SANJUKTA SEN - Portfolio

Client – Max Mueller (Geothe Institute)

Working Drawings– TABLE DESIGN DETAILS

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Client – Max Mueller (Geothe Institute)

3D RENDER

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Client – Delhi Government (DTTDC)

SITE PLAN SHOWING EXISTING CONDITIONS

PRESENTATION DRAWING

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SITE PLAN – DESIGN PROPOSAL

Client – Delhi Government (DTTDC)

3D RENDER

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Client – Delhi Government (DTTDC)

OUTDOOR CAFE OUTDOOR CAFE

OAT IN DAYTIME

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DOUBLE HEIGHT ENTRANCE LOBBY

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LIBRARY

OAT AT NIGHT

CAFE

PRESENTATION DRAWING & RENDERS

Client – Delhi Government (DTTDC)

SECTION CC

Presentation drawing – BUILDING SECTION

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Client – Maruti Suzuki India Ltd. (MSIL)

Working Drawing – BASEMENT PLAN

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Client – Maruti Suzuki India Ltd. (MSIL)

Working Drawing – GROUND FLR PLAN

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Client – Maruti Suzuki India Ltd. (MSIL)

Working Drawing – BUILDING AND WALL SECTIONS

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Client – Maruti Suzuki India Ltd. (MSIL)

Working Drawing – FAÇADE DETAILS

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Client – Maruti Suzuki India Ltd. (MSIL)

Working Drawing – BOUNDARY WALL DETAILS

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Client – Maruti Suzuki India Ltd. (MSIL)

Working Drawing -STAIRCASE DETAILS

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RESEARCH PAPER [Brief] ARCHITECTURE THAT GENERATES MOVEMENT SANJUKTA SEN

YEAR: 2019-2021 RESEARCH PAPER GUIDE: PROF. BEENA NARAIN RESEARCH PAPER COORDINATOR: PROF. RASHMI B. TANDON

COLLEGE OF ARCHITECTURE VASTU KALA ACADEMY 9/1 QUTAB INSTITUTIONAL AREA, ARUNA ASAF ALI MARG NEW DELHI – 110067

AIM: To explore the effects of movement on the human cognition and physical state and apply it to create an architecture that encourages movement without restricting a

person’s free passage and decision making in a built environment.

OBJECTIVES: 1.

To understand the relationship between architecture and body, how the body responds to a space.

2.

To establish that architecture has always played a passive role in generation of movements.

3.

To understand the concept of decision making in space through designs.

4.

To understand the concept of Neuromorphic architecture.

5.

How movement occurs in built environment; not based on architecture that moves but rather the movement humans form within the built environment?

RATIONALE: Our bodies have been advanced and enhanced through evolution - we are intended to move. Architecture has always been designed with movement in mind, whether it is intentional or unintentional. Architects can enhance the users’ experience in the built environment through movement and the architectural promenade. Different forms of movement have a certain type of psychological effect on human cognition and physical state.

The work of an Architect is to create harmony within all the given elements and factors to produce melody and symphony. Intentional or not, the design of a site becomes an integral part of the way a choreography turns out to be.

Movement can take up various forms like dance, martial arts, or something as simple as children’s play. It is an expression of happiness and joy or sometimes of freedom. Regular movements of walking, sitting, standing Is considered restricted, but dance can be the actual form of movement that a body wants to experience.

Somehow in the haste of our modern lives, we have left behind romanticism in our lives. Therefore as a dancer myself & responsible architect in future, I would not like to merely house people and activity but also to cultivate happy life with happy movements generated from my designs. A site should be well planned and designed

i.e choreographed so that it has the power to “resonate”.

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RESEARCH FRAMEWORK

❖ …by talking about how a designed space has a direct impact on the psychological behaviour of a user in a designed space.

❖ Conclusion will be reached only after a detailed chapterization plan: 1. Introduction 2. Research Intent, Aim and Objectives 3. Methodology 4. Scope & Limitations 5. Literature reviews 6. Chapters 7. Case studies 8. Inferences & Conclusions

❖ …talking of various types of movements, mainly focussing on dance choreography as an inspiration for site designs.

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RESEARCH METHODOLOGY

1.

The relationship between architecture and body will be studied and analysed by referring to some literature surveys and data that talk about how a design has an impact on users emotionally and psychologically. This study will be purely based on information from books, internet, magazines and other research papers available online and libraries.

2.

Detailed study of different kinds of movement and explanations of basic terminology relevant to the research.

3.

Case studies or designs of selected architects will be analysed thoroughly in order to execute the research paper.

4.

The concept of decision making will be understood on the basis of some of the author’s and others’ perception while moving in a built space which can be obtained by carrying out a small survey by preparing questioning the users of the built space. The research will not only restrict to 3rd person’s experience but also the author’s herself.

5.

The concept of primarily dance out of other movements will be analysed based on literature surveys that talk about how a dance choreography is similar to a site design and how dance postures have played role in generation of specific built forms. This will also include interviewing experienced dancers and regular

audiences of the art form.

Once the case studies and the analysis is done, the paper will come to a conclusion that will explain how the aim and the objectives can be achieved in a real design that does not restrict a person’s free passage, generates movement and enhances the experience through a greater sense of connection with the encompassing environment.

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BRIEF/ LITERATURE REVIEW ‘Movement’ in Architecture can mean different things. People move about in a building, lifts and escalators go up and down, sun and shade play across the walls, the breeze wafts through and the foundations gently settle. Apart from these literal kinds of movement, architecture can express movement—or in other words imply, convey or embody movement— without actually moving. Our bodies and our movements are in endless dialogue with our buildings. The critical interaction of body form and movement within architecture deserves our careful attention. Directional movement can be easily manipulated by form such as that of F. L. Wright’s Guggenheim Museum in New York. However, it is also true that simple forms can also provoke movement in a subtle and free manner if the space and the users interact with each other. This can be achieved by a design that instils a sense of rhythm and pattern, light and transparency, scale to body ration in space, freedom of movement and decision making.

Movement in layman’s term is simple walking, sitting, standing etc. But if the same movements are blended with creative forms like dance, martial arts or something as simple as children’s play, they instil a sense of satisfaction and content in us. The work of an architect is to create this harmony between a built space and its users.

The occurrence of rhythm in architecture leads to predictability. . A beautiful play of light, shadow and transparency can help us generate an interesting movement inside, since human beings have a general tendency to move from darkness to an enlightened space. The scale and proportions of our bodies and its relationships with the built form have a great impact on the architecture of a space. Architects most often design in plan and section, but the perception of the space and experience from a human scale requires utmost attention in addressing a user’s experience, movement and how he dwells within the space.

A design can either consciously make a person move in a specific direction or a design can pose curiosity and anticipation, thereby unconsciously leading a person to a specific spot. This is where decision making in space comes into play.

The architectural promenade was the key idea behind the development of space and movement.

In a way, the architect is a choreographer creating spaces which anticipates a person’s movement. The concept of choreography architecture by Ashley Biren states the phenomenon of kinaesthetic empathy and that it is unleashed within the exploration of a choreographic architecture where body form and movement share an entangled relationship in the creation of an architectural composition. Dance is a type of movement that instils the sense of happiness both physically and emotionally.

Taking inspiration from Gehry’s talks on movement, an architect should choose to go with the flow and not succumb to typical rectilinear shapes. It is not always true that a complex form will always lead to a costly project, rather a more complex form with a well designed space, judicial use of materials and arrangement of different zones in a space complimenting each other can turn out to be a better design which is perfect for a user’s playful experience.

The forms should be the “thing” and rest depends on the form .

History and context of a place also play an important role in establishing a specific direction of movement.

To conclude this, we can say that movement is a design element that runs in the fourth dimension-time. Timed movement through space can provide one with an easy connected path along which the eye follows a regular arrangement of different zones in a space.

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CASE STUDIES

GUGGENHEIM MUSEUM, NEW YORK

PARTHENON

INDIAN TEMPLE ARCHITECTURE

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VILLA SAVOY

BRITISH MUSEUM

INFERENCES One can infer from the research carried out, that movement is of different types, and when these movements are given some direction, they start making more sense.

This concept can be applied to architecture in a way that with the help of certain elements, a space can simply not just be physical structure but can have more meaning to which the users are able to relate to. Evident from the case studies, movement is achieved in different ways that vary amongst each other. There are majorly aspects out of many more, that can govern the generation of movement in a designed space.

1.

2.

3.

4.

5.

Rhythm and pattern in a space can be designed by showing some sequence or a specific arrangement of any element of the design, be it cladding on façade, paving patterns, steps in landscapes, etc. These help in establishing synchronisation with boy, mind and soul of the user.

Play of light and shadow adds to emotions like anticipation, curiosity and excitement in the users. These can be achieved by letting light penetrate in some creative ways to break the monotonous character of design.

Sense of predictability leads to better user perspective whether the design is predictable or not. In both cases, the user is some way or the other getting benefitted from it as he/she feels that he/she is a part of the space.

Decision making is one of the most crucial aspects. Designs should provide scope for decision making and this can be achieved by giving users enough time and space during their stroll in the built form so that his/her movement is automatically guided towards the centre of attraction and does not require to be dictated by someone.

The user perspective in a design can have positive outcomes if the design evokes emotions in a person, because that is how the person connects to the space as his/her mind is occupied in thinking about his/her immediate surroundings.

CONCLUSION After an in-depth research on this topic, one can conclude that a design always has scope for generating movement. Movement is conceived as a basic element, which makes it possible to experience our build environment and thus forms a key element in relation between man and architecture. An architectural design process is very complex in its nature and can be achieved in very different ways. This generation of movement, can be achieved in very simple ways by incorporating a few aspects into the design like the 5 aspects described earlier in the paper. A sense of rhythm and pattern, light and transparency, predictability, decision making and user perspective along with other factors like scale and proportion, architectural promenade, parkour, history and context of a place etc play an important role in the creation of satisfying experiences in a space.

Architects must design spaces for users who witness them so that they are able to relate to them and become a part of it. Every user visits a place for various reasons depending on the function of the space. Now an Architect must make sure that when a user visits a space, the user likes to be in that space. This helps the user to perform his/her task in that space in a more non-reluctant manner. A space must not be designed just for the heck of it. As responsible architects, we should be able to create that harmony between the space and the user of the space. Every design process involves a series of sketches and strategic framework. An architect, during this stage of design, must actually first contemplate and think as if he/she is in that space which is to be designed, feel the need for it and thereby realise the key features of the design that can make the space where movement of users is not being governed by signages or simple verbal orders, but a desire or a simple urge of moving in a certain direction in the space with a gratifying and pleasurable experience as an end result.

As a dancer myself, I feel, dance can significantly help in influencing the design procedure. A site can be made to resonate if a parallel is drawn between the users of a designed space as audience of a dance show. A design should not move physically, rather symbolically depict movement and flow. It is the role of an architect to establish this flow and thereby create a sync between the body, soul, mind of the users with the built form.

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