Rhea Ishani_Architecture Portfolio for TU Delft

ARCHITECTURE PORTFOLIO RHEA ISHANI I 5315883

RHEA ISHANI

ARCHITECT | DOB : 13 SEPTEMBER 1996

Architecture has beatowed the power and conferred the responsibility to change the way people live their lives, the way they see the world. Having grown up in Mysuru - a tier II city in India, in the last two decades most Indian cities have been revamped. An affinity to imitate the west, in a tropical country like India, has meant mean zero response to climate. Today, in the world of contemporary design solutions, this has resulted in an enticing skyline of glass and steel towers. However this has been possible at the price of shredding identities.

The Masters degree with a specialization in BouT – Building technology is an ideal amalgamation of technical aspects of design and technology supported by digital tools. This is an eye-opener to the working world of engineers as it bridges architecture and engineering while throwing light on how engineers work. In the Venn diagram of architecture, climate & structure have played a predominant role in shaping buildings.

I know of the dynamism and passion of the faculty and students at Bk city through my seniors. Their portfolio and published works speak volumes of critical knowledge they have absorbed and this has further reinforced my passion to study at TU Delft. The four years in Architecture School and more than a year’s professional training, has lead me to believe that the divergence from the Generic idea of the building is possible but with the knowledge on the whole breadth of the building such as Climate, façade and Structural design.

An indulgence with architecture has taught me to envisage design solutions, and with an opportunity to study at T U Delft, Netherlands, I wish to achieve my long term goal of being able to move forward with extensive practical expertise from the process of thinking to developing sustainable solutions and be always righteous towards my profession. I believe I do possess the necessary aptitude, discipline and resolve that a graduate program demands. With these objectives and beliefs in mind, I look forward to being a part of TU Delft’s gifted student community.

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DESIGN THESIS

ACADEMIC

INDIVIDUAL

03-10

ACADEMIC

INDIVIDUAL

11-14

ACADEMIC

INDIVIDUAL

15-16

ACADEMIC

INDIVIDUAL

17-22

TRAINING

INDIVIDUAL

23-27

Embracing the Aravanis Reimagining a social space for the third gender

URBAN INSERT Urban experience projectDesign of a Shopping Mall in an Industrial settlement.

MUSEUM DESIGN A new approach to design of museums in a city whose museums are retrofiited in palaces

SOCIAL HOUSING Defining TypologiesDesign of three different typologies as a reflection of income groups.

PUBLICATION In the realm of Code Understanding the advanced parametric tools and design process through Ar. Nuru Karim’s work.

TYPE : ACADEMIC THESIS - INDIVIDUAL | YEAR : 2018 - 19 | LOCATION : TAMIL NADU, INDIA

ABSTRACT OF THE TOPIC

GUIDED BY :

Architectural practice contributes to the folds that imbricate matrices formative of a space, and its presence is much opaque, in the matrices of Gender - Sex construction. The thesis defends that architecture moves between the two matrices, having a hand in the constitution of a patriarchal space, but that also may subvert its role through a queering practice. The thesis brings to focus a culturally-rich, not only feared but revered and respected third gender / transgender community from Villupuram, India – The Aravanis. The thesis takes a step forward to implant the idea of building without bias through the design of gender neutral environments - one that welcomes individuals with any form of presentation. It aims to create a habitat, that welcomes the homeless trans youth, battling through gender dysphoria and help them recuperate to live a meaningful life. On the other hand, the thesis aims to create an icon for the community and the Koovagam festival on an international level, and to create a space that everyone can claim.

Shruthi Mutalikdesai

<shruthi.m@msa.edu.in>

LEARNING OUTCOME :

Understanding the intangible relationship between Gender & Architecture, thereby shaping the design by focusing on a Culturally rich Transgender community in India - The Aravanis

CONTRIBUTION :

This is an Academic Thesis project, which involved efforts right from setting aim and obejctives, to evolving design concepts. taking it forword from the conceptual stage to producing final drawings, presentation and details.

Drop -in Centre Healing Space Foot Bridge Pampa River

Vocational Training Centre

Existing Settlement

Performance Pod Housing Cluster

Interpretation Centre

Main Shrine Black-box Theatre

Small Shrines

Performance Pod

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Rendered by Rhea Ishani

GENDER & ARCHITECTURE

SPACE

The thesis explores the relationship between gender and architecture, by understanding the meaning and attributes of a space. This further moves to the discussion of how every space is intergrally gendered. Every space is percieved and experienced differently by each individual, as we differ in character, body and emotions. This makes each one of us percieve space differently and so it is essentially true that every space is ‘gendered’.

GENDER NEUTRAL SPACE

ROLE OF ARCHITECTS

A Space becomes gender neutral when, every individual irrespective of gender and any form of presentationhas the right to claim the space, can stroll across its edges, has a visceral and bodily feel with the space, and is able to watch its movement.

As architects, we constantly redefine our ways of place making. After understanding how every space is gendered, there are certain attributes that make a place - ‘a space’ which any individually with any form of representaion can claim.

CLOSURE

LIGHTING

SCALE

VISIBILITY

WHY NOT LOITER?

Why not loiter, is a reverse phrase developed from the popular book, ‘Why loiter?’. The book talks in depth of the Indian society where the abstract generic user who is a neutral user, is considered to be invariably MALE, which renders women and queer communities invisible.

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To loiter means “to claim the place to

be yours” to loiter means, “to be free” to loiter means, “to be included”

All drawings & renders done by Rhea Ishani

THE ARAVANI COMMUNITY The Aravanis are a sexual minority. They are typically refferred to as ‘eunuchs’ or ‘Hijras’ . They belong to the Villupurama district of Tamil Nadu, India. This culturally rich community is bound by strong system of social hierarchy. The community is well known to celebrate the largest Transgender Festival known as - KOOVAGAM. The community is a large cult and gets its name from Lord Aravan, worshipped as their chief deity.

The culture within the community is such that the gurus stay back, while their chelas bring in resources to support their everyday life.

The Trans individuals suffer from gender dysphoria, from an early age which brings conflict between their mind and physical appearance. Their behavior is similar to that of a female.

They are born male and live the life of a female. They love to indulge in all the activities like that of a female. In their leisure time grooming themselves.

They practice community living and share common facilities such as cooking, and washing. in common areas. They spend most of the day together on the streets, and most evenings going out to the town, to beg, & gather resources for their everyday life.

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A temple is located in close vicinity, where all the members of the community offer their prayers. The temple complex is also a major place for events and social gathering. The current population of the community is 100. The Government of Villupuram has provided them land in a village 20 kms away from the Villupuram called Ayyankovilpattu.

Restrained to the fringes of the society, this marginalized community has no definite sources of income and so they go out begging on the streets and indulge in sex work to support their livelihood.

The Koovagam festival is celebrated every year during the Chitra Poornima to worship the lord Arvaan, - a character that appears in the epic Mahabharatha. The Aravanis consider themselves as descendants of Lord Krishna and visit the Koovagam temple every year. In this week-long festival, The Aravanis marry the male population of the village. The relationship is celebrated for a day after which the Aravanis mourn and weep the death of Lord Aravan who in the pic was sacrificed the following day. They undergo rituals of attaining widowhood. This festival is celebrated as a sex carnival, where thousands flock in to celebrate the Koovagam festival.

LIFE

STRUCTURE FOR TRANS INDIVIDUALS The inferences from the study on the condition of Trans-individuals gave rise to typlogies such as Drop -in centre and Healing Space. The intent was to design as a coveted space far from their home.

COMMUNITY SPACE The community spaces are important for an Aravani. They spend most of their time outdoors and are a close-knit matriachial community indulging in their daily activities.

SPACE

ICON FOR TRANSGENDER As the community celebrates being a Transgender, the intent was to design a series of public spaces that would come alive during the Koovagam festival.

LEARNING SPACE To help the members of the communjty become self-reliant individuals, a small portion of the area was devoted to the design of Vocational training centres, that would educate them with necessary knowledge and skill AREA PROGRAMME

DISTRIBUTION OF AREA A pictoral representation of thedistribution of area program

A section of the site showing the condition of the houses inhabited by Aravanis.

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The area programme was developed after the study of the Aravani and the queer community in India.

Their present conditions of living and their acceptance by the society formed the crux of the area programme. The daily life of the Arvanais and tehir lifesetyle, community structure, help evolve areas for their community Housing. Hence they are all important references to the Thesis programme.

HOUSING CLUSTER

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The Housing cluster is designed by keping in mind the average size of the family, which was observed to be four. The design focuses on the everyday life of an Aravani which lead to a larger percentage of public and semi-public spaces as they

while designing private and semi private areas as Aravani’s believe in community living. A total of 45 units were designed to accomodate 90 families. The house is essentially primordial, responding to the sun, moon, rain and sky with a human scale. and responds to the overall scale of the village.

1. COURTYARD 2. COMMON KITCHEN 3. UNIT I 4. UNIT II 5. SERVICE AREA

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CLUSTER PLAN 4

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BRICK JALI The brick Jali and exposed brick work masonry is chosen as a response to the existing context.

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ROOF The concrete roof profile is designed to protect from strong sun glare. The high roof also promotes air circulation in the living areas.

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OPENINGS Customized UPVC bay windows are used as they are durable and offer good properties of heat insulation.

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GROUND FLOOR

STAIRCASE Perforated metal staircase is used as it is sturdy, durable and visually light.

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FIRST FLOOR LANDSCAPE Concrete herring bone paving with local plant species.

SECTION AA’

All drawings & renders done by Rhea Ishani

3 5 3

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1. ENTRANCE 2. THERAPY ROOM 3. COUNSELLING

ROOM 4. PANTRY 5. TOILET 6.LIBRARY

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1. TOILETS 2. RECEPTION 3. MUSIC ROOM 4. ART ROOM 5. KITCHEN 6.LIBRARY

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VIEW OF DROP - IN & HEALING CENTRE

PLAN OF DROP - IN & HEALING CENTRE The Healing Space and the Drop - in centre are located behind one another. The healing space is a free - flowing plan of counselling and therapy rooms on the ground level. the councelling rooms are of two types, single and group. The group therapy rooms open to the designed landscape.

The louvers help in establishing a visual connection to the outside.

The meditation space designed on the first level. This space is covered by a dome, with an oculus at the centre which brings the space alive creating patterns of shade and shadow as the day progresses. The Additional facilities include a library & Pantry.

Water as a primary element in integrating the built & open

Therapy rooms (in blue) and councelling rooms (in brown)

Relationship between the built (yellow) and open (green).

SPATIAL PLANNING DIAGRAMS

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The intent was to design a structure with large areas for meditation. The idea was to intergrate the built and the open through elements

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B

such water and landscape.

This was achieved, by controling the size and shape of openings and overall layout intergrated with ramps.

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C

SECTION All drawings & renders done by Rhea Ishani

Through several interviews and research, it was found that the Aravanis love theatre.

Most individuals confessed that theatre is a platform, which allows them to express themselves fully, without any form of judgement.

Therefore, keeping this in mind, a black box theatre is made a part of the thesis programme.

BLACK BOX THEATRE (above)

PERFORMANCE PODS The Koovagam festival involves, many festivals such as beauty paegants to name a few, and so adding to the need of the Black box theatre in the campus.

In the scope of the thesis, a space for the theatre has been allotted with basic planning and facade and doesnot go deep into resolving details.

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The performance pods are small areas that are designed for performances with a smaller audience. These can be discussion areas, or small performance areas.

They are spread throughout the campus.

The pod is a simple strcuture witha surved seating are a with a centre stage. This entire area is covered by a tensile roof held by a pole in the centre.

All drawings & renders done by Rhea Ishani

DROP - IN CENTRE The Trans individuals, suffer from Gender dysphoria, and move out of their houses at a young age. A dropin centre is the first place, they can approach for immediate help. The centre offers facilities from basic amenities to therapy, where they can

recuperate and foucs on their life.

The curved outer walls of the design create an enclosure, A narrow courtyard space is carved along its axis which seperates the built masses, The spatial relationship diagram shows all the spaces incorporated in the centre.

The spatial relationship diagram shows the evolution of form and distribution of space. this helps to draw a circulation between the built spaces.

ROOF The concrete roof profile is designed with clerestorey lighting.

VOCATIONAL TRAINING CENTRE The center is a space, similar to a small scale institute that educates an individual and teaches life skils. The training centre is designed around a central courtyard,

STRUCTURE The design is a post and beam structure, of brick walls and concrete columns.

and contains workshops, classrooms and a stepped terrace, which allows individuals like a spill- out space. The design also responds to human scale, gestures of

01. COURTYARD 02. WORKSHOP 03. STUDIO 04. TOILETS 05. LANDSCAPED TERRACE 06. EXHIBITION SPACE 07. ENTRANCE 08. OUTDOOR STUDIO 09. SCULPTURE STUDIO

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2 GROUND FLOOR OPENINGS Customized UPVC windows are used as they are durable and offer good properties of heat insulation.

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GROUND FLOOR PLAN

7 FIRST FLOOR LANDSCAPE Concrete herring bone paving with local plant species

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All drawings & renders done by Rhea Ishani

TYPE : ACADEMIC - INDIVIDUAL | YEAR : 2016-17 | LOCATION : KARNATAKA, INDIA GUIDED BY -

Balaji Chari V & Deepak Kumar

LEARNING - OUTCOME

Excericise on understanding the Urban fabric of the city, to design a new structure that would be the new landmark of the area. Response to context, adhering to bylaws and standards guiding design of commercial space with respect to vertical circulation and building services.

<shruthi.m@msa.edu.in> <archikula@gmail.com>

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SHOPPING MALL The project was a prelude to an Urban design project and focused on designing a structure that would be a landmark in the area. The site is located in the industrial area and boreders a gated housing campus. The idea was to define a user group who would access the mall , further case studies on existing malls in the city gave an idea on the extent of the role of building services that would shape the buillding.

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All drawings & renders done by Rhea Ishani

SMALL SCALE INDUSTRIES

MAIN ENTRANCE

LANDSCAPE

LAKE

SHOPPING MALL

SERVICE CRECHE | HAAT ENTRY

Based on context GATED APARTMENT

Based on ecology The arrow head indicates the direction of slope.

AXONOMETRIC VIEW

CONCEPT & FORM Towards small scale industries Towards primary road junction

Towards the Lake

Towards the Apartments

Based on views

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SERVICE CORES

DISTRIBUTION OF RETAILS & ANCHOR STORE All drawings & renders done by Rhea Ishani

ETFE membrane for Anchor Shops the facade.

Retail Shops

Service Core

Landscaped Atrium

Photovoltaic cells installed on the facade

Retail Shops

SECTION AAâ&#x20AC;&#x2122; S NO. LEGENDS

CS-AHU IN-DOOR UNIT

2.

FAHU UNIT

3.

IN-LINE FAN

4.

CWR.PIPE

5.

CWS.PIPE

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S/A GRILL V.C.D

7.

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450X 750 225 CF M

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CONTINUOUS GRILL

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DOWN THROW GRILL

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FRESH AIR LOUVER

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600X 2250 550 CFM DRAIN PIP WET POINTE TO TH 40M

FCU

E NE M DIA ARES

T

450X45 0 1500 CFM

DRAIN PIPE TO THE WET POINT NEARES 40MM T DIA

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RETURN AIR DUCT

14.

15.

SUPPLY AIR DUCT

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EXHAUST AIR DUCT

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The exterior facade of the mall is covered with ETFE membrane and coloured photovoltaic cells. A network of PVC members hold this grid

SUPPLY AIR DIFFUSER

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45 75 0X22 0C 5 FM

DESCRIPTION

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vav

VARIABLE AIR VOLUME

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DRAIN PIPE

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ELECTRICAL ISOLATOR

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FIRE DAMPER

Layout of the Shopping Mall

The intent of this project was to understand the working of service cores such as HVAC , Electrical and Plumbing systems.

The passenger capacity of the lift and escalators were calculated while designing the number of service cores.

The key plan indicates the area of the plan that is detailed.

The HVAC plan shows the air ducts, VAV intake and outlet pipes. A detail layout of the toilet showing air vents.

All drawings & renders done by Rhea Ishani

Restrooms

Natural History

Outdoor Sculpture

Form finding excercise focusing on circulation patterns and human interaction.

Ticket OďŹ&#x192;ce

LEARNING - OUTCOME

03 Information Desk

<shruthi.m@msa.edu.in> <archikula@gmail.com>

Multipurpose Hall

Artefacts

Shruthi Mutalikdesai & Kuladeep Kumar

Canteen

GUIDED BY -

Textiles

TYPE : ACADEMIC - INDIVIDUAL | YEAR : 2015 | LOCATION : MYSORE, INDIA

MUSEUM DESIGN The brief was to design a museum, in a childrenâ&#x20AC;&#x2122;s park in the heart of the city to house, artefacts, and objects of natural history. Designed with a clinical facade, the museum takes the role of a secondary hero and allows the artefcats to remain objects of focus, rather than the design itself. The museum would thus be a new identity in a city with all its museums retrofitted into palaces.

Designed with a concept of continuity, the curved ramps add to the quality of universal accessibility, inducing curiousity thereby avoiding confusion.

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The long slit windows, and clerestorey windows on the North facade, bring diffused light into the area.

The building rises at three levels interconnected by ramps whish serve as an envelope to the building.

All drawings & renders done by Rhea Ishani

The sketch shows the view from the ramp on the front. This leads to a buffer space which is the primary discussion area that holds the crowd of the museum. The bull’s eye opening on the left is an element that allows visual interaction with the spaces on the lower floor.

This element also makes the spacei interesting as it behaves with the motion of the sun creating patterns as the day progresses.

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(A) 5 The sketch represents the corridor that forms the connection between The auditorium (left) and the gallery space (right).

Captured from the human eye level, this sketch explains the scale and indulgence of a visitor with the surroundings of the museum. This area is open to sky , which gives the gallery enough light to display the artefacts.

6 1 3 2

1. LOBBY AREA 2. CLOAK ROOM 3. OFFICE SPACE 4. CAFE 5. KITCHEN 6. MULTIPURPOSE HALL 7. TEXTILES 8. ARTEFACTS 9. OIUTDOOR SCULPTURE 10. RAMP 01 11. RAMP 02 12. TOILETS

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(C)

The sketch shows the outdoor sculpture area which is the highest space from the rear ramp. Theis area opens to the gallery of Natural History. which is the largest gallery space in the museum.

SECTION AA’ All drawings & renders done by Rhea Ishani

TYPE : ACADEMIC - INDIVIDUAL | YEAR : 2016-17 | LOCATION : KARNATAKA, INDIA GUIDED BY -

Shruthi Mutalikdesai & Kuladeep Kumar

<shruthi.m@msa.edu.in> <archikula@gmail.com>

LEARNING - OUTCOME

Excericise on understanding the Urban fabric of the city, to design a new structure that would be the new landmark of the area. Response to context, adhering to bylaws and standards guiding design of commercial space with respect to vertical circulation and building services.

COMMUNITY HOUSING

The project was a prelude to an Urban design project and focused on designing a structure that would be a landmark in the area. The site is located in the industrial area and boreders a gated housing campus. The idea was to define a user group who would access the mall , further case studieson existing malls in the city gave an idea on the extent of the role of building services that would shape the design of the building.

Type B Middle Income Housing

Community Space

Type B Middle Income Housing

04

Playground

Primary Road 01

Existing Settlement

Playground

Commercial Space

Type A Low Income Housing Cycle Stand Type C High Income Housing Type B Middle Income Housing

Existing Educational Institution Coconut Farm

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Rendered by Rhea Ishani

DESIGN PROCESS ZONING

Introduction to Typologies

LIG

MIG

The Low Income Housing was designed as a gated community of 8 Walk-up apartments.

This was done to provide more housing units with low ground cover making them affordable.

They are alos strategically zoned on the periphery adjacent to the primary road to as it leads to small-scake factories which e,ployes most of the Low - income residential population.

P1

T1 S1

The Middle income Housing was designed as â&#x20AC;&#x2DC;Row Housingâ&#x20AC;&#x2122;, a total of 6 units as a cluster.

This type housing was incorporated as it allows effective clustering of thereby reducing ground cover and setbacks to individual property

S2

S3

HIG

The High Income Housing is designed as independant units, following general rules of setback and F.A.R as instructed by Building bylaws.

DESIGN INTENT

P2

Hierarchy of Roadways Classified as Primary [P], Secondary [S] and Teritiary [T]. The Primary and most secondary roads allowing two way circulation, while teritiary roads allow one way circulation. This is planned with an intension to avoid traffic bottlenecks.

AREA DISTRIBUTION

LIG 35.26%

HIG 11.61%

UNIT DISTRIBUTION LIG - 256 UNITS MIG - 170 UNITS HIG - 57 UNITS TOTAL SITE AREA - 76565 Sq.m

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P3

S4

MIG 53.11%

360 Sq.m

T2

2500 Sq.m

Distribution of commercial sites This is done for easy access to shopping. They are scattered throughout the site to make them accessible from every corner of the site.

S5

Recreation & Community Spaces They are incorporated to improve quality of neighbourhood, by introducing breakout spaces that allow congregation of people, for leisure

1500 Sq.m

500 Sq.m

All drawings & renders done by Rhea Ishani

DESIGN AS A RESPONSE TO CLIMATE DESIGN OF HORIZONTAL SHADING DEVICES

SIZE AND POSITION OF OPENINGS LIG

A

B

The unit was designed as a response to the climate of Mysuru.

The walk -up apartments have a small light well, that behaves like a pseudo coutyard and provides light and ventikation to the entire

unit, thus mainting privacy. The size and shape of the openings have been controlled to ensure air movement through the living zone (space used by occupants), This is done by positioning the out-

The Horizontal shading devices in all the three units have been designed by following the Solar Azimnuth and Solar Altitude angle. The shadow angke protarctor has been used to estimate the angles according to the coordinates of the site. the relationship between the factors that decide the kength od the shading device is described the formula,

C let opening is close to the ceiling The third diagram shows the air movement through the light well.

This allows the warmer and lighter indoor air to escape allowing the cool outdoor in the living zone.

tan â&#x201A;Ź = tan a x sec δb where a is the solar altitude angle and b is the vertical shadow angle

MIG

BUILDING MATERIALS FILLER SLAB A

B

The diagram shows the air movement through the opening in the roof. The roof doesnot only add character the building but also facilitates movement to hot outdoor air through it.

The courtyard is flanked by living areas on the ground floor and bedrooms on the top floor. The size and position of the openings are designed in such a way that the openings in the front facade are

BRICK JALI

TERRACOTTA TILES

C wider followed by narrow openings on the rear end as they are the only two sides that bear windows in a row housing typlology.

HIG

UPVC WINDOWS

A The tilted roof makes way for a cleerstorey window which brings uninteruppted light to the floor area.

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B the central courtyard becomes bigger on the first level, The louvers add aesthetic value

C to the building while allowing good air movement. indoors.

OXIDE FLOORING

Most of the building materials for the housing project are locally available in the city of Mysuru. This was done with an intention to reduce the carbon footprint of the building.Techniques like Filler slab ,oxide flooring employes local craftsmen and reduces the overall cost of the project.

All drawings & renders done by Rhea Ishani

TYPOLOGY A LOW INCOME HOUSING

The units concieved as square blocks designed as studio apartments for single living and nuclear families.

The site is surrounded by the families employed in small scale factories. The unit designed along the interest of the working class families whose living style is similar to the living styles of the community living.

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CLUSTER PLAN

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VIEW SHOWING THE CLUSTER

CONCEPT & FORM

Light Well

WC & Bath Seperate

UPVC Doors & Windows

Balcony as a spillout space

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The units concieved as square blocks designed as studio apartments for single living and nuclear families. The site is surrounded by the families employed in small scale factories. The unit designed along the interest of the working class families whose living style is similar to the living styles of the community living.

All drawings & renders done by Rhea Ishani

TYPOLOGY B MIDDLE INCOME HOUSING

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CLUSTER PLAN The units concieved as row houses are a combination of six dwellings within a common compound with shared parking space. Each rectilinear unit is designed

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around a courtyard in order to break the lengthy volume, thereby bringing in good quality light and ventilation, which are,otherwise general problems of row housing.

CONCEPT & FORM Clearstory window to allow light in the common area TERRACE The terrace is provided with an intent to allow incremental growth OPENINGS UPVC doors and windows used for all fenestrations.

STRUCTURE Designed as a composite post and beam structure.

Terracotta tiles used in the utlity area.

All horizontal surfaces are finished with IPS flooring

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SECTION AAâ&#x20AC;&#x2122; All drawings & renders done by Rhea Ishani

TYPOLOGY B HIGH INCOME HOUSING

The units are designed around a central courtyard. Planning involves careful zoning of spaces under Semi - Private and Private. Each dwelling has a car park. The double height living space along with louvers bring in the required light and ventilation.

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ELEVATION

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CONCEPT & FORM Clearstory window to allow light in the common area The terrace is provided with an intent to

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allow incremental growth Designed as a composite post and beam structure.

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Terracotta tiles used in the utlity area.

All horizontal surfaces are finished with IPS flooring UPVC doors fenestrations.

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windows

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all SECTION AAâ&#x20AC;&#x2122;

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All drawings & renders done by Rhea Ishani

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TYPE : PUBLICATION - INDIVIDUAL | YEAR : 2019 | LOCATION : GOA, INDIA GUIDED BY -

Maanasi Hattangadi & Hrushita Davey

<maanasihattangai@gmail.com> <hrushita.dave@gmail.com>

LEARNING OUTCOME - Understanding the process of Computational design

using advanced tools through Ar. Nuru Karim’s work This essay is published in [IN]SIDE Journal of Architecture, Vol II | Issue I The images used in the article are credited to Ar. Nuru Karim

Architectural models, historically, are approached as tools that guide design thinking. Apart from their role in the essential act of communicating design, they have evolved over time to represent conceptual underlays in the design process. The fascination of Nuru Karim, Founder and Principal, NUDES with modelmaking processes goes back to his undergraduate years. The practice of creating threedimensional objects at NUDES is intrinsically connected to the design processes that generate buildings and ideas. The studio, that spans their practice across diverse spectrum of architecture, urbanism and public art, employs the idea of evaluating design through perceptions and imaginations at the human scale through these models.

THE REAL M OF T HE CO DE ‘Nude Models’ by Nuru Karim explores the structure within natural systems through the lens of technology and processes Evolutionary tools in model making have enabled the translation of concepts of abstraction and coexistence from nature to built environments. NUDES, a Mumbai-based contemporary practice thrives on this process of model-making, while acknowledging the extent of design articulation that is possible with the implementation of these tools

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Firstly, there is the idea of exploring three-dimensionality in the virtual realm to test design in real time and obtain feedback with modification at every step of design development. But this feedback, at times, can be deceptive and unreliable. Nuru’s explorations through physical objects is a process that involves a diverse range of materials and techniques of making that range from CNC routing to 3D printing that use complex polymers such as PLA. Apart from testing prototypes in varied scales, the studio often works in the 1:1 scale with actual materials, to test an evolved idea of space under natural forces such as gravity as to design stable environments.

The Article is written by Rhea Ishani

Exhibitions, for Nuru Karim, are a platform to convey this idea of space-making with advanced tools. He perceives exhibitions as engines of research, designed to encourage newer ideas and perspectives of examining space and s patial experiences. These exhibitions showcase models developed to aid his research in spacemaking. They are also initiatives aimed at blurring the boundaries between architecture and art. In this context,

NUDE MODELS’s, is a solo art exhibition comprising five years of research work on design, and models of spatial investigations as art, discussing space and human scale on different levels of contrasting visual media.

and that have the ability to continuously rejuvenate. The architect is convinced by the potential of digital environments to impact our lives and today, more than ever, we can relate to the virtual world as the new frontier of architectural experimentation.

Parametric tools are products of a digital revolution that has its roots in learning from natural principles. There is no single leader in the natural building systems and the same is applied in the research and design of parametric tools. The efforts of the studio are not directed towards developing models with a predetermined idea or programme, but instead as a constant loop of action and reaction between the tool and the designer. The studio mimics the behaviour of nature using parametric systems to translate the act of building into a seamless process, where the design is born in the virtual realm and simultaneously, moves to the construction stage as a process of experimentation and spatial interrogation. The architect emphasises that the tool is never the designer.

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Even with progress in technology, the development of design demands additional inputs, rendering the output as a measure of control and understanding of the tool itself.

1. (facing page top) : An array of extrapolated curves- a play of solid and void volumes.

2. (above) : Tessellations of a network constructing a three dimensional space.

3. (right side top) : Imitating intricacies of nature 4.( right side second) : Revealing the narrator of the space- the human scale.

5. (right side bottom) : The many wheels of democracy

These models address qualitative aspects of modularity, spatial hierarchy, and hamony. They attempt to instigate an informed dialogue on concepts of sustainability and climate change through its presence in the public domain. The models are exhibited true to the nature of material without any formal finish almost, “stripped bare to reveal their language of the code”. They represent the evolution of technologies across industries

Advanced parametric mechanisms are not just about form-finding or the fancy of form. Instead the form provides the data to guide the process of design and the form is the result of the way resolution of the ‘parameter’ works. Data is in the format of streaming values and codes which are a function of parameters and algorithms. This inherently records every input as a design history which can be retraced in an editable format, thus giving the designer control to retrace and remodel the coordinates in order to influence a localisedor global change in value, therein enabling immediate feedback upon modification to the design.

The Article is written by Rhea Ishani

The tool is not a commodity but a propeller of new ideas that will help harness new building systems. The design and construction guided by border-mark technologies will help articulate effective use of resources that sharpen design concepts and empower spacemaking by research in nature. These tools are eliminating the myths of standardised attributes and orthogonality as a recurring design solution.

The intelligence of technology is not limited to serve the demands of the elite, but designed to comprehend thinner frails of our social system

1. (left side top) : A doubly curved See-saw.

2. (left side bottom) : Imitating intricacies of nature.

3. (facing page top) : Showcasing expends of model making through technology & a diverse material palette.

4. (facing page bottom) Blob skin

and critique the contemporary systems of constrution.The architect personifies them as living forms engaging in a dialogue on the current state of design and construction and seeks to learn lessons on how they inform the profession.

The conventional systems of architecture are top-down processes wherein the design is hand-held from the architectâ&#x20AC;&#x2122;s desk to the execution on site. In the present-day systems, the construction process is marked by boundaries of anthropometry and life processes as standards of measurement guiding every space.

NURU KARIM, Founder & Principal Nudes received his Masters in Architecture and Urbanism from the Architectural Association [AADRL] London, United Kingdom in 2006.

NUDES operates within the realm of cross-disciplinary cultures of art, architecture and computational design powered by digital â&#x20AC;&#x153;makingâ&#x20AC;? tools addressing larger networks of social, cultural and environmental.

Nuru Karim has achieved critical recognition both for its built work and in competition in addition to several design awards including a nomination for the Aga Khan Award for Architecture 2013 cycle. He has also recently won the World Architecture Community Awards in the Designed category.

The nuanced structural complexities in nature have always inspired the art of spacemaking. With the onset of digital evolution, model-making finds new fissures to break through the rudimentary and thrives in the realm of algorithm, data parameters and codes.

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The Article is written by Rhea Ishani

A

B

C Today, we live in the digital era and with advancements in technology each day, the digtal revolution is changing the way we live our lives, and the way we design and build our habitats. Through this excercise, there is an attempt to explore space making with the help of border mark technologies, which communication through the language of codes, where every input is rewarded with a real time design output, thereby allowing many iterations to the same design.

The excercise uses technically advanced and uses advanced algorithmic tools. Grasshopper is a visual programming language within the Rhinoceros 3D computer - aided CAD application. It allows for high adaptability and is very user friendly.

D

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E

The design iterations is a set of two surfaces filled with a custom made mesh, from simple polygons. These polygons sandwiched between the top and bottom surfaces have reulted in the complex geometry. Modeled using pseudo code using tools on Rhino and Grasshopper.

The codes used are Mesh + and Twisted box one and two surfaces along with an option for smoothening the curves using catmull and butterfly operation.

Rendered by Rhea Ishani

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Rendered by Rhea Ishani