P
D E S I G N R T F O L
O
N E
H
A
R A V
I
I
N D
R
0
A N
n e h a r a v i n d r a n 0 7 @ g m a i l . c o m +
9
1
9
6
3
2
1
4
1
2
5
2
NEHA RAVINDRAN OBJECTIVE
+9 1 - 9 6 - 3 2 - 1 4 1 2 5 2 neharavindran07@gmail.com www.instagram.com/neha.ravindran BANGALORE, INDIA
To work in a creative challenging environment that will hone my skills and help me grow as a professional. To push the current limits of my abilities and allow me the opportunity to excell in the field without compromising on design quality and perfection. Enthusiastic about new projects and experiences, always up for the challenge.
EDUCATION
R.V. College of Architecture, Bangalore (2017) Mount Carmel PU College, Bangalore (2012) Sindhi High School, Bangalore (2010) WORK
S a t h y a Consultants, Bangalore P r a g r u p Architecture and Urbanism, Bangalore V e n k a t a r a m a n a n Associates, Bangalore (Summer Internship)
SKILLS Freehand Illustration
Design solving skills Creative thinking
Architectural sketching/Detailing/ Thinking drawings/Mixed medium
Conveying ideas clearly using various mediums
Analog/Digital model making
Team worker Good communicator
Graphic design
Logo designing, Poster designing
BORN : 17 February 1994.
SOFTWARES
LANGUAGES KNOWN : English, Kannada, Malayalam(native), Tamil, Hindi. HOBBIES : Dance, Sketching, Painting, Reading,Travel.
AutoCad
SketchUp
Photoshop
Currently learning : ArchiCad, Rhino, 3dsMax.
Revit Architecture
Office
CONTENTS T H E S I S R E S I D E N C E
P R O J E C T P R O J E C T S
C A M P U S
D E S I G N
F A Ç A D E
D E S I G N
I N T E R I O R
D E S I G N
U R B A N
D E S I G N
Hand drawn Computer generated Photograph
T
H
E
S
I
S -
P 8
T H
S
E
M E
R S
T E
O R -
J
E
C
T
T H E S I S
P R O J E C T
D A N C E R E S E A R C H I N S TI TUTI O N
Abstract
DANCE
S P A C E
• DESIGN INTENT : To investigate this connection between dance and place, it is imperative to understand the mythical origins of architecture and temple dance. The Hindu philosophy of the cosmic man and its religious relationship with the Dravidian architecture of Tamil Nadu is the starting point of the discussion of this south Indian aesthetic. The intent is to use Temple Architecture as a setting for deriving architectural diagrams and creating a system of spaces driven by dance itself.
ARCHITECTURE
Dance and architecture are two disciplines of creativity that share a special relationship. Both disciplines define and use space as the main medium for creative interpretation. Dance is movement of the human body through space over time. Architecture and its spatial qualities are experienced by the human body through movement over time. To think about space created for and by the body as the common linkage between dance and architecture, I intend to utilize the dance performance space as a vehicle of design investigation. By employing spatial concepts as perceived in dance to inform the design of architectural space, I wish to address the creative process of design through the interchange of ideas from two artistic disciplines.
A dancer requires a space not only for performances but also for research. A research facility to improvise dance forms, to study about dance forms. To see, learn and improvise various dance forms with regional difference in a culturally deep country like India. In India there is a lack of a research centre for dance. This led to me to take up a project similar to a proposed project for a research centre for classical dance proposed by eminent dance guru Dr.Padma Subramaniam. Her proposal for a dance research institute in dedication to Bharata Muni aims at teaching and spreading these dance forms. The proposal consists of workshops, auditorium, open air auditorium, projection rooms, library for reference, galleries, accommodation for artists etc. This in other words, can be portrayed as a Centre for dance from around the world. It would be a place where knowledge of this great art form can be exchanged as well as make it available as a Centre of connectivity for dancers around the country. Such a dance institute wouldn’t be anything less than a sanctuary for performing arts and would be one of the greatest assets for our cultural and heritage oriented country.
LEARNING SPACE
PERFORMANCE SPACES CONTEMPORARY
CONCEPT
GURUKUL
WATER FRONT DRAVIDIAN LANDSCAPE VERNACULAR
CULTURE
This project deals with the learning and teaching of Traditional classical dance forms of south India in Gurukula sampradhaayam at the serene backwaters of KRS Dam. The Centre is to have a dedicated public zone with an auditorium, open theatre, galleries, workshops and a restaurant. Along with the Institute, the idea is to harness the growing tourist character of the space and create a new cultural hub at the KRS backwaters. Also the intent is to explore vernacular architecture and traditional indian construction. Vernacular architecture tends to evolve over time to reflect the environment, cultural, technological and historical context in which it exists. A contemporary approach that would relate strongly to our cultural roots.
T H E S I S
P R O J E C T
DANCE RESEARCH INSTITUTION
Performing spaces The performing spaces will be studied under two heads: Traditional and contemporary, including both indoor and outdoor types: Traditional Performance spaces:
The Temple Mandapa In the Hindu temple the Mandapa is a porch – like structure through the gopuram and leading to the temple. It is used for religious dancing and music and is part of the basic temple compound. The Koothambalam is an enclosed space while the temple Mandapa is open except for the coloumns/pillars. Many classical dance and music performances traditionally happened in these Mandapas.
Contemporary performance spaces An auditorium is a room built to enable an audience to hear and watch performances at venues such as theatres. The floor area of the hall including, gangways (excluding the stage) should be calculated on basis of 0.6 to 0.9 sq. m per person. The height of the hall is determined by such considerations as ventilation, presence of balcony and type of performance.
Koothambalam at Kalamandalam,Kerala The Koothambalam The koothambalam meaning temple theatre is a cloased hall for staging traditional art forms in keral. A square platform with a separate pyramidical roof supported by pillars in the centre called natyamandapam is constructed as a separate structure within the large hall of koothambalam. The floor of the hall is divided into two equal halves and one part is for performance and other half for seating audience. The structure is rectangular in plan with a hipped roof. The unique feauture of the koothambalam from a modern perspective is its method of enclosing space from the sides. Instead of walls, it has a slanted and sometimes curved plane of trellis work, which always lets the breeze – along with intimations of everyday life outside – into the performance space.
The average height may vary from 6m for small halls to 7.5m for large halls. Ceiling may be flat but it is preferable to provide a slight increase in the height near the centre of hall.
An amphitheatre is an open air venue used for entertainment, performances, in the sense in which the word has come to be popularly used now, is a curved, acoustically vibrant performance space , particularly one located outdoors. Seats may be set on a rising parabolic curve, or on two different inclines, a fairly mild slope for the lower half of auditorium and a sleeper slope for the upper half.
Dance and The Temple The Natya-Shashtra, a treatise on drama and dance, reveals the status of the performing arts as equal to prayer and sacrificial rites in the pursuit of moksha, the release form cycles of rebirth. Both dance and dancer function as a vehicle for divine invocation and are mirrored in the architectural surroundings. To investigate this connection between dance and place, it is imperative to understand the mythical origins of architecture and temple dance. The Hindu philosophy of the cosmic man and its religious relationship with the Dravidian architecture of Tamil Nadu is the starting point of the discussion of a south Indian aesthetic. The temple, as a setting for dance performances, and constructed based on the mandala, shares this quality of immersing its participants into a multisensory spatial experience.
South Indian dance has since transformed into a prominent cultural symbol and various incarnations of the dancer have become the isolated yet important link, between tradition and modernity. However the concept of imparting knowledge within enclosed rooms is one aspect I would like to queston. The culmination of this research aims to reinstate the importance of architecture as a cultural nexus in order to restring a fragmented dance, community and cultural identity.
T H E S I S
P R O J E C T
DANCE RESEARCH INSTITUTION
Formal Auditorium : Inside an Auditorium, the dominant participant is the viewer. Frame is clearly defined. But only one frame to view the performance. Here the dancer is less dominant compared to the audience.
Space Analysis : Analysis of different kinds of spaces where the activity of dance is performed Enclosed space : Inside a studio , the space is defined for both the dancer and the spectator. Here , the dancer dominates the space during the activity.
Semi Open space : In a semi open space, the space is defined only for the dancer. The dancer and the viewer are equally dominant in such a space. Both dancer and viewer gets to choose the frame.
Open space: In an open space, the dancer and the viewer are dominated by the space. A definite frame cannot be defined here by the dancer or the viewer.
( ex : classroom at Kalakshetra ) ( ex : performance theatre at Kalakshetra)
( ex : central banyan tree at Kalakshetra ) ( ex : Rangamantapa in temples ) T H
E S
I
S
P R O J
E C T
DANCE RESEARCH INSTITUTION
Site
SITE CHARACTERISTICS : • Water edge gently sloping site facing KRS backwaters. • Several rocky outcrops can be seen here and there, especially conspicuous at Baby betta and Gomatagiri slightly away from watery area. A few other smaller rocky outcrops are also found but they are generally concealed and not prominent. • The soil is predominantly red gravelly soil. • The landscape of the area represents a complexity of agricultural land, rural habitation, sparingly spread trees and patches of original vegetation at the close by Arabithittu Wildlife Sanctuary. Which attracts wide varieties of local and migrant birds. Over the years nearly 220 species of birds have been recorded here in large numbers.
This project deals with the learning and teaching of Traditional classical dance forms of south india in Gurukula sampradhaayam. Along with the Institute, the idea is to harness the growing tourist character of the site and create a new cultural hub at the KRS backwaters.
Site location : KRS Backwaters , Hosa kannambadi. District : Mandya , Karnataka. Site area : 4 acres. Artifact on site : Venugopala swamy temple. Site located on the opposite shoreline of the Temple. 20km from Mandya city centre and 24km from Mysore city. Nearest village 4 km from temple.
Mandya district
Mandya district
View of temple from site
Site location
Site location
An average rainfall is 775 mm. 96% of the annual average rainfall is over a period of eight months from April to November, unevenly spread. Area is situated 162 Km (aerial distance) from Arabian sea coast and lying in rain shadow area thus maintaining low moisture content in the atmosphere
SITE
KRS backwaters
WATER EDGE DANCE INSTITUTE
TEMPLE AND SURROUNDINGS
Venugopalaswamy temple
KRS backwaters Venugopalaswamy temple
GOOGLE EARTH IMAGE
T H
E S
I
S
P R O J
E C T
DANCE RESEARCH INSTITUTION
Design translations The dominant artifact in the precint is the Temple. Hence respecting the presence of the temple, it is important to establish a relationship with the Temple and the Dance Centre.
PUBLIC PLAZA TEMPLE
SITE
DANCE CENTRE
Masterplan
The Centre is to have a dedicated
Plaza
: An axial relationship is formed between the Temple, Plaza and the Dance Centre. Since the Temple has a very strong axis along the East West direction, an axis perpendicular to the same along the North – South is adopted for the Dance Centre.
•
Along with the Institute, the idea is to harness the growing tourist character of the precinct and create a new cultural hub at the KRS backwaters.
KRS backwaters
Venugopalaswamy Temple
TEACHING AND LEARNING SPACES
SITE Venugopala swamy temple
T H
E S
I
S
P R O J
PERFORMING SPACES
KRS backwaters
In doing to so, a straight reference to the temple is achieved in terms of strong visual axis as well as a link to the Plaza. An axis passing through the Garbhagriha of the Temple terminates at the edge of the site. This translates into a pedestrian walkway from the Plaza to the Dance Centre across the waters. In this way, movement of people into the temple is directly through the main entrance in contrary to side entrance as it currently exists.
E C T
DANCE RESEARCH INSTITUTION
public zone open theatre, galleries, retail spaces,restaurant
RESIDENTIAL SPACES
SITE
Venugopalaswamy Temple
P U B L I C
COMMON FACILITIES WATER EDGE TEMPLE AS AN ARTIFACT
P R I V A T E
Experiential Architecture :
PROGRAM DISTRIBUTION:
When in a temple, one experiences a sequence of spacial transitions formed along this major axis which begins at the Gopuram (entrance ) and terminates at the Garbhagriha (shrine ). This spacial experience is achieved through different architectural expressions of spaces in the temple.
Axis is one of the most important planning principles of Temple Architecture. Since a strong axis is already established for the Dance Centre, this axiality is maintained throught the design.
ENTRANCE PORTAL – “ DOORWAY “..Also acts as an open air theatre for public performances. MAIN LOBBY – spillout space for library, auditorium and café. Comprises of central tree and waterbody.
Axial temple plan
STUDENT LOBBY – academic zone begins here. All studios lead to student lobby.
Section through the institute along the major axis
PERFORMANCE SPACE – large audience performance happen here. SHRINE – the terminating component is a spiritual space dedicated to lord nataraja. This space also acts as a yoga and meditation space.
Typical section through Hindu Temple longitudinally
• The natural contours have been used to create a series of sunken courtyards and terrace gardens around which cultural facilities are placed. • View of the waterbody is visible from all possible terraces. • The proportions of the building are well ordered,borrowing geomeric patterns from indian temple planning with reference to the temple on site. • The profound hierarchy in the organization of spaces, is what allows for the transition courtyards to develop an informality and openness which gives this space its character, as a platform for sharing and building up cultural ideas.
Schematic (plan) arrangement of spaces along the major axis drawn form the garbhagriha of the temple.
T H
E S
I
S
P R O J
E C T
DANCE RESEARCH INSTITUTION
Water element in Design : Hindu temple and water are strongly related for spiritual as well as practical reasons. Water represents the "nonmanifested substratum from which all manifestations derive" and is considered by Hindus to be a purifier, lifegiver, and destroyer of evil. Here, the water from the pond is made to traverse through the Institute forming an integral part of the design. It is used to reinforce the axis around which the design develops.
The natural slope, gravity and water seepage through the site is utilized to channel the water through the institute adopting various forms. Water from the nearby pond is channeled into the Shrine of the Institute. This is a reflective pool inside the shrine. From here it is channeled into a collecting tank from where it is used as a landscape element in form of sheet flow on stone surface. This flow is led to a water wall below which it is collected. The collected water is channeled into the main lobby which has a
central pool. Water is then led into the entrance portral from where it drains into the KRS waters.
“Water is predictable. Even with its chaotic nature, we are able to predetermine its reaction to outside forces.� Gravity, pressure and cohesion all play significant roles in influencing this powerful element.
Cascading water as part of hardscape.
Extended deck into the waterbody Sheet flow of water. Water wall.
The strip of water also enhances the symmetry intended in plan and creates a sense of monumentality in the design.
T H E S I S
P R O J E C T
DANCE RESEARCH INSTITUTION
Analogy to the Hindu Temple:
The Shiva Shrine :
In the hindu temple , the garbhagriha is the most secluded and darkest space. the movement towards garbhagriha is through a collonaded mantapa which is lit with natural light. Here , a negative abstraction of the same is adopted. The movement towards deity ( Natarajan idol ) is through a dark space with slits of natural lights cutting through. At the end of space is a light well , placed to bring in natural light onto the idol which then falls into the interiors of the Shrine.
At the end of the Institute is a shrine of the main deity of Dance , Natarajan symbolizing the termination of the axis. The intent is to create a spiritual environment where the dancer and the deity can attain spiritual oneness. It is a space used for yoga , meditation and prayers by the students. It can be considered as the garbhagriha of the institute.
Study of light and shadow patterns at different times of the day
The institute is aligned in the North – South direction. Hence, plentiful natural light is available. The light falling from behind the idol creates a silhouette of the idol. Idol placed at a height (inclined) is a dominant presence is the Shrine inner chamber.
Light well Idol Pond Under the light well is an inclined wall on which a steam of water which flows collecting in the reflective pool below. This provides the right ambience for prayers and contemplation.
Reflective pool
View of path toward the Idol
Section through the Shrine
T H
E S
I
S
P R O J
E C T
DANCE RESEARCH INSTITUTION
PROJECT DETAILS SITE AREA : 4 acre. SITE LOCATION : KRS Backwaters , Hosa kannambadi. District : Mandya , Karnataka. BUILT AREA : 1.5 acre.
Master plan : The Venugopalaswamy Temple. The Public plaza is located centrally to The Temple and The Institute. The Public plaza consist of landscaped viewing decks along the shore line following a café and Art gallery A pedestrian walkway leads from the plaza to the Entrance of the Institute on the other side of the shoreline.
MASTER PLAN T H
E S
I
S
P R O J
E C T
DANCE RESEARCH INSTITUTION
The Institute begins with a performance arena ,an analogy to the Gopuram in temple architecture in terms of volume and opening ratio. Both being large masses with a small opening into the mantapa.
Entrance to the institute
Typical gopuram
ENTRY LEVEL PLAN
T H
E S
I
S
P R O J
E C T
DANCE RESEARCH INSTITUTION
AXIS MUNDI
PLAN : LEVEL 1
PLAN : LEVEL 2
T H
E S
I
S
P R O J
E C T
DANCE RESEARCH INSTITUTION
KEY PLAN
7
6
Materiality
Style of architecture is on similar lines to Indian Temple Architecture. Vernacular in nature. Materials used are Granite stone (cladding , wall) Terracota flooring. Stone masonry for walls. The building is a monolithic structure in the picturesque landscape with the KRS reservoir in the background.
10
2b
5
3
2a
4
9 8
1 11
KEY 1 Entrance portal 2a Main lobby 3 Performace space 4 Library 2b Student lobby 5 Studios
6 Nataraja Shrine 7 Admin block 8 Yoga / fitness centre 9 Faculty residences 10 10 Student residences 11 K R S Backwaters
T H
E S
I
S
P R O J
E C T
DANCE RESEARCH INSTITUTION
Section through the student plaza at level 2 shows sunken courtyards and gazzibo structures inspired by Temple Mantapa. Show here is a water strip which is channeled onto to the main central courtyard of the Institute. The natural contours of the site is used to design. Natural light and ventilation are focused here. The studios are as per standards proposed in India.
Water edge and building interface
SECTIONS
T H
E S
I
S
P R O J
E C T
DANCE RESEARCH INSTITUTION
View of temple from the institute
PROCESS MODELS
Pedestrian walkway connecting the plaza to the Institute. References :
Abhinaya Darpna – Nandikeshwara. Natyashasthra of Bharatamuni. Concepts of space in traditional indian architecture – Yalin pandya . Tadao Ando – The Colours of Light.
T H
E S
I
S
P R O J
E C T
DANCE RESEARCH INSTITUTION
R
E
S
I
D
E
N
C
E
D
E
S
I
G
N
A
s t u d y
o f
m o d e r n d r y
s t e e l s t r u c t u r e s a n d m i n i m a l i s t s t y l e | c o n s t r u c t i o n m e t h o d s
P R O J
E C T
RESIDENCE AT YELAHANKA
PROJECT DETAILS Mamtha’s Residence
LOCATION :YELAHANKA , BANGALORE. AREA : 2500 SQ ft STRUCTURE : STEEL BEAMS ( ISMB ) AND STEEL COLUMNS (ISMC) FORMING A FRAMED STRUCTURE. Residence consist of ground,first floor and terrace levels.
Initial ideas
Site raised to a height of 1.5m by means of burm landscape. Stage : Construction in progress. ROLE
Design options for Elevations Following a minimalist approach With appropriate materials STEEL FRAMED STRUCTURE Steel ismb beams and ismc columns are used to form the structural framework. Efficient and faster contruction is possible with this alternative to RCC columns and beams. The two storeyed structure is designed for fast and efficient solution for a modern residence.
Intent to expose the structural system to enhance the look in addition to natural materials like timber and stone.
Ccolumn beam Joinery detail
Concrete packing detail At column
P R O J
E C T
RESIDENCE AT YELAHANKA
ELEVATION OPTION ll
ELEVATION OPTION l
P R O J
E C T
RESIDENCE AT YELAHANKA
A n e x p e r i e n c e w i t h a u n i q u e m a t e r i a l p a l l e t e a n d s t r o n g l y i n f l u e n c e d v e r n a c u l a r s t y l e o f a r c h i t e c t u r e
P R O J
E C T
RESIDENCE AT CHENNAI
PROJECT DETAILS
Residence for Sundar and Swathi LOCATION :T NAGAR, CHENNAI. SITE AREA : 1800 SQ ft Built Area : 2300 SQ ft STRUCTURE : Load bearing stone walls and hollow clay blocks Residence consist of ground,first floor and terrace levels. Site raised to a height of 4 feet by means of burm landscape as a solution to the current flooding situation in the place.
Alternate filler roofing system using filler clay tiles / clay pots
Stage : Construction in progress. Curved stone wall masonry
ROLE Design plan/layout for given empty site using veracular style techniques and alternative materials
DESIGN
• •
Traditional mangalore tile sloped roof Garden space adjoining living space
Maximum entry of Natural ventilation and Daylight into the spaces. Green spaces located strategically helps in passive cooling and give a sense of openness in an otherwise compact space.
•
Green space used as reference for dining and living spaces to read a whole space.
•
A curved stone wall adds interest to the space with its vernacular and cooling effect. P R O J
E C T
RESIDENCE AT CHENNAI
Using clay pots as filler material : Using clay pots makes it possible to create patterns under the slab adding a unique aesthetic for the space. In Claypot filler slabs, reinforcement is placed above the pots, giving strength to the slab. Other types of filer materials include Terracota tiles , Mangaore tiles and Hourdi Blocks apart from filler blocks and claypots.
•
In Roof systems, Concrete is not replaceable on most occasions. The least we can do is to reduce the RCC quantity , which can be done by partly replacing concrete by any other economical beneficial or attractive materials.
•
Since the roof thickness gets filled using alternate materials , technically such roofs are termed as “Filler Slabs”.
•
Filler slab/roof are designed using the same principle as reinforced concrete except for replacing part of the concrete with some alternative materials.
•
Filler slabs do not demand greater technical skills or supervision than normal slabs, and hence can be employed widely. We can reduce the percentage of concrete usage on roof by using these filler tiles.
ADVANTAGES • • • • • • •
Promoting sustainable and Green concept Promoting reuse of materials Embodied energy reduction Considerable cost savings Carbon-di-oxide Better insulation Better aesthetics
DETAILING
FILLER SLAB
I
L L U S
T R
A T I
O N S
| S
K E
T C H E
S
PROJECT NAME :
Residence for Malini Srinivas
Sketch for Front Elevation Jagali Design Materials used : Hollow Clay Block Traditional Stone Columns Chappadi Stone Mangalore tiles
Project revolves around using Existing design elements from an old structure in to a new one. This space consist of Stone colums from the old structure. Placed to support the sloped mangalore tiles roof. A Monkey top is provided to evoke sense of vernacularity. The parapet wall above use Chappadi stone from the foundation of the old structure and also Stone Brackets at regular intervals
PROJECT NAME : Residence for Shishir and Samudhyatha
Sketch for Front Elevation JagaliDesign Materials used : HourdiBlocks MS box sectionsMS flatStabilisedMud Block
Reinforcement bars are inserted into HourdiBlocks which is welded onto a main MS Box section member running along the parapet. The Wooden columns are placed on Stabilisedmud blockpiers on which the Flat HourdiRoof is supported.
PROJECT NAME : Cottage –Typologies, Wayanad
ROLE
To Design cottages exploring Roof forms and massing along with the topography of site influenced by local Kerala architectural styles. Three typologies proposed. • Cut and fill typology • Overlap typology • Stilt typology
Residence for Anjana and Ravindra Bangalore
Sketch for view of the residence To understand the Jagali Roof with the Chettinad Wooden columns. Options provided for elevation using Columns, Arches and Roof forms
Residence for Sanjuktha and Sunil Bangalore
Sketch for parapet wall options Material used Hollow clay blocks Chappadi stone Jaali clay blocks
C
A
M
P
U -
S 5
t h
D S
E
M E
S
T E
E R -
S
I
G
N
C A M P U S
D E S I G N
NGMA
P R O J E C T D E TA I L S : LOCATION :National Gallery for Modern Art , Bangalore AREA : 10.2 acre PROPOSAL : Centre for the Study of Culture and Society
A 19,000 sqft Mansion , with rich veriety of large mature trees converted to 70,000 sqft Campus. The challenge in this project was to pay homage to style of the original heritage structure and its surroundings while keeping in mind the needs of a Modern Campus. The design strategy is to treat the original structure as the jewel, and the modern Campus building to form a ring that supports and highlights the Artifact building. Most Campus designs pertaining to a heritage structure screams their presence. But here, the attempt is to blend in and continue the same language throught the design’
Mansion
Manikyavelu mansion
Google earth image : Site extent
NGMA museum
C A M P U S
D E S I G N
NGMA
Site characteristics : Rich variety of vegetation. Banyan trees, Peepal trees, Asoka, Jamun, Gulmohar, Mango tree, Neem to mention a few. It is very important to conserve this sanctity of a green breathing space at the centre of the city. Abutted by heavy traffic roads on three sides, the site is an oasis in it’s own being. To maintain this nature of the site , an inward looking organization for the institute was adopted . Every design decision is driven by the natural factors offered by the site.
Centre for Study of Culture and Society The pedagogical framework of this institute attempts to study ‘culture’ from an inclusive, everyday, interdisciplinary framework by attempting to create and be a ‘crossroad’ or ‘meeting place’ of the human sciences history, language studies, art practices, economics and development studies as well as philosophy. The stress is therefore not only on research and knowledge production by incubating an academic environment that breeds collaboration, but being a ‘place’ in Bangalore where ‘culture’ - viewed as an ‘everyday’ and ongoing phenomenon in production - is itself hosted and produced.
PROJECT INTENT : The institute aims at involving the everyday lives of the people as part of academic as well as a social function. This requires spaces of interaction between the students and the public. The artifact on site – Manikyavelu Mansion acts as the face of the Institute.
C A M P U S
D E S I G N
NGMA
Response to site : Different types of
Design strategies
Tree formations were identified on site and used in design , depending on the nature of spaces. The large trees are contained within the building forming a complex matric between the built and the unbuilt, the past and the future , the permanent and the ever changing .
Type 1 : Closed canopy canopy
Arena space Type 2 : Linear array
Plan : Manikyavelu Mansion
The rich and varied species of trees that this campus contained prior to the commencement of work, have been retained forming a beautiful natural barrier between the road and the campus itself.
Type 3 : Large canopy Entrance plaza
Axial Organisation: In response to the existing ideal geometry of the plan of the mansion, a system of spaces is axially placed to highlight the mansion and integrate the artifact into the campus building axially.
Primary courtyard
C A M P U S
D E S I G N
NGMA
Master plan Programmed meandering through galleries, sculpture courts and into the Campus building. Sequence of layers of entry highlights the presence of the Mansion. The courtyards around the trees segregate the semi public and public space to ensure that there is a clear distinction between the two. The opening plaza melds with the axiality of the existing Mansion and terrain.
Landscape design Elements The landscape design was defined from the need to retain this more as a public space. A space for easy inter-relations with the public and the student crowd. Different genres of gathering spaces are devised around the floura and terrain. Meandering walkways that allow for accidental meeting, open, landscaped courtyards for informal interaction, landscaped sculptural courtyards encourage younf talent are interspersed between the larger lawn areas and flower beds.
C A M P U S
D E S I G N
NGMA
A X I S | C H A R A C T E R | C O L L O N A D E | R H Y T H M | S C A L E | PAT T E R N
Institute
Artifact
Institute
Private space
Gallery
Gallery
Public space
Manikyavelu mansion
Institute
C A M P U S
D E S I G N
NGMA
C A M P U S
D E S I G N
NGMA
Working drawing
RARE MANUSCRIPT LIBRARY : GROUND FLOOR PLAN LEVEL 1 PLAN ROOF PLAN
C A M P U S
D E S I G N
NGMA
C A M P U S
D E S I G N
NGMA
Inverted Roof For Classrooms
Studios
Bound Volumes Library
Rare Manuscript Library
Art Cafe
C A M P U S
D E S I G N
NGMA
F
A
Ç
A
D
E -
i n
D t e
r n
s h
i p
E -
S
I
G
N
PROJECT DETAILS BUILDING : British Biosciences Ltd. RESEARCH LAB FACILITY
LOCATION : BANGALORE AREA : 9000sqft STRUCTURE : 5 storeyed structure Consist of manufacturing , processing and storage facility Research labs , processing units , office spaces, common areas, segregation areas,arrival and collection areas of goods in and out of the facility. INTENT : To create an interesting faรงade design in the otherwise solid mass of the building.
Option l: Concrete framing of the building mid section. Defines the part of the building with most interactive spaces allowing ample light into the building . Also giving the building a minimalist approach.
Option ll : Terracota vertical louvres. Used here to highlight mid section of the building in a way to breakdown the mass and create variation by making the building look lighter. The terracotta option is also operable making it a climatic control device for the building. They may be opened and closed with a metal lever, pulleys, or through motorized operatorsThey are utilized for natural ventilation and temperature control.
F A ร A D E
D E S I G N
I
N
T
E
R
I
O -
7
t h
R s e
D m
e
s t
e
r
E -
S
I
G
N
I N T E R I O R
D E S I G N
POP ART CAFE
LOCATION : WORKBENCH, HALASURU METRO STATION
AREA : 350 SQ.m ACTIVITY : EAT BRAND NAME : TRANzEAT
Pop art :
n(Art Movements) a movement in mod ern art that imitates the methods, styles, and themes of popular culture and mass media,such as comic strips, advert ising, and science fiction. •
U.S.P : Brightness and contrast of colors.
•
Used in the decoration of posters, portraits of celebrities, big, unusual paintings and sculptures.
•
Non-standard shapes and sizes of furniture and other household items.
COLOR PALLETTE: The abundance of variety of colors; main characteristic of style. Most VIVID, eye catching and bright. Along with vintage geometric patterns. WALLS : Exposed brick walls which contast the bright pop prints,posters and graffitti. FLOOR : Classic black and white chequered flooring to create a retro and vintage ambience to the space. Exposed concrete flooring to create a studio effect.
Material Pallette
PROJECT DETAILS
WALLS : Exposed brick walls which contast the bright pop prints,posters and graffitti. To retain focus on the Art work and Graphitti, exposed brick walls and Polished concrete walls are opted.
FLOOR :
Classic black and white chequered flooring to create a retro and vintage ambience to the space. Exposed concrete flooring to create a studio/Industrial effect.
FURNITURE : Stylized furniture in non standard sizes and shapes inspired by vintage retro pop art. Glossy mirrored surfaces for counters and tables. High gloss laminates used for cladding.
Ideation|Working Sketches
I N T E R I O R
D E S I G N
POP ART CAFE
I N T E R I O R
D E S I G N
POP ART CAFE
I N T E R I O R
D E S I G N
POP ART CAFE
DÉCOR : Large ,bright images made using printing on canvas,oil paintings, pieces of popular advertisement s ,magazines ,comic strips ,abstract ,popular figures ,Collages .
I N T E R I O R
D E S I G N
POP ART CAFE
EXTERIOR | SHOP FRONT External wall cladded Brick slips faรงade. This creates a characteristic street wall on which the Pop Graffitti and murals are created.
Idea sketch
SHOP FRONT
The shop front inside the metro station has a very comic / pop influence. It is graphic and catchy representing a lamp lighting up only the entrance area, giving an exaggerated look according to the nature of POP art theme.
I N T E R I O R
POP ART CAFE
D E S I G N
U
R
B
A
N -
D 7
t h
s e
m
e
s t
E e
r
-
S
I
G
N
U R B A N
D E S I G N
MATTANCHERRY
SITE : DUTCH PALACE JUNCTION
PROJECT DETAILS
LOCATION : Mattancherry , Kochi ,Kerala
Meeting point of the Bazaar road, Palace road and the Jew Town.
SITE : Situated along the palace road, the main axis of Mattancherry with the Dutch palace on one end and the Thirumala Devasthanam Temple at the other, this precinct is predominantly residential. Comprising of a number of different communities, this precinct holds up the image of Mattancherry as a cultural hub.
Bazaar street
Palace road
The dutch palace precint acts as a buffer and a transition zone for the different nature of activities happening on the bazaar street and palace road .
Palace road Bazaar street
Aanavathil gate at end of Palace road
Palace road
Dutch Palace Junction
Bazaar street
The Mattancherry Palace was built in 1555 by the Portuguese for the Raja of Kochi. The Dutch carried out some extensions and renovations in the palace in 1663, and thereafter it was popularly called Dutch Palace.
INTENT : The aim was to make The Dutch palace an amalgamation point of culture and commercial zones and also highlight the monument by increasing local and tourist footprint into the precinct. Acting as a buffer/ mixing point of all arts and cultures with a commercial touch to generate revenue. A local biennale park promoting local artisans on an international platform is also proposed for their upliftment. An Arts training institute which provides training and promotes local arts along with a Public Library and Auditorium adds value to the Dutch Palace and mattancherry as a whole.
U R B A N
D E S I G N
MATTANCHERRY
Mattancherry palace is one of the oldest examples of the portugese architecture with oriental influence and is unique from the historic and architectural point of view. This palace was used as the Royal home and also to conduct coronation ceremony. Mattancherry Palace kept on transferring from the hands of one ruler to another. After the Dutch rule,the palace was renovated numerous times by a number of native rulers. The palace walls are picture galleries of the Cochin Rajas.Since the palace was home to a number of native as well as foreign rulers and invaders in its entire history,each one added something or the other supplementing it with unique tints from various cultures.
PROPOSED MASTER PLAN
BIENNALE SITE SPORTS FIELD
INSTITUTE WATER BODY
PALACE ROAD
SPORTS FIELD
The Palace Road, Bazaar street and the Jew town converge at the Dutch Palace precinct. It also acts as a buffer area between the High Tourist Zone facing the water and the Local Zone at the Palace Road. Character of the commercial shops are drastically different on either side.
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14.
14
Dutch Palace Aana Vathil Kulam (water body) Sports Field Vishnu Temple Shiva Temple Devi Temple Gallery Formal Entry Local Biennale Park Public Library Training Institute Market Front Artifact Building
10
4 6
5
11
“Water as a balancing entity” 1
Palace road
9
12
Bazaar street
Main Entrance
3 1600 AD
13
Restricted Entry to Temple inside
7
2
Private entrance
8 CURRENT
Public entrance to museum
Void
Solid U R B A N
Solid D E S I G N
MATTANCHERRY
Master plan | Axial relationships
BAZAAR STREET
LOCAL BIENNALE PARK
DUTCH PALACE
Transition of nature of spaces from palace road end and Bazaar street
Using water as an anchoring point
WATER BODY
INSTITUTE
MARKET FRONT Strengthening the anavathil axis to the devi temple
PALACE ROAD
U R B A N
D E S I G N
MATTANCHERRY
ARTS ARCHIVE
Library consist of an entry court for public n student interactions. Also has a private student court accessible from the training institute. Style of architecture inspired by vernacular kerala architecture.
CULTURAL ARTS CENTRE
Language of building and style of architecture following the Dutch palace and vernacular kerala architecture. The cultural centre offers a platform for exchange of local and international artforms creating opportunities for various communities to express themselves as well as share their culture with the other communities . This leads to strengthening the importance of local culture in an international tourist hub like kochi, along with culturally educating the locals and foreign crowd.
3
4
5 2 1. 2. 3. 4. 5.
Entrance court Lobby Semi open performance space Studios Water body
1 1. 2. 3. 4. 5.
Entrance court Students court Lobby Reading spaces Water body
U R B A N
D E S I G N
MATTANCHERRY
Language of building and style of architecture following the Dutch palace and vernacular kerala architecture.
Natya mandapam
Roof form
Cultural Arts Centre
U R B A N
D E S I G N
MATTANCHERRY
T H A N K
N E H A
Y O U
R A V I N D R A N
n e h a r a v i n d r a n 0 7 @ g m a i l . c o m + 9 1 9 6 3 2 1 4 1 2 5 2