SHERYL WADEHRA
ARCH | DSGN PORTFOLIO 2019
A crumpled paper, two, I would scribble furiously measuring you, Inches, feet, using that T square to tidy up where the end of lines meet, I trained my imagination to stay awake, When in reality, my body would give me away, Every new concept rendered a new kind of excitement, As I flitted from inspiration to innovation, Deconstructing, deviating, designing, Architecture was omnipresent, It embraced me with open arms, Pushed me into wanting more than I ever had before, With wings made of infinite vision, Crafted with a consistency, The learning never ended,
SAVANNAH COLLEGE OF ART AND DESIGN.
GRAVITYTIMBERPEBBLEDASHEDSTRENGTHPLAINARCHAICBORINGFUNHORRIBLETA STEARTNOVEAUGREENBRICKBRIGHTLYCOLOREDNEWAGENONSENSELOWRISELUXUR IOUSMEDIEVALETHERALCRAZYFUNINFLUENTIALRHYTHYMCLASSICCONCRETEEC OF RIENDLYIMPRESSIVEINNOVATIVEELEGANTFAMOUSCLASSICCONCHARISMATICWOO D A N C I E N T T I M E L E S S 1 9 6 0 S T H E A T R I C A L H I ST O R I C A L C H I C M E S S Y N E O C L A S S I C A L T E C HNOLOGICALSOULADVANC EDMINIM ALISTICINT MID AT INGSTAIRSBUILDINGWILDR EMINDERSCELESTIALPROJECTINFORMATIONASSUMPTIONSUNDERSTANDINGSOCIET YSPACELIMITATIONSHRINKAGESQUARESR HYTHYMHIERARCHYDESIGNTIMEPLOTLIN EPATTERNSCENTRALIZEZONECONCEPTSPOETICZOOMSITEPROCESSMACRORELATIO NMICROTACTICSSTRATEGIESARCHITECTONICGOALSACHIEVMENTEMOTIONPLANORI ENTATIO NNORTHCELTICSDRAWINGROMANSWRITINGRESEARCHENTERANCERENDER INGEXPERIENTIALCANTILEVEREDTHEMECONSISTENTLEARNINGAUDIENCERAWGRITT YMATERIALROOFWALLSPAT HFLUIDSTRUCTUREDVULN ERABLEDOFFERENTTHINKIN GLIVINGBREATHINGFEELIN GPEELINGLAYERSSELFREFR ENTIALPROTOTYPEIMAGIN ATIONRECTILINEARITYVER NACULARSPHEREIMPACTF ULAWARENESSSTATEMENT 1970SPICTURESQUECLARI TYSERENITYBALANCEUNCO NVENTIONALCODES PLATE GLASSPOSTMODERNRADIC ALRENAISSANCERESIDENT IALROMANESQUERUINEDRU NDOWNSIMPLESINGLESTO REYSPACIOUSSTU NINGTAL LTIMELESSTRADITIONALU NEXCEPTIONALUNIQUETIM BEREDSCULPTURESUBTLE BOXYCLEANEXPIREMENTAL M O S A I C S H A P E S 1 9 3 0 WwWS BASUEINDUSTRIALREVOLU TIONGRANDEURSTATUSUN DDERATEDGEOMETRYRELIG IONPERSONALITYCOLUMN SDECORATIONHOUSECREAT I V I T YC L E A N P O W E R F U L N O N CONFORMING VASTOVEAUG REENBRICKBRIGHTLYCOLO REDNEWAGENONSENSELOW RISELUXURIOUSMEDIEVAL ETHERALCRAZYFUNINFLUE NTIALRHYTHYMCLASSICC ONCRETEEC OFRIENDLYIMP RESSIVEINNOVATIVEELEG ANTFAMOUSCLASSICCONC HARISMATICWOODANCIEN T T I M E L E S S 1 9 6 0 S T H E A T R I C A L H I ST O R I C A L C H I C M E S S Y N E O C L A S S I C A L T E C H N O L O G I CALSOULADVANC EDMINIM ALISTICINT MID AT INGSTAIRSBUILDINGWILDREMINDER SCELESTIALPROJECTINFORMATIONASSUMPTIONSUNDERSTANDINGSOCIETYSPACEL IMITATIONSHRINKAGESQUARE1970SPICTURESQUECLARITYSERENITYBALANCEUNC ONVENTIONALCODES PLATEGLASSPOSTMODERNRADICALRENAISSANCERESIDENTIA LROMANESQUERUINEDRUNDOWNSIMPLESINGLESTOREYSPACIOUSSTU NINGTALLTI MELESSTRADITIONALUNEXCEPTIONALUNIQUECLEANEXPIREMENTALMOSAICSHAPE S1930SBASUEINDUSTRIALREVOLUTIONGRANDEURSTATUSUNDDERATEDGEOMETRYR ELIGIONPERSONALITYCOLUMNSDECORATIONHOUSPROJECTINFORMATIONASSUMPT IONSUNDERSTANDINGSOCIETYSPACELIMITATIONSHRINKAGESQUARESR HYTHYMHI
A R F O C R T N O I R T N N N F I E T O U E S N N N O L C G N I R L C A I E R T I
PREFACE.
Architecture is in a state of constant evolution. In addition to rendering and model making, it’s about the words, and the weight they hold. Through speaking, empathy, vision, perspective, and deconstruction I aspire to keep pushing the boundaries of this so called “box” that is architecture. I‘m a firm believer that so many concepts are juxtaposed and even more run parallel to one another. Everything I have learnt so far is an amalgmation of faces, places, and spaces. Living in the realm of deconstruction I let my mind wander in this vast world of architecture. Altruism and experience are the main drivers my work. I’ve always been extremely vocal about the built environment and I keep in mind emotion whenever I embark on a project. The selected works displayed here have been so vastly different but the passion throughout them all is unfaultering. This subject is so limitless, that I feel like I am just starting to explore the endless possiblities. I am just starting to learn the beauty of creativity. Profusely thanking everyone who has played a role in this adventure so far, and stay tuned for what comes next.
CATALOGUE.
01
pg.09
02
ASCENSION.
REPEATING RECTILINEARITY.
pg.21
pg.29
pg.45
03
NATURE|NUTURE.
04
MASTERWORKS.
01
ASCENSION.
Repertory of Oral History - Redfern, Australia:
A cross product of spatial relationships and human condition, this repertory aims to create an inimitable experience for the user. Ascension is a design meshed with Redfern’s culture while hosting international performances. Using humble materials while integrating the black box theater, Ascension aims to evoke the essence of what makes us all human, through a conscious connection.
9
Storyboarding Through Architectural Spaces: A king. A cousin. His Queen. The king is depicted by the figure, the white tangents are his cousin and the red lines are the Queen. The story starts with the Queen observing a game of dice between the kin and his cousin. The cousin proposes a bet, if he wins, the Queen and palace is his. If the king wins he takes everything. The King and his cousin play round after round, until the king loses his palace. Soon after, the King loses his Queen.
Now the cousin, conniving as he is, drags the queen out by her red garment. He tries to humilate her by uncovering her body, but to his surprise her garment keeps flowing. The Queen whose actually a goddess, is enranged, and kills the cousin, banishes the King who tried to pawn her off and regains her position on the throne. Thus the cycle coming into a full circle, with the divine reigning supreme.
Longitudinal Section: This section indicates where light comes into the structure. The blackbox theatre is given the quality of almost floating as it rests on two planes. The space itself is created with minimal intervention. As one ascends they are blocked off by a retaining wall so that they are unable to see the otherside of the building, dividing the circulation.
The building itself is a metaphor for a story, revealing more of the experience through it’s tangencies. The experience holistically is what shapes the human condition, and how one goes through levels in order to attain self actualization.
Looking In
Exploring Through
Ascending Up
Descending Down
02
REPEATING RECTILINEARITY.
An Observatory - Savannah, Georgia:
Inspired by various design principles, this model shocases repetition throughout itself. The functionality is imagined to be a commercial space with alternating glass clad exterior walkways. The emphasis on craftsmanship is crucial, and wood cutting techniques determined the aesthetics of the structure in addition to it’s stability. Mapping spaces is one of the fundamental things learnt in the architecture program and this project helped solidfy the concept of having spaces that are outside the box. the use of materiality such as acrylic and balsa wood made the model look much more cohesive.
All Photos Courtesy: Ivonne Zorrilla
21
Reflective View of Glass Enclaves
Exterior to Interior Persepctive View
Bird’s Eye View
Rooftop Observation Deck view
Plan to Section Spatial Relationships I & 2
Entry Making Relationships I & 2
Base Plane Making Relationships I & 2
Base and Entry: Making a base and entry were used to clarify, strengthen and reinforce the unify between the path, the enterance and the tower. Exploring spaces and defining the parts through hierarchy and intuition were crucial elemnts towards the making of this building.
Longitudinal Section AA
Plan to Section:
Using parts of the gestalt theory, we were made to reflect how the kit of parts, make up the whole. Tower making was an important activity, whose objective was to grow out of the structural system that exists in the building. The issues explored, were scale, proportion, and form.
Transverse Section BB
01
NATURE||NURTURE.
Nature- Lacoste, France:
The ‘process is the project’ is the philosophy of this body of work. Aimed to fill project based information gaps, humans tend to make assumptions that people understand them but they don’t. So how does one attempt to fill that gap in the thinking process, whilst shrinking it into a limited amount of space? The site given was an inter-stitch hidden between the locality and college campus, in Lacoste, France. Merging poetry with architectonic elements, patterns emerged which made site analysis easier. Celebrating the process exercises were given that gave us a chance to explore beyond what meets the eye. Using the book, ‘Architecture of Reality’ by Michael Bendikt, one was able to relate the nuances embedded in the site to one of the five qualities stated in the text. Tactics and strategies were then used to develop goals for the project. Writing, photographs, collages and drawings were used to convey one’s thoughts, in a powerful, authentic way.
Abstracted Site Analysis Drawing of the Interstitch
28
The Story of the Red Ball and The Site:
This story revolves around a red ball and his interaction with the site. The site speaks to him, and tells him where to go and where to stay cautious of. This comic strip ties into the strong theme of discovery and playfulness that can be found in this project. Throughout this process, finding little areas of rest were vital, in order to fully understand how people access the site.
Acoustic Intereference Site Map:
Through an app that tracks sound, one can travel the site observing points of intereference. The points are then drawn on the site map, to show how sound travels throughout the space.
Points of Explored Areas Site Map:
Ascending and descending through the space are key components to how the site gives information to it’s user. Areas of pause and observation could be deduced through this map.
Nurture- South of France: While in Lacoste, we were taken to different places in order to view existing architecture and sketch our experiences accordingly. As we embarked on adventures every week, no two places were the same. There weren’t any completely natural sites as most were man made. It was much more of a technological world, marked with stone and mortar. Appreciating the beauty in chruches, cathedrals, ad speaking to archaeologists one learned about fortified structures in the 17th century, and the stacking of lower quality stones mixed with higher quality stones. Did patterns repeat themelves over time? Is the past being used as a catalyst to better the future? Can different enivorments, one natural and one manmade still share the same emotions of awe?
Pipe Organ at Gordes
35
The Abbaye of St. Hilare, Menerbes:
The serene, beautiful abbey is located near Menerbes and is known for it’s remarkable architecture. This land is a quirk of French culture. The church itself makes one feel spiritually sound. It’s simple yet ethereal. The restoration og the abbey has been a true labor of love through doantions.
Notre Dame, Paris:
The cathedral is a great example of French Gothic architecture. The avante-garde use of the rib vault and flying buttress, not to mention the colossal and stained glass windows, all were new techniques in the 11th century. It’s naturalism and plethoric amounts of sculptural decoration, set it apart from earlier Romanesque architecture.
Maison Carrée, Nimes:
Known as the ‘square house’ in French, this ancient building is one of the best preserved Roman temple façades to be found in the territory of the former Roman Empire. The building has been constructed accordingly to Vitruivian principles.
Vieille Eglise, Bonnieux:
This breathtaking Provencal Gothic church sits atop the whole town giving a complete view of the Luberon Valley. Whilst the church itself is smaller and plainer than others in the dept. it has character but one has to climb in order to get there.
Musée du Louvre, Paris:
A central landmark of the city, it is located on the Right Bank of the Seine in the city’s 1st arrondissement. During the French Revolution the Louvre was transformed into a public museum. In May 1791, the Assembly declared that the Louvre would be “a place for bringing together monuments of all the sciences and arts”.
04
MASTERWORKS.
Tryst with Creativity:
Throughout the years, I have realized two things. One of which involve being a visual learner, the second being to draw a compelling narrative around the emotion I would like to portray. my mind keeps wandering as I imagine the world in all it’s vividness. Most of my work revolves around either a strong message or just having fun. The use of color is important in art, as it gives me more perspective. Even as I’m completeing my formal education in architecture, I never forget to sketch conceptually, it just makes it easier for me to understand. The rawness in one’s hands is something that technology can only supplement, not emulate according to me. My artistic style also subliminally reflects a life experience that I may begoing through at the time. It’s quite literally the way I project myself out into the world.
Religionless, Ballpoint Pen and Ink
45
Head Study I: A3 Sheet, charcoal pencil
Head Study II: A3 Sheet, HB pencil onpaper
Bloodsport: A3 sheet, acrylics on paper
Merge: A3 sheet, chalk pastel on paper
Enigma of Emotion: A3 sheet, acrylics on paper
HWarmth: A3 sheet, acrylics on paper
912-257-2818 sheryl.wadehra@gmail.com sherylwadehra.myportfolio.com