PORTFOLIO SELECTED WORKS NITHYASHREE2017-2021 S Wadiyar Centre for Architecture,Mysuru 2017-2022
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NITHYASHREE
2017-2022Wadiyar2015-2017Jnana2004-2015SriEducationHindiKannadaTamilEnglishAnjanapura#592,2017_nithyashree.s@wcfa.ac.in+91-7795939257RoyalParkResidency,Avalahalli,Post,JPNagar9thphaseBangalore560062KumaranChildren’sHome,BangaloreSweekarPUCollege,BangaloreCentreforArchitecture,Mysuru
SEM THESIS09 SLOWING DOWN: EXPLORING FOOD THROUGH SPACE INTERNSHIPSEM2.Design1.Research10 MASON’S INK, BANGALORE Selected works SEM SUSTAINABILITY07 THE ARCADED PLAZA CAMPUSSEM1.Design06 DESIGN THE FRAGMENTED ACADEMY 1.Design SEM RELATED05 STUDY PROGAMME, SHORAPUR, KARNATAKA A CIVILIZATION OF THE BRAVE AND WILLFUL INTERIORSEM2.Design1.Documentation07DESIGN THE RED HOUSE 1.Interior Design SEM HOUSING04 CROSSING GRIDS 1.Introduction to Design 2. Working Drawings SEM RELATED03 STUDY PROGRAMME, UDIYALUR, TAMILNADU THE LUCID AGRAHARAM 1.Documentation
The four questions in the structure are the questions I seek answers to and are answered by reading books on cooking, interviewing restaurant owners, observing restaurants, drawing, and reading existing research on slowness. Mindmaps are useful tools to bring together diverse and incidental thoughts to a structure Through this thesis, I have realized that there are many narratives to slowness, it can manifest through drawing, crafting, choice of material, etc.
AssociateMENTOR:Prof.RKiran Kumar
This project begins with an understanding that a thesis is a culmination of learnings from 4 years in architecture school. The thesis attempts to respond to a few un-answered questions regarding standard design formats accumulating over the years, and at the same time acknowledging ideas which are beyond the scope of the topic (in the hope that they can become other projects one day) because of its intuitive nature.
I have also learnt that any place can become a point of intervention. In a mundane urban context or a large site with beautiful views, slowness can be applied anywhere.
Thus, the thesis is named: Slowing Down: Exploring Food through Space
THESIS
SLOWING DOWN EXPLORING FOOD THROUGH SPACE SEMESTER 09
In search of places which offer comfort from the anxiety of moving away from home and living in a new city to pursue my studies, I found unusual spots, unpopular restaurants and new comfort food which slowed me down. The simplicity and spirit of these places and spaces is the core of this project and is manifested on paper through drawing and writing- two other acts of slowness.
THESIS Slowing Down: Exploring Food Through Space WHY WHATSLOW?DOES SLOWNESS MEAN? HOW CAN FOOD BECOME A TOOL WHICH CARRIES RITUALS OF DELAY AND WHY IS IT IMPORTANT? WHAT ARE THE PARAMETERS THAT SLOWS ONE DOWN? An HandStartingInquiryPointstaste Making Chutney Recipe 1- Kadale Chutney In Pursuit of Wellbeing, Take it Slow The Character of Slowness and Fastness The Art of Stillness Principle 1- Interval and Pause Principle 2- After Object Principle 3- Deliberate contemplation Principle 4- Time and Tide Principle 5- Participation Principle 6-Cooking and Communication Analysing Revamma’s Mess Design Intervention 1 Analysing Intervention 1 Introducing the Nandi Site Analysing the Nandi Site Design Intervention 2 SLOWNESS IN DESIGN These chapters have been seen through the lens of this thesis, thus combining architecture and slowness. The chapters are recontextualized and remolded to fit into this area of study.
Hand Taste
WHAT DOES SLOWNESS MEAN?
We don’t find this comfort in “Tongue taste”. Tongue taste carries the taste of machineMSG, refined oil, and other synthetic additions. (Pollan, 2013)
As a consequence, both culture and health slip away from our lives. Pollan.M (2013). Cooked: A Natural History of Transformation
HOW CAN FOOD BECOME A TOOL WHICH CARRIES RITUALS OF DELAY AND WHY IS IT IMPORTANT?
Making Chutney
As an exercise to understand hand taste, I made chutney using a grinding stone, and the same chutney in an electric blender.
The kitchen occupies most space in your hearts and we should find more ways to reconnect with it.
When we say, “comfort food”, it comes from this hand taste. It’s also about eating with the hand literally. We feel the portion, heat, and texture of food one is about to eat, thus activating sight, taste, smell, and touch all at one time.
WHY SLOW? India is one of the world’s fastest-growing economies and the world’s fastest-growing democracy. The expansion of the working class, advancements in infrastructure and technology, and our establishment as a global power have caused people to lead increasingly frenetic lives in the country. In the pursuit of astronomical success, we are losing our collective humanity, our instinct to reconnect with the world around us and within ourselves. Slowness does not mean working at a snail’s pace but is about quality over quantity. (Waters, 2021). When we are allowed to bring our consciousness back to our surroundings, our breath and our emotions, we naturally begin to live more mindfully, with a deeper sense of wellbeing and fulfillment. When our decisions come from a place of connection, and not competition, we are able to engage with ourselves and our communities with much greater joy and involvement and foster a society that is rooted in sustainability.
Character of slow knowledge: (Fuad-Luke, July 2007, p. 4) Shared, multi-disciplinary, shaped to particular cultural and geographic contexts, humble, open source, belongs to communities/societies, meta-physical, intuitive, designs for individ uals first and commercialization second Fuad-Luke, A. (July 2007). REFLECTION, CONSCIOUSNESS, PROGRESS: CREATIVELY SLOW DESIGNING THE PRESENT.
With urbanization and fast food chains coming up, we are habituating to this tongue taste.
Character of fast knowledge: (Fuad-Luke, July 2007, p. 5) Technological, profit oriented, hierarchical, competitive, universally applied.
Chutney made on a stone tastes richer: each ingredient has its distinct taste unlike the one made in a blender, which is pretty much a pulp of everything together. We also can control the amount of water added to a stone. It is very easy to misgauge the water added in a blender. The Slow Research Lab has provided a theoretical perspective to an abstract idea of slowness through articles, publications, and tools.
Every element has presence (form and functionality) or a “form of interaction”. This form also has a symbolic/intangible aspect which gives it it’s identity.The focus here to use this aspect as a tool to add value to design.
THESIS
Contemplation
REVAMMA’SSTORAGEGARDEN
Principle 6 Cooking and Communication “Slow design processes are open source and collaborative, relying on sharing, cooperation and transparency of information so that designs may continue to evolve into the future.”
In order to reveal this experience of daily life, an element is introduced. The principle of interval and pause is about physically slowing down a person, by which their attention is drawn to the reality around.
There is an increasing absence of public places where people of different age groups can sit and do ‘nothing’.
Cooking transforms us into producers. It is rewarding to convert rice into dosa batter(let alone a crispy ghee-dosa). We should not depend only on machines to make food for us because we are what we eat.
HEREWOODFIREPUTWASH
Principle After-Object2
SLOWNESS IN DESIGN Task 1: Design Intervention Revamma’s Mess
Unexpected plinths, adventourous steps can be anywhere and offer an opportunity to engage with people, with oneslef or the surroundings.
Slowing Down: Exploring Food Through Space Principle 4 Time and Tide
Principle Deliberate3
PREPCOOKINGEATING SERVICESELF
Principle 1 Interval and Pause
GRINDINGPODI WASHHAND
A living wall or window connects people to nature. Observing the sky grow or a wall grow is a character of slow knowledge which involves the qualitative, philosophical and meta physical aspects
CHAPPAL COURT
Principle Participation5
The hand taste bears the taste of culture, thought, happy mistakes, and effort of the cook. We feel the portion, heat, and texture of food one is about to eat, thus activating sight, taste, smell, and touch all at one time. Chutney made on a stone tastes richer: each ingredient has its distinct taste unlike the one made in a blender, which is pretty much a pulp of everything together.
Larger stepping stones allow you to stop and take a breath at specific Anotherpoints. point of interaction with the street through cooking and smells. Exposing smaller processes like drying pickle, papad, ragi, etc. A plinth at 0.6m height connects to eye level easily and also helps in demarcating the space. Chutney is also prepared by hand , on this plinth.
Task 1: Design Intervention Revamma’s Mess
An abandonded grinding stone in Revamma’s Mess A firewood stove in use
The mess is programmaticallyfragmented
You watch the preparation of your food and are informed about what goes into your food. The dining and kitchen nearby also allows spontaneous conversations with Revamma,the cook. Detail on walls. Bricks of different sizes and arrangements engage people for a longer time. A weathering wall further holds the attention.
Thinnais at Udaiyalur are not only transition zones into the house, but also hosts for entertainment, rest and deliberation all at the same time.
A chappal court: The first and immediate point of interaction between the street and the mess. It is a response to principle 1 (Interval and Pause) and principle 6 (Cooking and Communication)
Stopping to remove the chappal becomes a compelling way to stop before entering. Based on observing roadside chat stalls, we are fascinated with the food being made: the sounds, the smells, and possible secret ingredients. We find out ways to recover the reality of food, to return it to a proper place in our lives, and looking also helps us discover.)
into points of repose:
SLOWNESS IN DESIGN
Every element has a physical presence (form and functionality) or a “form of interaction”. This form also has a symbolic/ intangible aspect which gives it it’s identity.The focus here to use this aspect as a tool to add value to design. Intent: Exposing the hidden/subtle qualities of slowness that exist in the mess.
THESIS
SLOWNESS IN DESIGN Task 2: The Nandi Site Intent: Exploring the physical aspects of slowness. To create a place where a user experiences the 6 principles of slowness.
It is worthwhile to explore the physical aspect of slowness in a bigger site. The larger idea is for the site to become a destination, unlike the mess(which is the place of unconscious slowness).
The area lacks bakeries and kitchens which make local snacks and this is an opportunity to involve such programs. It will also hold a coffee brewery. The brewery starts with the plantation and ends at roasting and drinking fresh coffee. The brewary becomes a tool to express slowness in the preparation of coffee. Gurukul school is a wall away from the site. The school does not have a canteen. The initial idea to intervene in the school has carried forward to designing a canteen in the Nandi site as the site and school are directly connected. A restaurant is also designed for the localites.
Borrowing elements of slowness from Gurukul school for the site
Children move through the school garden to enter the canteen, thus communicating that there is connection between cultivating, producing and cooking. Maze-like movement: Entries to the rooms are hidden and thus, slow down a people
Exposingpointsprocesses
Participating, even as passive entrants can remind people of their part and responsibility as members of a household or a community.
A DETAIL OF THE ABAKERYVIEW OF THE SITE A VIEW
THEACANTEENVIEW OF THE
Thephyscially.siteis a destination for slowness unlike task 1 and thus does not mean to bother a user with it’s forced movement. Points of interaction happen where activies merge. Plinths at 1.2m hlep in connecting visually. Smaller plinth in the canteen to help connect children to activites in the kitchen, preparation and seating. Enclosure using line, point and plane along a 6m grid. Ramps to slowdown at specific before product OF UTENSIL SHOP
The plaza is not only a point of entry, but also is a platform for activities like farmer’s market is held and small scale food stalls form the community are set up.
Task 2: Analysing the design
Masons’ Ink is a architecture studio on Infantry Road,Bangalore, India. The principal architects Sridevi Changali and Rosie Paul work on research, docu mentaion, and design. They believe in people-oriented design and the firm is specialised along 3 verticals – sustainability, heritage conservation and social architecture.
The firm believes that sustainability should no longer be a choice but the norm and is striving to make it more accessible to the common man.
Internship
Mason’s Ink, Bangalore
HANDSEXPERIENCE:ON Wattle and Daub Gabion Walls Tadelakt Plastering Poured Earth GabionDOCUMENTAIONWalls Takelakt- Technical Document and Blog WORKSHOPS Hand on internal and external workshops Ar.TEAM:Rosie Paul Ar. Sridevi Changali Ar. Thejeswini SR Ar. Shubha Ar. Ann Joseph Ar. Sanjani Girirajan BLOGTADELAKTFROMSNIPPETSTHE
Workshop12
• Mud(taken from site, seived) • Cashewnut oil(an extremely strong anti termite treatment, compared to neem oil).The oil is aplied to the slits and allowed to dry.
• Binding material- dog hair Hay contains cellulose, which is more prone to termite Dogattack.hair/any hair contains keratin, which is not prone to termite attack. DAUB
4
Wattle and Daub Understanding Mud Earth comes from the mechanical and chemical erosion of the parent rock. This rock disintegrates into mineral particles with varying dimensions from pebbles to clayey dust.
•
WATTLE AND
EXTERNAL WORKSHOP
Advantages of Mud Makes the building breatheable Highly sustainable Made of naturally occuring, abundant materials. Wattle and Daub Wattle and daub is a method of construction, consisting of a weave. Interwoven elements(wattle) are daubed. i.e covered with a soft adesive matter. Materials used in the workshop • Bamboo slits(for the partition wall) Supporting MS sections (for the structure)
10 GABION WALLS INTERNAL WORKSHOP
HOBBIT HOUSE A mud house in Bagaluru Changali Ar. Ann Joseph
The basic ideas and drawings were visualized through software, but unlike other projects, there are no instructions on how to go about this project.
Different techniques like wattle and daub, earth bag masonry, rammed earth and adobe bricks are to be used to make this goal a reality.Using mud allows us to make a structure completely organic in form, and hence the name, “Hobbit House”.No trees are to be cut in this site, and the design is based on that.
HobbitBagaluruHouse
is a mud house under construction in Bagaluru, Karnataka. The goal of this project is to build and house with 0% cement.
This is the first time we are building a structure of this sort, and thus most decisions are made on site, and the structure is coming up organically.
Design and form iterations Shed Design DRAWINGS SectionsPlans Marking SkechupMODELSdrawingmodelsof different iterations SITE MarkingVISITSofthe house RESEARCH Earthbag structures
Internship
Mason’s Ink, Bangalore
It is also very interesting that this project is done by an all-womens team.
DESIGNEXPERIENCE:
Hobbit House
Ar.TEAM:Sridevi
Hobbit House Iteration 5- sketches Iteration 6-sketches Iteration 7-sketches Iteration 5- Renders Iteration 3- sketches Iteration 4 - sketches HOBBIT HOUSE ITERATIONS
Earth Bag Structures Assignment 2: Material Study HOBBIT HOUSE RESEARCH- EARTHBAG STRUCTURES
9. Door threshholds
2.Sampling the soil: • Collect subsoil, not topsoil, for testing. Don’t use topsoil for Earthbag construction because it can rot and compress.
Internship Mason’s Ink, Bangalore 55 Construction Details List of materials required for construction: • Digging Picks with Handle • Shovels • Digging Rod • Wheel Barrow (optional) • Sliders • 10-liter metal buckets • 15-liter plastic buckets • Water Sprinkler • Hacksaw blade (good quality) • Construction:Saw
10.Installing door frames
• The two strands should be not close to each other and not too close to the edge of the wall.•
1. Surveying the site: • If the slope of the site is more than 15%, an Earthbag structure should not be built there.
7.Adding barbed wire: • Lay two strands of 4-point barbed wire on top of each course of bags. Use bricks or stones to temporarily hold the barbed wire in place.
• Allow extra room for error that can be filled in later with plaster around the window or doorjamb after construction.
• Pour concrete sills 2-3” (5-7 cm) thick on top of the Earthbags at doors
• It must not be built anywhere near a cliff/drop unless there is a rocky foundation. If an Earthbag structure is built near a cliff/ drop on rocky soil, there must be enough offset, or a retaining wall in front of the building.
6.Course 1: Gravel filled bags Gravel filled bags act as moisture barriers.
• Cinder blocks make handy forms for the rectilinear portions of the openings with wooden arch forms set on top.
A strip anchor allows for the later attachment of doorjambs after the forms are removed
• With nail: Boxes can be directly nailed to the wall using 6” long 6mm diameter rebar. At least two nails should be used for each box and nails should be tilted so that they will provide better resistance against the pull.
Finishing The earthbag walls are plastered with lime, or earth.
Doorjambs,shelf attachments,electrical boxes,intersecting stud frame walls, lintels, rafters, and extended eaves for domes,all need to attach to something that anchors them into an earthbag wall. Velcro plates are simply a flat wooden plate in thickness,about twelve to sixteen inches (30-40 cm) long.
8.The next course: • Strength is added to walls when upper bags hold lower bags in place well.
• Anywhere from 15 to 35% clay should work well; ideal would be 30% clay and 70% sandy soil. If the soil contains too much clay it will expand when wet. If the soil contains too much sand the soil will not bind together and the structure will be weakened.
• sandbox bags can take the place of wood or cement blocks in delineating the rectilinear portion of doors and windows.
11.Installing electrials boxes
5.Foundation The foundation around is to be around 3ft wide and 2.5ft deep.
• Screw driver • 4’ or 3’ Spirt level • Pliers • Hammer 1kg • Wire Cutter Big and small • Safety Gloves • Wire Cutting scissor
Trowel
• The forms need to be deep enough to accommodate the bag work as the rows are “stepped in” to create a corbelled domed roof- 3 feet(90cm).
• The thickness of barbed wire should be 16 gauge.
• Forms for linear walls only need to be a couple of inches deeper than the walls to prevent the bags from wrapping around the edges of them.
4.Marking drawing: The wall will be around 400mm in width.
3.Preparing the site: Level the building site and clear it of roots, rocks and other obstacles.
• Using wooden anchor: A small piece of wood can be inserted in between the walls, and the box can be screwed to this piece of wood.
• There should be a stagger in the courses, like any running masonry.
Urban Mud House
UrbanBengaluruMudhouse is a 60X40 ft site in a residential layout.The house was initially to be a house of mud and different techniques in mud. It has now become a house in exposed perforated brick. The interesting element to this house is how doors and windows are being refurbished and put together. It has an interesting mix of old and the new, where ever frames need to be added, to balance out the facade. The vaastu compliance in the house answers questions like small extensions, staircase size, window sizes, the orientation of the house, etc.
URBAN MUD HOUSE Residencial Project in Harlur Ar.TEAM:Rosie Paul Ar. Sridevi Changali Ar. Thejeswini DESIGNEXPERIENCE:SRANDDRAFTING Wardrobe layouts and details ShoePlumbingrack design UPDATING EXISTING DRAWINGS ElectricalElevationsSectionsPlansDrawings Marking Drawings Plumbing Drawings Door Window Schedule PRESENTATION AND CLIENT DISCUSSIONS JaliFlooringwall details SITE CheckingVISITSwood quanities for doors and windows Checking site work based on drawings Sending drawings to contractor Discussions with contractor Stone Yard visits
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Internship Mason’s Ink, Bangalore Urban Mud House N AA B B CC DD EE FF GGFAMILY ROOM 14'2" x 15'9" 4.33m x 4.81m 2.52m x 1.46m 2.98m9'9"POOJAx10'3"x3.12 m 5.05m5.05m16'7"DININGx10'3"x3.12mLIVING16'7"x15'7"x4.76m 2.28m7'6"FOYERx7'11"x2.41m 3.98m13'1"KITCHENx11'1"x3.38m 1.68mX4.21m5'6"X13'10"UTILITY HELP ROOM 7'10" x 6'9" 2.40m x 1.56mBATHROOM2.05m5'2"5'5"1.68m 2.528'SITOUT3"x8'8"mx2.64m 4.81m15'9"PATIOx6'7"x2.04m LVL (+)0.45mLVL (+)0.45m LVL (+)0.6m LVL (+)0.6m LVL (+)0.6m LVL (+)0.45m LVL (+)0.45m 161514131211101 CM PLASTERLVLLINE (+)0.3m LVL (+)0.3m LVL (+)0.3m FRIDGEPOND N AA B B C DD EE FF GGMASTER BEDROOM 18'2" x 11'5" 5.54m x 3.72m POND Ar,Nithya,Tejeswini Ar,Nithya,Tejeswini URBAN MUD HOUSE FLOOR PLANS
Urban Mud House KITCHEN LIVING/ DINING TERRACEKIDS BEDROOM D8'D7 NICHE 141013 B TOILETTOILET CORRIDORLIVING POOJA AREA D1 D8 W2 W4 W4 W15 F1 1511101216 B check the door heights and update N Ar,Nithya,Thejeswini Section DD Section CC MEZZANINE BEDROOMGUEST UTILITY BATHROOMD5 D2 W13 W4 W7 W9 D3 W10 121110131415 B MASTER BEDROOMDRESSINGSINK/BATHROOM FOYERSIT-OUT FAMILY ROOM W3 W11 W13 MD D6 D6' B update the height of the window update the height of the windowto discuss the height of the fixed panel [2'-11"]89.987.3 [2'-10"] N Ar,Nithya,Thejeswini MEZZANINE BEDROOMGUEST UTILITY BATHROOMD5 D2 W13 W4 W7 D3 W10 126421110131415 MASTER BEDROOMDRESSINGSINK/BATHROOM W11 W13 D6 D6' B update the height of the window update the height of the windowto discuss the height of the fixed panel KITCHEN LIVING/ DINING324 TOILETTOILET CORRIDORLIVING POOJA AREA D1 D8 W2 W4 W4 W15 F1 11511924368571012131416 B check the door heights and update MEZZANINE BEDROOMGUEST UTILITY BATHROOMD5 D2 W13 W4 W7 W9 D3 W10 1263211571089131415 MASTER BEDROOMDRESSINGSINK/BATHROOM W11 W13 D6 D6' B update the height of the windowto discuss the height of the fixed panel Section FF Section EE URBAN MUD HOUSE SECTIONS AND DETAILS
Internship Mason’s Ink, Bangalore 27 Urban Mud House Flooring roomUtility,1’X1’tilesFloralPooja2”X2”4’X4’kotainsertsYellowEntrancejaisalmeringreytilesinlaypatteredtileshelp’s Grey vetrified 2’X2’tiles Family room Grey 2”X2”4’X4’greyinsertsjaisalmerYellowVerandaBack2’X2’kotaRoughverandaSide5’6”XYellowfoyerdining,Living,2”X2”4’X4’or8.6”X3’kotatilestilesinlayjaisalmer4”tilesgreyinkotatilesinlay GreyKitchenshades of 1’X1’kota PatternedWardrobe tiles 1’X1’PatternedMezzanine1’X1’tiles5”x10”tilesTerracotaTerrace2’X1’1’X1’2’X2’BrasskadappaGreyBedroomGuest2’X1’1’X1’2’X2’BrasskadappaGreyBedroomMasterkota/inlaykota/inlay Kid’s bedroom Grey 8.6”x2’kadappakota/ 5”x10”tilesTerracotaBalcony 8.6”x2’WoodPassage URBAN MUD HOUSE FLOORING
THE ARCADED PLAZA SEMESTERMUSEUM-LIBRARY-PLAZA07 STUDIO GUIDES: Asst. Prof Shantesh Kelvekar Prof Manoj Ladhad Prof. Anand Krishnamurthy Asst. Prof Pallavi Dhomse
Project brief : To build city museum, library and plaza in Jaipur Site location : Jaipur Football ground Site area : 18920m2 Built area : 10800m2 Capacity : LibraryMuseum-600-500 A service road runs in the site, in a north-south axis, making it possible for easy vehicular access.The major axis of Jaipur runs just parallel to this and eventually takes us to Albert Hall Museum down South. To the north of the site, a major highway connects Agra and the old city of Jaipur. Surrounding the site are several public spaces- Ramnivas Bhag, Jaipur Zoo, Jaipur Cricket ground,Ravindra Manch, Ramlila Maidan and Bapu Bazaar, a popular shopping street.
AD 07
SUSTAINABILITY To (re)look at architecture as a rescue from the impacts of these three ecologies, the studio shall focus and intend to take a route beyond a stylistic or an aesthetic sense (that is biased) on one side and merely meeting programmatic or functional requirements on the other. The studio intends to strongly focus on developing and shaping architecture that responsibly positions itself within the context and yet is free from the confinement of the past baggage. Further, to explore other colloquially termed, but non-physical senses such as sense of time, sense of space or sense of memory will be delved into during the studio. Meta architecture is not only experienced through the eye, but also through memory.
The site located in Jaipur, Rajasthan. The site sits in a climatic zone which is extreme as it is above the tropic of cancer.
The tempratures vary between 47C and 24C on hot days and 28C and 7C on cold days. Temperatures starting picking up in April to more that 40C and last till July. Temperatures start droppping from November to less than 25C, till February.
Loo blows from the west in April, making the site hot and dusty. The wind speeds touch around 19Km/H. Cold winds blow from November to Feb from the North and North east of the site.
Entry points to site based on activities around Zoning- North: Museum West:Library East:Plaza
Where do people enter from?
Sun Path Contours Prevailing Winds Catchment area Surface runoff Noise levels
AD 07 SUSTAINABILITY Programmatic axonometric
Exploded view of the museum block
AD 07 SUSTAINABILITY
AD 07 SUSTAINABILITY Solar insolation on summer Solarsolsticeinsolation on winter solstice Solar insolation on summer solstice Solar insolation on winter solstice
FRAGMENTED ACADEMY INSITUTE FOR HUMANITIES SEMESTER 06 STUDIO GUIDES: Prof. Prashant G Pole Prof. Vidyashankar Ramakrishnan
Asst. Prof Pallavi Dhomse
Intent : Empowering students to become illative individuals who understand society and help in the functioning of different institutions effectively.
The program manifests as a fractal system: A small space allows for learning at an individual level. As this unit multiplies as a fractal, it allows for learning at different scales.
Project brief : To build an institute for Post graduate and PhD students of humanities. Site location : Mysore University campus Site area : 8700m2 Built area : 4300m2 Capacity : 400 course6PGcoursesduration: 2 years student intake: 25/year/course CoursePhD duration: 2- 5 years (first 2 years classes are held) Student intake: 20/year 40 on campus,60 floating Massing
Programme : Spacial hierarchy which allows or facilitates different scales of interaction and activities
A
Iteration 1 Iteration 2 Iteration 3 Figure Ground Horizonal Movement Vertical Movement Vegetation
of fractals in plan The two fractals grow to form a combination of broken built and unbuilt spaces
A
The courts measure in muliples of 3m.Around each court, a fractal sits. spine connects most courts small space (1 fractal) grows in the site to break unbuilt types
the
Anspacesinitial idea of 2
Iteration 4 Iteration 5 01 3 6 12 Ground Floor Plan The fractals explode in order to accomodate existing landscape 06 18 36m
Iteration 6 Iteration 7 0 3 6 12 First Floor Plan
AD 06 0 3 6 12 0 3 6 12 Roof Floor Plan Section A Section B Section C Second Floor Plan
A CIVILIZATION OF THE BRAVE AND WILLFUL SEMESTERSHORAPUR,KARNATAKA,INDIA05 STUDIO GUIDES: Prof. Nagaraj Vastarey Asst. Prof Akash Rai
An aspect of the fort wall Base map Vicinity map
Shorapur, officially known as Surapura is a headquarter of a talluk, with the same name in district of Yadgir in the northeastern part of Karnataka. Located between the valley/ delta of Krishna and Bhima rivers, the town occupies an important position in the cultural and historic landscape of the Deccan Plateau. Shoorapura, as the town was known during its inception in the late 16 th century and name means a place of the brave and willful. It was a princely province, founded after the fall of Vijayanagar dynasty in 1565 AD and was ruled by the Nayaka Kings, till its fall in 1858 AD. Raja Vankatappa Nayaka was the last king of this province and was seized by the British, in the late 19th century.
The ontology of faith
The theoretical or intellectual investigation of faith as the generator of human confluence, in multitudes, for a common cause at a place. With people and place as the common denominators, the study shall intend an architectural evaluation of faith and its eventuation thereon, through a project at an academic level; and the said project shall be an intellectual proposition.
Documentation credits to Supreeth LS, Madhavi S Nair, Chandan S Bhat, Ann Lia Mathew,Dhanush H, John George, Ashaad Khan, Keerthana Venkatesh, Syed Mohammed Adeeb, Akshera C, Srivishal GM, Srijan Dwivedi
AD 05
RSP - SHORAPUR
Heirarchy in streets Plan of site
Heirarchy and movement in initial massing Section through a gully in Shorapur
Sectional model
of academy from south court Internal view of museum +4000mm+9000mm+12000mm+9000mm+4000mm+8000mm+4000mm
Response to the existing fort wall : A gap of 0.25m between the stone wall of the fort and the concrete slab of the building is maintained. This not only an act of respect to an existing building that is of historical importance, but also accents the texture of the stone when light washes the wall.
View
AD 05 PUBLIC SPACES
A stone wall washed by light
VOCAL FOR LOCAL in Interior Design
Every state’s identity comes from materials, techniques, patterns, colors, etc. Marrying the diverse crafts from specific states into a house is what drives this deMadhubanisign. lamp, fabric, paintings made in CaneBihar furniture made in Mysore Tanjore paintings made in Chennai Brass inlay made in Madurai Brass Vessels made in Madurai Red oxide flooring technique from Chennai Fabric for Cushions and curtain, etc handwoven cotton by weavers in Kanchipuram Athangudi titles made in Chettinad
India has been known for its centuries of heritage and culture. India’s architecture, art & crafts is as diverse as its people. Keeping that in mind, the design shouldn’t be only about the old and the new. It should be about taking the best from the old and reinventing it.
+6000mm+3000mm In collaboration
Architects have the ability not only to design buildings for people. We have the power to study cultures and heritages and apply them in building today. This further extends bringingtopeople with skill together and empowering them, thus adding value to the building we build. with Prof Anna Cherian
ID 07 RED HOUSE
Sanjana S Rao THE RED HOUSE INTERIOR SEMESTERDESING07 STUDIO GUIDES: Asst.
Asst. Prof Tejaswini Bedekar
ID 07 RED HOUSE
movementVertical 039 18mConceptual diagram for housing CROSSING GRIDS WORKING DRAWINGS FOR HOUSING SEMESTER 05 STUDIO GUIDES: Asst. Prof Shreyas Baindur Prof. Sandeep Sen Asst. Prof Tejaswini Bedekar Asst. Prof KV Sanjay Kumar
Project brief: To provide working drawings of the housing done in semister 4. Number of Units: 25-30 units with areas varying between 80-160m2..
Site location : KRS backwaters, Mysore
WD 05 HOUSING
The intent of the semester 4 task is to design a housing for a user group with shared interest in music.The user group is not necessarily permanent residents, they can also be paying guests who come to expeience this shared interest. Different scales of open spaces accomodate varrying capacities of people. The task also expects the design to be flexible in which each house is considered simultaneously as a unit (unique) and in relation to the whole group, without losing the quality, rigor and stan dardization that the social housing requires.
Site area : 1960m2 Built area : 1176m2
A B C D F G H J K L M N O P Q R S 324 D1 D1 D1 D1 D1 D1 D1 D1 D1 D3 D3 D3D3 D3D3 D3D3 D3 D3 D3D3D2 D2D2 D2 D2 D2 D2D2 D2 D2 D2 D2 up up UP UPW3 W3 W3 W3 W3W3 W3 C CAA B W3 W3 W3 W3 W3 W3 W3 W3 W3W3 W3 W3 W3 W3 W3 W3 W3 W3 W3 W3 W3 W3 W3 W2 W2 W2W2 W2W2W2 W2 W2 W2 W2 W2 W1 W1 W1W1W1 W1 W1 W1 W1 W1 W1 W1 house housebedroom housebathroom house bathroom2 houseliving housestudio houseliving house bedroom2 house housekitchen22studiohousedining house 2 dining house 3 dininghouse 3 living housebedroom housebedroom housebedroom house kitchen3house3studio house housebathroom33bathroom househousebedroom4bedroomhousebathroom4house4bathroom house 4 living house 4 dining house 4 studio house kitchen4 housebedroomhouse bedroom5 housebathroomhouse bathroom5 houseliving house 5 housedining5kitchen housestudio house kitchen10 house bedroom10 house bathroom10 house bathroom11 house bathroom11 house 10 studio house 11 studiohousekitchen11 house bedroom11 house 10 living house 11 living house 10 dining dininghouse house bathroom12 house kitchen12 house bedroom12 housedining house 12 dining house 13 studio house 13 living 1130019006800 3300 3300 29001100 2900 1100 3300 3300 68001900 11300 7300 3300 3300 3300 8900 2300 3300 220068003300 3300 5100 5000 3200 250013001300260026003300 2000 100012001900 7800 10300 8800 3300 1700 10300 3300 33003300 3300 3800 6700 8400 3100 9000 2800 4200 3600 37001100 37001100 3900 3300 4000 6800 103002800 8100 3900 36001200 5100 6800 3300 49002600 1700 5500 5000
WD 05 HOUSING U W Y Z AA AB AC AD AE 11 121314 15 161718 1920 21 D1 D1D1 D1 D3 D3 D3 D3 D3 D3 D3 D2 D2 D2 D2 D2 D2 D2 D2 D2 D2 W3 W3W3 W3 W3 W3 W3 W3 W3 W3 W3 W3 W3 W3 W3 W3 W3 W3 W3 W3 W3 W3 W3 W3 W2 W2 W2 W2 W2 W2 W1 W1 W1 W1 W1 W1 house bathroom15 house bathroom14 house bathroom16housebathroom17 house bathroom18 house housebathroom1313kitchen house kitchen14 house kitchen16 house kitchen17 house kitchen18 house housebedroom1314bedroom house bedroom14 house bedroom15 house bedroom15 house bedroom16 house bedroom16 house bedroom18 house bedroom18 house bedroom17 13 dining house 14 dining house 16 dining house 17 dining house 18 dining house 15 studio house 16 studio house 18 studio house 16 living house 18 living house 17 living 3400 2200 3400 2900 2500 1200 13002500 5300 6700 1900 6500 3200 2900 3400 5000 5300 3400 10100 2600 2700 3300 2500 1300 9500 3100 6400 1700 27003100 2900 1400 30003000 29001400 27002900 5900 1800 9600 2800 5100 6300 3100 3000 2900 2100 13002700 26002900 VERSIONSTUDENTAUTODESKANBYPRODUCED11 12 1314 15 1617 1920 21 18 D3 D3 D3 D3 D2 D2 D2 W3 W3 W3 W3 W3 W3 W3 W3 W3 W3 W3 W3 W3 W3 W2 W2 W2 W2 W1 W1 W1 W1 house bathroom14 house bedroom14 house bedroom15 house kitchen15 house dining15 house bathroom15house 15 living house dining18 house dining19 house bathroom18 house bathroom19 house 18 living house 19 living house bedroom18 house bedroom19 house kitchen18 house kitchen19 house studio15 house studio18 house studio19 U V W X Y Z AA AB AC AD AE 350043004300 2100 3400 12002500 3300 2800 5300 6700 8900 2300 6200 3100 44002900 3100 9600 26001600 5100 6400 31001600 2000 3100 2300 general notes All dimensions in millimetersWetareas in toilets not indicated due to space taken by openingsscheduleannotationofdescirptionlintelheight sill door entrance1-D1door 2100 door 2-D2 room door 2100 door 3-D3 toilet door 2100 window 1-W1 kitchen window 1150 2100 window ventillator2-W2 2100 2720 window 3-W3 room window 2100 2720 descirption size swing door 1-D1 door 2-D2 door windowwindow3-D31-W1window2-W23-W3 1260x21001000x6201000x21001700x2100700x2100619x950 left rightrightrightrightrightright& site: KRS backwaters project: Housing revision date description scale(s):123 1:100 issued by: drawn by: NITHYASHREE S project no.: 1 checked by: AR.SANJAY approved by: const servicesstructcomp.:consul.:consul.:signature(S):
30 9 18m
VERSIONSTUDENTAUTODESKANBYPRODUCED
700 200THSCBM,PLASTER,15TH3MMGAP SS STAINLESS STEEL DOOR HINGE DOOR 3TOILETDOOR700X2100 15 35 79 200 230 74 40 D3 1000 200THSCBM,PLASTER,15TH3MMGAP SS STAINLESS STEEL DOOR HINGE DOOR 2TOILETDOOR1000X2100 15 35 79 200 230 74 40 D2 4020 78 200 230 15741000500500 450 200THSCBM,PLASTER,15TH SS STAINLESS STEEL DOOR HINGE TIMBER FRAME TIMBER SOFTWOODSHUTTERBEADING WINDOW 2- 1000X620 345 6208585 TOILET VENTILLATOR USHA CRISP AIR EXHAUST 200 230 1574500 200THSCBM,PLASTER,15TH SS STAINLESS STEEL DOOR HINGETIMBER FRAME TIMBER SOFTWOODSHUTTERBEADING WINDOW 3- 1260x12002045001201260 78 1200 room doordoor3-D3toiletdoor 2100 window 1-W1 kitchen window 1150 2100 window ventillator2-W2 2100 2720 window 3-W3 room window 2100 2720 descirption size swing door 1-D1 door 2-D2 door windowwindow3-D31-W1window2-W23-W3 1260x21001000x6201000x21001700x2100700x2100619x950 left rightrightrightrightrightright& site: KRS backwaters project: Housing revision date description scale(s):123 1:25 issued by: drawn by: NITHYASHREE S project no.: 1 checked by: AR.SANJAY approved by: const servicesstructcomp.:consul.:consul.:signature(S): VERSIONSTUDENTAUTODESKANBYPRODUCED4020 78 200 230 1574500619500 450 85 300 950 200THSCBM,PLASTER,15TH SS STAINLESS STEEL DOOR HINGE TIMBER FRAME TIMBER SOFTWOODSHUTTERBEADING WINDOW 1- 619X950 4020 78 200 230 15741000500500 450 200THSCBM,PLASTER,15TH SS STAINLESS STEEL DOOR HINGE TIMBER FRAME TIMBER SOFTWOODSHUTTERBEADING WINDOW 2- 1000X620 345 6208585 TOILET VENTILLATOR USHA CRISP AIR EXHAUST 500 200THSCBM,PLASTER,15TH SS STAINLESS STEEL DOOR HINGETIMBER FRAME TIMBER SOFTWOODSHUTTERBEADING WINDOW 3PRODUCEDBYANAUTODESKSTUDENTVERSION 4020 78 200 230 15741000500500 450 200THSCBM,PLASTER,15TH STAINLESS STEEL DOOR HINGE TIMBER FRAME TIMBER SOFTWOODSHUTTERBEADING WINDOW 2- 1000X620 345 6208585 TOILET VENTILLATOR USHA CRISP AIR EXHAUST 200 230 1574500 200THSCBM,PLASTER,15TH SS STAINLESS STEEL DOOR HINGETIMBER FRAME TIMBER SOFTWOODSHUTTERBEADING WINDOW 3- 1260x12002045001201260 78 1200 window 3-W3 1260x2100
INOUT INOUTVERSIONSTUDENTAUTODESKANBYPRODUCED COPING, RCC,243x200 PARAPET, BRICK,200x900 15MM TH BITUMEN MASTIC 10MM TH BITUMEN FELT 45MM TH
W1
site: KRS backwaters project: Housing revision date description scale(s):123 1:25 issued by: drawn by: NITHYASHREE S project no.: checked by: AR.SANJAY approved by: const servicesstructcomp.:consul.:consul.:signature(S):
1
15MM TH BITUMEN MASTIC 10MM TH BITUMEN FELT 45MM TH
PARAPET,
INOUT OUT BRICK WALL,200 TH 15MM TH PLASTER DETAIL A PARAPET DETAIL SCALE 1:10 WINDOW DETAIL SCALE 1:10 DETAIL B DETAIL C PRODUCED BY AN AUTODESK STUDENT VERSION VERSIONSTUDENTAUTODESK0 0.10.30.6m 00.10.30.6m
PRODUCEDBYANAUTODESKSTUDENTVERSION VERSIONSTUDENT D2W1
COPING, RCC,243x200 BRICK,200x900 STIRRUP,8SLAB,RCC,150THSCREEDINGDIA@300C/CMAINROD,16diaLINTEL,RCC,200x100CHAJJA,RCC,800x75FRAME,WOOD,79x743MMTHGLASSSILL,RCC,510x100BRICKWALL,200TH15MMTHPLASTERGROUTINGSKIRTING,105LONGTILE,600x600X1010MMTHPCCBED STIRRUP,8SLAB,RCC,150THSCREEDINGDIA@300C/CMAINROD,16dia BRICKCHAJJA,RCC,LINTEL,RCC,200x100800x75FRAME,WOOD,79x743MMTHGLASSSILL,RCC,510x100WALL,200TH
200 230 1574PLASTER,15TH5003-1260x12002045001201260 78 1200 site: KRS backwaters project: Housing revision date description scale(s):123 1:25 issued by: drawn by: NITHYASHREE S project no.: 1 checked by: AR.SANJAY approved by: const servicesstructcomp.:consul.:consul.:signature(S): VERSIONSTUDENT 1075 2100 3000 500 250 11005001200846 200 D2OUT general notes All dimensions in schedulemillimeters of openingsdescirption heightlintel sill door entrance1-D1door 2100 door 2-D2 room door 2100 door 3-D3 toilet door 2100 window 1-W1 kitchen window 1150 2100 window ventillator2-W2 2100 2720 window 3-W3 room window 2100 2720 descirption size swing door 1-D1 door 2-D2 door window3-D31-W1 1000x21001700x2100700x2100619x950 left rightrightrightright& AUTODESKANBYPRODUCED WD 05 HOUSING 45678910 1112 13 1415161718192021 300030001100 3 W3D1D1 D1 D3D3 D3 D3W3 D3D3W1 D3D2 SECTION A scale SECTION1:100Cscale1:100 2100 3000 PRODUCED BY AN AUTODESK STUDENT VERSION 4568910 1112 13 1415161718192021 300030001100 300030001100 3 4567910 3 SECTION B scale 1:100 300030001100 W3D1D1 D1 D3D3 D3 D3W3 D1 D2 W3 D2 W1 W2 D2 W3 D3D3W1 D3D2 SECTION A scale SECTION1:100Cscale1:100 1100500 200 issuedgeneralAllmillimetersscheduleopeningsdescirptiondoorentrancedoorroomdoortoiletwindowkitchenwindowventillatorwindowroomdescirptiondoordoordoorwindowwindowwindowsite:project:revision23scale(s):drawnprojectcheckedapprovedconststructservicessignature(S):45678910 300030001100 3 2458910 3 SECTION B scale 1:100 300030001100 W3D1D1 D1 D3D3 D3 D3W3 D1 D2 W3 D2 W1 W2 D2 W3 SECTION A scale 1:100 2100 3000 500 250 846 PRODUCEDBYANAUTODESKSTUDENTVERSION 80010001000900550 900 8408401200 GE GEBB 800180012001200120012001800 8008008008009006001400 30012001200 320 670 2000 1100 150 150 150150150 1500 1130 150 150 150370 478230 150 1400 400 2400 480 1600 150150 1650 1200 150 1100 1160370150370 mounted at a height of 2500mm mounted at a height of 1700mm mounted at a height of 2300mm PRODUCED BY AN AUTODESK STUDENT VERSION VERSIONSTUDENTAUTODESKANBYPRODUCED DETAIL of a unit All dimensions in millimeters scale(s): 1:50 drawn by: NITHYASHREE S symbol Gestonamedescription12WmodelQWZ802 Nile,Led, 800 lm philips myBathroom Wall light model 34034/14/86, 7.5W, 450 lm philips Halogen Spot 12 V model 8718696588703, 20W, 205 lm philips Linea Wall light model 31165/99/C4, 10W, 450 lm usha TECHNIX PLUS usha CRISP AIR LX 40W,43W 150mm PRODUCEDBYANAUTODESKSTUDENTVERSION
2810 500 1800 900 1050330150 1270 overhead 140mmdia,hindware,shower,chromeplatedmixerfaucet,hindware,brassnahanitrap,110mmdiamountedon150X150mmchromeplatefiller,lightweightcinder,150mmthvitrifiedtiles,Kajaria,40X40mm a 200 550 1880 elevation 3 scale 1:20 brick wall, 230 mm 12mmvitrified15mmplaster,ththtile,thgroove,5mmthfiller,150mmth 2900 18801800 900 90 430 850 130 1200 200500 2400 700 60 4002001090 overhead chromebasinexhaust140mmdia,hindware,shower,chromeplatedmirrorfan,USHA,270mmdiatowelhanger,stainlesssteel,180mmdiatap,parryware,finishwashbasin,parryware,450X355wc,parrywarehealthfaucetgun,royalbathmixerfaucet,hindware,brassvitrifiedtiles,Kajaria,40X40mm elevation 1 scale 1:20 21 34 1270 300 340 200 90 700390 800 500 1462 980 500 mirror 2900 1880 90 200500 700 60 1180 2400 towel rod, lakshay, stainless 600X9.5mmsteel, elevation 2 scale 1:20 280 330 1050 21 500 1880 elevation 4 scale 1:20 850 140 355 135150300130 mirror basin bottlewashchrometap,parryware,finishgraniteslabcounterbasin,parryware,450X355trap,upvc 1270 mirror(bottom)issuedproject:site:scale(s):drawnprojectcheckedapprovedconststructservicessignature(S):mixershowerbottle PRODUCEDBYANAUTODESKSTUDENTVERSION 00.10.30.6m00.10.30.6m
WD 05 HOUSING 2810 500 1800 900 1050330150 overhead 140mmdia,hindware,shower,chromeplatedmixerfaucet,hindware,brassnahanitrap,110mmdiamountedon150X150mmchromeplatefiller,lightweightcinder,150mmthvitrifiedtiles,Kajaria,40X40mm a 200 550 1880 brick wall, 230 mm 12mmvitrified15mmplaster,ththtile,thgroove,5mmthfiller,150mmth Detail A scale 1:5 2900 500 mirror general notesheightfixture specificationfixture parryware cara bowl basin rainwater,PVCkajariag1468a1parryware450X355mmcoralswanneckpillarcockparrywareindusWC,C0265,600X380X840hindwaremixterfaucet,wallmountedtype,f110018kohleroverheadshower,OHS-CHR-1989prestigeroundring1,B07BK5K8H8royalbathhealthfaucet,HFMH002vetrifiedtileslopedirection1:200hotwatersupplycoldwatersupplylakshaytowelrodss304PVCpipeforcoldwater,20mmdiaCPVCpipeforhotwater,20mmdiapipefor150mmdiaPVCpipeforgreywater,20mmdiagreywater healthWC(top)faucettowelrodwashbasintaptowelringmixermirror(bottom)showerheadbottletrap from floor finish 1800mm1200mm1180mm500mm430mm850mm850mm900mm980mm400mm VERSIONSTUDENTAUTODESKANBYPRODUCED 90 700 60 towel rod, lakshay, stainless 600X9.5mmsteel, elevation 2 scale 1:20 280 330 21 34 2438 800 300 340 200 90 700 800 500 1462 740 980 toilet plan 500 1880 elevation 4 scale 1:20 850 140 355 135150300130 mirror basin bottlewashchrometap,parryware,finishgraniteslabcounterbasin,parryware,450X355trap,upvc 1270 2810 500 1800 900 1050330150 overhead 140mmdia,hindware,shower,chromeplatedmixerfaucet,hindware,brassnahanitrap,110mmdiamountedfiller,lightweightcinder,150mmthvitrifiedtiles,Kajaria,40X40mm a 200 550 1880 brick wall, 230 mm 12mmvitrified15mmplaster,ththtile,thgroove,5mmthfiller,150mmth Detail A scale 1:5 2900 18801800 900 90 430 60 2900 21 1462 740 500 mirror general notesheight project:fixture Housingspecificationfixture parryware cara bowl basin rainwater,PVCkajariag1468a1parryware450X355mmcoralswanneckpillarcockparrywareindusWC,C0265,600X380X840hindwaremixterfaucet,wallmountedtype,f110018kohleroverheadshower,OHS-CHR-1989prestigeroundring1,B07BK5K8H8royalbathhealthfaucet,HFMH002vetrifiedtileslopedirection1:200hotwatersupplycoldwatersupplylakshaytowelrodss304PVCpipeforcoldwater,20mmdiaCPVCpipeforhotwater,20mmdiapipefor150mmdiaPVCpipeforgreywater,20mmdiagreywater healthWC(top)faucettowelrodwashbasintaptowelringmixermirror(bottom)showerheadbottletrap from floor finish 1800mm1200mm1180mm500mm430mm850mm850mm900mm980mm400mm PRODUCED BY AN AUTODESK STUDENT VERSION VERSIONSTUDENTAUTODESKANBYPRODUCED overhead 140mmdia,hindware,shower,chromeplatedmixerfaucet,hindware,brassnahanitrap,110mmdiamountedon150X150mmchromeplatefiller,lightweightcinder,150mmthvitrifiedtiles,Kajaria,40X40mm2900 18801800 900 90 430 850 130 1200 200500 2400 700 60 4002001090 overhead chromebasinexhaust140mmdia,hindware,shower,chromeplatedmirrorfan,USHA,270mmdiatowelhanger,stainlesssteel,180mmdiatap,parryware,finishwashbasin,parryware,450X355wc,parrywarehealthfaucetgun,royalbathmixerfaucet,hindware,brassvitrifiedtiles,Kajaria,40X40mm elevation 1 scale 1:20 21 34 2438 1270 800 300 340 200 90 700390 800 500 1462 740 980 toilet plan scale 1:20 mirror basin chrometap,parryware,finish VERSIONSTUDENTAUTODESKANBYPRODUCEDbrick wall, 230 mm 12mmvitrified15mmplaster,ththtile,thgroove,5mmthfiller,150mmth Detail A scale 1:5 general specificationnotesfixture parryware cara bowl basin rainwater,PVCkajariag1468a1parryware450X355mmcoralswanneckpillarcockparrywareindusWC,C0265,600X380X840hindwaremixterfaucet,wallmountedtype,f110018kohleroverheadshower,OHS-CHR-1989prestigeroundring1,B07BK5K8H8royalbathhealthfaucet,HFMH002vetrifiedtileslopedirection1:200hotwatersupplycoldwatersupplylakshaytowelrodss304PVCpipeforcoldwater,20mmdiaCPVCpipeforhotwater,20mmdiapipefor150mmdiaPVCpipeforgreywater,20mmdiagreywater PRODUCED 00.10.30.6m 00.10.30.6m
THE LUCID AGRAHARAM SEMESTERUDAIYALUR,TAMILNADU,INDIA03
STUDIO GUIDES: Asst. Prof Shreyas Baindur Prof. Srinivas SG Prof. Nagesh H D Asst. Prof Anjali Sharma
Temples and ponds around the village
Udaiyalur initially is renowned as 'Boopathirajapuram' or 'Sri Kanteyapuram'. Brahmins found a way to survive through their intellect and made workers work because the water was abundant.
Udaiyalur is a village situated in the south of India, around 12km from Kumbakonam, Tamil Nadu.
This land is also known for the Samadhi of the Chozha king– RajarajaChozhan. There are stories were about how the Chozha king donated land to the Brahmin community because of the passion and love towards Shaiva culture.
Documentation credits to Sanjana Rao, Harshith Aiyappa, Karthik VGK, Srivishal GM, Ann Lia Mathew,Shashank B, Dhanush H, John George, Keerthana Venkatesh, Syed Mohammed Adeeb, Raghu N, Suraj S Gayakwad, Sourabh Bekwadkar, Sayema Syed, Bhoomika BR, Hiba Shireen
Udaiyalur being in the delta regions of the river Cauvery, the eastern part of the Indian peninsula, receives the Northeast monsoon. It holds nutrient-rich alluvial soils whose deposits are brought by the slowing river. This land is known for the growth of paddy and along with black gram, sugarcane, banana, coconut, red gram, green gram, sesame, and maize.
Since then, they got into agriculture and settlement was necessary to control the production. The Agraharams belong to Brahmins they were elevated as it was believed that would depict their elevated stature in society.Climatologically speaking, the elevation of the land is a necessary precaution from the flood plains.
Vicinity map
ADetailstypical house elevation
One experiences transition in Udaiyalur from the street to the house concerning scale and light. The enclosure varies as one moves around the house, thus covering different zones of privacy. Every house welcomes a person by providing shade and a plinth. The shade is brought by a sloping roof that filters light while also cooling the space. The plinth responds anthropometrically, which allows activities to happen comfortably As a private living area, thalavaram is lit by muttram.Muttram is an unbuilt zone that is surrounded by thalavaram at which life in a house happens.
The other communities in the village support each other through sharing food and donating money. The Agraharam must have seen rituals that celebrate the rite of passage of life until a few decades ago.
The main festivals celebrated traditionally in the Agraharam now are Pongal, Maatu Pongal (second week of January), Thiruvizha(celebrated during March-end or April beginning), Pilliyar Nombu, and Thirukarthigai Deepam (celebrated during early December).
The simple science of hot air rising above and cold air settles down has been applied in the houses of Udaiyalur. The wall and the floor of the court heats up during the day, and as the hot air rises above,fresh cooler air comes from the backyard and equilibrates through the linear doors.
Eave height +1700mm Plinth height +500mm Ridge height +2400mm Ridge height +4000mm
THANKYOU! NITHYASHREE S +91 Bangalore,7795939257India
