T.R.A.U.M.

Design Dissertation (Thesis) Fifth Year B.Arch

DECLARATION

I, Gaurav Jhunjhunwala, hereby declare that the work being submitted, as Design Dissertation (Thesis) in partial fulfillment of the requirement of the award of Bachelor of Architecture (B.Arch.), is the result of my own investigation except where otherwise stated.

The work embodied in this Design Dissertation (Thesis) has not already been accepted in substance for any other degree a nd is not being submitted in candidature for any other degree.

Place: Mumbai Date: 12th March 2012 Student: Signature:

Gaurav Jhunjhunwala

Balwant Sheth school of Architecture

Design Dissertation (Thesis) Fifth Year B.Arch

CERTIFICATE

This is to certify that Mr. Gaurav Jhunjhunwala has prepared the Design Dissertation (Thesis) project entitled ‘T.R.A.U.M’ (Transformable Responsive Adaptable Universal Movable Mo dule) under my guidance in partial fulfillment for the award of Bachelor of Architecture (B.Arch)

Place: Mumbai Date: 12th March 2012 Guides: Signature:

1. Prof. Trilochan Chhaya

Prof. Trilochan Chhaya Dean – BSSA

Balwant Sheth school of Architecture

Transformable Responsive Adaptable Universal Movable Module

Time and space are the two variables around which architecture is built. Buildings evolve over a period of time because the perception of spaces changes. A building needs to constantly respond with the surrounding contexts and find a way to inhabit itself all round the year. Such a strategy will ensure its survival and sustainability over a period of time. In the contemporary context it is essential to design spaces which last over a period of time. Flexibility of programs, giving rise to multiple activities is the key to sustainable design. The potential value in spaces can be reconfigured to accommodate different activities or can easily be renovated for different uses.

- Gaurav Jhunjhunwala

Balwant Sheth School Of Architecture SVKM’s Narsee Monjee Institute of Management Studies, (Deemed-to-be University), Balwant Sheth School of Architecture V. L.Mehta Road, Vile Parle (W), Mumbai - 400 056. India.

Tel.: +91 - 22 – 65204622/ 2613 4577 / 2618 3688 © Copyright 2011-2012 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without permission of the copyright holder.

While every effort has been made to contact owners of the copyright material produced in this book, we do not always have been successful. In the event of a copyright query, please contact the publisher.

Printed at Kwality Printing Centre.

INDEX 1.0 INTRODUCTION 1.1 INTRODUCTION TO THE PROJECT 1.2 NEED & SCOPE

1-6 3 4

2.0 CONCEPT 2.1 CONCEPT STUDY 2.2 CONCEPT DEVELOPMENT

7-20 9 17

3.0 CASE STUDY

21-30

4.0 SITE 4.1 SITE SELECTION 4.2 SITE IN RELATION TO CITY 4.3 RULES AND REGULATIONS 4.4 SITE DATA 4.5 SITE IMAGES

31-44 33 36 38 40 43

5.0 PROGRAM 5.1 EVOLUTION OF PROGRAM 5.2 DEVELOPMENT OF FORM 5.3 COMBINATION OF PROGRAMS 5.4 PLANS 5.5 CONSTRUCTION DETAILS 5.6 SECTIONS 5.7 MODEL PICS

45-64 47 53 54 56 59 62 64

6.0 CONCLUSION

65-68

7.0 REFERENCES 7.1 BIBLIOGRAPHY 7.2 SUMMARY OF READINGS

69-76 71 73

8.0 ACKNOWLEDGEMENT

77-80

1 1.1

Time and space are the two variables around which architecture is built. Buildings evolve over a period of time because the perception of spaces changes. A building needs to constantly respond with the surrounding contexts and find a way to inhabit itself all round the year. Such a strategy will ensure its survival and sustainability over a period of time. In the contemporary context it is essential to design spaces which last over a period of time. Flexibility of programs, giving rise to multiple activities is the key to sustainable design. The potential value in spaces can be reconfigured to accommodate different activities or can easily be renovated for different uses.

Buildings have a long and complicated life during which their parameters of use can change widely. They are mostly built on permanent sites, but the environment around them continues to change as other buildings are redeveloped or replaced. Streets, neighbourhoods and indeed whole cities can change character – from commercial to residential and from industrial to entertainment, then back again. The way the buildings are actually used can also alter dramatically. For example, the building function might change – warehouse to dwelling, shop to office. Even if its basic purpose remains unchanged, the way the purpose is carried out can develop beyond recognition. As the provision of building facilities is the greatest investment supporting human activity, architecture development and redevelopment should be as efficient as possible. Therefore, the capacity to accommodate change could be the most important factor in determining economic efficiency and performance in sustainability terms.

All buildings can accommodate some change, but most have a specific number of rooms of set sizes with fixed openings – the doors, windows and closets open and close, but little else does. Though every building has a possibility for some further degree of flexibility, it requires significant effort, inconvenience and expenditure to release it by altering, converting or extending – usually to provide yet more inflexible space. So, what might a more flexible building be like? A building designed for responsive living could be one that, during its occupation, might be moved from one place to another or change in shape or structure – the walls might fold; floors shift; staircases extend; lighting colour and surface textures metamorphose. Parts of the building could extend or even leave the site completely.

“Human beings are flexible creatures. We move at our will, manipulate objects and operate in a wide range of environments. There was a time not too long ago in evolutionary terms, when our existence was based on our capacity for movement and adaptability; indeed it is to this that we owe our survival to species. Most cultures now lead a more or less sedentary life, but it could be that flexibility is once again becoming a priority in human development and that technological, social and economical changes are forcing, or at least encouraging, a new form of nomadic existence based on global markets, the world wide web and cheap, fast transportation.”

“Architecture that is able to create a sense of place is just as important in non-domestic building as it is in the home.

The practical advantages of adaptability in many aspects of building provision are also important. Where this has been recognised by clients, designers and builders, remarkable precedents for flexible architecture have resulted.”

- Robert Kronenburg, Flexible Architecture that Responds to Change 3

INTRODUCTION Is such responsive architecture necessary?

The world is developing at a fast pace in every facet of our lives.

We all strive to create a better environment for our families to grow and take over our challenges. With the global population increasing, more and more people need an urban place to live and work, yet one appreciates combining efficiency with a pleasant residential environment.

A crucial challenge in the real-estate and construction industries is to develop solutions, which meet the ever expanding customer needs and individual wishes. In blocks of flats the typical frame solution based on load bearing walls limits designing the split between flats to fit the demand on the specific lot. A frame system that enables free splitting of floors to flats separately in each level brings a solution for flexibility and customer driven development and design.

Construction techniques have always adapted to the needs of society and this concept has not changed. Today’s ideal is a dense city structure; it is more energy efficient and, many believe, more pleasant to live in. The sufficient services and the variety of the cityscape is often ensured by requiring commercial spaces on street level in zoning. These demands result in new challenges for the multi functionality of a typical block of flats. Adaptability and flexibility are crucial features not only in the design phase but also in the operational life of the building can the space be rearranged. Flexibility in the design of room and apartment layouts secures competitive investment.

Human psychological needs are simple: to be warm and to have enough food and drink. We can extend this to our psychological needs: to feel safe and wanted. The success of our human race lies in our ability to be flexible. Although we can cope with all kinds of privations, a part of our success is also our inbuilt need for change and improvement. Like every other aspect of human achievement the design of buildings is subject to continuous change, with the ambition of making improvements. A mobile, adaptable, transformable building could be wonderful in true sense of the world: full of wonder – a magical stage that would

4

1 1.2

allow dramatically different activities to occur within the same, but changing, space. The requirement of flexibility stems not just from desire and possibility, but also from economy and necessity.

To introduce flexible strategies into architectural design, it is useful to define two broad categories of flexibility: macro level (e.g. space-type) and operational level (e.g. work activities).

Change constantly takes place as economic, social and cultural pressures impacting on both building development and infra structural needs. Society is never static; human civilization has an integral tendency towards change – usually towards progress and improvements in the condition of human existence.

Consequently, the impact of this on the built environment is manifest: roads are extended and re-routed; services repaired, improved and reinstated; buildings demolished and rebuilt.

For a building to be flexible and responsive it needs to follow a five point strategy.

Flexible buildings are intended to respond to changing situations in their use, operation or location- adapting to new uses, responding to changes rather than stagnating. This is architecture that adapts, rather than stagnates; transforms, rather than restricts; is motive, rather than static; interacts with its users rather than inhibits. It is a design form that is innovative, cross-disciplinary and multi functional.

Flexibility is a common design goal in many of today's architectural projects. Corporate facility managers and real estate developers recognize the potential value in spaces that can be reconfigured to accommodate different activities or that can be easily renovated for different uses. Key drivers of the need for flexible space are the rapid pace of changing business needs, mobile employees, and uncertain real estate markets.

Flexible space may also facilitate greater productivity and reduced long-term costs. However, facilities management and designers typically do not proactively address the consequences of change.

Two of the primary barriers hindering consideration and implementation of more flexible space are higher first-cost and reluctance to depart from traditional, less flexible interior buildouts.

1. ADAPTABLE - adaptable structures features repositionable partitions or are changeable as per user/occupant 2. UNIVERSAL - what typifies a universally flexible building is its ease of adaptation per use, these buildings are often characterized by open floor plans and typology free design 3. MOVABLE - It consist of re-locatable or buildings capable of being torn down and reassembled in another location 4. TRANSFORMABLE - characterized by modular design (capable of adding or removing units or components) transformable structures can also open and close, change form, or change colour.

5. RESPONSIVE - responsive buildings can respond to a number of external stimuli, including, but not limited to, energy/environment, interaction, usage, or occupation. In today's world leisure is given least importance. A daily mans average number of hours has just started increasing. The explosion of blogs, social networking sites and other masterpieces of the wireless world is the main culprit for the reason of the quickly diminishing social face to face interaction.

As designers, this creates both a challenge and an opportunity.

( The title of my project has been derived from the initials of these words i.e transformable Responsive Adaptable Universal Movable - T.R.A.U.M )

5

INTRODUCTION We not only need to exploit this technological revolution but also ensure that physical interaction between humans is preserved and encouraged. Essentially we need to explore how technology and social interaction can fuse together.

In cities there are not many spaces provided for social gatherings.

Since the land prices are really high every individual wants to gain the maximum benefits from the land. As a result the city art, culture and social interactions have been reduced to the minimal. The people do need to get out and refresh themselves or else they will start behaving like machines. That's the mains reason why people living in the city are called living robots because they have specific time for every programme but no time for themselves and for leisure.

There is need to develop an urban space in the city which is fused with the access to, learning and showcase of technology. We need a building where media is made then screened, work is created and exhibited, people are inspired and expressive. A space where children are stimulated, youths are entertained, couples are strolling.

The city will connect and learn through these vibrant meeting places, and users will be drawn back to the rich and engaging experience. It will connect people of all backgrounds and generate a sense of belonging. It will teach us the tools to constantly think critically, exchange views, challenge, authenticate and verify. No longer will we be machines living in a place where time is all about money but will become innovators hungry for human interaction and social gatherings.

Putting forward an example which I read from a blog- It talks about interaction through technology by the means of a computer console 'The Nintendo Wii'. No longer do users lock themselves away for hours in dark rooms, protected by the safety of anonymity. People are engaging each other and developing relations through this advanced technology. No longer is the gaming industry encouraging it's users to isolate themselves from 6

important social contact with other humans and basic skills such as communication, but it is bringing all genders, sexes, ages and together. The Wii has been developed in such a way that kids can play with their parents, friends, siblings and even grandparents can play together. The users are still enjoying the advances of technology whilst also benefiting from the coming together of people. Such is the brilliance of this innovation that throughout the country adults and children are hosting Wii parties. Wii means nothing but we which takes away the concept of an individual to an altogether different level of 'me' to 'we'.

The ancient Greece knew the value of such spaces and thus built 'Agoras'. These spaces sprung up in the heart of every city and became hubs of busyness and interaction. They became a centre for debate, ideas, politics, commerce, and knowledge sharing, visited by a whole spectrum of societal classes from the local man to people of nobility. Perhaps we can reinvent the ancient concept of the Agoras into a 21st Century ideal space. This building has to be really relevant to today's society. It has to use the modern technology and explore the use of a space which is useful all throughout keeping the space alive all throughout the year and that every person who comes in is allowed to do what he/she feels like. This is where the issue of flexibility comes into picture and the need for a space where people come in and interact with each other. It may be interaction on the basis of common interests also such as reading, writing, debates, drama or anything what they like. It is a peoples place and they are allowed to do whatever interests them. .

2 2.1

In today’s context,

so

BUILD

through

SUSTAIN

$

&

ECONOMICS PROGRAM MULTIPLICITY

is the way ahead for Public Programs to stay alive!

The world is developing at a fast pace in every facet of our lives.

We all strive to create a better environment for our families to grow and take over our challenges. With the global population increasing, more and more people need an urban place to live and work, yet one appreciates combining efficiency with a pleasant residential environment.

A crucial challenge in the real-estate and construction industries is to develop solutions, which meet the ever expanding customer needs and individual wishes. In blocks of flats the typical frame solution based on load bearing walls limits designing the split between flats to fit the demand on the specific lot. A frame system that enables free splitting of floors to flats separately in each level brings a solution for flexibility and customer driven development and design.

Construction techniques have always adapted to the needs of society and this concept has not changed. Today’s ideal is a dense city structure; it is more energy efficient and, many believe, more pleasant to live in. The sufficient services and the variety of the cityscape is often ensured by requiring commercial spaces on street level in zoning. These demands result in new challenges

Adaptability and flexibility are crucial features not only in the design phase but also in the operational life of the building can the space be re-arranged. Flexibility in the design of room and apartment layouts secures competitive investment.

All buildings can accommodate some change, but most have a specific number of rooms of set sizes with fixed openings – the doors, windows and closets open and close, but little else does.

Though every building has a possibility for some further degree of flexibility, it requires significant effort, inconvenience and expenditure to release it by altering, converting or extending – usually to provide yet more inflexible space.

So, what might a more flexible building be like? A building designed for responsive living could be one that, during its occupation, might be moved from one place to another or change in shape or structure – the walls might fold; floors shift; staircases extend; lighting colour and surface textures metamorphose. Parts of the building could extend or even leave the site completely.

9

CONCEPT

Public Area/Population administration

storage

reading

Library Section program administration

MUMBAI

TOKYO

NEW YORK

LONDON

x

reading

storage

Library Section program rigidity and separation Library Rigid in AREA configuration + Flexible in TIME (24hr-cycle)

Theater Rigid in AREA configuration during season average season

seating

off season

seating

play

accesibility

Stadium Section limited accesibility 100

play

usage %

seating

80

?

60

during season

$

$ average turnout

green

foyer

auditorium

Theater Section program rigidity and separation

auditorium

off season

x green

x

$

auditorium

Theater Section program

?

40 20

Stadium Plan

?

foyer

green

Stadium Plan usage per year

Stadium Rigid in AREA + Rigid in TIME (yearly cycle) 10

Theater Section program rigidity and separation

2 2.1

seating

x x

x 3x

Promenade Plan program flexibility based on users’ wants Gallery Flexible in AREA configuration + Flexible in TIME (24hr + yearly cycle)

administration

exhibits

DIAGRAMATIC PLAN OF A CLASSROOM SHOWING FLEXIBILITY

circulation+activity

seating

x 2x

circulation+activity

seating

circulation+activity

Promenade Flexible in AREA configuration + Flexible in TIME (24hr + yearly cycle)

lecture

studio

storage

Gallery Plan program administration

exhibits

storage

x

Gallery Section program

2

1

SECTIONS SHOWING INSTANCES OF FLEXIBLITY & HYPER-PROGRAMMING IN A STRUCTURE

storage

&

1

exhibits

Gallery Plan program flexibility or rigidity based on configuration

11

CONCEPT

Green Room

Auditorium

Green Room

Administration

Exhibition Gallery

Administration

Exhibition Gallery

Boutique

12

Auditorium Plan program flexibility or rigidity based on configuration

Auditorium

2 2.1

The thought behind the whole transformation was to divide a program in a set of modules which in turn would transform to become new programs.

If you see the diagram on the left hand side you will notice that a single mass gets divided and some of them split and some of the other combine together to form various combinations to perform new programs which are apt for a particular space. eg if you see the diagrams on the right you will notice that an auditorium is converted into a boutique and an exhibition gallery by just breaking the initial program and the space by simple transformation.

CUBE FACE (PLATE) OPERATORS FRAME FOLDING / ROTATING PLATE SLIDING FOLDING / ROTATING FRAME SLIDING

Operations carried out on each container were to be carried out on the framing as well as its surface. They were as simple as folding / rotating or sliding. By these combinations I got various sections as well as spaces that could be transformed and with the help of these operations I would be able to transform the space as per the user.

13

CONCEPT

14

2 2.1

15

CONCEPT

Initial sketch showing the cranes integrated with the structure and lifting the containers so that each set of them combines with one another to make new programs and transforming the space with different configurations.

16

2 2.2

A new system had to be evolved so that the desired distances be achieved. The problem for using containers was that the span had to be limited and the stacking of one container on the other would have to be taken care of. As a result more than 6 or 7 containers could not be stacked on top of each other.

To design a system there had to be some constants and some variables. I decided to keep the verticals constant on which the variables will move. The verticals would be acting like columns in a structure which would tie the building around.

Having fixed the constants the variables needed to move about the constants. As a result the columns would have a rebate on which the horizontal members would move in the vertical axis. Once the verticals and horizontals were fixed the motion would be in the vertical axis which would be further developed depending on the structure to get the motion required for the spaces to transform.

The main section of the column would be developed from a composite section of an I -section and two C - section on either side of the section creating a rebate for the variables to move about it.

17

CONCEPT

After the verticals were set constant and the horizontals the variables I realised that the spaces were just changing in terms of volume and there was no qualitative change in them. as a thought I decided that the slabs should also move in the other to axis i.e. the x-y axis to bring about the transformations and change the space qualitatively.

Tracks on which the slabs are suppose to move in the x-y axis.

Designing of the tracks on which the slab will move For the slab to move about in the x-y axis a framed mesh was designed keeping the integrated track in mind which would help in the shifting of slabs. The placement of the wheels that would shift the slab was important as they had to be placed in between the junction of the tracks (highlighted above) so that the slab is able to shift in the desired direction to the desired place.

18

2 2.2

A combination of the two systems would help in the shifting of plates in the x-y-z axis which would result in transforming the spaces and get the desired plan.

The base which will move in the x-y axis on the secondary beams with in built tracks.

The wheel that will be laid on the tracks on which the base will be moved in the desired axis.

Secondary members on which the plate will move in the x-y axis and will rest on the beams which move on the vertical constants.

The horizontals which will move on the constant verticals (motion in z axis)

The vertical constants on which the beams will move in the z - axis

Beam with the in-built track

19

CONCEPT

20

3 Fun Palace: Cedric Price Cedric Price and Joan Littlewood ambitious goal was to create an interactive environment, a new kind of architecture, capable of altering its form to accommodate the changing needs of the users. Using cybernetics and the latest computer technologies, Price hoped to create an improvisational architecture which would be capable of learning, anticipating, and adapting to the constantly evolving program. An array of sensors and inputs would provide real-time feedback on use and occupancy to computers which would allocate and alter spaces and resources according to projected needs.

However, the failure of the Fun Palace was not the end of Price's attempts to realize an interactive and improvisational architecture. In 1976, he built a greatly reduced version of the Fun Palace in Kentish Town. Known as the Interaction Centre, this design incorporated many of the features and innovations of the Fun Palace, though on a smaller scale. The Interaction Centre resembled a "bargain basement" version of Centre Pompidou, and along with the Fun Palace, influenced Richard Roger's designs.

23

CASE STUDY 21 Rooms in 1 Flat: Creative Space Saving Condominium In Hong Kong, because of the space, apartments are small and expensive. Gary Chang, an architect, decided to design a 344 sq. ft. apartment to be able to change into 21 different designs, all by just sliding panels and walls. He calls this the “Domestic Transformer.� Using a series of amazing space-saving strategies and mobile architectural elements, he converted his simple apartment-turned-condominium into a vast and varied place filled with twenty-one distinct, unique, useful and luxurious spaces This fascinating experiment with transforming interior spaces includes a steam room, home cinema and many other high-end amenities not found in most living spaces of comparable size. A series of sliding walls contain spaces within them but also hide drawers, shelves and other useful storage places for dvds, cds and other objects that normally displace interior space. displace interior space. In short: they define space as walls but also double as doors and dividers.

Fold-down desks and other fold-out design elements are another essential part of his spacesaving strategy, converting empty space into seating, surfaces and beds as needed. Instead of using valuable wall space for his big-screen TV, the designer put the moving screen over an existing window to give that limited square footage a dual purpose.

24

3 Prada Transformer The Prada Transformer is an unusual building which has one of four different apparent shapes, depending on the function for which the building is needed at the moment. The building is roughly in the shape of a tetrahedron. Cranes rotate the building so that different surfaces of the tetrahedron face downward, thereby changing the building's form and function.

FASHION EXHIBITION

ART EXHIBITION

CINEMA

SPECIAL EVENT

The different faces of the "tetrahedron" are actually shapes other than triangles. The building's base is a hexagon when used for a fashion exhibition, a rectangle when used as a movie theater, a cross when used for an art exhibition and a circle when used for a special event.

The building was funded by Prada, and designed by Rem Koolhaas' architecture firm Office for Metropolitan Architecture.The building is located in Seoul, South Korea, next to the Gyeonghui Palace.

The building was first used for the fashion exhibition "Waist Down Skirts by Miuccia Prada", which began April 25, 2009. Its form and function was first changed on June 26, 2009, into a movie theater.

25

CASE STUDY REX/OMA's Wyly Theatre The Wyly's tubular aluminum skin, reminiscent of a pleated theater curtain, transforms it into a Minimalist sculpture on a low, grassy pedestal. But the rain-screen skin is only one part of the story. The architects set out to reinvent the contemporary theater by designing a performance machine. Equipped with an elaborate system of winches, pulleys, lifts, tracks, and catwalks, the structure can be reconfigured from a proscenium stage to thrust or flat floor in a matter of hours instead of days, dramatically reducing labor costs. While this is common in sports arenas and convention centers, the technology has never been used quite this way. Balconies fly up into the ceiling at the touch of a button; aisles can be rearranged between acts; the audience may sit on the floor at the beginning of a performance and on stage at the end.

Going up allowed it to free the ground plane so that control of how the play is seen or changed passes to the director instead of the building. This sequence stemmed from the architects' desire for a totally flexible performance space, which meant that the lobby had to go below.

26

3 A personal meditation space The M-velope is one of my latest functional art designs for a transformable structure. It was created to provide a special place in which to meditate. The shape and interior light quality of the M-velope can be changed by folding the surface of the structure into many different combinations.

Each plane of the surface of the structure is covered with panels that are subdivided in different ways. These panels are hinged to each other, and to the main support frame.

Each panel can be moved and easily attached to the main support frame with pins at two locations. The first fixed position of the panels opens the M-velope in many unexpected ways. The second fixed position opens the structure up much more, and there are many transformations possible when the panels are opened and/or closed in different combinations. The size of the entire space can be increased by joining more M-velopes together. The entire structure is prefabricated so it can be easily transported to, and assembled onto almost any site. A small solar panel can be mounted onto the M-velope, or nearby, if power is needed for lights, small appliances etc .

27

CASE STUDY Plug-in-City Plug-in-City is a mega-structure with no buildings, just a massive framework into which dwellings in the form of cells or standardised components could be slotted. The machine had taken over and people were the raw material being processed, the difference being that people are meant to enjoy the experience. The Plug-in City is set up by applying a large scale network-structure, containing access ways and essential services, to any terrain. Into this network are placed units which cater for all needs. These units are planned for obsolescence. The units are served and manoeuvred by means of cranes operating from a railway at the apex of the structure. Archigram proposed using construction cranes as permanent parts of their buildings. The crane could thus lift new modular rooms into place, add whole new floors to the perpetually incomplete structure, and otherwise act as a kind of functional ornament. The crane, "now considered part of the architectural ensemble," Archigram's Mike Webb wrote, would simply be embedded there, "lifting up and moving building components so as to alter the plan configuration, or replacing parts that had work out with a 'better' product."

28

3 The Walking City The Walking City was an idea proposed by British architect Ron Herron in 1964. In an article in avant-garde architecture journal Archigram, Ron Herron proposed building massive mobile robotic structures, with their own intelligence, that could freely roam the world, moving to wherever their resources or manufacturing abilities were needed. Various walking cities could interconnect with each other to form larger 'walking metropolises' when needed, and then disperse when their concentrated power was no longer necessary. Individual buildings or structures could also be mobile, moving wherever their owner wanted or needs dictated. The form derived from a combination of insect and machine and was a literal interpretation of Corbusier's aphorism of a house as a machine for living in. The pods were independent, yet parasitic as they could 'plug in' to way stations to exchange occupants or replenish resources. The citizen is therefore a serviced nomad not totally dissimilar from today's executive cars. The context was perceived as a future ruined world in the aftermath of a nuclear war.

29

4 4.1

Urban industrial land is an important and integral part of city land use. Mumbai had been the industrial power house of India since the British were in rule. It was a prime centre for cotton processing that directly fed into the cotton mills that were established in the subsequent phases of history. After led by the textile mills, several other large and medium scale industries were established in the post-independence era and the development plans made provision for the same through earmarking industrial zones for manufacturing, trade and logistics operations. Bombay has shown how to build the enormous potential in industrial production and almost became one of the country’s backbones of industries and economy. However, concentration of industries and industrialization have also left many demands on city’s infrastructure and housing, and pressure began to mount on making the city inhabitable through shifting of industries to the outskirts. In the subsequent periods, what is known as the ‘decongestion’ policies were laid down in the era of first regional master plan proposed both industrial as well as population decongestion, at a time when the population rise and industrialization were on move. These together with other factors laid death knell for manufacturing industry in general and textile industry in particular. As textile mills were closing down their operations, they sought commercial redevelopment of the land, which became an important historical battle between the industry and government.

RESIDENTIAL AND COMMERCIAL ZONES INDEGINIOUS SETTLEMENTS 17 CEN EXTENSIONS OF ORIGINAL SETTLEMENT FORT 18 CEN EUROPEAN EXTENSIONS 19 CEN INDUSTRIAL SETTLEMENTS POST 1970 BACKBAY RECLAMATION

PREDOMINANTLY RESIDENTIAL ZONES EARLY 20 CEN SUBURBS POST 1950 RESIDENTIAL SUBURBS POST 1970 RESIDENTIAL EXPANSIONS POST 1980 RES. EXPANSION BEYOND CITY LIMITS

PREDOMINANTLY INDUSTRIAL ZONES 19 AND EARLY 20 CEN INDUSTRIAL ZONES POST 1960 INDUSTRIAL EXPANSIONS POST 1970 INDUSTRIAL EXPANSIONS

OTHER AREAS ESPLANADE NO DEVELOPMENT ZONES MARSHY AREAS, MUD FLATS, SALT PANS LAKES DEFENCE AREA

33

SITE STUDY

MILLS REDEVELOPED MILLS [UN]DEVELOPED MILLS UNDER REDEVELOPMENT 34

4 4.1

35

SITE STUDY Mumbai Mill Lands CENTRAL Mumbai is acquiring a new landscape, which seeks to obliterate any trace of its vibrant industrial past. The textile mills, which played an important role in the industrialisation of Mumbai and evolved around the culture of the city's working class, are now giving way to development of upscale neighbourhoods. Mill floors that resounded with the clang of machinery have been converted into shopping arcades, and residential towers have replaced their chimneys in the new skyline. If the Maharashtra government and the construction companies have their way, which in all likelihood they will, the now-defunct mills will soon be sold and they will make way for shopping complexes, luxury apartments, high-tech corporate offices, entertainment parks and star hotels.

Mumbai is having 437.71 sq.kms of land . Total land available or occupied is 68.71 sq.kms in the city, 210.34 sq.kms, in suburbs and 158.6 sq.kms for extended suburbs. With density of population just above 45000 per sq.kms, the mega city has vast area of land to reduce the density. Plenty of land will be available if urban land ceiling act is repealed. Mill lands will cater space and will be required to construct yet another 12 million sq.ft. The NTC mills and other privately owned mills occupy nearly 600 acres of prime state land in central Mumbai. Most of the land is already in varying phases of redevelopment, assisted with investments made by several financial institutions and buyers.

The centralised site has its proximity to South Mumbai and well connected to both the suburban lines. Huge land is available for private developers for big housing complexes. Many of such projects already started or on the verge of it. The ruling by the Mumbai High Court on the sale and redevelopment of mill lands has renewed attention on the future of the city. In the last decade, even as rapid construction of high-rises has wrought drastic changes in the city's skyline and in the elusively defined “quality of life�, it is the court that have to direct the debate on Mumbai's development.

36

Kandivali

4 Malad

Thane

4.2

Mulund Goregaun

Bhandup Jogeshwari Kanjurmarg

Andheri

Vikhroli

Vile Parle

Ghatkopar Santacruz Vidhya Vihar

Major concentration of the mills is in the Parel area which has its proximity to the railway stations on the western as well as central lines

Khar Road

Kurla

Bandra

Chembur

Chuna Bhatti Sion Mahim

Mankhurd

Matunga Dadar

Wadala

Parel Elphinstone Road

Sewri

Lower Parel

Curry Road Cotton Green Reay Road

Mahalaxmi Mumbai Central Grant Road

Byculla

Dockyard Charni Road

Masjid

Marine Lines C.S.T Churchgate

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SITE STUDY The Cotton Textile Mills in the Island city of Mumbai were India’s first modern industry and show case to the external world of its capability to come out with one of the finest cotton at that point of time. The mills were located on lucrative stretches of lands in Central Mumbai, which were given to the mill owners at concessional rates by the colonial Bombay Government in order to promote industrial production. Mumbai’s development as an economic hub was greatly enhanced by these very mills.

Till the late Seventies, the Cotton Textile Mills were booming with activity but in 1982 things changed. The unorganized power looms sector had taken over and it was becoming uneconomical to maintain large scale industrial units within the city limits on account of high power and octroi costs. Moreover, the 18 month long crippling strike by the mill workers proved to be the final nail in the coffin. All this led to huge losses and the running of the Cotton Textile Mills became unviable, Several mills were declared sick and a few even shut down their operations. Only a few managed to survive. It is important to note that the textile mills constituted an important component of the manufacturing industry in Mumbai, which was the backbone of Mumbai’s economy till eighties. There were 58 cotton textile mills in Mumbai. Of these, 26 were deemed ‘sick’ and, therefore, taken over by the Government of India. The remaining 32 mills continued in the private sector.

The sick textile mills were proposing to sell off part or whole of their land for quite some years, allowing the redevelopment of the land. At the same time, the Development Control Regulations (DCRs) of 1991 sought regulating the redevelopment of cotton textile mill lands so as to generate open spaces and public housing for the city, in a manner which would create coherent urban form. However, contrary to these intentions, several mills have closed down their operations, resulting in insecurity among labour on one hand, and piecemeal redevelopment of land on the other.

Against this backdrop, the Government of Maharashtra issued a notification on 29th February 1996 setting up a Study 38

Group to prepare an integrated development plan for the textile mills land on the basis of certain principles specified therein.

Essentially, these include: - prepare an overall development plan and strategy to create coherent urban form; - provide housing for low income groups; - allocate land for civic amenities and infrastructure; - generate new employment opportunities for the workers displaced by the closure of mills.

4 4.3

DC REGULATION 58: CHANGING CONTOURS OF TEXTILE MILL LAND DEVELOPMENT A huge amount of land within the island city had become available on account of either complete or partial closure of the textile mills. The fate of these unused mills began to be spelt out with the new Development Control Rules (DCR) for the city, framed in 1991. These rules permitted the sale of a portion of the mill land in order to channel funds into the revival of the mills. These funds were to be used for clearing off financial liabilities of the mill owners like workers wages, retiring loans etc.

According to the DCR 58, in the case of redevelopment, entire mill land has to be distributed as follows: - One third to the BMC for open spaces - One third to the MHADA for public housing - The rest to be used by the owner/developer for commercial development Most of the private mills found the regulations of the DCR 58(1991) onerous and refused to go that way. Modifications to the original DCR were sought and in 2001 the government tabled an amendment to the DCR 58 (1991). According to the new rules, only the ‘open land’ on which there was no construction was to be distributed in the manner laid down in the DCR 58(1991). As a result of this policy change, a number of defunct private mill owners made a beeline to the civic authorities to have their plans for redevelopment passed and approved. The development of the sprawling mill lands in Central Mumbai momentum with BMC officially giving the green signal for the redevelopment plans of more than 15 private mills. In principle, the State Government policy (DCR 58 2001) regarding the mill lands sale seeks to divide the land equally for commercial purposes, low-income housing and open spaces so that two – thirds is handed over for public interest. But in actuality, this policy failed to achieve its purpose.

This became quite clear when NTC put forward its proposal to dispose its mills in Central Mumbai. According to the new provision, the NTC mill land coming to BMC and MHADA is a mere 38 acres when the total area of all the NTC mills combined is approximately 300 acres. Civic activists and architects tried to block the proposal as they believed that the city was entitled to a higher share of the mill lands.

Mills have been seen as a rare and exciting opportunity for planned development in the city and few were ready to let it go.

After a gap of more than a year (late 2004), NTC was granted the permission by BMC for sale of seven NTC units in Mumbai and NTC decided to go ahead with the same.

Shortly, thereafter, a public body approached the government saying that the ongoing mill land development was leading to over crowding, hap-hazard planning and reduction of open space in the city. There was a general demand to re-look the DCR 58 (2001) and bring changes accordingly.

Ensuing this controversy and chiefly to defer the sale of NTC and other private mill lands, a Public Interest Litigation (PIL) challenging the legality of the 2001 amendment to the DCR 58 (2001) was filed in the Bombay High Court in February 2005. The main contention was that the amendment is a major modification, which must be preceded by proper study and planning. It has been argued that the release of textile mill land has created a positive environment for development and reduced uncertainty in property markets, both of which led to improved performance of local markets in the border of CBD and suburbs. The property markets started functioning better as evident from property vacancies and this made other economic agents to react in a positive manner. These economic forces have been driving local demand for property, which has the properties of both investment and consumption good. Such strong forces of demand would have led to optimism in the outcomes and hence made a strong case for possessing property, which would give both consumption benefit and any expected surplus returns over and above the costs of holding it.

39

EASTERN EXP RES S HIG HWA Y

SITE STUDY

HOTEL ITC PAREL

EASTERN EX

PRESS HIGH WAY

EA

ST

ER

NE

XP

RE

SS

SITE NTC MILL NO. 1

CURRY ROAD STATION 40

HIG

HW AY

LOWER PAREL STATION

4 4.4

RESIDENTIAL MIXED USE COMMERCIAL HOTEL RAILWAY STATION RAILWAY TRACK RAILWAY WORKSHOP MILLS UNDER DEVELOPMENT SITE FLYOVER PARKS INSTITUTE 41

SITE STUDY

Built Mass Railway Flyover Site 42

4 4.4

The Eastern Express Highway connecting to the outskirts of Mumbai making it an ideal location

Proposed site Location - Parel Area - 80,400 sq mt

View from the node towards the site Panoramic View of the entire site

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5 5.1

47

PROGRAM Mumbai’s art scene has been on the decline for nearly a decade, having lost its once thriving status as the haunt of the culturati to its more glamorous sister.

- Nona Walia & Zeenia Baria

Mumbai should hang its head in shame. Once having boasted a thriving system of art galleries and a well-established collector base, today it has lost its status as the art capital of India to Delhi. In the last decade or so, things have changed dramatically. While in Mumbai, art is still mostly found in traditional haunts like galleries and exhibition halls, Delhi has art in malls, restaurants and even nightclubs! The capital also has an annual Art Summit, which this year boasted of attendance not just from the whose who of the art, but also attracted 1,28,000 visitors over four days, not to mention great sales. Mumbai has no art event close to that scale.

NUMBERS MATTER Artist Arpana Cour makes a point with her own experience, When I did my first solo show in 1974 at the Lalit Kala Akademi in Delhi, only one person would come in per day, but at Jehangir Art Gallery in Mumbai, nearly 500 people walked in every day! Mumbai was like a tornado that hit me. It gave me success. Today, Delhi has a higher number of art galleries, and the NGMA and the Art Summit bring international art traders too. Asserts fashion designer/ gallery owner Rohit Gandhi, we had barely two or three people walk in when I opened Palette. I had more clients for my fashion business.

Today, the art buzz in Delhi has a different beat.

CREATIVITY RULES Naresh Kapuria, an artist and art café gallery owner from Delhi says, That was a different era when Mumbai was the cultural hub.

Delhi has seen the rise of sophisticated art galleries along with modern cafes, and that’s the theme my gallery at the Lalit hotel follows a caf with art. Archana Jahgirdar, CEO, Gallery Espace, which caters to corporate clients, says, If the Fashion Week made Delhi the fashion capital, the Art Summit has made Delhi the cultural hub. Cash-rich corporates have changed the way 48

galleries operate. Theres creativity in spaces where art is exhibited. The capitals corporate art lovers are indulging in new creative projects and redefining art spaces.

WHY MUMBAI GOT LEFT BEHIND The energy and passion Delhi has for art is unlike anything the city had ever seen before. Mithu Basu of Mumbais Dolna Art Gallery explains, even though Mumbai is trying to have a savvy art scene, we are way behind Delhi. I tried to have an art event along with a fashion week and tied up with the MCEA club to host art events, but exploring non-traditional spaces in Mumbai is not easy.

There is great divide within Mumbai itself, she says. most of the galleries are concentrated in South Mumbai. In Delhi, galleries are spread equally all over the city. Also there are new venues for art exhibitions, adds Kiran Pundir of Artsaroma.

Government to blame ??

Mumbai-based gallerist Pravina Mecklai feels Delhi has larger spaces that allow for larger works, which new-age installations need. Delhi is more open to public installations, which Mumbai does not permit. Newer developments in the NCR district also encourage newer works to be displayed. There are two private museums in the area Devi Art Foundation and the Kiran Nadar Museum of Art while Mumbai does not have even one. The NGMA in Delhi is active and doing great shows,but the one in Mumbai is pathetic. Fortunately, the Dr Bhau Daji Lad Museum here is active and has some good shows. Yes, the art scenario in the Capital is more vibrant. Look at how pro-active the Delhi government is.

During the Art Summit, the entire Government machinery gets involved. The Mumbai art fair gets no such support from the government. Instead, it gets harassed by them!

ART ATTACK! This year,the third India Art Summit in Delhi at Pragati Maidan attracted 1,28,000 visitors over four days.The exhibition hall had

5 5.1

84 galleries showcasing the works of 500 Indian Modern and Contemporary artists. Mumbai has no art event close to that scale.

COPYCAT DELHI Art expert Ashish Balram Nagpal feels that although Delhi has beaten Mumbai when it comes to the sheer number of galleries, it is only riding high on the waves of Mumbai’s success. Larger galleries result in higher sales but what many people dont realize is that more often than not,Delhi waits and watches upcoming and talented artists in Mumbai and quickly picks them up. Art begins here but somehow ends up in Delhi! Yes, the art scenario is definitely more vibrant there currently. I hope that art summits could also take place in Mumbai the same way they take place in Delhi, may be someday it might just happen! Unfortunately art displayed in cafes and malls is just a passing fad it has never really taken off in India, he says. .

LOCATION,LOCATION,LOCATION! Kiran Nadar, the wife of technology baron Shiv Nadar, has changed the way Delhities view art by opening the Kiran Nadar Museum of Art in a mall! The reason To bring visibility and appreciation to art. The capital has a new energy,as a younger generation gets increasingly art savvy. Art collector Tarana Khubchandani, who runs Mumbai’s Gallery Art & Soul,makes a valid point.Mumbai has been the melting pot of culture,and will continue to be.But in contemporary art, Delhi is emerging as an energetic market.The Art Summit has been a big crowd puller.There are new,hip galleries coming up in Gurgaon, Lado Sarai and Noida. In Mumbai, there is nothing much happening

outside of South Mumbai. Its little wonder then that Delhi has become the next cultural hub says Sushma Behl, art critic and author of 5,000 Years of Indian Art, with expansions to areas such as Gurgaon and Noida, Delhis art zone has gotten bigger and trendier.Delhi is the hub for a lot of artists coming from Bihar.Lado Sarai will be the next art hub, with a lot of art galleries opening up . there.

GALLERIES GET GLAMOUROUS Even auction houses that are based in Mumbai look at Delhi to do serious business.Says Asish Anand,Delhi Art Gallery,Delhi has an edge over Mumbai in terms of volumes and buying brackets.With the Art Fair in Delhi,the exposure is different and international.There are a higher number of galleries in Delhi than in Mumbai.In December,Osians is holding an art auction in Delhi.That just shows how much of a cultural hub Delhi has become. Says artist Nupur Kundu,There are more art events in Delhi than in Mumbai.Sometimes one actually has to pick and . choose what art event to attend!

THE LAST WORD Peter Nagy of Nature Morte gallery in Delhi believes,I would put the two cities as equal,but Delhis taste for art is being redefined and is getting very serious.Lado Sarai is coming up as a art hub,while Jamia is coming up with a Husain gallery.However,Mumbais Bhau Daji Lad Museum has also started doing some interesting work.I think it will be interesting to see where the two cities go from here.

Mumbai’s art scene has been on the decline for nearly a decade, having lost its once thriving status as the haunt of the culturati to its more glamorous sister.

- Nona Walia & Zeenia Baria Times Of India December 19th, 2011 49

PROGRAM

Types Of Exhibitions:

Interpretive exhibitions Interpretive exhibitions are exhibitions that require more context to explain the items being displayed. This is generally true of exhibitions devoted to scientific and historical themes, where text, diagrams, charts, maps and interactive displays may provide necessary explanation of background and concepts. Interpretive exhibitions generally require more text and more graphics than fine art exhibitions do.

The topics of interpretive graphics cover a wide range including archaeology, anthropology, ethnology, history, science, technology and natural history. Examples of such exhibitions may be found at the Natural History Museum, museums of the Smithsonian Institution, the American Museum of Natural History and the Field Museum — to name a few of the largest museums of this kind.

Art exhibitions Art exhibitions include an array of artifacts from countless forms of human making: paintings, drawings, crafts, sculpture, video installations, sound installations, performances, interactive art, etc. Art exhibitions may focus on one artist, one group, one genre, one theme or one collection; or may be organized by curators, selected by juries, or show any artwork submitted.

Fine arts exhibitions typically highlight works of art with generous space and lighting, supplying information through labels or audio guides designed to be unobtrusive to the art itself.

Commercial exhibitions Commercial exhibitions, generally called trade fairs, trade shows or expos, are usually organized so that organizations in a specific interest or industry can showcase and demonstrate their latest products, service, study activities of rivals and examine recent trends and opportunities. Some trade fairs are open to the public, while others can only be attended by company representatives (members of the trade) and members of the press.

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5 5.1

51

PROGRAM Today more than ever the arts are needed by our young people as a forum for safe expression, communication, exploration, imagination, and cultural and historical understanding. We need to realise the importance of art and give it the much needed helping hand it requires. The places such as the Jehangir art gallery are booked for years. We need more spaces where people can display their works and can show case their talent. Besides South Mumbai we do not have many places to display art and installations. Artists are looking for alternate places such as film studios and even alternate cities where art is being appreciated. There has been a decline in the interest of people towards the art in Mumbai as the scenario is in a really sorry state.

Proposed site which will shift the focus from south Mumbai which is well connected to the eastern as well as the western part of Mumbai

Most of the galleries are concentrated in South Mumbai

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The programs started evolving keeping art exhibitions in mind.

The proposed programs are commercial spaces as well as recreational spaces. If you observe there is a mix of programs from work spaces to recreational spaces moving into the transformable spaces which will cater to the exhibitions and art installations. The same space could be used for trade exhibitions as well where people will showcase their work as well get to see others work which in turn becomes interactive. This mix will cater to the much needed space for recreational activity in the city as well as make them interact with the exhibition spaces which results in growing interest among people towards art which has been in decline in the recent decade. The design of the recreational area is such that it does not overpower the exhibition area and that is the reason why it is pushed in the ground and the structure itself where the exhibition and all will take place is standing inclined to the node so that it directly opens to the cityscape. The whole structure has no compound walls and most of the space is left open for more and more people to come in. Most of the area is landscaped and left open for public activities during festive seasons. This openness gives the people a sense of open mind which is a necessity to understand art installations. The open courtyard is created for multi-purpose activities which would be helpful in interaction with people.

5 5.2

The basic form of a cube with a multipurpose courtyard opening up towards the recreation area.

The basic form I came up was a cube. Why a cube??

A cube can be used universally. The form needs to change should be a component where as a fluid form may not be suitable at all places n might not carry out all functions and would require multiple components. The cube offers maximum flexibility as u can change the plates inside and make it fluid but with other forms it does get difficult to get even surfaces.

Secondly when you think of a cube u think of it being rigid n a solid mass but what if this allows you to do what u feel like and change stuff as you would want it to be. Its much easy to work with a cube compared to something that is fluid. The connections will differ and the spaces which are made of frames and plates might require different shapes and sizes which may not be used elsewhere. With a cube you can work out anything and everything and even the idea of future expansion can be easily worked out with the cube.

The site is surrounded by the road on two sides. What i have done is inclined my whole cube. so that i can open the whole node and the building then acts as the backdrop and faces perpendicular to the node.

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PROGRAM Programs Proposed : Plot area - 80400 sq. mt.

Exhibit space - 20100 sq. mt.

Commercial Spaces - 7600 sq. mt.

Recreational area - 9500 sq .mt.

Open area - more than 50% is landscaped Parking - 208 cars

Art Gallery: The major program proposed in the structure is art/ exhibition gallery. As my structure is transforming spaces the gallery has a great potential of flexibility and the user of the space can change the floor according to his use and can display his art work as and where he desires. The spaces provided for art installations are generally fixed and an artist has to compromise with his exhibits location given the fixed floor which makes them search for alternate locations where he can display his work.

T.R.A.U.M will give an artist this opportunity to design his space his way in the heart of the city.

Digital Lab: There will be multiple audio visual rooms which will be provided for artists if they wish to showcase digital works along with their art display.

Recreation Area: There will be multiple recreational facilities which will be provided for the locals as well as the people visiting the area. It forms a major attraction for people who are not interested in art exhibitions but will still be visiting the place for their favourite sport. A mini golf course, lawn tennis, basketball, throwball courts, along with gymnasium, swimming pool, table tennis and billiards room are also provided for additional activities. The entire recreation area has been sunk in so it does not overpower the main structure for which the project is aiming at. The area above the recreation spaces will be completely landscaped and will act as a breather keeping the place cool and calm.

Open amphiteatre - There will be an open amphiteatre provided opening to the street so that street plays are encouraged and more people are drawn towards the structure. The whole idea of street plays in Mumbai has vanished which I would like to revive and bring back the history for which Mumbai was known. The amphiteatre could also be used for plays to spread public awareness.

Commercial spaces - The fixed spaces designed are multi purpose halls and commercial offices for the building to function and for other activities for which the space can be rented.

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5 5.2

SERVICE CORE [T.R.A.U.M]

OPEN COURTYARD

FIXED SPACES

FIXED CORE FIXED SPACES CONSIST OFFICE SPACES, STORE ROOMS, CAFETERIA, AUDITORIUMS, MACHINE ROOMS AND MULTI - PURPOSE HALLS.

SERVICE CORE RAMPS OPEN COURTYARD 55

PROGRAM

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5 5.4

SCHEMATIC SECTION The sections shows some examples of how the sections will change depending on users.

These sections can be used for art/installations or some can even be used for trade fair depending on an individual .

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PROGRAM

Commercia / Mixed Use

Commercia / Mixed Use

Commercial / Mixed Use

Typical Floor Plan Temporary shops 58

Commercial / Mixed Use

Typical Floor Plan Trade Fair

5 5.5

Transformable Reusable Adaptable Universal Movable Module The highlighted portion is the transformable area which the user alters according to his needs.

For the structure to transform basic construction details had to be worked out so that the whole system works together as a whole. There are two basic types of column used in the whole area.

Type A which is located centrally and Type B which is located on the exterior surface

TYPE A TYPE B

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PROGRAM

T Y P E A 60

T Y P E B

5 5.5 ALUMINIUM FRAME

DETAIL OF PARTITIONS FOR TRADE AND EXHIBITION

PANELS

COLUMN IN PLAN

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PROGRAM

SECTION

SECTION THROUGH AN ART EXHIBITION

SECTION 62

5 5.6

SECTION - A CONCERT TO PROMOTE AN EXHIBITION EVENT

SECTION - A FAIR SET UP TO PROMOTE A TRADE FAIR

SECTION

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PROGRAM

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6 Conclusion:

Architecture has a great deal of long term value, and that value increases with the size of the project. Good architecture becomes necessary to expand, fix, and maintain the application as well as make it easier for newer developers to understand the working code. While every project should strive for the best architecture, initially, it should not be the most important thing.

This project deals with what our city really needs and help keep the artists with a platform for recognition. We as designers should give a thought and to what our city really needs besides the sky scrapers and corporate offices. The site being located in the heart of the city gives people even from the outskirts of Mumbai easy access as it is well connected by all means of transport. I have perceived this project as a great relief to all the artists who are struggling to get a space to display their work. [T.R.A.U.M] will not only give them an opportunity to showcase their work but also to design the space as to how they want to display their works. The recreation area allocated with the building gives the people a chance to view the exhibits and encourage young designers. This place is not to showcase only art works but also common people who work at home to display their creativity through trade fairs.

The open courtyard provides the flexibility for multiple programs from small scale to large scale activities for the people. Even the node where the building is angularly facing is stepped with landscape parks so that it acts as a sound barrier and cuts the disturbance on the main road from entering the building. It is also perceived as street markets which are generally occupying the pedestrian streets which moves the general public on road and thus causing traffic problems. Such minute details is what an architect thinks of while designing but it does not always turn up the way you want.

This project is a thought designed for the people who are struggling to get a place to showcase their talent and to show their own potential. For those who do value your work and wish to showcase your own talent can make the plan according to you and how and where would you wish to display your creative skills.

To get started please turn over.

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CONCLUSION

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7 7.1

References :

Readings : Bergson : Creative Evolution Cedric Price: Theory of 'Flexible Architecture’ Cedric Price: Activity and Change Cristopher Alexander: Notes on the Synthesis of Form Jesse Reiser: Atlas of Novel Tectonics Greg Lynn: Animate Form Greg Lynn: Architecture Curvilinearity Lindy Roy: Geometry as a Nervous System Martin Gardner: Kline bottles and other surfaces Oswald Mathias Ungers: Architecture as theme Paul Rudolph: The Six Determinants of Architectural Form Peter Eisenman: Cardboard Architecture Peter Eisenman: Post Functionalism Sanford Kwinter: Architectures of Time Sanford Kwinter: Landscapes of Change Stephen Barr: Experiments in Topology Tadao Ando: Beyond Horizons in Architecture Theodore Spyropoulos: The Dirty Act of Architecture

Books : Archigram Architecture Without Architecture Simon Sadler Flexible Architecture that Responds to Change Robert Kranenberg Mumbai Reader UDRI, Mumbai

Blogs: http://blog.xebia.com/ http://www.andygibson.net/blog http://futurecityarchitecture.blogspot.com 71

REFERENCES Website: http://www.urbanzeitgeist.com http://www.landezine.com/ http://thewaywelive.wordpress.com http://www.vam.ac.uk http://archigram.westminster.ac.uk/ http://www.evolo.us/ http://www.trendhunter.com http://www.archiprix.org http://oma.eu/

Newspaper Article: Mumbai’s art scene has been on the decline for nearly a decade, having lost its once thriving status as the haunt of the culturati to its more glamorous sister.

Nona Walia & Zeenia Baria Times Of India (December 19th, 2011)

Others: Group study - Bandra Freemium Center (Trimester X) 1991 - Mumbai DP Mumbai Reader - 08, 09 Google Earth Images

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7 Summary of some Readings:

Cedric Price - Theory of 'Flexible Architecture’ Cedric Price was a visionary architect whose work challenged the belief that architecture should be a permanent, fixed form. “To enable is the art of architecture.” Exploring concepts of interactive and performative spaces, Price enjoyed a career that lasted nearly four decades. Price was able to realize his concepts in the 1971 project 'Inter-Action Centre' in North London. Designed as an open steel-frame structure, prefabricated and mobile spaces could be placed or moved around, allowing a range of activities to be performed inside. The structure was designed to last 20 years in constant change, after which the building components could be disassembled and a new structure could be built.

“Planning for activities must allow for change not only in content but in means of operation.”

Price is best known for his contributions to architectural theory, specifically his 1960-1961 'Fun Palace' Project.

“Choose what you want to- or watch someone else doing it.

Learn how to handle tools, paint, babies, machinery, or just listen to your favorite tune. Dance, talk, or be lifted up to where you can see how other people make things work. Sit out over space with a drink and tune in to what else is happening elsewhere in the city.

Try starting a riot or beginning a painting- or just lie back and stare at the sky.”

The Fun Palace was an open steel frame in which stairs, modules, prefabricated walls, and utilities could be inserted. Using an unenclosed steel structure, fully serviced by travelling gantry cranes the building comprised a 'kit of parts': pre-fabricated walls, platforms, floors, stairs, and ceiling modules that could be moved and assembled by the cranes. Virtually every part of the structure was variable. Although never built, The Fun Palace was one of his most influential projects. The user would be responsible for the final form, which could be moved around or changed out over time.

Form would be a result of functional needs, allowing the building 73

REFERENCES to develop its own identity. In an article, he states, “It's form and structure, resembling a large shipyard in which enclosures such as theatres, cinemas, restaurants, workshops, rally areas, can be assembled, moved, re-arranged and scrapped continuously…”

Price discusses the importance of an architecture that remains adaptable, even as time continues to introduce new activities into the space. “In allowing for change, flexibility, it is essential that the variation provided does not impose a discipline which may only be valid at the time of design.” In other words, for Price to accredit a building with being flexible it must last the test of time; true adaptability could not be a fixed solution for a particular moment in time. “Architecture must enable people to think the unthinkable.”

Price eventually put these ideas into practice in a reduced scale at the 1971 Inter-Action Centre in the Kentish Town area of north London. The building constitutes an open framework into which modular, pre-fabricated elements can be inserted and removed as required according to need. Central to his thesis that a building should only last as long as it was useful, the centre was designed on condition that it had a twenty year life span and was accompanied by a manual detailing how it should be dismantled. For Price, time was the fourth spatial dimension: length, width and height being the other three.

is essential that the variation provided does not impose a discipline which may be valid only at the time of the design. It is easier to allow for individual flexibility than organisational change.

Planning for activities must allow for change not only in content but also in means of operation.

This flexible approach extended to all aspects of his work. Finding ingenious and elegant solutions for everyday problems he championed 'anticipatory architecture', firmly believing in impermanent architecture designed for continual change. Price redefined the role of the architect as an agent of change, whose main responsibility was to anticipate that, and offer new possibilities for society as a whole. Constantly challenging and questioning the accepted mores of architecture, his approach was witty and irreverent; he famously suggested that the man hoping to transform his life with a new house might be better off getting a divorce.

Every aspect of each idea was meticulously researched: as if each idea was to be built. By engaging with existing economic, political and structural networks, Price explored architecture's potential to nurture change, intellectual growth and social development. To Cedric Price architecture was not about the finished building but more about an ability to enable and facilitate change in a changing world and to “allow us to think the unimaginable”.

Cedric Price – Activity and Change Cedric Price - Fun Palace In the article, 'Activity and Change,' Cedric Price declares that, “Planning for activities must allow for change not only in content but in means of operation.” I find this quote intriguing, for it makes me think of a regularized system of architecture (such as the open, steel structure) that allows for a variety of different prefabricated units, to perform differently within the Megastructure, interacting with one another at different times, in different ways.

An expendable aesthetic requires no flexibility in artefact but must include time as absolute factor. In allowing for change, flexibility, it 74

The Fun Palace and it was dreamed up by the visionary architect Cedric Price. Price had one of the worst designed-to-actually-built ratios in modern architecture but he was no less influential for it. He unveiled the plans for the Fun Palace in 1960. It was commissioned

by Joan Littlewood.

You could reasonably claim that Price, in effect, envisioned a three dimensional sandbox game, one that has no set story, no predetermined agenda, only an environment that responded to

7 its user's desires and whims. The most mind-blowing thing of all is that Price's design called for it to be dismantled at the end of ten years and the site restored to it's original state. With the Fun Palace, Price responds to social and political issues that go beyond the usual limits of architecture.

Paul Rudolph – The Six Determinants of Architectural Form First determinant of form is the environment of the building and its relationship to other buildings and the site.

The second determinant of form is the functional aspect.

Oswald Mathias Ungers – Architecture as theme It talks about the theme of transformation. Formation is inconceivable without transformation and inversely there is no transformation that does not produce new formation. 'Form is the expression of spiritual content,' and he called for a move away from functionalism and the use of technology for its own sake.

Cristopher Alexander – Notes on the Synthesis of Form The ultimate object of design is form. The form governs the programmatic clarity of the space. The form is the question and its context. It is the solution to the problem. Physical clarity cannot be achieved in a form until a programmatic clarity is achieved. Adaptation must take place independently within independent subsystems of variables. Organisation of complex physical object is hierarchal. Every component has two fold nature- It is first a unit, second a pattern and both a pattern and unit. Every aspect of form, whether piece like or pattern like can be understood as a structure of components.

Peter Eisenman – Cardboard Architecture He speaks about unmediated expression of structural logic through the tactic of transformation. The Distinction of aspects of form relate to programmatic and technological requirements.

The space could be structured so that they would produce set of form relationships which is the result of inherent logic. Manipulation of relationship of colour, texture and shape of built form.

Transformation described as formal actions as shear, compression and rotation to produce a new level of formal information.

The third determinant of form is the particular region, climate, landscape and natural lighting.

The fourth determinant of form is the particular materials which one uses.

The fifth determinant of form is the psychological demand of the space.

The sixth determinant of form is concerned with the spirit of the times.

These six determinants are important to follow in my designing of the structure because I am talking about flexibility for a building to be flexible the selection of materials is critical. The form also needs to be functional since the transformation will cause change in form which has to be taken care of. I am talking about a building for the people it needs to be self sustainable. The demand of the space is such what the people want and not what is provided to them.

Peter Eisenman – Post Functionalism Form is to be understood by a series of fragments. A humanist balance of form and function should build a dialectical relationship. One tendency is to presume architectural form to be a recognizable transformation from pre-existent geometry to platonic solid.

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REFERENCES Tadao Ando – Beyond Horizons in Architecture Architectural thought is supported by abstract logic. Architecture is not a simple method of problem solving where-by given conditions are reduced to technical issues. Architectural creation involves contemplating the originals and essence of a projects functional requirements and the subsequent determination of its essential issues. We must use technology as a tool for our project and let it not govern over the building. The real world is complex and contradictory. At the core of architectural creation is the transformation of the concreteness of the real through the transparent logic into spatial order. The elements of nature – wind, water, light and sky – bring architecture derived from ideological thought down to the ground level of reality and awaken man made life within it.

Sanford Kwinter – Landscapes of Change There is no escaping fact that transformation and novelty are the irreducible qualities that any theory of form would need to confront. He speaks of the revival of geometrical methods to study dynamics and the traditional changes within the system but the qualitative transformation that the system undergoes. Like landscape the form is not fixed things, but continuous metastable events. He speaks of a catastrophe i.e destruction of the attractor and creation of the new one. Catastrophe theory recognises that all form is the result of strife and conflict. It shows the combination of any two or more conflicting forces that may result in entirely irregular and discontinuous behaviour if allowed to interact dynamically.

Lindy Roy – Geometry as a Nervous System She speaks about the Einstein's argument that objects change form when moving with respect to a stationary reference frame 76

and furthermore, are even altered by gravitational force of material bodies present within a given field. Physical motion quite simply is seen as transformative. Potentially all forms of movement that could ultimately be expressed in the world as complex routines occurring in time and space. The spatiotemporal relationships of behaviour and activity emerge incrementally.

What parts move where and when – are not predetermined?

8 Architecture to me has been an enriching experience and has contributed a lot towards developing my self-confidence besides being an eye opener to various aspects of life. Had it not been for this course and the education that this college has given me, I would have been a completely different person.

However, man is not an island in himself and it needed a lot of support from people around me to get me this far. It is a long list of people who I would like to thank. First of all, I'd like to thank my parents for not disowning me despite my temper and my entire family who has tolerated all my tantrums during the entire course.

I would like to thank Prof. Trilochan Chhaya (Dean BSSA) for his guidance. Without him my thesis would not have been possible. I would like to thank him for helping me in the tough times and polishing my design skills. I'm thankful to him for allowing me the freedom I desired to give my best to my project. I'm extremely grateful to him for being there whenever I was in need of any assistance as he has always been there. I would also like to thank Ms. Smita Contractor whose guidance was important in the conceptual stages of the design.

I would like to specially thank Prof. Anand Pandit for guiding me through these five years as he has been one person who helped me improve my thinking ability and to reason out each and everything that I had been doing in my design. His guidance has helped me transform my design to projects which can be actually perceived and built. He has been my guide for several projects during the five years and has also given me guidance in my thesis.

Thank you sir for your support and well wishes I would also like to thank all my professors who have taught me through the entire course and given me all the knowledge about this field.

Last but not the least I would like to thank my entire batch of 2012 for all the times we had during our course of 5 years. Have spent 20% of my life with you guys and you all will always be close to my

heart and I shall cherish all the moments we have shared in the past 5 yrs. Your support has driven me through all the tough times.

I'd like to thank each and every individual who have helped me in my thesis. I would like to especially thank Snigdha Agarwal, Dhaval Chheda, Pinal Desai, Prachi Donde, Palak Gadodia, Varun Gala, Tanuj Jain, Khozema Jawadwala, Divya Kapuria, Palak Kothari, Romil Mehta, Saurabh Mhatre, Amal Roowala, Faris Mohammed, Pankti Sanganee, Pakshal Sanghvi, Gaurav Sardana, Dhwani Shah, Kshiti Shah, Kavan Shah, Mallika Singh, Anisha Verma and Poojan Shah. Without you guys I would not have been able to complete this journey of five years and each and every step would have been really difficult.

I would like to specially thank Faris Mohammed for suggesting me with the title of the project.I would also like to thank some of my juniors for helping me getting my thesis work together. Radha Mehta who has helped me a lot for getting my sections in place and Anirudhan who played a small role in it. Thank you Poojan for helping me finish my models. Special thanks to Maitri who helped me with animating my plans and bearing with me even though you were bored of doing it. Even Pakshal, Huzefa and Karun for clicking my model photos. Amit, our very own librarian who helped me get one of my models as I was really frustrated and had given up on it but then finally completed it after he backed me. A very special thanks to our watchman More for waiting for hours and hours so that we pack up and leave college.

Thank you Pakshal, Romil, Varun, Faaris, Palak Kothari, Prachi and Pankti for bearing with me and my music during the last few days of the compilation as they were the ones who had to tolerate me in class when I use to get completely frustrated. Thank you guys.

Will miss these days of working.

Pardon me if I have missed out anyone for I am absent minded and I seriously need to get some sleep.

- Gaurav Jhunjhunwala

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