape jali which was fitted with the window for safety purpose when I was a kid and prevent from falling. The figure towards the right features my grandfather sitting on his favourite spot, reading the newspaper and having his morning tea and breakfast and enjoying. By D. Shah. Copyright 2021, by D. Shah. Figure 4: False ceiling Note. The pop ceiling filled up with various colours to add to the aesthetic of the room along with the four fans placed in a way to allow the cool breeze to pass by. By D. Shah. Copyright 2021, by D. Shah.

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Figure 1: When i enter the room Note: the room with furniture and architectural materials.

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THE AIRY ROOM WITH SUNLIGHT U20034 The above picture is the rectangular bedroom of my house which is located in the rural area of Madhi. The bedroom is 440cm wide and 480cm long. The entry door of the room is led straight by the main door of the house. The entrance of the room is made of a wooden frame and plywood. As soon as we enter the room, we can see the bathroom door on the left side wall, the balcony door on the opposite wall, the cupboards are placed on the entrance wall and there are two windows placed side by side the wall, one window is on the opposite wall, the second window is placed on the right sidewall. Because it is built in a rural area, there are lots of farms and trees around our house. The wall is made of brick, sand, concrete, and cement. The room has a rough texture on the wall because it has only rough plaster. The area is covered with one double bed, one chair, one glass table, one small wooden table, and two cupboards one is a wooden cupboard and the second is an iron cupboard. There is also a small wooden side table with two drawers near the cupboard. The glass table is made of iron and glass. There is an iron swing put there temporarily. Actually in summer, we are sitting outside in the night so we move this swing outside at night to sit there and the swing is not heavy so we can easily move it. There are two walls that have a storage space also on height of 200 cm. It is made out of concrete, sand, brick and cement. Everyone can not use it easily. We have to take help of a stool or chair to use this storage space. The room has two windows which are arranged as per good air circulation and comes sunlight in the room. The windows are made of wooden frames with transparent glass panes. The wooden frame is made out of teak wood because the teak wood is more durable. It has a black-colored iron grill to cover the window from inside. As I mentioned there are lots of farms and trees around our house, we can see the greenery when we see out of the window and when we open the window we can feel a good clean air because of the trees and farms. In the summer, we just opened the window and balcony door and we seriously don’t want an air conditioner because nature gives a really good, cool and clean air than AC. The windows are placed on some height so the child is not able to open the top stopper of the window easily. The room has one attached balcony, too. As I mentioned before The windows play an important role in air circulation but also the balcony door is on the opposite wall to the entrance, the room has good air circulation. In the summer, when we open the balcony door, there is cool air that comes into the room and makes the room cool without AC. The room has good sunlight and good air circulation. There are two cupboards next to each other in the room. First, we can see the green shade colored iron cupboard which is too old. Then next to it we can see 127

READING OBJECTS, WRITING CRAFT the dark brown colored wooden cupboard which is relatively new. The iron cupboard has two doors and on one door it has a mirror with some design on one side, the second door has the picture of a goddess. The wooden cupboard is made of plywood which has three doors, two drawers below one door which are exactly next to the first cupboard, and this door also has a mirror. The one which is made of iron looks some old fashioned and made of wood looks new-fashioned. The cupboards are in front of the bed with less space but we can easily open the cupboard and use it. When we just go straight four-five steps from the entrance we reach the double bed. The bed is put in the center of the room and under the fan. The double bed is made of teakwood. It has glossy dark brown polished. It is as designed as we can dismantle its all parts and easily take it away anywhere and fix it easily. When we move the mattress from the bed, we can see the plywood with two steel handles and when we pull the handle we can see the huge space under the bed. The bed takes more space in the room. The room has enough space with furniture to walk in around the room but it does not provide a free space for the student to work in a group and play. The room has not much space but it is comfortable to use for everyone. The room is mostly used by my brother to sleep and study. Sometimes I also use this room to study when I feel some disturbance in my room. The flooring of the room is done by white marble that’s why it needs more care about cleaning otherwise the dust can easily be seen and the room looks dirty and also the flooring has a smooth texture so when we move heavy and sharp furniture on the flooring, it leaves scratch marks on the floor so we need to be more careful. My mother cleaned the room two times very carefully. The room has a connected bathroom so all family members come to the rooms to use the bathroom.

Figure 2: The window of the bedroom Note: air circulation and the sunlight by the window. Figure 3: Cupboards of the room Note: two cupboards with different materials. Figure 4: Double bed Note: a double bed with inner storage space.

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Based on the experience with the essay during the previous semester, we will focus on reading more carefully, learning some techniques and gaining more confidence for all the writing we will have to do later. R8 will have a set of texts that all of us read and discuss together, and then texts that we choose, read, and discuss in groups of four. Stage 1: Reading Short Introductory Texts In groups of 4, read the two texts assigned to you, discuss them to make sure you agree on how you understand them, and prepare to present them to the rest of the class using the format in the next slide. (make any changes required, so long as the content remains the same) Present and discuss your mind maps in class, revise and submit them, in one ppt. Step 2: Reading Descriptive/ Detailed Texts In the same groups of 4, follow the same process you did for Stage 1, to read the ‘Orientation Guide’ section of The Villa Savoye. Discuss the text within the group to make sure you agree on how you understand it, and prepare to present it to the rest of the class using the format in the next slide. You will have 4 minutes for the presentation. Present and discuss your mind maps in class, revise and submit it. Step 3: Reading Texts for Style Now that we are familiar with the text (Villa Savoye), let us identify how it works, as a description, so we can use similar strategies for our own descriptions. Keep in mind the process you went through for your own R7, describing spaces you are familiar with. You will have 5 minutes in class to talk about your understanding of the text. Step 3: Describing a Building In the same groups in which you have been reading, choose one work of the architect you have been assigned. Make sure you are able to find sufficient reliable materials to read/ see/ watch about it. 135

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Provide an overview description of the building, following the approach you used in R7 and what you have learned from the description of Villa Savoye. You may have a thematic focus, if you are able to identify an interesting one, but that is not essential. Use images and captions to substantiate your points. Work in a word document for your first draft. Once you have received feedback on the content, work on putting it together as a presentation. Each group will have 5 minutes to describe the building they have chosen to the entire class. List of architects whose works may be selected for research 1. Yasmeen Lari 2. Minnette de Silva 3. Denise Scott Brown 4. Kenzo Tange 5. Zaha Hadid 6. Santiago Calatrava 7. Louis Kahn 8. Tadao Ando 9. Laurie Baker 10. Frank Lloyd Wright 11. Geoffrey Bawa

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VILLA SAVOYE U20126, U20246, U20027, U20068, U20192

GROUP 5 UNDERSTANDING THE TEXT

SATVIKA JAIN(U20126)

DIPASHA RATHOD(U20246)

ARJUN BATRA(U20027)

JENISH KATHIRIYA(U20068)

CHIRANGI SHUKLA (U20192)

ANALYSIS OF TEXT

STRUCTURE

SEQUENCE AND FLOW OF TEXT

IMAGE PLACEMENT

CONTENT

CONTENT ANALYSIS

LANGUAGE

VOCABULARY USED

INTENDED USER

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FLOW OF TEXT/ CONTENT ANALYSIS

QUOTES

POINTS OF ACCESS

LINKING LE CORBUSIER'S IDEOLOGIES

USER EXPERIENCE

WELL ARTICULATED TEXT

FLOW OF TEXT/ CONTENT ANALYSIS QUOTES

POINTS OF ACCESS

PROVIDES INSIGHT INTO THE INSPIRATION BEHIND WHICH LE CORBUSIER DESIGNED A PARTICULAR SPACE

LINKING LE CORBUSIER'S IDEOLOGIES

“AT THIS POINT, VISITORS TURN AROUND AND AROUND INSIDE, WONDERING WHAT IS HAPPENING, NOT REALLY UNDERSTANDING WHAT THEY CAN SEE AND FEEL. THEY CANNOT RELATE ANYTHING HERE TO WHAT IS COMMONLY REGARDED AS A ‘HOUSE’. THEY FEEL THAT THEY’RE EXPERIENCING SOMETHING ENTIRELY NEW. AND... THEY ARE NOT BORED, I BELIEVE!”

A SENSE OF EMOTION BEHIND WHY THAT PARTICULAR SPACE IS THE WAY IT IS

WELL ARTICULATED TEXT

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USER EXPERIENCE

SAMPLES OF STUDENT WORK

FLOW OF TEXT/ CONTENT ANALYSIS QUOTES

POINTS OF ACCESS

LINKING LE CORBUSIER'S IDEOLOGIES

USER EXPERIENCE

HOW ONE ACCESSES THAT PARTICULAR ELEMENT.

PROVIDES A SENSE OF CONNECTIVITY BETWEEN THE SPACES DESCRIBED

WELL ARTICULATED TEXT

FLOW OF TEXT/ CONTENT ANALYSIS QUOTES

POINTS OF ACCESS

LINKING LE CORBUSIER'S IDEOLOGIES

USER EXPERIENCE

STATES THE RULES OF ORGANISATION AND PRINCIPLES FOLLOWED BY LE CORBUSIER

HELPS TO LINK THE LARGER CONTEXT TO HOW HE DESIGNED THE SPACE FACADE PILOTIS RAMP

WELL ARTICULATED TEXT

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FLOW OF TEXT/ CONTENT ANALYSIS QUOTES

POINTS OF ACCESS

LINKING LE CORBUSIER'S IDEOLOGIES

USER EXPERIENCE

THE EFFECT OF LIGHT AND SHADOW, THE CONCEPT OF POLYCHROMY, CONTRASTING FEATURES APPEALING TO THE VISUAL SENSES

WELL ARTICULATED TEXT

POINTS OF DISCONNECT

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POINTS OF DISCONNECT LIVING ROOM

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IMAGE PLACEMENT PROMENADE ARCHITECTURAL COVERS MOST IMAGES PROVIDED IN THE TEXT FLOW OF IMAGES FOLLOW A PARTICULAR SEQUENCE FROM THE EXTERIOR OF THE VILLA TO HOW ONE ENTERS THE SPACE TO A TOUR OF THE ENTIRE VILLA WHILE IT GIVES A FEEL OF THE SPACE BEFORE ONE DIVES INTO THE TEXT, PLACING THEM NEXT TO THE SPACES IT DEPICTS WOULD HAVE MADE IT EASIER FOR THE READER TO REFER TO IT

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IN A FEW SUBSECTIONS, NO IMAGES ARE PROVIDED ALTHOUGH THE IMAGES ARE SEPARATELY PROVIDED ON DIFFERENT PAGES FROM THE TEXT TO GIVE IMPORTANCE, MOST OF THEM CUT A SENTENCE MID- WAY AND ARE NOT PLACED PERFECTLY.

HERE IS AN IMAGE THAT SHOWS THE LINEN ROOM UNDER THE SUBHEADING OF RAMP AND HAS NO INTERCONNECTION

UNDER THE APARTMENT SUB-SECTION, THIS IMAGE OF THE RAMP IS PROVIDED

THE LIVING ROOM SUBSECTION HAS THE IMAGES OF THE KITCHEN WITH ITS PLAN

THEREFORE SEEN FROM A FEW EXAMPLES, THE IMAGES ARE MOVED AHEAD BY A SUBSECTION

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VOCABULARY AND TERMINOLOGY BASED ON INTENDED USER

THE VOCABULARY USED IS EASY TO UNDERSTAND

THE ARCHITECTURAL TERMINOLOGIES ACT AS JARGON FOR A PERSON WITH NO ARCHITECTURAL KNOWLEDGE

INTENDED USER

INTENDED USER- FOR AN AUDIENCE HAVING MODERATE KNOWLEDGE OF DESIGN ELEMENTS AND ARCHITECTURAL TERMS

*MEANWHILE JENISH* *MEANWHILE JENISH*

*MEANWHILE JENISH*

IT IS THE PLAN WHICH DISCLOSES THE FIRST AMBIVALENCE. ALTHOUGH RECTANGULAR, IT RESEMBLES A SQUARE – AN OPTICAL ILLUSION ENGENDERED BY THE OVERHANG OF THE FIRST FLOOR. THIS DISCREPANCY IS REINFORCED BY THE ENTRANCE AXIS, WHICH CONTINUES ITS PATH VIA THE RAMP INSIDE THE BUILDING, EFFECTIVELY RENDERING THE PLAN A “FLOWING” SQUARE.

AN ILLUSION IS CREATED BY THE OVERHANG OF THE FIRST FLOOR, RENDERING THE PLAN TO SEEM AS A SQUARE RATHER THAN A RECTANGLE. THE CONTINUOUS PATH PROVIDED BY THE RAMP ADDS TO THIS ILLUSION AND JUSTIFIES THE ‘FLOWING NATURE’ OF THE PLAN.

THANK YOU

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THE ENA DE SILVA HOUSE U20095, U20187, U20214, U20175m U20247

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FLOW AND LANGUAGE: VILLA SAVOYE U0008, U20127, U20109, U20081, U20169

Flow and Language: The Villa Savoye U20008 U20127 U20109 U20081 U20158

The Living Room Begins with a quote - S. Giedion’s view of sliding glass panel

By using this quote to show Giedion’s enthusiasm about a particular piece of furniture, the text highlights the importance given by Le Corbusier to this room - main room

Brief description

● ● ● ●

Form and dimensions Placement How it can be accessed How it is further divided into zones

FLOW: ● Makes it clear as to why the Living room is the main room of the house. ● Links to other parts of the house like the hanging garden, pantry, landing, ramp etc. ● Uses the visitor’s point of view to show user experience

View of visitors

Talked about the visit of S.Giedion of how he felt.

LANGUAGE: ● Simple language, easy to read and understand ● Uses quotes of visitors ● Refers to photographs, which are placed better than in other sections of the text

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The Hanging Garden Begins with a quote - Le Corbusier’s view

● ●

Introduces the hanging garden. Explains why it was made as opposed to a regular garden.

Brief description

Functions

Allusions

By showing us that it serves three purposes, the text helps readers to understand the amount of thought gone behind designing such a unique feature.

The three allusions: ● Adolphe Appia (Swiss architect) ● Personal- Parent’s house in Corseaux ● Biblical- Garden of Eden These emphasize the last point.

FLOW: ● Makes it clear as to why the Hanging Garden is the most prestigious feature of The Villa Savoye ● No overwhelming physical description- only at the start and while justifying the allusion to Adolphe Appia ● Links it to the Solarium and other rooms as well.

LANGUAGE: ● Few technical terms- caters to all kinds of readers ● Makes use of quotes- start and while explaining the functions ● By ending with the allusion to Eden (a mediation between the town)- paves way for the description of the Solarium (culmination point in promenade)

The Service Core Begins by explaining why the servants’ quarter was an important focal point for Le Corbusier Describes 2 aims for placing the Service Core on the ground floor

Tells us how servant’s quarters were made in Villa savoye

●

FLOW: ● Begins with the owners request for a service core ● Tells us about all the features of the service core and how they are linked to the house ● Explains the logic behind positioning and placement of features

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Shows us how the distribution of space is well thought out gives appropriate logic for it. Gives insight into user experience

Functions

1. 2. 3.

The servant’s room open to the exterior side It is situated on ground The most important function number of features available in their living spaces.

LANGUAGE: ● There is usage of technical terms as well as usage of Le corbusier's quotes. ● Very little physical description of the space, but this allows the focus to remain on functions ● Ends a bit abruptly without giving proper connection with next part of text

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The Facade Begins with a phrase referring house as “Box in the air”

Talks about the house as a whole, describing the plan and then narrowing down to the facades

Brief description

Dividing facades into sub components

Emphasis on the part of facades differing from one another although being part of the same house.

Basis of discussion: Dual aspect of frontality and laterality,which also serves to enrich the notion of symmetry/asymmetry.

Each sub component is named individually

- South west facade - North west facade - North east facade - South east facade

Describes differences in detail

Sub-components South east facade: Least well known facade

North east facade: Tempts visitors to walk alongside and explore

● ● ● ●

North west facade: Main facade

South west facade: Most favourably oriented

Begins with mentioning the main feature. Refers to the thought process behind the facade being in such a way. Meaning added to the building due to its physical appearance. Le corbusier’s purpose behind its construction.

FLOW: ● Makes it clear to understand facade being in such a way ● Also mentions the way it is linked to other spaces inside the boundary. ● By following a similar flow for all the sub-sections, the text links them together and shows their connection

LANGUAGE: ● Few technical terms are used (some of them are further explained in brief). ● The text doesn’t feel disconnected, references are made. ● Despite each facade having its own qualities, the amount of description is approx. the same shows the connection in order to form a whole

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THE VILLA SAVOYE U20124, U201207, U20262, U20030

VILLA SAVOYE

THE VILLA SAVOYE by JACQUES SBRIGLIO

Burçin YILDIRIM. (2013, June 29). [Front facade of Villa Savoye]. Flickr. https://live.staticflickr.com/7287/9547232081_91d7b40283_b.jpg

South East facade: 1. Least known and least referred facadce. 2. Two dark green recessed sections flank above the corpus.

North west Facade: 1.Villas main facade the entrance. 2.Axis of symmetry.

Group 2: Sanskriti Raju U20124 Nuzha Shafi U201207 Suhani Bakkannawar U20262 Batul Sethwala U20030

North East Facade: Use of glass membrane for the hall recessed the space with natural light.

South west Facade: Opacity of the facade contrasts sharply with ethernal floating volume above.

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Ground Level

MAID’S ROOM SPIRAL STAIRCASE

PILOTIS: 1.Forms a portico on three sides 2.Unharness views 3.Give an appearance of floating

LAUNDRY ROOM

1.Opens to exterior via hall

VESTIBULE: 1.Highlights architectural elements a. Staircase b.Ramp c.Walls d.Columns 2.Produces a play of volumes and scales

1.Open directly outside

RAMP: 1.Influence of Arabic Architecture 2.Forms the spine of the house

CHAUFFEUR’S APARTMENT 1.Opens directly to exterior

GARAGE

Kitchen ● Sterilized atmosphere ● Layout= action performed. ● Function forward ● Largely lit ● Madam Savoye’s Involvement.

Kitchen Terrace

Spiral Staircase

Guest Bedroom ● Modest proportions. ● Built in cupboard includes wash area, shelves.

Bathroom ● Three hinged door. ● Sculptural appeal of bathtub

Master Bathrrm ● Turquoise blue ceramic tiles ● Concrete reclining bed- invokes turkish bath ● Centrally positioned, separates bed and bath ● Skylight guides light to the free standing wash basin

LEVEL 1

Son’s Bedroom ● Narrow corridor ● Lit from skylight

Master Bedroom ● L- shaped- Bed, bath, dressing, boudoir. ● Light stream through SE.

Ramp Living Room ● 4 Sub zones- Dining, fireside, reading corner, games area. ● Contrasting play of lighting ● Steel light fixture ● Bourgeois furnishing Terrace

The Boudoir ● Place of rest ● transitional space for people entering from the garden. ● End of promenade architectural

Hanging Graden ● 3.50 meter above ground ● The most prestigious space of the villa-lends meaning to project ● Place of repose and veritable “open-air living room” ● Offsets -ve effects effects of the site orientation(opposing sun course)

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Gardener’s Lodge ● A simplified analogy of the main dwelling(characteristic style of Corbusier) ● Tense pull b/w smooth coating that covers facade + rugged texture of its millstone undercroft ● Rectangular Plan divided into two levels

Spiral Staircase Solarium: ● Culmination point in the promenade ● Place for exercise and leisure ● Acts a machine generating spectacular views

Ramp

THANK YOU

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Compiling Writing 165

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mosaic

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AYUSHI PATWARI U20029 CFP 2020

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contents About

Studio Reflection

11 13 19 21

Informal email The Speedy Revelation The Process of De-Digitisation

Describing Objects

The Effortless Duo

23 25 29 33 37

Essay Writing

The Play of Opposites Object d’art The Glowing Flower

Discovering Design Ideologies of Le Corbusier and Eileen Gray

Imagining Spaces The Blooming Lotus of the Forbidden Land

Perspectives How Does a Poet Make Art (That is Appreciated)

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about This booklet is a compilation of all the writings done during the two semesters in Reading Objects, Writing Craft (ROWC). ROWC is a writing course, through which we can research and get to know about different design periods, designers, terminologies, etc outside from the studios. The writings include object and spaces descriptions, notes towards an essay. comparative essay, imagining spaces and studio reflections. Through these writings, vital information and vocabulary about design is inculcated, which is a trait each design professional must possess.

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describing spaces 171

READING OBJECTS, WRITING CRAFT Figure 41 The Sweeping Expanse

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The Sanctum Sanctorum of my House The rectangular lobby, situated at the far back of the house, spans its entire breadth. All the rooms open into it from the left, and are the only way the lobby can be accessed. The lobby is the single means through which all the rooms are connected, (refer to figure 2) so it becomes a central space with much activity throughout the day, even if it is only to pass from one room to the other. Since it is not as narrow as general lobbies, it is not a mere passageway, but is doubled as a living room. Being the most spacious area of the house, it is naturally bustling with activity throughout the day. Several features of the lobby make it a pleasant space, for instance the unique windows proving light throughout the day. The rectangular clerestory windows at the top, running through the length of the lobby, allow for ample amounts of sunlight to enter, such that lights need to be switched on only in the evenings and early mornings. These windows are placed at a height, therefore they deliver diffused sunlight far deeper into the space than regular windows. Since that wall is adjacent to another plot of land, it was not possible to place regular windows for privacy concerns, so clerestory windows were the perfect solution. The absence of large buildings in the area allows for natural light to enter throughout the day. Since there are large trees planted on the other side, one can continually hear the rustling of leaves and chirping of birds, which provides refreshment. The trees and the absence of direct harsh sunlight prevent the space from getting too hot in summer afternoons.

Figure 42 Utilising Natural Resources

Note. The lobby is sufficiently lit by natural light coming in through the south-facing clerestory windows. South-facing windows receive the maximum sunlight in the northern hemisphere. By A. Patwari. Copyright 2021, by A. Patwari.

SAMPLES OF STUDENT WORK The clerestory windows are covered by a mesh and not glass, allowing

fresh air to blow in, bringing with it the smell of wet earth during monsoon, making one feel connected to nature. Since the house is located near the river Ganga in Rishikesh, cool winds blow into the lobby through these openings during summer evenings attracting all members of the house to relax or work here. My mother would do household chores on the dining table, while me and my sister would relax or do our work on the couch or the dining table, with the smell of delicious cuisines would dafting in from the kitchen. On the flip side, it brings in a lot of dust and makes it very cold in winters, and it is then covered with transparent plastic to stop the wind from blowing in, while the light can still enter. The use of light colours for the wall makes the space seem more spacious. The wall on the right has been cladded with tiles as a waterproofing technique since it is an exterior wall adjoining a grassy plot, which brings in a lot of moisture. The flooring has been done with dark speckled granite tiles, a choice that I disagree with since the dark colour of the stone makes the space seem small and the floor remains too cold in winters. As seen in the plan, the placement of the dining table is near the kitchen so it is easier to serve food. The crockery cupboard is conveniently placed right beside the dining table, outside the kitchen. The sinks right behind the dining table allow people to wash up and leave their plates easily after a meal. The sink/kitchenette is separated from the main lobby by a fixed partition wall with a ‘jaali’ pattern. The design on the partition wall accentuated the look of the entire space.

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Two couches are placed beside the dining table, both of them backed

up against the wall. The narrow lobby does not allow the couches to be placed conventionally, that is, in an L-shape or facing each other. A coffee table, usually paired with such couches, has also been eliminated to facilitate a decluttered spacious area. All these features combine to make a comfortable and well-ventilated space, regularly used by each member of the household. This unique lobby is an essential part of the house as it not only connects all the rooms but also plays a vital role in providing the house with a large space that is inviting.

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v i n aya n r av i k u m a r U20157

C F p

s p r i n g

2 0 2 1

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contents Acknowledegements

Lift Off!

R6.1 Portfolio Text Exploding Gun Good Design is Invisible Hues and Moods Ordered Chaos Capturing light Bob and the Built

11 13 15 17 19 21 23

R6.2 Process and Outcome Gandhinagar or “Gandhi”nagar? New Lens on a Familiar Space

25 27

R7 Describing Spaces Channeling Chaos

43 45

R8 Notes Towards an Essay Wall and Brick Design Principles Employed in The Villa Savoye Decoding Structure Midula da Sinhala

57 59

List of Figures

Bibliography

61 63 65

R6.2 Process and outcome Building upon the previous section, here I go in depth in explaining the process of developing a map, in a detailed and intuitive manner. The intent, extensive research, influence of various factors leading to the style of representation of visuals, accumulation of experiences and extrapolating its implications, the crystallisation of all these aspects into the final layout and the way the different elements relate to each other, have been broken down in a step by step narrative. This allows the intrigued onlooker to truly appreciate and understand the conscious thought that has gone in the making of the map, in a simple and accessible fashion.

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Figure 7 Carbon Sink

Note. The close integration of the green spaces within the living spaces is a blessing, as purified oxygen rich air is available at one’s doorstep. From (Unpublished portfolio from CEPT Foundation Program Studio) by V. Ravikumar, 2021, CEPT University. Copyright 2021 by V. Ravikumar.

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Gandhinagar or “Gandhi”nagar? New Lens on a Familiar Space In the humdrum of daily life, one ceases to notice their surroundings and the elements that make it, as habituation takes over, preventing one from exploring their neighbourhood with the same enthusiasm as a first time inhabitant. So when the task of mapping the area based on a relevant theme came in, it provided me the opportunity to snap out of monotony and truly observe/experience the environment of my neighbourhood, which proved to be a revelation on so many aspects, both good and bad. By documenting these experiences faithfully, the final outcome utilizes conscious design choices right from the colour, text and images to the overall layout and flow of the content, to put the viewer in the shoes of a pedestrian standing amongst the green trees, wide lanes and occasional filth.

Figure 8 Makeshift Workshop

Note. Bricks, cement and gravel are strewn by a busy intersection in a slipshod manner, blocking pedestrian movement, and exposing people to hazardous particulate matter. From (Unpublished portfolio from CEPT Foundation Program Studio) by V. Ravikumar, 2021, CEPT University. Copyright 2021 by V. Ravikumar.

Gandhinagar, is a quiet locale in a prime region of Chennai, Adyar. Its characteristic wide roads, dense vegetation, and well connected facilities, make it an ideal place for residential settlements. While selecting the 2,50,000 sq. metre area to document, I naturally gravitated towards the radial network of roads called the Crescent roads, as seen in Figure 7. The close knit nature of this part of the neighbourhood, the lush greenery, the presence of restaurants, institutes and how they affect the flow of traffic, were compelling reasons to base the map on it. While scouting the area to ascertain its salient features, I observed how delightful it was to walk through the area. The overarching canopy of trees providing much relief from the midday sun, the spacious roads accommodating traffic, parking and pedestrians easily, the peaceful environs with its intertwining pathways and diversity of flora and fauna. The walk also shed light on some glaring issues that persist, due to the “adjusting” indian

Figure 9 Planning Makes Perfect

Note. The radial network of roads maximises space usage (influenced by the river bank boundaries), while encouraging exploration and community interaction. From (Unpublished portfolio from CEPT Foundation Program Studio) by V. Ravikumar, 2021, CEPT University. Copyright 2021 by V. Ravikumar.

mentality. The dilapidated condition of the footpath in many places, garbage choking certain parts, encroachments by various pushcarts, construction activities, as seen in Figure 8, and the roads being riddled with potholes and manholes are ignored by the majority of the residents, who accept these to be “normal” predicaments. If these problems are left as such, they will keep accumulating, worsening the situation and emboldening miscreants to continue their actions. Thus, I decided to base my map on the walking experience through the streets of Gandhinagar, to enlighten the uninformed neighbour, representing both sides of the narrative in an engaging and informative manner. The process began with the base map, as seen in Figure 9, which ensured that all the basic details of the area were in place, before developing the narrative on top of it, a relatively simple task. This involved tracing on top of a satellite image of the place (obtained from Google maps) digitally in AutoCAD, showcasing the different types

Figure 10 Miniature World

Note. This initial render tries to capture the general characteristics of the area as true to life as possible, for an authentic feel, such as the red sandstone roofs, white concrete structures and dense foliage. From (Unpublished portfolio from CEPT Foundation Program Studio) by V. Ravikumar, 2021, CEPT University. Copyright 2021 by V. Ravikumar.

of buildings, the road network, tree cover, placement of garbage bins and streetlights, along with the overall geography. Colour coding the different aspects made it easier to identify along with making the map more visually appealing. Images of the area were attached by the side, to help the reader visualise the actual scene more vividly. The base map allowed me to assimilate the various features of my neighbourhood with clarity, giving me a good sense of the direction I needed to pursue, keeping in mind the theme. Now that the foundation was laid, the process of creating the final map from the base map began. Since the theme is based on experiences rather than statistical data, there was no need for infographics that conveyed numbers in ways that would make it easier for the layman to grasp. Instead, the map would require images to highlight the various attributes, by geographically linking them with the map. This meant the map needed to be three dimensional, as seen in Figure 10, in order for the reader to visualise

READING OBJECTS, WRITING CRAFT Figure 11

Final Map

Note. By following fundamental design principles such as hierarchy, contrast, and alignment, the map conveys the required observations in a clean and concise manner. Bite size chunks of facts have been spread out appropriately for the ease of understanding. From (Unpublished portfolio from CEPT Foundation Program Studio) by V. Ravikumar, 2021, CEPT University. Copyright 2021 by V. Ravikumar.

the spatial layout and connections of the area clearly. A major part of the surveying and data collection involved capturing appropriate photos that would highlight these aspects and curating them, as there would be only so much space in an A3 sheet, already packed with text and visuals. I also realised that integrating textures and colors would be crucial in elevating the sensory experience, enabling the user to distinguish between the various elements, and get a sense of the atmosphere of the place. All these decisions led to the final outcome of a seamless visual, integrating information, photographs, and illustrations in a cohesive and comprehensible manner. The final map, as seen in Figure 11, condenses the various aspects of the walking experience, into an insightful and picturesque format. The angle of viewing and the three dimensionality due to the isometric nature of the map, allows for the user to get an aerial view of the neighbourhood, while simultaneously getting a feel for how it would be to travel

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Figure 12 Visual Forethought

Note. The reader does not even have to look at the key, to understand what represents the trees, ground, river etc, hence reducing the cognitive load on him/her and allowing for more information to be conveyed within the same page. From (Unpublished portfolio from CEPT Foundation Program Studio) by V. Ravikumar, 2021, CEPT University. Copyright 2021 by V. Ravikumar.

through the various interconnected roads. The use of real life textures for the tree cover, river water, grass, roads and soil profile makes it look like the area was extracted and plonked on the A3 sheet (in part due to the shadow), translating into a more intimate experience. The colours used also mimic this real life feeling, except for the buildings, which brings us to the colour usage in the key. The colours used in the key, as seen in Figure 12, are based on colour psychology, so that the reader can instinctively identify the different building types. For example, red is known to induce appetite, and has hence been used in colouring the restaurants; light blue being a calming and relaxing colour has been used to denote the recreational centres. This extends to the image-text relationship where green and red have been used to depict the pros and cons respectively, as seen in Figure 13. The green lines lead to the images where one can observe the plus points of the area, while the red lines lead to the images

Figure 13 Colour Correlation

Note. The reader’s eyes naturally move back and forth, forming connections between the image and the corresponding text, as green is usually associated with positivity and red with danger. From (Unpublished portfolio from CEPT Foundation Program Studio) by V. Ravikumar, 2021, CEPT University. Copyright 2021 by V. Ravikumar.

representing the exact opposite. The images have been framed in circles, as seen in Figure 13 & 14, to give the effect of viewing the environment through a lens and have been integrated in the layout closely with the textual content, in order for the reader to easily visualise and understand the attributes. The attributes have been divided into the advantages and disadvantages for ease of comparison, and have been listed as bullet points, as seen in Figure 13, to convey the required information in a succinct manner. In addition to the main text, a secondary text at the bottom left, as seen in Figure 14, briefly elucidates on the flora and fauna of the region, elaborating on the diversity of species and where they can be spotted (through the location linked images). Thus, as the reader's eyes move through the layout, as seen in Figure 11, from the bullet points, to the vibrant images and the details of the descriptive map, the direction and flow of focus emulates the very

Figure 14 Urban Amazon

Note. While preparing a list of the various species of plants and animals that called Gandhinagar their home, the sheer multitude of organisms that I had been ignorant of, was eye opening. From (Unpublished portfolio from CEPT Foundation Program Studio) by V. Ravikumar, 2021, CEPT University. Copyright 2021 by V. Ravikumar.

experience of walking through the area. The layering of the experiential details on top of the base map data, is what makes this map informative yet engaging. The portrait orientation proved to be better at organising the elements without making the layout feel cramped. At the end of this delightful map making journey, I gained a whole new perspective of my area that until now I had remained ignorant of. The process opened my eyes to observe rather than just see. Learning how to present facts and graphics in a unique, educative yet relatable way was also a key learning. And most importantly, I realised that good design is key to creating experiences that resonate.

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MUSINGS ON ‘MEDIUM AS MUSE’ U20153 Isn’t it interesting, medium as muse. I never really thought about it, it’s always something else that inspires us and then we simply choose a medium that will best represent it. The medium itself hasn’t ever been the source of inspiration. But that’s not the case for G. Ravinder Reddy, he let himself be guided by the medium, by the feel of terracotta on his hands and the sensation that it produces. Kind of reminds me of Louis I Kahn, after he designed IIM Ahmedabad he was asked why he chose to build so many arches and circular openings in bricks? He replied, when I asked the bricks what they wanted to be, they said arches. It might have been a sarcastic reply here, but deep down it shares the same emotion. The emotion of representing the material through something and not vice versa. It’s really fascinating. Like even with women objectification, that he was accused of, doesn’t exactly make sense. At the first glance it did look like that though, agreed, the sensuality is very evident but then when you try to understand it, it reveals itself to be truly platonic. I mean, he simply used the female form and face to explore his medium, simply the shape that he chose for terracotta or ceramic or gold was the female form. The nostril being red, the face painted from bright blue to red, the way he played with colours, primary colours with copper and golden, the difference in the finish in terracotta and ceramic, the intricate detailing of the hair and its ornamentation, the tiny hair clip, the garlands of small flowers and nets over a bun, even the shine of the hair...they’re all representing his precision with his craft, the time and hard work for the material, a clear representation of his patience and love. I think what I really learnt was to be more aware of the medium..I don’t quite know how to put it down, but even right now while I’m typing this, I feel more conscious towards my keyboard, the keys and how they press down, I’m letting my fingers linger over it….it seems so much more real...it makes me feel so much more involved. I just used the word ‘feel’, I guess that really explains it right, ‘to feel’? It’s beautiful. One might comprehend me to be a little crazy but in this moment, I feel quite lost in this sensation. It was really a lovely lecture, to have made me feel so.

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CAPTURING ART BY RAVINDER REDDY

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MEDIUM AS MUSE: RAVINDRA REDDY | TALK BY ANUPA MEHTA U20210 Perspectives introduced by CEPT Foundation Programme gave us an opportunity to widen our thinking beyond what we see and learn. The perspective lecture conducted by Anupa Mehta on a vivid description of the famous sculptor of Ravindra Reddy. She gave us an introduction of her and Ravindra reddy. Firstly she starts by talking about the details and the scale of what ravindra reddy makes and his thoughts about Medium as Muse. Ravindraa Reddy is one of the most famous indian contemporary artists having his studio in Visakhapatnam. He has been a point of attraction in many of the international art auctions. He has also been participating in many exhibitions around the world. Currently he works and lives in hyderabad. Muse means a person or personified force who is the source of inspiration for a creative artist. But Ravindra Reddy is muse in a different perspective. Mr. Reddy dont focuses on the gender/sex of the person while making the model but deep down hides the reasons behind it. He focuses on very minute details such as oily hair for a bun and the different types of venni one wears with a hair bun. He also focuses on the details of earrings and bobby pins. This reflects that the minute parts of a model makes it interesting. He not only takes inspiration from the females but also focuses on the male art. Not such that he differentiates on gender but the expressions. He focuses on the body style or the human form. Many of his sculptures focus on human postures. He takes his inspiration from the local indian vernacularity and style that women wear. He observes the details like a bull’s eye. He simply differentiates between the castes through expressions and colors. This is what the real meaning of Medium as muse is. Ravindra Reddy uses materials like Polyester Resin Fiberglass and also uses stone in some of his sculptures. He also covers the sculpture with different colored leaves such as golden and copper. The reason behind using fibre glass rather than stone is its nature of giving flexibility. It opens more options of creativity. Also the usage of different color pallets along with the glass showcases different concepts and thinking processes. For example one of his sculptures called Lovely is completely coloured with red with a simple white veni in her head can also showcase the

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READING OBJECTS, WRITING CRAFT feminine power or kali mata or can be amalgamation of different concepts. He uses color in a manner that not directly points to something particular but the amalgamation of expressions. Also along with the usage of material and colors he uses scale as one of his factors to showcase his work. One of the things which one can inspire from Ravidra Reddy is his observing patterns and the usage of different colors and material in his models.

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INSPIRATION, INTENTION AND INTERPRETATION: G. RAVINDER REDDY’S SCULPTURES

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Anupa Mehta gave us the unique perspective of G. Ravinder Reddy’s artwork as a curator, as opposed to how usually we have artists talking about their work, and in this description of the exhibition ‘Rasa’ curated by them, I could witness the minutiae and the subtle growth of the artist throughout. Reddy’s sculptures capture the tiny details of facial features, hair and form very cleverly, and in a way that is culturally and regionally specific and significant. The hair strands are depicted as though they have been combed and oiled, and the ornamentation of hair is done with flowers in a typical Indian fashion. Although influenced by classical Indian sculptures and African, Asian, and Mayan artwork, Reddy manages to be in touch with contemporary times and also have vernacular references. This is even more striking to me at this point because in Tackling a Design Problem, the exercise we are doing right now in studio, we have to come up with a design for a shelter or a space for a potter staying in the Gir forest. At first, the ideas that were coming to my mind while doing so were very blocky, rectangular structures, but after watching this lecture again, I too want to incorporate different vernacular forms of architecture in my design while also being inspired by other elements. Another major component of Reddy’s work, from what I could perceive, was the emphasis on facial features, as in, the eyes are larger than life, the nose and mouth are jutting out, and the lips are tinted using a very bright colour. The intention of his work is monumentality, shown by the scale of his sculptures, some which are 5 ft tall, and also how the stylization of the eyes and nose resemble sculptures of temples. There is also a subtle commentary of class and caste done using just the embellishment of hair. The symmetry and stoic expression of the faces of these female sculptures can perhaps signify how women are perceived by others, like objects with no agency of their own. Whether Reddy is complacent in this or is drawing attention to it, is something that puzzles me. Looking at sculptures using terracotta and polyester resin fiberglass as a medium, it is clearly seen how the latter is more malleable and how well paint takes to it. One thing that I noted was how with the change of medium, even the form

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READING OBJECTS, WRITING CRAFT captured in the sculpture changed. The hair, the lips and even the eyes are not as exaggerated in the terracotta bust as they are in the polyester resin fiberglass sculptures. Even the colours used in the terracotta bust are more subtle and closer to life than the bright colours of the polyester resin fiberglass sculptures. This showed me how important a role medium plays when depicting a certain form of art, because despite having a certain specific style and interpreting the same thing - a human face - as a sculpture, Reddy’s work is quite different when compared to each other.

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PERSPECTIVES REFLECTIONS U20161

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READING OBJECTS, WRITING CRAFT

PERSPECTIVE U20132

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CEPT FOUNDATION PROGRAMME

CFP_ROWC Exhibition Booklet Spring 2021

Articles inside

Flow and Language: Villa Savoye

The Airy Room with Sunlight

Inspiration, Intention and Interpretation: G. Ravinder Reddy’s Sculptures

Medium as Muse: Ravindra Reddy: A Talk by Anupa Mehta

Musings on ‘Medium as Muse’

Living room- Space through door

A Tale of Two Streets

Anil Dada’s Lounge

Through the Eyes of a Foodie

Walk Through A Building

More To Explore

Traffic and Parking Affected by Neighbourhood Amenities

Roof Terrace: Influence of Climate on Daily Use

The Sleeping Chamber