maitreyi phansalkar design portfolio
c o n t e n t s the content has drawings, images, maps, illustrations, diagrams and text belonging to the author.
Harihareshwar documentation
Sikkim documentation
HAND-DONE DRAWINGS
Housing
Institutional
HAND- DONE MODELS
Arch 2.0: Next 7
INTERNATIONAL COMPETITIONS
Runwal culb house
COMMERCIAL WORK
Interiors: Runwal greens
Archasm: Film city tower
Amrita Bhogilal Bungalow
Interiors: Lodha one
COMMERCIAL WORK These projects are not a part of the detailed portfolio
1
5
acculturation of migrants
areas of exception
. academic . undergraduate thesis . 2015
. academic . architectural design studio . 2014
8
12
ground_shift
subdue / scaffold
. academic . architectural design studio . 2014
. academic . architectural design studio . 2013
14
19
chaos in control
objects in mumbai + urban play
. professional . urban design proposal . 2017
. research proposal . 2018
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28
social condensor 2.0
media playground
. competition . urban housing . 2018
. professional . competition . installation . 2017
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31
ghost of taj present
another red and blue chair
. competition . installation . 2017
. competition . product .2017
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33
government of maharashtra pavilion
tisser | samagri
. professional . competition . execution .2018
. professional .social .design. 2015 - 2018
THERE
UTTAR PRADESH, BIHAR, ORRISA, CHATTISGARH, JHARKHAND
HERE
MUMBAI
Existence
HOUSING
SELF COMMERCIAL INDUSTRIAL OPEN LANDS ROADS Approach towards possible income ENTRY
Manifestation of the self in the stationary of the everyday. Markers and visual proofs of existence MARKERS
Spaces of privacy and sleep STAY
Need and want versus identity WORK
REMAINS
DISTRICT 1
VIRAR-VASAI
DISTRICT 2
ACCULTURATION of MIGRANTS Nalasopara, Maharashtra Academic|Undergraduate Thesis | Institutional Housing KRVIA | 2015 Guide: Nemish Shah In psychology, sociology, and anthropology, identity is a person’s conception and an expression of individuality or group affiliations. Everyone though phsyical and virtual gestures asserts their placing. Identifying oneself through space (home, workplace, village), culture (dance, music, art, lifestyle, food), history, habits, and traits is instinctive.
DISTRICT 3
But what happens when one is uprooted from everything that he could identify? Migration as a phenomenon has a great impact on one’s individual and social visualization. Unhackneyed spaces trigger various emotions as there is nothing to relate to. One such severe case of migration is the labor in Mumbai and its peripheral places. For a worker in a metropolis like Mumbai, his identity becomes the job he does. The only way he engages with this new city is through the way he serves the city, in turn serving himself. He gets up, he works, he sleeps and that’s all he is expected to do. He lives in miserable conditions, far from ideal. He barely manages to get a place to live, when he does, its shared between many. Life here, away from home, is a daily struggle. His relationships to the surrounding are superficial. Hence, he is never able to belong and relate to the city. The city doesn’t care either. It bears no other responsibility or connection. It doesn’t expect him to settle. This unrest in his life is a product of the hostility of the city.
HOUSING 3
HOUSING
G4
HOUSIN
MARKET
HOUSING 5 MUN
COM
TE
TU INSTI
HEN
ITC ITY K
FIELD
1
ATER
ITHE AMPH
ING
PARK
FIELD
BUS
STOP
2
Open vs built
G2
HOUSING 1 Open vs built
Open vs built
Zoning
K
PAR Zoning
Amenities MASTER-PLANNING DIAGRAMS
MASTER-PLAN MODEL
The narrative integrates leisure and play within every day. The intervention consists of housing clusters anchored with vocational and cultural institutes, market, community kitchen, open grounds, temporary event space and other facilities. The central open space satiates the need for activities like birah folk plays, festivals, gatherings, daily exercise etc in addition to arraying the precinct. Smaller voids within the built act as relief and direct encounters on a domestic level.
VOIDS CIRCULATION TOILET UNITS
TERRACE
THIRD FLOOR
SECOND FLOOR
FIRST FLOOR
GROUND FLOOR
EXPLODED AXONOMETRIC VIEW OF THE SELECTED HOUSING CLUSTER HIGHLIGTING CIRCULATION, ZONING AND FACILITIES
1: Staircases open into wide buffer spaces making them habitats for chance interactions in addition to movement. 2: The ground floor consists of 6 typologies that connect on the upper floors through bridges. The typology here provides all units a front and back yard for domestic activities.
1: STAIRCASE - OPEN - HOUSE
3 and 4: Dense units and toilets are surrounded by large staggered relief spaces. These are a constant reminder of the ground plane, provoking and harnessing activities and interactions.
3: HOUSE - OPEN - HOUSE
5 and 6: Various positions of relief spaces induce contextual activities. Throughout the floor, these spaces are attached or in between varied built.
7 and 8: Lodging, Kitchen, Toilet are placed in nine combinations. Common toilets and community kitchen allow an individual to choose lodging only unit while the most dedicated unit consists of all three.
5: HOUSE - OPEN - HOUSE - OPEN
2: OPEN - HOUSE - OPEN
4: HOUSE - OPEN - TOILET - OPEN - HOUSE
6: HOUSE - OPEN - HOUSE - OPEN
7 and 8: HOUSE - OPEN - HOUSE - OPEN - TOILET- OPEN x LOOP
Ground plane houses activities imperative to both, individuals and community
Staggering of open spaces within the floor p
COMMON SPACES WITHIN THE HOUSING CLUSTERS
Housing clusters aim to understand and strengthen collective needs and social aspirations. They are metaphorical to streets in order to maint SECTION THROUGH THE COURTYARD, HOUSING CLUSTER
plate allows for a constant visual interaction
tain the public permeability.
The institute envelopes the street allowing cross interaction between the two actors VOCATIONAL TRAINING CENTER
MUSLIM LOCALITE
NON MUSLIM TOURIST OPERATIONAL MODEL: Conceptual and theoretical framework for the exercise
Operational model trials
MUSLIM TOURIST
NON MUSLIM LOCALITE
Dwar(gate)
5.30 AM
Dwar(gate)
5.30 PM
Mukhya dwar 2.30 PM
Mihrab(niche) 5.30 AM
Dwar
8.30 AM
Prasthan
8.30 AM
Sahn(courtyard) 5.30 AM
Mihrab
8.30 AM
Dwar
2.30 PM
Mukhya dwar 5.30 AM
Sahn
8.30 AM
Mihrab
2.30 PM
Prasthan
5.30 AM
Mukhya dwar 2.30 PM
Sahn
2.30 PM
Mihrab
5.30 PM
Prasthan
2.30 PM
Mukhya dwar 5.30 PM
Sahn
8.30 PM
Mihrab
8.30 PM
AREAS OF EXCEPTION Bhopal, India Academic|Tourist information center KRVIA | 2014 Guides: Maria Leon | Ekta Idnany Elements in space, both tangible and intangible contribute to our perception of it, in totality and parts. While the space itself is pure, methods in which it is perceived, occupied and left is subjective. Consciousness and levels of comfort become determinants in the process. Our research involved studying existing institutions from two objective lenses: physical (height, area, material etc) and anthropological (kinetic and sensorial mapping, number of visitors etc). For the project above, Taj ul Masjid was studied under the lens of (1) layers of isolation and (2) number of visitors. The operational model represented various users active during Namaz and non Namaz timings. These timings were paramount to the study as it changed the nature of activities, actors on site, use, number of people, duration of occupancy etc. While the Masjid was used for religious and institutional purposes, it equally added to tourism in Bhopal, making studied criteria more judicious. The nature of various perceptions was documented with these elements and the space itself.
Exhibition
Workshop Market
Restaurant
Library
Theatre
4
Cafe
5 3
Bus terminal Market
Parking
1
Multipurpose hall
2
Exhibition
Boat jetty Marine institute
Bus stop
ROOF PLAN: TOURIST INFORMATION CENTRE
1
Garden - Cafe - Library - Market - Restaurant - Temporary exhibition
2
Permanent exhibition - Multipurpose Hall
3
Plaza - Market - Cafe - Library - Market - Restaurant - Temporary exhibition
4 5
Theatre - Workshop - Temporary Exhibition Permanent Exhibition - Temporary Exhibition
After psycho-analyzing public behavior at Taj-ul through the lens of layers of isolation and number of visitors, the tourist visitor center was designed in accordance to five user profiles: tourist (regular and for inquiry) local resident of Bhopal (intended purpose and inquiry) and employer of the institute. Each path prioritizes on the intent of the visit and curates the physical course through programmes appropriated for the need.
Boat Jetty
Entry point A
Garden and ramp
Terrace
Entry point B
Shop
Exhibition
Entry point C
Garden
DIAGRAMMATIC REPRESENTATION OF THE SPACES WITHIN THE INSTITUTE
Exhibition
Restaurant Market
Workshop
Cafe
Library Bus terminal
FRONT ELEVATION FOCUSING ON THE VERTICALS ACTING AS MARKERS OF SPACES
Exhibition
Theatre Market
Cafe Library
SECTION FOCUSING ON THE INSTITUTE AND ITS RELATION WITH THE GROUND PLANE
Colored vertical markers orient users as they move along the curated paths. Form wise, the markers challenge the contours which otherwise rise slowly and steadily. They robustly protrude at times adding play to the layered spaces above. Contours have a major role in achieving elaborate paths as the level difference allows to experiment without increasing distances between spaces. Paths cross each other creating junctions where public programmes like cafe and market are placed. The institute is synonymous to the prescient as the five routes allow continuous movement without any threshold. Each programme has a dedicated spill over area resulted because of the layering. These spaces get activated at peak times and multiply for affairs achieving a larger perceptional scale independent of its physical.
Theatre Market Exhibition Multipurpose hall
Parking
Market Exhibition
Multipurpose hall
C6.A
CLUSTER 6
CLUSTER 2
C6.B
C2.B
C2.A
C6.C
CLUSTER 6: SELECTED CLUSTER
CLUSTER 3: Along the water exit
CUT OFF FROM T CLUSTER 6
COMMUNITY CLUB
CLUSTER 5
CLUSTER 4
C1.B
C1.A C2.C
C1.C
CLUSTER 1 NURSERY
CLUSTER 3: Along the nursery
THE MAIN ROAD CLUSTER 1
CLUSTER 2 MARKET
MARKET
NURSERY AND FARMING
PUBLIC PARK AND AMPHITHEATRE
SHIFTING/PLANE CLUSTER 3
Gangapur, Nashik Academic|Housing KRVIA | 2014 Guide: Aneerudha Paul and George Jerry
TERRACE HOUSE
TERRACE HOUSE
CONNECTORS
HOUSE
TERRACE HOUSE
HOUSE
COURTYARD
TERRACE HOUSE
CONNECTORS
HOUSE
CONNECTORS HOUSE TERRACE HOUSE
HOUSE
COURTYARD
TERRACE
CONNECTORS
TERRACE HOUSE
STILTS STAIRCASE
SECTIONAL PERSPECTIVES FOCUSING ON DIFFERENT CONDITIONS HOUSES, COURTYARDS, VOIDS, TERRACES AND CONNECTORS
The studio was based in Nashik and looked at the changing nature of a second-tier city in India. Challenges included abandoned green fields which were under rapid development by commercial builders who became catalysts of self-centered growth in the city during its upheaval. The housing experimented a farmer community co-owned project which was an assimilation of aspirations of both local communities and the new residents. Design focussed on shifting ground plane, which ran across all floors, through terraces and connectors. These gestures held various housing units on higher floors aiding interactions that were not restricted to the ground only.
Staircases opened to courtyards and light wells, units opened to terraces and terraces opened to gardens. All 6 clusters were combinations of these gestures. Coventionally, one cluster eqated to three - four ground plus three storeyed buildings. However, due to being connected on every floor, it fucntioned like one. Unlike most of the housing socities which are extremely inward and lead to a gated approach, here the floor plans focused on community intergration and chance interactions through shared commons.
CLUSTER 6: SECTIONAL AXONOMETRIC VIEW AND VIEWS HIGHLIGHTING CONNECTORS, BRIDGES AND UNIT ARRANGEMENTS
VIEW FROM A CONNECTING BRIDGE OVERLOOKING GROUND PLANE ACTIVITIES AND OTHER BRIDGES
VIEW OVERLOOKING THE GROUND PLANE ACTIVITIES FROM A BRIDGE
VIEW FROM A CONNECTING BRIDGE OVERLOOKING THE HOUSES
VIEW OF AN INTERMEDIATE TERRACE
FLOORING, PLINTHS, STEPS
SCAFFOLD: OUT
CENTRAL VOIDS
BREAKING THE PLAZA, CREATING SEMI OPEN PUBLIC SPACE
ZONING OF BUILT, VOIDS AND PLAZA
DESIGN PROCESS DIAGRAMS
SCAFFOLD: MAIN
COLUMN, BEAMS, SLABS
COVER
SCAFFOLD AND SUBDUE Pahurat, Bangkok Academic| Asian Cultural Center KRVIA | 2013 Guide: Nemish Shah The studio looked at Indian identity in an Asian content. Pahurat, a neighbourhood in Bangkok exists within a realm that is neither Indian nor Siamese. While maintaining their Indian roots, the newer generations have tried to blend absorb, appropriate and assimilate cultural practices of Bangkok.The intervention aims to manifest this dichotomic identity while becoming a cultural epicenter for the community. Post the site analysis, we were asked to choose a pair of words to embody the site. I chose scaffold and subdue. While one represented the state of the site over a period, the other one symbolised a constant change in the community over generations. Scaffold ironically commented at the permanent flux of the site. It lifted, suppressed, broke and joined. In its temporality, it defined the identity. Further, the layout of the city was imposed on the parking lot to create spaces and experiences.
TEMPORARY EXHIBITION
CINEMA THEATRE
ADMINISTRATION
GUEST ROOMS
RESTAURANT
STUDI BLACK BOX THEATRE
GALLERY
FLEA MARKET
READING SECTION
LIBRARY
PERMANENT EXHIBITION
IO TEMPORARY EXHIBITION
PLAZA
OPEN AXONOMETRIC VIEW OF ASIAN CULTURAL CENTER SHOWING VARIOUS SCALES OF ACTIVITIES
SHOP
HOUSING
S
S
HOUSING S
BANK HOUSING
S
S
HOUSING S S S
HOUSING
S S S
ROAD C
HOUSING
S
ROAD B
S
S S
HOUSING
TEMPLE
SHOP HOUSING SHOP
HOUSING
SHOP
SHOP
HOUSING
INFORMAL SETTLEMENTS
SHOP
SHOP
SHOP
ROAD A
ROAD D: SINGLE LANE S S
S
S
S
S
ROAD F
S
S S S
S
S
SHOP SHOP
SHOP
S
SHOP
S
S SHOP
HOUSING
S
ROAD E
HOUSING S S HOUSING
S
HO
HOUSING
US IN
G
S
S S
N USI HO
US IN HO
S PETROL PUMP
SING
G
G
S
HOU
S S
DRAWING SHOWING DAILY CONDITIONS AT THE JUNCTION
IMAGES OF WORLI JUNCTION, MUMBAI
AT 6.30 PM
LOCATION MAP
CHAOS IN CONTROL VEHICULAR
PEDESTRIAN
VEHICULAR AND PEDESTRIAN MOVEMENTS
WORLI, MUMBAI Professional| Urban Design World Resources Institute | 2017 Team: Sanket Kamdar,Maitreyi Phansalkar and Saurabh Jain Contribution to the team: All site studies and surveys, determining risks and gaps on site, ideation and designing, trial runs on site, post design analysis and research, drawings and graphical representation.
Growing volume has led to our city’s infrastructure being built primarily for the automobiles. On an average, streets in Mumbai have 87% of the space is dedicated for vehicles. However only 9.8% of trips are conducted by cars (Comprehensive Mobility Plan), while 46% of all trips are made through non-motorised modes, such as walking and cycling. Even then, space for pedestrian movements and cycling is diminishing due to increasing dependency on automobiles. Footpaths are in an extreme state of disrepair, or have been encroached upon by other uses. In other places, footpaths have been removed to create additional space for motorised traffic. Over the years, automobiles have contributed to tremendous negative externalities including air pollution, chronic congestion, traffic crashes, greenhouse gas (GHG) emissions, and social exclusion. These challenges have pushed our city to a tipping point, compelling a need for a paradigm shift!
TRAFFIC SIGNAL PHASES
Bloomberg Initiative for Global Road Safety, which is a 5-year long project focuses on making streets safer in Mumbai for all road users. Critical traffic intersections across Mumbai were chosen and studied. Traffic and road user interactions at these junctions were analysed in order to determine the safety risks. The study included documentation and analysis of traffic movement, road user behavior (including street vendors), infrastructure gaps, inventory mapping, traffic signal characteristics, road function hierarchy, impact of adjacent land-use, site surveys, as well as interviews with road users, local shopkeepers and residents. Amongst others, Worli Naka - Annie Beasant Road - Poddar Naka was a set studied in detail and redesigned to make it safer by streamlining traffic movement, providing adequate and safe infrastructure for all users, eliminating blind-spots, and controlling excessive speeding. Later, Poddar junction got an approval from the local government authority for execution. The trial run spanned across 15 days whose results were studied and incorporated in the design proposal.
4
5
2
DRAWING FOCUSING ON DAILY CONDITIONS OF ROAD C: Towards Worli Seaface
4
2
1
DRAWING FOCUSING ON DAILY CONDITIONS OF ROAD A: Towards Lower Parel Station
3
4 2
DRAWING FOCUSING ON DAILY CONDITIONS OF ROAD F: Towards Mahalakshmi Station
1. SHARE - TAXI LINE: The taxis take an unauthorized turn within the same lane, halting the traffic and crossing the bus right at the stop. People line up for the taxis which extends to the middle of the main signal. 2. INFORMAL STALLS: Various stalls, selling food, vegetables and daily groceries are set up on the foot path during the peak evening hours causing crowding. 3. METRO WORK IN PROGRESS: Mumbai metro is an ongoing project and various spots near and on the junction are dug out for its installation. It has disrupted pedestrian and vehicular movement on the site. It also has made way for unauthorized parking. 4. PARKING ALONG THE ROAD: Cars of residents and non-residents are parked along the streets holding up space equivalent to a lane. 5. PARKING ON THE FOOTPATH Cars and motorbikes, usually of the residents encroach the footpath attached to their building taking up pedestrian walking space.
This turning between the traffic island and footpath is rarely used. The gap causes confusion making drivers take a unauthorized left turn.
Broken divider allows pedestrians Since the junction is not tight, it to cross the roads at various allows bikers to skip their turn at a points. The lane widens at the signal and join another lane. junction allowing vehicles from others lanes to encroach.
The width of the lane tapers and broadens constantly creating spots for illegal parking and bottle neck for moving traffic.
Insufficient refuge, broken dividers and inaccessible traffic islands allow pedestrians to cross haphazardly across the entire junction.
SHOP
HOUSING
S
S
HOUSING S
BANK HOUSING
S
S
HOUSING S
ROAD B S
HOUSING
S
S
ROAD C S S
HOUSING
S S
S S
HOUSING
TEMPLE
SHOP HOUSING SHOP
HOUSING
SHOP
SHOP
HOUSING
INFORMAL SETTLEMENTS SHOP
SHOP
SHOP ROAD A ROAD D: SINGLE LANE ROAD F
S
S
S
S
S
S
S S S
S
S
S
SHOP SHOP
SHOP
S
SHOP
S
S SHOP
HOUSING
S
HOUSING S
ROAD E
S HOUSING
US ING
S
HO
HOUSING
S
S S
HO
G US IN HO
S PETROL PUMP
SING
G
N USI
S
HOU
S S
DRAWING SHOWING DESIGN INTERVENTIONS AT THE JUNCTION
AT 6.30 PM
TRAFFIC ISLANDS AND DIVIDERS
ZEBRA CROSSINGS
Increasing the size of the existing islands and making the median bulge at the junction to act as traffic island to ease the pedestrian movement and junction.
Earlier, lack of well marked zebra crossings confused the pedestrians. Also, a line has highlighted as a stop mark for the vehicles to halt at the signal.
FOOTPATHS
CENTRAL JUNCTION AND THE ROAD
The geometry of the footpaths has been aligned to the proposed car movement. This enables a constant smooth movement without confusion or hindrances.
The junction has been made tighter and continuous crossing has been provided in order to make the pedestrian only cross a single side at a time.
JUNCTION DESIGN STRATEGIES
MARKING OF EXTENTS OF THE GEOMETRIC ADDITIONS
PICTURE OF THE JUNCTION DURING TRIAL
HIGHLIGHTING THE AREA MARKED
QUARDENING THE MARKED AREA THROUGH PHYSICAL BARRIERS
Must be in public domain
Must be interactable
Must be man-made
Jan Mar Aug Nov Must exist in multiplicity
Mats rented at beaches to sit Energee bottle Tissue paper packets Chai glass Parle G packer Toys sold on the beaches Gajra
Road headlight reflectors Bus handles Sewage vent Tree bench Footpath railing Traffic signal Weighing machine at stations Penguin dustbin
Bamboo tokri Fire hydrant Dome camera Haath gaadi Post box Taxi meter
Road headlight reflectors Bus handles Sewage vent Tree bench Footpath railing Traffic signals Weighing machine at stations Penguin dustbin Footpath planter box Concrete tetrapods
Fixed rate Bus horn Number plate Sugar cane press
1. Spotting
Orange pole rickshaw stand with political advertisement Political/religious flag Political boards/signs Billboard
Butchering log Metal ‘S’ Hook Feeder pillar Lantern Salsette sign | Church Threads tied around tree Yellow painted tires on trees Coin with diamond motif Shop refrigerator on footpath Diya tower | Temple
Must be perennial
Must be an active object in use
An object is defined as any materialized thing that can be seen and touched. However, for the purpose of this research, criterias listed beside were added and only the objects which met the following criteria had the merit to be studied.
Footpath planter box Concrete tetrapods
2. Enquiry: Matrix 1 Private objects in public domain Public objects Occupational objects Saleable objects Sponsored objects Signages
A preliminary enquiry into each 120+ objects was conducted. through asking generic questions like: What made you first notice the object? Whom does the object belong to? What is the maximum number of people that can interact with it at a time? The answers to all these questions and more were recorded in Matrix 1. The became trigger to higher networks.
Benches at the railway station At the start of the research, what made you notice the object?
Functionality
Observation
The object was noticed and perceived due to it’s:
Color
Position
While in active use, does the object allow for any self volumetric or physical change?
Change
No change
Ownership
Government
Private
Categorize the purpose of the object
Informational
Functional
Is there any monetary component involved in the interaction with this object ?
Yes
No
What does the object signify?
Self
System
At a point of time, what is the maximum number of people it can serve?
1 person
2-10 persons
Is it environment specific?
Yes
No
At the start of the research, what made you notice the object?
Functionality
Observation
The object was noticed and perceived due to it’s:
Color
Position
While in active use, does the object allow for any self volumetric or physical change?
Change
No change
Ownership
Government
Private
Categorize the purpose of the object
Informational
Functional
Is there any monetary component involved in the interaction with this object ?
Yes
No
What does the object signify?
Self
System
At a point of time, what is the maximum number of people it can serve?
1 person
2-10 persons
Is it environment specific?
Yes
No
At the start of the research, what made you notice the object?
Functionality
Observation
The object was noticed and perceived due to it’s:
Color
Position
While in active use, does the object allow for any self volumetric or physical change?
Change
No change
Ownership
Government
Private
Categorize the purpose of the object
Informational
Functional
Is there any monetary component involved in the interaction with this object ?
Yes
No
What does the object signify?
Self
System
At a point of time, what is the maximum number of people it can serve?
1 person
2-10 persons
Is it environment specific?
Yes
No
Scale
Form
Smell
Sound
Smell
Sound
Smell
Sound
Disciplinary Any other
10+
Railway station name sign
Scale
Form
Disciplinary Any other
10+
Diya tower | Temple
Scale
Form
Disciplinary Other
10+
OBJECTS IN MUMBAI The city is alive. She breathes. She eats. She produces. She thrives. She bruises. She dies. She resurrects. Every day she is different. The city can be perceived, defined and read through various lenses such as people, places, history, built form, culture etc. Over the years, many narratives of the city have been told and some remain to be relevant over time and generations, becoming her identity. The research attempts to create a set of alternate and parallel sketches through an unexplored lens; the objects that are found within it. Each object, being the focus of every narrative could tell a different story of Mumbai. Staying unbiased and indifferent to popular and known imagery, phenomenon, events and stories, the team has relied completely upon the findings and renderings that the objects offer to create individual narratives of each object and its existence in Mumbai.
Mumbai, Maharashtra Research proposal|Urban studies Research cell, Academy of Architecture | 2018 - present Team: Nikita Sharma, Sanket Kamdar, Neha Panchal, Muskaan Ranwaka, Ponnam Mohape and Maitreyi Phansalkar Contribution to the team: Co-heading the research, formulating approach and the research steps, studying and analyzing on site, assimilating the matrices and representation.
800 7200
800
7200
19800 800
3800
8400
6350 5000
800
3600
2000
800 2400
1600
64
7500
5200
4460
1600
800
3000
800 800 3200
800
800
3200
800 1120
2 800
3200
800
800 5400
Metal benches
1200
Wooden benches
1600
2400
Granite benches
10200
Railway station sign board
5200
2600
Markings for first class
6350
400
2500
3000
715
8590
1600
2050
1600 1000
6340 3500
3200
700
400
8340
3700
2400
400
9200
4200
1600 800 800
1600
1600
2000
4800
4200
2800
4000
4000
800 7200
800
2800
2300
7200
3200
1000
2500
Markings for ladies compartment
STUDY OF BENCHES AND RAILYWAY SIGN BOARD ON 4 PLATFORMS OF A LOCAL RAILWAY STATION
#1: POSITION OF THE DIYA TOWER WITH RESPECT TO THE TEMPLE SHRINE
#2:
DIAGRAMMING EXPLAIN ORDER OF LIGHTING DIYAS
#3: FORMS OF DIYA TOWERS AS
PER THE TEMPLES PRECINCTS STUDIED
STUDY OF TEMPLE DIYA (SMALL LAMP) TOWER
Difference between Play, WorK and Entertainment
What is play? Play is an immersive and meditative state of being, wherein the self serving actor is indifferent to all that is outside the context of the act. Here, the context may refer to space, time, objective, rules, co-actors and outcomes. Play is not spectatorial. For instance, in field games the rules of play are applied within the boundary. Play taken off the field does not hold the same relevance. In Cricket, a catch on the ground is out, where as, beyond the boundary it is considered a six. Similarly the boundary affects the relevance of the actor, thus differentiating between players and spectators.
alternative exchange. However, factors like capabilities, perseverence, tactics, physical conditions and experiences of the players help in determining the winner.
An Actor can choose the degree and the duration of the engagement. If the actor chooses to cease their engagement, it will have a consequence on the play.
Play is always in conflict, without which it perishes. It is ambitious because it survives by sustaining the conflict. Here, conflict may be challenge, opponence, objective, and continuance. Play is not perpetual. For example in Tightrope walking the confllict lies in maintaining balance. The play stops as soon as the acrobat falls off the rope.
A Spectator can choose the degree and the duration of the engagement. If the spectator chooses to cease their engagement, it will have no consequence on the play.
Play is anarchical. In no form, does it have to adhere to any set notion, making it individualistic. While football may have an objective, fidgeting with one’s hair might not. Yet both continue to be forms of play.
An Employee cannot choose the degree and the duration of the engagement. If the employee chooses to cease their engagement, it will have a consequence on the play. (Employee: An actor playing for commercial gain)
Specta- E m Actor tor ployee
Play is indifferent to its outcomes. Their probabilty is depedent on the course of play. The rules of play are impartial. In games with opponence, both sides are equally probable to win. Often territories are swapped so that the advantages and disadvantages (if any) are negated by the
Does apply to Does not apply to May or may not apply to * Entertainment
Football Objective is to score a goal and win the match
Gully Cricket as a form of play
Cricket Boundary separating the players and spectators
Aimless fidgetting with one’s hair
Watching a Cricket match for entertainment
Tug of war Team swapping sides to equate the field errors
Walking on a tight rope Trying to maintain the balance
Playing Cricket professionally as work
Types of play
Play (noun) :
INFORMAL
FORMAL
This is a form of play with no prescriptions
SELF All informal plays manifest in individuals. They conform to no rules. The moment more than one person gets involved, rules need to be defined, thus formalizing the play
All formal plays prescribe and conform to rules or exist within defined setups.
SELF
UNIVERSAL
When an individual sets their own rules for the act
When an individual or group of individuals conform to rules set by someone else
Activity engaged in for enjoyment and recreation, especially by children. [Oxford Dictionary] Recreational activity; especially : the spontaneous activity of children [Merriam Webster] Activity that is not serious but done for enjoyment, especially when children enjoy themselves with toys and games [Cambridge] Drawback 1: The body of the definition consists of subjective words like enjoyment and recreation. Drawback 2: The definition restricts the act to children.
GAME
GAME
WITH OBJECT
Tapping with a pen on a wooden table
WITHOUT OBJECT
Swinging feet over the edge of a bench
Balancing on a road divider
OBJECT
Freestyle Skating
Playing card games
OBJECT
Playing with the Rubik’s cube and Jigsaw puzzle
Informal // Self // With object Tapping a pen on a table top
Informal // Self // Without object Swinging of the feet
Formal // Self // Game Balancing on the divider
Formal // Self // Object Freestyle skating
Formal // Universal // Game Playing cards in a group
Formal // Universal // Object Playing with Rubik’s cube
URBAN PLAY Mumbai, Maharashtra Research proposal | Theory| Design proposal | Urban studies Research cell, Academy of Architecture | 2018 - 2019 Team: Nikita Sharma, Sanket Kamdar, Neha Panchal + Students of Academy of Architecture Contribution to the team: Co-heading the research, formulating approach and the research steps, studying and analyzing on site, assimilating the data. Authorship over the Argument and representation of the publication
The logics derived from individual play become triggers for generating the intervention. In order to devise a new PLAY, logics for four such plays were pooled together. Logics defined fundamentals for site and design. Having multiple logics from varied plays allowed for large set of combinations, each having their own fundamentals. Site: The logics give principles of the site. Manifestation of the same in the city could be done at any environment which adheres to those principles, thus providing ideal conditions for the PLAY to exist. Logic from the formal play (Badminton): Need of opponence Principle of the site: To provide opponence through actors Manifestation of the principle in the city: a) Two way street, b) Up and down flights of staircase. Design: The logics give objectives, rules and roles in the PLAY. This is followed by form derivation and defining the course of PLAY. Logic from the formal play (Ludo): Movement from start to end Progressive Objective: Move an element from point A to point B Conclusive Objective: To be the first player to move all elements from point A to B
1. OBJECTIVE of the play
Breaking down
The progressive or conclusive purpose and aim of the play. 2. Pre play Initial set up, movements or postures before commencement of the play. 3. Rules of the play Set of sacrosanct guidelines that set order, logic and challenge to the play. 4. Course of the play
Objective of the play: To protect your king
Implicit and explicit conditions, acts and responses that occur during the play. 5. Roles of the play Responsibilities of the actors defined by the play that govern its course. Examples demostrated below A board game of strategic skill for two players, played on a checkered board on which each playing piece is moved according to precise rules. The object is to put the opponent’s king under a direct attack from which escape is impossible.
Pre play: Arrangement of pieces of one side and formation of imaginary territory.
Logic from the formal play Rules: Element can only take x (as per the measure) forward moves in one turn. Form derivation: Element is a) A person, b) An object. For a person, the field is a huge room and incase of an object, the field is a mounted partition. Course of play: Tackling the obstacles/ challenges in moving the element from point A to point B.
Objective: Checkmate the opponent’s king
Rules of the game: White side plays the first move which can be of two steps.
Rules of play
Pre play: Pre setup of Chess
Rules of the game: Moves allowed for each player
Course of the play
Roles of the play: Characters of chess
Course of the play: To attack the opponent’s king.
down a play
Objective of the play: To attack opponent’s king
Symmetrical arrangement on either side of king - queen.
reaking down a play
Site logic: Physical environment a) Two way street and b) Up and down flights of staircase
Design logic 1: Objectives of the game Progressive Objective: Move an element from point A to point B Conclusive Objective: To be the first player to move all elements from point A to point B The following is a graphic demonstration of the non linear thought process of conversion of game logics to site and design. Multiple logics could influence either of the intervention categories and there is no particular method to determine these permutations and cOmbinations. They get validated through content, the use, the interactions and pure parallels between the logics and the physical manifestation.
Rules of the game: Once a pawn reaches the other end, it gets the power of the queen.
Design logic 2: Preplay, rules, course and roles.
Course of the play: Castling to protect your king.
Roles of the play: Moves allowed for each player
Logics manifesting into a new game
Obstructions
Movement pattern
Territoriality
Team game
Opponence
Non conflict
Infiltration
Targetting
A game played between two teams of five players in which goals are scored by throwing a ball through a netted hoop fixed at each end of the court.
Reciprocation in scores according to levels
Jumping high
scoring options simultaneously
Cabinet experience
Coin or card operated
Can be an infinite play or time / specfic goal based
Beating high scores
Single player and multi player versions
Difficulty level
Multiple
Time limit set in exchange of coin or card
Multiple expereinces at one place
BASKET BALL
A game machine typically found in public places like malls, restaurants and amusement arcades, and is usually coin operated Reward after games
ARCADE GAMES
Scoring
Contacting the target must be through the white ball
Players may more around the table to play
Motion of the ball depends on the point of contact
Multiple balls targetted in single shot
Preset up
A game played with cues on a billiard table in which the players use a cue ball (white) to pocket the other balls (fifteen red and six coloured) in a set order. Edges used to direct the ball
Points based on colours
Body posture
Concentration
Balance
Breathing
Flexibility
Peace
Stamina
SNOOKER
A spiritual and ascetic discipline, a part of which, including breath control, simple meditation, and the adoption of specific bodily postures, is widely practised for health and relaxation. Collaboration
Follow
Joining the body parts
YOGA
Targetting
Opponence
Warring
Division
Target stretch
Patterns
of movement stretching
and
Infinite Conflict is the amalgamation of Basketball, Arcade games, Yoga, Snooker. It is two player game that draws the players to engage in a short-lived and competitve interaction. Logic derivatives for the new play
The logic for site is derived from the chance of division and opponence. Eg: Coumpound wall, on a footpath etc. No division
Division
Division leading to opponence
NEW PLAY ON SITE
On either sides of the separator is a track that facilitates the movement of a common handle. The start and end points on either sides are contradictory creating an exactly reverse path on Side B as compared to Side A - engaging the users in a brief rivalry.
Yoga postures addressed by the play
Hard plastic is used as the separator wall for easy durability and ease of installation. The handles and paddle are made of steel. INFINITE CONFLICT
Play in a context 1 // Aerial View
Play in a context 4 // Eye level view
G6
USIN
HO
FISHERIES
RY
FER
G5
SIN
T
U HO
R PO
E
SPIN G4
SIN OU
H
PISCICULTURE
G3
K
SIN OU
SEA
LIN
H
G2
E
SPIN
SIN
U HO
WORLI FORT
G1
RT
PO
USIN HO
RY FER
LAGOONS
DRYING GROUNDS
TOWARDS KOLIWADA
MASTER PLAN
EXISTING SITE CONDITION
COASTLINE AND FISHERIES
SPINE AND ITS GIRTH
PEDESTRIAN TRACK
PEDESTRIAN + VEHICULAR TRACK
MOVEMENT TRACKS + HOUSING
SOCIAL CONDENSOR 2.0 Reside: Dwell | Arch Out Loud Ideas Competition| Urban Design, Housing honourable mention | top 12 {+RO} | 2018 Team: Akshay Aditya, Smit Patel, Kunal Mokasdar and Maitreyi Phansalkar Contribution to the team: Ideation and designing, working and presentation drawings, 3d drawings and post production. Mumbai over the years has suffered from a severe housing crisis, with over 40% of the city’s population living in informal housing, and another 30% in dilapidated buildings. Currently, housing in the city is designed, built and sold in a commodified format based on economic segregation: Economically weaker section, low income group, middle income group, high income group. This manner of segregation creates exclusive communities bordering on a ghetto like condition; as an opposition, the project aims at creating housing based on type of user and designing with the primary goal as rental use. Homes are divided into, SELF CONTAINED, CLUSTERED & SINGLE DWELLING types, each type of unit then ranges from a scale of XS, S to M. The homes are then clustered into small blocks with common amenities, kitchens and bathrooms. The project proposes a new manifesto for housing in the city. Nine housing clusters borrow from the existing kohli fishing village and are created around communal spaces of movement and stacked to create a multiple paths of approach and usage. The site has a fishing economy heavily dependent on the water’s edge. On the bay side, four lagoons are created to control sea level rise and provide for pisiculture and fishing activities, on the opposite edge jetties and drying yards are created to support the existing fishing network. The housing then opens up towards the lagoons in the form of event spaces, public spaces and amenities. Together, the site and housing strategies create a new, socially condensed urban environment that is inclusive, active and equitable.
STUDIO
SOHO
HOSTEL
FAMILY STUDIO
SOHO
9 HOUSING CONDITIONS: XS, S AND M SIZED HOUSING UNITS ALONG THE SPINE AND FERRY
FAMILY HOME
CHAWL
POL
SOHO
DAY VIEW OF THE INSTALLATION, BEFORE THE CONCERT
ELEVATIONS OF THE INSTALLATION
AT 5.30 PM
AT 11.30 PM
SOCIAL MEDIA PLAYGROUND NH7 FESTIVAL, Pune Professional and Competition| Art Installation Winning entry for DESIGN FABRIC’S MY HAPPY PLACE {+RO} | 2017 Team: Akshay Aditya, Smit Patel and Maitreyi Phansalkar Contribution to the team: Ideation and designing, working and presentation drawings, 3d drawings, form making and trials at the workshop and on site execution.
The Social Media Playground is composed of an array of pictureperfect objects laid out on an elevated grid of cubes. The installation is then cut, carved and deformed to create spaces, axes, nooks, and crannies. Each time an action is performed on the pink layer of cake like cubes, a color gets added. Elements of the play-ground are placed to create conditions for ideal shareable images. It looked are public behavior under the layer of social media which now is inseparable. The installation is designed to function not as a flat back-drop but rather as space. When occupied, it creates multiple conditions for viewing, interaction, experiencing the festival and simultaneously provides a setting for the social media dream. Clicking pictures of the installation is not an independent action but a pivotal part of the installation. A study was done to analyze top ‘click-worthy scenarios’ on social media and few of them have been incorporated through the form of objects placed. It was a part NH7 Weekender, a 4- day music festival that travels the country. Placed in the center of all 5 stages amidst the food and drink arena, the installation acted as a seating, relaxing and gathering spot for the crowd.
THE HOUSE
THE BENCH
THE SCOOP
THE CUT
THE FLATLAY
THE TREE
THE RAISE THE BALL
THE LIME
THE CANOPY
THE SEATER
ELEMENT ISOLATION TO HIGHLIGHT POSITION, FORM AND HUMAN INTERACTION
AXONOMETRIC VIEW OF THE GHOST TAJ WITH THE TAJ MAHAL
Ghost Veil
Paths
Monolith
Filigree
GHOST
OF
TAJ
PRESENT
The Black Taj, Unfuse Competition| Design {+RO} | 2017 Team: Akshay Aditya, Smit Patel and Maitreyi Phansalkar Contribution to the team: Ideation and designing, working and presentation drawings, 3d drawings and post production. The myth is always greater than its reality. It is a collective manifestation of stories, rumours ,objects, places, spaces and experiences. The myth of the Black Taj, is therefore not merely one of a mirror image of the Taj. Over the years, the myth and its remnants have fueled intrigue, interest and created an aura of ambiguity on site. Whether it was ever real or not, the story of its attempted creation, and Mehtab Baug’s remains are now the only reality of The Black Taj; and whatever is built on site will never satisfy its myth and the Taj. The proposal, is a ghost. An ephemeral representation of space, experience and of the several stories, memories and alternate histories of the Taj. By creating an abstract representation of these multiple conditions, the ghost of taj present allows for space onto which several interpretations can be projected. Mass, vectors, voids and landscapes converge to create space that transcends myth and arrives at representation as a methodology for creating a ghost. A veiled surface creates a new datum, morphed into existence on the basis of the Taj’s char baug, the veil acts as an unstable ground for the entire project. Caricatured figural elements follow; extended arcades, massive arches, sharp water bodies and arabesque patterned floors all evoke loose memories of The Taj complex while simultaneously subverting them. Two monoliths, doubled originals similar in proportions to the Taj frame the site, one blurs the edges by existing as a vector wireframe
In an exhibit
360 degree SPACE
The chair
Another chair
GESTALT - INVERSE ICARCH’S Another red and blue chair Competition| Design Winning entry {+RO} | 2017 Team: Akshay Aditya, Smit Patel and Maitreyi Phansalkar Contribution to the team: Ideation and designing, working and presentation drawings, 3d drawings and post production.
In use
Though it was made at the peak of the De-Stijl, Rietveld’s chair deviates from the manifesto, the diagonal lines, extended edges, and surfaces with a slope; all stand apart from De-stijl’s essential program. The manifesto is an almost suppresive call for creating a relationship between uniformity and chaotic reality. The project is an attempt to reframe this discussion around art, De-stijl and the chair by questioning the possibility of its existence as a dual natured object (an art piece and a piece of furniture). The new chair is composed of a primary structure (the cage), i.e the lines and surfaces to occupy, i.e flat planes. The cage becomes a frame, instead of creating a solitary object, it creates space. And the planes become opportunities of occupying this space. The essence of De-stijl remains, while the red & blue chair’s logic gets inversed. The eventual result is a chair which embodies the gestalt of De-Stijl, and creates space.
COLOUR BANDS
STALL INDICATORS
PANOROMIC ELEVATION OF THE 20 M FRONT WALL MOTIF 4/5
MOTIF 2/5
VERTICAL LINES
MOTIF 1/5
GOVERNMENT OF MAHARASHTRA PAVILION
MOTIF 3/5
IITF, Pragati Maidan, Delhi Professional Competition| Design Winning entry, 2018 Team: Nikita Sharma, Sanket Kamdar and Maitreyi Phansalkar Contribution to the team: Ideation and designing, working and presentation drawings, 3d drawings and post production, site inspection, trials in material, material seclection, content creation of the stalls, 14 day stay at the site to overlook the progress, coordination and execution on site and design documentation. In August of 2018, we participated and won a competition organised by the Government of Maharashtra. Eight selected colleges were invited and asked to create a design proposal which was presented to the Minister for Industries, Energy and Labour at Mantralaya. The design was formulated with two basic components in mind: It had to highlight the theme for the year- Rural MSME-Micro Small and Medium Enterprises while being distinctively local to the state in its concept and aesthetics. In response to this, the faรงade was a 3 dimensional abstract adaptation of the Sanskar Bharti, a vernacular artistic gesture of welcome (rangoli). The three installations designed within the pavilion were dedicated to conveying information about MSMEs in Maharashtra to the visitors. Two of the three installations were envisioned as high tech inserts within the pavilion and the team was also responsible for ideating, content creation and overseeing the execution of these installations. While the exhibiton consisted of various spaces, the page focuses on various components of the main wall, pre and post process. 5 motifs were explored with various 3d expressions.
HOME AND DINING Madhubani, warli and pattachitra art work combined with cherry wood. Special edible paints have been used.
HAND-LOOM CLOTH TOYS Land, water and sky animals + reptiles + birds + fish created with cloth weaving artisans for Tong, Rajasthan.
WOODEN FURNITURE LINE The designs focused on merging the art work through cloth, paintings and carving aligning with the nuances of wood based design.
WOMEN TRAINING LEARNING WITH UNDP
AND
United Nations Development Programme and we worked for year to train women across various clusters in Maharashtra.
RURAL INDIA ARTISANS Training programmes and collaborations required us to go to remote locations across the country. Artisans always prefer to work back at home, where the whole cluster and village practices the same art form.
TISSER | SAMAGRI Work: Pan India | Base: Mumbai Product design |Designer, manager and co-founder Tisser, founded in 2015, stands for indigenous, fair-traded, ecofriendly products to generate rural livelihood. Through a supply chain of strongly connected 10000+ artisans supported by IT innovations like block chain technology and mobile apps, Tisser is trying to bring paradigm shift in handloom and handicraft sector. Pan India, Tisser provides end to end support to the artisans through artisan mobilisation, design and product interventions, online marketting and offline B2B business model and fair trade. Samagri Ethenic art even though well recongnised in the ocuntry, lacks a potential market. It relies on hand skills hence is arduous and time consuming which unfortunately doesnt match its monetory returns. The designs have become pedestrian and outdated. Samagri, a branch of tisser combines there art forms with utilatiarn products to create a designed range of products that gloiry the art form. The combination of product and art work is brain stormed with the artisans. Keeping in mind the traditional style, language and pattern of the art work, its laid on the product through stitching, painting, carving and melting etc. Products range for toys to funiture, paintings to house trays, majorly dominating the domestic.
In 2016, we collaborated with the United Nations Development Programme to train women across clusters in Maharashtra. I headed the project and visited many villages to hold training and workshops. In a lot of clusters, women work as house maids in surrounding neighborhoods. Their daily wages are minimum or below the basic standards. Through this project, we trained women in stitching, color dying, clothing cutting and pattern making, toys stitching and stuffing, ikat weaving, block printing, wood carving and painting, making moulds, terracotta pots and art forms, making bags and wallets etc. The work shown on this page is of a cluster from Wardha, Maharashtra. They were training to make jewelery from terracotta. Since the women were novice to the process, initial half focused on getting them comfortable with the soil and techniques to mould it. Slowly, we moved towards designing, finishing and packaging. The monetary component was crucial and the women were trained to calculate the value of the product and how to fix a selling price. This is one selected example, Tisser has been part of 120+ trainings that are still ongoing. I have headed 21 trainings.