P O R T F O L I O M A N N A T
S I N G H
CEPT U N I V E R S I T Y , A H M E DA B A D + ETSAM, MAD RI D
FICTIO
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C O N T E N T S
SPIRITUAL IN THE MODERN
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Semester 8: A Place for Prayer Type: Institutional Area: 3000 sq.m. Historical Interpretation and Design Studio
HOW DO WE BUILD ON OUR PAST?
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Semester 9: Written Thesis Conservation and Analysis Semester 10: Unit Tuñon Type: Institutional Area: 28000 sq.m.
DECODING AND EMULATING KAHN
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Semester 6: Masters’ Strokes Type: Institutional Area: 750 sq.m. Analysing and Design Studio
HOW DO WE DETAIL AND INTERVENE?
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Semester 5: Tectonic Operations Type: Healthcare Area: 250 sq.m. Construction and Specifying Studio
IDEAS IN THE BUILT REALM
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Internship 2019: Didi Contractor Dharamshala, Himachal Pradesh, India Internship 2022: Studio Interweave Gangtok, Sikkim, India
SELECTED VOCATIONS Design and Make Writing Shirt making
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SPIRITUAL IN THE MODERN Studio: A Place for Prayer
Professor: Ar. Snehal Shah Semester 8, Spring 2022 Prayer is an act of surrender, so the space needed to capture the idea of the sublime. Then came the idea of the solitary act of meditation which needs a room when the prayer becomes a practice that extends beyond the day and thus came the prayer cells. The design was achieved through understanding of elements and their relationships by reading buildings and books. The form of the prayer hall was a manifestation of the desires of the act of prayer- of the earth, reaching for the sky. what is it to be modern and spiritual?
Prayer Cells The prayer cells face a sunken forecourt on the south and a waterbody on the north, through the planters. The cells form a row, breaking the axis defined by the prayer hall and the clock tower. From their isolated meditations in these solitary cells, the devotees walk to gather in the central hall. Prayer Hall The space inside the prayer hall creates a powerful silence through the volume and light. On the upper mezzanine, the celerestorey windows shift inside on the south, to block the sun. The Hall becomes a place where the individual can gather collectivelyor meditate together and the silence binds them
The design evolved through how a devotee would live and move around in the campus and the placement of amenities and paths through landscape emerged.
The Pr
The co with an sacred centra prayer beyond Throug of wall evolved were o nature the cam
An imp studio of elem Resear and th elemen done, r of elem
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onceptual start was n architecture of the d through scale and ality. Aspirations of r pushed the form d the necessities. gh several iterations l sections, the form d. The prayer cells of a complementary e to the prayer hall and mpus evolved.
portant idea of the was the interpretation ments of architcture. rch into the genesis he apigee of various nts in history was resulting in a glossary ments.
HOW DO WE BUILD ON OUR PAST? Ongoing Studio: Unit Tuñon, ETSAM Dissertation, CEPT
La Habiticion Posible Urban Scale: 28,000 sq.m. Ar. Emilio Tunon Semester 10, Spring 2023 ETSAM The studio was based on an exitisting site of the Tabacalera situated in Embajadores, Madrid- to repurpose it for habitation and cultural activities. Housing is an overwhelming problem in Europe today, and the project sought solutions through a multipurpose program involving a market, artist’s centre and housing.
Lavapies The Site Lavapies is the multicultural district of Madrid (highlighted blue). After mapping human activity, it was found that it is an active site for artistic endeavours with a urban character around which could inform the design as per activities on site.
The Tabacalera The site for intervention (highlighted deep blue) is a 200 year old tobacco factory roughly 18000 sq.m. in area. It is a building of 3 floors with a basement and is an arched masonry brick construction with stone cladding.
AXONOMÉTRICA EXPLOSIONADA
CENTRE Housing, Wor
Out of the three tions of the mu the Artist’s cent important- with t ing, workshop, mult
Housing Plans a
The housing for a workshop at th new introduction idea of servant s Below that is the housing plan for inside the Tabac
60 x 120 cm white gypsum model
Final design w
E FOR ARTISTS rkshops, Market
e important funcultiuse program, tre was the most the artists’ housclassrooms and ticultural market.
and Axonometria
the artists with he top level is a n to site with the spaces in a row. e productive r residences fit calera walls.
with plazas marked oot
Sanskar Kendra and the Imagination of Ahmedabad Guide: Ar. Riyaz Tayyibji Semester 9, Spring 2023 Bachelor Thesis
The great question we face today is how do we deal with ‘Modern Heritage’. Or is that an oxymoron? Does an age which spent its energies building universal and timeless architecture wish for preservation or continuity? What does conservation then entail? The thesis is an investigation of these questions in the study of Le Corbusier’s first built museum: Sanskar Kendra.
The Dissertation’s aim was to consider the institutional nature of Sanskar Kendra from its inception to the present day in light of the changes in the city. This was done by first understanding the context in which the project was concieved, finding the characteristics in the program, intention and architecture of the building and finally scrutinising the current framework that will determine the way we engage with Sanskar Kendra today.
Margins
The last part of the research involved critiquing the conservation report under GCI. It was found that the report is neglectful of a complete understanding of the building it intended to protect.
Pinwheel The swastika or another diagram fo perpendicular to th witnessed here in t spaces and the museums arranged
H
NORT
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Pinwheel The swastika or pinwheel is
Pinwheel another diagram for growth but Theperpendicular swastika toorthe pinwheel circulation, is witnessed here in the another diagram for mezzanine growth but spaces and the wings of the perpendicular to the circulation, museums arranged axially. witnessed here in the mezzanine spaces and the wings of the museums arranged axially. H
NORT
The diagram on the left is the adaptation of the Museum of infinite Expansion to Sanskar Kendra in four iterations.
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of the Form
Contiguous Ground Floor The walls on the floor above are opaque and thus the structure is visibly contained on top whereas it is amorphous and continuous on the ground floor. Contiguous Ground Floor TH The NOR walls on the floor above are opaque and thus the structure is visibly contained 4 8M 0 1 it2 is amorphous on top whereas and continuous on the ground floor.
Uniform, Opaque fronts The entrance of a building, typically defined by a portico is absent, therefore there is no singular front. Further, placing the vertical cirulation at the entrance, woulf have blocked one side off from expansion
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Conceptual and Structural Flexibility The margins of the form which are the brick walls are structurally Conceptual and non load bearingStructural and thus can be Flexibilityreplaced or removed, extending the slab of the original structure The margins of the form which and opening it up as well.
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Concrete Projections
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Concrete Projections Projecting from the Projecting RCCRCC ends ends from the slab on on the the service floor. These slab service floor. These are suggestive of expansion. are suggestive of expansion.
are the brick walls are structurally non load bearing and thus can be replaced or removed, extending the slab of the original structure and opening it up as well.
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U T b s c b
DECODING AND EMULATING KAHN Studio: Master’s Strokes
Professor: Ar. Sachin Soni Semester 6, Spring 2021
The studio ‘Masters’ Strokes’ was based on decoding architects and later designing in the understanding of their language in a new site and a new brief.
The Program After the in depth analysis, the learnings had to be manifested in the project which was a centre for rejuvenation of an abandoned quarry. The centre was required to have laboratories, a small housing for the scientists with ancilliary functions. The Final design should reflect the attitudes of the architect in the architectural language. Concept and Design The idea was to build the centre atop the hill, looking onto the site of rejuvination. In the sweltering heat of Gujarat, the tall brick walls would enclose a white marble structure.
The Site The site was an abandoned white marble quarry in Koteshwar with a water body at its centre.
The P
PRODUCED BY AN AUTODESK STUDENT VERSION
Comin nected are arr it with galleri
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The m from t aband brick w white and em propo
PRODUCED BY AN AUTODESK STUDENT VERSION
Plan
ng from the Beaux arts tradition, Kahn believed the plan to be the generator. The design starts with three squares, cond diagonally. The entrance is through a colony of trees, to the central building. which is an internal world. The spaces ranged around the central atrium- The great hall. The laboratories and canteen and lounge areas arranged around h the hallway as the intermediary. These spaces then recieve light from the top as shown in the wall section while the ies on top recieve light through the roof openings.
Materiality
material language of the project comes the abundant white marble in the doned quarry, juxtaposed with red with exposed concrete crowning the marble walls. The details are austere mphasize structure, light and express ortions in harmony.
HOW DO WE DETAIL AND INTERVENE? Studio: Tectonic Operations
Professor: Ar. Smit Vyas Semester 5, Monsoon 2020 The studio explored ways through which outdated buildings can become sites for creative thinking about construction processes. New programmatic parts were added to buildings of an old precinct, necessitating actions of repair, replacement or introduction of alternative parts in them. By way of this, new formal, structural & material conditions were tested against
the existing ones in an attempt to find a architectural expression. The play of bui ments, systems & technologies was anch work as both- a specific response to the functional requirements as well as a man personal imagination and desire which t free to explore. Primary Healthcare Centre
Each student is given a program, the one me was that of a primary healthcare cen the site plan). The larger site was to be a al coworking hub and each student had
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SYMBOLS / SPECIAL NOTES : BRICK MASONRY
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For Ramp Details, refer to sheet 6.(1,2,3)
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existing square plan pitched roof house (left below). The idea is to challenge the conventional dull sterile atmosphere of medical waiting spaces, creating a covered court with a hidden garden, surrounded by glass pods on stilts, where the medical functions are isolated.The project explores ideas of interiority and exteriority and the effect of structural systems, details and material choices to heighten the contrast between the bulkier outer shell and the delicate tenuous inner core.
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AWING IS TO BE READ, NOT MEASURED. ALL DIMENSIONS ARE IN MILLIMETERS & ARE OM UNFINISHED LEVELS OR SURFACES UNLESS SPECIFIED OTHERWISE. NTRACTOR SHALL REVIEW / VERIFY ALL DRAWINGS + DIMENSIONS. IF DISCREPANCIES E FOUND, CONSULT ARCHITECTS BEFORE STARTING WORK. CHITECTS SHALL NOT BE RESPONSIBLE IN ANY WAY FOR THE CONTRACTOR'S MPLIANCE WITH SAFETY MEASURES AND REGULATION.
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BRICK MASONRY CONCRETE
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SYMBOLS / SPECIAL NOTES :
AWING IS TO BE READ, NOT MEASURED. ALL DIMENSIONS ARE IN MILLIMETERS & ARE OM UNFINISHED LEVELS OR SURFACES UNLESS SPECIFIED OTHERWISE. NTRACTOR SHALL REVIEW / VERIFY ALL DRAWINGS + DIMENSIONS. IF DISCREPANCIES E FOUND, CONSULT ARCHITECTS BEFORE STARTING WORK. CHITECTS SHALL NOT BE RESPONSIBLE IN ANY WAY FOR THE CONTRACTOR'S MPLIANCE WITH SAFETY MEASURES AND REGULATION.
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The central concept of the design was for the structure to be conventional on the outside and in the section, develop inwards as a brittle core. The glass pods were a sharp contrast with the brick walls that enclosed the larger volume, broadening further to form seating for the waiting patients. The central garden strip became the datum for the design decisions.
LVL +6300 MM LVL +5850 MM
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Detail E Aluminium HHSS Fastener with capping 25x25mm MS box section Purlins
KEY PLAN
KEY PLAN 8mm thk polycarbonate sheeting SHEET NO:
PROJECT: PRIMARY HEALTHCARE CENTRE
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Detail A
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DRG NO : 2018.D4B.SE2
Section Scale 1:1
FA, CEPT 2020/21
Glazing tape
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Detail B Detail B Section Scale 1:1
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bi bit
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8mm thk polycarbonate sheeting Aluminium capping
Section Scale 1:1 40mm thk IPS Base coat 10mm IPS flooring 100mm PCC layer
10mm thk white-grey IPS flooring
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Compacted earth
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2mm thk steel flashing 2mm thk steel flashing 18mm thk plyboard capping 18mm thk plyboard capping 100x100mm MS box section girder 100x100mm MS box section girder
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6 mm groove 10mm thk white final IPS coat 40mm thk IPS flooring 100mm thk PCC layer 150mm BBCC layer
50x100mm MS post 50x100mm MS post 8mm thk opal white translucent 8mm thk opalpolycarbonate white translucent sheet polycarbonate sheet 25x25mm box section purlins C/C 25x25mm box section purlins C/C @1220mm @1220mm Aluminium capping Aluminium capping
Mangalore tiles Mangalore tiles 35x70mm MS rafters C/C@1220mm 35x70mm MS rafters C/C@1220mm 25x40mm 25x40mm wooden Batons wooden Batons 50x100mm MS girder 50x100mm MS girder Motorized Polyester blinds Motorized Polyester blinds 12mm thk plywood false ceiling 12mm thk plywood false ceiling
25x25mm F7D section shutter frame 25x25mm F7D section shutter frame 8mm thk toughened glass side hung window 8mm thk toughened glass side hung window
Detail A
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Detail A Detail A
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Wall Section Detail B
e Wall section shows the undernding of the concept at the level he detail. The idea was to maxDetail E ze the glazing and enhance the ticality and thinness of mullions m outside and transoms from ide for which F series MS secns were used. Considerations for vices gave it false ceiling and a ycarbonate roof letting in light en after blinds are drawn.
e nature of the pods was that of pace within a space. Hovering ide the volume enclosed by the der bulkier outer shell, these thin gile pods are where the function solated, detailed to contrast with rounded edges of the modulated or and wall, below and around.
25x25mm F7D section shutter frame 25x25mm F7D section shutter frame 25x25mm F4B section transome 25x25mm F4B section transome 12mm thk teakwood panel 12mm thk teakwood panel 50x100mm MS box section girder 50x100mm MS box section girder 10mm thk hammered glass panel 10mm thk hammered glass panel
Detail Detail B B
18mm thk plywood 18mm thk plywood 32mm thk teakwood batons 32mm thk teakwood batons 30x30mm L Section 30x30mm L Section Purlins C/C @560mm Purlins C/C @560mm 30x30mm L section 30x30mm L section 50x100mm section 50x100mm CC section
40mm Base 40mm thk thk IPSIPS Base coatcoat 10mm flooring 10mm IPSIPS flooring 40mm double 40mm thkthk double bitumenous coat (DPC) bitumenous coat (DPC) 10mm thk white 10mm thk white chinamosaic chinamosaic 5mm ø grey pea 5mm ø grey pea gravel gravel
100mm PCC layer 100mm PCC layer 100mm sand layer 100mm thk thk sand layer 150mm BBCC 150mm thk thk BBCC Compacted earth Compacted earth
IDEAS IN THE BUILT REALM Internship: Didi Contractor Internship: Studio Interweave
I Temple
The demand of the villagers was to provide a shelter and abuddhist statue they had r gift. A pro-bono project in it is designed using local m austere detailing, invoking
The final presentation was s local persons and the details collaboration wi
Studio Interweave Head Architects: Ar. Kailash Pradhan, Ar. Upendra Gurung Monsoon 2021 Gangtok, Sikkim
The internship was in the city of Gangtok. The regional thinking was to be resource efficient, ecological and austere. The firm’s material vocabulary contained primarily bamboo timber and steel. Corrugated steel sheets as a modern vernacular element was used in diverse means as the studio’s language. The office size was small, of around 10 architects so I got a chance to do a variety of projects, from hotels and residences to temples and small institutions.
e at Chuikhim
s of Chuikim site to house recieved as a rural Sikkim, meterials and the spirit of buddhism.
shared by the s emerged in ith the locals.
II Bridge House at Ranka As the name suggests, the project was to span around 50 feet above a river, a residence for the head architect purely with a bamboo structure. The drawings and model were carried out by me .
Learnings and Observations The practical learning in the studio was paired well with the observations of the vernacular architecture of the region and the lifestyles of people. An important learning was the use of regular materials in distinct fashions. The studio and the region offered insights to this rather ignored approach to building.
Didi Contractor Summer 2019 Dharamshala, Himachal
A short internship in which I learnt vernacular techniques of construction with ecological materials like slate cutting, bamboo weaving and mud plaster. This was paired with the technical understanding of earthen construction. The tutelage under the architect Didi contractor extended in the later years in helping her edit her book addressed to young architects today.
Sketches of Didi’s house southwest facade detail south wall-dining Odar site site photo site context sketch rough contour sketch
MISAAL centre plan designed under Didi’s guidance left to right Plan with dimensions Conceptual plan
Didi Contractor
The celebrated architect spent four decades of her life understanding the architecture in the Himalayas and building sustainably. She focused on a non-anthropocentric approach in understanding of the ecology and vernacular techniques of the region. Her understanding of materiality and the building craft was of a systemic level, which left an indelible mark on my education of architecture.
40x60cm, alcohol ink on butterpaper -fictional worlds, 2018
SELECTED VOCATIONS Graphics and Writing Working with fabric
GUFTGU the FA Newsletter Founded and Headed the CEPT’s School of Architecture newsletter- GUFTGU. Published monthly editions covering cross studio work and campus events . The design of the banner from the drawing board to completion: featuring the trees oand the FA building.
In the privatisation of the university, this was an effort to give students empowerment through expression. It also worked to create a device of cultural archival for future generations to witness the soft infrastructure on the campus.
The graphics I designed follow a language based on the architecture of the college campusconcrete gargoyles, flemish bond bricks and such. The idea of a printed newspaper in the age of mailed newsletters was to rekindle a touch of the real.
Tapestry The concept was to create a contemporary abstraction of a regional textile ncraft, using waste cloth. The use of mirrors and colours stitched on canvas took 4 days to execute, creating a background of the college event celebrating fiction.
Mirrorwork created an inversion of colour of the print and the sky, changing as the daylight changed.
Stitching multiple coloured cloths onto a canvas cloth 9 x 12 metres in size.
mannatsingh8@gmail.com +91 7027000848 October 2023