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Mobile no.: 9820280692 E-mail: snjnr065@gmail.com D.O.B.: 20. 11. 1997 Address.: Bldg.C/3, Flat No.2, Mahindra Nagar, Malad (East), Mumbai - 400097, Maharashtra, India. Spoken languages.: English, Hindi, Bengali, Marathi, Gujarati
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HELLO!
My name is Sanjana Roy and I am a fresh graduate of B.Arch from CEPT University, Ahmedabad. For me, architecture as a discipline is extremely multidimensional, and being fresh out of university, I am keen to explore its various aspects without limiting myself to a particular ideology or method. I have an interest in research and documentation and this has further been strengthened in my final year during my research thesis. I am also interested in graphic designing and have taken part in poster making and publication design at CEPT. I love to travel and to especially document my travels through photos, sketches, concept maps, etc. The pandemic has given us ample time to pause and reflect back. I look forward to joining the professional world and broadening my outlook through my new experiences.
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Kinetic installation CEPT, 2017
CURRICULUM VITAE SANJANA ROY
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SANJANA ROY ARCHITECT
20. 11. 1997 9820280692 snjnr065@gmail.com
EDUCATION
◼◼ Jul 2015 - May 2020 B.Arch at CEPT University, Ahmedabad, Gujarat. ◼◼ Feb 2019 - May 2019 Exchange semester at ETH Zurich, Zurich, Switzerland. CEPT has imbibed a conceptual understanding of architecture and has introduced me to diverse range of thought processes which are rooted in the Indian context. In contras, ETH has exposed me to an European approach to problem solving which has an inherent structure and order very different from our context.
SKILLS
◼◼ AutoCAD 2D
◼◼ Photoshop
◼◼ SketchUp
◼◼ M.S. Office
◼◼ InDesign
Manual skills of hand drafting, model making, etc have been an important part of curriculum at CEPT. Skills of communication and team work have been inculcated during organizing events such as Kurula Varkey Design Forum and have been strengthened during internship.
DOCUMENTATION PROGRAMS
◼◼ RSP 1 - Villages of Canacona, Goa.
◼◼ RSP 2 - Gwalior fort, Gwalior, Madhya Pradesh.
RSP 1 was about hand drawn documentation of vernacular settlements in Goa while RSP 2 shifted to digital documentation at an institutional scale. My interest in the field which started during that time has currently inspired my work of learning about cooperative housing societies in Mumbai. 6
ACHIEVEMENTS
◼◼ Faculty level award for best studio project - 2015 ◼◼ Scholarship for ETH Zurich with monthly stipend
WORK EXPERIENCE
◼◼ Jun 2018 - Nov 2018 Internship at HundredHands, Bangalore, Karnataka. Principal architects: Bijoy Ramachandran and Sunitha Kondur My internship experience has allowed me to learn team work and coordination, responsibility to prepare architectural drawings, to be accompanied on site visits and most importantly discuss and learn design with a diverse set of people who belong to different schools of thought.
WORKSHOPS
◼◼ Brick construction, CEPT. ◼◼ Surface active systems, CEPT.
◼◼ Earth construction, Hunnarshala, Kutch.
Workshops have helped me understand the construction of things. Apart from the workshops mentioned, I have also been involved in the making of kinetic installation during Navratri which has mainly informed my knowledge of working with metal and understanding its constraints and uses.
OTHER INTERESTS
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Reading (fiction, non-fiction, history, theory) Writing (content writing, research writing) Documentation (sketching, mapping, photography) Graphic design (posters, publications, logo design) Painting (acrylic painting, oil painting) Listening to music Travel
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Mandvi ni Pol, Ahmedabad 27. 11. 2016
... This portfolio is a compilation of the selected works done in the course of last five years.
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CONTENTS • DESIGN PROJECTS: 1. Frozen in motion
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A pause in the journey. - At ETH Zurich
2. Ekagrat
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A place for comfort and concentration.
3. Taaqademy
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Make space for music. - At HundredHands
4. Connect. Collaborate. Cowork.
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A case of urban encounters.
• RESEARCH PROJECTS: 5. The architectural diagram
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Nine Square grid - A diagram of formal organization.
6. CHS of Mumbai
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A study of the formation and evolution of cooperative housing society in Mumbai.
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10
Frozen in motion
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FROZEN IN MOTION A pause in the journey
Public buildings express the values of the societies that commission and build them. In the advanced economies of today, more and more of our collective life is played out in private places, and when public buildings need to be made, what they should express has become contested, or not even discussed. The semester began by studying a range of public buildings from 15th century to the present day. Our assigned case study was the Yokohama International Port Terminal by Foreign Office Architects (FOA). The physical and symbolic qualities of the assigned public building were studied as well as the societies and political conditions that produced them. The port terminal was built in the last decade of the 20th century and is ‘entirely indebted to the computer as a design tool. The architects embrace the computer for its ability to integrate information rapidly and to construct precise form– making instructions, designing a complex architectural entity in a relatively short amount of time.’ With this expanded idea of public space and its possible relationship to society, the final studio project was to redesign the main Sihlquai bus terminal of Zurich keeping in mind the case study of the port terminal. Semester 8 - Exhange semester at ETH Studio: Public Building by Adam Caruso Project team: Sanjana Roy, Eric Bonhote Project type: Bus terminal
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TOKYO
Frozen in motion
CITY
FERRY
FOA’s No return diagram
no return diagram by foa
FERRY
YOKOSUKA
FUJI
Interpretation of FOA’s ‘no-return diagram’ (top right) by showing the circulation loop extended into the city thereby demonstrating the idea of the port terminal as an extension of Yokohama city into the bay.
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Frozen in motion
The port terminal is a folded plate structure made with metal plates which is inspired by origami, the ancient craft of paper folding in Japan. The above model is an interpretation of the structure of the terminal below the wooden deck extending into the bay.
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Frozen in motion
Sihl river
Site plan showing the redesigned Sihlquai bus terminal and the existing car parking building alongside Sihl River.
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0
10
30
50m
Frozen in motion
The port terminal is an extension of the city to the outside world. Similarly the bus terminal is a transit hub which connects the city of Zurich to different parts of Europe. It is a pause in the journey of hectic flow of passengers in and out of Switzerland. FOA’s design talks about connections, surfaces and flows so we decided to design our spaces in such a way that the floor plates itself bends and splits to create connecting ramps for circulation which would be held up by thin cylindrical steel columns. We organize the public such that the thresholds are created with topography and not walls. The intention was to create two worlds, the outside is a heavy monolithic block with stucco and glass facade and the inside is a world of light pliable surfaces of FOA such that one space flows into another with no major hierarchy within spaces. Site photo The Croatia Bus in the background shows that the terminal is at the heart of Zurich city for going anywhere within Europe via road while the lonely kiosk shows the lack of proper infrastructure at the terminal.
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Frozen in motion
The bus terminal also harbours the idea of inclusion. Zurich is an expensive city and most public spaces are not used extensively because of it high entry charges. The bus terminal intends to be affordable to the general public and also cater to the hundreds of tourists who visit Zurich on a day tour or weekend trip from different parts of Europe. The ground floor has the bus terminal and the above floors have public functions such as an hour based hostel, a ‘Denner’ supermarket, a rent-able hall, coworking space, office for NGOs like Caritas, cheap food court, roof top free seating etc.
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Plan at 1.5m
Plan at 10.5m
Plan at 14.5m
Plan at 16.5m
Plan at 21.5m
Plan at 24.5m
Frozen in motion
A
PLAN AT +1.5M
1
A
0
5
15m
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Frozen in motion
A
1
A
PLAN AT +10.5M 0
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5
15m
Frozen in motion
A
1
A
PLAN AT +14.5M 0
5
15m
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Frozen in motion
Contrast in the exterior of the building as a heavy block and the interior of the building as light connecting ramps. 20
Frozen in motion
ELEVATION 1
SECTION AA
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Frozen in motion
Top : The design of the contoured ramps was explored through various models. Bottom : The stucco and glass facade on the outside expresses the monolithic block of Zurich romanticized by Fischli and Weiss and in their work. 22
Frozen in motion
Part model made at 1:50 scale with all finishes to understand and visualize space. On entering the ground level of the building, through the central atrium one experiences the diverse range of activities happening all around in contrast to the monotonous facade on the outside. 23
Ekagrat
A working model of the spanning system at scale 1:10
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Ekagrat
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EKAGRAT A place for comfort and concentration
Under the assumption that structure is a diagram of forces, it constitutes immense possibility for diverse and numerous forms. The realization of form that is perceptible is eventually comprehended through the organization of material in space. This studio investigates the relationship between structure and material as a primary basis in the making of architecture. The aim is to design and generate a structural system (spanning system) to modulate space. The generation of the structural system began with the design of a module. This module was then refined and repeated to form a system and the spatial condition of the system was further examined. The spatiality of the design according to the program was made to complement the spatiality of the structural system. Thus there is an attempt to integrate the understanding of structural system and form deriving principles with space making.
Semester 6 Studio: Detailing and communicating architecture by Sankalpa Project team: Sanjana Roy Project type: Accommodation for badminton players
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Ekagrat
MAKING OF THE Y-COMPONENT
MODEL A
A. MAKING OF THE COMPONENT
MODEL B
B. LENGTHENING OF ONE PART THE COMPONENT
220
110
THE Y COMPONENT
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JOINING OF TWO COMPONENTS
C. CHANGE
Ekagrat
MAKING OF THE PARTS MODEL C
MODEL D
Number of folds makes it more stronger in one direction but more weaker in the other direction.
The Y - module is stronger with two of its edges resting on the ground.
E IN SECTION OF ONE PART (RECTANGLE)
PROPAGATION DIAGRAM 1
D. REDUCTION OF MATERIAL AND ADDING STIFFENER
PROPAGATION DIAGRAM 2
Hence module was formed by mirroring the two Yunits and joining them.
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Ekagrat
DEVELOPMENT OF FINAL SYSTEM
MODULES MADE OF STEEL AND WOOD
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72
0 147 2 8 2
120
2. 2MM STEEL PLATE
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185
80
150
30
1. 2MM STEEL PLATE
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25
3. 35MM LAMINATED TIMBER
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0 0
16
50
2
4. 4MM STEEL PLATE
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0
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35
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5. 35MM LAMINATED TIMBER
90
67 0
28 0 18
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6. 4MM STEEL PLATE
67 0
90 28 0 18
7. 4MM STEEL PLATE
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30 0
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PARTS OF THE COMPONENT ALL DIMENSIONS ARE IN MM
28
0
60
150
Ekagrat
When force is applied, there is a pressure on the joints which can cause failure. Thus making a continuous member eliminates joints and helps tackle the force better.
JOINING OF THE PARTS
The orientation of the members are now changed for better stability.
PROPAGATION OF THE COMPONENT TO FORM THE SYSTEM
The direction of the pin joint is such that it will allow a slight movement and will hence help the entire slab as a whole.
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Ekagrat
BEDROOM
BEDROOM
DINING AND LIVING SPACE
A
KITCHEN
EXISTING BUILDING WALL
GROUND FLOOR PLAN
SECTION AA 30
Ekagrat
The first part of the studio focused on development of the spanning system. The program was introduced later. The site was a corner plot in Ahmedabad with street access from the south and west edges, an existing building wall on the east and a badminton court on the north. One of the access points to the badminton court will be through the plot, thus our building also acts as a transition space between the street edge on the south and the badminton court on the north. A
The brief was to design an accommodation facility for badminton coaches and players on a twin sharing basis. The qualities of the spanning system had to be adapted to the design in such a way that the design and the roof complement each other. 1. The uniform circular steel columns express slenderness which complements the longitudinal shape of the building as well as the fragile roof on top. 2. The system is expressed as uniform, continuous and light fabric which forms the roof. The modules seem to be delicately weaved into each other. 3. The roof is lifted above to give the sense of a floating fabric and there exists a 1m gap between the walls and the roof which acts as a glass window on top.
Primary road Site Secondary road
MEETING SPACE
Badminton court
SITE PLAN
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Ekagrat
Section cutting through dining space and kitchen with the main circulation corridor on the west and the kitchen and semi-open spaces on the east. 32
Ekagrat
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North-west corner view: The circulation corridor on the west directly connects the road to the court and also acts as a buffer between the interior spaces and the main road. The roof gives the sense of a floating fabric hovering above. 34
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Taaqademy
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Taaqademy
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TAAQADEMY ‘Make space for music’ - at HundredHands
This is one among the many music schools designed by HundredHands for a Bangalore based music band. The characteristic feature of the design is the use of curved walls which adds a dynamic element to the space. As one enters the music school the most striking surface is the armourcoat of concrete finish applied on the curved walls. The curved walls are made of gypsum boards and a groove runs along the top and bottom edge of the walls. These grooves with lights placed within them gives a floating sense to the wall. The two curved walls form the two major volumes of the project. They are further sub-divided into smaller spaces by glass partition walls to form instruction rooms and vocal rooms. The rooms are meant for more of one on one teaching and practice.
Semester 7 - Internship Client: TAAQ (Thermal and a Quarter) Location: Yelahanka, Bangalore Project team: Bijoy Ramachandran, Arka Banerjee, Sanjana Roy Project type: Music school
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Taaqademy
6 1
1
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5
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3 2
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1. Instruction rooms 2. Vocal rooms 3. Waiting area 4. Reception area 5. Toilet 6. Pantry
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1
3m
Taaqademy
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Connect. Collaborate. Cowork
View from 100 ft road, Ahmedabad
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Connect. Collaborate. Cowork
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CONNECT. COLLABORATE. COWORK A case of urban encounters
The aim of the studio was to come up with a program and explore designing using ‘narrative’ as a tool. The different components of a narrative such as setting, plot, character, event, climax, etc would be used to imagine different aspects of the project and hence arrive at a storyboard of the project before starting its design. Every student was assigned a case study, in order to discover the narrative of the case study which can then give clues to create the narrative of their own project. The assigned case study was the Seattle Public Library by OMA. The library has a series of ‘stable’ and ‘unstable’ spaces which are the fixed use spaces and public spaces respectively. To reach the reading room, one needs to pass through a series of ‘unstable’ spaces thereby forcing interaction. Keeping this view of ‘unstable’ spaces, the project aims to rethink coworking spaces from a flexible shared office space to an interactive work environment that provides multiple opportunities for collaboration.
Semester 9 Studio tutor: Narratives in Architecture by Meghal Arya Project team: Sanjana Roy Project type: Coworking office building
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Connect. Collaborate. Cowork
PROJECT NARRATIVE: A. SETTING: A1. PHYSICAL SETTING: The building sits on the corner of the plot with the north side facing 100 ft road and the east side facing the secondary road which leads to a residential block. Site: 100 FT Road, Near Shyamal Crossroad, Next to Shreyas Foundation, Ahmedabad
A2. CONCEPTUAL SETTING:
COLLABORATIVE WORKSPACE
SHARED OFFICE SPACE
The conceptual setting is rethinking collaboration not only as professional collaboration but also collaboration in the community kitchen and collaboration among tailors, mechanics, etc and providing a coworking space for them as well.
LEISURE COLLABORATIVE WORK WORKSPACE
B. PLOT: The merging of boundaries between leisure and workspace instead of segregation in an attempt to redefine the workspace and foster collaboration is the plot. TYPICAL COWORKING SPACE
INTRODUCTION OF COLLABORATIVE WORKSPACES
FRAGMENTATION OF COLLABORATIVE WORKSPACES
C. NARRATIVE ARC: GROUND FLOOR
COMMUNITY KITCHEN
COLLABORATIVE WORKSPACE
LIBRARY WORKSPACE
OUTSIDE STABLE SPACES UNSTABLE SPACES
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The narrative arc explained as a journey through the building as experienced by a coworker. Conclusion: One realizes that in a typical journey through the building, the coworkers has to pass through more number of unstable spaces and hence this increases chances of interaction and collaboration.
Connect. Collaborate. Cowork
STORYBOARD:
The third floor has the collaborative floor. One enters into the reception area of the third floor which is a single volume space and the view is partially blocked by a brick jali. Then one arrives into a huge triple volume space with a multitude of activities taking place.
The first floor feels has the community kitchen and dining hall which is the main hub of collaboration. It overlooks the green of the ground floor. There is also a games area located on a balcony connected to the dining hall.
The ground floor feels connected with nature in contrast to the workspace above. The plinth extends out to the street thereby inviting people inside the building. The exhibition spaces are the only enclosed glass boxes placed within the green open space.
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Connect. Collaborate. Cowork
GR. FLR
G+1
G+2
G+3
G+4
G+5
G+3, G+4 and G+5 floor plans are typical plans which form a module that gets repeated thrice in the project.
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Connect. Collaborate. Cowork
Space for Tailors
Cafe
0 1
3
5m
GR. PLAN PUBLIC GROUND FLOOR
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Connect. Collaborate. Cowork
0 1
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5m
G+3 PLAN COLLABORATIVE FLOOR
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Connect. Collaborate. Cowork
0 1
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5m
G+4 PLAN CONCENTRATED WORK FLOOR
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Connect. Collaborate. Cowork
SECTION A
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Connect. Collaborate. Cowork
SECTION B
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The Architectural Diagram
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The Architectural Diagram
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THE ARCHITECTURAL DIAGRAM Nine Square Grid - A diagram of formal organization
Diagrams are a means of expressing singular ideas through abstraction. Their purpose depends largely on the ideology of the architect. Although the nature of most diagrams are very individualistic and specific, there are some diagrams which have transcended over time, scales and geographies and have inspired other diagrams and works of architecture. This study aims to investigate the Nine Square Grid (9SG) as an architectural diagram used for formal organization. It states the 9SG as an archetype which has been repeatedly used across history. The versatility of this diagram lies in its characteristics which can be achieved through multiple formal configurations. This study thus demonstrates through the use of 55 examples the varied use of the 9SG diagram in architecture and also attempts to showcase the various transformations of the base diagram by different architects to emphasize certain characteristics of the plan. Thus it demonstrates the historic continuity of the diagram and its versatility.
Keywords: nine square grid, architectural diagram, archetype, formal organization Project type: Undergraduate research thesis Thesis guide: Meghal Arya Thesis team: Sanjana Roy
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The Architectural Diagram
CHARACTERISTICS OF 9SG: CENTRAL: A centralized organization is a stable, introverted and concentrated composition that consists of a number of secondary spaces grouped around a large, dominant, central space. It also has a strong periphery.
Centre to periphery
Introverted nature
RADIAL: A radial organization has a strong presence of a centre but is an extroverted form with a weak periphery.
Extroverted nature
Biaxiality implies symmetry
GRID: The organizing power of a grid results from the regularity and continuity of its pattern that pervades the elements it organizes. Grids possess the properties of repetition and expansion
Regularity and continuity of grid 52
16 stable reference points
The Architectural Diagram
AXIS: The axis is an imaginary line established by two points in space. Axis is one of the primary elements for creating order. It always gives a sense of direction. However, a 9SG biaxial because of bilateral symmetry and thus non – directional. Existence of an axis puts emphasis on the elements presents on both sides of the axis.
Axis and symmetry
SYMMETRY: Axis and symmetry are always linked. Both imply balance and equilibrium. While an axial condition can exist without a symmetrical condition, a symmetrical condition cannot exist without implying the existence of an axis or center about which it is structured.
HIERARCHY: Hierarchy, whether formal or spatial is synonymous with differences. These differences reflect the degree of importance of these forms and spaces, as well as the functional, formal, and symbolic roles they play in the organization.
No hierarchy
Change in size
Change in shape
Change in location
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The Architectural Diagram
ANALYSIS:
This demonstrates the method of analysis for the Trenton Bath House. The analysis of the remaining 54 examples are done in a similar manner.
Trenton Bath House: Architect: Louis Kahn Commissioned by: Jewish Community Center Location: Ewing Township, New Jersey, USA Year: 1955 Diagrammatic:
Manifestation:
Central Radial Grid Axis Symmetry Hierarchy
Central Radial Grid Axis Symmetry Hierarchy
Fig.31.1. Ground floor plan
Initial 9SG
Step 1
Fig.31.3. South west corner view
Step 2
Final Diagram Fig.31.2. Process of transformation 54
Fig.31.4. Interior view of courtyard
The Architectural Diagram
A) Diagrammatic: • Grid: (Fig.31.5) The diagram follows the regularity and continuity property of a grid in which the module of a single square can be extended and repeated along the grid lines. Diagrammatically, there is no emphasis on the center. • Symmetry: (Fig.31.6) There exists symmetry about north south axis.
Fig.31.5. Module of single
Fig.31.6. Symmetry
square
• Hierarchy: (Fig.31.7) 1. The central square with a circle inside the square creates contrast and is highest in hierarchy. 2. The top most square with the steps at it entrance is second highest in hierarchy. 3. All the other squares have the least hierarchy. B) Manifestation: • Central: The four volumes on all four sides define and respond to the void in the center and makes it an introverted figure.
Fig.31.7. Hierarchy (Diagram)
• Axis: (Fig.31.8) A circulation north-south axis is defined because of the entrance from the north and the three squares from north to south, which transition from open to closed. • Hierarchy: (Fig.31.9) 1. The central square which is the meeting space is highest in the order of the hierarchy with the open to sky plaza and the circle pattern in its flooring. 2. Second highest is the northern and southern squares which have the entrance and the reception respectively. 3. The eastern and western squares which are the changing rooms are lowest in hierarchy.
Fig.31.8. Circulation axis
Fig.31.9. Hierarchy (Spatial) 55
The Architectural Diagram
CONCLUSIONS:
CENTRAL: Few examples showing central organization.
Fig.4.1.1. Villa Farnesina
Fig.4.1.2. Villa Trissino
Fig.4.1.3. Villa Foscari
Fig.4.1.4. Villa Emo
Fig.4.1.5. Palazzo Antonini
Fig.4.1.6. Mereworth Castle
Fig.4.1.7. Chiswick House
Fig.4.1.8. Neuer Pavillon
Fig.4.1.9. Bianchi House
Fig.4.1.10. House in Pregassona
Increase in size of center Decrease in size of center Same size of center
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Fig.4.1.11. House at Origlio
Fig.4.1.12. Guna House
Contrast in shape
The Architectural Diagram
RADIAL: Few examples showing radial organization.
Fig.4.2.1. Villa Cornaro Fig.4.2.2. Villa Rotonda
Fig.4.2.3. Avery Coonley
Fig.4.2.4. Popenoe Cabin
Fig.4.2.5. Capo Linaro
Fig.4.2.6. House in Morbio
Fig.4.2.7. Rudolf House II
Fig.4.2.8. Solo House
Fig.4.2.9. Nida House
Fig.4.2.10. Farah Bagh Palace
Fig.4.2.11. Enchey Monastery
Fig.4.2.12. Exeter Library
Increase in size of center Decrease in size of center Same size of center Contrast in shape Fig.4.2.13. Dashavatara Temple
Fig.4.2.14. Chandi Sewu Sanctuary
Projecting elements 57
The Architectural Diagram
GRID: Few examples showing grid organization.
Fig.4.3.1. George Blossom
Fig.4.3.2. Villa Shodhan
Fig.4.3.3. Saltzman’s House
Fig.4.3.4. Furniture House
Fig.4.3.5. Nine Square
Fig.4.3.6. Villa Buggenhout
Grid House
Fig.4.3.7. Trenton Bath house
Fig.4.3.9. Bechtler Museum
Fig.4.3.8. Kimbell Art Museum
Fig.4.3.10. New Haven city plan, Connecticut, USA
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Fig.4.3.11. Jaipur city plan, India
The Architectural Diagram
CONCLUSION: The buildings were grouped according to organization (central, radial, grid) and according to building typology (residential, temples, churches, tombs, mosques and urban planning) and its similarities and differences were studied. The 9SG has cosmological, spiritual and historical significance which is one of the biggest reasons for its historical continuity and our association with it in the architecture of religious structures. Also its characteristics are malleable - it has the ability to have hierarchies or be non-hierarchical, it can be central or radial, it can apply rigidity while allowing for flexibility. Thus it allows multiple formal ways for specifying its relationships. This makes it possible to serve as a genera diagram which can be used as a base for formal organization. Its polyvalence allows it to be an archetype which enables it to be used even today without becoming obsolete. Through formal analysis one can study the similarities in architectural designs over time and identify patterns which transcend time. Formal analysis also helps in revealing the abstract organizational schemes which are the underlying aspects of design. It can look at the design autonomously to understand the compositional strategies used to create hierarchy, centrality, etc. which are some of the important aspects of designing. The study of these schemes enable us to understand and use them as a tool for design. This research identifies and looks at one such scheme of the Nine Square Grid. It attempts to demonstrate the varied use of the 9SG and focuses on the syntactical aspects of its historic continuity. This research falls under the larger umbrella of trying to identify and study architectural archetypes which aid in formal organization. There is a possibility of the existence of such other archetypes which has lent itself to various uses over time. The topic of archetypes, their development, polyvalence and characteristics is an interesting topic for future work.
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CHS of Mumbai
Location of CHS in Malad East
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CHS of Mumbai
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CHS OF MUMBAI A study of the formation and evolution of cooperative housing society in Mumbai.
Built forms of the cooperative housing society (CHS) were on a rise in the western suburbs of Mumbai in 1960s and 1970s. Usually the residents of the CHS took an active part in the decision making and realization of the CHS and thus had an important role in shaping their neighbourhoods. In todays time, when the developer based housing is on the rise and housing is looked at as a commodity with a checklist of amenities, it is important for us as architects to observe and reflect on our neighbourhoods so that we can understand them and strive to improve them. Being a resident of an old CHS myself, in the current times when we’ve been forced to stay at home, it has made me more appreciative of the huge common spaces that exist within my CHS where I can roam freely even during the pandemic. This is in stark contrast to other housing towers where its residents are strictly confined within the four walls. This has sparked my interest in understanding the urban form of the CHS as well as its narratives related to the inception of the idea, acquiring land, finances, housing scheme, usage of space, etc. This research is more of a primary documentation and archival study of Kailash Chandra Cooperative Housing Society in Malad East built in 1964 for the employees of the Mahindra and Mahindra company. Project type: Self initiated documentation (ongoing)
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CHS of Mumbai
Well
KAILASH CHANDRA CO-OPERATIVE HOUSING SOCIETY
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CHS of Mumbai
Four buildings (C1, C2, C3, C4) are 2BHK apartments having the same plan as shown below. There are four apartments on one floor. Some of the buildings out of the four, carried out an extension and converted the 2BHK apartment into a 3BHK apartment between 1995-2000, after the FSI increased in 1991.
0
50
01. Kitchen 02. Living room 03. Balcony 04. Bedroom 05. Toilet
100 M
04
02
03
05
04
05
05 01
Carpet area: 748 sq.ft 0
Extension 64
1
3M
CHS of Mumbai
Eight buildings (B1, B2, B3, B4, B5, B6, B7, B8) are 1BHK apartments having the same plan as shown below. There are four apartments on one floor. All of the eight buildings, carried out an extension and converted the 1BHK apartment into a 2BHK apartment between 1995-2000, after the FSI increased in 1991.
0
50
01. Kitchen 02. Living room 03. Balcony 04. Bedroom 05. Toilet
100 M
03 04
02 05
05
01
Carpet area: 522 sq.ft 0
1
3M
Extension 65
CHS of Mumbai
Pictures taken during the construction of the CHS in 1964. The buildings have no box grills. The site is almost a barren land. The major tree plantation drive was done much later by members of the CHS.
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CHS of Mumbai
Present day pictures of the CHS showing the lush green trees, playground in the center and the buildings around it. Also showing the towers that have come up around the society in recent times.
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KINETIC INSTALLATION
For the annual Navratri celebrations on campus, students are encouraged to create design installations to be put up all across the university campus. This kinetic structure was designed and constructed by a group of four students as a part of the Navratri celebrations on campus in 2016. It consists of strips of aluminium C-sections which have a hinged joint in the middle and are connected to drawer channels at the bottom. These drawer channels are then connected to a crank shaft. On rotating the handle connected to the crank shaft, the aluminium sections move up and down forming a wave like pattern. Semester 3 Project team: Sanjana Roy, Shreya Sharma, Sharan g.s., Bhavik Chauhan Project type: Kinetic installation
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TRAVELOGUE
Recording my personal experiences in some format has always been of interest to me and I was an avid diarist during school days. This interest has further been strengthened in architecture school and its scope has been expanded in my mind. Sketching a building helps to increase our observation and record small details which would otherwise be overlooked while clicking a photograph on a casual visit. Similarly maintaining a journal helps to document the sequence of events and construct a narrative of our experiences for us to remember our journey and reflect back on it. It has also helped to slowly inculcate an attitude for keen observation which has also changed the way I photograph things.
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PHOTOGRAPHY
Interior of tree trunk
Series 1: Textures
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Bark of exposed roots
Crevice in a stone wall
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City of Bundi, Rajasthan, India. 2017
Series 2: Roofscapes
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City of Prague, Czech Republic. 2019
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Sketch showing an assortment of window grills in a housing society
Swiss chalet style houses, Bern, Switzerland 29. 03. 2019
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SANJANA ROY snjnr065@gmail.com
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