PRITI PAI
Architecture Portfolio University of Florida Bachelor of Design in Architecture M.Arch. I Applicant
Selected Works
3 Time as a Field
15 Deforming the Grid
9 Creating Canopy
17 Urban Promenade
13 Mapping Sky
21 Mapping Inconsistencies 23 Turning a Corner
31 Generating Surface
33 Vertical Investigations 35 Urban Projections 41 Breaking & Bridging
51 Composing Joints
Time as a Field Marking the Human Footprint
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time as a field
Alimcani Boat Park, Jacksonville, FL Fall 2008, Architectural Design Five Critic: Bradley Walters
The site in northern Jacksonville belongs to a 46,000-acre Timucuan Ecological and Historic preserve bordering the Ft. George Inlet and is set in a context consisting mostly of marshes and wooded areas. The conditions of the site constantly fluctuate as the concept of temporality invades all scales of occupation. From the crabs scurrying around the shore to the constant flow of fisherman and visitors stopping in throughout the day, the site is in constant motion. The varying conditions of the ground capture this temporality: providing a record of time, etching tidal patterns, narrating the motions of the water, and providing a footprint of occupation (i.e. birds, crabs, humans). Preliminary mappings of the ground conditions study the nature of time and temporality. Time is studied as a field condition, as a duration rather than a linear condition. Interruptions exist amidst the condition that create tears: distortions that reveal something about the past, juxtaposing it with the present. These interruptions are inspired by points within the site that engage temporality: such as changes in vegetation or ground condition, human movement, moments of pause, or overlapping conditions. Drawings like the one on the opposite page demonstrate how these interruptions distort the field condition both individually and collectively.
time as a field
5|6 Points embody following characteristics: threshold, human movement; shoreline, recording of tide; vegetation change, threshold into natural; pavilion, moment of pause
A wire mesh model, consisting of two layered wire sheets, illustrates a continuous field with distortions paralleling the site’s interruptions. The distortions create interstitial spaces that undulate within the field, which sectional drawings further explore. Photographs of the model are superimposed onto a map of the site to explore the layers and densities of the distortions created, as well as the effect they have on the site. The programs with densest human occupation are concentrated at the interruptions and the spaces in between become large exterior public spaces with varying program.
time as a field
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Cross sections through (from top to bottom) Research center, Visitor center, and Restaurant.
While each space creates a unique dialogue with its immediate surroundings, they all work to re-introduce occupants to the site and reshape the current waterfront. The strategies of each space vary in their pursuit of connection with the landscape; the glass bridge (illustrated above) connecting the Research center to the auditorium of the Visitor Center provides views of the landscape in its entirety and invites occupants to observe and discuss their surroundings. The auditorium space exists beneath an undulating overhead that theatrically opens towards the water, allowing views of the water and horizon and exposing the sounds and activities of the space. The exterior spaces provide visitors with gathering areas to directly engage with the water and surroundings, as the ground is carved to accept the tide in some areas and is raised to deny access in others.
Elevation looking towards water
Creating Canopy Filtering light, sound, and vision
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creating canopy
Payne’s Prairie, Gainesville, FL Fall 2008, Architectural Design Five Critic: Bradley Walters
Our site lies in the crease between a dense pine forest and a horizon-dominated prairie along the Bolen’s Bluff trail in Gainesville, Florida. As we walk through the forest, we exist in the gap between the ground and the canopy of the trees. This canopy dominates our experience: filtering light to the ground, limiting and framing our views of the sky, and sifting sounds as it floats above weightlessly. A heavy, cantilevered element hovers over the main entrance to the house: re-shaping the slope to exaggerate the gap space, mimicking the canopy, and creating strong sense of threshold that invites both landscape and occupants inside. The main volumes and arteries of circulation lie along an axis created to draw in and capture the spaces of the neighboring prairie. These volumes include large gathering spaces on the ground floor, heavy, suspended private spaces above, and transitional spaces that anchor these two extremes together.
The open conditions of the prairie slowly enter into the forest and are filtered into an intricate scale.
creating canopy
11|12 An analytical site model (photographed above) captures the merging scales and directionality of the intricate canopy and the vast prairie. This language is embedded into two main walls bordering the arterial axis, inviting the scale and directionality of the forest to structure the transitional spaces. The shifting wooden slats of the walls re-create the gap space by allowing light, wind, and sound to filter within the house and uses the vertical and material character of the walls to imitate their surroundings. The main spatial conditions also mimic the merging of two opposing scales: the large gathering spaces of the ground floor embody the scale of the prairie, while the private, floating spaces above re-create the emotion of the canopy.
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1 Ground Floor Plan 1 Threshold, Main Gathering space 2 Kitchen, transitional space
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1Threshold, Main Gathering space 2 Loft, transitional space (diagram on opposite page) 3 Access to bedrooms 4 Access to Prairie
The loft space acts as a transitional space between the more public ground floor, and the private bedrooms. The space is open to the gathering spaces below, though the occupants may remain unseen, and the intricate scale of the forest is introduced by apertures.
13|14 mapping sky
Mapping Sky Marking the desert landscape
Spring 2008, Architectural Design Four Critic: Martin Gundersen
The desert landscape promotes an uninterrupted dialogue between ground and sky. Characterized by a vastness that tells a story of our universe, and the clear discourse with the night sky, the design proposes a collaborative space for astronomers and astronomy enthusiasts from around the world, a program inspired by the mapping of light, sky, and culture. The constellation Ursa Major, chosen for its mythological significance among many cultures, is mapped and carved into the landscape, creating nodes and marking occupation. The nodes represent points in the landscape that hold telescopes for individual study, forming a telescope garden. A group observatory is located at the highest point of occupation and forms a lens, theatrically reaching and opening towards the sky, framing views of the stars. The space encourages the trading of ideas, viewpoints, and stories, and can only be reached by traveling along a promenade, allowing deeper connections to be made. The observatory is aligned with the deepest point of construction, the well, creating a true marriage of land and sky.
Evolution of occupational diagram. [Top] Ursa Major, with gray box indicating area of concentration [Middle] Carving, red points as telescope nodes [Bottom] Zoomed-in diagram of occupation [Right] Section and plan, red dots indicating promenade to observatory
deforming the grid
15|16 Proposal of an intimate performance space within an alley.
Itinerary analysis of Savannah unravels the city’s elements using the terms ‘well’, ‘bridge’, and ‘hotel’: well as a place of juxtaposing past and present, bridge as an element seeking to bring different elements together, and hotel as a temporary place withstanding the constant movement into and out of.
well; eroded surfaces of alley
bridge; squares at intersecting streets
hotel; tourist ridden waterfront of Factor’s Walk
Deforming the Grid Investigating Urban layers
Factor’s Walk + Alley. Savannah, GA Fall 2007, Architectural Design Three Critic: Jennifer Daniels
Collages investigated the densities of movement, qualities of light, and sectional shifts of the sites. The collage above illustrates the conditions of Factor’s Walk.
Our study focuses on designing a performance space for two different sites: one existing along the tourist-ridden waterfront of Factor’s walk, and the other hidden between an alley and main street. The proposal at Factor’s Walk (diagrammed above) takes advantage of the dramatic sectional shift between the city and the water, creating multiple viewing platforms: allowing an observer to watch from above at the city-level, or from the ramp below, by the water. This shift not only encourages diverse viewing points, but also permits the sound of the performances to travel into surrounding spaces, stirring the curiosity of other visitors. The performance space nested within the alley, however, reveals a more ambiguous relation between performer and audience, with both groups existing at the same level. This space is more contained than Factor’s walk and provides the audience with a more intimate, private experience, imitating the narrow spaces of the alley.
urban promenade
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10 1 Lobby 2 Mixed Offices 3 Meeting Room 4 Garden space 5 Street-facing gallery 6 Exhibition hallway 7 Tall gallery 8 Cafeteria 9 Theatre 10 Studios 11 Living spaces 12 Library
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The city of Charleston is embedded with many paces, with streets that are pulsing with markets, street vendors, horse-drawn carriages, and bicycle rickshaws. The Arts center navigates around the merging of different paces and activity. The site itself embodies this diversity, as it is wedged between a main arterial road, Meeting Street, and a pedestrian alley. The alley-edge of the site came to accept slow-pace movements and activities, and becomes lifted to invite occupation and movement below. This threshold leads to an open, recreational courtyard that mimics Charleston’s many hidden green spaces and allows for uninterrupted access to the alley. In this nature, the distribution of programs within the structure is divided between quick-paced programs, nicknamed the “procession” spaces, and the slow-paced spaces, nicknamed “pause” spaces. As the divide in the programs takes gestural motion, a spine-like element emerges, stitching the two differing edges together.
The spine acts as a stitch, holding the ‘pause’ spaces on the right, and the ‘procession’ spaces on the left. The pause spaces address the street, stretch along the pedestrian edge, and wrap around the back of the site.
Urban Promenade Mapping movement and human interactions School of the Arts, Charleston, SC Spring 2009, Architectural Design Six Critic: Karl Thorne
urban promenade
19|20 The promenade along the spine encourages exploration between differing programs and human interactions. The spine is crucial in lighting the spaces along the promenade and providing views of surrounding activity.
Section highlighting ‘pause’ spaces 1 Street-facing gallery 2 Exhibition hallway 3 Tall gallery 4 Exterior deck 5 Library 6 Carved Exterior garden
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1 Carved exterior space 2 Exhibition hallway 3 Spine 4 Practice rooms 5 Working studios 6 Executive Offices 7 Exterior decks 8 Minor circulation 9 Library 10 Cafeteria 11 Meeting room
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The pause spaces form a promenade along the spinal gesture and include open-ended programs such as galleries and libraries, as opposed to the rigid procession spaces holding working studios and offices. The spine not only supports the interactions between activities and occupants, but also houses the major circulation systems of the building. The beginning of the spine is visible from the street, as the main circulation touches ground in the lobby. Here, a light well floods the lobby with light and works with the main stair to stretch the space vertically into the street-facing gallery on the second level. The transparencies facing the street allow the lobby, spine, and gallery spaces to have a seamless visual relationship with the street edge, and also allow their activities to be exhibited to the public. The two light wells at each end of the spine (beginning at the lobby and terminating in the library) serve as joints, anchoring pause and procession together, narrating a story of interaction, movement, light, and promenade.
[Above] Diagrams of pedestrian edge, zones of occupation, anchor. [Right] Study model: ‘pause’ spaces as a more organic, free-flowing entity latched on to the structured ‘procession’ spaces.
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mapping inconsistencies
Mapping Inconsistencies Image and Sound Pavilion Vicenza, Italy Spring 2010, Architectural Design Eight Critic: Carlos Campos
Though the city of Vicenza, Italy provides many opportunities of public gathering within its piazzas and parks, the city does not offer many recreational spaces along the Retrone River. The pavilion, hosting a garden of images and sounds, offers just that and consists of five panels and carved earth that puncture and direct pedestrians’ views to the water. Embodying the inconsistency and temporality of the river, the panels display images to its surroundings and begin to overlap and distort depending on the angle of vision: offering a new interpretation of the original image. As you move south down the river’s edge, the earth begins to lift and carve a cave-like space for the sound garden, playing with the echoes of the river. Above, the constructed ground provides visitors with a sitting and laying space in front of the river.
Turning a Corner Collecting movement of street’s edge
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turning a corner
Community Arts Center, Charleston, SC. Summer 2009, Independent Study Critic: Martin Gundersen
This site in Charleston sits on the corner of two main streets, neighboring one of the tallest churches of the city, as well as the largest graveyard. The goal of the design is to create a place where the community can gather to experience art and foster creative ideas. The early diagrams propose two intersecting volumes that collect the movement of the corner; the intersection becomes an atrium space and acts as a seam. The atrium embodies a void, or transparent cube that can be seen from the street, exposing the activities of the space to its surroundings and inviting occupants inside. The diagram of the seam is stretched, and an opposing space embodying heaviness and containment is borne within the floating black-box theatre. Both of these elements are held within the ascending galleries. These galleries wrap the corner and are raised to provide views of the city, expose the atrium, and inspire movement below.
Plan diagrams mapping the pace of the corner, intersection of volumes, and stretching of the seam.
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turning a corner
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1 Lobby 2 Atrium space 3 Cafe 4 Exterior Performance space/ Garden 5 Main gallery 6 Ascending galleries 7 Black-box theatre
Embodying the feeling of a void, the atrium serves as a collective space: gathering circulation, interactions, and light. The atrium allows daylight to permeate the building as both the light and the space bleed into its surroundings. This lightweight component is juxtaposed with the heavy, darker space of the black-box theatre. While the atrium sinks and fills the ground floor with light, the theatre is lifted and contained, becoming a floating, solid entity. A bridging element exists that allows for direct entry from the gallery space to the black-box theatre, puncturing through the atrium first: drowning the occupant in light before being contained in the theatre. Both of these elements, as shown in the diagram on the left, are held within the larger armature of the ascending galleries.
turning a corner
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Investigation of vertical and horizontal seams; [top] Relationship between horizontal seam inviting movement beneath theatre and into the open space behind and vertical seam between theatre and armature. [bottom] Horizontal seam created by ascending galleries, holding the sinking void (atrium) and floating solid (theatre).
Section of the fluid space between Main gallery and ground floor, and connection to exterior performance space.
Section illustrating promenade of gallery, film room space, and lifting wallowing entry into the exterior performance space.
The galleries wrap around the corner of the street, playing with translucent and transparent materials to allow elevated views of the city, and are initiated in the Main gallery space. This space faces the graveyard and church and exhibits a twostory window, allowing undisturbed viewing of the surrounding spaces. A system of translucent panels lines the atrium’s edge of the gallery spaces, displaying pieces of art and filtering the light of the atrium. While the corner-ridden galleries collect the street’s movement, the exterior performance space collects the slow-pace movement of the surrounding green spaces and encourages the unscripted performances of Charleston’s noisy streets.
29|30 turning a corner
2d to 3d: Generating Surface Diagramming Image
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2d to 3d
Spring 2009, Advanced Digital Critic: Ruth Ron
The goal of this assignment was to challenge the dimensions of an image, exploring how to re-create its basic components by using the same image to construct two drastically different scales of occupation. The larger scaled construct proposes a rock climbing center manifested within an undulating surface. The elastic surface was achieved by creating a digital diagram surveying the tones of the original image, allowing the surface to bend and distort according to the contrasts and tonal changes of the image. The smaller scaled proposal, a fountain and bench addition to a wall, explored a similar process. Instead of the tonal studies, the image was broken down in terms of densities and contour traces. The plane of the image was studied vertically, and moments of high densities were chosen to become protrusions. These protrusions became a filter device for water, a vessel for small objects, and a place for human rest.
Original 3d diagram of tonal relationships
Further manipulation responding to function
Vessel Exaggeration of countour intensities
Tracing of contours
Water filter
Vertical Investigations Urban exposition and reflection
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vertical investigations
Spring 2008, Architectural Design Four Critic: Martin Gundersen
Placed within a dense, urban environment, this project investigates human occupation in a predominantly vertical field. The method of collage explores a modulated field condition and how it can nest pockets of occupation. These pockets break from the repetitive pattern of the field and embrace the urban conditions of its surroundings, carving multi-story public spaces. The circulation between these pockets serves as a network of branches; these branches reach through the field and truly embed the spaces into the vertical condition. As a fashion institute, these carved spaces range from fashion runways to exhibition spaces. The dramatically carved space near the top of the field acts as a floating lobby space for large crowds to gather, and creates a lens into the urban environment surrounding the space.
35|36 urban projections
Urban Projection Symbiosis between social and built environments Multi-use building. Hell’s Kitchen: NY, NY Fall 2009, Architectural Design Seven Critic: Levent Kara In collaboration with Jessica Condor
Endosymbiosis describes a symbiotic relationship in which one symbiont lives within the tissues of the other. The proposal seeks to capture the nature of this relationship: between city dwellers and city, between the social and built environment, and between the tissues of individual perception and the language of the city. The skin of the hotel exhibits a dynamic frame from which the occupants can view and internalize the city. At times the skin gives way to large apertures, creating seamless visual relationships between occupant and city, and exhibits the activities of the space out into the urban landscape. This exposure takes place within large public spaces that are held by a vertical armature, where the main circulation is held. As this circulation core touches the ground, the spaces of the hotel are lifted to make way for a carved, urban ground. This ground allows pedestrians to travel directly beneath the hotel and provides an urban resting ground amidst the busy streets.
The sectional evolution of the hotel investigates the possibilities of a vertical circulation core that expands horizontally into the city at given moments. These horizontal expansions then become public spaces that are exhibited to the surrounding blocks.
urban projections
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The vertical armature touches the ground and becomes a conduit, inviting the movement of the street edge up into the building. The construction of this edge is lifted along the street, carving an urban ground in which the armature can reveal itself. The projections provide the street edge with a sense of theatrics, inviting pedestrians to walk directly below the building and exposing not only projections, but sounds and activities to the passersby.
The spaces begin to visually and audibly bleed into one another, framing views for occupants to observe the activities surrounding them. The occupant, then, is relating both to the city views being framed, as well as the programs directly around them.
The deck engenders a sense of privacy, with the surrounding walls, yet the space shares the noise and air of the bustling city. As a space for musicians, the sound of performances radiate into the street.
urban projections
39|40 The proposal’s section illustrates the importance of exposing the activities of public spaces back to the city. This exposure creates a feeling for the pedestrians along the street, and encourages the passerby to participate in the action. Specifically, the projections hosted on a three-story aperture of the theatre reveal a sense of drama and emotion to the street, shaping both the experiences of the interior and exterior spaces. Other public spaces work in a similar way, as they offer seamless visual opportunities and expand horizontally into the city, allowing occupants to internalize their built environment. The visual relations between the interior spaces are of equal importance and many opportunities are presented for individuals to view into spaces of different programs. As the main spaces expand horizontally into the city, they are amassed within the vertical armature. It is within this vertical armature that the juxtaposition of programs is exhibited most dramatically, as visual and audible bleeding of spaces is collected here and distributed within the space.
1 sculpted ground 2 interactive theatre 3 circulation core 4 cycling 5 jazz balcony 6 art studio (not cut)
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Public spaces and visual connections towards the city. Art studio (top) Cycling gym (bottom left) Interactive theatre (bottom right)
Breaking and Bridging Tying Indeterminate Edges
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breaking & bridging
Multi-Use. 53rd Ave & 10th Ave. NY, NY. Fall 2009, Architectural Design Seven Critic: Levent Kara In Collaboration with: Jessica Condor
“Proceeding through the space in the city we move within a network of overlapping perspectives in motion. As the body advances, vistas open and close- distant, middle, and near views palpitate. The shifting movement between near and far objects, walls, and buildings makes an always-changing, visually tectonic landscape called ‘parallax.’ The promenade elicits a host of spontaneous intertwined experiences within urban space. In the complex spaces of the modern city, buildings are not so much objects as partial visions forming a perspectival continuum” –Steven Holl, Intertwining Our addition to Hell’s Kitchen aims to capture the experience of existing and moving within a city, to illustrate a “network of overlapping perspectives in motion,” palpitating vistas, elements of framing, and shifting of the built environment. Our site sits within a block that meets a strong urban condition on one edge and a series of parks nearby the Hudson River on the other. Both the pace and attitude of the edges are drastically different; the urban edge carries the weight of the noisy, dense city while the park-side provides a relaxed, recreational space. The proposal seeks to bridge these two opposing edges, as well as mimic their characteristics. We examined our site in terms of three main zones: the vertical edge, breaking and bridging, and the park edge. Breaks away at towers
Park Edge
Breaking & Bridging
Vertical Edge Punctures spaces to create visual connections
Reaches into high-rise towers as they bridge the vertical joint
Arteries as thread stitching the site
Diagram exploring the mapping of movement within circulation arteries (glass tubes) while also studying their effect as they bridge the spaces of the site and create visual relationships.
breaking & bridging
43|44 The diagram above explores the conceptual and experiential building blocks of a city: participation, symbiosis, gaited rhythm, bodies as a moving mass, individual and collective perception, controlled views and framing, etc. The different elements of this structure seek to synthesize an experience which embodies all of these notions. The urban edge is defined by two high-rise towers that embrace the verticality of the city. Multi-story public spaces, mainly retail, bridge the towers and are embedded at the street level, enclosed with transparency to allow an open dialogue with the street. The towers shape an occupant’s experience at a multiplicity of scales: at street-level, they provoke a feeling of monumentality as they frame views of the sky and city, and while walking within them, moments of transparency frame views of the opposing tower, the city, and the rest of the site. Each tower hosts a transparent artery of movement that is nested in their side; these arterial gestures create their own dialogue and began to undulate in reaction to each other. As these elements of transparency reach for the ground, they branch out into the surrounding spaces: bridging the spaces, mapping movement along the site, and creating shifting perspectives.
The section cut on the south edge of the site illustrates the module-driven tower breaking into the larger, public spaces that scoop up the street-edge. The south elevation also demonstrates the concept of framing as the three smaller towers break and define visual connections in and out of the site.
Mappings of densities and movement along the site narrated programmatic distribution and generated the three main zones.
breaking & bridging
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In a city as dense and dynamic as New York, the movement of human bodies is the most common occurrence to observe and relate to. These glass tubes aim to frame human bodies and resonate with the memory of movement as they branch through the spaces of the site, acting as an experiential thread. These channels of movement shift in section and overlap at times, creating shifted views and “overlapping perspectives.� Reaching the length of the site, they begin to puncture into spaces, and at other times carve away at spaces, always creating unique visual connections with their surroundings. The story of these arteries is most poetically captured within the sections. The cross section reveals these gestures reaching into the sky, creating a thin slice of space between them to frame the sky and city.
Light conditions in the crack between towers, and in breaking and bridging.
47|48 breaking & bridging
The breaking and bridging zone illustrates the collision of the two edges, and embodies the conglomerate nature of the city. The space is highly active and charged with viewing, participation, and memory. The south edge of the site is filtered and framed by the three smaller tower elements, and then is broken open, allowing access into the site. The ‘fishbowl’ element cantilevers over this space, and serves as a monument to an occupant’s place in the site. A swimming pool (pictured below) exists in the fishbowl; here, occupants can swim with a complete view of their surroundings, and can also be seen from various points within the site. This breaking and bridging space also hosts a folded ground that can be occupied both below and on top, providing spaces for gathering and resting.
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The cantilever characterizes the park edge in both program and gesture as it mimics the dramatic horizontality of the neighboring parks and lifts to allow a carved ground, inviting moments of pause, gathering, and relaxation. The spaces within cantilever serve as a gym, providing programs that are highly active and open-ended in nature to truly capture the ambiguous nature and activities of the park.
Composing Joints Investigating the art of construction
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composing joints
Fall 2010, Professional Internship Firm: Red Earth Architects Manipal, Karnataka. India.
The region of South Canara belongs to the southern Indian state of Karnataka, where many ancient heritage structures exist, but are being removed and replaced by new structures. This house, located in the town of Nitte, dates back six-hundred years, and is in the process of being restored by Red Earth Architects, a small firm in the neighboring town of Manipal. The structure exhibits the master craft of ancient wooden architecture, and its materials include local wood, mud floors, and a sloping, tile roof. Typical of Indian architecture, an open-to-sky courtyard centers the plan, creating a micro-climate within the house and allowing the spaces to breathe in the hot and humid climate. The ceiling documented below illustrates its wooden joinery and construction, the science of craft that allows for easier dissembling, restoring, and reassembling of the house.
Process of Dissembling (Existing Site)
Ceiling Restoration (above) and joinery study drawings (right)
Section through column figure, Ground floor plan of housing complex
“Once in his life a man ought to concentrate his mind upon the remembered earth, I believe. He ought to give himself up to a particular landscape in his experience, to look at it from as many angles as he can, to wonder about it, to dwell upon it. He ought to imagine that he touches it with his hands at every season and listens to the sounds that are made upon it. He ought to imagine the creatures there and all the faintest motions of the wind. He ought to recollect the glare of noon and all the colors of the dawn and dusk.� -Scott Momaday, The Way to Rainy Mountain
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I offer my thanks and gratitude to all who have supported me in my life and endeavors. [Professors] Thank you for making the last four years incredibly rewarding, and always inspiring and encouraging us. [Friends] Thank you all for the laughs and memories, and helping me remain (mostly) sane and balanced. To Katie, Melissa, Jonathan, Govinda, Chris, and Charles: beam
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[Family] Thank you for always being there, encouraging me to follow my dreams, and believing in me in all my endeavors. You guys have always been by my side, and have taught me so much. To Bapama: Thank for your unrelenting enthusiasm and love for all of us. Rest in Peace.