Season 2 Portfolio Pranav naik | 1st yr. m.arch
Pranav Naik | Exploration Phase, Portfolio II
To the Review Commitee, I, Pranav Naik, 1st Yr. M.Arch. at The Frank Lloyd Wright School of Architecture, present to you my second portfolio representing the first season I have spent at Taliesin. I hope you enjoy going through the pages. I look forward to meeting with you in the review.
Pranav Naik
Contents Exploratory
01
Box II - New Olympic Museum, Athens
02
Research Design Studio
11
Writing Workshop and Tutorials
14
Shakespeare Sessions
22
The Social Life of Spaces
29
Contract Lectures
35
Performance Project
37
Thin Shell Roof workshop
41
Drawing to Understand
46
Reading the Landscape
49
Wanderings & Shutter-Happy Moments
55
Looking Ahead
64
Performance Map
65
Bibliography
68
Pranav Naik | Exploration Phase, Portfolio II
Exploratory | Exploration phase I am Pranav Naik. With this portfolio I am concluding my first year and second season at Taliesin, the Frank Lloyd Wright School of Architecture. This was my f i rst W i s co n s i n season, and what a season it has been! I started the season a little later than the rest of my colleagues, as I was visiting Neha Hoskote, my fiancé, in the United Kingdom. I had had a strenuous but enjoyable Arizona season, and was all ready to relax. I was looking forward to travelling through Scotland, and had planned it so as to avoid all architecture. That, however, is very hard to achieve, especially when architecture is such an integral part of my life- Although I couldn't avoid it altogether. Being with Neha for those four short weeks was invigorating, and I came back with my creative energies rejuvenated, and ready to live architecture again. At the end of the last Arizona season, I discussed with my review committee the possibility of a collaborative project with my friend and colleague, Maxim Borshchevskiy. The committee was receptive to this idea, so Max and I selected an iconic museum project. I knew the coming season would bring some architecturally exciting times, but little did I know that in addition to working on one of my most challenging architectural projects thus far, I would be bombarded with writing, acting, hiking, and law. I have been very detailed in my experience and outcomes with the Box project in this portfolio. This introduction is a short exploration of self, in relation to the other non-architectural facets of Taliesin.
quite easily. I have started to enjoy writing, and even have a blog now; how long I'll be able to sustain that, though, remains to be seen. The Performance Project with Terry Kerr was a class I was looking forward to, as I have always enjoyed what little acting I've done. I ended up with some of the more prominent roles, and enjoyed myself thoroughly throughout the rehearsals and performances. I found myself at home on stage; I also learnt to cue in to the audience and fine-tune my acting to suit them. It has been a worthwhile experience for me, and I hope I get more opportunities to act in the future. The Drawing class with Daniel O'Brien was a revelation for me. I have always been able to express myself through drawings very effectively, but this class was not about expressing anything literally; instead, it was about parsing the subject through ourselves, resulting in our interpretation of the subject. I find myself able to see an object, play with it in my mind, and then interpret it in a basic form. However, the object's essence is not lost in the process. As an architectural conceptualization process, this class has been very useful, though that may not have been the intent of the class. I will soon complete a year of education at Taliesin. I came here looking to complete a circle of architectural education; I am constantly questioning if I am achieving that goal. The fact that I am in the multi-faceted world of Taliesin, and that I see an obvious learning outcome from my experiences, reinforces my belief that being here would complete my architectural education. I believe architecture is not merely three dimensional, as I was taught in my prior architectural education. Because of my Taliesin experiences, I now see that it has many more dimensions. I am exploring myself beyond the formal realm of architecture, with acting, reading, writing, and drawing. I feel this exploration will strengthen my skills as an architect and build my character as a human being. Pranav Naik | 1st Yr. M.Arch
Our writing class was very extensive. I knew there was something serious about it when Michael Whaley gave us a chart of our “Individual Writing Plan”; I was in for something I only liked to do if I really had to. However, with several essays now under my belt, I find that I have blocks in the beginning, but soon enough the words flow
1
Olympic Museum
Athens
Maxim borshchevskiy+Pranav naik Box II | 1st yr. m.arch
2
Pranav Naik | Exploration Phase, Portfolio II
Final Box Narrative I am Pranav Naik, this is my first year in the M.Arch Degree program at Taliesin. This is my second box project since my time here. From the start of the season, I have been working on the design of a new “Olympic Museum” in Athens, in collaboration with my friend and colleague, Maxim Borshchevskiy. The basis for the project is a competition hosted by ArchMedium, Spain. The competition is mainly a design exercise with importance given to the Idea rather than the details. However, we decided to design this building as a fully developed Box Project. The drawings and presentation supporting it contain not only the initial Idea, but also structural, MEP, HVAC considerations and renderings. We considered it a fully realizable project. Our research question for the R_DS (Research Design Studio) for Aris Georges was: “How does a contemporary building integrate with historical ones in modern times, while fitting into the urban fabric?”
The site for this project is an exceptional lot in an important part of Athens surrounded by the Acropolis, Temple of Zeus, Syntagma square, the parliament, Zappieon, and Panathanaiko Stadium (site of the revival of the Olympic games). There is a tram stop on the road to the south of the site. A first look at the site conditions led to the immediate creation of a cross-path through the site, and the lifting of the building so as to allow free movement through the site. The next step was to create a public square (program requirement) with two buildings wrapping around it. The buildings themselves are divided into the Ancient wing and lobby, and the Modern wing and auditorium. Movement through the museum is more or less prescribed, Visitors are encouraged to walk through the six galleries in chronological order, beginning with The Ancient gallery and proceeding on to the Modern wing and exiting through the shop. We have made it possible for the visitor to skip ahead to another gallery. Terraces
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Pranav Naik | Exploration Phase, Portfolio II
on the second level open up the gallery space, giving visitors a convenient respite. They also provide for visual connections to the square below and, more dramatically, to framed views of the Acropolis, Zappieon, and Temple of Zeus.
View of the steps from the bridge
Interior View showing ramp
The public square, which is the courtyard in the building, is an open space that is inviting - with the use of pools, varying levels, and bottlenecks. The square has an outdoor cafe, as well as random fountains, pools and benches in the shade of the south Modern wing. There are several steps leading down from the street that allow for casual seating. There also will be information panels linking the building to exhibits inside. These features discourage protests, or other large gatherings. (which the Greek are so fond of)
View through courtyard
The form of the building is derived initially from “Kotinos,” the Olive wreath awarded to winning athletes; it is the only symbol from the Ancient Olympics that is still in use today. The Olympic Games compel athletes to push themselves to the very limits of human strength, stamina, speed, and skill; similarly, we pushed the design of the building to be leaner, stronger, and more “athletic.” The Idea is to bring the dynamism of an athlete's body in the building, and push the limits of building construction. This resulted in an “Exoskeleton” framework to provide structural support for the building, thereby freeing up the inside to allow for large open spaces. The building is elevated off the ground at four metres on an average, and touches the ground at four points, the lobby, north mechanical zone, auditorium lobby, and shop. We worked on making the building fully realizable from very early on in the design process; hence it is designed with all necessary mechanical, electrical, and plumbing services, most of which are integrated into the structure
View of the Acropolis from the Restaurant
4
Pranav Naik | Exploration Phase, Portfolio II
Courtyard view from shop
5
Pranav Naik | Exploration Phase, Portfolio II Restaurant 2m above second level Terrace Temporary exhibit Audio-visual Ancient Olympics Interactive area Terrace CafĂŠ
Terrace Modern Olympics interactive area Modern Olympics gallery 1 Auditorium
Second Level +10m Kitchen
Shop level 2 op Sh
Ancient Olympics gallery Winter Olympics Gallery
Modern Olympics gallery 2
first Level +5m 0 2. +
Lobby Public square
0
s. Va
4 1. +
os
4.
+
for
Leo
Shop level 1
s
ga
Ol
shop 4 1. +
Storage 0 2. +
Administration Bu ma ildin nag g em ent
Restoration
3 4. +
Outdoor CafĂŠ 0 3. +
Auditorium lobby
Plaza Level 0m
Ard
itto
u
Plans
6
Pranav Naik | Exploration Phase, Portfolio II
fire
Core 2 Dry riser Chilled water + return pipes Air handling unit Data handling fire
fire
Elevator Dumbwaiter Dry riser Dedicated Air-conditioning
fire
Restaurant Core
Solar collectors
Core 3 Chilled water + return pipes Air handling unit
All fire cores Dry riser Sprinkler system @ 2-3m c-c
Cooling tower 2
Dry riser Chilled water + return pipes Air handling unit Data handling
fire
fire
fire
Cooling tower 1
Substation Central Air-conditioning plant Chiller unit + pumps Boiler units Firefighting tank + Pump Utility water tank + Pump Rainwater collection tanks + Filtration Pool filtration systems Freight lift - basement lift room Surveillance + Security controls Building management room + fire console
Dry riser Chilled water + return pipes Air handling unit
Core 4
Core 1
mechanical layout
Service core - Basement
Primary structure Secondary structure Tertiary structure
Light steel roof
Structure+Floors
Rigid Reinforced concrete frames + Precast beam + cavity floor slab system
Expansion joints
structural concept 7
Pranav Naik | Exploration Phase, Portfolio II
With the presentation
Competition board
8
9
Pranav Naik | Exploration Phase, Portfolio II
10
Pranav Naik | Exploration Phase, Portfolio II
Research Design Studio,
with Aris Georges, M.Arch. was a class intended to bring out the processes behind a design. We tried to map the relationship between Research and Design. The project used as a study would be our respective box projects- in our case, we had a lot on potent research, that led to great discoveries
along the way. In the end I do not owe the success of the project to a systematic approach to research, but I could better understand my own system of working on a project. Also research is vital in any project, the Studio helped us understand that.
New Olympic Museum | Athens, Greece. What is your general perspective? Are you clear on your worldview/paradigm? Our worldview is generally, but not limited to, Pragmatism + Advocacy/Participatory What is your fundamental research question? What assumptions is it based on? How does a contemporary building integrate with historical ones in modern times, while fitting into the urban fabric? Which strategy or mix of strategies do you think your project will benefit most from? The building and the process would benefit from a combination of Comparison, Experimental + Quasi – Experimental, Logical Argumentation, and Case studies. How do you plan to engage your inquiry process? Understand, Set goals and methods of reaching them, Working collaboratively + efficiently, Set up a timeline. What are some initial steps or sets of steps you need to get traction? Research will initially include: History: Olympic games, Greece, Athens, Greek Architecture, Neoclassical interpretations. Case Studies: Objects, Museums (Olympic/other), Common Ground. Site Conditions: Climate, Site, views, Neighbours, context, History, civic requirements. Analysis of program: Blocks, Diagrams, zoning – Conceptual Modelling etc. Refer to diagram tomorrow. What standards will you use to evaluate the quality of your research? Design research is a success when the design is a reflection of the research, as also of the designer's aspirations.
Maxim Borshchevskiy + Pranav Naik st
1 Yr. M.Arch.
11
Pranav Naik | Exploration Phase, Portfolio II Presentation
Precast floor system changed Greg Brickey - consultation
Aesthetic choices- Curtain glazing Mechanicals fully developed Michael Mertens - consultation Precast, Post tensioned Rigid-frame structural concept
Extensive modelling Curved-surface geometry Human-frame/kotinos branch study
mid-point 28-07-2010
27-07-2010
26 07-2010 -
Precast, Post tensioned perforated Slab systems
25 - 07- 2010
Precast Slab
24 - 07- 2010
Span is too much
Services
Structural Systems
23 - 07- 2010
22 - 07- 2010
No floating Glass box 21 - 07- 2010
Auditorium - multi use 20 - 07- 2010
Floating glass box Cantilievered structure 2 storeyed space in Ancient Gallery
19 - 07- 2010
18 - 07- 2010
Detailed planning
08-07-2010
Structure
Materials
09-07-2010
Remove bridge
07-07-2010
Roads & electric lines not suitable for bridges
Kotinos shade/ Olive branch South Higher
06-07-2010
05-07-2010
Chicago Greek interpretation
Sculpture wall 02-07-2010
Chicago field trip
Volume/block
3d Modelling
04-07-2010 03-07-2010
Sculpture wall
Visual interpretation 01-07-2010
30-06-2010
Acropolis 29-06-2010
Stoa
28-06-2010
Climate/Sunpath 27-06-2010
23-06-2010
Go from site to city Human Body & Color Idea of Freedom & Independance Symbology
Milwaukee case studies
23-06-2010
22-06-2010
21-06-2010
20-06-2010
Case Study
Olympic History
Greek history
Modern Arch
Developing strategies
Site analysis
Ancient greek Arch
Form vs function landmark
Schematic Design
Circulation
23-06-2010
8-10
8-10
6-8
6-8
4-6
4-6
2-4
2-4
0-2
0-2
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PERFORMANCE EVALUATION CORE CURRICULUM ‐ M.ARCH
PC 1
Student: Naik, Pranav (10/19/09) Instructor: Aris Georges, M.Arch
Research Design Studio ‐ WI Summer 2010 PERFORMANCE IS RATED AS: (M)=Mastery, (+)=Excellence, (‐)=Deficiency 1 Critical Ground a Understanding of critical issues of design research (induction, deduction, abduction) b Demonstration of analytical thinking and communication of research data
PC 2
2
PC 3
3
(‐) M‐ M M+ (+)
+ +
Social and Cultural Context a Articulation of sociocultural conditions innate in the research context
+
Ecology and Environment a Articulation of environmental strategies in the design
+
PC 5
PC 4
4
Representation a Ability to represent quantitative and qualitative research data b Ability to use mapping to visualize research information c Full schematic represenation of Box Project 5 Material Facts Articulation of material strategies in the Box Project design. Articulation of structural strategies in the Box Project design
PC 6
6
PC 7
7
PC 8
8
M+
+
+
+
+ + + + +
Integrated Practice Ability to identify limitations and needs that guide informed design choices Programmatic specificity in the Box Project
Combined rating
Instructor Rating
+ +
Personal Competence a Responsible participation, attendance, and communication. b Active contribution to the studio discussions and debate.
+ +
Design Composition a Sustained ability to aim at synthesis of ideas b Effort to explore form qualified by research data
+ +
+
+
+
+
Final Evaluation (pass/fail) PASS Contact hours (actual from attendance):
94.5
INSTRUCTOR SIGNATURE + DATE 10/1/10 INSTRUCTOR NOTES: Pranav worked with Max on this project during the studio and they both represented a very high level of engagement and serious effort. Exemplary work.
Writing Workshop and Tutorials This was an extensive writing workshop with Michael Whaley, who gave us a chart of our “Individual Writing Plan�. After this season, I have started to enjoy writing, and even have a blog now; how long I'll be able to sustain that, though, remains to be seen. The following essays were integral to the workshop, and I have enjoyed writing them.
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Pranav Naik | Exploration Phase, Portfolio II
Common Essay | Taliesin, Ahead and Beyond.
invaluable support to students seriously keen on being betrothed to the profession.
“Without a gentle contempt for education no man's education is complete.” - Gilbert K. Chesterton
I have come to understand that the “apprentice” system, where students came to Taliesin to study for six to seven years, and worked on real projects under the aegis of “Taliesin Architects Inc.,” came to an end at the turn of the last century, but that recently the Faculty and Administration – in particular, Victor Sidy, Dean of the school, and Matthew Trzebiatowski – have been keen on reviving the tradition in a different way. The experience gained from working on any “real” project is invaluable to a student, and I am sure that more professional practice opportunities would be much appreciated, both by the students and the professionals.
Taliesin, the Frank Lloyd Wright School of Architecture (originally the Taliesin Fellowship) was established in 1932 by Frank Lloyd Wright, who, after being trained under the traditional “apprenticeship” system, became a great and lifelong advocate for it. Besides the learning by doing, he also professed the importance in the curriculum of a variety of fine arts, such as Painting, Drama, and Music. The system devised by Wright was bound to make one unique and successful in the “Business of Architecture” at the time. Now that we have shot forward seventyeight years, the questions are, 1) “How much of that value system is still valued today?” and, 2) “What is the role of the buildings, both historically and in the present circumstances?” In this essay I am attempting to understand and illuminate these two questions. Taliesin encourages one to live in harmony with likeminded people, to exercise the freedom to work the way one likes, and to learn to stand up for one's work. Here at Taliesin I find Mr. Wright's role to be more that of the mentor than the instructor. “Wrightian” philosophies are not the mainstay of the education here, nor are they totally ignored in order to clear the way for another style of Architecture. The school today, is unique, with a focus on independent ability and will be able to hold its ground if put to test against other systems. This is clearly evident with the registration rates at the AIA examinations; With 90% of Taliesin graduates being licensed, followed by Harvard at 60%. The system is diverse, and can offer
Our educational program calls for several hours of participation in the Arts. A more inter-connected system, in which an art piece would be made into a building, or a building into a set of musical notes, would not only broaden the scope of the artist in the architect but also explore new relationships and open a dialogue between the world of Art and Architecture. Unfortunately, our curriculum at present does not call for rigorous training in the field of structure, building services, or the other “boring” aspects of the profession – all subjects of the utmost importance to anyone aspiring to be an architect. My previous architectural education made it mandatory for us to learn very advanced building construction to better understand our designs, as well as to be able to build almost anything. The lack of construction and services knowledge is reflected in the buildings at both campuses. The poorly functioning electric supply, water supply, and leaky roofs are a testament to inadequate learning. Speaking of leaky roofs, the buildings at both 15
Pranav Naik | Exploration Phase, Portfolio II
campuses awe me, intrigue me, and play with me – all qualities that are very desirable in a building. I have seen details here that I have never seen before, maybe never even dare to use. The buildings are truly experimental; they resonate with the surroundings, and look like they were meant to be here. I cannot think of a more inspiring way to study Architecture than to live within and among the buildings at Taliesin. These buildings have always been integral to our educational system and best represent the “learning by doing” component of the program. The buildings, built by apprentices, were akin to a research lab, with so many structural, and design concepts being put to test. The buildings at both campuses are vastly different and pose very different problems leading to very different solutions. I would prefer a class or time allotted for every student to be able to work on the buildings. This would teach students the nuances of construction and help keep the buildings in better shape. Apprentices could also design and build new buildings for both campuses, in keeping with the tradition of apprentices building the buildings they occupy. I am honored to be living here and feel blessed to have the opportunity to travel between the two campuses, taking in the varied landscapes of this great country. The Faculty and Dean Sidy have been talking about increasing enrollment, perhaps doubling or even tripling the current size. I feel the facilities at both campuses are already overtaxed, and that an increase in numbers will only cause greater stress on faculty and facilities – unless we can add to housing facilities at both campuses and increase faculty to maintain or improve the current teacher-student ratio. However, the fact that all of us – the students, faculty, administration, etc. – move every year from
Arizona to Wisconsin and back means we need a duplication of facilities. Also, some of the living areas at Taliesin West need to have backup housing, as shelters and tents are prone to weather damage. Given our present circumstances – faculty, housing, technology, and pedagogy – I believe that the ideal enrollment size is between twenty-five and thirtyfive students. At any higher number, too many students would not receive the attention we now get and yearn for, especially given the pace at which the Taliesin program pushes its students. Apparently we are also considering changing our schedule of occupancy at the two campuses – nine months at Taliesin West and three (elective or otherwise) in Wisconsin – and/or extending the Wisconsin season so that the student body can be split in two, half at Taliesin and half at Taliesin West. I would not like to be at Taliesin for the whole of winter or at Taliesin West in the summer. Besides, both campuses are worked on in the absence of students to make them more livable when we return. Most students come ready and equipped for the conditions at both campuses. And maintenance could be a nightmare with buildings so old being constantly used to their full capacity. If we make them two entities and live at either one for the full duration of the course, the entire experience of moving between the two places and understanding the buildings in their context would be lost; this experience is a major reason for my coming to Taliesin. While staying at one place the full term could be easier, less expensive, and more efficient, doing so would eradicate the core vision of this unique school. In my opinion, Taliesin is headed in the right direction by staying true to the original concepts and values of
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Pranav Naik | Exploration Phase, Portfolio II
this place and successfully adapted them to fit the stringent regulations of the NAAB. The shelter program, community assignments, and social events foster stronger ties amongst the community. That said, the “Shining Brow” cannot become stagnant and dwell only in its past glory. Construction classes based on past or present box projects would be a valuable addition to the Taliesin experience. A new technologies class or workshop would be immensely helpful and pertinent to the ideology of Mr. Wright, who was a great proponent of new ideas. I wish for Taliesin to keep its unique identity and I look forward to seeing it become the iconic design laboratory it once used to be. “Less is only more where more is no good.” -Frank Lloyd Wright st
Pranav Naik, 1 year. M.Arch.
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Where is the Gothic?
Where is the Gothic? Gothic architecture was the predominant style of buildings in Europe from the 12th century to the 16th century. Pushed aside by the neoclassical, Baroque, and Rococo styles, it made a comeback in the 17th century where, as an interpretive style incorporating neoclassical elements, it was seen in a wider range of building types. 19th century Victorian Gothic was applied in halls, universities, railway stations, and public buildings. The Gothic, which had begun as a medium of religious gestures, developed into a more encompassing system of building design. Using the strong sense of verticality, ribs, and pointed arches the Victorian Gothic, in some cases even tried to push against the rise of the machine and industrialization. In this paper, I will try to explain the underlying structural and spatial principles of Non-Religious Victorian gothic revival buildings of the 19th and 20th century, not
Gaudi’s model using catenaries
referring to superficial visual elements, but Ideas. This piece springs from the extensive research I did on Gothic
Robert Hooke's chain in the 17th century, and later by
buildings in Mumbai and worldwide while working on my
Antoni Gaudi in Barcelona with the more practical
undergraduate degree thesis two years ago. There, the
approach of attaching weights to string, leading to the
incorporation of the gothic in into my design, did not make
superb arches in the Casa Mila (La Pedrera), Casa Batlo,
it any less modern, but definitely improved the end result.
and Sagrada Familia.
As a result of my research I realized that there is an
Spatially, Gothic buildings were churches. Religious
inevitable paradigm shift ocurring in the Architectural
buildings were the only large enclosed structures built by
scene now. I will also look at some examples of these
people of the 11th Century, but soon there came a need
buildings that are far apart, both in distance and time.
for public halls, parliament houses, factories, mansions,
Gothic architecture was developed in the 10th century as
etc. The Gothic came to the rescue. With applied
an efficient building system for large buildings, besides
ornamental additions, Gothic could be efficient and grand
primarily being a religious idea. The crusaders returning
at the same time. The architects in the 19th century
from the Islamic world brought with them the pointed
realized the salient features of the Gothic, efficiency of
arch. At this point the only advanced structures builders
structure, built-in ornament, good light qualities, and
at the time knew of were masonry buildings. A line
adaptability. The architects used these to their advantage.
representing the force transfered through any arch that
Hence I contend Gothic to be the precursor to modern
spans a distance is a catenary. This was demonstrated by
architecture
18
Where is the Gothic?
. The English architects were the first to interpret Gothic to
systems with the same masonry blocks used by the
fit with the sensibilities of the Baroque and Rococo styles,
neoclassical architects. He used string with weights, and
hence it is known as Victorian Gothic. The houses of
by flipping the model upside-down, the finished shapes of
parliament in London were built by Sir Robert Smirke in
the arches which result would lead to the most efficient
1835 using the Victorian Gothic style. The trend spread to
structure. There were elements that came prefinished –
India with the Queen's rule; within a few decades Indian
either precast or finely chiselled stone – that would fit into
Interior of the Sagrada Familia each other. His arches had a very thin profile, with brick catenaries being made only one brick thick. He had truly understood the underlying principles of the Gothic, and applied them in designing modern buildings. A few decades later, there were architects who were looking back at history to find the essence of structure, and style. One example of such a structure is Pier Luigi Nervi's Palazzetto dello sport, (Rome, 1958), which uses precast structure and ribbed domes, and borrows visually from The University of Mumbai
classical architecture. Eero Saarinen's St. Louis Arch, is a
architects were designing and building the beautiful
catenary, albeit in the form of a composite structure. Even
University of Bombay buildings. They had not only
Frank Lloyd Wright's Prairie style was sometimes referred
designed in a style outside of the local building type, but they had understood and reinterpreted it to fit into the climate, planning, aspirations, and sensibilities of the Indian people. This type of style is known as the “Bombay Gothic”. Curiously, none of the buildings built at the time in Bombay need air-conditioning, extensions, or changes even to this day. The 20th century architect Antoni Gaudi, was an architect far ahead of his time designing and building catenary
Palazzetto dello sport (Rome, 1958)
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Where is the Gothic?
to as “Horizontal Gothic” at a time when a lot of rich
architecture, or organic ideology uses simplicity and
architecture referring to important buildings of the past
efficacy of structure, as well as implied, applied, or
was being overshadowed by the “International style.”
inherent ornament.
Now, one could ask, “What do all these buildings have in
As architects of the 21st century, we have the resources,
common?”- Very finely designed building elements that
skills, and materials necessary to take the structures we
give their occupants a sense of place, at the same time
design beyond the systems that our predecessors worked
being supported by an efficient structure. Simply put, the
with. Just like them, we have an obligation to go forth and
catenary is the most efficient way to span a distance
break the barriers of technology, materials, and structure,
because it follows the exact line of thrust. The designers of
and to make radical shifts in the way buildings are built.
Gothic pointed arches knew that, but did not have the
The past should not be shunned; rather, it should be used
materials, technology, or computational power to make it
as a stepping stone to the future. I am not implying
possible or viable; hence they used the more slender
another Gothic revival, here, but a reason to look back and
profile pointed arch. Gaudi had the technology to
fully understand the implications of the buildings we
construct such arches, but not the computational power
design, and the way we go about designing them. Gothic
or materials. Nervi had them all, which freed him of the
architecture is an important example to follow as the
necessity to adhere to the look of any particular style. The
issues of cost efficiency, construction method, and
“International style” architects also had them all, but
structural stability were all answered long ago. Why not
chose to disregard them, and rely on a more austere
use them to our benefit today?
system of implied purity, leading to a stark and cold appearance, devoid of human qualities. Today, Santiago Calatrava is building structures with very similar
Pranav Naik | 1st Year, M.Arch. .
techniques, as he has the materials, computational power, construction methods, and skills at hand. I point to Calatrava because his buildings are prominent in the public realm. Now we can understand the Gothic as any structure with a precast system, computational
City of Arts & Science, Valencia
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Shakespeare sessions Set Design | As you like it The Shakespeare readings with Terry Kerr, and Michael Whaley was a class I did not understand at the start, regarding its relationship with Taliesin. I did get it eventually, albeit faint. Designing a set for a play I have enjoyed was fun, watching it at APT was also a lot of fun. The reason for having this class is still fuzzy to me, maybe I will understand it sometime.
by William SHAKESPEARE | Directed by Terry Kerr, Michael whaley | set design - Pranav Naik 22
Pranav Naik | Exploration Phase, Portfolio II
Stage_ Stage_References
Vertical stakes, Northumberland
The floating forest, Bluebell woods, very near the Forest of Arden
Shakespeare’s Globe
Human intervention, from early times
Buildings from the 1500's
Visual_solution 23
Pranav Naik | Exploration Phase, Portfolio II
feature of almost any social role, is also essential to the functioning of every human culture.
Costume_ Costume_References Disguises in Elizabethan drama are always presumed to be impenetrable, effectively concealing the self, whereas costume is designed to adorn the self, to make the self more strikingly recognizable. Both concepts are essential elements of theater, though costume, as a defining
Elizabethan costume should be used by the actors, as it is an essential part of the script, and the spirit of Shakespeare.
Stage_ Stage_Configurations The Duke and servants, Charles, etc. could enter from the rear of the stage, with Orlando making his entry from behind the audience.
Pivotal characters could enter from behind the audience.
Lets Orlando walk around in the background scribbling on trees while the two girls discuss his lovelorn activities.
Opening Scenes, Wrestling, Gardens, Clearings, etc. Cool light. Nets folded and recessed overhead to give an impression of calm skies, security of human settlements. also would feel like awnings/shade devices.
Dukes court, Palace, interiors, lighting should be warm. Nets would stay the same.
All forest scenes, central pipes must be removed for the final scene. Lighting should be cool with warm light filtering through the pipes. Overhead nets are opened towards, and into the audience.
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Pranav Naik | Exploration Phase, Portfolio II
Wrestling Match
Forest Scenes
25
Pranav Naik | Exploration Phase, Portfolio II
hanging PVC pipe system
Key Profile
Pulley String Key Pipe, Weighed down
Actor
orlando Posting Love notes 26
Pranav Naik | Exploration Phase, Portfolio II
As you like it. - APT One of the plays currently playing at American Players Theatre, Spring Green, Wisconsin, is “As you like it”, written by William Shakespeare, and directed by Tim Ocel. APT, is a nice theatre situated in the hills near Spring Green, a picnic before the play is recommended, and the venue almost calls for it. I was to attend the 6pm show. The play is set in the “American dustbowl”, with the audience being greeted by a sombre, almost morose set, made of grey timber siding, painted with trees, crates, boxes and chain link fences. There are several stage entrances and exits, put in well so they can be used in a variety of scenarios. I am inadequately aware of the Great Depression, to link what I saw on stage. Though, I know that it was a time after which America rose exponentially, it was a time for change. According to me, “As you like it” is a play about change. There is a preset condition, of a Duke, who is banished by his own brother, Frederick, and is in exile in the Forest of Arden with some of his loyal followers. His Daughter, Rosalind, is allowed to stay in the kingdom, to accompany Duke Frederick's daughter, Celia. The Great depression was a time of great hardship, akin to the fate of duke senior. The play begins with Orlando, the youngest son of Sir Rowland de boys, angered by his elder brother, Oliver's illtreatment. He will be contesting the Duke's wrestler, Charles in a wrestling match the following day. Oliver, who hates Orlando, happy about that, pays Charles to kill him. Oliver, however, wins the match, and also takes a fancy to Rosalind. Rosalind is also banished from the court , and is accompanied by Celia, and Touchstone, the court fool. They disguise themselves, Rosalind as Ganymede, a boy, Celia, his sister, Aliena. They too, escape to Arden. Orlando, also escapes his brother's murderous plot, with his servant, Adam, they too, go to Arden. The Duke takes all of Oliver's estate, so he is also forced to go to Arden in search of his Brother. This part of the play uses costumes styled from the 1930's, with a Mafia-look to the Duke's men, and a cowboy/farmhand style on the locals. Several lingual references are made to the 1930's with some folk language, which, maybe diluting the effect to purists, but at the same time, gives the audience something they are familiar with, and lightens up the atmosphere. Once all the characters are in the forest, Ganymede soon finds out about a certain youth, writing lovelorn poetry dedicated to Rosalind on the barks of trees. She (He) finds him, and devises a way to have him meet her(him) to woo
Ganymede, pretending is Rosalind, who she actually is. The play gets more playful at this point, with Rosalind, as Ganymede, and Orlando, sharing good on stage chemistry, Ganymede is not very feminine, merely “effeminate”. This makes the play more interesting and seemingly more colourful. Hay-bales are added as props at this time, for a softer appearance on stage. This radically changes the scene, making it more colourful and cheerful. There is a 20 minute intermission. After the break, we are welcomed once more by the more cheerful set, and a solemn burial of Adam, the faithful servant. Duke Frederick has put together an army, and is pursuing his daughter Celia. Meanwhile Rosalind finds her Father, the Duke, while in disguise, she however, does not reveal her identity. There is more frolicking in the Forest, with Oliver, who has had a sea-change in his attitude towards his brother falling in love with Aliena, Touchstone with Audrey, and Silvius with Phebe. There is the addition of a whole “Spring time” song in country music, and more jabs at popular culture. It then turns out that Rosalind will come to the rescue of the distraught lovers, and promises them to be in wedlock the following day. The closing scene shows us everyone in the forest, together, ready to be in wedlock, Rosalind finally reveals herself to her Father and Orlando. Hymen, the god of marriage, enters, blessing the couples. We then hear from a courtier that Duke Frederick also has had a heart change, and has relinquished the kingdom to Duke Senior. The play ends with an epilogue from Rosalind, who seems unsure of herself, but soon gains confidence. She then addresses the audience and bids farewell. The play seems well set in the 1930's “dustbowl”, The exile all the characters are in fits with the theme, with all of them living a difficult and hard life, but each one rises to the occasion. There are several omissions from the original script, but not severe. There are several additions, which are more legible, they may not always fit in well with the candour and humour, which is actually set in a sort of melancholy, but they give small breaks to the audience in the theatre. There always seems to be a lot of turmoil, and imbalance in the goings-on of the play, and it never settles down until the finale when all is well, and everything turns out right. The play is a celebration of the human spirit, to endure, rise and succeed. Pranav Naik
27
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The Anthropology course with Dr. Mary Grow introduced us to the social life of informal gathering places, and helped us better understand and appreciate them. We analyzed three case studies, of the English Marketplace, The Middle Eastern coffeehouse, and the Japanese public bath. We then chose a site, in our case the Pleasant Ridge store, and analyzed it in relation to the class. Later on, we had a session with Sidney Robinson to analyze several Frank Lloyd Wright buildings, and decipher their functions, as well as occupants.
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Pranav Naik | Exploration Phase, Portfolio II
The Pleasant Ridge store
T
he Pleasant Ridge Store is one of the best bar and restaurants you've probably never heard of. It's over one hundred years old but has changed owners over time. It is located at the intersection of County Z and ZZ between Spring Green and Dodgeville. The bar is well located and one can easily notice it from both roads. Highway Z is a popular tourist route to Madison, resulting in many people, especially bikers stop in to have a beer. The site is occupying the corner lot. The building itself is pushed back from the roads on two sides about twenty feet, leaving some space for parking. The main entrance is located on the south side of the building and has a small parking which is occupied mostly by motorcycles. There is a small picnic area and a playground in the back used for different social events. The main customer parking is also located at the back of the building and a few cars can be parked on the east side.
steps from the ground level providing a formal entrance to the bar. It has some applied decorative elements that make it look like an old western-style bar. The building is old but not decaying. It is aging well and the owners take care of it.
Interior
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Pranav Naik | Exploration Phase, Portfolio II
Public/Private spaces
Circulation
31
Seating and transition
Social Activity
32
Pros and Cons
33
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Pranav Naik | Exploration Phase, Portfolio II
Contract Lectures The Contracts class with Kimberly Hurtado was surprisingly In-depth. We focused on writing contracts, namely, the A201, B201, and B102 for our Box projects. I found it easy to grasp these contracts, and felt it was enriching to be able to understand the laws and methods of construction law in a new place. I am sure this class will benefit me in the future.
35
PERFORMANCE EVALUATION CORE CURRICULUM ‐ M.Arch
PC 5
PC 4
PC 3
PC 2
PC 1
Student: Pranav Naik; entry date: 10/19/09 Instructor: Kim Hurtado, esq.
Construction Contract Preparation & Negotiation WI 2010 PERFORMANCE IS RATED AS: (M)=Mastery, (+)=Excellence, (‐)=Deficiency 1 Critical Ground a n/a 2
Social and Cultural Context a n/a
3
Ecology and Environment a n/a
4
Representation a n/a
5
Material Facts a n/a
(‐) M‐ M M+ (+)
PC 8
PC 7
PC 6
6
Integrated Practice a Demonstrate understanding of contract negotiation terms and exercising integrity in modifying a contract through class role play of the negotiation of selected contract terms. b Demonstrate understanding of how contract terms are used to assist in equitable dispute avoidance and resolution during construction administration through class role play of disputed contract interpretation and contract enforcement issues. c Demonstrate ability to objectively modify contracts and negotiate them so that the student's client would be fully informed about the contract terms, using the contract to develop a shared vision for a successful project. 7 Personal Competence a Completion of assigned readings prior to each class. b Attendance, active listening, and engaged class participation. c Timely completion of practicum assignment, with custom modifications 8 Design Composition a N/A
x
M
x x
x x x
Final Evaluation (pass/fail) Kim Hurtado, Esq. 9/30/10 INSTRUCTOR SIGNATURE + DATE
Combined rating
Instructor Rating
Contact hours
M
Pass 23
INSTRUCTOR NOTES: Pranav did an outstanding job in class participation, having plainly read and analyzed the contract documents before class based on the depth of his answers and ability to explain how various contract terms functioned together. He is bright, articulate, and thoughtful in his efforts. His contract documents were well done, including a number of provisions for sustainability measures that were not required but which added considerably to the sophistication of his work. Overall, his work was well above average. It was a pleasure watching him gain a better understanding of this important area of study.
Performance Project The Whole shebang Directed by: Terry Kerr
This class, led by Terry Kerr was thouroughly enjoyed by both, the actors, as well as everyone else at Taliesin. We performed four plays under one name: The Whole Shebang. I learnt to control my voice, greater confidence, and listening for cues from the audience.
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Pranav Naik | Exploration Phase, Portfolio II
As Mr. Qfqvk in “All at one point”
As Professor B in “The whole Shebang”
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Pranav Naik | Exploration Phase, Portfolio II
As The Angel of Death in “The Mind of God”
As Zaphod Beeblebrox in “The Restaurant at the End of the Universe”
The whole Cast
39
PERFORMANCE EVALUATION M.Arch
PC 1
Student: Pranav Naik, entry date: 10.19.09 Instructor: Terry Kerr, BA
PC 2 PC 3 PC 4
(‐) M‐ M M+ (+)
Social and Cultural Context
a Demonstration of understanding of the context and interpretation of the play b Demonstration of awareness and understanding of the literary and dramatic form of the play c Demonstration of awareness of social & personal relationships of characters in the play, actors, & crew 3 Ecology and Environment a N/A b c 4 Representation a N/A b c 5 Material Facts a Demonstration of ability to construct set, prop, and costumes that serve the production by communicating the world and ideas of the play
Combined rating
Performance Project ‐ Wisconsin 2010 PERFORMANCE IS RATED AS: (M)=Mastery, (+)=Excellence, (‐)=Deficiency 1 Critical Ground a N/A 2
PC 5
Instructor Rating
M
n/a
PC 8
PC 7
PC 6
6
Integrated Practice a N/A b c 7 Personal Competence a Responsible participation, attendance, and communication b Demonstration of cooperative, collaborative work with fellow actors, designers, and director c Demonstrate ability to communicate with audience & fellow actors with greater ease, confidence, & clarity 8 Design Composition a Demonstration of understanding of the design process through the design of set, props, costumes, and graphics that communicate the ideas of the producation
b Demonstration of awareness of spatial relationships onstage between actors and audience in the creation of the stage picture.
+ n/a
Final Evaluation (pass/fail) Terry Kerr, 10/3/10
M
Contact hours
Pass 70
INSTRUCTOR NOTES: Pranav has great natural abilities onstage; great presence and ease and a strong voice. He brought a good sense of humor and self‐awareness to his characters and to rehearsals. I would love to see Pranav work to develop a more complex character in a longer play, and one that would allow for a greater range of emotional response and some moments of vulnerability and sincerity. (Let's find such a role in the future!) / Pranav takes direction well, listening and incorporating director's notes./Pranav contributed much to the creative and collaborative spirit of the ensemble and was a great pleasure to work with.
Workshop | Thin Shell Roof
The Thin shell roof workshop with Michael Johnson was a fun class, with each of use given a church plan, to design a roof on it. I made a complex 3-shelled roof that was very difficult to model, both using software, and physically. It was a lot of fun though. I could understand the stresses and geometry better with the model.
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Pranav Naik | Exploration Phase, Portfolio II
First Sketch
Section
Section
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Pranav Naik | Exploration Phase, Portfolio II
Wireframe Elevation
Separate shells
Entrance View
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Pranav Naik | Exploration Phase, Portfolio II
Model
44
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Drawing to Understand
The Drawing class with Daniel O'Brien, was a revelation for me, as I can express myself through drawings very effectively, but this class was not about expressing anything literally, I understood it was about parsing the subject through ourselves, to result in our interpretation of the subject. I not find myself able to see an object, play with it in my mind, and then interpret it in a basic form. However, the object's essence is not lost in the process. As an architectural conceptualization process, this class has been very useful, though that may not be the intent of the class.
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Pranav Naik | Exploration Phase, Portfolio II
First Drawing
Second to last Drawing
Last Drawing
Last Drawing
47
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Readingthe Landscape Gigi LaBudde
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Pranav Naik | Exploration Phase, Portfolio II
Memories of wanderings from my childhood I have always been a wanderer, being out of home is my favourite occupation. I was born, and have lived in Mumbai (erstwhile Bombay) all my life. It is a very large metropolis on the west coast of India. It also is the only city in the country to have a National park within its municipal limits. I live in the southern peninsular region of the city, and at least a few hours away from any natural regions.
ingesting a toad. I also saw several other species of birds, which I now know as the Malabar whistling thrush, Mayna, Flamingos, etc. I spent a whole lot of time in waterfalls, finding insects I had never seen before, and just generally wandering around the area. I have since then visited the region several times, have climbed all the surrounding hills, including Harishchandragad, the toughest fort in the state to climb to, battled troupes of monkeys, found secret waterfalls, natural caves, untouched rock faces and natural caves. It is
One of my favourite places to be since the first time I saw
also home to a forest of karvi, a plant that blooms once in
it, at age 3, is Malshej Ghat, which means “Mountain
seven years. The Malabar whistling thrush can also be
Pass�, the area had a medieval mountain pass to the
taught a tune that it will repeat for a little while. It is a
hinterland, and a sophisticated toll gate. It now is one of
quiet, secluded place, put down in the toughest terrain in
the most dangerous roads in the state; as a result, the area
the country, as also with the most dramatic views. It is my
is uninhabited, untouched and beautiful. I remember my
own private reflection space, in the flora and fauna that I
first trip there, I was really tiny, on a sketching and
love so much. I feel Malshej Ghat is an environment more
landscape trip with my mother and some of her students. I
compatible with me than Mumbai.
was sitting under waterfalls, running on grassy slopes, chasing mountain crabs, and watching the birds.
Pranav Naik | 1st Yr. M.Arch
My next trip was a year later, and then one more a few years after that, that's when I, at six years old, felt it would be wise to follow a fox in the fog, I ended up pretty lost, but found my way back to the campsite. Migrating Siberian cranes use the area as a resting spot in July, watching them was fun! I played with rock crabs and snakes. It was also the first time I witnessed a snake
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Pranav Naik | Exploration Phase, Portfolio II
Field Trips
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Pranav Naik | Exploration Phase, Portfolio II
Reading the Landscape The landscape is very interesting, “Reading the landscape” got me intrigued as to what would we be really
constructing roads and other services along these lines is altogether another story. Although I think laying out agriculture in a grid would actually make it more efficient.
doing in this class. According to me, reading the landscape
Speaking of agriculture, the article “Wrong on so many
is not as simple as looking at a part of the landscape, and
levels” by Stan Cox and David Van Tassel talks about
trying to “read” it, it is more about reading between the
vertical farming. Dickson Despommier give us a lecture at
lines. Relationships between the different organisms you
Taliesin west, which was probably one of the best laid out,
see in your desired landscape are not the relationships
and glossiest presentations anyone gave. There was
between words on a page, there are organisms that you
something missing however, he did not explain what
do not even see, or even know may exist. You can only
hydroponics meant, and did not explain his light source. It
read and understand lines written in a language you fully
is clear that if crops were to be grown stacked up on top of
understand. I don't understand the language of nature
each other, the ones below would need more light. I do
completely, and doubt I will ever, but I yearn for it. This
not subscribe to such forms of solicitation, there are
class also was a few steps in the right direction.
obvious blank spots in the idea, but opening them up for
I like being outside, the field trips we took for this class were the highlights of this Taliesin season. Trying to understand the landscape is immensely difficult within a few short hours, but the quick tour around got us all engrossed in the topic. I was pleasantly surprised to know of the different variations of grasses, and how other plant
discussion would only lead to solutions, and a few questions, but all in all would be a more viable and widespread idea. After all we as an animal species have built upon each other's ideas to reach ever advancing levels of civilization, if we didn't we would all still be living in small caves, and under trees.
species affects the prairie ecology. We had also looked at
Man has walked the planet for the past 200,000 years,
several samples of plant and animal life prior to going on
showing our present behavior for 50,000 years.
these field trips; I am always amazed by the perfect
Generations of us have inhabited, and made changes in
balance achieved between aesthetics, efficiency,
our environment, just like any other animal. We have lived
function, and overall reason for being, in these plants and
amongst the flora, fauna and landscape of the earth for all
animals.
that time. There is something odd about the human
Before the first field trip, we had read about the grid layout of the country, this is apparent when you look at any map, but climbing up onto a hill and looking around the flat landscape made it immediately clear how roads, and land boundaries were laid out in an unrelenting grid, making me wonder about the unbelievable grit of the
being, he is not content with anything, everything has to be bigger, better, stronger. To this end, we changed our immediate environment, and continue to change the extended environment, bio engineering, soil additives, chemicals, all come from our arsenal of perceived improvement tools.
people who actually laid these lines out, battling forests,
Architects have much to do with the desire for humans to
brush, rivers, lakes, and undulations in the earth's surface
bring about a change. Right from the first man chiseling
to put down this grid, only to realize that it really isn't
out his cave dwelling, to the modern human being, sitting
possible to lay out a grid on a geode. The next task of
in his corner office, in a 100 storey tower, designed to
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Pranav Naik | Exploration Phase, Portfolio II
counter the forces of nature. We build for comfort, safety,
have a little more knowledge now, but are still largely
functionality, power, status, etc. What we forget though,
ignorant, we should play our part in the world, not worry
is to build as much outwardly, as we do inwardly. A site, in
so much about our impact, we are so many, and our circle
all parts of a building's existence, from the first sketch on
of effect is so large, that even if we don't want to, we will
paper, to demolition is nothing but a piece of land, of a
make an impact on the planet, the only way out is to try
certain value, consisting of a certain type of soil.
and contain it, have good karma, and pray for the best. We
Architects are in a pole position to help their clients, and
after all are developing a land ethic, slowly, but surely.
stakeholders understand our rather simple relationship
Eventually we would have understood the whole system,
with the earth.
maybe it will be too late then, but we will know what to
I say simple, because in my opinion we are but only a part
do.
of the whole, we humans are a part of a greater
“In short, a land ethic changes the role of Homo sapiens
community of plants, animals, birds, and insects that
from conqueror of the land-community to plain member
inhabit the land. Over the past few centuries, we have
and citizen of it. It implies respect for his fellow-members,
done a lot of harm to the environment, some at a small
and also respect for the community as such." – Aldo
scale, some large, but all put together affect the whole
Leopold
planet. Some of us feel the need to fix this situation, repairing the damage done by us. It took the planet billions of years to evolve into what it is now, we managed to ruin a lot of that in a very short time, is it really possible to “Fix” the damage? I think only damage control is possible, any attempts to repair a part will only lead to frustration, as the interconnections are so many. "Conservation is a state of harmony between men and land." – Aldo Leopold Even though what we have done is irreversible, we really had no other choice, the human race was increasing exponentially, we needed more space, along with our numbers going up, we were also gaining more knowledge about ourselves, and learning to use our minds, and dexterous hands and feet in several different situations. When the European settlers came to America what else could they have done but bring crops they knew they could eat? There really weren't many choices at the time, the world was not getting any bigger. This conundrum leads me to think that maybe it's alright for us to have changed certain things, we were ignorant at the time, we
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Wanderings & Shutter-Happy moments
Unity Temple, Chicago
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Pranav Naik | Exploration Phase, Portfolio II
Neha at Bamburgh beach
4th of July in Chicago
Eilean Donnan Castle, Scotland
56
Pranav Naik | Exploration Phase, Portfolio II
Chicago Booth Robie House
Taking in the English Landscape
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Pranav Naik | Exploration Phase, Portfolio II
Mr. Wright’s Room
Faye Jones’ Thorncrowne Chapel, AR
Living Room at Taliesin
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Pranav Naik | Exploration Phase, Portfolio II
Harold Price’s Apartment, Price Tower, OK
Harold Price’s Office, Price Tower, OK
Interior of the “Rookery”, Chicago
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Pranav Naik | Exploration Phase, Portfolio II
Cable car in the St.Louis Arch, MO
St. Louis Arch, MO
IIT, Chicago
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Pranav Naik | Exploration Phase, Portfolio II
Apprentices “Live Architecture”
Contemporary Art Museum, St. Louis, MO
Light Burden, Great Spirit, Chicago
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Pranav Naik | Exploration Phase, Portfolio II
Western Sunflower, WI
Milwaukee at Dusk
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Pranav Naik | Exploration Phase, Portfolio II
Museum of Art, Des Moines, IA
Unity Temple, Chicago
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Pranav Naik | Exploration Phase, Portfolio II
Looking Ahead I would like to thank the Portfolio Review Committee for going through this, my second portfolio, which I hope successfully encapsulates this season's work and play. I would also like to thank the Scholarship Committee for awarding me the “Marshall Erdman Memorial Scholarship.� I look forward to my second year at the School and my second season at Taliesin West. I plan on doing a Capstone, which I will submit one year from now. I also plan to work on a box project that will fit into the sensibilities of the Capstone, and take all the classes I can. I would like to be a teaching assistant, either for an architectural class, or for S. Lloyd Natof's woodworking class. One of my goals is to learn patience; I think teaching does that. I would like to intern in a small office at the end of next season, so that I can build professional relationships and better understand the architecture profession in the United States. I will be married soon; I look forward to a happy, fulfilling life with Neha, who will also be a professional partner. I cannot wait to go back to India in December for my wedding, and to see my parents, and Neha, after a long time apart. They have been creative catalysts for me all my life. And I look forward to once again rejuvenating my creative energy, so I am ready for another season at Taliesin. Yours Sincerely,
Pranav Naik
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Review Date: October 6, 2010
M.Arch PERFORMANCE ASSESSMENT MAPPING Student: Pranav Naik, entry date: 10.19.09 Advisor: Aris Georges
STUDIOS
1 Foundation Design Studio (Trzebiatowski) Waived 2 Advanced Design Studio (Georges) AZ 3 Research Design Studio (Georges)
PROJECTS
6 BOX PROJECT 2 (Georges) WI
M + + +
+ +
+ +
95
+
M M + +
+ +
+ +
+ +
+ + M +
M + + +
60 0 0 120
9 HISTORY OF ARCHITECTURE I & II (Robinson) fulfilled in undergrad
0
13 CULTURAL ANTHROPOLOGY‐ Social Life of Spaces (Grow) WI 14 SUSTAINABILITY ‐ AP (Aitken/Harwood) AZ 15 SUSTAINABILITY II‐ AP (Aitken/Harwood) AZ 16 SHAKESPEARE SESSIONS (Whaley/Kerr) WI 17 WRITING WORKSHOP (Whaley) WI 18 CULTURAL ANTHROPOLOGY‐ Landscape & Home (Grow) AZ 19 PERSPECTIVE DRAWING (Henry) AZ 20 NATURE PATTERNS (Georges) AZ 21 HAND RENDERING (Henry/Casey) AZ 22 GRAPHIC DESIGN WORKSHOP (Georges) AZ
ELECTIVES + INDEPENDENT STUDIES 23 ABD Wood Workshop (Natof) 24 Landscape Evaluation (Winters) AP, AZ
M M M M M M M M M M M M M M M M M M M M M M M M M M M M + M M M M M M + M M M M + M M M M
M M M M M M M
M M
27 Drawing to Understand (O'Brien) WI 28 Performance Project (Kerr) WI 29 Reading the Landscape (LaBudde) WI
M M M M
AP hours‐ India‐ 400 hours
PC BALANCE RATING (committee/student) (1‐5) OVERALL BALANCE RATING (committee)(1‐5)
M M M M M M M
Architectural Practice
18.16%
P P x P x P x P x P x P x P x P P P P
15 533
51.75%
P P x P P P x P x P x
1030
100%
8 23 16 20
M M
12 16 22 16
M M M +
16
M
60
12 16 10 187
39
M M
320 20 14
M
65
1=unbalanced; 5=very balanced
REVIEW COMMITTEE SIGNATURES: Tour Hours: 18 Required: 45 Integrated Studies Hours: 164 Required: 135 Architectural Practice Hours: 494 Required: 700
11.65%
0
M M M M M
25 Shelter Repair (Natof) AZ 26 Thin Shell Roof Workshop (M. Johnson) WI
Integrated Studies (general education)
P P
8 DESIGN BUILD PROJECT
12 CONSTRUCTION CONTRACTS (Hurtado) WI
18.45%
60
7 ARCHITECTURAL PRACTICE
11 TALIESIN WEST AS TEXT (Robinson/Erickson) AZ
Pass/Fail
95 0 190
+ +
10 TALIESIN AS TEXT (Robinson/Erickson) WI 2011
CLASSES / SEMINARS
P P P
0
+ +
4 Preservation /Construction (Robinson/Erickson) WI 2011 5 BOX PROJECT 1 ADS (Georges) AZ
Subtotals (Hours)
M=Mastery, +=Excellence, ‐=Deficiency
Material Facts
M.Arch Year 1 ‐ Foundation AZ 09/10; Exploration WI 10 CORE CURRICULUM
CONTACT HOURS (Based on Attendance)
Design Composition
Personal Competence
Integrated Practice
Representation
Ecology and Environment
Social and Cultural Context
Instructor Ratings
Critical Ground
MASTERY: The level of achievement required for successful completion of the Master of Architecture program is described as “mastery” of the Performance Categories. Mastery is determined by faculty review of student work that concludes not only presence, but integration of the Categories into a successful whole. Showing how the Performance Categories are interrelated in the work, not just cited, is evidence of mastery. EXCELLENCE: Presence of evidence that the student accomplished considerably more work qualified by the Performance Category as guided by faculty, on the student's initiative. DEFICIENCY: Absence of evidence that the student accomplished work qualified by the Performance Category, without reason or reasonable explanation.
PERFORMANCE CATEGORIES
Date:
Pranav Naik | Exploration Phase, Portfolio II
Bibliography Anderson, Stanford. Eladio Dieste: Innovation in Structural Art. 1 ed. New York: Princeton Architectural Press, 2004. Ball, Phillip. "Building on the Fly." Conservation . Billington, David P., and Maria E. Moreyra Garlock. Felix Candela: Engineer, Builder, Structural Artist (Princeton University Art Museum Series). New Haven: Yale University Press, 2008. Carls, Kenneth, and James Schmiechen. "Inventing the Market Hall." In The British Market Hall: A Social and Architectural History. New Haven: Yale University Press, 1999. 21-34. Carls, Kenneth, and James Schmiechen. "The Traditional Market." In The British Market Hall: A Social and Architectural History. New Haven: Yale University Press, 1999. 3-19. Clark, Scott. "Bathing in Ideas." In Japan, a View from the Bath. Honolulu: University of Hawaii Press, 1994. 117148. Clark, Scott. "Bathing in the Modern Era." In Japan, a View from the Bath. Honolulu: University of Hawaii Press, 1994. 42-65. Cox, Stan, and David Van Tassel. "Wrong on So many Levels." , Land Report. Cronon, William . "The Trouble with Wilderness; or, Getting Back to the Wrong Nature." In Uncommon Ground: Rethinking the Human Place in Nature. New York: W. W. Norton & Company, 1996. 69-90. "Eduardo Torroja - Wikipedia, the free encyclopedia." Wikipedia, the free encyclopedia. http://en.wikipedia.org/wiki/Eduardo_Torroja (accessed July 6, 2010). Goldberger, Paul. "Wheelhouse." The New Yorker, August 9, 2010. Hattox, Ralph S.. "Taverns Without Wine: The Rise of the Coffeehouse." In Coffee and Coffeehouses: The Origins of
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