Vol. II
Karrankumar1996@gmail.com
Selected Works (2014-2019) Karran Kumar G.K.
“PORTFOLIO”
Selected Works (2014-2019) Karran Kumar G.K.
Karrankumar1996@gmail.com
Vol. II
CURRICULUM VITAE Karran Kumar G.K License No. CA/2019/112500
99% Human 01% Caffine
Hello, my name is Karran Kumar and I am currently a self- employed designer with an Undergraduate Degree from Manipal School of Architecture and Planning (2019). I believe architecture is a study of the old, influenced by social and economic changes of the current day which helps in the fabrication of the new, creating a sustainable yet animated lifestyle for future societies. This portfolio is a culmination of my selected works from my undergraduate studies and exchange programmes along with internship and personal projects.
TIMELINE
National Public School, Bangalore (India) Volunteer at Spastic Society, Karnataka (Summer 2010) Teacher Assistant for kindergarten students
Birth
1996
Photography Association President (2013-2014) Organized and promoted inter-school art and photography competitions
Contact Information: karrankumar1996@gmail.com +91 9632582997 instagram.com/thetipsyarchitect/ linkedin.com/in/karrankumar
Manipal School of Architecture and Planning, Manipal, India (B.Arch)
Batch Topper (2016-2018) Semester IV-V-VI
2014
2004
Design Topper (2014-2018) Semester II-III-IV-V-VI
Go Green Cycling Club Bangalore (2011-2013)
Competitions: Inkmaker Design Competition - Finalist (2016) Transparence Design Charrette - University Finalist (2016) Niasa (National Institute of Advanced Studies in Architecture) Thesis Award - Finalist Zone4 (2018) Archasm Kenya Wilderness Pavillion - Second Place (2019) ARKx Site Chapel (2019) Switch Competition- Central Park Book Studio
Publications Online Publications: Rethinking the Future: The Circle, Kenya Rethinking the Future: Cultural Centre, Manipal
Exhibitions
MSAP, Manipal (Thesis) 2019 SJB School of Architecture and Planning, Bangalore, Karnataka- Zone 4
Work Experience Junya Ishigami + Associates, Japan - Internship- 06/18-08/18 Role and Responsibilities: Model making and Conceptualization Site Mapping 2D- Drawings and Renders Working Drawings
Interests
Skills Hand Sketching
Vray
Photoshop
Grasshopper
Laser Cutting
Autocad
Illustrator
Fuse
3D- Printing
Revit
Indesign
Lumion
Rhino- 3D
Sketchup
Office
Working Drawings
INKMAKER FINALIST (Product Design Competition) January 2016
Furniture Design
Graphic Design
3D-Visualizing
Product Design
Technology
Travelling
Photography
Conceptualizing
Internship Period Junya Ishigami + Associates, Tokyo, Japan Cadence Architects, Bangalore, India (2018-2019)
TRANSPARENCE DESIGN CHARRETTE (Chennai, India-2016) Topic: Solving Problems within the Transportation Hub in Chennai, India Rhino 3D WORKSHOP Into-Design, Chennai 2017
Architectural Thesis 2018
2019 CSEB WORKSHOP- Earth Insititute (Auroville, India) June 2016 Professor: Satprem Maini
Z-Axis CONFERENCE Charles Correa Foundation,Goa, India (2016 & 2018)
Cadence Architects - Internship- 08/18-04/19 Role and Responsibilities: Competition Core Team Site Mapping Working Drawings and GFC Renders and Presentation Drawings Vendor Relations Study Models
Exchange Programme Umea School of Architecture, Umea, Sweden 2017-2018
Sandarbh Design Studio - Architect - 05/19-07/19 Role and Responsibilities: Design and Working Drawings Site Management Project Management Vendor Relations Client Relations
GRASSHOPPER WORKSHOP Boston Institute, Bangalore, India May 2019
AW/OL Design Studio: Architectural Startup (freelance) Role and Responsibilites: Co- Founder and Head-Architect. Our projects include, boutiques, Retail-Architecture, Residence Renovation, Restaurants and Cafe’s.
CONTENTS SIEGE - 26/11 MEMORIAL
ART BIOTOP
S.M.V.I.T
THE CIRCLE
MANDIR
M.U.D
PRESENCE OF ABSENCE
CULTURAL CENTRE
THE WAVE
MUSEET
STAIRWAY TO HEAVEN
SIEGE - 26/11 MEMORIAL Thesis 2018 02.2018
Niasa ( National Awards for Excellence in Architectural Thesis 2018) Top 50 Location: Apollo Bunder, Colaba, Mumbai, India
The 2008 Mumbai attacks were a series of attacks that took place in November 2008, when 10 members of Lashkar-e-Taiba, an Islamic militant organization based in Pakistan and carried out a series of 12 coordinated shooting and bombing attacks lasting four days across Mumbai. The attacks,began on Wednesday, 26-11-08 and lasted until Saturday, 29 November 2008, killing 164 people and wounding several.
Memorial Garden
Entry
Memorial Cutouts
Entry Oberoi
This is where the proposal for the 26/11 memorial, Siege comes in. Siege is located off the coast of Apollo Bandar, opposite Taj Palace hotel which was one of the bombing sites. One of the major challenges involved in this project is the site, which is created by reclaiming land from the Arabian ocean.
Part 1: The memorial Mapping out the attack sites in Mumbai helped me create the basis of a plan and help tell the story by segregating the plan into various arms, each representing a pathway of terror. To create focus, each of these memorial cubes (one for each victim of the attack) would be topped by a native grown tree. This was a metaphorical in a way to show the victims, even after death are giving back to the environment and society. The main memorials would be designed as cutouts which look into the museum spaces below (-7m from the ground level).
CST Foyer
Tear Drop Installation
Lower Foyer Road lvl 0 Taj Palace
Nariman House
Dockyard
Dockyard
Arabian Sea Siege: Memorial
Colaba
Gateway of India
Taj Palace
Site
Arabian Sea
o de xt M e t n Co
l
INTRODUCTION
CHABAD HOUSE
CAMA HOSPITAL
TAJ MAHAL TOWER
26 NOVEMBER 08
RGH
RO ESS ACC
TAJ MAHAL HOTEL
CHATRAPATI SHIVAJI TERMINUS 26 NOVEMBER 08
TW OT ER RO RIS TS
: UTE
T MA BES
OBEROI TRIDENT 27-28 NOVEMBER 08
LEOPOLD CAFE 26 NOVEMBER 08
TS IS
R RO
R
UR FO
RGH
ROUTE ACCESS
SITE LOCATION
MA NDANI A H C M A
TAJ PALACE HOTEL 26-29 NOVEMBER 08
RISTS
TERRO
TWO
: PJ R
TE
NARIMAN HOUSE 27-28 NOVEMBER 08
MACHIMAR NAGAR 21 NOVEMBER 08
TERRORIST MOVEMENT GATEWAY OF INDIA
N
CST COM M
CAMA HOSPITAL SEIG SEIG
OBEROI LEOPOLD MACHIMAR
CONTEXT STUDY
TAJ CHABAD HOUSE
wa nd a M ernd u B llo po p A
SEIG
AND
E EN
DS A T
E EN
OS S E
DS A T
NAR
CUR
E TA
J LO
30 H E EN IMAN O DS A HOU OBE STAGE T TH 15 H SE S FR ROI E OST OBE EED HOT 0 AGE AN H ROI E F 18:0 L S R OM OUS FRE THE ED F 44 H E 0 4 ROM O 14: OBE STAGE NAR 1ST G S FR ROI IMER 0:30 ROU 1 E E EMB FIRE D FR P MO NOV BRE O V 8 M 2 0 E 4TH THE AKS TOW 0:0 GRO OUT ARD UP A S CA AT T 3RD 0 TTAC AJ 0 MA H : GRO 3RD 4 K OB UP M OSP GRO 3RD ITAL ERO OVE UP B 1:00 GRO BER I S O H T U M O VEM OWA 2ND P AT BS T TEL 9 7 NO GRO TAC RDS 22:5 W 2 O K LE UP A TAX TAJ OPO IS: 5 TTAC LD C DEA K NA 0 D A F RIMA 1ST G 22:0 E:10 ROU N HO DEA 1:45 P AT D 2 U S E: 8 TACK DEA 5 R CST: D 21:3 MBE 58 D OVE 0 EAD 26 N 21:3
TS
LIN IME
EO
T
21:2
1
EN F EV
TAJ H
BBY
OTE L 0
00:0
0
09:0
BER
M OVE 29 N
BOMBAY BEGAN AS A GROUP OF SEVEN ISLAND WHICH WAS JOINED INTO WHAT IT IS TODAY UNDER THE BRITISH GOVERNMENT. THE HILLTOPS OF THE SEVEN ISLANDS WERE RAISED AND USED TO FILL THE GAPS BETWEEN THE ISLANDS TO CREATE A SEA-WALL EMBANKMENT. ROLLER FOR COMPRESSING
LAND
WATER
1 1700-1785
SAND WALL
THANE QUARRY
N
PILES
COLABA
48 KM
2 1785-1820
COLABA METRO
STAGE 3: THE SAND THAT WAS PREVIOUSLY LOADED INTO THE SEA IS SUCKED UP AND PUMPED INTO THE ENCLOSED AREA.THE SAND IS COMPRESSED AND A GRANITE WALL IS BUILT ON THE SIDE FACING THE SEA TO PREVENT THE AREA FROM BEING ERODED BY WAVES.
NAVI MUMBAI
SEIGE
LAND
OLD WOMAN’S
3KM
WATER SAND WALL
3 1820-1880
PILES
STAGE 2: A SAND WALL IS BUILT AROUND THE AREA TO BE RECLAIMED TO KEEP SEA WATER OUT. SAND IS LOADED INTO THE SEA JUST OUTSIDE THE SAND WALL AND STORED THERE UNTIL IT IS NEEDED.
GATWAY OF INDIA SITE
4 1880-1930
BOMBAY LAND WATER
PILES
STAGE 1: COLUMNS OF SAND KNOWN AS PILES ARE FORCED INTO THE SOFT CLAY OF THE SEABED TO MAKE IT MORE STABLE.
5 1930-1970
LANDFILL METHOD
6 1970-2012
EVOLUTION OF MUMBAI
LAND RECLAMATION
Original Islands Of Bombay
The rain water and surface runoff would collect in these memorial cutouts creating a play of light and water to the users of the museum while filling up rainwater harvesting pits. The memorial space was designed to allow for snug seating spaces surrounded by memorial cubes creating spaces for contemplation and social gathering. The center of the site features a cylindrical skylight that shoots out a beam of light, visible throughout Mumbai.
SIEGE AI
B UM
Part 2: The museum To access the museum space, the users will take the large ramp which is located on the visible edge of the site and ascend to the main foyer level located at -3.5m. To help understand the spaces, I mapped out the emotions and incidents at all the attack locations and translated them into architecture using a play of light, levels, taste and smells and physical ornamentation.
M
IAL
R MO
ME
26/11
ON OF THEofBLOCK FIELD CREATI NG A SPACEa FOR CONTEMPLATI ON AND SOCIAL GATHERINenvironment G Illustration ofREPRESENTATI the concept cubes create and contemplative REPRESENTATI ON OF THE BLOCK FIELD to CREATI NG A SPACE social FOR CONTEMPLATI ON AND SOCIAL GATHERING
Concept Model
At the foyer, the users will be faced by a large exposed concrete room bearing a water wall on one side and a spiral staircase in the middle of the room. (Metaphor: The fear of the unknown) As the users descend into this helix spiral staircase, they are greeted by the lower foyer at level -7m . This lower foyer takes the user through narrow corridors to reach the first attack site:
Lvl 0m
Memorial Cubes
Cutouts Into the Museum
Entry
Lvl -3.5m Upper Foyer
Garden Lvl -5m Cama Hospital
Trident Oberoi Lvl -6m
CST
Admin Taj Palace Hotel Toilet Block
Leopold Cafe
Machimar Lvl -7m
Leopold Cafe Lower Foyer
Arabian Sea
Lvl -8m
Boat Jetty
Dockyard Viewing Gallery
Road Level
Viewing Gallery
Dockyard
Lvl -6m
The first path to the right investigates the Chabad House terror. The main room features the seperating partitions used in the original house which confused the users as to the main entry of the room. The centre of the room features a copper tree holding Jewish caps as a symbol of growth and struggle. The walls are etched with stories and encounters by victims. The users are then directed to a multi-faith prayer hall at the end of the room to help lighten the atmosphere. The only light is through a small opening on the top. Of the wall as illustrated below.
The next room is the Taj Palace, where the users are greeted by the grand staircase and thousands of broken plates. The users will have to trample through the broken plates to reach the light at the end of the room. This double heighted space is significant of the grandeur of the Taj Palace hotel. All arms end in rooms aimed at breaking the tension, as in the case of the Taj palace arm, it is in terms of a viewing gallery that faces the city.
Machimar is a fishing community area part of Mumbai, this is where the terrorists first entered Mumbai. The machimar corridor is measuring just 2 metre in width to show the narrow streets of Machimar pierced by angled beams covered with fishing nets . The floor is spread by small cubes representing the small dwellings of Machimar
From Machimar, the users are taken to a large room which splits off into four parts, each for one story of the attack. Here, the users are given a choice as to which story they want to experience first. This large room is significant of Mumbai street which is where the taxi blast took place. The centre of the room features a deconstructed Mumbai taxi made out of ticking taxi meters. The walls are decorated with taxi parts, each telling an account of the incident by an unfortunate witness.
The next arm from the taxi blast is the leopold café and Taj palace arm. The users are directed along a narrow winding path that takes them to the first room, The leopold café which is a maze of colums, iconic of the original café. The interior is designed to create the burnt down café with broken columns, loosely hung fans, stains and burn marks along the walls. The users will be able to read the letters left by the attack survivors which adorn the pillars and walls.
The users leave this room and walk along a winding path to face the Cama Hospital Room. This room is designed to look like a general ward of a government hospital with several stacked beds creating an air of discomfort and confusion. The only sound in the room is that of a heart rate monitor. The users leave this room to face a garden (breaking the overall tension) completing the circle of life and death, which has been symbolized using trees and plants.
The next arm from the taxi blast is the CST and Cama Hospital arm, the users are faced with a long and narrow ramp (signifying the distance travelled by the terrorists) which leads them to a railway track surrounded by platforms. The users are encouraged to climb onto the platform and see the several broken luggage pieces and personal belongings of the victims and survivors. The railway track forms the steel roof truss, an iconic part of the Indian railways.
The last arm is the Trident hotel arm which takes the users through a winding path filled with broken stained glass etched with the memories of the survivors. The main Trident arm features multiple 2x2m cubes at different levels to bring an air of claustrophobia and the feeling of being trapped within the main atrium of the Trident. The users meander through this maze to find themselves at a viewing gallery viewing the Gateway of India. They make their way back to the taxi blast and then to the upper foyer via the dynamic gallery (similar to all arms)
ART BIOTOP NIKKI
Junya Ishigami + Associates 06.2018-09.2018
Internship Location: Nikko, Tochigi Prefecture, Japan
About the Architect: Junya Ishigami is a Japanese architect born in Kanagawa prefecture in 1974. He acquired his master's degree in architecture and planning at Tokyo National University of Fine Arts and Music in 2000. Ishigami worked with Kazuyo Sejima from 2000 to 2004 at SANAA, before establishing his own firm in 2004: junya.ishigami+associates. Ishigami showed solo in the Japanese pavilion at the 11th Venice Architecture Biennale in 2008. Design Philosophy: Junya ishigami proposes architecture for a world that doesn’t care much about buildings. for ishigami, this means operating without programmatic constraints, to be free from conventional forms of commissioning and building architecture. His ‘freeness’ contemplates the presence of ever more anachronistic forms of fabrication and construction of contemporary architecture, and the metaphysical relationships those objects create with human and non-human life.
Ni kk iR es tau
ran t
Art-Biotop: For the water or botanical farm garden – unlike conventional farming that struggles to expand crop acreage in order to increase efficiency – interpersonal communications are particularly important. It makes visitors feel as if they are staying in a garden, making the most of nature, land art on a human scale.
s of the same environmental compoThe landscape created by this method consist nature” by combining the various w “ne e om bec will but site the on ly inal orig nents aspects of nature that could not be elements in a new configuration emphasizing art that cannot be found in nature. ade nm ma of nts me ele the and n ma by de ma
The originial site plan showing the trees is was to be cut down to devolop a new hotel complex by Architect, Shigaru Ban. The trees have been carefully removed and replanted in the adjacent medowland. Ponds between the trees have been created to allow the reflection of the sunlight that filters through the canopy.
The landscape created by this method consists of the same environmental components originally on the site but will become “new nature” by combining the various elements in a new configuration emphasizing aspects of nature that could not be made by man and the elements of manmade art that cannot be found in nature.
The Restaurant, was a thin glass membrane balanced between the gradient of the landscape, held together by an array of tree trunks, similar to the landscape created within the water garden. As interns, an extensive study of the landscape and surrounding flora was done to understand the profile of the glass roof and the most feasable location of the restaurant in context to the water garden and resort. Physical and 3D models were made to study the views and vistas in relation to the trees on site and to understand the form and functioning of the restaurant. Our team of three had made over 60 full-size models and clocked over a week on site in the four month internship period.
3
2
3
2 1
Plan 1: Water Garden 2: Restaurant 3: Cottages-Shigaru Ban
1
View
S.M.V.I.T
Cadence Architects 09.2018-04.2019
Internship Location: Bangalore, India
Sir MVIT College, Bengalore, India held a closed competition to design their upcoming architecture and design facility within their masterplan. Cadence architects were one of the five firms to be invited. Project Objectives and Aims: As per the Master Plan, the vision of the proposed planning is to establish MVIT’s image and identity as per international standards to attract the best students from all across the country The challenges of infill development in the existing campus were equally addressed with importance, as it was to design for an ever evolving campus for the future. 1) To design a school of Architecture and Planning for setting a new standard of design education 2) Complex built environment issues, Embedded with commitment to sustainability and green architecture with an emphasis on contemporary elements. 3) Design to balance between Human –made constructions and original nature without affecting the Harmony of Nature 4) To provide many platforms for interaction and inspiration with the integrative nature of contemporary art and multiple break-out spaces providing inspiring learning environment for students. 1:Library 2:Architecture School 3:Student Plaza 4:Old Architecture Block 5: Academic Areas
2
5
5
5
5 2 4
3
1
Concept: Conceiving the building with its various parts and outdoor areas as interconnected – the whole idea of the building is conceived to be visually and physically connected to the academic plaza. The design honors each tree on site by covering it within its blanket. Special focus on the openness and permeability of the building as it is student and visitor centric. The building integrates itself into the proposed landscape theme of the academic plaza, in dialogue with its immediate surroundings, infrastructure and memory.
1 Entry 2 Stationary Store 3 Cafe 4 Wash Room 5 Store 6 Workshop 7 Construction Yard 8 Exhibition 9 Amphitheatre 10 Seminar Hall 11 Computer Lab 12 Nasa Hall
Ground Floor Plan
1 Entry 2 Admin 3 Wash Room 4 Class room
1 Class Room 2 Seminar Hall 3 Wash Room 4 Staff Rooms 5 Library First Floor Plan
Second Floor Plan
Courtyard
Class Room
Class Room + Studio
Courtyard Amphitheatre
Section
First Floor View
Courtyard and Class Rooms
Exterior View
Second place Location: Amboseli National Park, Kenya
Aimed at promoting the preservation and protection of our natural habitat, Archasm held a competition calling for proposals from all over the world for the design of a wilderness pavilion in the Amboseli National Park –Kenya. The Circle, was our effort to create an eco-sensitive pavilion that instills a sense of empathy in mankind for his surroundings. Amboseli National Park, located in Kajiado County, Kenya is a protected wildlife park i.e. 392 km2 in size at the core of an 8,000 km2 ecosystem that spreads across the Kenya-Tanzania border. Crowned by Mount Kilimanjaro, Africa’s highest peak, the Amboseli National Parks is one of Kenya’s most popular parks. Amboseli National Park offers some of the best opportunities to see African wildlife because the vegetation is sparse due to the long, dry months. The park is famous for being the best place in the world to get close to free-ranging bush elephants. The Circle is, in a way, Mother Earth’s eye looking upon her children on land. As her most gifted children, it becomes our responsibility to care, educate, and bring awareness to those around us about the wellbeing of our co-habitants - the flora and fauna. The Circle is situated at the foot of the Observation Hill and aims at bringing a spatial experience of being grounded to our roots while enjoying nature in its most raw form. This underground pavilion replicates the context in terms of material and becomes a part of the hill itself. The external water pond and bird feeders along the internal wooden ramp become attraction points for wandering animals and birds, thus inviting them to this space. This allows visitors to catch a glimpse of candid moments of these majestic beings up close
Basket weave
Archasm Competition 10.2018
Local Bamboo
THE CIRCLE
30m
Section of the site
Any extrusive form on the hillock will act as a visual barrier and not be in line with our vision of creating an intimate space away from the line of sight of animals that call the Amboseli Park their home.
And this thought process led us to dig up the earth to insert our pavillion which would blend into the slope of the hillock almost seamlessly.
The Circle, additionally, serves as a landmark for the Maasai tribe living in and around the park, allowing them to gather, express and exchange knowledge with tourists visiting this spot. Locally available recycled basket weave tied to bamboo forms the roof. A wooden access ramp extends to 3.5 metres below the ground. The interior spaces have minimal use of materials, with walls being made out of compacted earth and floor being the natural ground with grass. This creates an experience in itself for the user, allowing him to connect with nature in a subtle yet effective way. Rocks have been placed on clearings made on the grass that can be used for seating. These clearings also become a space for the local people to exhibit their workmanship. Published: Rethinking The Future- The Circle Collaborators: Disha Shetty
MANDIR
Umea School 06.2017
Semester Abroad Location: Umea, Sweden
Studio 11 of UMA, Umea under the professors Amalia Karapodis, Carl-Johan Vesterlund and Carlotta Novella persued research into the various hidden and visible networks that operated in this student town. The research was translated into multiple layered maps which helped us understand the needs and requirements of the city. This information helped us to plug in our architectural intervention within the networks of the city. The niche that I investigated was the hidden network of religion and religious spaces that define our day to day activities. It was found that out of the 89,000 people that resided in Umea, over 4% were religious minorities who did not have a social or religious space to celebrate their identities. Meetings with the heads of the local minority groups showed that these groups do not have a defined social space but rather rent out public spaces which was a tedious task. Design inputs from the community helped shaped the form and spaces of the building meant to be a space of congregation for all faiths and religions. Local building techniques and materials were studied to allow this building to appear as a product of the earth, minimizing its carbon footprint and extending its facilities to others within the overall community of Umea.
Networks within the town of Umea, Sweden
The site chosen for this intervention is public property along the short of the Nydala Lake, which freezes over during winters as it in close proximity to residental spaces, convenience stores and shopping areas. The Nydala lake is also a sacred ground for aurora borealis hunters who never had a built structure to house their needs and activities. The site was studied in terms of its vices and virtues and inferences that helped shape the mandir were drawn out. The building in way had to serve the local aurora hunters and the minor religious group without disturbing each others activities. This led to the curved and downward sloping roof form which acted as a mini amphitheatre for the aurora watchers while enclosing the congregational spaces within it. Each activity would have a different access point to maintain a level of privacy for the two major groups.
NOON
ad o r n i ma
350 mts
pede
NOISY ZONE
AURORA VIEWING POINT
stria na
cces s
DIREC
SLOPE
NydalasjĂśn, UmeĂĽ
(1:30)
vehic u
TION
OF M
lar ac cess
ECCA
PRAYER HALL
PLAN SECTION AA
I could stay here all day! seamless transition to the water surface nice! the view is great!
i love this song !
aUUUUUUM
ah the restroom!
STORAGE KITCHEN
PRAYER HALL
SECTION AA
A programatic model on the left shows us the basic building profile with the programes divided based on activity and privacy. While the tectonic model shows us the building framework and structures involved to achieve said form. The spaces have been divided along all three axis with the prayer hall located below the surface
F
MORE UNDER THE DOME
G EM T
The Tribe Projects, Turkey in Association with Umea School, Umea, Sweden 01.2018 Location: Izmir, Turkey More Under the Dome or MUD is a communal space for the refugees living within the refugee camp in Izmir, Turkey. The refugees escaped from Iraq in rudimentary boats and small ships to Izmir in Turkey (as it is the bridge between Asia and Europe), to find better living and working conditions. Their stay was within a refugee camp located on barren government land. These refugees, some belonging to the upper economic class were living in temporary shelters which were below living standards. Their social interactions were limited to the open spaces with no indoor communal areas as such. Studio 10 and 11 came together under Prof. Robert Mull (Head of School of Architecture and Design, University of Brighton) who split us into sub-groups to study the landscape and grievances of the refugees. The aim was to suggest an architectural intervention that would help the people using local building techniques and and keeping it under the allocated budget of 6000 Euros. Our group, aptly named MUD, studied the local site conditions and suggested the use of mud and earth as a building material. Our intervention looked at various techniques ranging from cobb to CSEB, and finally fixed our focus on earth bag construction due to its temporary yet steady structural behaviour. We wanted a building that can be easily assembled by the locals and disassembled within a few hours to be transported to another site, or left behind, merging into the existing landscape over the course of time. The graphic illustrated on the right shows the life cycle of the community (containing a kitchen and prayer hall) building from being constructed by the locals as a community centre to being abandoned and giving new use to a different user group while respecting the landcape and materiality.
WALL SECTION DETA
FILLED WITH SOIL
150
ED WITH SOIL
ASS BOTTLES DDED WITHIN STRUCTURE
GLASS BOTTLES EMBEDDED WITHIN THE STRUCTURE
B
SHOWER
SHOWER
WALL ELEVAT
To reduce the carbon footprint of the building, DETAIL WALL ELEVATION the building has been fitted with a rainwater 2 STRAND 4harvesting POINT pit, biogas plant that uses kitchen BARBED WIRE waste, grey water recycling using a sand/charcoal filter and hydroponics, composting and eco-cool MUD PLASTER technology which uses the venturi effect to reduce the temperature of the space by 30
2 STRAND 4 POINT BARBED WIRE MUD PLASTER POND 2100
EARTHBAGS WITH SOIL VERANDAH
GRAVEL BAGS + RAMMED EARTH FLOOR
210 0
21
EARTHBAGS WITH SOIL
00
KITCHEN
5500
2500
0 90 R1
G.L
1100
33
G.L
400
00
26 00
2500
R30
A
4700
5500
4100
00
GRAVEL FILLED EARTHBAGS FOR PLINTH
EARTH/ STONE BERMING
6000
COMMUNITY HALL
6000
GRAVEL FILLED EARTHBAGS FOR PLINTH
GRAVEL BAGS + RAMMED EARTH FLOOR
SECTION AA'
WALL SECTION DETAIL
6.4
R167
EARTH/ STONE BERMING
620
EARTHBAGS FILLED WITH SOIL
G.L
B'
COMPOST PIT
WALL ELEVATION DETAIL 2 STRAND 4 POINT BARBED WIRE 2100
L
DETAILED PLAN
150
Mud walls are large thermal mass holders, keeping the structure cool in summer and warm in winter
GLASS BOTTLES EMBEDDED WITHIN THE STRUCTURE
MUD PLASTER
VERANDAH
Windows along North Wall to allow for Indirect Sunlight
EARTHBAGS WITH SOIL
00
21
GRAVEL BAGS + RAMMED EARTH FLOOR
Sand bags and bottle COMMUNITY HALL
4100
0
A
00
26
Evaporative cooling along the thermal mass to “breathe”
GRAVEL FILLED EARTHBAGS FOR PLINTH
R30 0
No windows on the south facing wall to reduce heat gain
.4
R1676
EARTH/ STONE BERMING
00
33
G.L DETAILED PLAN
WALL SECTION DETAIL Eco-Cool Technology Collaborators: Meghana Pai, Woojay Kim Julliete Gonnin, Lotta Nilsson, Karen Garcia
PRESENCE OF ABSENCE Cross of Faith
The competition titled “Site Chapel” aimed to create a Chapel on the Pessegueiro Island in Portugal which was once a historic battleground for the Portugese and the Romans. This island later transformed into a fish processing centre, as determined by archaeological excavations which discovered the remains of salt talks along the island’s southern coast.
Location: Pessegueiro Island Portugal
caw caw.......
Rest, Release, Comprehend, Surrender, As you enter the space of perpetual knowledge. Knowledge of all that is known and unknown. Rest, And experience the overlap of life and faith, Water at your feet, the sky above, Earth suspended Mid-Air and life all around.
w ie
Focus. Listen. Feel. Embrace As the waves crash against the shore Old as time itself, reaching out to the unknown Focus, As you walk along the path, Unknowing of what awaits. Listen, To the sand crunching below your feet, and the water tickling at your toes. Feel, The presence of Absence, as the light shines through the cross of faith. Embrace, The sincerity and sanctity of being one with nature.
Suspended Rocks
Our main idea was to avoid any disruption to the archaic salt tanks but to rather create a sculptural chapel that would mark the formal port of entry into the island. The following is a poem illustrating the flow through our proposal:
Int
or e ri
V
i got to get to the boat before the rocks fall on me!!!!!!
Steel Frame on floating base
ArkxSite Competition 02.2019
space an Framing a
ctum d inner san
system tal suppoertlope le e sk e th Raising for a porous env allowing
ith rocks er chapenl dwremoval n n i f o n o Creati ound the site a f faith found ar to create the cross o s k c ro of
i cant swim.
tide during high ts d e rg e m b u a Structure s ill be accessed by bo t s n a c h c i wh
2
te Rou Sea
Release, As you sense the time stop around you As nature flows at its slow constant pace. Comprehend, The dematerialization of specificity of faith, As you experience its transcendence. Surrender, To your faith in the cross And believe that it will support you As you observe its strength In holding up the space around you, And finally Accept, The power and integrity of your faith, Even as its ethereal glory, Is engulfed by the looming sea
1
4 3 1: Portugese Fort 2: Salt Pits 3: Ruins 4: Chapel
Collaborators: Meghana Pai
CULTURAL CENTRE
Published: RTF Magazine Location: Manipal, Karnataka, India
Academic Design 3rd Semester/ 2nd Year
This academic project emerged due to the need to provide a platform to showcase the art and culture of Dakshin Kannada, a district in the state of Karnataka. Flanked by the Western Ghats on the east and Arabian Sea on the west, this district is home to a rolodex of vernacular artforms and languages that has been losing traction in today’s technology driven world. This cultural centre aims to provide spaces to accommodate large communal gatherings while narrating the stories of the local culture to the users. The site that was chosen overlooks the Suvarna River in the student town of Manipal.
Info Centre Seminar Hall
This site was chosen as it is in close proximity to a large student hub of Manipal University and the famous temple town of Udupi, thus ensuring footfall within the centre.
Library
All the structures feature ample spilllout spaces and plazas to cater to outdoor activities and demonstrations. The design also features a temporary exhibition gallery made from shipping containers and an earth sheltered library tucked into the steep topography overlooking the site and its surroundings. A conscious effort was taken to keep the pedestrian pathway interesting and dynamic by framing the existing views and allowing the buildings to act as sculptural pieces perched on the topography. As the project sits on a contour, one of the design challenges was to limit the amount of cut and fill within the site and rather work with the existing topography. The site also houses a number of indigenous species of trees which was surveyed and studied to ensure minimum damage to them.
Amphitheatre Administration
Gallery Restaurant
Exit Gift Shop
Site
Published: Rethinking The Future www.re-thinkingthefuture.com/architecture/cultural/cultural-centre-at-manipal-by-karran-kumar/
Section
View from the Administration Block
A rain fed stream that runs through the site divides the areas into public and semipublic zones.. The users are welcomed by the globe shaped visitors information centre and can either proceed towards the seminar and exhibition space or take the lower pathway towards the cafĂŠ and training centre which sits comfortably in the stream. All the structures feature ample spilllout spaces and plazas to cater to outdoor activities and demonstrations. The design also features a temporary exhibition gallery made from shipping containers and an earth sheltered library tucked into the steep topography overlooking the site and its surroundings. A conscious effort was taken to keep the pedestrian pathway interesting and dynamic by framing the existing views and allowing the buildings to act as sculptural pieces perched on the topography. Published: Rethinking The Future www.re-thinkingthefuture.com/architecture/cultural/cultural-centre-at-manipal-by-karran-kumar/
Published: Rethinking The Future www.re-thinkingthefuture.com/architecture/cultural/cultural-centre-at-manipal-by-karran-kumar/
THE WAVE
Academic Design 5th Semester / 3rd Year
Location: Keshavnagar, Pune, India
The studio for semester 5 was investigating the various uses of steel construction and its impact on long span structures. The site chosen by the class was located in the Moderate Climate zone of Pune, Maharashtra, India on a piece of land facing the Mula Mutha River.
Form chosen to enclose the football pitch: Giving it maximum shade during play hours
The site, measuring 12141 sqm. was surrounded by residential towers on three sides and the aim was to provide a communal space. A study was conductued on the needs and requirements of the community through a mail survey and questionnaire and, a conclusion in favour of a sports facility and parking area was made.
Making the form “Climbable” by reducing the heights of the overall form based on user movement patterns
The concept of “The wave”, named due to its undulating roof form helps create a visual connection between activity spaces, inside and outside the built form. Locating sports that have a larger live audience on the lower floors and individual sports on the upper floors, thus maintaining privacy. The form was chosen to break the monotony of the surrounding bloated high rise buildings.
Trampoline room projected outward to create emphasis on the main entry into the building
The wave like roof form encapsulates the closed spaces creating balconies and canopies based on roof undulation
20 Climbing Wall 21 Roof Form
21 +17 meters
14 Shooting 15 Net Park 16 Trampoline Room 17 Viewing Gallery 18 Restroom 19 Cafe
20
17 19
16
+10 meters
20 14
15 11 Info Centre 12 Admin 13 Health Centre
0 meters
18
8 7
11
13
12
+03 meters
7 Security 8 Water Feature 9 Parking 10 Soccer
0 meters
10 4 9
3 5
2
6 1 Skate Park 2 Futsal 3 Restrooms 4 VR Football 5 Table tennis 6 Gym
1
2
-1.5 meters
-2.5 meters
7
6
1
5
4
3
2 1
Section
Front Elevation
1 Skate Park 2 Entry Foyer 3 Admin
4 Shooting Range 5 Net Park 6 Trampoline Park
MUSEET
Academic Design Excercise Sem 6th / Year 3
Form Devolopment and Design Location: Hypothetical Site
Museet was a form-giving excercise, taking an existing project academic project and changing its form from to non-linear and unconventional forms keeping in mind the functions that the buildings house. The concept was to take a seminar/training centre and make it one of the key centres within the port town of Mangalore, India.
Aimed at promoting the preservation and protection of our natural habitat, Arch
Aimed at promoting the preservation and protection of our natural habitat, Arch
Amphitheatre
Gallery 12 Meters
17 Meters
STAIRWAY TO HEAVEN Form Devolopment and Design Location: Hypothetical Site
Academic Design Excercise Sem 4th / Year 2
5.5 Meters
7 Meters
of the stru ctu re
Plan
ew
Vi
4 Meters
Elevation