Impact of Fenestration System on the Architectural Expression in the works of Gurjit Singh Matharoo

The Impact of Fenestration System on the Architectural Expression in the works of Gurjit Singh Matharoo Associates

Undergraduate Research Thesis Monsoon 2018 Faculty of Architecture, CEPT University Ahmedabad, India

Dissertation by Parshva Palkhiwala UA1813

Guided by Prof Sankalpa Associate Professor Faculty of Architecture, CEPT University

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Declaration This work contains no material which has been accepted for the award of any other degree or diploma in any University or other institutions and to the best of my knowledge does not contain any material previously published or written by another person except where due reference has been made in the text.

I consent to this copy of the thesis when in the library of CEPT University, being available on loan and photocopying.

Student Name: Parshva PalkhiwalaCode No: UA1813 Date: 25th November 2018

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Table of Contents

1.1. Introduction to Architectural Detailing……………………………………………………7 1.2. Introduction to Fenestration system…………………………..…………………………...9 1.3. Research Objectives……………………………..……………………………………….11 Aim…………………………………………………………………………………...11 Hypothesis……………………………………………………………………………11 Research Question……………………………………………………………………11 Method……………………………………………………………………………….11 Scope and Limitation………………………………………………………………...12 1.4. Need for the study………………………..………………………………………………13

2.1. Functional Attributes………………………………………..……………………………17 Light………………………………………………………………………………….18 Ventilation……………………………………………………………………………19 View Framing………………………………..……………………………………………..20 2.2. Formal Attributes…………………..…………………………………...……………….21 Geometry and Proportion…………………………………………………………….22 Material Character……………………………………………………………………23 Modularity……………………………………………………………………………24 Articulation…………………………………………………………………………...25 Termination…………………………………………………………………………..26 Juxtaposition…………………………………………………………………………28 2.3. Spatial Attributes………………………………..……………………………………….29 Relationship with the surroundings………………………………………………….30 Anthropomorphism………………………………………………………………….31 5

Movement and axis…………………………………………………………………..32 Degree of Enclosure………………………………………………………………….34

3.1. Introduction to Matharoo associates and their work………………..……………………35 3.2.Selection criteria for the cases…………………………………………………..…….….37 3.3.Case Studies……………………………………………………………………..……….38 Case 1: ‘Pool’ Matharoo associates ………………………………….……….……..39 Case 2: Babubhai Patel’s House…...…………………………………………….….. 57 Case 3: ESIC Model Hospital…………………………………….………………….71

BIBLIOGRAPHY FIGURE CREDITS ACKNOWLEDGEMENT

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Introduction 1.1.

Introduction to Architectural Detailing

“Compositional questions such as whether a shadow line is desired, whether the window should be flush or recessed, and whether or not a joint should have a piece of trim all provoke technical exploration. The detailer probes what must be done to produce a shadow line, for the glass to be in the same plane as the exterior cladding, or for a joint to be trim less. What the detail looks like and how the detail is made are inseparable aspects.” (Edward Allen 2016) Architectural details essentially provide the understanding of the juxtaposition of materials, their joinery and service systems. Details can be seen beyond functions and as a part of the larger architectural order and beauty of the building. It can be seen at the scale where the user is closest to the architect`s imagination. Such design articulations can lead to an almost therapeutic quality of space. The pleasure of looking at, listening to, touching and moving through architecture is expressed through its fenestration elements. The way they are composed embodies meanings which are beyond mere construction.

“In the best architecture, the details go beyond the technical realm to convey important compositional qualities and meaning. A well-composed detail can capture the essence of the building design in a vivid way, and can explain the relationships between the parts of the building they are joining… Many buildings have one little feature that people can fall in love with. The potency of the detail as a memorable building feature is sometimes underestimated.

Details that are seen up close or touched have the greatest potential to positively influence observer. Grasping the door pull that was designed by the building’s architect is as close as one can come to shaking that architect’s hand.” (Edward Allen 2016) The Formal and Spatial character of the element—which surpass the limitations imposed by the conventions of techniques and aesthetics, and becomes a mode of expressing architecture— represent the intentions of the architect. An architect designs a detail of a building to reveal something of their concerns, aspirations, and way of thinking and working.

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Details represent a style. It may or may not be intentional but it certainly plays an important role in giving a strong character to the building. For example, the Doric order of columns gives a unique language and architectural expression to the Greek Temples. Every designer of buildings has a way of working; it may not have an explicit name, but it may have a consistent personality or a guiding ethic. This personality emanates from an appeal to space, to form, to light, to color, and thus to details.

For some architects, the design begins with an idea of a detail as a seed, which eventually grows into the building, On the other hand, the details may be the last piece of the puzzle, but it becomes a means to express the major architectural idea.

In his book, Edward Ford states that detailing is the small-scale animation of static abstractions by the displaying of the functions, by the exaggerating of function, by the representing of function, or by the reverse.

In a building, other than the function of working, a detail has a visual and tactile impact on the space.

Leon Battista Alberti saw architecture as the appropriate selection of details to create an object of beauty. He stated that beauty comes from the skillful joining of parts in which nothing can be added or subtracted for the worse.

Hence we can say that a truly great building cannot be realized without the contribution of the details, which harmonize and glorify the beauty of the most ordinary construction materials and systems.

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1.2.

Introduction to Fenestration system

“The Window – a sign of human life, wink to the passer-by, the eye of the building allowing one to gaze at the outside world … welcomer of the daylight and sun’s ray highlighting surfaces and objects, a source of fresh air and sometimes place of exchange of words and smells … but also a break in the wall’s structural continuity and thus a place of vulnerability, fragility, thermal sensitivity, leakage.” (Clery Val, 1979) Definition of Fenestration according to Merriam-Webster Dictionary is “The arrangement, proportioning, and design of windows and doors in a building.” And a regularly interacting or interdependent group of Fenestrations forming a unified whole is defined as Fenestration system.

Bernard Tschumi defines Windows and Doors in his book INDEX Architecture as A part of the building where an attitude towards space and material is most clearly stated.

How marvelous is an opening in a wall! It allows the natural light to enter into the building, which defines and shapes the inside. The amount of natural light directly depends upon the number, sizes and the location of the fenestrations and then on the reflective properties of the surfaces inside.

Initially, fenestrations were more symbolic than functional. The formation of the village itself meant that human had learned to live and work together in peace, the opening up of a window was a symbol of their growing sense of security and of community.

Since then, fenestrations have come a long way to giving character to the façade and space behind them. Fenestrations are the places in a building where the interior and exterior meet and interact.

Design of the overhang over the fenestration spoke for the climate of the place. Carving on the doorwindow jambs gave away the religious values that the house owners believe in. Design of the door knock stood for the age of the door.

“Advancing in glass technology have allowed many of the former accouterments of the window –shading devices, bars of security, handles with which to open the window –to be internalized in the glass itself, becoming invisible, or discarded entirely. The slow death of the window as a singular articulated area, a hole punctured in a wall in order to select a particular view, and even as an anthropomorphic metaphor, an “eye” was replaced by the window as a uniform screen wrapped around a building.” (Rem Koolhaas, 2014) 9

Glass, which literally grew to be the perfect companion for the fenestration —transparent, flat, strong—swallowed them up entirely over the course of the course of 20th Century, ending up in the curtain wall.

Doors and Windows were once the features with which one used to distinguish one’s place from another. They gave an insight into the identity of the occupant, but the versatility of glass made such qualities of fenestration elements, redundant.

In his dissertation, author Anuj Anjaria classifies that, Doors and Windows have following Spatial and Functional Intents.

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

Defines physical and visual access



Defines light quality



Shapes inside-outside relationship



Defines enclosure and security

1.3.

Research Objectives

Aim To establish the impact of fenestration systems on the architectural expression in the works of Matharoo associates.

Hypothesis Detailing of the fenestration systems is the means through which the character and the content of the building are expressed.

Research Question 

What is the relationship between how the details look like and how the detail is made? o How do details affect the visual composition of building elements? o How can the character of the detail inform the form-making of the whole building?



How does fenestration contribute to the architectural expression of space? o How does fenestration give character to the façade and space behind them? o How do the fenestrations become the interface between inside and outside?



What is the personality or guiding ethic of the architect to detail, form, light, and space?

Method By taking the case of fenestration elements the dissertation tries to understand the influence of detailing on the architectural expression of the building. The process of sequential analysis has the following steps: Firstly, Document the mechanisms and various configurations of fenestrations in following buildings of various types by Matharoo Associates: 

Pool (Office building)



Babubhai Patel’s House (Residential building)



ESIC Hospital (Public Institutional building)

Secondly, by relative analysis, understand the architects approach towards fenestration systems in different scenarios to derive the range of expressions that one element can take in diverse contexts.

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The following analysis will be carried out to critically analyze the attributes of the system through, diagramming, comparison, and various techniques of logical argumentations.

1.

Functionally analyze the fenestrations through analysis of Sun shading, Natural lighting, Ventilation, air tightness, View, Efficiency, Convenience, etc. to determine how does it perform given task?

2.

Formally analyze the fenestrations through analysis of Order, Repetition, Articulation, Termination, Material Character, Geometry, and Proportion, Juxtaposition, Tactility, Alignment, etc. to define how does it look?

3.

Spatially analyze the fenestrations through analysis of Orientation, Anthropomorphism, Movement, Configurations, Relationship with the surroundings, Interaction, Degree of Enclosure, etc. to establish how does it translate into space?

Scope and Limitation The Architectural expression of a building is an amalgamation of many architectural elements and the way they come together in a built form. However, this study focuses only on fenestration systems and their architectural expression and analysis of the impact of other elements of the building are beyond the scope of the thesis.

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1.4.

Need for the study

“An architect can make choices that yields desired formal qualities but, since functional equivalence (like synonyms) are never exact, these choices produce subtle but important inflexions of functionality and expression. They can be made with rhetorical intent, to produce emphasis, irony and so on.” (William J Mitchell 1998) In his three-part book, Kurt Rowland puts forward the idea by saying that, in an ideal detail there is a perfect relationship between the detail-articulation-shape on one hand and the material and the method of manufacturing on the other.

Vernacular houses from different parts of the world show how the choice of building material is governed by the surroundings, their pattern is the result of the most efficient use of the material for a particular purpose. Craftsman can make efficient details because of their deep understanding of potential and limitation of each material, understanding of suitability of the purpose, use of simple tools.

In order to produce and justify a design that not only has desired formal properties but also satisfy practical requirements, a designer must be able to infer the functions of architectural elements and compositions from their formal properties.

When a purpose can be served by choice of different forms, and when equivalent forms can serve different purposes, a designer must choose a particular way of relating form and function. Though, “To claim that form follows function is to claim that some formal features or qualities of an object are necessary for functional adequacy if those features are not present, then the object cannot perform the function that we have in mind. But if we could identify all the variables that make a difference to the function and associate appropriate constraints with each other and if the constraints are satisfied, we have no reason to believe that it is not functionally adequate… Two components are functionally equivalent when they both adequately perform a specific role.” (William J Mitchell 1998) Hence, functional and expressive architecture develops when elements are shaped to not only fulfill conditions of functional adequacy but also to do so in a way that clearly manifests the experiential qualities on which adequacy depends.

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In his book, Logic of architecture, William argues that one common approach to multi-objective element design problem is to establish rules for trading one objective off against another, then to seek an optimal balance‌ A second approach is to establish a threshold of acceptability so that all the objectives except one are converted into constraints‌ A subtler approach than either of these is to look for ways to vary parameters such that performance in one respect is improved without a corresponding degradation in other respects-in other words, to explore sets of Pareto-optimal solutions.

Architect Gurjit Singh Matharoo, in his works at Matharoo associates, extensively experiments particularly with Fenestration and Circulation elements by relooking at the fundamental definitions and variables, as to redefine them to have desired formal qualities, but also justifies practical requirements of the same. In his work from parts and components, to the whole relationship is intimate because the development of a form of these elements is intermingled with the form development of the building.

In chosen cases, the core concept of a fenestration system is interrogated to derive not only desired but enhanced formal qualities, without losing functional adequacy. Thus, this innovative approach to fenestration systems demands analysis, to determine the efficacy of detailing as a means through which the building expresses its individuality and its substance in diverse environments. Hence, such analysis of Matharoo’s architecture is the most appropriate way to reflect on his architectural worldview.

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Definitions of Attributes “As the character of a natural or artificial place is determined by its formal articulation, character is described by means of concepts such as closure, openness, width, narrowness, sombreness, luminosity, etc. that is qualities which depend on plastic modeling, proportion, rhythm, scale, dimensions, material texture, and color. Particularly important among the determinants of architectural character is the play of forces expressed by a real or fictional construction.� (Edward Ford, 2011) Architectural expression is an outward manifestation of these inner characters with materials and modes of construction. The analysis is developed to interpret the inherent character-defining attributes of a building or a part of a building. According to D. K. Ching in his book, Form, Space, and order, the attributes are classified into three categories. As, Functional Attributes, Formal Attributes, and Spatial attributes.

fig 1 Relationship diagram of various types of attributes of design

According to D. K. Ching, the expression of a building can be studied by analyzing interrelationships between Form, Space, Function, and Technics in a specific context (see figure 1.5.1). William J Mitchell defines, in his book logic of architecture, formal attributes as a description that tells what an

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object is, while a functional description tells what it accomplishes. Spatial attributes are the implications of the built, on the experience of space for the user.

For Fenestration system, defining attributes are classified in three types as: Functional Attributes: Attributes that determine how does it perform given task. 

Light



Ventilation



View Framing

Formal Attributes: Attributes that define how does it look. 

Geometry and Proportion



Material character



Modularity



Articulation and Termination



Juxtaposition

Spatial Attributes: Attributes that establish how does it translate into space. 

Relationship with surroundings



Anthropomorphism



Movement and Axis



Degree of Enclosure

In the following section, each attribute is defined at length with supportive examples and figures.

The classification and definitions are derived chiefly from Form, Space, and Order and A Visual Dictionary of Architecture by D. K. Ching; Architectural Detailing by Edward Allen and Patrick Rand; three-part book Looking and Seeing by Kurt Rowland; Logic of Architecture by William J Mitchell; and Elements of architecture by Pierre von Meiss.

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2.1.

Functional Attributes

Functional attributes justify the necessity of that object. It informs shape and properties necessary for the performance of the function. The primary functions of the fenestration systems are to provide Light, Ventilation, and View.

fig 2 Functional attributes of Fenestration systems

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Light "The elements of architecture are light and shade, walls and space." (Le Corbusier) Light is the first of four elements that Le Corbusier lists in his above-mentioned thesis. This is because space and volume only become legible when uncovered to light, which makes them not just visible but also comprehensible in their spatial dispersal. Light is essential for architecture since it is a necessary element that renders walls and spaces visible. With light as means, the material nature of surfaces and other tactile qualities, that can essentially only be experienced by touch becomes visible.

fig 3 Factors that influence Light

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In his book, Light in Architecture author Chris says that wall openings as a source of illumination were universally celebrated. Until the middle ages, most wall openings remained unglazed. In winters, when residents did not want to feel cold, they had to close the shutters and work to the light of wax candles or oil lamps. At that time Glass was very valuable and very difficult to make as panes. But with the advent of technology red-blue church glazing became prevalent followed by almost translucent glass, then leading to modern day transparent glazing and many other lighting solutions, which continues to give desired light quality making architecture more creative, lively and colorful than ever.

Ventilation “Ventilation moves outdoor air into a building or a room and distributes the air within the building or room. The general purpose of ventilation in buildings is to provide healthy air for breathing by both diluting the pollutants originating in the building and removing the pollutants from it.” (Etheridge & Sandberg, 1996) Building ventilation has three basic elements: 

ventilation rate



airflow direction



air distribution or airflow pattern

Natural forces

(e.g.

winds

and

thermal

buoyancy force due to indoor and outdoor air density differences) drive outdoor air through windows, doors, solar chimneys, wind towers, and trickle ventilators. fig 4 Climatic and design factors that affect Ventilation

This natural ventilation of buildings depends on climate, and building design. Well designed

and maintained natural ventilation systems can generally provide a high ventilation rate more economically, due to the use of natural forces and large openings. Natural ventilation can be more energy efficient, particularly if heating is not required.

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View Framing English

garden

writer

and

designer

Penelope Hobhouse said that, no matter how panoramic its scope, a view of surrounding countryside becomes a genuine garden picture only when it has been framed.

The function of becoming the interface between inside and outside has countless

fig 5 Vista, a sketch by Le Corbusier

impacts on the users. Fenestrations serve the beauty of the outside is served in the comfort of inside. Expression of inside changes dramatically just by selectively framing the view of the outside.

fig 6 Impact of Fenestrations on the View

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2.2.

Formal Attributes

“A good human-made shape is one that is honestly designed, that is to say, where the designer has used his knowledge and his skills to produce the most efficient shape for its purpose. Such shapes originate in the ideas, functions, materials, and methods of their era, and express the era to which they belong.” (Kurt Rowland, 1965) Attributes that are related to form of the element that informs order and character of the shape of an element. Multiple shapes of fenestrations can be derived for a specific function of bringing Light, Ventilation and View to the inside but for each such functionally adequate design, dissimilarities in the formal qualities of the same can be defined as the Functional attributes of the fenestration element.

Kurt Rowland in his book pattern and shape notes that when certain notes are played at the same time they give us a pleasant feeling because they agree –they fit well together. If we look at natural forms from different angles, we see that they are composed of related shapes which make up the harmonious whole and which consequently create a harmonious pattern in our mind. When certain forms are grouped together they too give us a pleasant feeling because they are related to one another. We can say that these forms harmonize.

Word ‘Hand’, provokes a shape in our mind, which is not an actual hand but an average of all the hands we have ever seen: what can be called as the idea of ‘Hand’. In reality, although their construction is always the same, every hand has something which distinguishes it from the idea of hand. This something is called Formal character. More the character, you would identify them more when you saw them again. Formal character helps us to recognize things. That is the reason when we notice a variation in an object from the average we say the object has character. Greater the variation from the average more pronounced the character. The variations break the monotony of the composition and make it aesthetically pleasing. Formal relationships between elements of architecture have been used in countless variations to make aesthetically pleasing compositions.

Variations also help organize different functions in different spaces, thus enhancing the architectural quality.

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Geometry and Proportion “Proportions of important spaces and forms can express harmony throughout the building.� (Edward 2016) Geometry has always been the most important

tool

to

create

order

in

architecture. As shown in Fig 2.2.1, simple casement windows are also available in various proportions to fit the desired formal quality for the function.

Geometry

is

the

most

common

compositional tool used by designers.

Comparison of height and width gives us

fig 7 Various proportion of standard casement window units

the part of elements character. It can be expressed in terms of mathematical ratio. Geometry is the fundamental graphical tool which leads to many other ordering principles such as symmetry, grid, axis, and Proportions.

fig 8: Variations in location and proportion of the rectangular shape fenestrations

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Material Character “In an ideal detail, there is a perfect relationship between the detail/articulation/shape on one hand and the material and the method of manufacturing on the other. We must expect new and unfamiliar details to result from the use of new materials. If human species is to gain the maximum benefit from the introduction of new materials and new processes, new details must be found to match them.� (Kurt Rowland 1965) In order to understand a solid form, one must experience all its tactile qualities, that means one must look at it from all sides, touch it, and use all sense to understand it. This understanding satisfies curiosity and lowers perplexity.

fig 9 Classification of material attributes

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Modularity Modularity uses repetition of a single module as an overall tool for creating forms. For example, a brick is a module which can be organized in many different ways to create a wall. In music, a beat is a module which is repeated at a certain time intervals to create various rhythms. Modular buildings can have a very strong visual language because of repetition. The advantage of a modular design is that a single module can be repeated endless times in various scales to accommodate various functions. These designs are upgradable, serviceable, flexible, and less expensive.

In Japanese architecture, room sizes were determined by combinations of rice mats. Modularity is an especially useful tool for a large scale project, where it is a practical and economical option.

fig 10 Change in Modularity and its impact on expression

fig 11 Change in Modularity and its impact on expression

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Articulation “Aesthetic goals are often catalysts for exploration of technical possibilities of a detail. The detailer fuses aesthetic composition and technical exploration to find the best solution.”

(Edward Allen. 2016) The pattern of veins covering the surface of a leaf is also the pattern of its structural forces. If such material forms the pattern, it does not do it simply to beautify the form; it is a crucial part of it. As both form and detail are created at the same time, by the same process, there is a harmonious relationship between them. This is the kind of harmony which skillful craftsperson can achieve between detail and form, by making use of the natural qualities of the materials they are using. Most patterns, however, exist because of their usefulness, and not for embellishment. None of this articulation was stuck on as a postscript; they are a natural way of concluding the main form.

“Details can be embellished to add to the visual richness of a building and to draw attention to formal qualities.” (Edward Allen. 2016) If we inspect a prehistoric decorated Greek vase, we discover two sets of patterns painted on it. One set is made up of circumferential streaks and bands that were created by holding a paintbrush against the clay vase fig 12 Study of Greek vase

when it was spinning on the potter's wheel. These streaks generally were created at positions that were significant in the curvature of the vase—a change in the radius or direction

of

curvature.

This

practice

is

termed

intensification or articulation, because it is related to the

fig 13 Articulated form

process of making the vase and to its form, and thus it intensifies the vase's aesthetic. The bands and streaks

express the pragmatic and formal qualities of the vase. The other set of patterns consists of scenes of animals, warriors, players, gods, and goddesses-whatever suited the aspirations of the potter. These have little or no relationship to the manufacturer or form of the vase, and is termed "ornamentation.”

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Both articulation and ornamentation contribute to the beauty of the vase, but they sprang from different inspirations.

All of this might be called articulation because it originates from necessity but went beyond to create a pleasure that heightens our understanding of the making of the building. Each such effort is a celebration of the necessary, a sharing of the joy of assembling a building with the viewer who was not involved in its construction but who comes to appreciate that process when it is made visible.

fig 14 Variation in the articulation of a window frame

For example, when a glass opening meets a concrete wall, the detail can be articulated in many different ways. As shown in figure 15 (left side), the offset in the concrete invites the glass to slide in and they are joined by a

fig 15 Subtractive and Additive articulation

concealed sealant tape. It can be considered as a subtractive detail. On the other hand, adding a metal frame to combine concrete and glass (fig.

15 right) is an additive detail. Thus, the designer can make various choices based on the functionality, constructability or as an expression which fits the overall design concept.

Termination A visual dictionary of architecture defines termination as, a deviation from normal or expected form, order or arrangement to accommodate for the graceful transition of a form. Because of its unique position at the ends, these terminations become interface between one state of a form to another.

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fig 16 Alternatives of detailing a corner transition

fig 17 Articulation where two walls terminate into eachother

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Juxtaposition The juxtaposition is a state of rest or balance between contrasting elements or opposing forces and to Juxtapose is to place close together or side by side to create a state of balance, especially through comparison

or

contrast.

Hence,

Horizontality/verticality and Gravity/leverage are probably fundamental factors which govern the balance of the composition.

Dissimilar elements of architectural palettes can also be joined. Though, special attention must be given to their technical and compositional compatibility. For instance, massive and skeletal forms can form an interesting duality in a building, but intuitively the massive portion should be below or beside the skeletal.

fig 18 Juxtaposition of othogonal structure and curvilinear partition walls in Villa Savoye

Even if structurally possible, the inverse composition would be unsettling.

fig 19 Juxtaposition of order and chaos

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2.3.

Spatial Attributes

“Past experience is unique to the individual, so it is difficult to make assumptions about how it will be perceived. However, there are common experiences we all share. Many of our common experiences also tend to be Cultural. Conventions can arise when the experience is commonly shared.” (Gestalt) Spatial Attributes can be considered as qualities such as distance and depth, which makes one aware of the relative position of an object (or themselves) in space. It is important for the orientation and movement.

“Spatial attributes determine the configuration of building elements and the space they bound. The configuration of built elements and space affects the perceptions and ultimately the behavior of people who use the building. A key component of architectural design expertise is anticipating how a configuration of built elements will affect people’s experience.

Architects often describe information about the qualities that users experience in the built environment. For example, architects speak of space and place using terms such as enclosure, continuity, directionality, or privacy. Some, for example, enclosure and privacy, make sense to the layperson as well. Others, such as continuity and directionality, are jargon, meaningful only to architects or critics. These terms are implicitly understood as architect’s vocabulary for ‘language of architectural qualities’. These terms imply, to the architect, certain patterns of use and inhabitation.” (Sora Key, et al.)

Attempt to describe a space is an attempt to describe the feeling one gets in that space. To talk about the light in the space is to talk about texture and materiality of the windows, the walls. Openness can be something felt by large windows and openings or simply by having a large white wall surrounding you. Feeling of compression and release can often be talked about if the visitor is lead through small corridors/alleys into grand room or spaces.

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Relationship with the surroundings “An object has value and meaning only through its relation to other things.” (Kurt Rowland 1965)

fig 20 Relationship with the proximate surrounding objects and their overlap of the zone of influence

“Architecture in context can neither be a superficial attention nor a radical invention, it is a strong and eloquent visual relationship to the surrounding. The individual building is always seen first as a part of the whole.” (Simon 2014) Architecture belongs in a place. It cannot be separated from the place it is going to be built. It means that the context becomes an extension of the architecture which has its unique landscape, climate, and natural elements. Therefore, a design must show some responsibility towards the context.

Whatever the design response may be, it is clear that the designer must study the existing surroundings at some point in the process, in order to sensibly integrate it.

fig 21 Configurations of U shaped building responding to different surroundings

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Anthropomorphism

fig 22 Openings reflect Human proportions and activities

To anthropomorphize is to assign human form or characteristics to non-human things.

Anthropomorphism in architecture is the process of deriving the scale of the building elements with respect to the human body. Dimensions of the element are determined by bodily positions, and movement, as for stride, reach, or clearance.

fig 23 Height of vertical plane with relation to Human activity

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Movement and axis “A rhythmic quality or character of a composition suggesting motion by represented gestures or by the relationship of structural elements.� (DK Ching 2012) Axis is a tool for alignment. Elements organized around an axis give a sense of order to the composition. The sense of order felt through axis is stronger when it has objects on both sides. As the

fig 24 Movement along the axis

objects become less, the geometry of the axis becomes less apparent. For example, a street with buildings on both sides has a stronger sense of axis than the street with the buildings only on one side. A strong axis gives a sense of linearity and direction.

When we encounter something linear, such as an axis, we naturally follow the line in a direction. If we arrive on a street, we walk down the street. If we open an elevator into a long hallway, we walk down the hallway. Lines prompt movement and interactions. The direction of movement depends on the endpoints. A defined endpoint signals a place to start or stop. If an endpoint is undefined, you will follow the axis until you reach something of interest or are tired of interacting with the axis.

While the concept of an undefined endpoint in architecture is uncommon since it’s difficult for something architectural to go on forever.

fig 25 Position, Oreintation, and Visual Inertia

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fig 27 Impact of Fenestrations on the movement pattern

fig 26 Movement pattern in different configurations of spaces with three closed sides

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Degree of Enclosure The degree of enclosure defines the sense of the space as we perceive it. From the inside, it is perceived through the enclosing planes and the openings within it. From outside, it can be seen as a form with the relation to its surroundings. And the depth of the enclosing plane can only be perceived at the edges of the windows or doors, the elements which connect the inside and outside.

fig 28 Impact of fenestrations on degree of enclosure

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Cases 3.1.

The

Introduction to Matharoo associates and their work

principal

architect

Gurjit

Singh

Matharoo, founded Indian practice Matharoo Associates in Ahmedabad in 1992. Since its formation Matharoo Associates has been engaged on a very diverse range of projects, from single houses to product design, to master planning.

The studio prides itself of having an approach to architecture that is playful rather than sterile, abiding by a philosophy of extreme restraint, which according to Gurjit Singh Matharoo goes by the saying "when in

fig 29 Principal architect Gurjit Singh Matharoo

doubt, reduce; when not in doubt, surely reduce".

In 2013, Gurjit Singh Matharoo was made an International Fellow of the Royal Institute of British Architects(RIBA). Matharoo has been a visiting professor at Faculty of Architecture since 1990 at his alma mater CEPT University, Ahmedabad.

In an article on the magazine The Architectural Review Smita Dalvi says that studying architecture in Ahmedabad, home to canonical works by Le Corbusier, Louis Kahn, Doshi, and Raje, among others played a major role. In such an environment, Matharoo leaned towards the language of high modernism. A more definitive influence was Matharoo’s two years in Locarno as a young trainee, where he was inspired by the Swiss Tendenza Movement with its simplicity, rationalism, and use of the material in their true form, particularly high-quality bare concrete.

Matharoo associates work is highly influenced by the theory established way back in 18th Century by modern architecture theorist Carlo Ladoli that “in architecture only that shall show that has a 35

definitive function, and which derives from strictest necessity.� The fact that the architect grew up with a father who was a structural engineer is clearly evident in his practice. He is on a quest for innovation in architecture and thus he allocates resources for constant research, in-house development of working details, and the fabrication of moving parts and innovative hardware.

He set up his studio in the 1990s and claimed many praises for his first public building, the Ashwinikumar crematorium in Surat, made of bare concrete as a primary building material. For Matharoo, the choice of concrete is not ideological or aesthetic, it is pragmatic. The concrete structure also serves as an enclosure, leaving the rest as openings for innovative fenestrations.

In a lecture at Dr. K.M. Vasudevan Pillai Campus as part of Tekton Talk lecture series in 2016, Gurjit Singh said that he believes concrete to be the most economical and sustainable construction material in the urban Indian context and specifically bare/exposed concrete. Exposed concrete ensures that the quality of construction is better because defects can’t be hidden and it does away with any need for plastering or flooring, and it also allows the true nature of the material to speak for itself.

There is a conscious abbreviation of core spaces to minimize operational energy. Matharoo challenges conventional sustainability myths to minimize the use of resources, focusing on structural efficiency, high serviceability, and staying true to the nature of the material.

36

3.2.

Selection criteria for the cases

By virtue of their characteristic shape and material properties, certain types of objects can appropriately be used for certain purposes by being placed in certain context (William 1998).

The selection criteria of the case study are that the chosen project should have challenged the idea of a fenestration system in one or more ways compared to the typical fenestration systems for given typology. Fenestration elements should be used in architectural compositions to play several different roles simultaneously.

The case study should be catering to different types of user groups, thus, the chosen case studies should belong to different building types. The case studies range, from an office to a residence and a hospital.

They also share similar characteristics in the following aspects of the building: 

One of the primary building material is exposed concrete.



They are situated in the city of Ahmedabad. Thus, they share the climatic, physical, cultural, historical and ecological context.



The spaces chosen for the study are the most public parts of that building, hence, the purpose and the users of the fenestrations vary significantly.

37

3.3.

Case Studies

In the following section following three case studies will be analyzed. 

Pool



Babubhai Patel’s House



ESIC Hospital

For each case study, all the attributes will be systematically analyzed, represented, and discussed to derive inferences. With supportive drawings and photographs, Description will interpret how specific attribute of fenestration element (specified on top of the page) is creating an impact on architectural expression. Inferences at the end of each case study discuss the resultant impact of all attributes of that fenestration system. The conclusion is a consolidation of comparative analysis of each attribute in all the three case studies to examine the potency of that attribute in different situations and ultimately of fenestration system to enrich the architectural expression.

38

Case 1: ‘Pool’ Matharoo associates Location: Shilaj, Ahmedabad Building Type: Private Office Site Area: 847.5 sq. m.

Building area: 375 sq. m.

Occupancy: 20-30 people Major Building Materials: Concrete, Galvanized Iron Clients Name: Gurjit Singh Matharoo Associates Year of Construction: 2014 Brief: The rational response to the site and location

fig 30 Location and surroundings

inform the design. A rectangular exposed concrete block extending across the site divides the site into two parts. On the north side, rainwater tank and a swimming pool utilize the margin and leave the southern half open for the landscape to accompany in the context of the peaceful suburb of Ahmedabad. Water was a

fig 31 Conceptual presentation of ‘Pool’.

crucial element in the new office as it revives the memory of being in the former office, which was next to the Sabarmati river. The entrance is elevated by a ramp on the north-west corner.

The built consists of parallel walls, supporting concrete slabs at different levels. Double height workspace and library on the narrow ledge on the mezzanine have a flat concrete slab on

fig 32 Workspace.

top. Large rectangular cut-outs in the wall are fitted with glass panes. The building is wrapped with a protective cloak made entirely out of galvanized steel creating buffer space on both the sides and a terrace. The open aesthetics and fluid spaces reflect the flat hierarchy that is integral to the way the office functions. fig 33 South wall Fenestration system.

39

Form Development of the building

1. Flat rectangular piece of land of 23.0 m x 36.7 m.

5. According to the need of space, the block reshapes.

2. Recess of half a floor in the ground in half part of the site.

6. For light and ventilation the openings are formed.

3.Three storey concrete block of 5.0 m x 30.6 m

7. Canopy of GI louvers wrap around the block.

4. Block sits on the front half of the site.

8. The ‘Pool’.

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Layers of Fenestration The canopy on the building has three elements, which sits on the concrete block.

As shown in the drawing of one of the 9 typical modules of 3600 mm width, the canopy comprises of 2 layers of corrugated sheet roof on top, a curvilinear louvered surface on the north face and a 2 layered fenestration system on the south face.

This study is going to focus on the south facing fenestration system, which consists of following layers.

First, sliding glass shutter of two 1200 mm x 2550 mm transparent glass on the inside.

Second, two top hung galvanized iron louver shutters, with help of counter weights, slide over each other when they are pushed open on the outside.

The basement gets light through circular glass openings which are flushed with the floor slab.

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Functional attribute - Light Space Organization - Basement floor plan The basement has a large automobile workshop area which is accessed through the ramp or the flight of stairs on the outside on south. The water tank and storage space are incorporated at this level as well.

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Legend 1 Automobile Workshop 2 Rainwater Tank 3 Storage 4 Swimming Pool

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The workshop is used less compared to the workspace above but the natural light that reaches this space is less for working comfortably on the intricate parts of the automobile. The quality of light here is indirect and the user feels connected to the activities above because of the clerestory on the north wall and circular glass openings in the slab on the south.

fig 34 Light quality in the basement at late noon in October.

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Functional attribute - Light Space Organization - Ground floor plan Ground floor consists of all the major functions of the building, such as workspace and meeting space on the inside and pool and garden on the outside. Workspace is accessed through a ramp and a reception desk. The workspace opens on to grass covered private garden space on the south and looks at the pool on the north.

DN

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Legend 1 Entrance 2 Reception & Waiting area 3 Workspace 4 Deck

5 Pool 6 Toilet 7 Kitchen 8 Caretakers Room

fig 35 Light quality in the workspace at noon in January.

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The light quality is drastically different on the ground floor compared to the basement floor. On the ground floor, the light is available in abundance. Because of the two layers, there is possibility of customizing the light quality inside, from completely blocking direct light to enter the space by closing the louver shutter completely, to having patterns of light and shadow on the ground by completely opening up the louver shutter to allow the light to enter through them, and everything in between. According to individuals requirement various combination of both the layers can provide the desired illumination inside and can every time provide unique experience on the inside.

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Spatial - Relationship with the surroundings, Functional - Light, View

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Half floor lifted access above the road level, the curvilinear louver surface As shown in the drawing, Light Metal canopy is suspended from the facing the road, and the buffer space between the road and workspace assure concrete core. The fenestration on both the sides have no rigid connections that the privacy is maintained. At the ground level the double height space to the ground and are cantilevering freely from the walls with the help of opens onto the backyard garden space on south and it looks into the swimming metal plate scissors. In winter, when altitude of sun is low, light enters pool on the north. There are only 2 trees, tall and close enough to cast a shadow through these louvered fenestrations and reaches deep inside the space, on the building, the rest of the garden is covered with grass. Activities tend to but in summers when sunlight is harsh and altitude is high, direct sun light spill out on to the garden in comfortable weathers. This open space looking at is restricted because of the same louvers. Light funnels down to basement the building encourages to witness the buildings facade and the activities inside. through glass covered circular cut outs made in the floor.

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Functional attribute - Light

Long Section through the center

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fig 36 When the louver shutter is open, the space gets enough natural light for working comfortably.

In this situation, direct sunlight creates patterns of light and shadow on the floor. As the louvers are facing the south direction, these patterns changes according to the time of the day and changing seasons.

Physically, the inside and outside connect seamlessly. fig 37 When the louver shutter is close, the direct light is cut because of the closely spaced louvers in the shutter and the space gets illuminated by the light that reflects off the surface of louvers.

Here, the louvers becomes a filter between inside and outside.

fig 38 ‘Pool’ at night glowing like a lantern from within and light bleeding through louvers.

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Functional attribute - View, Light, Ventilation

fig 39 Simulation showing the combination of open louver shutter and open glass shutter.

View

Light

Ve nt ilat ion

Open Louver shutter Direct light + Uninterrupted coming through Uninterrupted Open Glass shutter louvers Open Louver shutter Uninterrupted Direct light + but coming through Close Glass shutter slightly hazy louvers and glass

None

fig 41 Simulation showing the combination of open louver shutter and close glass shutter.

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fig 40

Functional attribute - View, Light, Ventilation

fig 42 Simulation showing the combination of close louver shutter and open glass shutter.

Close Louver shutter + Open Glass shutter

Vie w

Light

Ve nt ila t io n

Interrupted

Indirect light reflecting from louvers

Interrupted through Louvers

Close Louver shutter Interrupted Indirect light + and reflecting from Close Glass shutter slightly hazy louvers and glass

fig 43

None

fig 44 Simulation showing the combination of close louver shutter and close glass shutter.

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Spatial attribute - Anthropomorphism , Degree of Enclosure

Galvanized steel roofing sheet Scissors

10mm, 25mm thick Galvanized Iron plates Veneer clad 16mm thick Plywood

Tension Cable ϕ 6mm diameter

A

B

C

Galvanized Iron Louver Shutter Cylindrical Concrete block ϕ 137.5mm diameter 10mm top bottom metal caps 8mm GI ‘S’ shaped channel

D

E F

Metal clad 150mm PVC pipe 8mm thick transparent glass

200mm thick RCC

In a typical building users interact with the fenestration elements a lot and thus, they are designed keeping human proportion in mind.

In Pool the louver shutters are heavy and stand two storeys tall. Thus, interacting with them is a profound experience in itself. As shown in the diagram the user has to stretch, from bending down completely, to 0 1 2 4M extending hands high up to operate the louver shutters.

While opening the shutter, the lower shutter slides over the upper shutter and both the shutters simultaneously swing up with the assistance of concrete block counter balancing the weight of it. Due to constant operation of these many movements and the weight of the shutters, the mechanisms seek maintenance every now and then.

When open, the studio space connects with the open lawns; when fully closed, the screen stay vertical and enclose the building.

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Formal attribute - Articulation

Detail A The horizontal member of the shutter frame fits inside the vertical member of the shutter frame. Here, butt joint provides more surface area for joinery than miter joint.

Detail B Customized Folded plate is fabricated to connect the pulley holding the counter weight to the wall.

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0

112.5 50 112.5 450

Detail C While gazing out, the slab seamlessly blends with the outside without hindrances by the frame and channel of the glass shutter as they are 450mm above the library slab. (see yellow hatch)

Detail D The louvers are bent at 45 degrees at the ends to stiffen the edges. Vertical braces are added at every 500mm to interconnect the louvers.

100 100

Detail E While walking out or looking out, the floor seamlessly flows out to the green cover outside without hindrances by the frame and channel of the glass shutter as it is flushed to the wall 100mm below the floor level. (see yellow hatch) 0

0.500

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Detail F 8mm thick metal plate shaped in a curvilinear ‘S’ shape assures that the rollers at the end of the louver shutters slide smoothly in the channel and it opens only when pulled up a little.

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Formal attribute - Modularity Space Organization - First floor plan After one flight of stairs to the first floor the office has recreational spaces such as library, lounge and bedroom which look into the workspace below. And after another flight of stairs, the loft has a multi purpose space which is used as an extension to the office.

UP

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1 Library 2 Bedroom 3 Toilet 4 Lounge

The building is a composition of 9 modules out of which 7 modules in the middle (shown by ‘x’) have same fenestration system in terms of their dimensions and joinery and in its expression.

As a result of this repetition of modules, the experience in the building is similar along the length of the building, breaking the hierarchy of a typical working environment.

Modules at the ends of the building (shown by ‘y’) are treated differently because of their unique condition. The dimension of the glass shutter is smaller (1800mm) compared to others (2400mm). Though, the size of the louver shutters at the ‘y’ modules remains same as ‘x’ modules, the way in which they are hanging from top and their load is transfered to the wall is different. (see Formal - Termination on the opposite page) 50

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fig 45 South elevation of the building showing 9 modules.

Formal at tribute - Termination

fig 46 Connection of the scissor and concrete wall at an intermediate modules (shown in red above) and at one of the end conditions (shown in red below).

The structural element shown above is a scissor made of 12 galvanized iron plates, each 10mm thick except the central main spine, which is 25mm thick. This scissor transfers the load of the metal canopy (two layers of roof and top hung louver shutters) to the concrete core.

The scissor has two rigid joints where it meets the concrete wall but rest of the plates are connected by pin joints with each other.

As shown in the figure, this scissor is repeated between each module of louver shutters. Though at two ends of the building (shown as ‘y’ module) the connection of the scissor and concrete wall is articulated differently. At the ends, the canopy extends 600 mm to form an overhang for the exposed concrete walls on the east and west side.

Thus, the typical joinery is modified to transfer the load by adding 600 mm long ‘L’ sections at the junction as shown in the fig.

As a result of this modification, even though the glass shutters at the ‘y’ modules are narrower than ‘x’ modules, the louver shutters are kept as wide as the rest of the modules, making the south elevation a summation of 9 identical louver shutters forming a facade.

51

Spatial attribute - Movement and Axis

The linearity of the building translates into having an axis in the long direction which acts as major movement path.

Typically when such linear building is accessed through one end of the building, the other end of the axis holds the focal point. But, here because the major axis is cut multiple times due to the positioning and size of the fenestration.

Because of this the focal point shifts from the end of the axis, to multiple intersection points where the major axis and minor axis meet and create a perpendicular flow that suggests movement toward south, seamlessly flowing to the garden on the outside.

While moving through the building the users tend to look out of the openings on the south or towards the workspace and pool on the north.

Unlike South side, on the north end the movement terminates inside the building and gazing out at the view of the Pool outside.

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fig 47 Concept diagram of workspace organized along the axis

The materials used in the building has coherence and continuity among them, as all of them are pastel in colour and are monolithic, Industrial materials (except timber, which is treated natural material which is used in partition walls and furniture as planks).

Galvanized Iron Louver shutter and timber planks add lines to otherwise planar surfaces.

The glass used in the shutters becomes the visual interface between inside and outside, connecting the interior with the water, vegetation, and sky outside.

Material Palette

Formal attribute - Materiality

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Formal attribute - Geometry and Proportion

Visual Geometry Horizontal Lines + Vertical Lines

Addition 0

Physical Geometry Horizontal Elements + Vertical Elements

Multiplication

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Expression

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Though the louvers add a lot of Horizontality, the Vertical elements are larger in size and has prominent presence. When added, the module has a balance of Horizontal and Vertical geometry. The roof has equal number of Horizontal and Vertical Geometry. When the result is multiplied nine times in Horizontal direction, the multiplication has a prominent Horizontality and makes the building look like stable mass.

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Formal att ribute - Juxtaposition

Planer Elements

Juxtaposition

Linear Elements

The juxtaposition of planer surfaces of heavy concrete block at the core, and linear and light metal canopy on top feels counter intuitive at first, but it creates wide range of, often contrasting, expressions. Repetition of such modules which can be customized to individuals’ needs, creates dynamic elevation facade.

The expressions can be many, from completely open layers which makes the building feel like a pavilion, to completely closed layers which make the building feel like a protective cloak, and multiple other combinations of open and closed layers in between to fit the needs and moods.

Repetition

Expression

fig 48

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Conclusion In an article on the magazine The Architectural Review, Smita Dalvi while talking about the ‘Pool’ Matharoo associates says “Any self-built studio by an architect becomes either an idea laboratory or an observatory of concerns and tropes governing the practice.”

Functional Attributes The fenestration system is a device that secures and provides shelter to the mostly open building in a tropical hot climate. The functions of this fenestration systems are dissected into multiple variables, and each variable is resolved as a distinct layer of fenestration with desired coherent formal expression.

Inside it creates satisfactory work environment due to the diffused quality of light that animates the space and a firm link to the soothing nature outside and beyond.

Spatial Attributes Any section of the wall that is non-structural, is turned into a large opening in the wall. These openings are handled with a system of fenestration that is a key space defining an element that when opened, connects with the outside seamlessly and when closed, create a vertical screen and secures the building.

Formal Attributes Here, the architect has attempted to re-examine the rules and notions of the interrelationship between formal and functional attributes of a fenestration system. The lattice-like screen appears peculiar and machine-like from the outside. This machine-like aesthetics is a result of the choice of industrial materials and the intricacy with which they are articulated.

Moving mechanisms that work with counterweights, enable the user to swing the louver shutter to the desired levels. This ingenious solution of extensive customizability creates a combination that appears as if the building is turned inside out to take advantage of sculptural qualities of structure while creating an adequate ambience for the purpose of an architect’s office. The architectural expression of adaptability is the manifestation of the character and content of the building. fig 49 ‘Pool’ at dusk

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Case 2: Babubhai Patel’s House Location: Memnagar, Ahmedabad Building Type: Residence Site Area: 350 sq. m.

Building area: 170 sq. m.

Occupancy: 3 people

Major Building Materials: Concrete, Timber, Glass

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Clients Name: Babubhai Patel Year of construction: 2017 Brief

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Two-bedroom house for a family of three, a couple and their daughter, is situated on a rectangular site is in a peaceful residential neighborhood in the middle of the growing western city of Ahmedabad. This two storey house is built on the plot effectively left after leaving the mandatory margins vacant on all sides. The house is entered through a snug

fig 50 Location and surroundings

door on the north side releasing into a large double height space which acts as Living area, Dining area and kitchen. A sculptural staircase connects the lower living area to another living area and a bedroom on top. The house is built entirely out of fair-faced concrete and the furniture is kept limited to only essentials to give space for activities to take over. Verandah which opens onto the lawns and trees planted on the south-west corner is accessed through large pivot doors from the living area. This door and every other opening on the walls of this house is articulated with louver shutter that opens at three different levels to control light and ventilation levels in the spaces. Light is brought in from multiple skylights as well, that washes the walls with an ample amount of light.

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Fenestration System The Fenestration system in Babubhai’s house is a louver system that can modify light, ventilation and view according to the need of the user. Louvers are detailed in ‘L’ shape, where on one side timber plank placed and on the other side glass is framed in timber frame. The louver can also be set to an intermediate level by rotating it by 45 degrees, where it allows breeze to pass through.

Fenestration system of the house has same detailing of louvers but by changing number of louvers desired proportion of fenestrations are achieved.

As shown in the figure below the louver can be set to three configurations.

A: Timber plank faces the inside and shuts the opening.

B: Intermediate stop partially allows light and breeze.

C: Glass panel faces the outside and allows visual connection to the outside.

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A

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7 Toilet 8 Storeroom 9 Utility 10 Dressing room 11 Puja

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This study focuses on the functional attributes of the fenestration in the most public and multi purpose space of house. This space (shown with dotted line) consists of living area, dinning area, and kitchen and its walls connects to outside on south, west and east sides. In the whole house, all the fenestrations are oriented only on these three directions.

For the environment of a house, here, natural light is taken in indirectly. Openings on vertical planes has louvers which allow reflected light in the space and use of skylight allows light to wash the walls illuminating the space. As light is taken in from multiple sources, this double space remains well lit through out the year.

1 Entrance 2 Living Area 3 Dinning area 4 Kitchen 5 Kitchen Storeroom 6 Bedroom

Legend

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B

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fig 51 Light animating space

Functional attribute - Light

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Spatial - Relationship with the surroundings, Functional - Light Section AA Relationship with the surroundings The space has a sense of hesitation while connecting to the outside. The louvered fenestration on east and south side restricts physical access where it shares plot boundary with a house next to it, while on the west side it opens onto a low volume semi open space which connects the living area to the lawns and trees outside.

When the louvers are set to the configuration where the glass panel is facing outside, visual connection to the surroundings increase but occurrence of timber frame at every 150 mm interferes with the connection to happen seamlessly.

Light Skylight on the east side washes the wall with light till midday, illuminating large volume of space. Long and narrow louvered window over the kitchen platform lets the morning sunlight to penetrate deep inside.

Deep recess on the west side creates a semi open verandah. Low volume of this space restricts low altitude west light from entering living area and creates a buffer space that can be used to lounge when it is comfortable outside.

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fig 52 Louvered door opening onto the semi open space outside

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Functional attribute - Light, Ventilation

Section BB

Section CC

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Light As shown in the sections, the approach of denial to the fenestration on the north side is because, to contribute to light up the space, the fenestration on the north wall has to be big. But due to close proximity of the neighboring plot does not allow the house to open up that much on that side.

On south the opening is protected by an overhang but lower altitude of sun in winter can penetrate direct sun light, when louvers are set to allow the light in.

Ventilation

fig 53 Fenestration on East side

Deliberate positioning of fenestrations across three walls facing three different directions allows cross ventilation across the year. Though allowing or blocking wind by modulating louvers, is a choice that user can make depending on the weather outside.

fig 54 Fenestration on South side

fig 55 Fenestrations in the slab

fig 56 Fenestration on West side

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Functional attribute - View, Light, Ventilation

fig 57 Configuration of timber plank facing inside Light : Denied, Ventilation : Denied, View: Denied

fig 58 Configuration of intermediate stop at rotation of 45 degree Light : Slits of direct light through louvers, Ventilation : Funnel through louver, View : Interrupted between louvers

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fig 59 Configuration of glass panel facing outside Light : Slits of direct light through glass and reflected light, Ventilation : Denied, View : Interrupted through louvers

Functional attribute - View, Light, Ventilation

fig 60 Configuration of glass panels facing outside and open pivot door

fig 61 Configuring the louver rotations to get desired Light, Ventilation and View

Captured at 1.30pm on 06 October, 2018 63

Spatial attribute - Anthropomorphism , Degree of Enclosure

RCC slabs and walls 200mm thick Skylight covered with 8mm thick transparent glass Louver shutter frame 25mm x 200mm timber section Louvers Handle 37.5mm x 37.5mm timber section Cupboard Granite counter top Timber clad plywood

Degree of Enclosure When louvers are shut, they enclose space by acting like a wall.

When louvers are half shut as shown in top left section, they become visual barrier but lets wind and sound of outside flow inside.

When louvers are rotated all the way as shown in top right section, glass panels becomes visual interface between inside and outside, while blocking wind and sound completely.

Large pivot doors on the west side become the means through which otherwise physically enclosed space, connects with the outside.

From seamless openness to enclosure between inside elements and outside elements, degree of enclosure vary drastically.

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Door Frame 65mm x 100mm timber section

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Louver shutter frame 25mm x 200mm timber section Louvers

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B C

Formal attribute - Articulation

Detail A 65mm x 100mm timber door frame is chamfered 12mm to make a smooth surface so that it can swing without touching the door jamb.

The pivot inside the door frame is placed 600mm away from the jamb.

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Detail B Both the doors lock in place as their profile of the door frame is inversed.

On one the frame is chamfered 12mm on the inside while on the other its is chamfered the same on the edges.

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Components of the louver element 20mm x 200mm thick timber plank 8mm thick transparent glass Brass hinge and pivot

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Detail C Where two louver shutter frame meet, three timber sections are sandwiched together to make the whole frame. Instead of using one 50mm timber section,10mm timber section is sandwiched between two 20mm timber frames to reduce the perceived weight of the frame.

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Formal - Termination, Spatial - Movement and Axis

South side louver shutter and overhang Fixed glass panel on top is 200mm wide.

East side louver shutter and overhang Fixed glass panel on top is 175mm wide.

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West side louver shutter and overhang Fixed glass panel on top is 125mm wide

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Detailing of ‘L’ shape louver has limitation that it can not be used on the top most junction where it meets the shutter frame because at that position the louver can not rotate. Thus, top most louver is altered with a fixed glass panel.

This disability is used to its advantage by using fixed glass panel of different width to adjust the remaining width of the shutter when it is used for covering different sizes of fenestrations.

Movement and Axis

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Due to balanced ratio of length and breadth of the space and the way the space is approached from the middle of the longer side, the sense of axis is weak.

However placement of fenestrations and arrangement of furniture guides the movement along the axis which extends out at one end on verandah and on the other end terminates at kitchen.

Axis divides the space into two parts, where on south side all the movement takes place along the axis and on the north side living area and dinning area takes place. Resulting from activities happening in the space, movement path has multiple deviations perpendicular to the axis.

Horizontal Fenestrations

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Fenestration system of the whole house follows only one versatile detail of louver at the scale of a component. Fenestration elements are various composition of the same detail. According to the orientation and the function of the fenestration at the scale of an element the proportion, position, articulation of overhangs and fixed glass panel modify to compose a fenestration that has same detail but can cater to various functions. Module of 200mm ‘L’ shape louver is repeated across the height of the panel to create the fenestration. Width of the louver is kept between 400mm to 1200mm. If the width of the opening exceeds1200mm, the shutter is divided into two parts. Height of the fenestration is in the multiples of 200mm module.

Modularity of the system makes construction easy as many parts are repeatedly used across the building and continuity of detail ties the building together in one language.

Vertical Fenestrations

Formal attribute - Modularity

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Formal attribute - Geometry and Proportion, Juxtaposition 40%

50%

20%

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y/2

y/2

y

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Juxtaposition Juxtaposition of planes - lines and light - dark is directly linked to the juxtaposition of mass - void in facade.

Percentage of void in mass on ground floor is 45%, on first floor it is 20% and on the terrace it is 50%.

The position of void in mass is a result of internal spatial organization, hence, the openings on the south and west wall is more, followed by north side and least on the east side.

Position of Void in Mass (Void =

Geometry and Proportion As shown in the diagram above, the proportion of mass and void throughout the building follows a multiple of ‘x’ module in horizontal direction and multiple of ‘y’ module in vertical direction.

In the fenestrations, horizontal lines are more because of the geometry of louver compared vertical lines of the frame, but balance of geometry is perceived because the prominence of vertical elements is more because they are heavier structural members.

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) , Mass = Percentage of Void in Mass (Void =

Formal attribute - Materiality

Sky

Concrete wall

Glass panels

Marble flooring

Timber Planks

Yellow Granite flooring

Vegetation

Composition of materials interrelated as a triad of contrasting colours and textures.

Concrete walls and Marble flooring on first floor are shades of Grey, whereas timber planks and granite flooring on ground floor are contrasting shades of yellow.

Glass panels of the louvers becomes interface between cool colours of sky and vegetation and warm colours of timber and granite.

Colour and texture of sky and vegetation are also complimentary to Grey of concrete and marble.

Timber planks and glass panels add lines to otherwise planer surfaces.

fig 62 Resultant Composition 69

Conclusion Response to fenestration in Babubhai Patel’s residence is a design that has modest scale and complexity of operation.

Functional Attributes By using louvers to modulate light and ventilation on vertical openings and washing the walls with light coming from skylights creates a well-lit introvert environment. The composition of various skylights and configurable louver shutters animates the space with a light serving to a variety of emotions that a house accommodates.

Spatial Attributes Choice of providing a visual connection to the shared sides of the site through slits of glass in the louvers restricts the connection with the neighboring houses, but pivot door between living area and verandah allows seamless visual and physical connection when desired.

Formal Attributes Skillful design of the three-step louver that gives control of the ambiance to the user is a versatile detail that is used across the house by tweaking proportions and position in the space according to its orientation and program of space. Continuity of detail across the building ties the language of architecture together.

Using louver mechanisms of fenestrations is an entertaining way to interact with architecture. The ingenuity of the louver design lives up to the attention it attracts. Here, fenestration is a manifestation of blissful intimate space that expresses the character and content of a living environment.

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fig 63

Case 3: ESIC Model Hospital Location: Bapunagar, Ahmedabad Building Type: Public Institution Site Area: 35,000 sq. m.

Building area: 8000 sq. m.

Occupancy: 2000 patients per day Major Building Materials: Concrete, Aluminium Clients Name: Employees State Insurance Corporation Year of Construction: 2010 Brief ESIC (Employees State Insurance Corporation) Hospital

fig 64 Location and surroundings

is a model hospital run by the government, where the employer by way of insurance, mandatorily deposits funds for his laborers. For a hospital that serves a lowincome population at a rate of 2,000 patients per day, the brief is very different than those of the private hospitals so the challenge was to provide a soothing environment using economical methods. This was done by designing

fig 65 East entrance

generous spaces (in contrast to the cramped waiting areas typically provided in government hospitals), providing ample light and ventilation and combining the building with the landscape.

The brief was to provide comfort to patient and to avoid crowded and unsanitary conditions through the generous use of space, ample light and ventilation in reinforced concrete buildings interspersed with open spaces. The taller structures step back to provide light and air, reducing energy costs. At ground level, louvered

fig 66 Conceptual diagram showing old hospital in pink and new design in orange

corridors provide the same. The building also had to be maintenance free and have minimum active energy usage to save it from desertion and disregard. Articulated to the point to keep maintenance, hassles, and wear and tear to a minimum the entire building was constructed out of fair finished concrete with the lower portions clad in hard granite stone for easy wash-ability and high durability.

fig 67 Louver envelope around the building

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2

01

5 10

1

20

1 main entrance 2 emergency entrance 3 existing mosque 4 OPD block 5 parking 6 general entrance and reception 7 waiting 8 radiology 9 OT block 10 general wards 11 service block 12 casualty 13 overhead water tank 14 toilet block

10

10

8

2

12

6

7

9

1

11

7

4

14

13

7

3

5

The Hospital is organized around a large courtyard. The landscape in the courtyard is designed as if it is emerging from the center of the built mass.

The building consists of broadly three linear mass and North, West, and South side, opening the court to the east side.

The north block is wrapped with a curtain of louvers as shown in the drawing. The louvers on all sides are detailed in the same way at the scale of a component however, according to the orientation, relationship of the louvers and the concrete core changes at the scale of the whole building.

For the scope of this thesis, the chosen part of the fenestration system gives an overview of how according to the orientation and the function the fenestration accommodates itself. In the chosen area the fenestration acts as a buffer between the busy street and the OPD by accommodating trees in between the louvers and the building; on West and South it creates a porous screen for filtering light and breeze.

However, on the west end is not included in the study because the building does not open up on the west and louver screen becomes mostly an aesthetic element for continuation of facade treatment.

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20 M

N

10 5

5 0

Layer of Fenestration As shown in the figure, the large volumes created for the Out-Patient Department (OPD) and waiting area adjacent to it, are articulated by a curtain of aluminium louvers, each individual louver being precisely adjusted so that the interiors are shaded from the harsh piercing tropical rays, thus providing an atmosphere of comfort at no mechanical or air Conditioning expenditure. It also unobtrusively acts as a grill controlling the flow of people without acting as a visual or psychological barrier.

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Functional attribute - Light Entrance on the east side has a ramp and some steps that rise the whole block up by 1 meter. On entering, the reception and information desk is on right and on slight left OPD and waiting area are placed. The hospital caters to a large number of people at once hence use of tall circular concrete columns lift the slab to 6 m height allowing a lot of people to move about or gather at once without feeling congested.

Light in the waiting area is subtle and uniform across space and time. Light is filtered through trees and louvers. The space is illuminated by the indirect light that reflects from the back of the louvers. Beam of direct sunlight enters only through the gap between the louvers and column. Hint of time is given away when the altitude of the sun is low direct light creates pattern of light and shadow on the floor.

6 4

5 3

UP

2

Legend UP

1

1 Entrance 2 Reception 3 Out Patient Department 4 Single volume Waiting area 5 Double volume Waiting area 6 Toilet Block

UP

0

UP

UP

1 3 5 10 M

N

74

Functional attribute - Light A flight of stairs in the center of the space takes user to the upper floor to the rest of OPD blocks and waiting area in front of it. This space is well connected visually and physically to the waiting area below. It looks over on the waiting area below from the double height space. Two storey tall louver panels bring light to the semi open volume on top as well.

The OPD rooms on both the floors have sliding glass shutters on the north side where they open onto densely planted open space which is enclosed by louver panels on sides.

3 4 2 1

UP

UP

Legend 0

1 Out Patient Department 2 Single volume Waiting area 3 Toilet Block 4 Double Volume Waiting area Below

1 3 5 10 M

N

75

Spatial - Relationship with the surroundings

0

On the south side louvers become screen between vegetation and landscape outside as trees grow very closely on the south side but raised plinth and restricted physical access to the same denies the inside to spill over on the outside.

Contradictorily, on the north side the landscape is contained within the screen of louvers and creates a buffer between OPD block and busy vehicular street. Glass openings on the north side creates visual connection with the landscape outside to create a soothing surrounding environment for itself.

As shown in the figure on the right, while approaching the building, fluid curtain of louvers emerging from the green surroundings distract the viewer from the heaviness of massive concrete building.

1

3

5

10 M

Short Section

fig 68 View of louver panels and surrounding on the way to east entrance

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77

fig 69

1

3

As the louver panels wrap all around the building, the space remains well ventilated because of constant cross ventilation. But ability of louvers to operate to block some or all of ventilation is absent because mechanisms that make that possible are often high maintenance and intimidating to use for such public institution. Though, this disability is compensated by generous allocation of space. This large space has to offer variety of spots which will attract people to sit and wait comfortably in various climatic conditions.

0

5

fig 70

10 M

Long Section

Functional attribute - Ventilation

Functional attribute - View, Light, Ventilation

Waiting area view from east looking at west

fig 73

fig 71

fig 74

fig 72

Waiting area view from west looking at east

78

fig 77

fig 78

North facade

fig 75

fig 79

fig 76

South facade

Functional attribute - View, Light, Ventilation

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Spatial attribute - Anthropomorphism , Degree of Enclosure

Sliding glass shutter 8mm transparent glass Inverted concrete slab 200mm thick

Concrete slab and wall 200mm thick Precast RCC column Louvers Ď• 200mm diameter

Cantilever staircase 125mm thick concrete

Louvers

0

1

3

5M

The enclosure created by fenestration define the territory of the waiting area. Expansion and contraction of territory is based on the curve created by placement of fenestration screen in the double volume space. Raised plinth and closely placed louvers strengthen the sense of enclosure.

As shown in the left diagram, for a person passing closely along the 45 degree tilted louvers, they encounter interference of louvers in connecting to the outside visually; whereas for a person on upper floor, they look at the louvers from elevated eye level hence effect of enclosure that occurs because of the tilt of the louver reduces resulting into fenestration being more porous for them.

As shown in the right diagram, louver screen kept at a distance from the building creates a buffer space in between. A sliding glass shutter looking into dense plantation of trees in the buffer space provides a disconnect from the busy street but as we go higher up the floor the sense of enclosure reduce and spaces feel more connected to the outside.

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Formal attribute - Articulation Components of Aluminium louver

Detail of the clamp-louver junction

Aluminium louvers are made by folding 3mm thick aluminium sheet at the dashed lines.

All three components are riveted together in place.

Detail of threshold and foot rail

0

Slab above Precast column

0.500

1

Detail of precast column The free standing column of the fenestration system is independent from the main concrete structure.

The precast column is connected to the main structure only at the base.

Hence, even if precast column is touching the slab on top in certain locations, it is not carrying load of the slab above. fig 80 fig 81

2M

Free standing Precast column

81

Formal - Termination 20 M

N

A

10 5

5 0

B D

At junctions A, B, D, the different curved surfaces terminate into each other hence, at those junctions, louver clamps are articulated differently. At these junctions metal clamp is customized to exact angle for each junction.

Junction A

C C

Junction B

At junction C, louver panels which has different number of louvers meet. At this junction difference in number of louvers create an opening which allows for physical connection between inside space and semi open outside space.

Junction C

Junction D

fig 82 0

82

1

3

5M

0

0.500

1

2M

Aluminium Louvers Exposed Concrete Column

Vegetation

The Materials used for the building have coherence in its colour and texture. Fair finished concrete columns, walls and slabs create a monochromatic composition of shades of Grey. Granite flooring and aluminium louver follow the same colour and surface texture. Linearity of aluminium louvers become intermediate state between planer shapes of the building and organic shapes of the trees and sky outside.

Grey Granite flooring

Exposed Concrete Slab

Sky

Exposed Concrete Wall

fig 83

Resultant Composition

Formal attribute - Materiality

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Formal attribute - Modularity

Top condition

Open to sky

Under slab

Under slab

Number of louvers

Open to sky 25 louvers

21 louvers

21 louvers

5 louvers

Bottom condition

In ground

In plinth

In plinth

In slab

0

1

3

5M

Fenestration system of this building has continuity of detail in louver module. According to the function and formal requirements of each panel, the articulation of its numbers of modules, orientation, connection with top and bottom element changes. As shown in the diagram, four configuration of louver panels are repeated and rotated to make a system of fenestration. As the same module is repeated all around the building to make the fenestration system, it also gives continuity of visual language of the building.

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Formal att ribute - Juxtaposition Juxtaposition of contrasting qualities create a balanced composition. Here, juxtaposition occurs at two stages.

At building level, Juxtaposition of orthogonal concrete structure and curvilinear fenestration system create balance each other.

0

fig 84

5

10

25 M

fig Juxtaposition of orthogonal elements and curvilinear elements

At site level, Juxtaposition of massive building made of industrial material and landscape outside of trees and grass compliment each other.

Landscape is curated as if it is reaching out to the center of the built mass as all the lines of pavement converge at the center of the three storey tall building block.

fig 85 Juxtaposition of building and landscape

fig 86 Juxtaposition of built space and open space

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Formal - Geometry and Proportion, Spatial - Movement and Axis

East Elevation

South Elevation

East Elevation

North Elevation

0

5

5

N

10

10

As shown in the diagram above, raw of concrete columns create a central axis along which the functions of the hospital are situated.

Along north side of the axis series of OPD blocks are lined up and on the south side double volume waiting area is situated. Because of the fluid nature of the fenestration system,flow of people in waiting ares is also non linear as they make there way through double height columns along the expanding and contracting space created by the louver screen.

South Elevation

0

As shown in the diagram, the curvilinear geometry around an orthogonal building divides the facade of the building into vertical panels. Where density of vertical lines increases and decreases according to the geometry of fenestration. Proportion of circles at the base of the drawing shows that gap between vertical lines gradually increase towards the middle of the facade and decreases as they terminate into another wall.

25 M

25 M

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Conclusions A public hospital does not insist plush amenities, it has to take a lot of wear and tear, hence, the detail has to be resilient that can stand the test of time.

Functional Attributes A multipurpose envelope that diffuses the incident light by reflecting it off the surfaces of the louver before entering the space, funnels the breeze as it passes through the louvers, defines the enclosure by covering double height space with panels of closely placed louvers, guides the flow of people by expanding and contracting along the raw of concrete columns.

Spatial Attributes Here fenestration is a screen that wraps around the waiting area and OPD like an intermediary between inside and outside. The curvilinear screen juxtaposed against concrete structure creates a fluid space.

Formal Attributes Simple detail of Folded Aluminium plate louver repeated across the height of the space creates a module.

Each module in the screen is then modified by carefully negotiating to the purpose and orientation of the same to create a form of a fluid curtain. The geometry of the fenestration does not abide by the geometry of the concrete structure as it is a self-supporting system that gets its smooth curves by placing linear louver shutters next to each other and rotating the far end slightly each time. Continuity of detail across the envelope provides uniform language to the whole facade.

By means of formal tractability, functional versatility, and spatial fluidity, fenestration system expresses character and content of the space.

fig 87

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Chapter 4. Conclusion In these cases, the louvered fenestrations, moving or fixed are manifestation of complex detailing in galvanised steel, aluminium, or wood. They animate space with dynamic quality of light, while creating a screen between inside and outside. Articulation of fenestration is servient to the idea and function of the building. In Pool and ESIC hospital the fenestration system wraps around the building, while in Babubhai’s house strategic placement of small portions of fenestration allows enough light and ventilation in space without compromising the privacy of a residence. There is similarity in the attitude towards framing the view of the surrounding, in all the cases where fenestration restricts view where it is facing buildings or activity of people around, whereas it opens up towards vegetation and nature to seamlessly flow through them.

Architect interrogates his approach time and again to re-establish the relationship between formal and functional aspects of the element. It is visible in his innovations of all three fenestration systems, although it is evident in Pool, where building is turned inside out to take advantage of sculptural quality of the structure. Although this study focuses only on the buildings where concrete is used as one of the primary material and architect prefers using industrial materials, as they use space efficiently and there is more control over their quality and performance. Use of modular fenestration across all three cases implies that he addresses detailing in a way that is versatile in its function, he further negotiates with proportion, position and surrounding elements to create a system that uses same module across the building. This continuity of detail in the building ties the language of architecture together.

Adaptability to the surroundings make these fenestration systems effective. All the variables of a fenestration system are identified that makes difference to functional obligations and spatial implications. Appropriate constraints are associated with each variable and the fenestration element is designed to satisfy all the constraints, and hence, the fenestration system can adapt to any situation preferred by the user of the space. In the case of Pool and Babubhai’s house, the fenestration systems have mechanisms that give control of ambience by modulating light, ventilation, and enclosure to the

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user. The building adapts with several preferences of the various users and time, renovating the expression of architecture.

“Every building that has ever been used, evidently has been integrated with the structure, but integration has rarely been a conscious process. Without a consciousness of the building system integration, there can be no commitment to it.” (Richard Rush 1996) Matharoo addresses the structure in a way that logically strips down the space to the bare minimum, and then endows it with light and air. Matharoo’s spaces are often function neutral, a device he commonly uses is a rectilinear space that can be programmed for a variety of purposes. There is no embellishment; even the furniture follows this frugality.

He revels in intricacies of moving components. He has an inclination towards the use of mechanisms in architecture and approach to form that springs from a well-honed sense of structure.

He inspects certain ideas repeatedly and certain formal qualities are preferred. His approach is rather creative than nostalgic. He insists paring down and removing all that can be removed by saying that “when in doubt reduce, when not in doubt surely reduce.”

By looking at fenestration system in three cases by an architect, this inquiry reinforces the potential of architectural detailing in expressing the character and content of the building. By stripping down the characteristic attributes of an element into formal, functional and spatial attributes, the study is able to infer that articulation of an element and architectural expression of the building are inseparable aspects. In these buildings by Matharoo associates, clarity of form, logical scale, structural perfection contributes to impressiveness, while simultaneously making place for contemporary social and cultural life. Though it poses some questions to the approach of the architect that in order to detail the element that adequately performs its functions, he relies on extensive customization to explore new forms, but it also translates into higher consumption of resources for construction. Hence, from environmental perspective the question arises that Is this resource intensive approach is what architectural detailing is supposed to be? Can this level of sophistication be achieved with more environmentally sensible resolution? ‘Architectural detailing’ is not a purely rational process, but a creative process and hence, there can be many more categories of attributes. Taking these attributes further, new attributes for Expression can be formulated.

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Figure credits fig 1 Ching, Francis D. K. Architecture: Form, Space, and Order. Wiley Et Sons, 2014, p. XI. fig 2 Ching, Francis D. K. Architecture: Form, Space, and Order. Wiley Et Sons, 2014. fig 3 Ching, Francis D. K. Architecture: Form, Space, and Order. Wiley Et Sons, 2014, p. 177. fig 4 Meiss, Pierre Von. Elements of Architecture: From Form to Place. Routledge, 2014, p. 114. fig 5 Ching, Francis D. K. Architecture: Form, Space, and Order. Wiley Et Sons, 2014, p. 181. fig 6 Ching, Francis D. K. Architecture: Form, Space, and Order. Wiley Et Sons, 2014, p. 179. fig 7 Ching, Francis D. K. Architecture: Form, Space, and Order. Wiley Et Sons, 2014, p. 298. fig 8 Ching, Francis D. K. Architecture: Form, Space, and Order. Wiley Et Sons, 2014, p. 163. fig 9 Ching, Francis D. K. Architecture: Form, Space, and Order. Wiley Et Sons, 2014, p. 34. fig 10 Ching, Francis D. K. Architecture: Form, Space, and Order. Wiley Et Sons, 2014, p. 14. fig 11 Meiss, Pierre Von. Elements of Architecture: From Form to Place. Routledge, 2014, p. 52. fig 12 Allen, Edward, and Patrick Rand. Architectural Detailing: Function, Constructability, Aesthetics. Wiley, 2016, p. 243. fig 13 Allen, Edward, and Patrick Rand. Architectural Detailing: Function, Constructability, Aesthetics. Wiley, 2016, p. 246. fig 14 Thiis-Evensen, Thomas. Archetypes in Architecture. Scandinavian University Press, 1997, p.

254. fig 15 Allen, Edward, and Patrick Rand. Architectural Detailing: Function, Constructability, Aesthetics. Wiley, 2016, p. 237. fig 16 Allen, Edward, and Patrick Rand. Architectural Detailing: Function, Constructability, Aesthetics. Wiley, 2016, p. 247. fig 17 Ching, Francis D. K. Architecture: Form, Space, and Order. Wiley Et Sons, 2014, p. 83. fig 18 Coroflot, Brian Vieira, www.coroflot.com/brianvieira/villa-savoye?state=22&specialty=10&. fig 19 Meiss, Pierre Von. Elements of Architecture: From Form to Place. Routledge, 2014, p. 47. fig 20 Meiss, Pierre Von. Elements of Architecture: From Form to Place. Routledge, 2014, p. 105. fig 21, fig 27 Ching, Francis D. K. Architecture: Form, Space, and Order. Wiley Et Sons, 2014, p.

151.

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fig 22 Allen, Edward, and Patrick Rand. Architectural Detailing: Function, Constructability, Aesthetics. Wiley, 2016, p. 240. fig 23 Ching, Francis D. K. Architecture: Form, Space, and Order. Wiley Et Sons, 2014, p. 135. fig 24 Meiss, Pierre Von. Elements of Architecture: From Form to Place. Routledge, 2014, p. 93. fig 25 Ching, Francis D. K. Architecture: Form, Space, and Order. Wiley Et Sons, 2014, p. 35. fig 26 Ching, Francis D. K. Architecture: Form, Space, and Order. Wiley Et Sons, 2014, p. 162 fig 28 Ching, Francis D. K. Architecture: Form, Space, and Order. Wiley Et Sons, 2014, p. 172. fig 29 Design Matters , MASA, www.masaassociation.com/?page_id=96&postid=793&postname=Gurjith Matharoo&type=&year=2013. fig 33, 35 The Architectural Review , Webvision, www.architectural-review.com/awards/aremerging-architecture/gurjit-singh-matharoo-to-judge-the-ar-emerging-architectureawards/10032953.article. fig 32, 45, 49 ARCHITECTURE & DESIGN, Architecture Digest , www.architecturaldigest.in/content/gurjit-singh-matharoos-office-space-incubates-cultureblends-work-leisure/#s-cust0. fig 38 Pan India Travel Studio, www.pitstudio.in/. fig 31, 47 MATTER, PITStudio, thinkmatter.in/2015/07/09/pitstop/. fig 67, 79, 86 Build.in , Matharoo Associates, ebuild.in/esic-hospital-ahmedabad. fig 66, 68, 85 ARCHNET, archnet.org/sites/6976/media_contents/79287. fig 30, 50, 64 are edited by author on top of screenshots from google earth.

All architectural drawings are made by author over base drawings provided by Matharoo associates.

All figures not mentioned in this list are made by author.

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Acknowledgement I would like to land my gratitude to, My guide Prof Sankalpa for his sharp guidance and timely inputs.

My reviewers during the thesis; Prof Pratyush Shankar and Prof Rajiv Kadam for their keen critiques.

Architect Gurjit Singh Matharoo, and the office staff at Matharoo Associates, for landing me reference materials as well as setting up site visits of selected case studies, without which this research would have not been possible.

Occupants of the case studies for being patient and allowing me to access the space.

All professors, architects, and other professionals at the university and outside who taught me during the five and half years long journey.

My parents, Himanshu, and Hina for being constant source of support and motivation.

My sister, Disha, for lightening up the tough times.

My best friend Viral for being my backbone during this journey.

Yash, Jay, Sarthak, Aavesh, Ekta, Priyanka, Dhwani, Netra, Mauli for making this journey worthwhile.

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