PORTFOLIO Jwalant Shingala
Introduction Skilled as an Architect but Film is a medium which interests me. I like observing life, finding out reasons behind the actions of an individual. Art in general is a very important part of society but for me Architecture and Films are a very powerful medium which has a capability to change the course of the society. Monotony in work or in life is something that I hate, as I think that my work should be something that helps me grow as an individual and helps me understand life better.
Work Experience PERSONAL DETAILS Male Birthday: 12th May 1993 Address: ‘Balmukund’ 11 Saurashtra kala Kendra, Rajkot, Gujarat Language: English, Gujarati and Hindi
CONTACT Phone: 9723484207 Email id: jwalantshingala93@ gmail.com
INTERESTS Architecture, Films, Writing film reviews, Cycling, Sports, Traveling, Trekking, Hands on work, Books on Films, Books on Philosophy, Auto-biographies.
Software and Other Skills • • • • • •
Autocad Sketch up Revit Photoshop Illustrator In Design
• • • • • •
Coral Draw Ms Office Celtex Hands on Model making Documentation
Travel and Other Experiences
2014
Internship at Ghorecha Associates, Ahmedabad
2015
Internship at Meeta Jain Architects, Bangalore
2018
Assisted Hands on: Concrete Workshop carried out by Ar. Ravi Umraniya
3) Film Appreciation elective at IPSA (2014)
2018
Carried out Hands on: Concrete tile making, lead by Ar. Ravi Umraniya, for a Mural
4) Film Making Elective by Prashant Desai at IPSA( 2016)
2018
Assisted Nirmal Masurekar for photo-shoot of DMF projects in Baroda District, Gujarat
2018
1) Related Study Program, Wadhwan,Gujarat (2012)
Assisted Nirmal Masurekar for photo-shoot of a Residence designed by Ar. Ishwar Gehi in Junagadh, Gujarat
2) Related Study Program, Morbi, Gujarat (2013)
5) Lead School of Architecture Film Club at IPSA (2016) 6) Contextualizing Aesthetics elective by Naishadh Jani at IPSA (2017) 7) AIB Script writing Workshop (2018)
2018
Worked at Karan Maniar Architects, Rajkot (2018)
8) Indian Film Project Festival, Mumbai (2018)
2018
Participated in Script Writing Competition at Indian Film Project
9) Kochi Muziris Biennale, Kerala (2019)
2018 -2019
Worked with Ar. Ronak Gangdev, playball Studio, Rajkot
Content 1. Undergraduate Dissertation: Space as a Narrative of Events
01-06
2. Professional Experiences : Meeta Jain Architects and Play Ball Studio
07-09
3. Hands on Work: Concrete Tile Making for a Wall Mural
10
4. Studio 9 Project: Film Institute, Baroda
11-14
5. Studio 8 Urban Mass Housing, Rajkot
15-17
5. Documentation: RSP II, Wadhwan & RSP III, Morbi
18
6. Miscellaneous: Script writing, Film Reviews, Stalker Film Whole
19
Background Throughout my academic years there had been an uncertainty regarding the design process. Architecture was looked at only through the frame of Functionality and visual aspect. Design lacked a certain essence that makes it a piece of Architecture. The Dissertation thus focused on deriving a logical Design process. Architecture is perceived in sequence of spaces like a narrative or a film. A film forms a virtual space through it’s a narrative and gives a sense of Architecture. The dissertation explored various layers of relation between Film and Architecture. And thus Film was used as a reference for understanding and forming an Architectural Narrative
1. Dissertation Spaces through Narrative of Events
Architecture and Film as a moving Image
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Architecture and Film as a moving Image Cinema is produced by moving images over a certain duration. Among these images are images which take the narrative forward. These are Movement Images. There are certain images which are beyond movement and bring forth the idea that makes it a film. This are Time Images. (From Cinema I & II, Deleuze)
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Sequence of intimacy between the two protagonists in Spellbound, Alfred Hitchcock. Images 5, 6 and 7 show the experience of this intimacy by doors of different rooms opening slowly suggesting metaphorically, the never before experienced feeling or discovering something new. This images act as time image. Images 1,2,3,4 and 8 take the narrative forward. These are movement images.
Movement Image = Pure Perception Time image = Pure Memory
Sections, a set of images, are composed of Time Images and Movement Images and these sections are composed in a certain sequence to form a Narrative. Similarly Architectural Narrative is formed by moving its sectional plane over a certain distance over. This Sections are formed through images, Concept Images/Thought Image. Thus exploring this concept of Time images and Movement Images in development Architectural Narrative can help in its design process.
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Sections of Gandhi Smarak Sangrahalaya, Charles Correa. This Sections show a part of one of the path through which visitors experience the space. Sections 1 and 3 show the interior part museum where various excerpts from life of Gandhi are exhibited. This sections highlight the movement images. Section 2 is a bench in a semi open space facing the courtyard, a space for contemplation. This image of bench is a time image
There are two aspects through which we can study the experience of the spaces formed both in film and Architecture 1. Spaces as a Narrative 2. Space as a Background for Events
Different User Groups
No. of Users in an Event
Order of Participation in Different space
Program: A Media and arts Collective (Civil Society Institution) 1. Park: A public space in a government land to spread the awareness about the institute. Space with exhibit on culture and conflicts in the city 2. Introduction Space: Space to introduce institute to the visitors
Character and Details of the event
Experience of events by each user group
Narrative of Events Level of control and privacy in an event
Non Programmatic No.and of user Connecting Spaces
Character and Objectives Purpose of a Whole of events
Details Elements andforobjects inthat are a part of the event
Ambiguous spaces / Space for Ambiguity in an event c
3. Gallery: Space for exhibitions, lectures, talks etc. 4. Main Courtyard and Canteen: Smaller performance area for dramas, plays and music concerts. (Up to 100 People) 5. Film Gallery: Film screenings and exhibition on films 6. Research Studio: Workspace for people working in the institute 7. Library: Content related to institute ideologies 8. Court of Festival: Space for larger events. 9. Visitor’s gallery: Space for visitor to exhibit any piece of art, leaving their mark in the institute. 10. Meditation Space: Space to Contemplate the experience of the events in the Institute. 11. Vocational training centre: Education for weaker sections of society
Spaces as Narrative of Events Sequence in which one experiences the space is very important for the overall experience of space. The experience also depend on the objects in the space, connection and relation between spaces.
Exposition ground, Ahmedabad
Vijay Char Rasta, , Ahmedabad
CEPT University, Ahmedabad
This Chart shows all the important factors to develop a narrative of events experienced by the user. The space takes shape through spatial organization and the narrative of events developed from above mentioned factor. This Chart is bases for developing various narrative of spaces experienced by different users, and objects & events that form a particular space.
Site, Gujarat University, Ahmedabad
Site(2.6 ha) axonometric with landmarks, Gujarat University, Ahmedabad
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One of the Narrative of experience through spaces of one of the user group
Court of Festival for larger performances and events.
1. Entrance of the institute with torn wall to portray the condition of the society
Ramp way towards main institute building through the park
Pathway in the entrance park containing exhibit on history
Library and digital library with different seating area.
Research Studio with flexible and open layout, with both formal and informal spaces.
Buffer between park and the Institute
Introduction space. Space for visitors to get acquainted with the institute
Main Courtyard and performance area. Core space of the institute building leading to all other spaces in the building.
Buffer between Introduction space, Gallery and Main Courtyard/ Performance area.
Parking
Compound wall of the institute
Park Studio alongside a formal workspace for individual work
Existing building
Outdoor Gallery
Existing building
A quite and secluded reading space connected to library
Various parts of the park
Sand Pit
Informal seating outside the research studio
Walls of the gallery with a controlled light
Buffer between shop outlet and the introduction space. Terrace above
Space for exhibit on Conflict in the city
Main Institute Building Studio Residence
Space for various workshops
Court of Festival
Vocational Training Centre Meditation Space
Visitor’s Gallery
Pathway leading to vocational centre through the court of festival partially diving it in two parts
Sand pit connecting University road to the institute
Studio Residence
Conceptual design with immediate context
Sculptural Exhibit
A seating space
Main Courtyard
Buffer
Section BB
Path to Studio residence
Research Studio
Second Courtyard
Film Museum
Gallery
Introduction Space
Outdoor Gallery
E
D
Internal University Road
Existing University Library
F f Parking
Park
Workshop area
A
A Sand-pit
f Outdoor Gallery
B
C
C
Court of festival Studio Residence
B
Visitors’ Gallery
g
g
University sports centre & Vocational centre
Meditation Space
Proposed Design Layout
0 5 10
20
50m
D
E
F
3
3
Sand Pit
University Internal Road
University Library
Park Lawn
Installation and Seating area
Exhibit on City Conflict
Section AA
Court of Festival
University Road
Section CC
Workshop area
Path to adjacent Building
Exhibit on Conflict
Exhibit on culture, pathway to lawn
Outdoor lawn and Reading area
Ramp towards Studio Residence and Court of Festival
Existing Building: Multimedia Research Centre
Studio Residence
Court of Festival
Path to Vocational Centre
Workshop area
Court of Festival
Buffer
Visitors’ Gallery Ramp
Path to University Centre
Section DD
Main Courtyard / Performance area
Exhibit on City Culture
Section FF
Park Lawn Ramp
Park Bamboo field
Buffer between shop and Introduction Space
Introduction Space
Stage
Storage
University Sports area
Canteen
Restaurant
Court of Festival
Vocational Centre
Buffer
Existing NRS Hall
Existing India Diaspora Research Centre
Existing University Examination Centre
Informal Discussion Area
Outdoor Gallery
Gallery
d
e
c Park Lvl -0.6m
d
c
Lvl -1.5m
Shop outlet Lvl +0.9m
a
Admin
Shop Outlet
Way to Introduction Space
Section aa
Research Studio
b
Terrace Lvl +4.5m
Admin Double Height
a Lvl +1.5m
Gallery
b
Courtyard lvl +3.3m
Lvl +3.45m Film Gallery Lvl +2.7m
Introduction space Lvl -0.3m
Outdoor Gallery Lvl -0.9m
Second Courtyard Lvl +1.8m Buffer Lvl +1.5
Library Storage
Outdoor Reading Area Lvl +2.7m
way to gallery
Lvl +3.0m
Stage Lvl +3.0m Lvl +2.4m
Shaded Seating Area
Kitchen
Restaurant Lvl -0.6m
Court of Festival Lvl -0.9m
Kitchen Canteen
Court of Festival Lvl -0.9m
Lvl +1.8m Lvl -2.9m
d
Plan at +0.3m
c
e
Main Institution Building plan at Lvl+4.5m
d
c 0 2.5
5
10
N 20m
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4
Gallery: Informal Discussion area
Connection between Shop terrace and film gallery
Main Courtyard/ Performance area
Gallery
Introduction Space
Connection between both the courtyards
Section bb Gallery Introduction Space
Kitchen
Introduction Space
Buffer between Introduction Space, Gallery and Main Courtyard
Way to Introduction Space
Section cc Shop Terrace
Buffer Between Exhibit on Conflict and Introduction Space
Connection between Shop terrace and film gallery
Restaurant
Shop Outlet
Section dd
Connection between both the Courtyards
Film Gallery
Ramp-way from Canteen to Court of Festival
Court of Festival
Digital Library
Park
Library
Research Studio
Court of Festival
Section ee Shop Terrace
Public recreational space
Shop Outlet
Park: Bamboo bushes and seating
Park: Exhibit on conflict in the city
Park Lawn
Park: Walkway
Road
Section ff
Studio Residence
Quite Seating area
Section gg
Meditation Space
Path leading upto Meditation Space
Path from Park to Court of Festival through Studio Residence
Visitors’ Gallery
Ramp to court of festival
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.. So there’s a fusion of Hindu craftsmanship with Persian Architecture in many of Ahmedabad’s ancient buildings.
Yes! One such example is Sidi Saiyyed Mosque in old city. Ahmedabad has a rich history in terms of art and architecture
Section of the institute followed by the entrance which highlights the history and culture of the city. It’s intriguing how inner conflicts and our “choice-less identities” such as gender, caste and religion gives rise to larger conflicts across the city.
Definitely. It’s actual a nice approach of including the conflicts in history of the city as they too influence it.
Terrace
One of the Narrative of spaces experienced by a user. Dialogue by the two user gives an idea about a particular space in a whole narrative
Section of the institute followed by the, section of city history and culture, highlighting the conflicts in the history of the city.
All the inequalities that exist in urban life such as gender, caste, profession are all interconnected in complex ways.
And these civil society institutions are important for these inequalities to be looked at consciously
Studio Residence isometric exploded view
Section of the institute followed by the space of conflict which gives introduction about the institute and upcoming events and a store outlet adjacent to it.
Ambiguity of a space Spaces in institute are such that they allow controlled ambiguity so as to allow a set of particular events to occur in a space. Drawings below show the ambiguity that Gallery and Court of Festival have
Part as an extension of the event
Information about the artist
Gallery: Art Exhibitions
Court of Festival: Flea Market
Gallery: Lectures, Presentations and Talks
Court of Festival : Institute festival
Court of Festival : Film Shoot/Public gatherings
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Their Studio is so open and flexible. This is how institutes work space should be.
The Courtyard is a place for so many diverse events and activities.
It’s so central to this institute and it’s ambiguity is what makes it the core of the institute
Art has become such an integral part to address so many diverse topics for civil society institutions.
They also have a space where one could work on their own art or have jamming sessions or anything.
Section of the Research studio and the passage adjacent to it leading towards studio residence and court of Festival through outdoor reading area.
Section of the courtyard leading toward another courtyard by the research studio. Adjacent to the courtyard is Shop terrace leading towards the film gallery.
Yes of course! Art has a great strength to touch a person’s Consciousness.
Section of the institute as a pause , a space for rest for both mind and body , between the gallery and the courtyard.
Continuation of the Narrative of spaces experienced by a user. Dialogue by the two user gives an idea about the meaning of a particular space in whole narrative
We have organized a talk on the Art and the Society here on the terrace and our fellow artist Mr. Jani is going to lead the talk
Well it’s a very good place to connect with each other and to know about each others’ beliefs,works etc.
Section of the Artist studios on a way leading towards the Court of Festival from the main institute Building. Entrance to the studios from the terrace
This space is completely dedicated to the visitors. You ca put up anything, a poem, an essay, a sketch, a painting or maybe a sculpture, in a way to leave your mark in the institute.
I think it’s a good way to contemplate about the experiences of all the events encountered during the visit and experience of this place as a whole
Section of the Visitor’s gallery, a part of the Court of festival, leading towards the space for meditation
So this is the place to meditate and contemplate about all the your experiences and then maybe objectifying your experience in visitor’s gallery.
After you have put up your experience objectively at the visitors’ gallery, this space gives you opportunity to refine your thoughts and to put it up consciously in the way of living. At the end that’s what this institute aims at.
Section of the Meditation space followed by the visitors’ gallery
Arun Residence, Meeta Jain Architects
Project team: Meeta Jain, Jwalant shingala, Karthik Mohan
2. Professional work Ghorecha Associates, Ahmedabad
Major Projects involved 1. House in Rajkot: Design Detailing, and execution 2. Apartment in Nairobi: Design Detailing Meeta Jain Architects, Bengaluru Major Projects involved 1. Arun Residence: Design Detailing, execution, House interior design development, detailing and execution 2. DRN Residence: House Interior design development, detailing and execution Karan Maniar Architects Major Projects involved 1. Primary school in Navsari: Program formulation & Design Development 2. Twin House in Rajkot: Design Development 3. IT officein Rajkot: Design development playball studio (Ar. Ronak Gangdev), Rajkot Major Projects involved 1. Spire 2: Design development and detailing 2. Spire2 site office: Design development, detailing and execution 3. House in a village near Rajkot: Design Development 4. Cafe Urban Brew: Detailing and Execution
Arun Residence, External Chajja Fabrication Detail
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Baluster Plan Arun Residence, Staircase Detail
Staircase Elevation Baluster Detail
Section aa
Section bb’ Section 11
Staircase Plan at first floor level
Detail A
Detail B
Arun Residence, First Floor Hall Window
Arun Residence, Second Floor Door Window detail
Photo Courtsey: Meeta Jain Architects
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External Staircase First Floor Hall
1. Second floor Door Window Detail & 2. Second floor railing
First Floor Front side hall Window
Photo Courtsey: Meeta Jain Architects
1. First Floor Internal Staircase
Photo Courtsey: Meeta Jain Architects
Exposed Brick Work, Spire 2 Site Office, playball studio Principal Architect: RonakGangdev
Project Architect: Jwalant Shingala
This part of the project included exploring options of various brick courses and looking at them in relation to adjacent elements, detailing each layer of courses of the finalised design for the ease of construction.
Site office plan
Different courses for exposed brick work
Section JJ
Section KK
Front part Elevation
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Sand Casting and the pattern of a leave
Tiles with part pattern of sand casting and bubble wrap
Sampling different tone for the desired gradient of colors in the mural
Required amount of white cement in a container
Preparing a dry mix of black pigment and white cement to achieve the desired tone of grey
Comparing the achieved tone of grey with other tones of grey to achieve desired gradation
Pouring the required amount of dry mix in a tumbler
Adding water in the prepared dry mix proportionately to achieve desired viscosity of the slurry
Casting it in the mould and compacting it manually
2:1 Sand Cement mixture
Adding water in Sand Cement mixture to form a mortar of desired proportion
Pouring the mortar on the earlier casted pigment slurry after a sufficient time gap
3. Hands on Making Concrete Tiles for a 8’ X 16’ Wall Mural Various stages of the project 1.Exploration: Various casting methods, various patterns on the tiles, different proportion of sand cement water, Different tone of tiles by adding the colored pigments 2. Preparing a mould for tile casting 3. Preparing a dry mix of Cement(Grey/White) and Colored pigments(Oxides) for different tones of tiles 4. Making a slurry(Top layer) of that dry mix and casting it in the moulding. Compacting it manually b vibrating the mould 5. Making mortar (Bottom Layer) and adding it in the mould with pigmented slurry 6. Removing the tiles from the mould after a day of settling and curing it. 7. Smoothening the surface and applying Melamine finish on the tiles. 8. Transporting to the site and executing as per the design
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Dismantling the mould after a day of settling time
Concrete tile of Desired tone
Arranging various tones of the tiles with a particular bubble wrap pattern so as to form a pattern of leaves
Applying coat of melamine after proper sanding
Background
4. Studio 9 Film Institute, NH8, Baroda
This Studio included choosing a topic, forming a program, choosing a relevant site and then developing the design. This studio was a pilot project for the skills required for final year dissertation project. The program chose was of a film institute in Baroda on National highway 8 connecting Mumbai and Ahmedabad. The program was developed with case studies of various regional,national and international film institutes. The city and site were chosen according to the requirement of this kind of institutes. The main concern of the design was the providing a visual and physical connectivity between different fields of film making depending on there relation with each other so as to allow interaction between students of respective fields. The classroom were designed to have controlled light as they were equipped with projectors. The acoustic services were also taken in note while designing various spaces of the institute.
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s rd
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ty
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wa To
NH8
Laxmi Film Studio
Farms
Site 3.3 ha
Site Land-use Plan Film Institutes in India include courses like
Program
1) Direction: Preparing storyboard of scenes, development of character, executing the script in integration with lighting camera props and editing. It is at the centre of all different Processes of the film
1) Administration (160 m²) - Chairperson’s office - Dean’s Office - General Office - Visitor’s Lounge - Storage
2) Scriptwriting: This includes development of a story into shots, scenes and sequence of scenes, development of character, dialogs and giving an idea about location 3) Cinematography: An art of photography and Camera work 4) Editing: Integrating shots with the desired effect, controlling 5) Sound Designing: Getting desired sound effects to enhance the experience, reduction of noise 6) Art Direction: Set designing, designing of props, Costumes etc
3) Academics (4340 m²)
2) Supporting Staff Area (250m²) - Faculty Room - Conference Room (20-25 People) - Pantry - Dining - Toilets
- Classrooms - Studio - Recording Studio - Film Lab and Editing Room - Sound Editing Room - Library - Equipment Storage - Theatre ( 60-70 people) - Toilets
3) Amphitheater 4) Canteen 6) Parking (50 cars, 100 two-wheelers)
Total Area: 4900 m²
Cinematography
Art Direction
Direction and Scriptwriting
Sound Recording Relation between and Designing different fields Direct Relation In-direct Relation
Film Editing
Service area
Conceptual model of organisation and scale-proportion of various spaces
Film Theatre
Entrance and Recreational Area
Film Studio Equipment Storage Lounge Theatre
Administration Supporting Staff Area
Art Direction
Canteen Library Direction Scriptwriting
Recording Studio
Cinematography
Amphitheater
Film Editing
Editing room
Sound Designing
Outdoor Film Shooting area
Sound Editing
Organization of various spaces and their proportions
Open Ground floor so as to allow visual connectivity and interaction between different fields of film making
Site model with design concept
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Section BB’
Section CC’
Section CC’
Side road
Section aa
Recreational Area
Main Institute Buidling
Entrance area and foyer
Section DD’
Towards Outdoor Shooting Area
Hostel
Section DD’
A
Film Institute, Baroda 7
17 16 13
12
14 18 18
15 6
15
11
15 10
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9
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8 5
15
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A 3 1 2
Film1 Institute, 1. Studio 2. Storage for Studio Baroda 3. Studio 2 4. Film Gallery 5. Leisure 6. Arrival Plaza 7. Parking 8. Administration 1. Studio 1 2. Storage for Studio 9. Multi-functional Space 3. Studio 2 10. Amphitheater 4. Film Gallery 5. Leisure 11. Mini Theatre 6. Arrival Plaza 12. Cafeteria 7. Parking 13. Canteen & Mess 8. Asministration 9. Multifunctionsal Space 14. Film Lab 10. Amphitheatre 15. Classroom 11. Mini Theatre 12. Cafeteria 16. Basket Ball Court 13. Canteen & Mess 17. Badminton Court 14. Film Lab 15. Classroom 18. Student Dormitory 16. Basket BallShooting Court 19. Outdoor Area 17. Badminton Court 20. Pond 18. Student Dormitory 19. Outdoor Shooting Area
Site Plan 20 0
5
10
Site Plan
Studio 9
30m
Jwalant
Lawn
Film Gallery
Institute Entrance
Courtyard
Section aa
Foyer & Student Exhibition area
Amphitheater
Passage
Cinematography Passage Classroom
d
c a
Film Institute, Baroda 1. Film Studio-shooting area 2. Film Studio-Production area 3. Changing Rooms 4. Wardrobe 5. Make up Room 6. Direction Classroom 7. Art Direction Classroom 8. Cinematography Classroom 9. Film Lab a 10. Canteen 11. Girls’ Washroom 12. Boys’ Washroom 13. Kitchen 14. Cafe 15. Waiting Area 16. Conference area 17. Dean’s Office 18. Principal Office 19. Staff Offices 20. Restroom 21. CCTV Room 22. Film Gallery
b
Ground Floor Plan
b
N 0
c
5
10
20m
d
13
3
Production Unit and lounge
Film StudioShooting Area
Film StudioShooting Area
Equipment Storage
Entrance Towards outdoor
Shooting Area
Section bb d
c a
Film Institute, Baroda 1
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13
9 12
8 11
b 2 3
7
6
1. Film Gallery 2. Film Studio Viewing Area 3. First Year Classroom 4. Film Editing Classroom 5. Sound Designing Classroom 6. Scriptwriting Classroom 7. Virtual Filming 8. Recording Studio 1. Film Gallery 2. 9. Viewing Area Film Development 3. First Year Classroom Theatre 4. 10. Film Editing Classroom Sound Designing Classroom a 5. 11. Library 6. Scriptwriting Classroom 7. Virtual Fiming 12. Supporting Staff Area 8. Recording Studio 9. 13. Film Development Conference Room 10. Theatre 11. LIbrary 12.Supporting Staff Area 13. Conference Room
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4
2
First Floor Plan
b
N 0
c
d
Studio 9
5
10
20m
Jwalant B 5811
Main Film Theatre
Public Recreational area
Section cc
GF: Administration FF: Library
Corridor
Courtyard
Corridor
Changing area
Film Studio Shooting Area
Cafe and Waiting Area
Mini Film Theatre
Corridor
Amphitheater
Corridor
Section dd
Visual Connection between corridors so as to allow interaction
Direction Classroom
Corridor
All the corridors and primary spaces opening in amphitheater so as to allow visual connection
NW
SE
Louvers to cut light in the classrooms
Kitchen
Projection room
Light with Window on NW wall opened
NW
SE
Light with Window on NW wall opened
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Background
5. Studio 8 Urban Mass Housing Mavdi, Rajkot
The brief was to address the housing crisis in the city and to provide housing to the low income user group who are hardly looked at. The preliminary exercise was case study of housing world wide. As a part of this exercise, Quinta di malagueira, Portugal by Alvaro Siza was studied through various aspects such as open spaces and amenities, system of services, dwelling unit etc. The site given was Mavdi region in Rajkot district. The housing type and different type of users around the site were studied. To address this different type of user two basic housing cluster forms were developed. One was a four floored row housing with individual terraces and second was 8 floored vertical housing with courtyard in the centre. The layout with streets as a open spaces was developed with one being vehicular and other being pedestrian. The layout allowed the movement from surrounding neighborhood
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Site 2 ha
Housing Unit type 2: Five floored row housing with individual entrance on vehicular street and Individual terraces opening on pedestrian street
Site with varied neighborhood
Total Built up and the probable community space
Housing Unit type 1: 8 floor vertical housing with courtyard opening up to the courtyard.
Layout with row houses with forming streets and vertical housing unit surrounding the community space
Row houses with individual terraces and vertical housing with a courtyar
B
C D 2
2
3 1
A
A
2
3
1
C D
B 3
1
Site Plan
0
5
10
30m
1. Housing cluster type 1
2. Housing cluster type 2
2
3. Community space
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Section AA Vehicular street Corridor 1
4 6
7
2
8
1
2
2
3
Corridor
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5
2
2
8
2
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3 3
4
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4
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2
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4
1
5
1
Pedestrian Street Corridor
Typical Floor Unit Plan 8
5
2
3
7
4
1 Corridor
Ground Floor Cluster Plan
5
10
1 Corridor
7th Floor Unit Plan
Housing Cluster type 1 0
2
3
4
Corridor
8
5
20m
1. Living Room 2. Bedroom 3. Kitchen 4. Common Toilet
5. Attached Toilet 6. Court 7. Duct 8. Balcony
Housing Cluster type 1 Schematic section
Section CC Section BB Corridor
1
2
Corridor 1
1
1
2
3
5 7 5 4
3
5 7 5 4
3
8
3
4
8 6
3
3
2
3
4
9
9
6
1. Living Room 2. Working area 3. Bedroom 4. Kitchen 5. Common Toilet 6. Attached Toilet 7. Duct 8. Court 9. Terrace
2nd Floor Plan
Corridor
1
4
1
4 7 5
Corridor
5
3
3 6
Housing Cluster type 2
3
3 6
0
Ground Floor Cluster Part Plan
4th Floor Plan
5
10
20m
Section DD
1
17
Section CC’
6. Documentation Section BB’
RSP 2, Wadhwan, Gujarat Wadhwan is a small town in surrendranagar district in Gujarat. The Houses in the city were typical courtyard houses. Intent of this program was to document a street and different scale of houses in that street. The activity pattern and space usage in different time of the day was known. The scale of the house changed depending on the financial capability but the organizational pattern of the spaces remained the same. This study became the basis for studio 4 community housing.
Section AA’
0
1
Exploded view of wooden post and roof junction
3m
B
B
RSP 3, Morbi, Gujarat Morbi is a city in Gujarat being a centre of trade and industry. It possess a lot medium and large industries of electrical products, home appliances, ceramics etc. The intent of this program was to study institutions and structure built during colonial era. The relation of this buildings to the surrounding area and the city in general was studied. Activity during all time of day in and around the structure was studied.
A
A
0
A
1
3m
B
Ground Floor
A
B
N 0
1
3m
First Floor
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8
P4 +16.5m
Nehru Gate Plan P3
P3 +11.5m
Nehru Gate Roof Plan
P2 +8.0m
P1 +2.5m
Cloak Room
Section S3
Nehru Gate Plan P4
Nehru Gate Plan P2
S1
S3
S3
Nehru Chowk Towards Mani Mandir
table
Vege TowardMsarket
S2
S2
S1
Towards Green Chowk
er akan rdsrW ja a a w w To Da
Nehru Gate Plan P1
0
2
4
10m
Towards Mani Mandir
N
Section S1
Silence, Martin Scorsese A part of film essay
7. Miscellaneous Films Films have been a constant companion in my journey. Looking at life through the lens of films is something that drives me. The best example of this is final year dissertation project where film has been a driving factor behind all the study conducted during thesis. Writing film reviews, film essays, analyzing films are kind of activities I engage in frequently. Here is part of one of the film essay on Martin Scorsese’s Film ‘Silence’. On the right side is a Part of a Whole of Film ‘Stalker’ by Andrei Tarkovsky done as a part of the dissertation. It contains collage of images and it’s role in the narrative of the film and is divided in the segments on basis of the experience respective set images generate during the film.
Silence can be disturbing as well as Peaceful. Silence is a story of strength and sufferance of two Portuguese Priest, in search of their mentor in Japan, and the Christian there who face persecution for following Christianity. As the title suggests silence is a medium to magnify the emotions that the priests and people go through. Martin Scorsese very well portrays the pain and fear induced in the Christians and the priests. The scene where Jisama, Mokichi and a peasant were being hung on the cross amongst the hard splashing waves, there are shots of waves hitting the rock and the magnitude of its sound portrays the pain they must be going through. There are many instances when many Christians and priests are put on a trial over their faith. In one of the scene where Jisama and other peasants were asked to spit on the cross and three of them didn’t and faced a horrible death. The last words of Jisama were “Paraiso”(Paradise) and Mokichi sang a hymn in last hours, this showed that their faith gave them strengths to get through all the suffering. Priests have had to encounter many such incidents but it is their faith which gives them the strength to continue on their voyage. Through many such scenes of torture and fear, the power that religion possess has been portrayed...... Complete film essay here
19
9
Recollection images of Stalker’s previous visits to the Zone. This images does not just show the Zone but through this they try give an idea of relationship between the Zone and the Stalker. It lets the mind have it’s own image about their sacred relationship
Non-linearity of the Zone to magnify its in-explicitness. Protagonists reach the same place as Movement image 50 making the mental image of Zone unclear and adding onto its mysteries
Movement
Image In explicitness
Movement
Movement
Image
Image
Zone reality
Zone reality
48
through non linearity
Movement
54
Movement
Image
Image
In explicitness
Zone reality
through non linearity
Movement
51
59
Image
62
In explicitness through objects
Movement
Time Image 12
56
Movement
Image
Recollection image
64
Image Image of
Movement
present
Image
Non linear
Image of
access towards the
67
present
Room
47
65 Movement
Image Time Image 8
49
Image of spirituality
Movement
Movement
Image
Image
Zone reality
Zone reality
Time Image 9
52
Image for imagination
In explicitness
Movement
Time Image 10
Magnified in explicitness through imagination
through non linearity
55
58
Time Image 11
Recollection image
Movement
Movement
Image
Image
Zone reality
Image of present
60
63
Image
61
Image of present
68
Movement
50
Image
53
Zone reality
Stone thrown in the well with oily water. Image that engulfs the mind into zone and its mysteries. This image allows the mind to have a space for thought of what has transpired and imagine the future.
A Part of Whole of Stalker
Water has been used in various ways throughout the film as an image of imagination. Objects submerged in water portrays a palimpsest of the events that have occurred in the Zone
57
The chaotic present Time Image 13
Magnified recollection of past through imagination
66
Directed by : Andrei Tarkovsky
Non linearity of the Zone ‘Zone is complicated system of traps and they are all deadly...’ says stalker. There’s a place in the Zone where the protagonists had taken rest (Movement image 50), and they reach there again after a while after traveling through other places (Movement Image 59). A Similar place appears during their journey (Movement image 54) with a different context. This portrays the multi dimensionality and non linearity of the zone magnifying its in-explicitness.
Imagination, Recollection and Contemplation After falling in trap of Non linearity of the Zone, three protagonists take rest. Writer and Professor discuss about meaning of life and unselfishness of art while Stalker is shown to be recollecting the images from his previous visits of the zone. This is shown in sepia tone of the images of objects submerged in water. The monotony of the tone is made lively by the variety of objects in the water.
“Pliancy and Weakness are expressions of freshness of being” - ‘Stalker’ (1979), Andrei Tarkovsky
End