PORTFOLIO CHHAVI MEHTA
CHHAVI MEHTA UNIVERSITY OF BATH DEPARTMENT OF ARCHITECTURE AND CIVIL ENGINEERING FINAL(4th) YEAR CONTACT: cm667@bath.ac.uk / chhavimehta@rocketmail.com 07459878878
roshini:School for the visually impaired
fourth year
In a technological world people are inclined to favor sight as a driving design concept and architecture is increasingly becoming a visual art. My project is an attempt to bring the dormant senses of touch and sound into the foreground of spatial perception and give architecture its experintial richness back . Visually impaired persons are usually more observant of the environment because they have to take in more cues to process the information as compared to a visually abled person. Thus allowing for deeper interrogation into spatial perception through design. Primary idea concept consists of using the river as a reference and as an audible guide for orientation and navigation. The students use the continuous curved wall to navigate their way through the building.
The roof is designed such that the light at the top of the room is sharp and as it goes down the structure it softens as it scatters along each curve. For younger children the lighting is quite soft, it helps them keep calm and the source of light is almost hidden which helps them concentrate.This is done by letting the light scatter along more curves. But as they grow older they learn to adapt to sharper quality of light and to normal building conditions. They slowly gain more self discipline and hence the sources of light slowly reveal themselves to the students.Thus the roof form simplifies and the light scatters just once before reaching the bottom of the classroom.
Classrooms from central cour tyard
1:200 model
Render of meditation pods
Tectonic section
Kitescape Pelagos fourth Year Brief - to design a sailing centre and a water on the structure with an additional programme in wyemouth The act of kite flying offers modern man a worthwhile, relaxing and mentally satisfying endeavour. The strange attraction of the kite can be attributed, in part at least, to its paradoxical quality of providing exercise and relaxation to both body and mind. As a spectator, the task is equally as gratifying. A trip to the beach can turn into an entertaining day at a seaside kite competition-fun for all the family and the opportunity to fall in love with the seaside once again.
The Kitescape celebrates the kites transition from its role in the World Wars; engages the public with the spectacle of competition kite flying in the present, as well as educating them about the future potential of kite generated energy in Portland, using the KiteGen system.
1:200 sectional model
1:200 Plan
1:200 sectional model
SKETCHES OF KITESCAPE AND CAFE
DEVELOPMENT PARTII
1:1000 SITE MODEL
RENDER OF ENTRANCE
Atelier siza
third Year
Brief - To design a Contemporary Architecture Museum and Archive in Porto, principally for the work of Alvaro Siza. The site has access to views of two important bridges of the city and the site seems to naturally frame views with the trees on site. Unlike other buildings where you may stand or sit, in a museum you are constantly moving. The circulaton is a very important part of a museum and I wanted my building to have a route to follow. Through ramps people walk through the exhibtions in order: Tavora, Siza , Moura. There is clear circulation in the floor plans with pausing spaces in the centre of double height spaces and viewing bays,increasing their impact. Interlocking double height scapes brings a new dynamism to the museum.
TECTONIC SECTION OF GALLERY
STACKED PLANS
1:500 MODEL
SHORT SECTION
classrooms in the park
third Year
Brief - To design a temporary and portable pavillion in Kensington Gardens, London. The pavilion houses a creative workshop and a classroom. The Centre for Possible Studies is a convergence point in which artists,neighbourhood residents and workers and scholars might collaborate on studies born of a kind of thinking in and with the complex conditions and transactions of the road. Members of the community will be able participate in day-long workshops and design and make their own tile. This tile will then be attached to and become an integral part of the building, travling with it from site to site. The triangular forms that come together to create our buildings were created through taking the dimensions for the largest possible component that could be transported on the back of a truck and dividing it up several times to create a diverse range of shapes.The triangular modular system used to create our building allows it to adpat and change to the conditions and requirements of each site.
EXPLODED ISOMETRIC OF ONE CLASSROOM
DIFFERENT POSSIBLE ARRANGEMENTS
RENDER SHOWING TILES
STRUCTURAL SKELETON AND CLADDING MODELS
atelier second Year Brief - To design an atelier building for 20 artists along the water front of Bristol. It also includes a cafe and an exhibition area. The building form was derived to create a fan like shape towards the water side. Views are maximized on the waterside and minimized on the backside to respond to the context. The top two floors are private with the studios and the bottom public with the cafe. The first floor, though public ,acts like a buffer where the artists can interact with the public in meeting areas or the gallery.Each studio has been given a different colour and layout to give the artists a feeling of individuality .
SEQUENCE OF DEVELOPMENT
RENDER OF FRONT ELEVATION
first Year
oppositions
Brief - To design and construct a sculpture in 1:1 based on the theme of oppositions. An illusion was created, front facade showed all the sticks in one plane but when you walk past the sculpture, you realise that all the sticks are not aligned in one plane. This element of surprise was very important as the sculpture was to be installed close to a path. A screen was added to capture the shadows and to express our theme of opposition between light and dark. It was necessary to calculate the angle of the sun’s rays on the sculpture in order to position our square accordingly.
1:1 MODEL OF SCULPTURE
1:1 TIMBER JOINTS
New welded wire mesh fence with powder coated finish, black as Spec Q40/125
Existing brick piers retained
EQ
New manual PPC welded wire mesh entrance gates with access control, black as Spec Q40/560
Trespa Meteon rainscreen panel colour TBC with brushed stainless steel lettering as Spec H20/150 EQ
EQ
form frame for rainscreen cladding
1
50
650
PLACEMENT 2015
Existing brick piers retained
EQ
1230
rivington street studio
New welded wire mesh fence with powder coated finish, black as Spec Q40/125
New manual PPC welded wire mesh entrance gates with access control, black as Spec Q40/560
Trespa Meteon rainscreen panel colour TBC with brushed stainless steel lettering as Spec H20/150 EQ
EQ
2030
1230
650
2
Galvanised steel gate posts nom. 100 x100 x 5mm as Spec Q40/560
50
2030
height of gate to align with height of existing adjacent wall
height of gate to align with height of existing adjacent wall
Fixed welded wire mesh panel to match adjacent gates
2
Eq
Eq
proprietary steel letter box with rear access mailbox as Spec N10/350
650
1 Entrance gate strucural frame 1:20 @ A1
Entrance gate elevation 1:20 @ A1 Refer to 90.03 for location
Fixed welded wire mesh panel to match adjacent gates
2
Eq
Eq
650
1
Entrance gate s
Entrance gate elevation 1:20 @ A1 Refer to 90.03 for location PPC aluminium capping with secret fixings
adjustable hanging bracket min. edge clearance 65mm
1/90.10
Horizontal cladding rail on fixed to box section using ss fixings
New galvanised steel gate and posts with coloured rainscreen cladding
PPC aluminium capping with Adjustable hanging bracket secret fixings
5mm steel packers at suitable centres welded to SHS to space cladding rail off SHS to allow air flow in void
adjustable hanging bracket
Trespa meteon panel 13mm
vertical steel stud
Trespa Meteon panel 13mm as Spec H20/150
nom. 100mm Steel box section
650
Vertical gate posts
Horizontal cladding rail adjustable hanging nom. 100mm Steel boxbracket sectionmin. edge clearance 65mm Horizontal cladding rail on fixed to box section using ss fixings
10
1/90.10 New galvanised steel gate and posts with coloured Vertical gate posts rainscreen cladding nom. 100 x 100 x
5mm steel packers at suitable centres welded to SHS to space cladding rail off SHS to allow air flow in void
5mm
Trespa Meteon panel 13mm as Spec H20/150
10
Welded wire mesh fence aligned with top of coping with powder coated finish, black as Spec Q40/125 Welded wire mesh fence shown for information only. Excluded from works.
nom. 100mm Steel box section
Trespa Meteon panel 13mm
Posts cranked and fixed to rear of existing wall
horizontal cladding rail fixed directly to box section using ss fixings 5mm steel packers at suitable centres welded to SHS to space cladding rail off SHS to allow air flow in void
200
Existing masonry wall
Welded wire mesh fence shown for information only. Excluded from works.
Existing brick retaining wall Ground level varies
Vertical gate posts nom. 100 x 100 x 5mm
Welded wire mesh fence aligned with top of coping with powder coated finish, black as Spec Q40/125
nom. 100mm Steel box section
Posts cranked and fixed to rear of existing wall
200
Existing masonry wall
Existing brick retaining wall Ground level varies
Existing brick piers retained
Section 1, 1:20 @ A1
CITY UNIVERSITY LONDON PLAN
Section 2, 1:20 @ A1
Typical section detail 1/90.10 1:5 @ A1
Typical plan detail 2/90.10 1:5 @ A1
ENTERANCE FOR HARRINGTON HILL Existing brick piers retained
Section 1, 1:20 @ A1
Section 2, 1:20 @ A1
Typical section detail 1/90. 1:5 @ A1
OVER ALL PLAN AND LANDSCAPE FOR HARROW SCHOOL
CLASSROOM DETAILS
A3
Perimeter fence fixed to top of retaining wall
Wall A. 250mm thk. RC wall
1200
100.500
2520
500
Wall B. 350mm thk. RC wall
1100
700
Section . A - A 1:100
Existing ground line
2100
Well compacted granular backfill
Wall A. 250mm thk. RC wall Perimeter fence fixed to top of retaining wall
1570
Existing ground line
100.500
2520
500
Wall B. 350mm thk. RC wall
1400
700
Section . B - B 1:100 Well compacted granular backfill
Synthetic cover playing surface Performance control layer (padding)
Type 2 compated granular base (300-400mm)
Permiable geotextile membrane Perforated pipe in filter material, wrapped in filter membrane
Detail . Typical MUGA Floor Build Up 1:20
MUGA FOR HARROW SCHOOL
2100
General Notes This drawing has been prepared for the sole benefit of the project named below. The liability of Momentum Consulting Engineers Ltd, its directors and employees in respect to this information will not extend to any other project. Do not scale from this drawing or use digital data. Work only to figured dimensions. All dimensions are in millimetres. All levels are in metres.
STAGE C
[00]
28.04.15
Revision
Date of Revision
Revision History ACE Work Stage
OUTLINE PROPOSALS Project title
Harrow School
Client
Harrow School Architect
Rivington Street Studios Drawing title
MUGA Sections and Details
Scale at A3
Drawn
Checked
As Indicated
JP
AM
structural engineers
90 Walcot Street Bath BA1 5BG 01225 444194
51 Scrutton Street London EC2A 4PJ 020 77396939
www.momentumengineering.com Drawing Reference
2277
701
[00]
SKETCHUP MODEL OF ELEANOR SMITH SCHOOL
morphogenesis
PLACEMENT 2014
Corridor
A
RENDERED PLAN FOR RESIDENCE
BUILDING SECTION
DETAILED SECTION OF RESIDENCE
PLAN FOR ROSHINI
BATHROOM ELEVATION FOR HOLIDAY HOME
I love all forms of the visual and aural arts, especially classical music, photography, sketching, painting and theatre and feel that they are all interconnected at some level.I see myself as a creator and have always experimented with different mediums of expression. Over the years, I have come to understand that what I want from life is the sense of satisfaction I get when I create something. I want to share the way I see the world and have experimented with various mediums of expression.
Through this sculpture I gave physical form to the classical instumental of Schindlers List by John Williams. This follows my philosphy that all forms of art ( Music, art, sculpture, architecture and history) are inter-related and that “Architecture is frozen music�. The rings represent the violin and the solid stucture represents the piano in the piece; showing their interaction through pitch, volume and rythym as the different dimensions. Through the violin the sculpture symbolises the barbed wire and through piano the people held at concentration camps during the World War.