PORTFOLIO
Palak Agarwal Master of Landscape Architecture University of Pennsylvania
1962
2009
|
R V
S U M M E R
P R O G R A M
|
O F
|
O F
B H U M I P U T R A
|
R V
P E N N S Y L VA N I A
O F
T I M E
A R C H I T E C T U R E
A R C H I T E C T U R E
T H R O U G H
P E N N S Y L VA N I A
C O L L E G E
A R C H I T E C T U R E
7
A R C H I T E C T U R E
S T U D I O
O F
U N I V E R I S T Y
O F
W O R K
|
B H U M I P U T R A
A R C H I T E C T U R E C E P T
P R O F E S S I O N A L
C H O T E K A D A M - C H A N G I N G I N D I A O N E AT A T I M E
|
2
E X P L O R A T I O N B . A R C H
A N
C O L L E G E
U N I V E R I S T Y
G A R D E N
P E N N S Y L VA N I A
|
G A R D E N W O R K S H O P
F L U X
S I T E 6
U N I V E R I S T Y
D E P L O Y A B L E
C O M P E T I T I O N
|
E N T R Y
S T U D I O
A N C H O R
B . A R C H
E L U S I V E
1942
2
PIERHEAD LINES 1898
S T U D I O
2009
M L A
1
1962
M U D S C A P E S
S T U D I O
1942
M L A
L A Y E R E D
BULKHEAD LINES 1898
L A Y E R E D
G A R D E N
M L A S T U D I O 1 | U N I V E R I S T Y O F P E N N S Y L VA N I A A D V I S O R : R E B E C C A P O P O W S K Y L O C A T I O N : U P P E R R O X B O R O U G H R E S E R V O I R , P H I L A D E L P H I A
This studio particularly focused on seeing and experiencing landscape through drawing – on representation as a fundamental driver of design. The project evolved out of the fusion of repeated site experiences, the representation strategies that document and explore those visits, lessons learned through precedent studies, and imaginative formal and conceptual explorations. Project was not only be understood as complete or final constructs, but also as negotiations of fixity and change that engage existing site dynamics, the passage of time, and the design imagination.
S
E
C
T
I
O
N
P
L
A
N
P
L
A
N
The site was initially understood as a construct of layers - time, vegetation and hydrology. The section of the site refelects all these layers and helps understand the connections between these different elements. The garden was an expression of this interaction. The garden was designed as platforms that were built off the negative spaces between the trees on the berm of the reservoir. A pit was dug at the end of the run-off stairs to symbolise the change in the functionality of the reservior. The different layers of soil in the pit have a specific timeline attached to it and are representative of the quality of water that was being filtered. A trail was designed from The Schuykill Center for Environmenmtal Education to the reservior to connect the garden to the larger Schuykill River trail. A similar material palatte was chosen to create the trail and the platforms to connect them visually. Planks of wood and metal grates were used to make the platforms. The grates allowed the vegetation below it grow and thrive. Main idea of the entire intervention was to have minimal impact on the site. Humans do enough to create disturbances in the nature and the idea was to create a design that would still be prominent while still being responsive and responsible to the nature and the elements around it.
V E G E T A T I O N
The design was presented as a axonometric with various sectional perspectives which talk about the spatial experience. All the drawings are layered and formed as a composition of various analog and digital medias and kinds of paper.
M
O
I
S
T
U
R
E
F I N A L
G A R D E N
D E S I G N
S E C T I O N A L
P E R S P E C T I V E
T H R O U G H
T
H
E
B
O
G
S E C T I O N A L
P E R S P E C T I V E
S H O W I N G
T
H
E
P A T H
M U D S C A P E S This studio concentrates on developing skills and creative sensibilities for transforming a section of the Delaware riverfront in the Fishtown area of Philadelphia. Through the design of a park, we will study the roles of concept, organization, and form in the creation of new assemblages of public space and the natural world; and in the creation of new relationships among the site, its immediate edges, and the larger region. The aim of the studio is to answer to a larger context in terms of ecology and socio-economic factors.
M L A S T U D I O 2 | U N I V E R I S T Y O F P E N N S Y L VA N I A A D V I S O R : K E I T H VA N D E R S Y S L O C A T I O N : F I S H T O W N , P H I L A D E L P H I A
1942
1962
2009
PIERHEAD LINES 1898
1942
1962
2009
SEA LEVEL RISE
BULKHEAD LINES 1898
Parks are powerful and strong ideological statements: they play an emblematic role in definitions of public space; and they are cultural representations of both social and environmental ideals at a very particular moment in time. As a type of administrative entity that historically contributed to the founding of the profession of landscape architecture in the United States and parts of Europe, public parks have ideals about democracy embedded within them. They are invariably contested grounds in their making and management as well as their appropriation by the public. Thus, parks are microcosms of the political, social, and economic terrain that form the basis for any discussion about landscape. The site is beside Penn Treaty Park which was built in the 1900s as a symbol of peace. While researching about the site and the history I came across Petty’s Island which is now being converted into a natural preserve. An interesting fact that I found was the presence of mudflats which are the type of wetlands which are more appropriate to this region. So my project is going to try use this typology and use it as a park. It plays an important role in the ecological process and it would be interesting to design the interactions with mud. The work shown here is a work in progress and just talks about the narrative . It is the studio I am currently enrolled in.
O
R
G
A
N
I
S
A
T
I
O
N
M
O
D
E
L
S
Industrial Relic
Economy
Trail Network
Biking Network
Education
Existing programs to enhance
FISHTOWN
Bird Habitat Restoration
Animal Habitat Restoration
Introduction of new programs Legend : Metro line (MFL) Ferry Bike Lanes Trails Parks Site
Recreation
Green Philadelphia
P
R
O
G
O
R
G
A
R
A
M
M
I
S
A
Restoring Ecosystems
A
T
Cleaning Stormwater Runoff
I
C
D
I
O
N
I
T
S
T
R
I
Cleaning Delaware River
B
U
T
I
O
N
N
S
Legend : Metro line (MFL) Ferry Bike Lanes Trails Parks Site
A
N
A
L
Y
S
I
S
N
T
I
E
R
A
T
I
O
22 26
. 19 L.P
20 22 24
26
28
24 20
24 L.P .2
26
24 1
22
37 P.
32
G A R D E N
30 28
22
24
T.O.S. 18
+18 +16.5 +15 +13.5 +12
22 B.O.S. 12
20 18 28
16
14 H.P. 15
12
14 12
28
26
30
H.P . 17
16
10
. 19 H.P
14 10
. 31 T.O.S
H.P. 31
26
10
22
14
18 16 10
6
12
H.P.
14
15
12
.S. 1 B.O
14
18
14
12
H.P . 17
.P. 15
H
12
10
10 14 10 10
12 14
H.P. 15
16 14
12
10
16
16 14
14
12
20
20
16
16
12
+28 +26.5 +25 +23.5 +22 +20.5 +19
22
14
10
24
+29.5
10
16
12 . 17 H.P
Here, one also has the option to sit along a second more intimate and enclosed tiered amphitheater. This vantage point offers easy access to the water. This resting area also serves as a prime spot to observe and engage with the shifting water levels. Subsequently, as the tide ebbs and flows, it alters the appearance of the engineered mounds that emerge from the bay.
26
24 22
12
12
. 17 H.P H.P. 15
One enters the site from the northeast corner. The path begins between two mounds that rise from wide bases to above the walker’s eye level. In addition to constricting visual access to the surrounding area, mounds would create dramatic shadows at certain times of day. The sense of enclosure along this portion of the path would peak at the middle of the mounds and diminish at each end. Exiting this area, one reaches a fork in the path and a new view of the river. The path on the right leads down toward the water’s edge with a highly exposed series of tiered seating embedded into the hill on the left. Beyond this point, the path forks again, with the option of walking either through or around the constructed series of scalloped islands in the fluctuating tidal bay. This fork ultimately loops back onto itself, but not before reconnecting visitors to the path above.
20
24
28 26
. 19 L.P
Our group’s point of entry into the site was the existing s-curving group of contours, which led us to consider contrasting enclosed and expansive landforms. Building upon the physical juxtapositions, we considered temporal relationships between light/ shade/shadow and high/low tide. These themes translated into alterations of the site through extrusions and depressions of the topography. We altered most of the contours, yet maintained the overall s-curve of the existing landform.
30
1 .2 L.P
W O R K S H O P 2 | U N I V E R I S T Y O F P E N N S Y L VA N I A A D V I S O R : C O R A L . O L G YA Y | A N N E L I Z A K A U F E R L O C A T I O N : P E N N Y P A C K , P H I L A D E L P H I A
26 32
H.P. 15
F L U X
26
L.P .2
H.
34
22
1
36
14
10
10
12
14
16
18 20 ft
G
R
A
D
I
N
G
P
L
A
N
A
N
D
M
O
D
E
L
E L U S I V E
S I T E
B . A R C H S T U D I O 6 | R V C O L L E G E O F A R C H I T E C T U R E A D V I S O R : A N I T H A S U S E E L A N L O C A T I O N : VA L L E Y S C H O O L , B A N G A L O R E , I N D I A
This studio particularly focused on understanding the differences and similarities of institutional goals and architectural goals. Special attention was paid on the creating of spaces of learning - formal, informal and interactive processes of learning and role of the built environment. The role of built environments in therapeutic and nurturing institutions and their functions. The site provided for a very nature and landscape driven project.
W
A
T
E
R
S
I
D
R
A
I
N
A
G
E
M
A
P
C
T
S
Institute for Ayurveda and Integrative Medicine (I-AIM) is a medical research unit of FLRHT (Foundation for Revitalisation of Local Health Traditions), with the larger mission to demonstrate the contemporary relevance of Indian Medical Heritage in providing medical relief and in extending education, training and imparting creative community services. The research unit is primarily engaged in the conservation and study of medicinal plants used in Ayurveda beyond combining platforms for creative arts therapy and innovative programmes for awareness and transmission of Ayurvedic medical heritage. Alternate medicine deals with creation of the accurate atmosphere for correct treatment. Hence, this light factor plays an important role. Hence why the design was derived out of the amount of light entering the space and the type of light. Different lighting options alter the perception of a certain space, which in turn affects the psychological feeling of the person. Degree of comfort and behaviour of the user also changes with the amount of light in the space. It was important to study the site completely because it was around 110 acres and proposing a plan for it needed a detailed understanding. The site was highly contoured with the highest point being almost 150 feet from the lowest point. Hence an extensive analysis of the site was carried out. It was important to understand water drainage on site to make sure my intervention didnt affect the natural system that existed. Multiple sections were made throughout the site to understand the quality of space .
V
I
E
W
O F
C
A
M
P
U
S
T
E
T
R
A
N
S
E
E
X
P
L
C
O
N
C
E
P
T
D
I
A
G
R
A
M
C
O
N
C
E
P
T
D
I
A
G
R
A
M
N
O
M
E
O
D
E
D
A
X
O
T
R
I
C
S K E T C H E S
C A P T U R I N G
T H E
S P A T I A L
S
A
N
A
L
Y
S
I
S
A
N
Q U A L I T Y
E
A
C
T
L
I
Y
O
N
S
S
I
S
- FUNCTIONAL BUILIDNGS
PRECINCT 3
- DILAPIDATED BUILIDNGS - UNDERSATED MONUMENTS
A N
E X P L O R A T I O N
T H R O U G H
B . A R C H S T U D I O 7 | R V C O L L E G E A D V I S O R : A N I T H A S U S E E L A N L O C A T I O N : K O C H I , I N D I A
O F
PRECINCT 1
T I M E
A R C H I T E C T U R E
PRECINCT 2
This project was an urban study done on the port city of Kerala called Kochi. Developed as an important trading port. As time passed the trade has almost come to a nil. A detailed study of the area was done to understand the present and the past. Mapped all activities on the street at all time of the day to understand the urban fabric and then used all the data collected to come up with a proposal that would benefit all the inhabitants in the long run. I did a study on the structural systems of the old buildings to understand and figure out ways to manipulate them to create spaces for the present use. The proposal included of 3 different precincts that were indentified through the availability of understated monumnets and the dilapidated structures. I also identified local industries that worked out of workshops close. By incorporating those workshops in these old structures the neglected water edge would flourish back to its old glory.
S
I
T
E
P
L
A
N
FLOOR RAFTERS
The community grew and flourished on two major streets: Bazaar road and Palace road, one the business hub and the other the residential hub. Both were treated differently in terms of architecture. The bazaar edge was mainly godown typologies where as the houses were built depending on the community residing their. As an understanding of the functionality and the present trend of the development around and in Bazaar street grew, I knew that the present trade wouldnt survive and flourish and all the godowns would be converted to luxury resorts and hotels - a similar scenario on the Fort Kochi edge. So the question arrived-�If trade is removed from Bazaar street can it still be called Bazaar street?�
RAFTER BEARING TIE
WOODEN STRUT
COLUMN
Intent: Create and converse the history of the building and locality and creating a self sustaining economy. Create a new dimension of tourism: Learning - using the many layers of history left by att the conquerors. Design Strategy: Adaptive reuse of godown courtyards. Identification of new jetties. and
EAVE DETAIL
B
U
I
L
D
I
E
A
N
G
V
T
E
Y
D
P
E
T
O L O
A
G
I
I
L
E
S
IFE
FL
UR
CH
O CH
G TIN
N PRI S PRE Y STR
DU
S IN
IC
ND
HA
A
X
O
N
O
M
E
T
R
I
C
S
K
E
T
C
H
O
F
T H E
S
T
R
E
E
RY
T US
D
T IN
F RA
ION
T EC
F
N CO
Y AR
RY
ST
U IND
LIC
B
PU
M
RU
FO
T RY TO RA TER O EN AB EL GC AG ININ T I R A HE D TR AN
T WA
T
R
A
N
S
E
C
T
S
T
H
R
O
U
G
H
T H E
S
T
R
E
E
T
P
L
A
N
O
F
T H E
G
R
O
U
N
D
F
L
O
O
R
EF
DG
E ER
C UN
NS
TIO
A N C H O R C O M P E T I T I O N E N T R Y | B H U M I P U T R A A D V I S O R : A L O K S H E T T Y L O C A T I O N : D E L H I , I N D I A
A R C H I T E C T U R E
The Indian War Museum must commemorate our military’s gift of peace to the country by embodying this essential sentiment. Our design achieves this by leaving everything at surface level untouched: 85 per cent of original tree cover, as well as the ageold barracks that lend historic relevance to the site. Accordingly, the museum itself would be situated below eye-level, in a series of otherworldly chambers below the surface of the earth. Hence the metaphor of the anchor: just as that piece of solid machinery plunges to uncharted depths to secure the mother ship, so does the military afford our country a degree of stability that often goes unnoticed. The experience of visiting this museum would be like no other, allowing patrons a meditative space in which to contemplate on the journeys endured by our jawans. Furthermore, the three components of our structure reflect the three wings of the military. The glass boxes that bring in light from the sky symbolize the lofty province of the Air Force. Water bodies dotted throughout the premises, which also serve as rainwater harvesting catchments, symbolize the Navy. Finally, the use of earthen materials, tunnels and trenches pay homage to the Army. In conclusion, the objective of this museum calls for an built form that is out of the ordinary. Through these design parameters, our hope is to create an immersive experience that communicates the enormity of the military’s responsibility. If, through a single visit to this museum, we can enable visitors to conceive the immense call of duty that our military fulfills, it will be our humble way of giving thanks for the sacrifices made by them every single day. There were 402 trees on the site. The entire concept and planning was done in a way to retain as many as possible. We were able to save 350 of them which was the most important aspect. “Just as an anchor, a piece of solid machinery plunges to uncharted depths to secure the mother ship, so does the military afford our country a degree of stability that often goes unnoticed.”
1 TICKET COUNTER 2 SECURITY CHECK 3 ENTRANCE LOBBY
4 EDUCATIONAL BLOCK a -CONFERENCE ROOM b -AUDIO VISUAL ROOM c -LIBRARY d -LIFT LOBBY e -AUDITORIUM f -ADMINISTRATIVE OFFICES g -RESTORATION LABS h -STORAGE
5 GALLERY -HALL OF THE INDIAN ARMY G R O U -HALL OF THE INDIAN NAVY -HALL OF THE INDIAN AIRFORCE -INDIAN MILITARY(PRE-INDEPENDENCE) 6 INDO-PAK WAR (1947-48)
7
INDO-CHINA WAR (1962)
8 INDO-PAK WAR (1965) A N D D 9 N COURTYARD 10 INDOPAK WAR 1971 11 KARGIL WAR PART 1 12 KARGIL WAR PART 2
C
O
N
C
13 14 15 B 16 17
E
OTHER MISSIONS MEMORIAL PATH HALL A SOF HONOUR E M E N OPEN AIR THEATRE UNDERGROUND TUNNEL TO MEMORIAL
P
T
U
A
L
S
T
E
P
C
T
L
A
N
I
O
N
E
X
P
L
O
C
O
N
D
C
E
E
D
P
T
A
U
X
A
O
L
N
R
O
E
M
N
E
T
D
R
E
I
C
R
S
C
O
N
C
E
P
T
U
A
L
A
X
O
N
O
M
E
T
R
I
C
CORRUGATED RECO SHEET
CORRUGATED METAL SHEET
ONDULINE ROOFING SHEET SPLIT BAMBOO BAMBOO MAT BOARD
C H O T E K A D A M - C H A N G I N G I N D I A O N E AT A T I M E P R O F E S S I O N A L W O R K | B H U M I P U T R A A D V I S O R : A L O K S H E T T Y L O C A T I O N : I N D I A
A R C H I T E C T U R E
PINE WOOD FLOORING India has some of the world largest slums. Dharavir, in Mumbai, is the biggest slum known to man kind. Most of these dwellings have similar living conditions and all of them face certain challenges. The most common challenges being of sanitation and lack of basic shelter. Most of the houses built by them are temporary and use waste material that can be found around. As most of the dwellers are a part of the construction industry they tend to lead a nomadic life. Moving from one place to another in the search of employment.
RECO SHEET BISON BOARD
BAMBOO MAT BOARD
P
R
O
T
O
T
Y
P
E
T
Y
P
E
1
E
R
Using the idea that most of them belong to the construction industry we tried to develop a protoptype that used waste scaffolding and metal sections on site. It was deisgned and built so that it could be dismantled easily and moved to another location without much hassle. The skin of the prototype was initially made of bamboo mats. Many other materials have been tried and tested. Two prototypes were built and kept in these localities and surveyed through the year to figure out the shortcomings and make improvemnts in the design. The design was made keeping the cost of it in mind as most workers would not want to pay a high amount for them. We also came up with a financial scheme that would instill the idea of ownership in the dwellers. Maximum budget alloted for easch unit was about a $1000. The third prototype was designed with a modular concept that could be repeated to form bigger units. The entire utnit is raised on jacks by a foot, to ensure protection from floods and water clogging. The industrial ventilator ensures good air circulation within the unit as it dispenses of the hot air that accumulates inside.The mesh panels facilitate cross-ventilation and can be replaced with any panel depending on conditions outside. Hooks are welded onto the metal frame and used banners printed on flex are used to cover the unit and offer protection from the rain.F R P sheet is used to cover the skylight and offers ample natural light.A simple hinge is used to secure the door.
I
N
T
E
R
P
R
I
O
O
C
R
E
R
S
E
S
N
M
D
O
D
E
L
S
C H O T E K A D A M - C H A N G I N G I N D I A O N E AT A T I M E P R O F E S S I O N A L W O R K | B H U M I P U T R A A D V I S O R : A L O K S H E T T Y L O C A T I O N : I N D I A
A R C H I T E C T U R E
Parinaam foundation was invovled with communities across India to provide basic facilities to the underprevilidged. It is a non-profit organisation which signs up with companies to do social work and bring about a change in India’s economical and social situation. This particular project was a colloboration between Ujjivan Small Finance Bank and Parinaam Foundation. The foundation had created a list of communities that they wanted to work with and a list of facilties that these communities needed. As the project architect it was my responsibility to create these prototypes keeping the budget and location constraints in mind. Most of the communities were in remote locations and had access to limited resources and lacked skilled labour. The first proposal was of a bus stop. There is still a large majority of India’s population that travel using the public transport systems provided by the government. A lot of bus stops around the country are either non-exsistent or are in really bad condition. Most of the cities have functional bus stops but are not able to solve problems of the daily commuter. The basic requirements on the bus stop included : • Seating • Dustbins • Protection from rain and sun • Advertisements From the present scenario and air pollution that every city faces, we thought of incorporating a green element into all designs as they control the air pollution and also purify the air. A small step like this would increase the number of trees and plants in a given city. The first prototype is based on a modular system where each module can be replicated to create bigger bus stands. Each module is based on a lattice network hence making the metal sections thinner and the design more effective. The second prototype is a ferrocement roof that adds an element of form to the urban fabric and provides seating on either side of the planter box hence making it more user friendly.
R
C
O
N
S
T
R
U
C
T
I
E
N
D
E
R
S
O
N
P
L
A
N
D E P L O Y A B L E
A R C H I T E C T U R E
S U M M E R P R O G R A M | C E P T A D V I S O R : V I C K Y A C H N A N I L O C A T I O N : A H M E D A B A D , I N D I A
“Today our built environment is affected more and more by rapid and dramatic change, ecological considerations and social and cultural impact. In this scenario, a form of architecture that is flexible and lightweight with minimal environmental impact, sited easily, responsive to new technological and aesthetic opportunities, has a great value.� - Kronenbrug, 1997 So with this workshop we took a leap from the conventional practice and look at architecture that is in motion; that is flexible and demands lightness, without compromising on strength. We got into the intricacies of weighing our building components, generate discussions on material distribution, look at built form as connection of nodes and not just merely draw but practice service, detail out mechanism for components look into sophistication of assembly as methods. We undertook prefabricated componentised construction that was informed by discussions and practice. At the same time it responded to extremely operational parameters and more often than not make use of experimental and explanatory construction methods where we employ innovative materials and constructional techniques, with a range of detailing that is much more than conventional. The workshop was an intense hands-on undertaking with a focus on designing, detailing, component mechanism, prototyping and true scale execuetion of a built form whose components are flexible and assembled in lightweight systems resulting in a endless array of configurations. The final form was structured in the shape of a pentagon keeping in mind the after shocks. The walls were made at an angle so that if there is another disaster the walls collapse on the outside and not harm the habitats inside the building. The frame is made majorly using box sections with pin joints. AIM : To create an interim shelter for the people who suffered from any natural calamity. An immediate shelter that can provide basic needs and can turn into a permanent shelter if required.
P
R
O
C
E
S
S
M
O
D
E
L
S
P
A
L
A
K
A
G
A
R
W
a g a p a l a k @ u p e n n . e d u +
1
(
6
0
9
)
7
7
2
-
9
7
7
4
A
L