JHANANI PALANISAMY
RHODE ISLAND SCHOOL OF DESIGN M.ARCH 2018
CONT
COLUMNS OF MASTER’
DICHO
R I S D A D VA N
HOUSE OF
WORK AS INDEPEN
CULTURAL RETRE
B AC H E LO R
SOLAR TRIAN
R I S D I N T E G R AT E D B
SURFACE
RISD MAKING OF DESIG
RESEA
R I S D C O M P U TAT
TENTS
F SOME KIND
S T H E S I S ................... 01
OTOMY
C E D S T U D I O ............... 13
F LAKSHMI
N D E N T A R C H I T E C T ......... 25
EAT AT SIRKAZHI
R ’ S T H E S I S .................. 39
NGULATION
B U I L D I N G S Y S T E M S ........ 47
TENSION
G N P R I N C I P L E S S T U D I O .... 53
ARCH
T I O N A L D E S I G N ........... 59
COLUMNS OF SOME KIND KINETIC, STRUCTURAL, FORMAL, PERIODIC AND INTERACTIVE ELEMENTS OF ARCHITECTURE
R I S D M a s t e r ’s T h e s i s Thesis Advisor: Carl Lostritto Fa l l ’ 1 7 - S p r i n g ‘ 1 8 Architects and designers exist within the matrix of artificial intelligence and animate tools, therefore we are faced with the task of examining what it means to ‘humanize’ architecture and foster a tangible and intangible interaction with the spaces we inhabit. The poetics of architecture is now interpreted through the degree of engagement with technological advancements. As an architectural element, the ubiquitous column exists within the substrate of floor and ceiling. In designing an animate column while retaining structural integrity, an opportunity is created for dialogic feedback between the user and the built environment, thereby activating different spatial condtions. The generation of an animate column within the framework of a modernist architectural configuration, engages surface. Surface scoring, seaming and patterning bridges the divide between planar and volumetric geometries and in essence- “The properties of a building’s surface are not merely superficial; they construct the spatial effects by which architecture communicates. Through its surfaces a building declares both its autonomy and its participation in its surroundings.” Projecting beyond the moment of the column allows the designer to utilize the animate condition of the column to develop capacity for enclosure. In considering the system of columns and surfaces there is “chaotic fulfillment of rigid patterns”, as in any living system. 01
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Printmaking is expressive in its process and editoning. It’s as much of a science as it is an art, there are subtleties in mark making on the copperplate. This visual record of motion lead to the question of optical kinetics, or moire patterning, where interference patterns work cohesively and chaotically to produce the illusion of movement. Interestingly, this interference pattern can manifest in the form of waves in physics. The divide between the user and the built form is bridged through either analog or digital means. This is essentially a sensor – interpreter – actuator relationship which when embedded in architecture, can facilitate ‘communication’ between the user and the built form. The most common sensors output data in terms of either an Analog Pulse Width Modulation signal or a Sine Wave signal, which can be represented in digital space through appropriate computational software. As designers, we can use this data as the basis to drive parametric design, and in real time visualize this constant flow of data, thereby establishing a link between the real world and digital space. 03
The prevelance of sine waves in the natural world is based on the idea that there are no pure sine waves in nature, instead “they are a mathematical construct that help us understand more complex phenomena”. It is also important to realise that in natural systems, it is diffcult to say that there is a pure periodic motion or pure periodic wave, there is almost always a degree of chaos. In Mies’ architecture, the “interplay of column and wall eventually ended with the total dissolution of the wall” & “realization of column as a formative theme in planimetric organization”5. The idea of a row of columns being an open or discontinued wall helped to progress towards viewing the column as the basic unit in terms of animating the built environment. 04
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The published plans and sections of the New National Gallery in Berlin are in stark contrast to the minimalist aesthetic of the open floor gallery, that appears to merge into the surrounding context of the Post- War Berlin site. In addition to this the “dislocation of the column from the corner to the middle of the enclosing planes challenges the expected correspondence between form and structure”. These stressors provided the required stimulus to drive the paramteric and computational tools to produce the substrate from which the columns could be harvested. The relative position of the columns with respect to each other and the grid lead to the creation of four ‘vaccuum nodes’ and ten radial center points. The mirroring of the subtrate is a subsequent result of the lateral symmetry of the Miesian grid.
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In considering the column, it became apparent that through Mies’ logic there exists a relationship between the column and wall, this could be extended to the idea of column and surface, where the floor and ceiling may act as a substrate from which the column could descend or ascend, based on the geometry.
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Surface patterning, surface scoring and surface seaming result in transition from planimatric to volumetric geometries. The descent is in relation to the patterning of the surface. This idea was used as a baseline from which parametric, computational and animation tools drove the design of the surface based column. 08
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The animate columns that sprung from the nodes, echo Mies’ “thoughts on the fragility of architecture and the impermanence of it’s meaning.” This method of designing motion involves both parametric movement and kinetic movement. The interplay of natural and manmade landscapes in the design provokes new ways of experiencing spatial conditions that is itself fleeting and changing. The ‘column’ is considered in it’s most elemental form, as a protrusion or growth from a horizontal plane or surface. The system of columns and surfaces work together to display or exhibit motion, thereby producing a “chaotic fulfillment of rigid patterns”2 as in any living system. This system is self-sustaining in which the volumes, surfaces and matter redistribute, without ever dissipating or leaving the system.
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DICHOTOMY JUMP TOWER ON THE RIVER SPREE
RISD Advanced Studio Instruc tor: Ralf Petersen Spring 2017
The idea of two parts that exist seperate from each other yet feed off of one another is the premise of “Dichotomy”. The inital impression of Berlin was that there are always two parts that compliment and affect change in one another. Whether it be the shared and seperate political history of East and West Berlin, or the rivers Spree and Havel that frame the geography of Berlin, or at the site level - land and water, work and play. This led to a search for a way to express this phenomena architecturally and formally. Movement in essence involves the ‘open’ and ‘close’, a dichotomy of sorts, with curated moments inbetween that help order the environment of which the structure is a part The blooming of a lotus from within muddy, murky waters is a metaphorical reflection of the spirit of the people of Berlin who have rebuilt their city, culture and life. 13
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Patterns in Nature are varied and have an underlying logic. They can be mathematically expressed as well. The resulting geometry is very organic and effortlessly weaves into the water. The challenge in this is simplifying the construction details, assembly and controlling the types of modular units. Mathematical Patterns help in controlling the typologies of the modular units. It allows for easy mulitplication and different combinations. Through several iterations, it was realised that an organic pattern with an underlying mathematical logic is necessary to arrive at a satisfactory configuration.
Pattern making paved the way for the next stage of the process, which was an exploration of kinetics. Different configurations were studied and movement in terms of different axes were analysed. The Hoberman sphere was studied and several iterations of it were made. The range of movement displayed by the Hoberman sphere was best suited for this project.
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The frame of the kinetic structure gave a clue as to the design of the skin of the structure. Mapping the motion of the structure, led to the understanding of available anchoring points for the skin and also the amount of folding required to accommodate the skin in the smallest configurations. Through iterating crease patterns from origami, I was able to arrive at the final most viable solution. Now all that remains is for the dock to be able to float and link to other docks. This was achieved through a simple solution of using floatation devices attached to a base of metal. Simple hooks help to tie the docks together and if needed the docks can be allowed to float out on their own too.
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HOUSE OF LAKSHMI RESIDENTIAL DESIGN - CHENNAI, INDIA
Independent Freelance Architec t Licensed by Council of Architecture India Project Completed: October 2015
The residential neighborhood of Anna Nagar in Chennai, is one of the few places that has pockets of individual houses still. This means closely spaced houses in cosy, tree lined streets. The building has a skylight courtyard that ensures climatic responsiveness - light and good ventilation is a premium luxury in the fast growing metropolitan city of Chennai. Features of South Indian Vernacular Architecture were incorporated in a contemporary context. This project is one of the most fulfilling design exercises that I have been through. I have been priviliged to work with some of the most dedicated men and women - from my brick layers, carpenters to the many contractors that I have liased with in the duration of this project.
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Construction Process To be involved in a project right From the outset, opened up different ways of thinking in terms of design and execution. It was an iterative process in certain instances like the staircase design, or even the stone facing work on the facade.
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First Floor Plan
Second Floor Plan
The entry emulates the “ Thinnai � feature of traditional Tamil Vernacular Architecture. This is an informal seating area where the clients can socialize with neighbors and friends.
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The site is graced by an old copper pod tree (Peltophorum pterocarpum), it being in the middle of the entrance gave rise to the idea of embracing it as part of a design strategy. So what could have been a distracting element was turned into a central theme for the entryway. 33
The staircase is the pièce de ré·sis·tance for the central skylight courtyard. The metal railings resemble the roots of a banyan tree. The wooden treads are inlaid with banyan leaf shaped rosewood pieces. The handrails and veneers are teakwood, the tread is a local dark wood called “ karrumaruthu ”. 34
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The central skylight courtyard functions as the formal living room and it doubles up as a large prayer hall when the doors to the altar are kept open. The two toned wood treatment goes well with the traditional “ Athangudi � cement tile flooring. The tiles were custom made for this project and traditional artisans were employed to lay them and polish them. The double height space is topped with a flat roof with punctures to let in light. The client mentioned that as a small boy, in his village, they could tell time by the position of the light streaming through the small roof openings. The courtyard links all the spaces of the house. It also serves as a tall chimney that sucks out the warm air through the clerestoreys at the top.
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The altar doors compliment the decor of the space, and the carved panels were designed and custom made in Burma Teak. The Mondrian wardrobe is a dual toned, wooden wardrobe, with draws, closet space and display niches. The second wardrobe was designed with the intention of hiding all hardware and developing a monolithic look in teakwood.
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CULTURAL RETREAT AT SIRKAZHI TEMPLE TOURSIM IN SOUTHERN INDIA
Bachelor of Architecture Thesis Design Chair: J. Subramanian Spring 2013
Sirkazhi is one of the smaller temple towns which is inbetween the larger well known temple towns of Madurai, Kumbakonam, Thanjavur and Trichy. It acts as a connection between these major towns. This set the stage for a proposal for a budget hotel and resort on the Chennai - Nagapattinam highway. Religious tourism is something that Indians undertake every year, there is an increasing awareness amongst the younger generation to patronize establishments which promote Indian Vernacular Architecture. The vernacular architecture of these temple towns of Tamil Nadu were meticulously studied and documented. My thesis was based on these intial studies.
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The stepped volume of the budget hotel is an ode to the classical buildings which promote the idea of reaching a higher spiritual plane through the steep vertical structures.
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The budget hotel is designed based on the idea of stepped concentric squares.
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The restaurant for the retreat was designed around a courtyard, there are indoor as well as outdoor seating options. The restaurant’s decor and architectural style is based on the traditional houses of Chettinadu, the ancestral kingdom of the merchant caste in Tamil Nadu. The furniture, lighitng, flooring was all custom designed and detailed for this project.
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SOLAR TRIANGULATION S P E C U L AT I V E O F F I C E P R O J E C T
RISD Integrated Building Systems Course Instruc tor: Penn Ruderman A i s l i n M a c D o n a l d, X i nye L i n , J h a n a n i Pa l a n i s a my, Lu c a R i ve l l i Fa l l 2 0 1 7 The intention of this project was to consider the different phases of design and documentation before even attempting to interpret the brief. The five storey office building was designed to be climtically responsive with the unitized cladding system. The prefab concrete structure meant both efficient installation as well as the creation of a module for the unitized cladding system. The collaborative nature of this project helped organize the work flow. The combined use of computational tools for design with the documentation power of BIM software meant the production of the complete package for this speculative office project.
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SURFACE TENSION SOUTH INDIAN MARRIAGE HALL
RISD Making of Design Principles Studio I nstruc tor : G abriel Feld Fa l l 2 0 1 6
The focus of this studio was developing on tectonic concepts through various explorations. Movement of ink through water was mapped and worked into different materials and ideas of tension and compression. In order for the ink to mix with water, it needs to overcome and pierce through the intial surface tension of water. This hands on approach and moving back and forth between the real world and model space resulted in a set of tectonic principles which were incorporated into a program of my choosing. I analysed and created annotation drawings of a tradtitional South Indian Tamil Wedding ceremony. It was an interesting exercise to incoporate a very region specific program in a global context using the newly discovered tectonic concepts.
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The initial impression of the movement of ink was recorded using charcoal. This progressed into developing three dimensional studies using elastic thread, bristol and balsa wood. The idea of surface tension and ink piercing through was studied.
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A final study model was developed to embody the characteristics and behaviour of the ink in water. The tension and compression was well balanced that the model when pressed down from the top, could regain its intial shape on it’s own.
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Model Space Interpretation of Ink in Water
Annotation Drawing of Tamil Wedding
The exercise of recreating the path of ink in water in model space was important because it helped examine the process or order of the ink spreading and piercing through the different layers of water. The next stage involved analysis and annotation of a traditional South Indian Tamil Wedding. I chose a very specific type of marriage ceremony associated with the Tamil farming community called the Kongu Vellalars. This ceremony involves people from both the bride and groom’s side. The ceremony starts with the setting up of the “pandal” and ceremonial spaces by the bride’s maternal and paternal uncles. The site was chosen such that the project straddles both sides of the South Main St in Providence, Rhode Island. The site is naturally contoured and it was necessary to work on and within the landscape. The final sequencing of spaces and the form of the structures was based on the principles learned from the ink in water study. 57
Entryway
“Pandal”
Skywalk
Spillover Space Ceremonial Hall . Bride’s Room . Groom’s Room . Dining Hall + Kitchen
Prefunction Area
Site Providence RI
Entryway
“Pandal”
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RESEARCH R I S D C O M P U TAT I O N A L D E S I G N
KINETICS
Kinetics though not associated with architecture in the traditional sense, is often harnessed in small scale applications like kinetic facades, kinetic bridges and the like. In order to realise movement, I exlpored the concept of using scissor joints to facilitate movment in these two exercises. In the second iteration I worked on integrating textiles with the intial kinetic framework. 61
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DIGITAL FABRICATION
Parametrics helps to develop a system by which we can control and examine effect of different materials and appications. The translation of these studies is made possible through the use of 3D printers. Joints can be developed and 3D printed in order to produce more efficient designs. Here I explored different 3D printed joinery. Both in normal as well as kinetic applications. 63
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TEXTILE ORIGAMI
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Paper as a medium is extremely versatile. It has very good “memory” in the sense of retaining deformations or “creases”. Hence in the world of origami, the idea of “crease patterns” is a very powerful tool. One of the simplest crease patterns to study is the chevron crease pattern For all the versatility that paper displays, it does have it’s limitations. I tried to examine the capacity of paper in terms of creasing, how much is the depth of a crease and what happens when the thickness of paper is gradually increased. This learning was necessary to deal with the transition from paper to textile. 3D printing origami textiles has brought computation and parametrics to fashion design. With this project, I wanted to explore a kinetic textile system that could be applied on an architectural scale The PLA filament of the 3D printer interacts with textiles much in the way heat pressed surface designs work on fabric. The issue here was to find a material which will not burn or warp under heat and at the same time acts as a viable medium onto which the extruded filament could adhere. Muslin as a natural weave was a good choice due to the gaps in the warp and weft which allowed for proper bonding between the extruded material and fabric. Different thicknessesa, densities of the extruded material and settings of the 3D printer were explored. 66
CINEMATIC CONSTRUCTS
This was an exercise in examining the role of AV in architectural representation through the idea of exhaustive representation by drawings, physical models and projected animations. The materiality of the physical model allowed for interesting interactions between the projected drawings/ animation and the model. Through this method, there is both gain and loss of information. The software work flow for this exercise was Rhino + Grasshopper - Maya - After Effects.
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jpalanis@alumni.risd.edu (248)331- 6884