1
addition provision architectural portfolio
hardik dedhia
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ADDITION|PROVISION|ARCHITECTURE Architecture, both in In the last five years my learning and consideration, at K. R. V. I. A., the journey has been an art to create spaces, has transformed not only my a form that both in harmony with its architectural understanding, but also context and as an independent entity my social and pedagogical understandings serves its purpose as well as adds its own in various discourses. It has taught me to be experiential qualities. Herein lies my way to an active part of the society with exposing me approach practice. Often while addressing a to numerous problems we face as a community, project, I have faced two aspects of design. How city, country while simultaneously teaching me to provide it with adding design? Thus the two how to address them architecturally. At this point parameters, namely, Provision and Addition, allows I stand in a transitional interface where I retrospect me to easily bifurcate any problem that comes the five years that taught me to take a position on the forth in to its brief and design. The Brief and the practice, which stands just in front of me. imagination of the end product become the Provision Since my exposure to ideas, theories, movements data, while the process of developing it becomes the and methods, I have constantly been absorbing window to insert our addition. Provision may restrict the ways in which they have explored the idea of while addition may set things free. Provision may architecture. They have, in various ways presented standardize but addition will customize. Provision may the diverse approaches one can take to address the separate each aspect while addition stiches it in one challenges put forth to the architect. In a nut shell this whole. Provision may just replicate while addition may has been instrumental towards developing my method interpret. Provision may overpower while addition of approaching architecture. In various interactions negotiates. Provision may seem the most efficient with individuals including architects, increasingly, I while addition could enhance it. This bifurcation gives have found that to them architecture has now been us an advantage to determine the value of both the reduced to providing a service, and that gone are parameters in any given project, generating a vast the days of masters and world building where array of design. design was dictated. Architecture will never be The portfolio I present forth is a selection of reduced to that and according to me, in practice projects, both, academic and personal that it should not be. But on the other hand it has have been approached in the framework transformed and evolved to absorb more and stated above. The scale of the project in more parallel practices to make it richer terms of the framework may vary and and diverse. In the contemporary world, the values are self-assessed. The array we may not have an absolute power of projects display the flexibility of to dictate design, but we certainly the framework from an interior have the skill to add to it and to space to an urban insert. still be in the realm.
RELEVANT EXPERIENCE
3
Chatterjee and Lal. Art Installations Kumar House. Interior Design Patnekar House. Interior Design Entry to the Tata Garden, NCPA. Architecture B. A. Dedhia Office. Interior Design Kumbh Ghat: A Permenant case for the Ephemeral City Fourth Year The Ecological Edge: Re- Imagining the Lower Lake Edge Fourth Year
SELECTED ACADEMIC WORK
Implosive Interstices: Indian Diaspora Community Centre Third Year Jalashay: Alternative Healing and Research Centre Third Year Annexe to the Trust: Madhavbaug Second Year The Act of Offering: Markers along the Coronation Path Second Year Constructing Narratives: The Weaver of Harihareshwar First Year Building Construction and Working Drawings Technology Studio Publication Design KRVIA / KRVIA Design Cell
MISCELLANEOUS
Critical Regionalism - Marginal Practice? Published Article Competition / Exchange / Workshop Miscellaneous Bayul Demazong - Exhibition of Inked Drawings Miscellaneous A take at Photography Miscellaneous
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HARDIK DEDHIA E | hardikded@gmail.com M | +91 976 999 1477 | +91 766 699 1477 A | A/2, Baikunth Park, Laxman Mhatre Road, Navagaon, Dahisar (W), Mumbai - 400068, Maharashtra, India. SEEKING POSITION INTERN LANGUAGES
English | Hindi | Kutchi Gujarati | Marathi REFERENCES Ar. Nemish Shah Principal/Director KSA Architects and Planners Pvt. Ltd., Mumbai. e | nemish.shah@ ksaarchitects.net m | +91 989 226 7235
Ar. Sandhya Shuklabaidya Associate Ratan J. Batliboi Consultants Pvt. Ltd., Mumbai. e | sandhyas@rjbx.in m | +91 982 023 5796
Ar. Shrikant Sathe
Architect and Valuer Sathe and Associates m | +91 982 108 2573
SOFTWARE SKILLS
AUTOCAD 2D AUTOCAD 3D SKETCHUP VRAY/KERKYTHEA RHINOCEROS MS OFFICE SUITE PHOTOSHOP INDESIGN ILLUSTRATOR QGIS HAND DRAFTING MODEL MAKING
EDUCATION
ST. FRANCIS D’ASSISI HIGH SCHOOL BORIVALI, MUMBAI BATCH OF 2009 Represented the School in Hockey - City Level
KAMLA RAHEJA VIDYANIDHI INSTITUTE FOR ARCHITECTURE AND ENVIRONMENTAL STUDIES JUHU, MUMBAI
BATCH OF 2016 HONOURS | 3RD YR. AWARD FOR OVERALL TECHNICAL PERFORMANCE 5TH YR. TEACHING ASSISTANT for First year Introductory workshop named “PETS” Critical Regionalism: Marginal Practice? - Published Article.
ERASMUS MUNDUS EXCHANGE SCHOLARSHIP 2014 École Polytechnique Fédérale de Lausanne | Urban Lab Plus Candidate for participating in a Cluster Meeting, Conference and Workshop on Intercultural Learning and Practice Orientation. KRVIA | EPFL | UDC
COMPETITION ASIAN CONTEST FOR ARCHITECTURAL ROOKIES 2014
PVP COLLEGE, PUNE - presented Indian Diaspora Community Centre, Bangkok. Participation
RELEVANT EXPERIENCE ART INSTALLATIONS | CHATTERJEE AND LAL Designing, Concept Design with AR. Arjun Rathi Ongoing.
INTERIORS: KUMAR HOUSE with Laneesh & Raj Gandhi Ongoing.
“PETS” - FIRST YEAR INTRODUCTORY WORKSHOP
Teaching Assistant Kamla Raheja Vidyanidhi Institute for Architecture and Environmental Studies
INTERIORS: DR. PATNEKAR HOUSE Under Ar. Sandhya Shuklabaidya Ongoing.
INTERIORS: B. A. DEDHIA OFFICE
Basic Layout, Furniture Design, Site Management.
DESIGNED AN ENTRY TO THE NCPA GARDEN Under Ar. Sandhya Shuklabaidya Design, Drawing.
5
A. D. STUDIOS
Broken Objects Understanding Pavillions
What can Architecture do for?
Usgaon, Thane
Drafting Excercise
Annex to the trust
Madhavbaug, Mumbai
Constructing Narratives
NATURE
Indian Diaspora Community Centre Semantics Studio
Yuksom, Sikkim
Harihareshwar
STUDY TRIPS
WORKSHOPS
HARIHARESHWAR Maharashtra
Photography
Internal Workshop
Housing as Habitat Temporary Housing for the Kumbh Mela
YUKSOM Sikkim
AHMEDABAD Gujarat BANGKOK Thailand
NASHIK Maharashtra BHOPAL Madhya Pradesh
Plan “D”
Banner Painting
Theory : The Discovery of Architecture
Internal Workshop
House and Living in the Metropolis
Narendra Dengle M. N. Ashish Ganju Snehanshu Mukherjee
Ashok B. Lall BKC, Bandra, Mumbai
Kaiwan Mehta Thane, Maharashtra
2011
2012
2013
2014
Organized Study Trip to Harihareshwar.
Part of the team Documenting The Bayul Demazong : Sikkim, India (Measured Drawings)
Organized : KRVIA Design Dissertation Award
Editorial Secreatary Student Council
The Narrative Canvas Documenting Harihareshwar Work Exhibited in the Annual Exhibition, KRVIA.
Work Exhibited and Published
Kamla Raheja Memorial Lecture Series and Exhibition
Mumbai
Bhopal Water Diaries Urban Institution
Bhopal, Madhya Pradesh
Dinesh Korjan Internal Workshop
Design Dissertation The Dense Urbitat
Nashik, Maharashtra
Bangkok, Thailand
Tentacles of Inclusion
INSTITUTION ACTIVITES
Alternative Healing & Reasearch Centre Syntax Studio
“PETS” First year Introductory Workshop
Teaching Assistant
Ye Angrezida Nahi Hai Sheema Fatima
Designed the KRVIA Logo Organized : KRVIA Design Dissertation Award
2015 cont... Worskshop Co-ordinator for KRVIA Monsoon Workshop & Kamla Raheja Memorial Lecture Series
KRVIA Monsoon Workshop & Kamla Raheja Memorial Lecture Series and Exhibition PUBLICATION DESIGN
Newsletter 2012 Intern KRVIA
Newsletter 2013
Newsletter 2014
Intern KRVIA
Design / Editorial KRVIA
Language and Identity Studio
Reflections 2014
Design (Ongoing)
Design / Editorial KRVIA
Documenting works of 20th Century Firm : Master, Sathe & Bhuta Project Team Design KRVIA Design Cell (Ongoing)
6
RELEVANT EXPERIENCE
7
RELEVANT EXPERIENCE
Bottom Left: Iterations of Corton Steel Sculptures. (Left - Sculpture inspired from Sacred Geometry and the Logarithmic Curve / Right - Form inspired from the infinite loop. Top Left: Concept of the Sundial Installation. Right Row: Iterations in the Dial design.
8
ART INSTALLATIONS
ART INSTALLATIONS Chatterjee and Lal
Designing, Concept Design with AR. Arjun Rathi Ongoing.
RELEVANT EXPERIENCE
9
ART INSTALLATIONS
Right Column : Ideas for the Skyline Installation. (Bottom & Top Left - The Walking City, Sketched by Kunal Mokasdar. Middle - The City of Interference, inspired from idea of Labyrinths. Left Column : Installation Inspired from Amsterdam’s “LOVE”.
RELEVANT EXPERIENCE
15th Floor Axonometric view showing Design Layout
10
INTERIOR DESIGN
KUMAR HOUSE Interiors| Area : 550 sq.m
Designing, Concept Design with Laneesh & Raj Gandhi Ongoing.
RELEVANT EXPERIENCE
11
INTERIOR DESIGN
16th Floor Axonometric view showing Design Layout
RELEVANT EXPERIENCE
Top : View of the Living Room. Bottom : View of the Sliding Folding Door between the living room and the rest flat.
12
INTERIOR DESIGN
PATNEKAR HOUSE Interiors | Area : 100 sq.m
Designing Under Ar. Sandhya Shuklabaidya Ongoing.
RELEVANT EXPERIENCE
13
INTERIOR DESIGN
Top : View of the TV unit and Study Table in the Bedroom. Bottom Right : View of the Wardrobe and Bed. Bottom Left : Top view of the Dining Area.
14
RELEVANT EXPERIENCE
ARCHITECTURE
ENTRY TO THE TATA GARDEN, NCPA
0.05M [2"]
0.40M [1'-4"]
0.20M [8"]
Area : 50 sq.m Designing Under Ar. Sandhya Shuklabaidya
200 mm Deep Concrete Band
15mm THK Toughened Glass Door Shutter Malad Stone Cladding 5mm Clear Space
Door Plan
1.20M [3'-11"] 5mm Clear Space Floor Spring
Door Elevation
0.30M [1']
1.20M [3'-11"]
0.30M [1']
0.60M [2']
1.20M [3'-11"]
S. S. Door handle
2.40M [7'-10"]
1.20M [3'-11"]
3.10M [10'-2"]
0.10M [4"]
2.40M [7'-10"]
0.70M [2'-4"]
Patch Fitting 15mm THK Fixed Glass Panel 5mm Clear Space Patch Fitting
Section CC
1.20M [3'-11"]
13.16M [43'-2"]
A
B 7.00M [23']
0.
60
[2
']
LVL +0.33M 0. 86 M 0" ]
LVL +0.99M
M
[2 72M 5'4" ]
0. 20 [8 M "]
0. 30 [1 M ']
Steel Railing
1.80M [5'-11"]
7.
B
LVL +0.33M
2.
40 '-1 M 0" ]
[2
'-1
C
[3
1. 00 M '-3 "]
[7
D
N
D 0.33M [1'-1"]
A
C Toughened Glass Patch Fitting Door Expansion Joint
Details of Door at Tata Theatre N. C. P. A., MUMBAI
Sc - 1 : 50
Date: 03.06.2014
RELEVANT EXPERIENCE
15
ARCHITECTURE
0.11M [4"]
0.10M [4"]
0.60M [2']
1BK THK Wall 50mm THK Rough KOTA Flooring 20mm THK Cement Mortar 100mm THK P. C. C. Bed
0.90M [2'-11"]
100 mm THK P. C. C. Coping
0.80M [2'-7"]
100 mm THK P. C. C. Coping 1BK THK Wall 50mm THK Rough KOTA Stone 20mm THK Cement Mortar 100mm THK P. C. C. Bed 230mm THK Dry Rubble Packing 1BK Thk Brick Wall Debris Filling
100mm THK P. C. C. Bed
100 mm THK P. C. C. Coping 1BK THK Wall 50mm THK Rough KOTA Stone Tread & Risers 50mm THK Rough KOTA Stone Flooring 20mm THK Cement Mortar
0.11M [4"]
0.10M [4"]
Section AA(Sc - 1:50)
Section DD
Tread Riser Detail
Ramp Detail
(Sc - 1:50)
(Sc - 1:10)
(Sc - 1:10) 0.60M [2']
50mm THK Rough KOTA Stone in 150 mm Strips 20mm THK Cement Mortar 100mm THK P. C. C. Bed 230mm THK Dry Rubble Packing Debris Filling
Section BB(Sc - 1:50)
100 mm THK P. C. C. Coping 1BK THK Wall 50mm THK Rough KOTA Flooring 20mm THK Cement Mortar 100mm THK P. C. C. Bed
0.90M [2'-11"]
7.0 M [23']
Details of Steps+Ramp at Tata Theatre N. C. P. A., MUMBAI
Sc. - Varies
Date: 03.06.2014
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RELEVANT EXPERIENCE
B. A. DEDHIA OFFICE
3680 [12'-1.0"]
SIDE TABLE
Area : 40 sq.m Basic Layout, Furniture Design & Site Management
810 [2'-8.0"] SIDE TABLE
810 [2'-8.0"]
MAIN TABLE
BACK LEDGE
SOFA
MAIN TABLE
1220 [4']
1220 [4']
1135 [3'-9.0"]
750 [2'-6.0"] PANTRY
PANTRY
3680 [12'-1.0"] 870 [2'-10.0"]
700 [2'-4.0"] 870 [2'-10.0"]
700 [2'-4.0"]
180 [7.0"]
2630 [8'-7.0"]
LIBRARY
1990 [6'-6.0"]
LIBRARY
1250 [4'-1.0"]
3110 [10'-2.0"]
150 [6.0"]
3110 [10'-2.0"]
2020 [6'-7.0"]
920 [3']
1720 [5'-8.0"]
800 [2'-7.0"]
1225 [4']
870 [2'-10.0"]
1055 [3'-5.0"]
750 [2'-6.0"]
720 [2'-4.0"]
1940 [6'-4.0"]
480 [1'-7.0"]
BACK LEDGE
SOFA
SECTION THROUGH CABIN
2985 [9'-9.0"]
MAIN MEASURMENTS IN CM ALTERNATE MEASURMENT IN INCHES 620 [2']
MAIN MEASURMENTS IN CM ALTERNATE MEASURMENT IN INCHES
870 [2'-10.0"]
1530 [5'] 190 [7.0"] 1055 [3'-5.0"]
210 [8.0"]
50 [2.0"]
2250 [7'-4.0"]
2280 [7'-6.0"]
1225 [4']
930 [3'-1.0"]
75 [3.0"]
SECTION THROUGH HALL
3680 [12'-1.0"] 870 [2'-10.0"]
930 [3'-1.0"]
1720 [5'-8.0"]
1825 [6']
600 [2']
600 [2']
1825 [6']
810 [2'-8.0"] 2590 [8'-6.0"]
3110 [10'-2.0"]
290 [11.0"] 1530 [5']
2730 [8'-11.0"]
1220 [4'] 700 [2'-4.0"]
640 [2'-1.0"] 930 [3'-1.0"]
MAIN MEASURMENTS IN MM ALTERNATE MEASURMENT IN FEET-INCHES
520 [1'-8.0"]
1720 [5'-8.0"]
750 [2'-5.0"]
600 [2']
3430 [11'-3.0"]
2590 [8'-6.0"]
1200 [3'-11.0"] 2590 [8'-6.0"]
1200 [3'-11.0"]
2860 [9'-4.0"]
920 [3']
450 [1'-6.0"]
1940 [6'-4.0"]
1990 [6'-6.0"]
2110 [6'-11.0"]
1135 [3'-9.0"]
1525 [5'] 300 [1']
450 [1'-6.0"]
600 [2']
600 [2']
1940 [6'-4.0"]
900 [2'-11.0"]
870 [2'-10.0"]
900 [2'-11.0"]
1800 [5'-11.0"]
865 [2'-10.0"]
685 [2'-3.0"]
685 [2'-3.0"]
1990 [6'-6.0"]
450 [1'-6.0"]
700 [2'-4.0"]
1990 [6'-6.0"]
1040 [3'-5.0"]
300 [1']
900 [2'-11.0"]
900 [2'-11.0"]
1135 [3'-9.0"]
1525 [5']
865 [2'-10.0"] 870 [2'-10.0"]
600 [2']
621 [2']
1800 [5'-11.0"]
700 [2'-4.0"]
621 [2']
685 [2'-3.0"]
450 [1'-6.0"]
685 [2'-3.0"]
1990 [6'-6.0"]
900 [2'-11.0"]
1135 [3'-9.0"]
930 [3'-1.0"]
2810 [9'-2.0"]
600 [2']
600 [2']
900 [2'-11.0"]
1800 [5'-11.0"]
300 [1']
1880 [6'-2.0"]
1800 [5'-11.0"]
300 [1']
1880 [6'-2.0"]
1040 [3'-5.0"]
This leaf : Left & Middle Column : Iterations of the Furniture Layout Right Column : Base Drawings of the Site. Opposite : Top Row: Iterations of the Owners Table and Library + Storage. Bottom : Front view of the Cabin.
INTERIOR DESIGN
17
18
SELECTED ACADEMIC WORK
19
FOURTH YEAR
This leaf : Night time view of the Kumbh Ghat. Opposite : Top : Birds eye view of the Overall Site. Bottom : View of the Akhada.
20
ARCHITECTURAL DESIGN
FOURTH YEAR
21
ARCHITECTURAL DESIGN
FOURTH YEAR
22
ARCHITECTURAL DESIGN
Top Left : Raza S. H., 1913, The Bindu, Oil on Canvas. Top Middle: The Concept of the Kumbh Ghat. Middle : Iterations of the Masterplan. Bottom : Images Showing the History of Shifting Sadhugram and the future Uncertainity.
KUMBH GHAT
A Permenant case for the Ephemeral Megacity Nashik, India.
PR
O
EX EX EX IS IS IS PO TIN TIN TIN SE G G G D A R R RO KH OA IVE AD AD DS R A S
EM M BH PR M ER ARK O OC AIN J G EN ETS AN ESS OP IO E G / C SH HA N N S Y C EN OP RS PAT PAC H TR S E E
PL P P O LO LO T T T SIZ SIZ SIZ E E E /0 / / 3 02 01
Studio Housing as Habitat Sem VII | Area : 68 Acres The master plan emerges from the idea of the bindu : here the central open space. It appears as a void but is the centre of all energy : the central node for all activities. Though is is a void it presents itself everytime you walk around it thus connecting you to its energy. Further ahead the physical : the site is then further divided into its enegergy quadrants : the sectors and connects it back to itself as a strong visual connection in a radial yet grid masterplan. The kumbh ghat then becomes the marker of permanence to the mela forever. The Site is divided into its two most important parts viz. the land and the water. Once the two are understood in isolation the synthesis of the project emerges at the interface where the two meet. It transforms the banal proposals of the existing masterplan into a dynamic entity with a gesture so large in scale that the ephemeral city has a character to itself. Thus, the permanence of the interface i.e. the KUMBH GHAT then becomes the identity of the ephemerality! It becomes the icon to the city of kumbh.
1943-1955
1967
1979
1991
2003
2015
2027
?
CROSS SECTION THROUGH KHALSAS FOURTH YEAR
SERVICE SPACES 2000 SQ.M
ENTRY POINTS 2000 SQ.M
LEELA 4000
GHAR SQ.M
EXIT POINTS 2000 SQ.M
MEDITATION SPACE 11450 SQ.M
AKHADA GHAR
BHOJAN GHAR AKHADA LEVEL 1250 SQ.M
BHOJAN GHAR KUMBH MELA LEVEL 8250 SQ.M
HOSPITALS / EMERGENCY CENTRES / FIRE CENTRES 7000 SQ.M
23
ARCHITECTURAL DESIGN
Top Right : Schematic Section of the Sadhugram. Bottom Right : Master Plan Sinhasta Kumbh Mela,Kumbh Ghat. Top Left : Program Area Diagram. Bottom Left : Finalised Idea of the Masterplan.
SCHEMATIC SECTION THROUGH THE SITE
LATERAL SECTION THROUGH KHALSAS AND AMENITIES ADMINISTRATIVE CENTRES 2500 SQ.M
TOTAL AREA 68 ACRES KUMBH GHAT + OPEN AREA 2200 SQ.M
MARKET SPACES 2500 SQ.M
KHALSA GHAR 91 MAHANTS WITH THEIR KHALSAS OF SADHUS
1 ACHARYA MAHAMANDALESHWAR 2 MAHAMANDALESHWARS 20 MANDALESHWARS WITH THEIR SADHUS AND STAFF
KUMBH GHAT MASTERPLAN CROSS SECTION THROUGH THE WHOLE SITE sc 1 : 1000
CROSS SECTION THROUGH KHALSAS
LEELA GHARS MAHANTS RESIDENCE
LATERAL SECTION THROUGH KHALSAS AND AMENITIES
KUMBH GHAT MASTERPLAN sc 1 : 1000
PO
LI
H
C
E
C
LE
EL
A
G
M
ED
M H EA A ITA RKE LTH TS TI C O EN AR / N AD ENT S TR G ES R. MI RES N
LEELA GHARS MAHANTS RESIDENCE
FOURTH YEAR
24
ARCHITECTURAL DESIGN
Top : Block Matrix of five Different Cluster Layouts. Bottom Left : Typical Cluster Plan - 1. Bottom Right : Cluster Sections.
1
THE SITE : 35 X 35 M AREA 1225 SQ . M SERVICES 75 OPEN SPACE 200 NET AREA 950 SQ . M
2
THE GROUND LEVEL IS MARKED AS PER THE FOOTPRINT OF THE LAYOUT
3
THE PLINTH LEVEL IS ADDED AS A CONNECTOR AND A GATHERING / COMMUNITY SPACE
4
COURTYARDS OF VARIOUS DOT THE LAYOUT WITH TRANSITION SPACES AND ARE SHADED
5
THE SERVICE BLOCKS ARE STRATEGICALLY PLACED ACCORDING TO ACCESS AND USAGE
6
MULTIPLE HOUSING UNITS SIT IN THE PLACE TO ENCLOSE THE CLUSTER SITE
7
THE RESIDENTS OF NEW SADHUS TO BE INDUCTED ADDED NEAR THE PLINTH FOR NEAR ACCESS TO MAHANT AND DISCIPLES
8
THE RESIDENCE OF THE MAHANT’S DISCIPLES SITS NEAR THE MAHANT’S RESIDENCE
9
THE MAHANT’S RESIDENCE A DOUBLE TIER SPACE FORMS THE ENTRANCE TO THE CLUSTER WITH ITS OWN PRIVATE FLOOR
+ 6.75 M
+ 0.30 M
+ 0.15 M
+ 3.95 M
+ 3.75 M
+ 3.95 M
+0.75 M
+ 0.75 M
+ 0.75 M
+ 0.90 M + 0.55 M + 0.15 M
0.00 M
+ 0.90 M
+ 0.90 M
+ 6.15 M
+ 3.15 M
+ 0.90 M UP
0.00 M
+ 0.75 M
+ 0.15 M
UP
+ 0.15 M
+ 0.30 M
+ 0.75 M + 0.15 M
+ 0.30 M 0.00 M
+0.15 M
PLAN @ +1.5 M
PLAN @ +1.5 M
C
+3.15 M
25
FOURTH YEAR
+3.15 M +2.85 M
+2.65 M
ARCHITECTURAL DESIGN +0.15 M
0.00 M
SECTION B - B
0.00 M
d r a w i n g s
a r e
a t
s c a l e
1
:
5 0
a l l +3.15 M
+3.15 M
+2.65 M
+2.65 M
d r a w i n g s
a r e
B
a t
s c a l e
1
:
B
+0.15 M
C
0.00 M
UNIT TYPE 1 5 0
+6.15 M
A
A
A
C
+3.15 M
A
PLAN @ +1.5 M +3.15 M +2.85 M
+2.65 M
FRAME : DEODAR PLANKS WRAP : TREATED CANVAS SHEET ROOF : LDPE SHEETS FOUNDATION : CEMENT BUCKET PLINTH : MUD BRICKS GROUNDCOVER : TURF
PLAN @ +1.5 M C
GUTTER FRAME
+0.15 M
0.00 M
SECTION D - D
+0.15 M
+3.15 M
+3.15 M +2.85 M
+2.65 M
E
meeting space
DN
+3.15 M
+3.15 M
+2.65 M
+2.85 M
D
D
D
D
+3.15 M
+0.15 M
0.00 M
0.00 M
SECTION C - C
0.00 M
SECTION B - B
C
B +0.15 M
PLAN @ +1.5 M C
+6.15 M
+6.15 M +5.65 M
B
B +0.15 M
+3.15 M
+0.15 M
0.00 M
SECTIO
DN
D +0.15 M
WIRE MESH
UP
bedroom space
PLAN @ + 0.9 M TREATED CANVAS SHEET
SECTION C - C
+6.15 M
PLAN @ + 4.0 M E
PLAN @ + 0.9 M
PLAN @
TIMBER FRAME BAMBOO FRAME
C
0.00 M
UNIT TYPE 1
FRAME : M. S. / CERAMIC EXTRUSION WRAP : AIR FILLED SCRREN BAGS ROOF : LDPE SHEETS FOUNDATION : CEMENT BUCKET PLINTH : MUD BRICKS GROUNDCOVER : TURF
P L A N @ + 4 . 0 M0.00 M E
PLAN @ + 0.9 M
SECTION B - B
C
0.00 M
B
0.00 M
SECTION C - C
B
+0.15 M
+3.15 M
UP bedroom space
+0.15 M
B
SECTION D - D
meeting space
+0.15 M
SECTION B - B
0.00 M
SECTION E - E ROOF RAFTERS
C
UP 0.00 M
+6.15 M
+3.15 M
E
PLAN @ +1.5 M
C
0.00 M
Right Column: Exploded Axonometrics of a typical tent. Top Left : Detailed Drawings, Tent Types. Bottom : Axonometric views of two Clusters. +5.65 M
+3.15 M
SECTION E - E
SE
ISOME
PLAN @ +1.5 M C
LDPE SHEET AS ROOFING
+6.15 M
DN +3.15 M
UNIT TYPE 2
LDPE SHEET GUTTER
+0.15 M
SECTION D - D
C
B +0.15 M
A +0.15 M
0.00 M
PLAN @ +1.5 M
B
+0.15 M
+0.15 M
0.00 M
0.00 M
+5.65 M
+3.15 M
+2.65 M
SUNIT E C T SIZE I O N : B3.5 - M B X 10.0 M OCCUPANCY : 12 C SADHUS
0.00 M
0.00 M
+3.15 M
SECTION C - C
0.00 M
SECTION A - A
C
+0.15 M
0.00 M
SECTION B - B
+5.65 M
A
0.00 M
FRAME : M. S. / CERAMIC EXTRUSION WRAP : AIR FILLED SCRREN BAGS +3.15 M ROOF : LDPE SHEETS
0.00 M
SECTION A - A
0.00 M
+2.85 M
+2.65 M
FOUNDATION : CEMENT BUCKET +2.65 M PLINTH : MUD BRICKS GROUNDCOVER : TURF
PLAN @ +1.5 M C
0.00 M
+3.15 M
ISOMETRIC OF UNIT TYPEC 2 - BIG
+6.15 M
SECTION A - A
PLAN @ +1.5 M
C
+3.15 M
SECTION C - C
C 0.00 M
a l l
+0.15 M
+0.15 M
0.00 M
UNIT TYPE 2
B
FRAME : DEODAR PLANKS WRAP : TREATED CANVAS SHEET ROOF : LDPE SHEETS FOUNDATION : CEMENT BUCKET PLINTH : MUD BRICKS GROUNDCOVER : TURF
B +0.15 M
PLAN @ +1.5 M C
CROSS BRACING
UNIT TYPE 3 FRAME : BAMBOO WRAP : SPLIT BAMBOO SCREEN ROOF : LDPE SHEETS FOUNDATION : CEMENT BUCKET PLINTH : MUD BRICKS GROUNDCOVER : TURF
PLAN @ +1.5 M C +6.15 M
+6.15 M +5.65 M
THICK CARPET AS FLOOR COVER
+6.15 M
+6.15 M +5.65 M
THICK CARPET AS FLOOR COVER
+3.15 M
+3.15 M
+3.15 M
+3.15 M
+3.15 M
+3.15 M
MUD BRICK PLINTH
MUD BRICK PLINTH
+0.15 M
0.00 M
SECTION D - D
+0.15 M
0.00 M
+0.15 M
0.00 M
SECTION E - E
SECTION D - D
+0.15 M
0.00 M
E
SECTION D - D
+0.15 M
meeting space
D
D
D
D
+3.15 M
+0.15 M
+3.15 M LDPE SHEET AS ROOFING
UP
UP PLAN @ + 4.0 M E
bedroom space
PLAN @ + 0.9 M
LDPE SHEET AS ROOFING
UP
bedroom space
PLAN @ + 0.9 M
EXPLODED AXONOMETRIC OF UNIT TYPE 3 - SM
DN
D +0.15 M
ISOMETRIC OF UNIT TYPE 3 - BIG
meeting space
DN
+3.15 M
UNIT SIZE : 3.5 M X 10.0 M OCCUPANCY : 12 SADHUS
EXPLODED AXONOMETRIC OF UNIT TYPE 2 - SMALL
E
meeting space
D
0.00 M
ISOMETRIC OF UNIT TYPE 2 - BIG SECTION E - E
E
DN
+0.15 M
+0.15 M
0.00 M
SECTION E - E
PLAN @ + 4.0 M E
bedroom space
PLAN @ + 0.9 M
PLAN @ + 4.0 M E LDPE SHEET GUTTER
GUTTER FRAME
ROOF RAFTERS ROOF RAFTERS
WIRE MESH
TIMBER FRAME
TREATED CANVAS SHEET
BAMBOO FRAME BAMBOO FRAME
CROSS BRACING
SPLIT BAMBOO SCREEN
THICK CARPET AS FLOOR COVER
UNIT SIZE : 3.5 M X 10.0 M OCCUPANCY : 12 SADHUS
ISOMETRIC OF UNIT TYPE 2 - BIG
ISOMETRIC OF UNIT TYPE 3 - BIG
THICK CARPET AS FLOOR COVER
MUD BRICK PLINTH
UNIT SIZE : 3.5 M X 10.0 M OCCUPANCY : 12 SADHUS
MUD BRICK PLINTH
LDPE Sheet as roofing 2 nos. 25 MM THK 100 mm Deodar Wood planks Dowel to bond the Rafters
LDPE SHEET AS ROOFING
LDPE SHEET AS ROOFING
Wire Mesh LDPE Sheet as roofing EXPLODED AXONOMETRIC OF UNIT TYPE 2 - SMALL
Treated Canvas Sheet
25 MM THK 100 mm Deodar wood cross bracing
LDPE SHEET GUTTER
GUTTER FRAME
ROOF RAFTERS ROOF RAFTERS
EXPLODED AXONOMETRIC OF UNIT TYPE 3 - SMALL
WALL SECTION sc 1 : 10
FOURTH YEAR
26
ARCHITECTURAL DESIGN
Diagrams Delayering the idea of the Masterplan.
THE ECOLOGICAL EDGE
Re-Imagining the Lower Lake Edge Bhopal, India.
Studio Bhopal Water Diaries Sem VIII | Area : 40,000 sq.m
THE PARK
THE INNER CITY
THE NEIGHBOURHOOD
RESPONDANTS
CONTAINER & CONTAINED
THE OVERLAP
THE TRAIL
THE VISUAL CONNECT
TREATING WATER
LEARNING COVES
PANCHAKKI REUSED
ARTIFICIAL WETLAND
27
FOURTH YEAR
Top Right : Diagram representing the Masterplan Scheme. Bottom : The Ecological Edge Masterplan.
I
The Condition called to reimagine the way the wall could be rethinked and executed on site. It called for a softer barrier that in a way cordened off the misuse of the lake but also provided the direct relationship to the water edge that was lost in the course of time. Thus the ECOLOGICAL EDGE, as a soft barrier manifests on site. The edge takes into consideration all the characteristics of the respondants and enhances the experience in their respective contexts. The Overlap is places itself on the site with various strategies and components that are further delayered.
ARCHITECTURAL DESIGN
R E R U N O G T N Y IN K R A P C
IT
Y
E
C
E
TH
A
P CA
T A G O IN B ILD BU
R D W A ICES OFF
M
AS
S
D
N
LA
S AY ST
T U MP T I VS A E AD E U I R S U RK
PA
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E ON NSI XTE ND E L A S OO NG TRE VIS SCH EARNI S CEN AR S L JAN E N ARE THE ECO SANITORIUMS LO G IC A L A W EDGE / C O N T IN U O U S / B IN DER
TH D EE AC H O CO V IT I V I T I EB I LO S AS R GH GI ET A CA R J AINE T LE A D PA DG N SSI E/ VE DR CO AIN AG NT ES YST
EM
S!!
IN
UO
US
/B IN
DE
R
C
A
B
D
B
C
A
D
FOURTH YEAR
Top Across: Site Section through the Boat Making Workshop and the Context. This Leaf : Middle : Cross Section through the Bada Talab, The City Museum and Chota Talab. Bottom : Plan of the Detailed Area of Design.
28
ARCHITECTURAL DESIGN
FOURTH YEAR
29
ARCHITECTURAL DESIGN
From Second to Bottom : Sectional Elevation of the School Extension. Section Through the Mechanical Laundry Area. Section throught the Boat Making Workshop. Lateral Section through the Administrative Building.
+ 7.65 M + 4.05 M
+ 3.05 M
+ 2.05 M
+ 8. 0 0 M + 5.00 M
+ 8. 0 M
+ 3.50 M
+ 8.6 M
+ 8.6 M
+ 5.0 M
+ 5.0 M
+ 2.00 M
+ 0 .5 M
THIRD YEAR
Night Time View of the IDCC
30
ARCHITECTURAL DESIGN
THIRD YEAR
31
ARCHITECTURAL DESIGN
Day Time View of the IDCC
32
33
IMPLOSIVE INTERSTICES Indian Diaspora Community Centre. Bangkok, Thailand.
Studio Semantics. Sem VI | Area : 6000 sq.m The Indian diaspora community centre emerges from the search of language and identity in architecture. It gets form from the idea of a hybrid that the project addresses. The site situated in Bangkok known as Phahurat is an Indian settlement is that has inhabited the area since about seven decades and has flourished in trade and other businesses. The trade is primarily a bustling textile and jewellery market with other businesses like travel agencies and accommodation facilities for visiting traders and workers. With all the bustle the site has a canal passing through its eastern edge. The canal is a part of the three ring canal system in Bangkok. A very humble scale of the space then, now the canal is dotted with hard edged buildings that no longer utilize the canal as a vibrant recreational or release space. Instead small home restaurants and shops have completely screened the canal away from the sight of any individual who is walking the streets of Phahurat. When we visited the site and toiled the dense fabric of the settlements, I noticed the experience of these narrow by lanes in which the people trade and live. To me these INTERSTICES (POINT) became the site! It exists within a realm that is neither Indian nor Siamese. It wants to be neither of the above completely, but wants to be an equal part of both. Its identity lies in an uneasy line somewhere at the center of both these identities. Onward in the project when we started developing the idea, I realised the need of a release space the site lacked. With my initial
operative being PERMEATE, the design resulted in another dense block with just a tiny volume as the release! With a series of further site installations and models, the word IMPLODE was chosen to be as an operative to guide the project into a form. The diagram you see on the panel explains the series of steps taken. “In a Dense and Compact urban setting, the allotted site is imploded with water. The existing built-form implodes into a mass creating a release space on site. The form derives itself after the operated program.� The site in its requirements or characters lacked the need of activities and functions related to the Indian way or methods that lead to many problems that the inhabitants faced. Thus the programs of the community centre as you can see on the sheets provided the necessary activities to the community. Explain the programs! Though the scale may seem controversial or just out of place and the approach drastic, design is a manifestation of the idea which intends to install the hybrid on the site through the variety of program it bears. As a whole the Indian Diaspora Community centre becomes a landmark to the city!
THIRD YEAR
Left Column : Process Models. Middle Column : from top, Overall City Level Plan Marking the IDCC. Site Plan. Ground Floor Plan.
34
ARCHITECTURAL DESIGN
THIRD YEAR
35
ARCHITECTURAL DESIGN
Top : Diagram representing the idea of Implosion and the evolution of form. Bottom : Design Sections.
THIRD YEAR
Top : Front View of the Institution. Bottom : Rear View of the Institution.
36
ARCHITECTURAL DESIGN
THIRD YEAR
37
ARCHITECTURAL DESIGN
THIRD YEAR
Left : Concept Model Diagram showing the evolution of the Design. Bottom : Process Models.
38
ARCHITECTURAL DESIGN
JALASHAY
Alternative Healing & Research Centre.
Usgaon, Thane.
Studio Syntax. Sem V | Area : 1000 sq.m
By placing a block on site, spaces according to the programme were carved out, so creating alternate solid and voids giving the institution multiple entry points. With this operation levels were split thus opening the eastern edge completely to the reservoir which in turn becomes a promenade in the recreational realm. Below is a series of process models that intensively explored the idea of the project.
THIRD YEAR
39
ARCHITECTURAL DESIGN
Top Right : Design Sections. Top Left : Wall Section cum Detail View of the Elevation Treatment. Bottom Left/Right : Plans at Various levels of the Institute. Bottom : Process Models.
SECOND YEAR
Left Column: Cards representing the Idea. Middle Column : Representative Images of the Seven Offerings.
40
ARCHITECTURAL DESIGN
THE ACT OF OFFERING The Markers of Offering
Yuksom, India
Sem IV | Area : 500 sq.m
WATER INCENSE FLOWERS LIGHT PERFUME FOOD MUSIC THE INFERENCE
“I feel that many of our confreres do not believe that we are psychologically constituted to conver our quality of monumentality to our buildings. But havewe yet given full architectural expression to such social monuments as the school, the community or cultural centre? What stimulus, what movement, what social or political phenomenonshall we yet experience? what event or philosophy shall give rise to a will to commemorate its imprint on our civilization?” - Louis Kahn ‘Monumentlity’ The above quote taken clearly suggests the intend that i wish to take ahead. After seeing the offering, its act, details and all it was clear that it was no longer 7 cups of water for me. it was something that was to be bought out of homes and the shrine tables and to be celebrated through the architecture that the form of the act of offering informs.
SECOND YEAR
41
ARCHITECTURAL DESIGN
Right Column : Top - Section through water plaza. Middle - Cross Section through Museum. Bottom - Plan of the Museum. Left Column : Agro Office & Granary. from top Cross Section Lateral Section Plan
SECOND YEAR
Top : Front View from the Site Entrance. Bottom : Birds eye view of the Public Section.
42
ARCHITECTURAL DESIGN
ANNEXE TO THE TRUST Madhavbaug, Mumbai.
Sem IV | Area : 500 sq.m
SECOND YEAR
43
ARCHITECTURAL DESIGN
Top : Front Elevation. Middle : Cross Section. Bottom left/Right : Plans at various Levels.
FIRST YEAR
44
ARCHITECTURAL DESIGN
THE WEAVER OF HARIHARESHWAR Harihareshwar, India.
Sem II.
Walking through the lanes of the village, I come across the place where the rocky land meets the sea. In a corner there sits a man who weaves a simple net from a dusty looking poky thread. It looked no good to me until I knew what lied in it. He weaved a destiny, a superstition. The net was weaved to keep in it a white old looking melon that together worked as a shield to the evil. An “amrit” to the connoisseurs of the village, it would keep every bad eye away from their business. It keeps everything going good. He weaved good future for them, good prosperity for them. He was like a religious warrior fighting the evil for them. The man who weaved it was no good to see. A half bald head with wrinkles over it, thick cloudy glassed spectacles over a old face with a rough beard, his mouth accompanied by a smoke always, face with almost no expression, his rugged working hands with nerves bulging out, and a stained shirt over a withered dhoti. People from the vicinity would come to pick the shield. They believed in it deeply and had faith in the man. They would worship him as god. He wouldn’t even charge for his art but the mass paid it back through a lavish home they built for him and the facilities he was provided with. Still the veteran would bear no pride for his works. The abode of the man was just like a grand palatial house of a common man. Big enough to accommodate his family. He was lived by his wife, a son, a daughter and his mother. The palace was amidst the lush green terrain and was surrounded by the sea. The place was very cool even during the afternoons. Every facility was provided for the lord’s family. Still the family being self-reliant never accepted over-help. They had a small farm of their own where they grew their own vegetables. They had their on well. Every morning as the sun raised from the terrain behind the lord would wake up. Getting ready after, he would start walking
FIRST YEAR
on the concrete road that the village had built. Firstly, comes the lush green paths filled with banyans, teak, mangoes and coconut. Then the brown mainland would blend into it perfectly. All over the terrain, the houses were on above the other. Every road that crossed the main, would take you to a different level, a different area of caste, of priority. Midway, the man would stop at a workers courtyard to collect the bunch of thread. People who saw him would join their hands in respect and worship. Children going to school often touched his feet and go. He walked down the street towards the market. On his way to the temple he would sit on a bench of his friends shop to sip some hot tea. Then after, he would step into the temple promenade, where he struck the bell, prayed to his god and then march towards the steps upwards to complete the “Pradakshina” of Harihareshwar. The path directed towards a beautiful landscape as the stairs went down. I see two cliffs merging into the sea. They were just like a glass holding an elixir! Down there huge rocks and sea cut terrain welcomed. The gushing waves, the pleasing breeze, the shining sun completed it as if god had painted this and man had dreamt of it. The weaver walked and then marched towards the tree of melons where he weaved. The place where the lord worked was beautiful. Where the fertile mountain land met the rocky bed, where the grain of the soil mixed well with the erosion on the bed, the tree of the old melons just stood there at that juncture. As old as the god of harihareshwar, the tree had a huge girth and expanse. Its leaves wide and short and the melons light in shade fell after they ripe and then were kept there for some days so they grew old and turn white. The tree took its fruits from both the lands, as the melons where tough and firm from outside and tender from within. The man worked as if he is in her mother’s lap. Such was the aura the tree gave out. They called it the tree of ‘arjuna’ as it protected the village from evil. Said was that the elite decided to cut the tree to build houses for them but in vain. The roots of the tree were so deep that no man could destroy it. A tree of gods for the lord!!! He sat here and weaved his powers into the net.
45
ARCHITECTURAL DESIGN
46
This Leaf : Site Development Plan. Opposite : Typical Floor Plan Wall Section
WORKING DRAWINGS
FIFTH YEAR
47
FIFTH YEAR
WORKING DRAWINGS
THIRD YEAR
This Leaf : Heavy Battened Door and Details Opposite : M. S. Truss and Roofing
48
BUILDING CONSTRUCTION
THIRD YEAR
49
BUILDING CONSTRUCTION
50
FOURTH YEAR
BUILDING CONSTRUCTION
This Leaf : Diagrid Slab Opposite : Auditorium Balcony and Acoustics
12000
12000
12000
12000
12000
12000
20 MM Ø Collumn R.F. 10 MM Ø Links @ Varied Centres 600 x 600 MM R. C. C. Column 16 MM Ø M.B.
Z
10 MM Ø Links @ Varied Centres 12 MM Ø Stiffner R/F
12000
10 MM Ø Stiffner Links 12 MM Ø Drop Bar 12 MM Ø R. F. A 150 MM C/C 10 MM Ø Links @ Varied Centres 12 MM Ø Stiffner R. F. 10 MM Ø Stiffner Links
SECTION - DETAIL AT Z Sc 1 : 10
15 MM Cover
0
700
0
550
00
12 0
0 20
0
12
60
0
00
12
KEY PLAN Sc 1 : 250
435 250
SECTION - DETAIL AT Z Sc 1 : 10
1
0 00
600 x 600 MM R.C.C. Column 10 MM Ø Links @ Varied Centres 8 nos. 20 MM Ø Column R/F 16 MM Ø Main R/F 10 MM Ø Links @ Varied Centres
16 MM Ø Main R/F 10 MM Ø Stiffner Links 12 MM Ø Stiffner R/F 12 MM Ø R. F. @150 MM C/C 12 MM Ø Stiffner R/F
+ 11.70 M
0
60
+ 6.30 M
0
25
0
25
75
0
+ 0.90 M
KEY SECTION Sc 1 : 250
R 450 R 200
IMAGE OF THE FINAL DIAGRID SLAB
550
00
12
PLAN - DETAIL AT Z Sc 1 : 10
16 MM Ø Main R/F
FOURTH YEAR
51
BUILDING CONSTRUCTION
DN
GENERAL NOTES SPECIFICATIONS :
group changing room UP
ELEC.
AHU
UPPER FOYER + 8.90 m
UP
dn
cafe +0.60 m
LOWER FOYER + 0.60 m
Key Section Sc 1:250 UP
UPPER FOYER +8.90 M
25 mm THK T.W. Boarding in 2 layers 100mm THK Cellulose Fibre #1 backing 20 mm THK Plaster Board 1200x1200mm rehearsal room + 9.35 m 75 mm THK Stone Masonary Cladding ISA 100x50x5 mm @ 1200 mm C/C Fabric Upholstered Seats 40 mm THK Capert Flooring with Coir back storage Underlaying stage aisle + 1.35m R. C. C. Precast Treads for Seating Rich Grouting Between Two Treads 25 mm THK T.W. Boarding with Filler and Uplight Pelment Arrangement Raker Beam @ 3.8 m C. 500mm Wiast 24 mm Ø tor M.B. 4 nos. 10 mm Ø tor Links @ 150 mm Centres 1100x550 R.C.C. Post Tension Fulcrum Beam 1100 x 550 mm R. C. C. Post Tension Beam Multi Tendon Core 50 mm cover catwalk area
dn UP
group changing room
DN
administration
Key Plan Sc 1:500
longitudinal Section Sc 1:100
AN
- All Dimensions on the sheets are in millime unless specified at locations. - Do not scale the given Drawing under circumstance. - Follow the written dimension only. - The Drawing is a Copyright Property of Architect and must not be copied or changed un any circumstances. - For Structural Dimensions, Electrical and any o details refer relevant drawings. - Any Discrepancies should be brought to the no of the Architect before the Commencement of relevant work. - All Walls are Burnt Brick Masonry Walls. -Throughout the Building Internal Plaster is 18 and External Plaster is 25mm. - All Open Terraces to be finished with Brick Coba Laid to a slope of 1 : 100or else as specified - No Harm in any form shall be done to structural cables at the end of the slab. - All Acoustically treated material should be execu in specified details and shouldnt be changed un any circumstance. - All Ducting done for Mechanical Ventilation, Conditioning, etc that is top hung should be f taking into account the structural drawings and sh be done at the right position. - All Duct Doors should have 2 hours of fire rating - Fire Escape Doors should have 2 hours of fire ra - All Mechanical Rooms shall be Fitted with Dry C panels for Fire Safety
SC 1:10
510
10
00
K EY PLA N
N A M E
:
AUDITORIUM BALCONY
510
300
160
S H E E T
S I G N A T U R E :
100
10
00
1000
800
500
T.W. Rail With Down Light Pelmet 25 mm THK T.W. Boarding
P R O J E C T
15
0
50x75 mm T.W. Frame 600 C/C
Detail Sc 1:20 Precast treads for Seating Balcony Detail Sc 1 : 20 1800
ISA 100x100x8 with top plate 50 mm THK Ferrocement panels to profile 75 mm THK Cellulose Fibre #2 Backing Cloth as Cover to the Cellulose ISA 75x75x5 @650mm centres. ISC 75x75x5 with Light Fixture. 25 mm THK T.W. Boarding in 2 layers 100mm THK Cellulose Fibre #1 backing 20 mm THK Plaster Board 1200x1200mm Raker Beam @ 3.8 m C. 500mm Wiast 75 mm THK Stone Masonary Cladding 24 mm Ø tor M.B. 4 nos. 25 mm THK Stone Flooring 10 mm Ø tor Links @ 150 mm Centres 50 mm THK Screeding 12 mm Ø tor Chairs @ 1200 mm Centres 1100 x 550 mm R.C.C. Post Tension Fulcrum Beam 125 mm THK R. C. C. Slab Multi Tendon Core 12mm Ø tor M.B. @ 150 mm centres 450 x 250 mm R.C.C. Beam 10mm Ø tor D.B. @ 150 mm centres
N A M E
:
INDIAN DIASPOR COMMUNITY CENTR BANGKOK, THAILAN
KAMLA RAHEJA VIDYANID I N S T I T U T E F O ARCHITECTURE AN ENVIRONMENTAL STUD H A R D I K
D E D H
BUILDING CONSTRUCTIO
FOURTH YEAR B.ARC R OL L NO : 41 5 SEAT NO: 0000 SHEET NO.
05
FIFTH YEAR
52
BUILDING CONSTRUCTION
This Leaf : Timber Staircase and Details Opposite : Timer Wardrobe and Details
K
K
W
53
1050
EXTERNAL ELEVATION Sc 1:25
2100
600
15 MM Groove as Handle Castors
EXTERNAL ELEVATION Sc 1:25
1320
800
700
1600
620
EXTERNAL ELEVATION Sc 1:25
15 MM X 15 MM Timber Cleats
1320
10 MM THK Plywood with Laminate 19 MM THK Plywood with Laminate
700
800
1180
1 BK THK Masonary Wall
410
800
15 MM Groove as Handle
1050
Magnetic Push/Pull Spring
140 2190
KEY PLAN Sc 1:50
300
S. S. Finish Flushed Drawer Handle
135 135
Side Cabinet
900
6MM THK Plywood Partition
62.5
Keyhole
500
8 MM THK Mirror 15 MM Groove as Handle to open Shutter
190
10 MM THK Plywood Backing 8 MM THK Mirror 10 MM THK Clear Sheet Glass Shelfs 15 MM Groove as Handle to open Shutter
190
25 MM Ø Hanging Rod
Meeting Stile
190
100 MM Brass Butt Hinge
GENERAL NOTES SPECIFICATIONS :
190
19 MM THK Plywood 100 MM wide T.W. Stiles - 20 MM THK Polished 20 MM Ø S.S. Finish Studs
15MM x 30MM T.W. Frame 100 MM Brass Butt Hinge 100 MM wide T.W. Stiles - 20 MM THK Polished 20 MM Ø S.S. Finish Studs Loft Space
190
1050
160
600
250
1050
300
300
1200
900
BUILDING CONSTRUCTION
700
FIFTH YEAR
19 MM THK Plywood with Laminate 100 MM Brass Butt Hinge 100 MM wide T.W. Stiles - 20 MM THK Polished
- All Dimensions on the sheets are in unless specified at locations. - Do not scale the given Drawing circumstance. - Follow the written dimension only. - The Drawing is a Copyright Prope Architect and must not be copied or chan any circumstances. - For Structural Dimensions, Electrical and details refer relevant drawings. - Any Discrepancies should be brought to of the Architect before the Commencem relevant work. - All Walls are Burnt Brick Masonry Walls. -Throughout the Building Internal Plaste and External Plaster is 25mm. - All Open Terraces to be finished with Coba Laid to a slope of 1 : 100or else as sp - No Harm in any form shall be do structural cables at the end of the slab. - All Acoustically treated material should b in specified details and shouldnt be chan any circumstance. - All Ducting done for Mechanical Ven Conditioning, etc that is top hung shou taking into account the structural drawings be done at the right position. - All Duct Doors should have 2 hours of fir - Fire Escape Doors should have 2 hours o - All Mechanical Rooms shall be Fitted with panels for Fire Safety
K EY PLA N
SC 1
620
Rod Holder 25 MM Ø Hanging Rod 19 MM THK PLywood with Laminate 10 MM THK Clear Sheet Glass Shelfs
DETAIL OF DOOR HINGE AND MEETING STILE Sc 1 : 5
12 MM THK Plywood with Laminate 15 MM THK Plywood with Laminate Telescopic Channels 12 MM THK Plywood Divider With Laminate
190
190
190
2100
190
190
KEY SECTION Sc 1:50
12 MM THK Laminated Plywood S H E E T
160
15 MM THK Laminated Plywood
250
Magnetic Push/Pull Spring Castors
19 MM THK Laminated Plywood
30
Telescopic Bearing Channel
INTERNAL SECTION Sc 1:25
6 MM THK Edging Strip
AT SHOE DRAWER
AT LOFT
HA NDLE GR OOV E DETA ILS SC 1 : 2
WARDROBE SHUTTER
100 MM Brass Butt Hinge
280
1000 495
480 156 156 156
570
480
9823
4815
X
DRESSING TABLE DRAWER
SIDE CABINET
WARDROBE
DRESSING TABLE
WARDROBE
12MM THK Plywood Backing 10 MM THK Clear Sheet Glass Shelfs 15MM x 30MM T.W. Frame 12 MM Plywood with Laminate 6MM THK Plywood Partition 15 MM THK Plywood 100 MM wide T.W. Stiles - 20 MM THK Polished 20 MM Ø S.S. Finish Studs
PLAN AT +1000 MM Sc 1:25
SIDE CABINET
WARDROBE
PLAN AT + 500 MM Sc 1:25
DRESSING TABLE
WARDROBE
100 MM wide T.W. Stiles - 20 MM THK Polished 20 MM Ø S.S. Finish Studs
:
WARDORB CABINET S I G N A T U R E :
20 MM Ø S.S. Finish Studs 100 MM wide T.W. Stiles - 20 MM THK Polished P R O J E C T
N A M E
:
INDIAN DIASP COMMUNITY CEN BANGKOK, THAIL
DETAIL AT X Sc 1 : 2
10 MM THK Plywood Backing 100 MM wide T.W. Stiles - 20 MM THK Polished 12 MM THK Laminated Plywood Sheet 15MM x 30MM T.W. Frame 12 MM Plywood with Laminate 6MM THK Plywood Partition 15 MM THK Plywood
N A M E
S. S. D-Brackets 100 MM Brass Butt Hinge 19 MM THK Laminated Plywood 10 MM THK Clear Sheet Glass Shelfs
KAMLA RAHEJA VIDYA I N S T I T U T E ARCHITECTURE ENVIRONMENTAL ST H A R D I K
D E D
8 MM THK Mirror
BUILDING CONSTRUC
6 MM THK Edging Strip
FOURTH YEAR B. R OLL NO : 41 5
DETAIL OF DRESSING TABLE CABINET Sc 1 : 10
SEAT NO: 0000 SHEET NO.
0
54
MISCELLANEOUS
55
PUBLICATIONS
56
KRVIA DESIGN CELL
DOCUMENTING WORKS OF 20TH CENTURY FIRM : MASTER, SATHE & BHUTA
Top : Cover Page. Bottom : Interior Photographs of the Sea Face Park.
Project Team: Design
Draft in Progress
KRVIA Design Cell (Ongoing / Stage one completed)
Documenting 20th century work of the firm Master, Sathe & Bhuta
1
Top : Living room of one of the luxury apartments Bottom left : Connecting corridor with patterned tiling by Bharat Tiles and Marble Co. Bottom right : View of the sea from one of the apartment blocks. Previous pageTop left : Staircase with teak wood railing. Top right : Central office of the colony Bottom left : Main entrance of a block Bottom right : Elevator shaft
The treads and risers were with teak wood handrail. The doors and windows were Burma teak panel frames and shutters. The bathrooms had glazed tiles..The corners/ junctions of floors and dados had quarter circular tiles. The fittings were all ‘Shanks’ make, European W.C.s were floor mounted and wash basins had pedestals with separate taps for hot and cold water.There were even bidgets separate from W.C.s. The swimming pool had a screen wall of teak wood jali and brick pillars and RCC slab. This was mainly done to have privacy for the ladies swimming.
38
Draft in Progress
Draft in Progress
Near the eastern end which is close to the main gate of the garden had a office for the whole colony. It was a circular room with large glass windows.
Documenting 20th century work of the firm Master, Sathe & Bhuta
Documenting 20th century work of the firm Master, Sathe & Bhuta
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KRVIA DESIGN CELL
BALCONY 4'-2" X 6'-10"
BEDROOM 18'-0" X 13'-6"
BEDROOM 18'-0" X 13'-6" DINING ROOM 13'-4" X 18'-0"
DRAWING ROOM 14'-6" X 22'-0"
DRAWING ROOM 14'-6" X 22'-0"
Top : Lateral Section through on typical Buiding, Bottom Right : Plan of Typical Floor. Bottom Left : Plan of Ground Floor.
BALCONY 4'-2" X 6'-10"
BEDROOM 18'-0" X 13'-6"
BEDROOM 18'-0" X 13'-6"
DINING ROOM 13'-4" X 18'-0"
DINING ROOM 13'-4" X 18'-0"
DRAWING ROOM 14'-6" X 22'-0"
DRAWING ROOM 14'-6" X 22'-0"
DINING ROOM 13'-4" X 18'-0"
LIFT 4'-6" x 5'-0" STORE (LOFT ABOVE) 6'-9" X 7'-3"
AREA 7'-6" X 9'-0"
PANTRY (LOFT ABOVE) 8'-6" X 8'-0"
KITCHEN 8'-3" X 12'-0"
KITCHEN 8'-3" X 12'-0"
PANTRY (LOFT ABOVE) 8'-6" X 8'-0"
AREA 7'-6" X 9'-0"
STORE (LOFT ABOVE) 6'-9" X 7'-3"
STORE (LOFT ABOVE) 6'-9" X 7'-3"
BEDROOM 18'-0" X 13'-6"
BEDROOM 18'-0" X 13'-6"
SERVICE ROOM 8'-6" X 13'-6"
AREA 7'-6" X 9'-0"
PANTRY (LOFT ABOVE) 8'-6" X 8'-0"
KITCHEN 8'-3" X 12'-0"
KITCHEN 8'-3" X 12'-0"
PANTRY (LOFT ABOVE) 8'-6" X 8'-0"
AREA 7'-6" X 9'-0"
STORE (LOFT ABOVE) 6'-9" X 7'-3"
BEDROOM 18'-0" X 13'-6"
BEDROOM 18'-0" X 13'-6"
SERVICE ROOM 8'-6" X 13'-6"
SERVICE ROOM 8'-6" X 13'-6"
SERVICE ROOM 8'-6" X 13'-6"
BALCONY 5'-2" X 7'-4" BEDROOM 18'-0" X 13'-3"
BALCONY 5'-2" X 7'-4"
BEDROOM 18'-0" X 13'-3"
BEDROOM 18'-0" X 13'-3"
BEDROOM 18'-0" X 13'-3"
BALCONY 8'-8" X 4'-2"
6"
2' 1'
NOTE: THE DRAWING IS TRACED FROM THE DRAWING PROVIDED BY M/S. MASTER, SATHE AND BHUTA (DETAIL PAPER) AND THE SEA FACE PARK CHSL OFFICE (AMMONIA PRINT ON PAPER).
GROUND FLOOR PLAN SEA FACE PARK, WARDEN ROAD, MUMBAI. for SETH MAFATLAL GAGALBHAI
BALCONY 8'-8" X 4'-2"
10'
6"
5'
RETRACED DRAWING BY: HARIDK DEDHIA. DESIGN CELL, KAMLA RAHEJA VIDYANIDHI INSTITUTE FOR ARCHITECTURE AND ENVIRONMENTAL STUDIES, JUHU, MUMBAI. 12TH MAY, 2015
20'
ORIGINAL DRAWING BY: M/S. MASTER, SATHE AND BHUTA. CHARTERED ARCHITECTS 34-38, HAMMAM STREET, FORT, MUMBAI. 27TH APRIL 1938.
2' 1'
NOTE: THE DRAWING IS TRACED FROM THE DRAWING PROVIDED BY M/S. MASTER, SATHE AND BHUTA (DETAIL PAPER) AND THE SEA FACE PARK CHSL OFFICE (AMMONIA PRINT ON PAPER).
TYPICAL FLOOR PLAN SEA FACE PARK, WARDEN ROAD, MUMBAI. for SETH MAFATLAL GAGALBHAI
10' 5'
RETRACED DRAWING BY: HARIDK DEDHIA. DESIGN CELL, KAMLA RAHEJA VIDYANIDHI INSTITUTE FOR ARCHITECTURE AND ENVIRONMENTAL STUDIES, JUHU, MUMBAI. 12TH MAY, 2015
20'
ORIGINAL DRAWING BY: M/S. MASTER, SATHE AND BHUTA. CHARTERED ARCHITECTS 34-38, HAMMAM STREET, FORT, MUMBAI. 27TH APRIL 1938.
11'
11'
11'
BEDROOM
DINING ROOM
DRAWING ROOM
DRAWING ROOM
DINING ROOM
BEDROOM
DRAWING ROOM
DINING ROOM
BEDROOM
DRAWING ROOM
DINING ROOM
11'
11'
BEDROOM
DINING ROOM
DRAWING ROOM
11'
11'
BEDROOM
DINING ROOM
DRAWING ROOM
BEDROOM 6"
2' 1'
TYPICAL FLOOR PLAN SEA FACE PARK, WARDEN ROAD, MUMBAI. for SETH MAFATLAL GAGALBHAI
10' 5'
NOTE: THE DRAWING IS CONSTRUCTED FROM THE RETRACED PLANS AND THE DETAILS REFERRED FROM THE SCHEDULE GIVEN ON THE ORIGINAL DRAWING PROVIDED BY SEA FACE PARK CHSL OFFICE (AMMONIA PRINT ON PAPER)
20'
RETRACED DRAWING BY: HARIDK DEDHIA. DESIGN CELL, KAMLA RAHEJA VIDYANIDHI INSTITUTE FOR ARCHITECTURE AND ENVIRONMENTAL STUDIES, JUHU, MUMBAI. 12TH MAY, 2015
ORIGINAL DRAWING BY: M/S. MASTER, SATHE AND BHUTA. CHARTERED ARCHITECTS 34-38, HAMMAM STREET, FORT, MUMBAI. 27TH APRIL 1938.
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KRVIA
REFLECTIONS 2014
Top : Cover Page. Bottom : Design of the Index Page.
Editorial / Design
KRVIA Annual Publication
The ModernisT subalTerns Mirrors and MasKs ModerniTY aPProXiMaTelY
WhY e Y
T h e eVerYdaY C i T Y reGional ModernisM? The e ?
reWorKed ModerniTies
CraFTinG buildinGs in Modern TiMes
b e i n G (is) eVerYThinG
CoMPanY ToWn uToPia
ThaT basTard WiTh The neW edGe
CriTiCal reGionalisM MarGinal PraCTise?
h o u s e oF deaTh dialeCTiCal noTions oF ModerniTY
direCTorY For reiMaGinaTion sTruCTurinG reneWal oF MuMbai
susTainable TransiTion
Food CiTY M u M b a i rohan siVKuMar
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hussain indoreWala
leKha saManT
Jinish GadhiYa
abhiJiT eKboTe
shirish Joshi
ruPali GuPTe
Mihir desai
ViKraM PaWar
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deePshiKha JaisWal
CollleCTinG landsCaPe: earTh sKY and inbeTWeen
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P r a JaK Ta GaW de eXPloraTion oF arChiTeCTure as insTallaTion
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le Kha saManT Mihir d esai
W o o d s beTWeen T h e W o r l d s
92
CheTan KulKarni
102 108
a r i J i T s e n
Yu - lianG lu
inFrasTruCTure as arChiTeCTure
Jinn oF T a i C h u n G eCol oGY u r b a n s Y s T e M
nibediTa Mishra
110
shWeTa WaGh
118 132
Wei-Che Fu
hiral saTra
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KiMaYa KelusKar
140 148
Yen h si u-Y u
i d e a o F CoMMuniTY MeTaPhoria
hardiK dedhia
150 164 b oW en Y an G
ainsleY leWis
166 178 raJ J i desai
The Food h Y P e r W a s T e densiFiCaTion oF W o n d e r l a n d neiGhbourhoods
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KRVIA
NEWSLETTER 2014 Editorial / Design
USM’s Kamla Raheja Vidyanidhi Institute for Architecture and Environmental Studies
KRVIA Annual Publication
Top : Cover Page. Bottom : Design of the Index Page.
NEWSLETTER
PUBLISHER : Aneerudha Paul USM’s Kamla Raheja Vidyanidhi Institute for Architecture and Environmental Studies, Vidyanidhi Marg, JVPD Scheme, Juhu, Mumbai - 400076. Web : www.krvia.ac.in
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EDITORIAL TEAM: Hussain Indorewala Hardik Dedhia Sachi Mavinkurve
If there is one thing that architecture is about; it is learning. A holistic learning that surpasses learning theory or learning to make a plan. It is learning from yourself; your intuition, learning from each other and learning from those who built before us.
DESIGN TEAM : Hardik Dedhia | VI Akshay Aditya | VI Jash Soni | VI Sachi Mavinkurve | III Aishwarya Pradhan | II Sanika Ghaisas | II Avni Raut | II Deep Vora | II Disha Parekh | II Nupur Gandhi | II Pranay Khanchandani | II
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- Louis I. Kahn
Architectural learning is an understanding of how buildings work, cities work and how people interact with architecture. Architecture and people are closely knit and depend on each other. Creating better and more efficient architecture is something that is developed over the years along with the ability to take an idea to a level of complete resolution. This happens through various stages of development, diagramming, modelling, iterations and resolution. The ability to do this gets honed over these five years.
“I learn more from creative people in other disciplines than I do even from other architects because I think they have a way of looking at the world that is really important.” - Tom Kunding Every year has a new kind of learning that is imparted through a variety of methods and projects. Beyond this realm of education there are means that expose the students to various methods of looking at architecture, notions, and positions which broadens their perspective. The newsletter talks about each phase and showcases work done in the same. Also, it showcases the methods beyond purely academic means that shape the student.
Sachi Mavinkurve / Hardik Dedhia
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ARTICLE CREDITS : Jay Shah | I | Studio Experience | 12-13 Riddhesh Ghadi | II | Studio Experience | 24-25 Parth Batavia | II | Studio Experience | 28-29 Akshay Aditya | III | Studio Experience | 38-39 Mrinali Gokani | III | Studio Experience | 44-45 Chetan Kulkarni | IV | BUILDING FOR A SOCIAL MÂCHÉ | 52-55 Shivani Shah | IV | HOUSE AND WATER | 56-57 Mihir Desai | II | Inheritance | 68-69 Lekha Samant | II | The “Swap“ City | 70-71
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“ Every time a student walks past a really urgent, expressive piece of architecture that belongs to his college, it can help reassure him that he does have that mind, does have that soul. “
C O N T E N T S
JUN’ 2013 - MAR’ 2014 ISSUE
65
11I
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KRVIA
HOUSING AS HABITAT
Top : Cover Page. Bottom : Design of the Index Page.
Building Alternative Futures Housing Studio Design and Compilation
KRVIA Semester VIII
B U I L D I N G A LT E N A T I V E F U T U R E F O R H O U S I N G
SEM VII ARCHITECTURAL DESIGN STUDIO 2014-15 NASHIK MAHARASHTRA K . R . V. I . A .
MAP OF NASIK
GANGAPUR pg 67-87
PANCHVATI pg 29-51 TAPOVAN pg 05-27 AMARDHAM pg 91-99
M.I.D.C. AMBAD pg 53-65 DEOLALI pg 101-117
H O USI NG AS H ABI TA T / NA SH I K 2014
HOUSING AS HABITAT
PUBLICATIONS
FROM GRAMMAR TO LANGUAGE
Language and Identity Studio Studio Syntax/Semantics Design and Compilation KRVIA Semester VIII
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KRVIA
PHAHURAT
Top : Section page. Bottom : Section page.
Surrounded by the busiest market, Phahurat or better known as little India of Thailand is a neighbourhood in the Phra Nakhon district of Bangkok, Thailand. History has it that a huge fire erased the Cambodian settlement initially present in the area, making way for the redevelopment of roads and neighbourhoods. With the construction of Bahurada road the area developed and is now popularly known as Phahurat. Years later, Indians started settling in Bangkok especially in Phahurat as the word has a close audible relation to Bharat. They were mostly Sikhs, coming from Burma, Rangoon and India into Thailand and were welcomed by the then king, Rama V. Life was hard then and the community didn’t have access to a Gurudwara. Prayers were held at home in rotation on Sundays and religious days. Time passed and more and more families started settling in the neighbourhood. A spiritual institute was more in need than anything. The Siri guru Singh Sabha Gurudwara was built and since then it has been the centre for all religious, social, cultural activities of the community.
LOCATING STUDIOS 10
STUDI O 6 - BANGKOK 2013-14 - SEMANTI CS
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STUDIO 6 BANGKOK 2013-14 From Grammar to Language - Language & Identity Studio, K. R. V. I. A., Mumbai.
1. CANAL SITE 2. GURUDWARA AND INDIA EMPORIUM 3. PARKING LOT 11
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C R I T I C A L R EG I O N AL I SM M A R GI NA L P R ACTI C E? Coming from a context that has always led the world, Kenneth Frampton pens down a theory that inspires a generation of practices. ‘Towards a Critical Regionalism’ as he terms, is a simple reaction to the fast moving practice of a stamp architecture that was going on then. The period of wars had devastated many cities and civilisations and when nations were rebuilding themselves, the modular and repetitive solutions of the modernist gave rise to the alienated architecture of the cities. In a very small time frame, the fabric, the quality of space, the networks, the culture, the society of the cities changed. More so, the country or the
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rural context also wasn’t spared of the brutal solutions. The projects then were only solution-giving exercises where the giver (Architect) knew only the optimum requirements needed by a person for everything he did. All human functions, ways of living, work, and behaviour were being quantified into numbers or spaces. Post-modernism revolted back with principles of reviving the past as against the modernists who discarded it. It was based on returning back to that ornamental aesthetic which the modernists had ruled out. Postmodernists returned with the “with, ornament and reference” against minimalism and international style. But it was a victim of its own success. Post modernism started romanticising the past rather than analysing it. Just like
a mark, a broken pediment topped the AT&T Building by Philip Johnson in New York 1984. Putting ornaments (on buildings) was just a popular trend (Populism) and was not critically looked at. The “diverse aesthetic” wasn’t really reflected in what was built. Paul Ricoeur in his book History and Truth describes “he current state of destruction of traditional culture and its impetus by the universalization of civilization. The transition towards a mediocre civilization makes homogeneous the various cultures of the world problematizing the new growth of ‘underdeveloped’ cultures. The cultural past is put into question in the move towards modernization. Ricoeur questions “How to become
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modern and to return to sources; how to revive an old, dormant civilization and take part in universal civilization. This question asserts the necessity of a historic model of continuous evolution whereby lessons of the past inform future moves. However there often exists, as Ricoeur states, the requirement to abandon a whole cultural past in order to take part in modern civilization. If critical regionalism is a solution then one would want to know how a region is to be (re)defined under the circumstance of whole cultural abandonment and therefore its shifting boundaries.”[1] “Perhaps it’s an over-reaction. But, at least in the North American situation, it became rather clear to me that there was this sort of very polarized discourse between high-
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tech on one side - although there is a very primitive school of high-tech in the United States compared to what is happening in England - and what I referred to, perhaps with somewhat unfair pejorative implications, as a kind of scenographic reduction of architecture to a scenography which makes a very gratuitous, or parodied, use of historicist motifs.”[2] -K. Frampton He (Frampton) created a Framework of seven points that stated in a serial manner the thought process of how he imagined the contemporary architect to be taking much from Alexander Tzonis and Liliane Lefevre’s book “The Grid and the Pathway.” Frampton discards the Avant-Garde by saying,
“Critical regionalism is “also a sort of resignation, a sense of holding operation, a sense of resistance. It is an attempt to preserve some ideal of what has been or what is today’s culture. It is in a way attempting to put on the brakes of the avantgarde pendulum. Again we see the reactionary aspects attempting to reach stable ground but ineffectual politically. But is it really a region that is being lost to the media industry? So far there has been little said about actual regions. The discussion has focused around socio-political groups. What is a region? What is regional?”[3] -K. Frampton The above mentioned holding position has a name, arriere-garde. It is situated equally between the ‘Enlightenment myth of progress’ and
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the reactionary return to vernacular forms. Frampton proposes that this arriere-garde position will generate a resistant, identity-giving culture having discreet recourse to universal technique. Given a name, the position of the architect is then strategized. Thus, Critical Regionalism now forms a gateway through which any humanistic architecture of the future must pass. Critical regionalism will bridge the spectrum between universal civilization and the particularities (sense) of place. To maintain its critical edge one needs to be aware of the draw of Populism. This movement seeks to economically supplant reality with information, often in the form of imagery found in advertising. Critical regionalism, situated between and beholding, simply requests the recognition of both world culture and universal civilization. This recognition must mediate world culture by ‘deconstructing’ the eclecticism of acquired alien forms of the International style and the universal civilization by limiting the economy of technological production. With every point in the essay, Frampton goes a mile ahead into detail addressing projects from larger language and identity to minute details of tactility and tectonics. In the contemporary sense, Critical Regionalism was manifested in three broad methodologies of practice. - The Vernacular - Concrete Regionalism - Critical Regionalism ........................................................
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I “I never build for a class of peoplehigh income, middle income or low income groups or tribes or fisherman. I only build for a Matthew, a Bhaskaran, a Muneer, and a Sankaran.” - L. Baker In the Vernacular sense of regionalism, Laurie Baker’s body of work confronts the real sense of place. His experiments in construction with brick at the heart of his projects and his perfect understanding of site, context, weather and microclimate lead to a legacy of projects that in its true sense was responsive. He drew a creative sustenance from the environment in which he works, absorbing vernacular patterns of construction and individual styles of living to such a degree that he was able to deal with and address all issues of his clients in all respects. Baker’s Loyola Women’s’ Hostel is a great example where all his experiences are manifested into one project. A balance between the human scale and proportion, the project nestles into the landscape seamlessly. The intermediate courtyards and jali screens in the corridor make the transition spaces livelier. More than anything the chapel proves Baker’s mastery over light and climate. ........................................................
II “I have always believed in the Act of Discovery rather than creativity. Any work that Exists, or which has the potential to exist is related to Discovery. We do not create the work. I believe that we are discoverers. I see architecture as a path of Discovery and that is very important for me. I have learned through observations rather than text.”[4] -G. Murcutt Moving ahead comes Glenn Murcutt, a Pritzker Prize receiver and one of the most respectable architects in Australia. He graduated from the Sydney Technical College in 1961. In his early years, Murcutt worked with architects like Neville Gruzman, Ken, Woolley, and Bryce Mortlock who were instrumental in exposing Young Murcutt to their Style of organic vernacular architecture which focussed on relationships with nature. Within the next 8 years Murcutt established his own practice in 1969. THE STARTING POINT AND THE CORE IDEOLOGY: In one of the conversations with Sean Godsell, Murcutt describes where he started from and encompasses his base ideology: “My First new Building was my brother’s house in Belrose. First of all simplicity is a very important area of thinking. I refer to simplicity as another face of complexity - otherwise, it’s simplistic. And that’s entirely different. So you can start for example with a fraction of twelve over twenty-four, you can go six over four or you can go
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Top : Glenn Murcutt, Ball-Eastaway House, Initial Sketch.
one over two. We can further go to point five. And I like that very much, so I’m trying to find that lowest common denominator all the time. So I can take it further and Embody all other things that I’m wanting to achieve. for ex. to make a marvellous stock, you take a bone, you take vegetables, you put all sort of things in and you boil it away until it comes down to the essence. It comes down to the cup. So you get the essence of all the flavours which become the beginning of the next. And the beginning of the next is what I’m interested in because you’ve taken the flavours- you have understood what you have done. Now take all the flavours and think how can you expand those flavours? So, I relate that stock to be another idea, the development, rather than jumping and saying “I’m
going to try and fry this one”,” or I’m going to do a roast on this one or maybe I’m going to stew on this one and so on.”[5]
explores a new expansion to it. The Design then bears that move, that shift, that development which has excited him!
So here Murcutt is in a constant search all the time in terms of
The important qualities that Murcutt bears is his indigenous hold on how to tackle climatic conditions, and his extremely deep knowledge in understanding of materials. The former years of Murcutt’s practical side of childhood life where he laid bricks, transported them, cut timber vertically, without all the sophisticated tools has a very important place in his idea of a building. This love of detail to him is the part of a whole. To me, he is one of those architects who has made the leap from conceptual to technical form with the skill to manoeuvre all at once. Also if you look at all the plans of his works, you may find a very strong
-Order. -Structure. -Space. -Light. -Performance. -Relation with the site. -Climatic Conditions. -Client’s likes and responses. METHODOLOGY: He refines the idea of the house (Like Understanding the flavours of the stew) where he discovers a slight different move or development and
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relation to those of Mies van de Rohe. Simple (not simplistic) yet beautiful; with much lesser complexities and then comes the section where the structure reveals itself through extensive use of materials (here he differs from Mies as Mies used less materials, rather a few whereas Murcutt explores through local materials), mature understanding of details and beautiful visualization and manifestation of Architecture. Another very important point to direct you to be that during the accelerating three decades of being in practice, Murcutt has become a respected model in alternative ethical approach. It means that the architecture that he practices - which is personal, local craft, hand drafted and meticulously understanding social, ethical, cultural and ecological values of construction and construction processes - has provided worldwide encouragement and inspiration for architectural education and small practices. Murcutt widely works with small scale houses, public centres, etc. The Marie Short House (Casa Marie Short) 1974-75 Remarkable earlier projects of Murcutt. Here, Murcutt explores the client’s collection of timber. The whole house is designed around the dimensions of the timber that was provided. And the whole house is designed in such a way that it can be dismantled. This is Murcutt’s approach to material. The detail of using a curved ridge section junction with a pitched roof provided a ventilation slot and at the same time broke the scale of the roof down. There are two
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diaphragms placed at the northern plane of the house which admit winter sunlight and until the equinox, sunlight directly pours into the core of the house. The roof is pulled up by two thirds and the corrugation is placed in such a manner that sucks in the cold winds and air flows like a cylinder along every corrugation. This is Murcutt’s indigenous approach to climate!
- over a period of three months the leaves weave a fine mat. The roof is such that the leaves tip off through the 45 degree slope into the one meter wide gutter and as the rainwater arrives, it moves centrifugally and a beautiful birdlike nest of leaves is deposited on the ground. This is an important observed and manifested climatic response of Murcutt!
Ball- Eastaway House (Casa Ball Eastaway) 1982-8
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The house was designed for two painters, Sid Ball and Lyn Eastaway. They were to relocate from their inner city house and studios to an isolated bush land site. Again a free plan, the house simply docks in along a rock shelf just beneath a huge shelf of sandstone. The house has no contact with the ground so that the overflow of the nearby stream can easily run off through the natural slope of the site. The aspiration of achieving ecological houses in harmony with nature such as the Farnsworth house by Mies Van der Rohe or Maison de Verre by Pierre Chareau becomes reality with contemporary materials used by Murcutt and they also combine the strength of essential livestock and the fragility of the module space. Here Murcutt’s details of stopping the wall corrugated sheet which sits beautifully on a wall frame revealing the fabrication and wall thickness, the proportion of the square gutter to the whole roof and the independent entry portal are explorations in materials. Using the eucalyptus trees on site
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The Marie Short House (Casa Marie Short) 1974-75
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Palmyra House, Studio Mumbai.
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III “The Studio wants to use the Indian landscape as a resource; to create spaces that are in tune with local climatic conditions, and with the available materials and technologies. -B. Jain The next step is Studio Mumbai. Ar. Bijoy Jain’s practice mainly works in and around Alibaug. Here, now I draw a contradiction to what the paper has discussed till now. Building in a context like Alibaug, the practices that Studio Mumbai adopted aren’t completely marginal or critical. The language of every project comes from rigorous mock up models of real materials made by the workshop to scale. The practice mediates in creating a new language of the home in the regional context. But it hasn’t succeeded in conjuring a diversity in the overall language it represents. The projects are more exotic than regional. Perhaps the reason is that the people whom they are built for affects the choice of language of the project. The “expensive exotic” reflects in it where power meanders. The notion of the craftsman at the centre of the process and the idea of the “labour” and “performance” stretches too long. In contrast to his pictures of building process which were always about showing the craftsman at work, the completed building project do not show any sign of habitation. The finished building spaces celebrate the sanctity of empty space balanced through immortal forces like light and air, but not life. Buildings are not to be as messy as their processes. All
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the mess – the non-communication, confusion, abstraction, and non-clarity is a matter of the gestation period. The final realized buildings fit into modernist sensibility designed for quite a modern lifestyle. They do not embrace the conventional domestic ways in which people live. But also, these houses are weekend-homes designed for rich clients who have enough money to afford another house away from the busy city after all! Thus, they can not only afford the luxury of experimentation of form and space (the needs of mortality do not really bother the projects). This is exemplified by a 5-tonne stone specially sent over from a quarry to adorn a barren courtyard, pulled into it by a host of workmen. The projects see the aestheticization of human limitations to the maximum. The Photoshop images of each worker arranged in classy wedding-card like grids on each slide pushes for an attempt to be coherent, however constantly bothered me. I find the one of his problems must have been to demonstrate the elapse of time into the building process, which static entities like pictures do not capture. It is the building process that finds his deepest interest. These processes work towards crafting an object which can be inhabited. Ultimately, architecture only becomes an object of beauty, needless to say, it also encapsulates the aesthetic of culture. ........................................................
CONCLUSION: Critical Regionalism brought to us the humane perception, by resisting the visual and thus the perspective of Western tendency. Perspective as rationalized sight suppresses the senses causing a distancing similar to what Heidegger has called “the loss of nearness.”[6] The tactile physically opposes this visual surfacing of reality, a medium conditioned predominately by the media industry and showing up in the architectural works of Graves, Venturi, etc. The return to touch will realize the poetics of construction, the tectonic. And the region? It has vanished. What about the “marginal practice”? It has succumbed to experimentation funded by the rich. Then, is this romanticising of the exotic sanctum spaces Critically Regional? ........................................................ NOTES : [1] Paul Ricoeur. 1965. History and Truth. Evanston: North-western University Press, [2][3] Kenneth Frampton in responding to the question of why he is making the plea for regionalism, in “Regionalism, A Discussion with Kenneth Frampton and Trevor Boddy” The Fifth Column, 1983, Summer, p. 53-57. [4][5] Excerpts from 163/164 El Croquis - Feathers of Metal p.7-27 [6] Poetry, Language, Thought (Author: Martin Heidegger - Harper Collins Publishers Limited, 1975) BIBLIOGRAPHY - Towards a Critical Regionalism: Six Points for an Architecture of resistance - Luis Barragan: The Quiet Revolution (Editor: Federica Zanco - Barragan Foundation & Vitra Design Museum 2001) - Quotes takes from Laurie Baker: Life, Works, Writing (Author: Gautam Bhatia Viking 1991) - Theories and manifestoes of Contemporary Architecture (Editor: Charles Jencks and Karl Kropf Wiley-Academy 1997) - http://www.lauribaker.net - http://www.ozetecture.org
MISCELLANEOUS
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COMPETITIONS
ASIAN CONTEST FOR ARCHITECTURAL ROOKIES Domestic Competition. Project : Indian Diaspora Community Centre, Bangkok, Thailand. Participation.
PVPCOA, Pune, 2014.
MISCELLANEOUS
INTERCULTURAL LEARNING & PRACTICE ORIENTATION. Erasmus Mundus Exchange Scholarship 2014
École Polytechnique Fédérale de Lausanne | Urban Lab Plus
Candidate for participating in a Cluster Meeting, Conference and Workshop KRVIA | EPFL | UDC
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EXCHANGE PROGRAM
MISCELLANEOUS
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MATERIAL WORKSHOPS
WOOD WORKING WORKSHOP
Constructed the Dubdi Monastery Model scale 1 : 5
KRVIA Semester IV
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THE NARRATIVE CANVAS Documenting Harihareshwar Group Work
KRVIA Semester II
MISCELLANEOUS
This Leaf : Overall plan of the Coronation Throne site. and Details Opposite : Top: Overall Plan of Yuksom Bottom: Section through the Coronation Throne Site
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HAND INKING
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EXHIBITING BAYUL DEMAZONG
Second Yr. B.Arch Stusy Trip
Yuksom, Tashiding, Khecheopalri
Group Co-Ordinator, Exhibition Design. KRVIA Semester IV
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A TAKE AT PHOTOGRAPHY
Architectural and others.
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