04-17
18-29
30-31
32-37
38-39
40
41
01 T
INTENSITIES OF ‘SKIN’: RE TANNERY AND LEATHER PRODUC
04
TÅŒL
EIMAGINING THE FACTORY CTION, VANIYAMBADI,TAMIL NADU SEMESTER SIX
SIXTH-SEMESTER ARCHITECTURAL DESIGN STUDIO. DESIGNING A TANNING FACTORY IN THE TOWN OF VANIYAMBADI, ONE OF THE HUBS OF LEATHER TANNING AND PRODUCTION IN TAMIL NADU. DESIGN PROGRESSED THROUGH TECTONIC EXPLORATIONS WHILE SPECULATING ON THE RELATIONSHIP BETWEEN INHABITATION OF SPACE AND ITS MATERIALITY. FURTHERMORE, THE CORE FOCUS OF THE STUDIO WAS ON DEFINING THE FACTORY AS A HUMANE WORKSPACE AND CALIBRATING THE REQUISITE SERVICES IN ORDER TO MITIGATE ADVERSE ENVIRONMENTAL IMPACT.
CORE IDEA: MODULES AND EFFICIENCY THE AIM TO CREATE HUMANE WORKSPACE FOR THE DOWNTRODDEN WORKERS WAS ACHIVED BY MAKING WORKFLOW EFFICIENT AND NEAT. MODULES ARE STRATERGICALLY PLACED SO AS ACHIVE EFFICIENCY AND PROVIDE THEM WITH INTERMEDIATE OPEN SPACES FOR THE WORKERS AS REPOSE.
05
SIT WIND DIRECTION LOCATION DISTRICT STATE SITEAREA
SLOPE ANALYSIS
:
:
THE STRATEGIC LOCATION OF THIS TOWN IS BENEFICIAL FOR THE NEEDS OF THE LEA CONNECTED BY ROAD AND IS LO NATIONAL HIGH
RELIF MAPPING & DRAINAGE PATTERN 06
TE
: VANIYAMBADI : TIRUPATUR : TAMIL NADU : 5.18 ACRE 20948.61 SQM
NEAR AN ABUNDANT SOURCE OF WATER ATHER INDUSTRY. VANIYAMBADI IS WELL OCATED ON THE CHENNAI-SALEM HWAY (NH-179A).
07
CASE S
LIVE CASE STUDIES HELPED A UNHEALTHY WORKING CONDITIO THE WORKERS. THIS PLAY DESIGN EVOLUTION AND IN UND BE CHANGED INORDER TO PROV CONDIT LOCATION:VANIYAMBADI DISTRICT: TIRUPATUR BUILDING TYPOLOGY :TANNERIES
AXA TANNERY
AFI TANNERY 08
STUDIES
A LOT IN UNDERSTANDING THE ONS AND LIVING SITUATIONS OF YED A MOJOR ROLE IN THE DERSTANDING WHAT NEEDS TO VIDE THEM WITH BETTER LIVING ITIONS. GIRISAMUDRAM LOCATION:VANIYAMBADI DISTRICT: TIRUPATUR BUILDING TYPOLOGY :RESIDENCES
09
TECTO
‘TECTONIC GENERATORS’ WHICH IS ASSEM GUIDED BY THE DRI
TECTONIC GENERATIVE EXPLORATION WOODEN MEMBERS ARE HANGED BY TENSILE STEEL MEMBERS
10
ONICS
MBLED AND ARRANGED IN SPECIFIC WAYS IVING DESIGN IDEA.
USING COUNTERWEIGHT SYSTEM TO OPEN UP THE ENTIRE FACADE WHICH IN-TURN CAUSES INCREASED AIR FLOW THROUGH WORKSPACE AND BREAKS THE CONFINED WORK ENVIORNMENT.
11
DES EVOLU
VARIOUS ITERATION THROUG MASSING IS EXPLORED. STRATE BLOCKS IN ORDER TO
12
SIGN UTION
GH WHICH MODULARITY AND ERGIC PLACEMENT OF MASSING O ATTAIN EFFICIENCY.
LEGEND VEHICULAR PEDASTRIAN COLLECTION DISPATCH RESIDENCE AMENITIES FACTORY CIRCULATION CORES
13
DES
GROUND FLOOR PLAN
FIRST FLOOR PLAN
14
SIGN
15
16
17
02 VE
NARRATIVE, SENSE AN INTERPRETATION
18
EDHI
ND SPACE: CULTURAL N CENTRE, MAHÉ SEMESTER FIVE
THE SEMESTER FIVE PROJECT A CULTURAL INTERPRETATION CENTRE AT MAHE. THE STUDIO ENABLED TO UNDERSTAND THE COMPLEXITIES IN THE CULTURAL HISTORY OF MAHE, CONSOLIDATED ORAL HISTORIES AND MEMORIES, AND TO CONSTRUCT A NARRATIVE. THE NARRATIVE WAS REALIZED THROUGH THE SPATIAL AND TECTONIC DESIGN AND MATERIAL DETAILING OF THE CULTURAL INTERPRETATION CENTRE, WHICH IS A MIXED-USE PUBLIC BUILDING IN A SIGNIFICANT LOCATION IN THE VICINITY OF THE MAHE WATERFRONT. STUDIO IS FOCUSED ON CREATING SPACES WHICH RATHER THAN JUST FUNCTIONAL, BUT ALSO HAVEING EVOCATIVE SPATIAL QUALITIES APPROPRIATE TO A PROJECT LIKE THE CULTURAL INTERPRETATION CENTRE. FURTHERMORE, A VERY SIGNIFICANT ASPECT OF THIS PROJECT IS INCLUSIVE DESIGN (DESIGNING FOR THE DIFFERENTLY ABLED) AS AN EMBEDDED PHILOSOPHY AND NOT AS A COMPLIANCE DRIVEN APPROACH, SO AS HAVE POSITIVE SOCIAL IMPACT AND BE ABLE TO PROVIDE AN EXPERIENCE THAT IS ACCESSIBLE TO ALL.
19
MA
THE STUDY FOCUSED THE TRANSFORMATION OF T LANDSCAPE OF MAHE, LOOKIN AS W AS DISRUPTIONS OF MEMORIE IDENTITIES, RITUALS AND PRAC IMPORTANTS SITE
20
AHÉ
ON UNDERSTANDING THE URBAN AND CULTURAL NG FOR SIGNS OF CONTIUNITIES WELL ES, MYTHS, LEGENDS, STORIES, CTICES, WAYS OF LIVING, AND ES AND BUILDINGS.
21
SIT
THE SITE IS ON THE COLLECTORATE (HIGH HISTORICAL, CULTURAL AND IN THE VICINITY OF IMPORTANT INTACT HISTORIC IS BEING ADAPTED FOR USE IN THE C IS AN IMPORTANT
22
TE
E ROAD IN FRONT OF TAGORE PARK L AND SOCIAL SIGNIFICANCE) INSTITUTIONS. THE SITE ALSO HAS AN C HOUSE WHICH CULTURAL INTERPRETATION CENTRE. IT NT URBAN REALM.
23
DESIGN EV THE SPECIFIC METHODOLOGY OF THE STUDIO WAS THAT IT STARTS WITH M. MUKUNDAN’S NOVEL MAYYAZHIPPUZHAYUDE THEERANGALIL, AS AN ENTRY INTO MAHE AS A PLACE. INSTEAD OF DIVING INTO SITE AND CONTEXT STUDY. INHABITING THE FICTIVE-MATERIAL SPACE OF MAHE IN THE NOVEL, AND UNDERTANDING THAT THE CHARACTERS OF THE NOVEL MAY BE AS REAL AS THE PEOPLE WHO LIVED/LIVE IN MAHE.
DESIGN PROCEEDURE CONSISTED OF SELECTION OF NARRATIVE AND CONV TESTED AND RETESTED TO ARRI COMBINES NARRATIVE SEQUENCE WITH URBAN GESTURE AND STRATEG BASED ON THE CONCEPTUAL VOLUMETRIC EXPLORATIONS THE PROC ARCHITECTUR
24
VOLUTION
VERTING INTO A SPATIAL ARTICULATION , WHICH WAS THEN SITED, THEN IVE AT A PRECINCT PLAN THAT GY. THE ARCHITECTURAL PROGRAMME IS THEN NEGOTIATED INTO THAT. CESS OF TRANSFORMING THE EXPLORATIONS INTO PROGRAMMED RAL SPACES.
25
DES
PEOPLE SHAPE LAND, AND THE LAND SH BE THERE AS WE ARE S AND SPIRITUALLY CONNECTED TO THIS LAND, THESE STORIES FORMS THE LIKE A GREAT PAINTING EVERY ART WORK COMIN CULTURE NEEDS A PROPER GROUND FLOOR PLAN
FIRST FLOOR PLAN
A GOOD PODIUM UPON WHICH A GO A WALL ON WHICH A PO A WHITE SCREEN UPON WHICH A COL A PLATTER UPON WHICH AN INDI A FLOOR ON WHICH BODILY A
MAHE INTERPRETATION CENTRE AIMS VISITORS AS WELL A DEVELOPING SKILLS AND ARTFORMS, ENR AND MAKING IT BIGGER WHOLE AND SPREADING DE CULTU
26
SIGN
HAPES CULTURE.SOMEONE CHOOSES TO STRONGLY PHYSICALLY S PLACE.THERE ARE STORIES FOR EACH CORE WHICH SHAPES THAT LAND. G REQUIRING A CANVAS, NG OUT OF A INDIGENOUS PLATFORM FOR EXHIBITION.
OOD SCULPTURE COULD BE PLACED, OEM COULD BE WRITTEN, LOURFUL MOVIE COULD BE SCREENED, IGENOUS DISH COULD BE SERVED, ARTS COULD BE PERFORMED,
SECTION 1_1
S IN THE COLLABORATION OF ALL THE AS ITS NEIGHBOURS. RICHING THE VALUES PRESENT AT MAHE T PART OF THE EEP AND WIDE INTO OTHER DIVERSE URES. SETION 2_2
27
28
29
03 KALA-A
INTERIOR
GROUND FLOOR PLAN
FIRST FLOOR PLAN
CLIENT: ARTIST BUILDING TYPOLOGY :RESIDENCE PROJECT LOCATION: MAHÉ REQUIREMENTS: • USE OF NATURAL MATERIALS FOR ARTICULATION •SPACES SHOULD EVOKE CREATIVITY •MAXIMUM USE OF SUNLIGHT
AS PART OF THE SEMESTER SIX INTERIOR DESIGN PROJECT THE EXISTING BUILDING ON THE SEMESTER FIVE ARCHITECTURAL DESIGN SITE MAHE IS TO BE CONVERTED IN ACCORDANCE WITH THE CLIENT REQUIREMENTS.
LIGHTING PLAN 30
AALAYAM
R DESIGN SEMESTER SIX
31
04 PAN LIGHT, FORM
SEM
32
NI-PURA AND SPACE
MESTER THREE
THE SEMESTER THREE PROJECT TO DESIGN A SPACE OF WORK + SPACE OF LIVING FOR A PREDEFINED USER EXPLORING VOLUME, SCALE, PROPORTION, LIGHT QUALITY, FUNCTIONAL ORGANISATION, MASSING WHILE ALSO ENVISIONING AN ARCHITECTURE SENSITIVE TO ITS PHYSICAL AND SOCIAL CONTEXT. CLIENT: FURNITURE DESIGNER SITE: KUTTICHIRA IMMEDIATE REGION AROUND THE WATER TANK, CLOSE TO MISHKAL MOSQUE.
33
EXPLOR SOLID BLOCKS: FOLLOWING AN UNDERSTANDING OF PROGRAMMATIC AND FUNCTIONAL ORGANISATION FOR THE GIVEN PROJECT, MASSING STUDIES USING VOLUMETRIC BOXES WILL EXPLORE RELATIONSHIPS BETWEEN SPACES ON THE GIVEN SITE.
WIREFRAME MODELS: THE NEXT STAGE PROGRESS TO WIREFRAME MODELS TO BETTER UNDERSTAND INTERNAL VOLUMES CONTAINED WITHIN THE BOXES THAT MAY OVERLAP, INTERSECT AND INTERVENE IN VARYING FORMATS.
PLANES: THIS EXERCISE INVOLVED ABSTRACTING PLANES (VERTICAL AND HORIZONTAL) DERIVED FROM THE WIREFRAME MODELS TO FURTHER DEVELOP THE SPATIAL ORGANISATION OF THE EVOLVING MODEL. 34
RATIONS
35
DES
GROUND FLOOR PLAN
FIRST FLOOR PLAN
ELEVATION 36
SIGN
37
05 NI
RECALIB PRODUCT DESIGN- SH
THE SEMESTER TWO PROJECT DESIGNING A PORTABLE SHADING APPARATUS, PAVED WAY FOR AN INDEPTH LEARNING ON ANTHROPOMETRY AND STRUCTURAL STABILITY. THE PROJECT WAS MADE IN 1:1 SCALE AND TESTED OUT. MATERIALS USED WAS 25 MM STEEL PIPES AND FABRIC. ATTAING STABILITY USING MINIMAL MEMBERS WILST PROVIDING ADEQUTE HIGHT AND SHADE WAS THE CHALLENGE OF THE PROJECT.
38
IZHAL
BRATION HADING APPARATUS SEMESTER TWO
39
06 WORKING DRAWING tANNery, semester seveN
GROUND FLOOR PLAN
SECTION A_A
40
07 WORKSHOPS
WORKSHOP BY AR.SIDARTH SINGH
DESIGN CHARETTE ON GEOMETRY,MATERIAL AND LIGHT BY AR. PETER RICH
BEYOND THE GIVEN, ROUND TABLE TIE AND DYE WORKSHOP BY ARTIST MURALI CHEEROTH
BAMBOO AND WOODEN JOINERY WORKSHOP
UNIVERSAL DESIGN WORKSHOP BY KAVITA MURUGAR 40
THANK YOU FOR YOUR TIME
MAIL : jp5326.grg@gmail.com PHONE :8593895420 7012433756