A C O M P I L A T I O N O F A R C H I T E C T U R A L W O R K S | 2014-18 NISHI DOSHI
CONTENT 01. 02.
T H E S C H O O L AT S O N A U G I
03.
AN ART EXCHANGE AT BELAPUR
T H E R E A D I N G P A V I L L I O N A T C. E. P. T.
04. I N S T I T U T E F O R L O C A L S E L F G O V E R N A N C E I N V A R A N A S I 05. W O R K S H O P S 06. T H E M I M A R S I N A N E X H I B I T I O N 07.
A MOSAIC LANDSCAPE
08.
L. I. K
09.
A. N. D. C
10.
UNIQUE CRAFTSPERSON
A Reading Pavillion on the C.E.P.T. North mounds. This project began as a mass and void assignment and the brief was to design a reading pavillion with adequate reading room for upto 15 persons. The challenges included responding to the site as well as maintaining the mass and void character of the project. Anthropometric and ergonomic studies as well as a material study was carried out.
01.
T H E R E A D I N G P A V I L L I O N A T C. E. P. T. ARCHITECTURAL DESIGN | FIRST YEAR
School in Jana Village, Himachal Pradesh. This project was, for me, a journey that began when we first visited the settlement at jana. The assignment brief was seemingly straight forward. To come up with a programme for a school for the natives of this village and to design it in the traditional technique, that is khat khuni. Complexities later added were, of course, how gently to intervene, what do we have to offer that they don't already have. Can we assume such a pivotal role in bringing to the people somethintg extremely foreign and unfamiliar to them? Should we?
02.
T H E S C H O O L AT S O N A U G I
ARCHITECTURAL DESIGN | SECOND YEAR
LEGEND 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14.
CARETAKER’S RESIDENCE TEACHER’S RESIDENCE CLASSROOM 1 CLASSROOM 2 CLASSROOM 3 PLINTH LIBRARY A.V.ROOM DINING HALL KITCHEN PLINTH TOILET PLAYGROUND ORCHARD
A FEW PROCESS SKECTHES MADE A
AT THE DESIGN STAGE.
The placement and orientation of these structures follows the dictates of the natural topography and climate of the region.
Programme: The seemingly simple solution came to me later, tying together the entire design process. And that was, to introduce and gently familiarize them with the various cultures that existed in the world. Through the medium of, firstly, the language, secondly, the food, and thirdly the various movies, plays and other such cultural anchors that would help introduce them to the outside world but also allow them to formulate their own opinions and viewpoints.
The land slopes down towards the river.
With maximum light coming in from the South, care has been taken to seperate the residences, i.e the private areas, from the classrooms and other such public functions.
THE DRAWINGS OF THE CLASSRO
ABOUT THE PROJECT To design in an architectural style so distinct and environs so foreign, was a challenge. The attempt made was to keep the experience native to the user but also slightly experimental. An attempt was made to infuse the insights drawn from the settlement and houses documented with the programme.
SECTION SHOWING THE THREE CLASSROOMS
SECTION SHOWING THE CLASSROOM AND THE PLINTH
THE CLASSROOMS
THE DINING HALL AND K
OOMS, DINING HALL, LIBRARY AND AUDIO VISUAL ROOM
ELEVATION OF THE AUDIO VISUAL ROOM AND THE LIBRARY
KITCHEN
VIEW OF THE LIBRARY
LIBRARY
AUDIO VISUAL ROOM
SECTION AND ELEVATION THROUGH THE DINING HALL AND KITCHEN
The models built as a part of a group effort of documenting the settlement.
The course might have taught me to observe and analyse, the mountains taught me how to perceive and feel. The first thing that hits you are the lights. The lights of the city at night. Just how far humans have settled into these mountains. The sounds, early in the morning one could hear the sound of the Beas rushing past. Even in these mountainous extremities, Nature somehow still felt friendlier. And all of man’s creations felt like they somehow only modified Nature, slightly, never too much. People there had learnt correctly to do just enough. The thoughts of comfort and convenience had still not polluted their ability to live. The people in the village seemed like they had seen no wrong. Every person seemed more true and more human. Their life felt more honest and unadulterated and so was the architecture. The houses, first and foremost fulfilled the chief purpose of acting as a shelter from the elements whilst also showing us the ideal way to make the most of Nature at the same time. There was an honesty in the architecture that somehow always gets lost when in the city fabric. On my trip the mountains I recognized the presence of something extra ordinary, however, in the 5 days there, I felt more at home than in my 19 years in the city.
An Art Exchange at Urban Haat, Belapur. The site presents a contour range of 14M and extensive tree cover. Hence, the focus and challenge of the project was how to utilize the slope and yet keep the structures accesible and user friendly. With spaces provided for the visual, as well as literary arts, the project acts as an oasis for artists all over the city to interact, exchange ideas and create. A key component was to keep the spaces as close to nature as possible and to provide a central annexe for circulation and accessibilty.
03.
AN ART EXCHANGE AT BELAPUR ARCHITECTURAL DESIGN | THIRD YEAR
LEGEND 1 2 3 4 5 6 7 8
ANNEXE BUILDING SCULPTURE GALLERY SCULPTURE WORKSHOP KITCHEN AND CAFETERIA AMPHITHEATRE VISUAL GALLERY LITERARY WORKSHOP AND LIBRARY LITERARY GALLERY
18.50
14.5
14.5
14.5
14.5
14.30 14.15
17.50
16.50
14
14
14
15.50 14.15
14.15
14.15
UP DN
12.70
14.50
12.10
11.95 UP 12.10
12.85
11.80
DN
UP 11.65
11.20
DN
11.20
13.50
DN
11.20
11.20
EXHIBITION SPACE 2 11.65
EXHIBITIN SPACE 5 10.25
10.75
12.10
DN
12.50 UP
11.20 UP
11.50
UP
UP
10.15
10.15
10.15
DN 10.60 UP
10.50 UP 10.00
18.00 EXHIBITION SPACE 7 9.55
17M
The drawings are plans for the sculpture gallery and workshop (left) and the literary workshops and library (right). 9.50
An attempt has been made to utilize the site contour and the naturaal green cover on site, to create spaces that function as a walk through and provide unique experiences at every turn. A combination of open and covered spaces have been provided to accomodate for the various types and sizes of sculptures that might need to be accomodated.
24.5M
23.5M 25.05
24
24
25.5
UP 25.0M
UP 23.05
24.00
UP
22.5M
23.8M DN
23
23 23.00
23.00 UP
UP
21.5M
UP
UP UP
22.0M 22.00
UP 22.00
18.00
DN
DN DN
DN DN
DN 21.0
DN DN
21.00
21.00
20.5M 19.5M
21.00
18.5M 17.5M
18.5M
16.5M 15.5M 18.5
18.5 19.00
UP
19.00 UP
UP 17.5M
UP 18.00
DN
DN
16.5M 17M
17.6M
DN
DN DN
UP UP
DN
16.5M
An Institute for Local Selfgovernance. This project was very unique in terms of it’s programme. The key was to choose a utility that would respond to what the city had to offer, which is why I chose the traditoinal crafts of the region. Also important to me was that the visitors are familiarized with the processes involved in the making of these crafts, which is why an elevated walkway has been provided connecting the public plaza to the various workshops on either side.
04. I N S T I T U T E F O R L O C A L S E L F G O V E R N A N C E I N V A R A N A S I
ARCHITECTURAL DESIGN | THIRD YEAR
The central public plaza is a form of public space with the locals are not familiar with and hence the stepped langiage has been maintained whihc also serves the dual purpose of not blocking the visual sight lines. Also shops are accomated below the highest tier of the plaza, right along the pedestrian walkway and the exit route from the auditorium. The elevated walkway is accesible from the plaza on either sides. This leads to the workshops where the visitors can familiarize themselves with the various processes and steps that are involved in the making of the craft. The offices have also been accomodated in these workshop units keeping them in close proximity to where the artisans shall be exhibiting their process as well as their final and complete products.
05.
WORKSHOPS AND HANDS-ON WORK Filler slab workshop and wattle and daub construction technique taught at the Design Jatra Workshop. Hands on experience of cleaning, chiselling of stone and pointing of bricks at the B.H.S.C lectures. These have largely impacted how I approach design and have made me aware of the vaarious methods and techniques of construction as well as preservation of materials.
06. Models made as a part of the group effort to understand the structural systems employed by Mimar Sinan.
The Panel made for the exhibition is presesnted on the next page.
THE MIMAR SINAN EXHIBITION
07.
A MOSAIC LANDSCAPE
LANDSCAPE DESIGN | FOU RTH YEAR
The first ever comissioned project at the Ranibaug Zoo by the B.M.C.
The brief was for a design that would promote education and conservation of the natural landscapes that exisit around us. Hence a mosaic landscape was created and this was the conceptual drawing made for the proposal meeting.
LOUIS. I. KAHN TROPHY 2014-15. The aim of the trophy is to document traditional architecture and understand how historic structures, buildings and/or complexes were conceptually planned and designedto reflect a certain set of values(functional, cultural, material and structural). To learn from the past in order to base the design process of newer buildings and settlements. Role played in the Team: Analysis, graphics and report.
08.
L. I. K
This project was my first foray into the world of architectural learnig. The site, Mandawa, one of the several beautiful Shekhawati towns, was indeed a gold mine of traditional knowledge systems, From recognizing arhcitectural typologies to variations in architectural language, this town taught me so much. But most importantly, what it imbibed in me, was an appreciation for the traditional crafts, techniques, materials and attention to detail. It also instilled in me the understanding, that all architecture is pointless without the warmth of human activity.
09.
A. N. D. C
The Annual N.A.S.A Design Competition. The brief allowed for us to explore the various forms of incapacitation often placed on us by society and the public eye. We explored problems caused by and causing a loss of identity and how one could address them with architectural interventions.
Site visits included visits to Dharavi, Darukhana, Govandi..
Role played in the Team: Analysis, graphics and report.
10.
UNIQUE CRAFTSPERSON
The Unique Craftsperson’s Competiton. This was a very short competition that allowed us to explore traditions within Maharashtra that allowed for the use of bamboo as material for sustaining almost every single activity of the locals. From fishing traps, grain silos, to even the walls of their houses.
nishid14@aoamumbai.in 9820034125