ARCHITECTURE
P
O R T F O L I
O
NAME : KETAKI RAUT EMAIL ID : u10ketaki.r@gmail.com PHONE NUMBER : +91 9870061144 022 26827316
RESIDENTIAL ADDRESS : 101, RAMESHWAR DHAM, TEJPAL SCHEME, RD. NO. 5, VILE PARLE (EAST), MUMBAI- 400057.
EDUCATION : B.ARCH. ACADEMY OF ARCHITECTURE, MUMBAI. (AUG 2010- APRIL 2015) SCHOOL : PARLE TILAK VIDYALAYA, MUMBAI. JUNIOR COLLEGE : SATHAYE COLLEGE, MUMBAI.
LANGUAGES : ENGLISH, HINDI AND MARATHI.
SKILLS : PHYSICAL MODEL MAKING, FREE HAND SKETCHING, PHOTOGRAPH SOFTWARE SKILLS : AUTOCAD, SKETCHUP, VRAY, ADOBE PHOTOSHOP, ADOBE ILLUSTRATOR, ADOBE INDESIGN, MS OFFICE. INTERNED WITH KUMAR RAUT AND ASSOCIATES AND XCOOP
EXPRESSION SPACE
360 DEG. PAVILION
DOUGLAS HOUSE INTERVENTION
MARRYING MACHINES
HOUSING IN BADLAPUR
DISCREET NESTSTHESIS
AFFORDABLE HOUSING
The aim of this project was to study the daily lives of professionals in this city and design an expression space of 50 sq.m. by deriving patterns through these studies to make the user go through experiences of these professions. For this project I had to study the profession of a bus conductor which I did by studying his time schedule, his movements throughout the day in the bus, the objects he used while working and tried to derive a pattern through it. the bus ticket which these conductors used was soon to be replaced by electronic machine tickets. I took this old bus ticket and considered it as a cut plan of the bus, drawing different coloured dots for gents and ladies according to the seat allotments. This then transformed into cubes of varying sizes, designed according to the ergonomics of the bus seats. At some places thes cubes get crowded to make it difficult for the user to pass through thus showing the usual movement through a busy bus on a regular working day. The bus bell wire which the conductor uses to commuicate with the driver runs through this space joining these cubes together thus adding the ‘ting ting’ sound of the old bus. In today’s world we go through massive changes due to technology and in a couple of years it will be a completely different experience to travel by a B.E.S.T. bus in Mumbai thus making us nostalgic of these smaller elements.
EXPRESSION SPACE
T H E 3 6 0 D E G. P A V I L I O N
NEARBY ACTIVITIES
BRIEF HISTORY
The objective of this project was to bring forth equations of public response to public spaces. The design brief intended to create a public space at the beginning of the Marine drive promenade.The main user of this pavilion is a tourist who indulges himself in the skyline of Mumbai by trying to go to the farthest end of the promenade wanting to go further ahead. In this pavilion the promenade has been altered to take the user underground to a visual room showcasing images and video clips of the evolution of Mumbai city which then leads the user onto an extended deck stretching right in the middle of the sea thus providing a spectacular view of this city.
I BU ILD IDE
NTI
AL OFFICE WORKER
PROMENADE
RES
DECK
NC AR PA PE TS THE RFOR ATR MIN E G
LOCAL RESIDENT TOURIST
PROMENADE
ACTIVITIES ALONG THE PROMENADE
EXHIBITION SPACE
ING
DECK
VISUAL ROOM
PROMENADE SECTION
SECTION PLAN
The brief intent was to study important projects of a given architect and design an intervention that was to act as a critique of the project. The architect assigned to me was Richard Meier and I selected the Douglas house. Meier has been known for his whiteness and involvement in verticality. Typically he is known for his residential architecture. The location of this house is unique in the sense that the house sits on a hill in the middle of pine trees overlooking Lake Michigan. Within perceivable vision there is nothing around it. By the virtue of its siting, this project demands to be looked at. In that sense it is narcissistic as it looks at its own reflection in the water and the inhabitants in this project have a perched view. They can always look at who is below and there is no one else to look back at the project. My intervention was to somehow use the architectural language that Meier does, using glass and vertical panelling and framework that becomes the aesthetic of the project and create this glass cube that sits afloat in the lake. Through a process of series of mirrors the idea was to allow the inhabitants of this glass cubes voyeuristic access to the private spaces of the Douglas house. the mirrors are obscure and hidden , so that the people in the Douglas don’t know that they are being looked at. They can see the cube floating in water but not know what the inhabitants of the cube are looking at. This grants access to the intimate spaces of the project which are otherwise inaccessible to the outside viewer. This dialogue between the two glass cubes is a critique to the narcissistic idea of the Douglas house.
DOUGLAS HOUSE INTERVENTION
PERCHED ON TOP OF A MOUNTAIN IN THE MIDDLE OF PINE TREES IN FRONT OF LAKE MICHIGAN.
ENCLOSED GLASSS BOX WHICH ALLOWS THE USER TO SEE ALL THE SENARY BUT NOT TOUCH IT
ENTRANCE OF THE HOUSE FROM THE TOP AND OPENS UP INTO THE DOUBLE HEIAGHTED GLASS LIVING ROOM WHICH SCALES DOWN THE USER.
DOUGLAS HOUSE IS A NARCISSISTIC BUILDING WHICH LOOKS AT IT’S OWN REFLECTION IN THE WATER WITH NO ONE TO LOOK BACK AT IT.
THE INSTALLATION TO THIS HOUSE IS LIKE A CONVERSATION BETWEEN THE TWO GLASS CUBES.
The aim of this project was to study the mechanisms of two junkyard machines and come up with a new machine having different functions. Appropriate pairs were formed based on the use of these machines and a new machine was formed having newer functions and at the same time retaining some of the older ones. My cookie dough press was paired with a camera to give birth to a kaleidoscope. This new kaleidoscope used the cylindrical form of the dough press and the viewfinder of the camera provided for a perfect dark box to peep into the colourful kaleidoscope through colour screen-rolls which could be changed using the shooting mode dial of the camera.
MARRYING MACHINES
Over saturation of Mumbai is forcing most of its people to move out of the city. However due to job availability these people prefer moving to places which are not so far from the island city. Badlapur which is nearly 60 km from Mumbai has now gained importance as a residential area due to its proximity to the city. The brief was to design a residential project with appropriate amenities in Badlapur east, Maharashtra. Before the development of Badlapur, it was a picnic spot for people from Mumbai or Pune because of its scenic beauty. The establishment of MIDC in the late 70s gave rise to the ever growing residential area in Badlapur. These newer buildings lacked community sensitivity. Due to introverted nature of these gated communities, the streets were left dead, community gathering spaces started disappearing, movement of people on streets got restricted. The aim of this project was to act as a critique to the ever growing gated communities. On closer analysis of the site it was observed that there were two barriers isolating the site from Badlapur west which is the busier part of Badlapurthe river and the railway tracks because of which the streets around the site were left isolated. There was only one vehicular bridge connecting Badlapur east to west. The idea was to bridge these two barriers and bring the busiest part of the city to the river. This residential complex itself becomes the bridge and houses activities for the three main categories of people living herethe husband, the house wife, the children. The bridge which starts in Badlapur west as a bazaar area continues to change into a garden and play area for children. Further it goes partially underground to house a multipurpose hall for discussions and seminars and an exhibtition area for the housewives who could be engaged in activities like cooking classes, weaving classes etc in the workshops of this bridge and the work they produce at these workshops could be displayed in the exhibition box. This can also help generate economy for the society by involving the rest of Badlapur in its activities. The bridge then comes back up to house a small cinema theatre and amphitheatre. The buildings attached to this bridge have a magnificent view of the river and all the activities happening in this public space. Library and restaurants are plugged into the bridge further in the green zone which has a thick forest cover, along which also runs the cycling track. It then turns into a deck overlooking the river and this way, the bridge would work according to the time schedule of the people living there. It acts as a gathering place or a connector for the people of Badlapur.
COMMUNITY SENSITIVITY
1901
2001
MAP SHOWING THE INDUSTRIAL AREA
2014
WORKING HOUSE- RETIRED CLASS WIFE COUPLE MAP SHOWING THE MOVEMENT OF PEOPLE
MAP SHOWING PUBLIC AMENITIES
MAP SHOWING ROADS AND RAILWAY
GATED COMMUNITIES
ANALYSIS SHOWS THAT MOST OF THE AMENITIES AND ACTIVITIES HAPPEN IN BADLAPUR WEST. BADLAPUR EAST IS CONSIDERABLY ISOLATED WITH THE GREEN PATCH AND THE RIVER, WITH MOST OF IT’S RESIDENTS GOING TO THE OTHER SIDE.
RED UPLE
Badlapur was an industrial area and over the years turned into a residential area with most of it’s residents working in Mumbai.
1901
2001
2014
60 KM MUMBAI
THE TWO BARRIERS ON THIS ISTE- RAILWAY TRACKS AND THE RIVER
BADLAPUR
RAILWAY TRACKS ULHAS RIVER
THIS RESIDENTIAL COMPLEX ACTS LIKE A BRIDGE ESTABLISHING CONNECTIVITY BETWEEN BADLAPUR EAST AND BADLAPUR WEST, THUS, HIGHLIGHTING THE RIVER.
BRIDGING THE TWO BARRIERS
LAWN 0.0 M
EXHIBITION AREA -2.0 M
MULTI PURPOSE HALL -2.0 M
ACCES POINT 0.0 M
SAND PIT 0.0 M
PLAY AREA 0.0 M
GARDEN+3.0 M
MARKET+5.0 M
RESTAURANTS +1.5 M
DECK +1.5 M
LIBRARY +1.0 M
AMPHITHEATRE 0.0 M
WORKSHOPS +3.0 M
STORES 3.0 M
CINEMA +3.0 M
THE BRIDGE INCLUDES TWO RESIDENTIAL BUILDINGS. THE HORIZONTAL BUILDING HAS STUDIO APARTMENTS, 1BHK, 2BHK. THE VERTICAL BUILDING HAS APARTMENTS BIGGER IN VOLUME THUS GIVING THE FLEXIBILITY TO ADD A MEZANINE LEVEL FOR ALL THE APARTMENTS. IT HOUSES STUDIO APARTMENTS, 1 BHK, 2 BHK, 3 BHK.
TYPICAL FLOOR PLAN OF 2 BHK
TYPICAL FLOOR PLAN OF 1 BHK
TYPICAL FLOOR PLAN OF STUDIO A
TYPICAL FLOOR PLAN OF STUDIO B
GROUND LEVEL PLAN OF 1 BHK
GROUND LEVEL PLAN OF STUDIO B
FIRST LEVEL PLAN OF 1 BHK
FIRST LEVEL PLAN OF STUDIO B
GROUND LEVEL PLAN OF 2 BHK
GROUND LEVEL PLAN OF 3 BHK
FIRST LEVEL PLAN OF 2 BHK
FIRST LEVEL PLAN OF 3 BHK
THE DISCREET NESTS
Adapt - to change (something) so that it functions better or is better suited for a purpose. Historical architecture- It is more flexible than most of our contemporary architecture. Hence, the program no longer holds importance in these buildings. The program can change and the building can adapt to it. 2/3rd of the world’s population lives in cities. Most of the buildings in these cities look like products of mass production which makes most of the cities look identical in recent times. Rapid urbanisation can be disorienting and so, urbanites step out of the city in search of authenticity and many rural places offer that since most of the modern buildings which are driven by consumerism and the “image� do not connect with us at a human level. This gives rise to tourism. Tour - the commercial organization and operation of holidays and visits to places of interest. Vacation homes, investments, resorts,etc are byproducts of tourism. Thus, countryside becomes an area of interest for developers who end up desensitising the place making it more volatile. They are driving out the poor to make room for the rich and tourists. A need for preservation of the countryside then arises. Preserve- maintain (something) in its original or existing state. Most of the preservationists restore old buildings to the state they were in when constructed. In this process they erase the authenticity these buildings have gained over the years. They make it clinically clean, thus washing away any signs of age or decay which means that there is no difference between what is real and what is fake. In a sense, they giftwrap old cities into a new skin for tourists. In an attempt to breathe new life into old structures, they end up denaturing it. This could be a threat to culture and tourism which make the old buildings lose their sense of identity. Hence, the key to preserving this village is to preserve the spirit of this village. How can architecture of houses then go beyond its utilitarian needs of providing shelter and preserve the spirit of this village? Through the process of adaptive reuse and programming, buildings from an era-bygone can be given a second base of lift, while going beyond their utilitarian values and functions by creating experiences on varying themes to bring into calling, life as it may have existed in Gholwad at the time of the construction of these buildings.
ACTIVITIES OF LOCAL PEOPLE
CHANGE OF USER
CHANGE IN PLACE
NEW HOTELS IN THE PAST 10 YEARS
TRAVELER’S LOOP AROUND THE EMPTY HOUSES IN GHOLWAD
AGRICULTURAL LAND COVER
AMENITIES
BORDI BEACHTOURIST ATTRACTION
GHOLWAD BEACH ACTIVITES- FISHING AND DEFECATING
MOST OF THE LOCAL PEOPLE USE THE MAIN ROAD TO GO TO BORDI EVERYDAY
THICKENED ROOF
THICKENED COURTYARD
THICKENED VERANDAH
THICKENED WALL
THICKENED STAIRCASE
HIDDEN STREET LAMP
THICKENED FOUNDATION
HIDDEN SIGN BOARD
DISCREET NESTS IS AN APPROACH TO DEVELOPMENT OF ‘MODERN’ TIMES OR CURRENT TRENDS OF TOURISM. IN A SENSE, WE ARE PRESERVIG THE VILLAGE BY ADAPTING THE BUILDINGS TO THE USE OF FUTURE GENERATIONS. SINCE ARCHITECTURE IS THE PERMANENT PHYSICAL SYMBOL OF TIME, IT CAN BE PRESERVED WHILE THE PROCESSES HAPPEING WITHING THEM CHANGE. THIS PROJECT DISMANTLES THE EXISTING CONDITION OF THE VILLAGE AND ADJUSTS IT FOR THE FUTURE MAKING AN ATTEMPT TO PRESERVE THE BUILT AS WELL AS THE UNBUILT HERITAGE. DISCREET NESTS IS A SERIES OF INTERVENTIONS INSERTED WITHIN THE EXISTING VERNACULAR FABRIC OF GHOLVAD. THE PROJECT HOUSES ACTIVITIES FOR THE TWO MAIN USERS, WHICH ARE THE TRAVELLER AND VILLAGER AND THESE ACTIVITIES ARE SUBTLY HIDDEN IN THE MOST BASIC ELEMENTS OF THE EXISTING STRUCTURES. THE PROJECT AIMS AT DEVELOPING A TRAVELLERS MODULE WITHOUT DISTURBING THE EXISTING QUALITY OF THE SPACE ,IN AN ATTEMPT TO PRESERVE ITS BUILT AND UNBUILT HERITAGE.
PATHWAY CINEMA
PLAN- CINEMA PATHWAY BRIDGE
1- VERANDAH 2- DINING 3- TOILET 4- LIVING ROOM
1- VERANDAH
5
2- DINING 3- TOILET
3
5
5- BEDROOM 6- KITCHEN
3
6
6
5- BEDROOM
1
1
3
5
4
PLAN - ACTIVE WALL
4- LIVING ROOM
2
5
4
6- KITCHEN
PLAN - ACTIVE FOUNDATION
2
SECTION
SECTION
1 2 3
4 5 9
PLAN - ACTIVE STREET LAMP
6
1- UNLOADING 2- WASHING 3- CRUSHING
7
4- FERMENTATION 5- STORAGE
8
6- BOTTLING 7- PACKAGING
PLAN - SERVANT’S QUAR8- RETAIL TER - CHIKOO TODI WORK9- VERANDAH SHOP
1- VERANDAH
2 1- VERANDAH 2- DINING 3- TOILET 4- LIVING ROOM
2- DINING
1
5
6 4
6- KITCHEN
3 2
6
5
4
5
5- BEDROOM
3
1
3- TOILET 4- LIVING ROOM 5- BEDROOM 6- KITCHEN
PLAN - ACTIVE STAIRCASE
PLAN - ACTIVE COURTYARD
SECTION
SECTION
SERVANT’S QUARTERSFOOD PRODUCTION UNIT
PLAN- STREET FURNITUREACTIVE SIGN BOARD
1- VERANDAH 2- DINING 3- TOILET
1- VERANDAH
2
4- LIVING ROOM
2- BEDROOM
5- BEDROOM 3
6- KITCHEN
3- TOILET
1
PLAN - ACTIVE VERANDAH
PLAN - ACTIVE ROOF
SECTION
SECTION
SERVANT’S QUARTERS BEE FARMING AND PARKING
STREET FURNITURE TICKET COUNTER 1
PATHWAY BRIDGE
1- TRACTOR PARKING 2- BEE FARMING 3- PATHWAY BRIDGE
3
9
STREET FURNITURE VENDIGN MACHINE
2
1 3
1- STORAGE 2- PACKING
SERVANT’S QUARTERS BEE FARMING AND PARKING
2
4 5,6,7
3- PULP 4- PEELING 5- WASHING 6- SELECTION 7- GRADING 8- TOILET 9- PANTRY
8
PLAN- BATH
PATHWAY BRIDGE
PLAN AT +8.5 M
PLAN AT +4.5 M
PLAN AT +1.0 M
SECTION
PATHWAY TOILETS
PLAN - COTTAGES
SECTION
PLAN AT +1.2 M
SECTION- BAZAAR
SECTION HOSTEL COMPLEX
PLAN AT +8.2 M
PLAN AT +5.2 M
PLAN AT +1.2 M EXHIBITION
THANK YOU