Design Portfolio Shreya Bandekar selected works 2017-2020
The portfolio is a collection of the author’s work produced during the three years of architecture course. Through her undergraduate work which demonstrates the author’s approach to the proposed projects is clear. It tries to showcast thought process of the design projects that display detailed analysis of the concepts, architectural basics and the design process. It seeks to introduce the author approach towards the obstacles presented in projects
Contents PS : 1) All drawings, images and texts in this portfolio have been produced by the author. 2) For group and professional project, only the drawings, images that were produced by the author have been displaced. I otherwise, credits have been mentioned.
Connecting With Architecture And Its Design
1.1•Coworking Spaces: A Place To Unite
1.2•Multifunctional Space For Public: At Densely Crunched Dadar
User Relation With Built And Unbuilt Environment
City And Its Scrutiny
1 2 3 2.1•Landscape
3.1•Kumartuli:
Gardens For All
Locale Of Artisans, Kolkata
2.1•Safe Space For Children: Pediatric Clinic
3.2•Unity
Pavilion: Simplicity In Auroville
Geometry In Architecture
4.1•Basic Design:
Tessellation
Building Structure And Details
4 5 6 5.1•Working
Drawing
4..2•Laurie
Baker: Geometry With Bricks
Montage Of Hand Works
6.1•Model
Making •Photography
Project Type: Architecture Design Project Year: 2019 Duration: Semester 5 Site Location: Khandeshvar, Navi Mumbai
1.1 Coworking Spaces: A Place To Unite
Coworking is a recent movement in workspaces, having developed as a formal working style. It describes the act of sharing a physical workplace and office resources with other people who are not employees of the same company that-is having similar common shared activities but performing then in their own provided space. The program was proposed in Khandeshwar, Navi Mumbai. It was right adjacent to the creek. The site included some part of the waterbody inside the side. The Khandeshwar railway station was within 1Km away from the site making it the perfect location for working group to access easily. It is between the extreme built environment and open play grounds and barren space.
The design program included spaces like main co-working unit, cafe, seminar rooms, podcats rooms, auditoriums and library. These were divided into two parts, one for only co-working users and another accessible for both public and co-working users. The structure is divided accordingly considering two frames for each part i.e the working part and public part. Spatial factors investigated include openness, proximity to others, flexibility, privacy, distraction, and territoriality, presence of landscapping, daylight, and window views were considered before hand.
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Site and its feature, Khandeshwar, Navi Mumbai
Khandeshwar, Navi Mumbai
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Site With Context in 3D , Khandeshwar, Navi Mumbai
The above view clearly shows the relation of site with its context. On the one hand we find very densely packed residential units in a linear manner facing the back to the site, while on the other hand we have open lands of playgraounds and barren land. Also the creek adjacent plays an very important role as it affects the climatic aspect of the structure. The part of creek that enters the site is treated according to the structure and its use.
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Exploded Axonometric showing each Frame with its interlcoking in each other
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Architecture Design Portfolio 2017-2020
The concept comes from the idea of having the vertical transition separate from the actual working part of the building. The views and its site analysis was the reason of its orientation.
The concept was finalised creating a ‘Frame’ with only vertical transition on edges of the structure.
The interlocking of similar Frames was considered keeping common areas on ground floor. The frames varied in heights and length to make interesting form.
The final interlocking of all four frames all of different sizes and heights, increasing progressively.
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Plan showing both Public zone Frame and Working zone Frame
Two Frames are alloted for public access and are given on lower floors, while other two higher Frames are purely for the co-working blcoks. The entry to the blcoks are common, creating larger covered semiopen spaces on the ground floor, which are alloted to be used by public for community programs and other functions. The load of the entire above structure stands on shear walls with steel sections provided at the slabs. The maximum unsupported spanning is 30meters without vertical support.
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Axonometric with Spatial Arrangements
Section through the Working zone Frame
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The common blocks are aslo shear walls, giving facade the brutal concrete blocks look. The above horizontal working block of the Frame has glass facade on both the sides given with respect to site analysis. The water body is provided with stepped seating around.This creates interesting activities on the ground floor. The landscapping and small contoured seatings are also provided around the structure.
Plan of Working zone Frame
Section through both Public zone Frame and Working zone Frame
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Architecture Design Portfolio 2017-2020
Common cubicle spaces
Cafe above water body
Exposed concrete and Glass Facade
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Project Type: Architecture Design Project Year: 2019 Duration: Semester 6 Site Location: Dadar, Mumbai
1.2 Multifunctional Space For Public: At Densely Crunched Dadar
Dadar, which is a key connecting point for central and western part of Mumbai. The scale of crowd is huge, and the moment it steps on to the road, it faces a space crunch as a result of encroached footpaths. It not only has high rise structure, but also is amalgamation of low rise structures with very immediate interaction with its streets. The site is located in Dadar such that it is central part of both, high rise and low rise, skyline of the surroundings. The project brief was providing a multifuctional public structure with Library as the main element. The other public activities were Digital convenience centre, Learning centre, Seminar rooms, Art galleries, Day care centre and Cafe
All these public spaces with variety of activities and user groups were considered while conceptualisation. The spaces imagined are an amalgamation of different styles with much inspiration from postmodernism, brutalism, and ancient architecture.
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Conceptual Diagram
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Site With Context in 3D
The site plays the important role in the placement of the activities around. Only one accessible road increases the difficulty of designing. The view from the site were focusing on the surrounding rigid strcutures, but the side with low rise structures had a farther view. Site being very near to Gokhale Road junction, becomes very noisy and continously active throughout the day, so bufferes around the site were placed accordingly. The main street was enchroached by the vendors and small shops creating hustle right next to the site entry road. 18
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Plan
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Conceptual Form and Arrangement
The form was decided on the basis of various activities. the activities were classified in two blocks-- a silent zone and a hustler zone. The orientation was decided according to the views to and from the site. Then was raised and placed on top of each other. The silent zone (library and learning centre) was kept above the hustler zone (digital centre, cafe and seminar room). To add lesser ground coverage yet have open terrace cafes and more coverage above, slant walls were added to the main three walls which protrude outwards progressively.
Slant Wall Treatement
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The persecpective section was taken from the hustler zone. In the ground floor we have digital convenience centre for easy access of public in and out constantly. Above which we have office spaces with seminar rooms. Art galleries and Cafe are provided one below other so that easy refreshments can be accessed. The lane of pergolas shade the semi open cafe and crate intresting patterns due to sunlight in that part during the day. In the elevation, louvered openings are visible going in linear direction across the facade, create slight shade from the sunlight.
Sectional Perspective through Cafe
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This drawing is taken from the main, one of the two, common cores of both the zones. The common cores included staicase lifts toilet units and ducts. It was made a complusion that each activity is sepearated with other even if any two are on same floor and all of them are accessible from atleast one of the common cores. The section cutes throught the silent zone as well as hustler zone. The library provided on the above two floors mainly rest on the below structure but its larger cantilever side is protected by two main columns. This creates a open portico with two longer columns on sides. Also enhances the entrance making it grand adn creating welcoming effect for all users.
Sectional Perspective through Staircase
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Project Type: Landscape Design Project Year: 2019 Duration: Semester 5 Site Location: Seawoods, Navi Mumbai
2.1 Landscape Park of All Ages
What is landscaping? “A profession and academic discipline that employs principles of art and the physical and social sciences to the processes of environmental planning, design and conservation, which serve to ensure the longlasting improvement, sustainability and harmony of natural.� The site located in Seawoods. It is in the amidst of the residential areas from three sides while Palm beach road adjacent to the creek. This puts a an interesting point as it is located around the residential area. Site analysis includes the analysis and description of all aspects (or layers) of the composition of a chosen landscape or landscape design in a known context. Not only its form is involved, but also its function and the way it has been made. As a result we acquire specific knowledge from an determined object in a determined context.
The proposal aim to design spaces that can make communication between people more easy. The residential blocks being highly solid, such garden spaces become the only place to socialise physically. The elements where designed such that at each point each user can satisfy all the visual barrier and can connect not only with each other but also with the surroundings and its greens.
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Architecture Design Portfolio 2017-2020
Grouped Sitting On Contoured Surface Around Waterbody
Sit-Outs Provided Besides Waterbody
Stepped Sitting Near the WaterBody
Pergola Walkway Bridge Over Waterbody
Amphitheatre Provided
Sand Pit For Children In Play Area
Different features provided in the open landscaped garden for all ages. These are spread all along the site and its divided part, as you can see from the drawings, each element has a smaller impact on its adjacent element creating a connection between them. 27
View From Pergola Walkway
The main concept on my design was that the user should be able to reach at all the places of the site and would be able to use each edge effectively. Two main pathways were given with a longitudinal waterbody and seating around. This creates division on the site. Then site was distributed among ages, taken into consideration the relationship between the ages and their requirements. The drawing above is of the series of pergola settings that concentrate the main focus on site while dividing the site in to equal parts.
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Sectional Perspective through Amphi-theatre
Teenagers and adults are the main group of people to cater to. This need is satisfied by providing countered layers and cube seatings above. The Cube acts as a group and is distributed in various heights over the entire space. The group of teenagers or adults can come over and chit chat on and around the Cubes.
The old age group of people usually come around to sit and socialise with the others. So the main requirement for them is shaded seatings and given in groups. It is provided with ‘C’ shape seatings, here the base protrudes above to become the roof providing shade to the seat. This element is arranged in groups around the main waterbody.
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Architecture Design Portfolio 2017-2020
The division of spaces is clear. Kids areas are provided with climbing mountain and sand pit. both will attract the kids. As kids usually come with their parents, the seating and shaded spaces are given around the kids play area for the parents to overlook on their kids.
The sand pit is given stepped seating around. This also enables the kids to use that space to play around due to transition of different levels. the water body being the central attraction is again connected for all user at all sides.
Sectional Perspective through Waterbody
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Project Type: Interior Design Project Year: 2018 Duration: Semester 4 Site Location: Panvel, Navi Mumbai
2.2 Safe Space For Children: Pediatric Clinic
The integration of design details such as the shape, size, colour, and light can change our thought of how spacious a place is and these elements are responsible for the feeling and emotion of that space. Hence, lighting and colour tones play very important part in creating the space lively. This project tried to create visual illusions that change the way the user look space and its spaciousness. Colour is an integral element in my work, although is rarely the leading component in the drawing. The colour responds to the spatial qualities and mood evoked by the drawing. The palette is rarely planned and develops as more of a spontaneous process.
This site for this project is located in Panvel, Navi Mumbai. The project was to design interiors for Paediatric clinic. The children are the primary users of the space and hence the arrangement of spaces are provided with environment that they are makes them less concentrated on their medical condition and create playfulness around. The concept for the design was ‘strips’. Strips create an illusion of extra length. As the module to be desinged was very compact, this illusion helped to neglect that structural element. As discussed above, the interiors plays major role in influencing the mood of the user. Therefore the colour tones are used such that they create harmony around. The adjacent drawing suggests the colour tones and varoius elements used the different spaces of the clinic which was designed.
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Mood Board for Interiors
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Sectional Perspective through Clinic and Kids Play Area
The sectional view clearly suggests the colour tones and lighting provided. The mezzanine floor has a small testing lab with another clinic. The outer waiting area above also has small playing units provided. The conceptual strips are implemented on walls, ceiling and also the pergolas in the kids play area. It is inhanced through subtle lighting from behind the strips on the wall.
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View of Staircase and Mezzanine FLoor
The kids play area is the main attraction of our primary user, thatis the children. The waiting place is right adjacent to the kids play area, giving the parents visual availability to overlook the children through the partion of wooden pergolas. The kids room contains play desk with small ball pit which allows the kids to sit inside it and play. A central swing seating is provided, it is attached to the pergolas and the base of floor. It allows kids to sit on it and rotate the seat in any direction. Small desk with story books and playing games is also arranged accordingly.
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The view shows the relation between mezzanine floor and the ground floor. The pergolas give an closed yet open feeling for the kids play room. While staircase has cutouts in between created to act as sitting for children and also for the parents, some cutouts can also be used to add hanging elements in it. The clinic also has a medical shop outlet, which has its entry from inside and is accessible from outside through a window outlet. A small testing lab with another clinic provides variety to incorporate different elements in the spacing. It becomes easier for the users to have all in one clinic.
View of Kids Play Area
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Project Type: College Project (Tour Documentation) Project Year: 2018 Duration: Semester 4 (Group work) Location: Kumartuli, Kolkata, West Bengal
3.1 Kumartuli: Locale Of Artisans Of Kolkata
In the narrow alleys of Kumartuli, traditional artisans give shape to the divine. Tucked inside north Kolkata, Kumortuli is a maze of lanes and by-lanes where deft hands mould clay to give shape to divine forms. Rows of idols in various stages of completion stood inside the dark workshops. It is amazing to see how the craftsmen painstakingly create the marvellous idols out of mere clay.
Plan of The Durga Charan Banergee Street, Kumartuli
The space becomes lively during the three months during Durga Pooja, these rudimentary frames will emerge as the ten-handed Goddess Durga standing over a lion in her demon-slaying pose, her long spear piercing the evil Mahishasura. Besides meeting the domestic demand for celebrations this hub caters to the international market tooAbout 528 families of idol-makers live today spread on a contiguous area of about 1.3 hectares in an old quarter of the city of Kolkata. Moreover, the colony is visited by numerous skilled and semi-skilled artisans who migrate from the larger city-region during the peak months of production. With graduates from institutions of fine-arts engaging with the idol-makers, in recent years, the creative workforce has expanded. Kumartuli is a live example of a creative cluster. This documentation portrays the richness of the space due to the creative craftsmen and there works. As it has very closely packed yet very impactful surroundings with many different activities that take place through out at the same time.
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Street Elevation of The Durga Charan Banergee Street, Kumartuli
Architecture Design Portfolio 2017-2020
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Street Elevation The Durga Charan Banergee Street, Kumartuli
People in the workshops have little time for small talk. Somewhere, frames are being hammered into position. In between the workshops were small shops were trinkets, ornaments and weapons were being shaped out of foil and tin.
Workshop cum shop
Some people are busy kneading the clay. In some workshops, craftsmen stood on scaffolding, shaping the various body parts or applying paints.
Workshop spaces
While some are seen on the edge of the small shops sitting on the soft edges around created by the shop owner himself.
Shops below the residential block
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Architecture Design Portfolio 2017-2020
Types of Build Spaces on Street
Pure Residential Block
Workshop Block
Residential with Shop Block
Workshops with Shop Block
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Project Type: College Project (Tour Documentation) Project Year: 2019 Duration: Semester 6 (Group work) Location: Auroville, Tamil Nadu
3.2 Unity Pavilion: Simplicity Of Auroville
Representation of Peace and Simplicity through Architecture is clearly seen in Auroville, Tamil Nadu. It is located south India, in the beautiful State of Tamil Nadu (some parts are in the State of Puducherry), a few kilometres inland from the Coromandel Coast, approx. 150 kms south of Chennai and 10 kms north of the town of Puducherry.This documentation tries to bring up the aspect of simplicity in architecture and represent it. How Contemporary Architecture plays a unique role in a small yet impactful surrounding of this township.
Entrance View,Unity Pavilion
At the heart of Auroville’s Hall of Peace, the second building of the Unity Pavilion complex in Auroville’s International Zone, stands the Asian Peace Table. It hosts most important gatherings, workshops and activities of great interest for Auroville. Activities such as Residents’ Assemblies, participatory selection workshops, study committees, meditation sessions, music, performances, exhibitions, etc. Further is the detailed documentation of the entire Unity Pavilion and its beauty, peacefulness and importance in Auroville.
The space is designed to be used for dialogues, meetings and presentations related to Peace, as well as for gatherings of the International Zone. It acts like a powerful catalytic chamber wherein people can find an ideal supportive atmosphere to create the sort of harmony that is essential for real mutual search and inter-cultural understanding.
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View of The Main Auditorium, Unity Pavilion
Architecture Design Portfolio 2017-2020
Master Plan, Unity Pavillion, Auroville
Site Plan, Unity Pavillion, Auroville
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Internal View of The Unity Pavillion
View from The Entrance
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Outside the Main Hall Auditorium
Architecture Design Portfolio 2017-2020
Exploxed Axonometric View Showing the Details of The Unity Pavillion
Inside Hall of Peace
Cafeteria
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Project Type: Allied Design (Basic Design) Project Year: 2017 Duration: Semester 2
A cube is taken, and replicated along it’s sides. Then each replicated cube is divided into much smaller equal parts. Again the same replication is done to form a grid for one single form, which is then incorporated with pattern.
4.1 To select a pattern, first certain divided cubes are selected and placed to form a specific manner.
Basic Design: Tessellation
Then it rotated then integrated and merged to fit in the main existing cube.
A tessellation is created when a shape is repeated over and over again covering a plane forming similar or completely different form. The word ‘tessera’ in latin means a small stone cube. They were used to make up ‘tessellata’ - the mosaic pictures forming floors and tilings in Roman buildings. The term has become more specialised and is often used to refer to pictures or tiles, mostly in the form of animals and other life forms, which cover the surface of a plane in a symmetrical way without overlapping or leaving gaps.
Four Types of Symmetry in a Plane There are 4 ways of moving a motif to another position in the pattern. These were described by Escher. • Translation • Reflection • Rotation • Glide Reflection
The above pattern is then repeated and mirrored. To create various options it is again reflected along different axis and best suited forms are finalised.
Accordingly, patterns ‘A’ and ‘C’ are taken and finalised and further repeated along an axis. This created a different form in the front and back of the design, which is highlited in the drawings. The voids that are left behind are then demarked to show the difference.
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This axonometry of the form demonstartes how a 2D line and its grid is excruded in to a 3D. It also depicts how a single tesselation can be interpretated differentely from both sides keeping the form same according to the grid.
How can this form be implemented as an architectural element? When repeated and scaled down can act as a partition wall. The voids in the design act as the voids in the partition wall. While the projection of the gride can act as the small shalves.
Application of Design As Partition Wall
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The form is shown to clarify the feature of the design which is, when seen from different angles it interprets different patterns in the same form. The magic of tesselation hence comes to picture.
How can this form be implemented as an architectural element? When repeated and scaled up, the from can cat a storage shelves. The voids and the projections can hence be helpfull to place items of the shelf showcase.
Application of Design As Storage Shelves
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Project Type: Architecture Theory Project Year: 2019 Duration: Semester 5
4.2 Laurie Baker: Geometry With Bricks “The feeling of being away from nature always brings a certain melancholy to the city-dweller.” - Laurie Baker This research paper portraits Ar. Laurie Baker’s different designs and its principles. It analysis the unique quality of his structures. His conventional use of building material techniques and construction analogies are discussed.
Shreya Bandekar SHREYA VINOD BANDEKAR is a architecture student in UNIVERSITY OF MUMBAI at Dr. PILLAI COLLEGE OF ARCHITECTURE, New Panvel. Joined in 2017, now is in 3rd year of bachelor of architecture.
ABSTRACT This paper attempts to abstract and explore in detail the nature of the distinct architectural expression this form of construction yields. Illustrative examples are carefully selected and include a project by the author. Laurie’s architectural style emphasised mainly on masonry construction, ensuring privacy and use of brick jali walls for natural ventilation. Baker’s designs have traditional sloping roofs and terracotta Mangalore tiles and vents which allow hot air to escape. . Baker’s construction also cost a lot less due to simpler, traditional techniques, like the use of Rat trap bond for brick walls and using bends in the wall to increase the strength. He promoted the use of low energy consuming mud walls, using holes in the wall to get light, simpler windows and a variety of roof construction approaches. He liked bare brick surfaces.He believed in the construction of buildings which were in harmony with its surrounding environment; he rarely cleared the construction area of its green cover.
Laurie Baker was a British-born Indian architect, famous for his initiatives in cost-effective energy-efficient architecture and designs that maximized space, ventilation and light and maintained an uncluttered yet striking aesthetic sensibility. Laurie Baker always merged nature with architecture. Moving around within Baker’s architecture one feels that one has been transcended to a novel and poetic world. In 1943, a young, war-weary British architect arrived in Bombay to board a ship back to England to recuperate. But to his dismay, he found his trip delayed by three months, leaving him stuck in India. It was a twist of fate that would go on to have unlikely and equally inspiring consequences. In the years that followed, he would make India his home, study traditional Indian architecture, and combine it with modern principles and technology to become one of the pioneers of what we now know as sustainable architecture and organic architecture.
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Influenced by Mahatma Gandhi and his own experiences in the remote Himalayas, he promoted the revival of regional building practices and use of local materials; and combined this with a design philosophy that emphasized a responsible and prudent use of resources and energy.
“One of the things he (Gandhi) said has influenced my thinking — that the ideal house in the ideal village will be built using material that is found within a five-mile radius of the house.” -Laurie Baker
Baker did not want to leave his imprint on his architecture. Farmers and fishermen make houses that blend with the surroundings. Their designs are absolutely need-based. Baker followed the principle that a house should seem to be owned by its owner and not be merely a statement made by the architect. Baker brings about a creative invention of beauty through simplicity, all the time taking care of the various elements from the foundation to the roof.
BRICK CONSTRUCTION
The main principles that is seen in almost every design are: Use of Arches, Jail Pattern (Ventilation), Filler Slabs, Cost Effective Design, Rat-trap Bond. Laurie Baker believes in use of locally available material creating a vernacular structure in a way. Use of brick in India is very common and is easily available. Baker uses brick in a very aesthetically appealing way creating structures such that these five ideologies are seen repeated in all his designs.
BRICKS: Bricks to me are like faces. I think these small variations give tremendous character to a wall made of thousands of bricks, so I never dream of covering such a unique and characterful creation with plaster, which is mainly dull and characterless. I like the contrast of textures of brick, of stone, of concrete, of wood.
ARCHES: Where there is brick, arches are a common feature and can be of different shapes and sizes and are much less costly than RCC Lintels. In one building there may be arches of different sizes so make the frame for the smallest – and add a row or two of dry bricks (no mortar) for the larger arches, baker therefore uses arches of varieties to create aesthetic while providing some functional use to them.
RAT TRAP BOND: The RAT TRAP BOND is still mainly unknown in India, though used in England for the past several hundred years. It is as strong as the other bonds but uses 25% LESS bricks and mortar. Thermal insulation is very much better. Baker have always found ways so that the cost of the project is reduced and the design is still working efficiently. The use of brick is common in his design, Hence rattrap bond is commonly seen in all his structures. The cavity in the rat trap bond wall ensures good insulation from heat and cold. This can be ruined by a poor mason carelessly slopping mortar into the cavity while he is building.
JALI: ‘Jali’ - formerly pierced stone panels – is one of India’s oldest methods of letting into a building filtered light and ventilation but maintaining privacy and sec urity. There is the old “honey comb” pattern of ‘jali’ brick work. The holes can be extended vertically. Or there can be alternating sections of one row of holes followed by 2 or 3 rows of holes, then the single hole row again – and so on. Once these patterns have been used – a good mason can devise and enjoy doing many patterns.
BRICK ARCH
But Laurie Baker was a humanitarian before anything else, and one with a deep-seated social consciousness at that. His buildings reflect a deep spirit of altruism and respect for nature. His approach was simple and frugal, much like his lifestyle – his ‘office’ consisted of a stack of old envelopes and Christmas cards tucked into his shirt pocket. And yet, he showed us that beauty can be found in simplicity, perhaps even more so than in grandiosity.
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BRICK SITIING PROVIDED
FILLER SLAB
Nowadays modern architecture is invariably equated with cubical blocks, glazed windows and reinforced concrete roofs. The disparity that was thus created between architecture and nature has been accepted worldwide. Baker has brought about a conscious relationship involving nature, building materials and the overall form. Below are Laurie Baker’s building showing all these principles in detail.
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ENTRNACE VIEW OF CDS
COST EFFECTIVE: Baker builds for a person without considering his caste, class and stature and without giving a thought to what the house would be labelled as. The economically weaker sections consider the upper class and middle class urban houses to be ideal and they, therefore, aspire for such houses. Says Laurie Baker: “Cost-effective houses are not just for the poor, they are for everyone. The equation that a cost-effective house is a house for the poor, implying a bad looking house, can definitely be proved wrong.
CENTRE FOR DEVELOPMENT STUDIES (CDS), TRIVANDRUM
ENTRNACE VIEW OF CDS
FILLER SLAB: In the orthodox reinforced concrete slab the dead weight of its concrete is heavy. This weight can be lessened by putting light weight material between the steel rods. The simplest ‘filler’ is to use two grade Mangalore Tiles. These have no structural strength value – they are mere ‘Fillers’. Using them saves about 30% dead weight of the ‘slab’ – so less steel is needed – so much steel, sand, cement metal and cost is saved
The campus for the research institute, Centre for Development Studies, is one of Laurie Baker’s best campus designs, located in a residential area on the northern outskirts of Thiruvananthapuram. The 10 acre campus stretching across a heavily wooded site houses the Library, Computer centre, Auditorium, hostels, guesthouses and residential units for the staff. The design is a response to the sloping contoured site and seems to grow out of it. There is hardly a straight line with each structure curling in waves, semicircles and arcs. The roofs had often interesting shapes with funny openings at certain location. These openings were Baker’s interpretation of the gables which were tilted into the wind direction funnelling it into the space. The main administrative building is the focus of the campus, with the 6 storey circular library tower behind. The main entrance is majestic, sloping up towards the sky with the side walls welcomingly sloping outwards towards a wide set of steps. There are small openings in this shaft at each floor level. Ventilation through these openings and escapes through the open top of the shaft, maintaining a good flow all around. This shaft is based on the simple principle of Stack effect. The perforated jali wall on the external side allows plenty of diffused natural light inside and creates a beautiful ambience for reading.
Architecture Design Portfolio 2017-2020
The library tower is a circular tower with an external jali wall which encloses a circular staircase in the centre. The staircase winds around a circular shaft which runs from the bottom level all the way till the top. Baker has used this shaft to provide forced ventilation inside the spaces.
CONCEPTUAL SKETCH
CONCEPTUAL SKETCH
ADMISTRATIVE BLCOK
BRICK JALI AROUND STAIRCASE
CONCEPTUAL SKETCH
BRICK JALIS
Baker pays careful attention to the contours on the site and also the location of trees. The forms of the buildings also follow the site with curved walls and building forms along the contour. Often, when trees are obstructing the building, Baker simply moulds his walls around the trees so as not to disturb it. There are little courtyards in between buildings, often acting as an extension of the building itself and also pools of water which help in microclimatic control through evaporative cooling.
Exposed brick walls in beautiful patterns and bonds, exposed concrete sloping roofs with filler slabs of mangalore tiles forming beautiful patterns and jaalis in the brick walls of numerous designs creating amazing patterns of light and shade inside the buildings while at the same time letting in wind and light. The plinths of the buildings are all of exposed random rubble granite, the white contrasting with the red of the brick.
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CONCEPTUAL SKETCH
INTERIORS
For many, spending some time on the benches after lunch and dinner is almost a ritual, accompanied by a short trip to the shop right outside the gates for a glass of lemonade. Other notable spots for social gatherings include the amphitheatre, where cultural events are occasionally held, and the Shamiana, a venue for special lunches, dinners and high teas. Making the conversation richer and livelier is the remarkable diversity on campus. Visitors from all over the country and abroad also contribute to the vibrant and liberal cultural atmosphere of the campus.
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JALI BRICK WORK
To keep the interiors of the computer building cool, Baker has devised the imaginative use of a false external jaali screen wall which acts as a skin. The air trapped in between acts as insulation and keeps the interiors cool. All the buildings in the campus are climatically so efficient that even fans are not required. The interiors are cool and comfortable. Baker’s architecture is more than just the materials and cost effectiveness. He plays with spaces, light and shadows, creating comfortable spaces.
INDIAN COFFEE HOUSE, TRIVANDRUM
VIEW FROM EXTERIOR
The sloping concrete roofs and red-oxide floors complement the walls in keeping the place interiors cool and comfortable. Unsurprisingly, CDS often plays host to architecture students who visit to observe and learn from Baker’s legacy.
One of the prominent landmarks in the Thampanoor area of Trivandrum, lies the Indian Coffee House beautifully designed by Laurie Baker. This building, courtesy of its unusual design. The entire building is conceived as a continuous spiral ramp, with a central circular service core and with dining spaces provided on the outer side.
The form of the building is thus unconventional & bears Baker’s trademark jalis to let in light & ventilation. The building is well proportioned, a cylindrical brick-red spiral continuing for a couple of floors and then terminating in a smaller cylindrical volume on top, giving a very unsymmetrical balance to the whole structure. Most of the people who see this building are automatically drawn into it due to curiosity. On the inside, Baker has successfully solved the programmatic requirement of providing eating spaces by creating modules of built-in table and seating, with an individual table and its two benches placed on an individual horizontal platform. Thus, on the outer side abutting the external jaali wall, there are continuous horizontal platforms incrementally rising in height along with the slope of the spiral.
Architecture Design Portfolio 2017-2020
VIEW FROM EXTERIOR
SIITING TABLES
CIRCULAR OPEN ROOF
EXTERNAL VS. INTERNAL
The table and the seats are built-in. The table consists of a concrete slab fixed to the wall & with a semi-circular taper on one side. This slab is resting on a small brick arch which serves as the legs. The seats are again interestingly designed and accommodate 2 people comfortably on either side. The seats of adjacent tables are abutting back to back, but are at 2 different levels to accommodate the slope.
VIEW FROM EXTERIOR
The solution to the design programme is bold and unusual, yet, one which successfully integrates all the elements of the programme and one which creates a comfortable and interesting dining experience.
The seats are again made in brickwork and are finished with block-oxide on top and the backrest. The remarkable thing about these built-in furnitures is that Baker has designed them so very precisely ergonomically that they are very comfortable to use, inspite of being so simple. The material palette is again typical Baker. The walls are made of exposed brickwork which has been painted over – white on the inner side & brick-red on the exterior. There are no windows – jaalis serve to bring in plenty of light & ventilation, ensuring that the interiors are nice & comfortable. There is a circular service core in the centre, which consists of 2 concentric circles. The inner smaller circular core is a narrow vertical shaft open on the top, with openings at different levels. This shaft provides ventilation to the central areas and works on the principle of Stack effect, a very simple but effective solution that is so typical of Baker. Around this circular core are the service areas, especially the toilets. The kitchen is placed on the ground floor and has a separate service entrance. Baker’s architecture is more than just the materials and cost effectiveness. He plays with spaces, light and shadows, creating comfortable spaces.
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Project Type: Working Drawing Project Year: 2020 Duration: Semester 6
5.1 Working Drawing Working drawings provide the exact dimensions and the structure’s graphical information that can be used by the contractor to construct the work and assemble the structure in place accordingly. It includes all detailed drawings of each feature including the structural and mechanical components. The co-working spaces designed in semester 5 at Khandeshwar are then detailed out and resolved in working drawings semester 6. The setting out plan is laid and plans with structural system, sections and construction details are shown. The specific design of waffle slabs with elongated shear walls, concrete jail at staircase, and strip sections are detailed out.
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CLUSTER OF CHHATRIS
ROCK-CUT
6.1
KEYSTONE 60
PRODIGIOUS PLEXUS PROTRUSION
CARVINGS
Photos of different compositions and the space’s prominent feature is given importance. Model making of various scales and ideologies were done in the course of time.
ANGULAR MIRAGE
Collection of various work of model making and photography throughout the academic years is presented.
CAPITAL
Montage Of Hand Works
LIGHTING FIXTURE (PRODUCT DESIGN)
PATTERN AND SCALE
BRICK ARCHED WALL
DESIGN WITH SHADOWS
COMMUNITY CENTRE AT KUMARTULI
THE ANGULAR CHAIR (PRODUCT DESIGN)
DADAR CONTEXT MODEL
INSTALLATION (INTERPRETATION OF POEM)
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Shreya Bandekar shreyavba17pi@student.mes.ac.in bandekar.shree@gmail.com 8850030145
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