EMPATHETIC APPROACHES

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Image- (Source: Pinterest, edited by: Author)

Adesign that emphasises visitors to take a moment to unwind, observe, and then maybe start talking again. The design underlines the senses and emotions evoked by nature playing a crucial role in the experience of architecture.

This temporary Pavilion’s design is based on the hortus conclusus, a space for contemplation, a garden within a garden.

The structure serves as a stage, a backdrop for the floral and illuminated inner garden. One enters the building from the lawn and begins the journey into the central garden through darkness and shade. This internal space is a haven apart from the world of noise, traffic, and the scents of London, where one may sit, walk, and take in the flowers. The materials themselves, which are rich in memory and time, will also be intense and memorable.

The built architecture here takes a back seat while it lets nature take over. The garden here is used as an Eden amidst chaos for the visitors who come here. One is made to feel the presence of nature around them as a larger constant context and is allowed to grow in its own organic manner making it an authentic experience for the audience.

A constant connection with nature is a vital way of transitioning people into the experiences that the design aims to evoke.

The Kanchanjunga Apartments are a direct reaction to contemporary society, accelerating urbanisation, and Mumbai’s climatic circumstances. For the greatest views of the city and to take advantage of the prevailing sea breezes in Mumbai, a structure must be orientated east-west. Unfortunately, these are also where the blazing sun and intense monsoon rains will be coming from. The ancient bungalows provided the occupants with two lines of defence against the elements by enclosing the main living rooms in a protective layer of verandas. The distinction between the inside elevated living volumes and the outward earth-filled terraces was made possible in this work by the use of smaller level displacements.

Correa Sir was able to properly protect these high-rise units from the sun’s and monsoon rains’ damaging impacts thanks to these small changes. This was mostly accomplished by adding somewhat deep, hanging garden verandas to the tower. The concrete construction and substantial portions of white panels strongly resemble contemporary apartment complexes in the West. The veranda, a component of the conventional Indian bungalow, is modernised in the garden terraces.

For a housing project in this city, it becomes difficult to achieve both, comfort living and climate sufficiency. The project manages to achieve innovation in terms of spaces, volumes, while responding effectively to the challenging humidity of Mumbai.

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For the majority of LGBTQIA+ persons, it is an unfortunate reality that they have incidentally been a victim of hostility when they were seen acting contrary to the “heteronormative standards” of public places. Even if social layers outside of the planned space are the source of violence, it is still important to consider projects that can combine the physical world and provide a symbolic or representational element to engage and inform its residents. In this circumstance, Homomonument has served as a platform for queer celebration and protest in the centre of Amsterdam for more than three decades. The 1987 initiative was the first in the world to honour gay and lesbian people who were persecuted for their sexual orientation during the Nazi occupation of the Netherlands.

The monument offers a comprehensive diversity of possibilities and occupations based on the design of urban features and representations of the LGBTQIA+ community. As a result, it establishes a symbolic location in the city that not only acts as a focal point for the Amsterdam Gay Parade but also as an urban platform where the causes of the entire community may be honoured, celebrated, and made known.

This structure acts as an urban insert which tries to articulate architecture, memory and heritage together. It has proven to be relevant in every changed time, era and generations. It has served to be a functional space for evolved mankind and its perspectives.

Sabarmati Ashram Charles Correa

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Image- Source: https://charlescorreafoundation.org/2022/02/23/gandhi-smarak-sangrahalaya/, edited by:Author

This is a project that serves as an illustration of how to incorporate the Hindu Architectural and cosmological idea of isotropy with Modernist functional planning. Similar to fractals, the term “isotropy” describes an infinitely scalable structure present in the repetition and manipulation of decorative components found in Hindu temples.

The modular pavilion unit was created to allow for future expansion and to emphasise the idea of a single component creating a whole, single plinth.

Correa’s asymmetrical grid concept included five clearly programmed interior spaces. The layout of the museum has additionally been linked to Indian villages in the Banni region.

The homes are made out of five huts, each serving a different purpose, encircling a courtyard rather than being one large volume. The locals stroll back and forth across the outside space to use the different rooms.

The single plinth, local materials and the blurred edges of the inside and the outside welcomes people from every creed, background and stature to access this space as equal- in terms of experience. Though the structure was made to mark the contribution of one martyr, the structure empowers coexistence and sensitivity towards humans as one species.

The Rajkumari Ratnavati Girl’s School Diana Kellogg Architects

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Image- Source: https://architizer.com/blog/projects/the-rajkumari-ratnavati-girls-school/, edited by:Author

More than 400 girls, ranging in age from kindergarten to class 10, who live in Jaisalmer, Rajasthan, India’s mystic Thar Desert region and are below the poverty line—where female literacy rates barely reach 32%—will attend this girl’s school.

The school will be the first of three structures that together make up the GYAAN Center. The other two are The Medha, a performance and exhibition space with a library and museum, and the GYAAN Center.

The GYAAN Center will educate and empower women, assisting them in achieving financial independence for their communities, families, and themselves.

Because this structure was made by a woman for women, the architect looked at feminine symbols from numerous cultures when she started the design process. She opted on a structure of three ovals to symbolise the power of womanhood and infinity and to resemble the planes of the sand-dunes in the Jaisalmer region after focusing on symbols of power.

Making a structure for the community by the community was a very crucial way of involving people to build their own architecture. Using local materials, techniques like jalis and incorporating a function so essential added to the familiarity of this structure towards the community it was primarily intended for.

Jawahar Kala Kendra Charles Correa

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Image- Source: https://archeyes.com/jawahar-kala-kendra-charles-correa/, edited by:Author

The Rajasthani government commissioned this arts centre in 1986 to keep Rajasthani arts and Crafts alive. The original city design of Jaipur, which featured nine squares and an open central square, was the inspiration for this one. The centre is an adaptation of Jaipur’s original city design, which was created in the middle of the 17th century by the Maharaja, Jai Singh the Second, a learned man, mathematician, and astronomer.

The ancient Vedic mandala of nine squares or dwellings, representing the nine planets, including two hypothetical ones: Ketu and Rahu, served as the foundation for his city plan, which was dictated by the Shipla Shastras. The palace was built on the site of two squares that were combined and one square that was moved to the east due to the hill’s presence.

The movement through the building’s celestial divisions and the journey therein are characterised by a variety of spatial densities in accordance to the city’s culture. The museum experience revisits the very act of cultural display- right from its planning to its volumes. The design suggests that heritage is a matter of chance meeting and discovery, a process that depends on a person travelling through space, between the walls that serve as a stage set, past reproduced episodes, and rituals of art and craft. An architecture of wit and whimsy, as distinctively playful in its design as it is particular to the functions required of it, may be found inside the nine squares environment.

The museum, which is located in the nearly entirely ruined city of Cologne, Germany, displays the Roman Catholic Archdiocese’s extensive collection of artwork that spans more than a thousand years. A late-Gothic church’s remains are gently risen by Zumthor’s design, maintaining the history and character of the location. This project came into being both inside out and from the place’s history.

Grey brick was used to join the site’s demolished pieces while constantly paying attention to how the materials were used and, more precisely, how they were built. The remaining remains of the Gothic church, stone remnants from the Roman and mediaeval eras, and the chapel built in 1950 by German architect Gottfried Böhm for the “Madonna of the Ruins” are among these fragments.

The grey brick exterior combines the ruins of the church’s facade with a fresh appearance for the modern museum. The museum’s brickwork is articulated with perforations that let diffused light flood particular areas. The “mottled light shifts and plays across the ruins” as the seasons change, fostering a tranquil environment that is constantly shifting.

The structure is an effective example of respecting the ruins of history with the present requirements and architecture for a well aware future. The history gets identified through every brick and arch of the structure.

The residence depicts an atmosphere that is an oxymoron in nature -peaceful and cosy, with minimalist decors, while still being bold and wild in style.

The main challenge we faced was the site’s low-lying terrain, which had concerns with water logging. The main goal was to make sure that the structure wasn’t obstructing the flow of water. The firm wanted to make sure that the water could percolate into the ground and be harvested because Kerala is a state with frequent rainfall.

In order to keep water on the site and improve the spatial quality, Vinu Sir was forced to come up with an alternate and sustainable solution—a pond at the land’s lowest point. This solution also adds to the home’s authentic feel.

The residence hugs and stays close to the environment of peace around it and the outgoing and cordial vibe within the four walls of the residence.

In terms of the terrain, design, and materials, the construction has a strong connection to nature. The firm took the low-raised land as a challenge to develop the site in accordance with it which made it a site-responsive design with effective architectural exploration.

Mumbai Artist Retreat Architecture BRIO

Some of the most coveted spots to live and work are along the coast. In addition, they are frequently alluring from a livelihood or advantageous environmental conditions. Therefore, this Alibag structure takes into account the fact that when construction activity is conducted, it should build resilience to a dynamic future. Furthermore, it should build techniques and supplies that have little effect on the ecosystems’ delicate balance. The structure seeks to establish itself as a haven from the strenuous physical and mental demands of the world’s metropolis. Due to the site’s sporadic flooding and low soil bearing capacity, the building is raised off the ground by a light, nimble steel structure. The columns are supported by large stone boulders that were used in a nearby building project. The columns are fastened to the basalt stones using a steel rod. The building can be disassembled and put back together using this style of construction if needed.

This design is intended to be a gathering place for the community. It invites people from varied backgrounds together to express themselves creatively and critically through a variety of artistic mediums. The room will convey the idea of “coming together.” It also seeks to stimulate contemplation, peace, creativity, and a sense of community. The shifting roofs, the zig-zag patterned bamboo rafters designed to tackle bamboo’s material nature, the openable skylight and other techniques incorporated add a new dimension to the sustainability of the project.