Portfolio | Shreya Shridhar

PORTFOLIO

SHREYA SHRIDHAR | CEPT UNIVERSITY

CURRICULUM VITAE | SHREYA SHRIDHAR

D.O.B: 15 June,1999

NATIONALITY: American

LANGUAGES:

English

Hindi

French (Basics)

DIGITAL AND MANUAL SKILLS

AutoCAD

Adobe Photoshop

Adobe InDesign

Adobe After Effects (Basics)

Wix Website builder

Figma (Basics)

SketchUp

MS-Office

Rhino (basics)

Drafting

Sketching

Photography

Model making

Academic research

Editing and Proofreading

REFERENCES

Dr. Meghal Arya

Associate Professor, FA

CEPT University, Ahmedabad

E: meghalarya@cept.ac.in

Catherine Desai

Visiting Faculty, FA/FD/BUD

CEPT University, Ahmedabad

E: catherine.desai@cept.ac.in

I am a graduate from the Faculty of Architecture, CEPT University. The manner in which architecture engages with its context, intersecting with physical, social and temporal layers, as well as the impact that it can have from an individual to a communal level intrigues me. I am an avid reader and writer, and in my spare time engage myself in painting, sewing, or can be found making furry friends at a dog park.

CONTACT NUMBER: +91 7259875133

EMAIL ID: shreya.15.shridhar@gmail.com

EDUCATION

2003- 2017: National Public school, Koramangala, Bangalore (Primary and secondary education)

2015: 10th std- CBSE (10 CGPA)

2017: 12th std- CBSE (94.2%)

2017-2022: B. Arch, CEPT University, Ahmedabad (3.4 CGPA)

WORK EXPERIENCE

Jan 2021- Jun 2021: Internship at Mathew and Ghosh Architects, Bangalore

Created GFC, working and detailed drawings and models for ongoing commercial and retrofitting projects

Worked on motion graphics and animations for the Museum of Art and Photography, Bangalore

Responsible for vendor management, communication and procurement

Jan 2022- April 2022: Teaching Assistant, CEPT University

Assisting Smit Vyas, History 4, Guiding 3rd year architecture students with academic research essays

Jul 2022- Dec 2022 onwards: Junior Architect at IORA Studio, Ahmedabad

Aug- Nov 2022: Teaching Associate, CEPT University

Assisting Catherine Desai, History 1, Guiding 2nd year architecture students with academic research essays

Nov-Dec 2022: Teaching Associate, CEPT University

Assisting Prof. Vishwanath Kashikar, CFP Allied Module, Introducing foundation year architecture students to the fundamentals of architecture

Jan-April 2023: Teaching Associate, CEPT University

Assisting Prof. Vishwanath Kashikar, Architectural design studio ‘The Practice’ for 4th and 5th year students

Assisting Sachin Soni, History 2 ‘Tectonics’, Guiding 2nd year architecture students with academic research essays

CERTIFICATIONS

French A1 Level Alliance Française de Bangalore

ACCOLADES

CEPT Excellence Award and a place in the Honours Exhibition for ‘Of Zest and Rest: A Melange of Staircases’.

WORKSHOPS

2017 - Measure Drawings of a Traditional Settlement – Chota Oda, Rajasthan

2018- Understanding Place –Lunuganga + Brief Gardens, Sri Lanka

2019- Designing with CSEB, Auroville

2019- Public Open Spaces in Kathmandu with Pratyush Shankar

2019- Rammed Earth, CSEB, Adobe Construction – Hunnarshala Foundation

2020- Writing Urban Histories with Pratyush Shankar

LEADERSHIP POSITIONS

Head, Reading Club, CEPT (2019-20)

Deputy, Reading Club, CEPT (2018-19)

CONTENTS

01 | MASTERS’ STROKE

PLACE FOR WELLNESS, WELLBEING AND MINDFULNESS

02 | NARRATIVES IN ARCHITECTURE

OF ZEST AND REST: A MELANGE OF STAIRCASES

03 | FROM UTOPIAS TO HETEROTOPIAS

MIGRANT HOUSING: VALUES OF TIME, DENSITY, CULTURE AND ENERGY

04 | FROM DRAWING BOARDS TO CONSTRUCTION SITES

BHOJANAALAY

05 | EXPERIENCE AS A TEACHING ASSOCIATE

HISTORY 4: AGENTS

HISTORY 2: TECTONICS

L3 ARCHITECTURAL DESIGN STUDIO: THE PRACTICE

06 |

ANCILLARY WORKS

UNDERSTANDING PLACE- STUDY OF BRIEF AND LUNUGANGA GARDENS- BENTOTA, SRI LANKA

DOCUMENTATION OF PUBLIC OPEN SPACES- KATHMANDU, NEPAL

RELATED STUDY PROGRAMME (RSP)- MEASURE DRAWINGS OF SETTLEMENTS IN CHOTA ODA, RAJASTHAN

ACADEMIC WRITING: A SIMPLICITY OF COMPLEXITIES

MASTERS’ STROKE

A PLACE FOR WELLNESS, WELLBEING AND MINDFULNESS

Studio 4 | Spring 2019 Lonavala, Maharashtra

Guided by: Sachin Soni

The studio dealt with the analysis of the attitudes of a given architect (in this case, RCR Arquitectes) towards design. After understanding RCR Arquitectes’ attitude towards various aspects of design, their attitudes must now be appropriated, modified and implemented according to the given programme and the context. The programme was a place for wellness, wellbeing and mindfulness with amenities such as residences, thermal baths, saunas and massage rooms.

The site is situated just a few kilometres away from Bhaja caves in Lonavala on a steep, rocky slope with dense vegetation. A place for wellness acknowledges the present moment, creating spaces to restore mind and body. It provides a nurturing setting, giving way to find oneself and interact with new acquaintances.

ARCHITECTURAL ATTITUDES OF RCR ARQUITECTES

After studying various projects by RCR Arquitectes, their attitudes and approaches were understood through the means of analytical drawings and diagrams. The aspects that were covered included (but were not limited to) their attitudes towards light, movement, structure, making and detailing, approach towards concepts, programme and response to context.

Form of building resembles a single horizontal line in the frame of view.

Greek tripartite order is used to respond to the volcanic stratification of the rocks in the area.

Building either sits gently, or is anchored to a base. There is a thin line of shadow under the building

The material palette used is quite dark. There is usage of modern, more synthetic materials as well.

Intersection of volumes within volumes.

Osmosis between in and out in terms of light and views. Usage of courtyards to blur boundaries between interior and exterior. Creation of anamorphic spaces due to interjecting volumes.

It is a filmic journey through a sequence of arranged light and dark spaces and views.

The light in the region is white and diffused. It morphs spaces and blurs boundaries

Axis or circulation too can act as datum in some cases.

From an external point of view, mass acts as a datum.

Form divided into modules of similar proportions to make it appear repetitive.

The principal grid is structural. This is then overlayed by a grid of light.

Solid from outside, hollow from inside. Voids are designed

THE CUBE

An installation made based on the architects’ attitude towards physical and ephemeral substances. From the exterior, it appears to be a solid mass, with the facades creating a sense of layering and long, vertical openings. The interiors are a series of voids which use light, shadow and reflective materials to create heightened volumes, frames and a stronger perception of depth.

THE TROPHY THE MAZE

A game made based on the architects’ attitude towards organizational and conceptual devices. The clue in order to solve the maze is alignment of frames. Once the right set of frames have been aligned, that is when the right set of openings align to form a path for the ball to move through. In their projects, framing is used as a very strong device to establish a dialogue between the interior and the exterior.

An installation made based on the architects’ attitude towards making and detailing. In order to enhance the qualitative experience of the space and achieve unobstructed, planar surfaces, layers of constructional details are concealed. The trophy is a representation or abstraction of this idea of layering that is used to achieve those surfaces.

PLANS

The orientation of the plan was done to maximize views from site. The corridor acts as a connecting element or a datum as well as a continuation of the existing trails on site. The programmes were distinctly segregated through the four masses. The programmes were split across levels based on degree of privacy but connected volumetrically. The overall organization of spaces was based on the structural grid. The long, rectilinear proportions of spaces prompt movement through them. The movement occurs through a filmic journey of a sequence of interspersed light and dark spaces. The pauses in the journey are are articulated by the careful framing of different views.

Left to Right: Ground floor plan, Basement plan

WALL SECTION

The structure across the four masses is a steel frame structure, sitting on a load bearing structure that is embedded in the ground. In order to enhance the qualitative experience of the space, all details of construction are concealed, thereby embodying the idea of ‘detail as no detail’. The surfaces so obtained are uninterrupted both in terms of vision as well as tactility. Raw corten steel was chosen as an exterior facade as it will transform along with the context as time passes. Concrete plasterboard was chosen on the interior purely for the materiality of concrete- its texture, its tactility and the manner in which it can differently treat the light that falls on it.

NARRATIVES

IN ARCHITECTURE OF ZEST AND REST: A MELANGE OF STAIRCASES

Studio 7 | Monsoon 2020

Bangalore, Karnataka

Guided by: Dr. Meghal Arya

The onset of the pandemic has gotten us reminiscing about life before the outbreak. Activities such as playing, eating and having a normal conversation have all been replaced with quick greetings, glances or rushed exchanges. At the time when we most need it, there is a severe loss of sense of community, leading to an increased feeling of isolation. With our lives turned inside-out, this design aims to create a space to interact through another pre-existing inversion, unique to my neighbourhood in Bangalore- external staircases, while exploring the idea of degrowth through minimal inserts. Analogies were derived from the structure of a narrative to weave a story which could be experienced through architecture.

The staircases are sufficiently integrated as a part of the house, yet at the same time are dissociated enough to have the potential to either become, or host a network of inbetween spaces that act as a mediator between the inside and outside. One can them as a base to add inserts, one expands their function beyond a transitional element to create a programme with no defined function- just a shared, unified space where opportunities to interact can be created once again. In order to create this interplay of dynamism and calmness, a story was written from the lens of a child, using the staircases and the interventions to be introduced as their playground. By borrowing these in- between spaces from the private realm, a plethora of newer spaces and environments can be made available to choose from, each with the potential to host a memory of an interaction, specific to an individual. One can recreate a place to play, dine, gather, lounge- a place for one to be able to catch up with a friend, an unfamiliar neighbour or even a stranger. This series of extensions would integrate itself along the walls of the residences to create a collective public space, bordering the private spaces- a unifying space. Its mere existence would provide a relief from the publicness within one’s home. It would become a remnant of a world before the pandemic and a reminder of what was.

THE SETTING | STAIRCASES AS A MEDIATOR

The pandemic caused a shift from a realm of exteriors to a series of interconnected interiors. With our work life having slowly made its way through the walls of our houses, there is already an element of publicness that has been forced into the private realm.

However, the solution to this inversion, lay in another such inversion. Though typically private elements, the staircases of this neighbourhood have declared themselves as public by bringing themselves to the facades of the houses.

They each have a unique character. Given their positioning, the staircases and facades of the houses have the potential to form a transitionary buffer between the interior and exterior.

They are sufficiently integrated as a part of the house, yet at the same time are dissociated enough to have the potential to either become, or host a network of in-between spaces that act as a mediator between the inside and outside - a shared, unified space where opportunities to interact can be created once again.

Storyboarding to conceptualize the relationships between existing spaces and interventions

Chance interactions Dynamism

Hidden alleys

LAYERING OF MOVEMENT

To determine the nature and location of movement and pause, various iterations were explored. A maze, snakes and ladders with highs and lows, and a different path to choose everytime, and the inherent nature of the site itself. With a mix and match of all three ideas, multiple paths were formed such that a user always has a new path to explore everytime they move through this. Spaces spill over connecting the staircases, balconies, terraces and roads, further strengthening this idea of interconnectivity and layering of movement.

Bit by bit, the facades of the homes began to branch out, further enhancing and defining this buffer space and instead giving people spaces to rest, play, traverse, converse and so much more.

ELEMENTS OF THE INTERVENTION

A catalogue of a series of lighter elements has been used forming jungle gyms, staircases, ladders, niches, alcoves, extensions and platforms. Depending on their form and dimensions, the staircases too double up as spaces to rest, to grow plants, to read a book- a series of affordances and opportunities for people to use these elements the way they wish to. The elements have been added according to existing elements and activities observed, the user groups, internal configuration of the houses. With paths of movement that branch at multiple junctions, one may not even traverse upon the same path twice. Depending on the turn they choose to take that day, they may stumble upon a space to dine in a hidden alley, a space to swing and play, or a chance interaction with a neighbour they haven’t spoken to before. This creates a series of spaces of dynamism, calm spaces and spaces to withdraw.

Various instances of movement and pause

A PLACE TO GATHER, A PLACE TO BE

By borrowing these in- between spaces from the private realm, a plethora of newer spaces and environments can be made available to choose from, each with the potential to host a memory of an interaction, specific to an individual. One can recreate a place to play, dine, gather, lounge- a place for one to be able to catch up with a friend, an unfamiliar neighbour or even a stranger. This series of extensions would integrate itself along the walls of the residences to create a collective public space, bordering the private spaces- a unifying space. Its mere existence would provide a relief from the publicness within one’s home. It would become a remnant of a world before the pandemic and a reminder of what was.

FROM DRAWING BOARDS TO CONSTRUCTION SITES

BHOJANAALAY

5 | Monsoon 2019 Pindval, Dharampur (Valsad)- Gujarat

The main aim of the studio was to bridge the gap between what is drawn on paper and how it is actually implemented in real world construction practices. So, alongside the design process, weekly site visits were conducted to ongoing construction sites to gain familiarity with materials and construction processes and implement the same in the design.

The main design project was to design a ‘Bhojanaalay’ for Sarvoday Parivar Trust, which operates out of the Dharampur district of Gujarat. According to the specifications of the client, the programme was a dining-cum-multifunctional space for students on on level and a guesthouse for trustees and potential donors on the other level. After observing construction practices as well as conducting market research, the aim was to implement the learnings while designing and detailing.

Studio

Guided by: Kartikey Shodhan, Jhanavi Bhatt

GROUND FLOOR PLAN

In order to preserve the openness of the campus, the siting of the building was chosen to be that of the existing dining space (which was to be demolished). The programme could be divided into three types of functions- dining/ multifunctional, services and guest accommodation. The plan was then organized on the basis of function. The aim was to make the space more breathable, thereby providing an entrance court as well as a service court. The structure is a brick load bearing structure with RCC filler slabs as a spanning system, or MS rafters and purlins, covered with insulated GI sheeting.

Left to right: Approach from the school, View from the common play ground, Top view of the design.

SECTIONS

Clockwise: Wall section through the wash area, Longitudinal section towards the play area, Section through staircase (guest entrance, Section through dining area, Elevation from the play area.

The structure was a 1.5 brick thick load bearing system. The spanning system was that of RCC filler slabs with terracotta pots acting as fillers. For the roofing, the spanning system was MS rafters and purlins, over which was pre insulated GI sheeting. As the area in which the campus was located was relatively isolated, all material and structural decisions were taken on the basis of materials which were easily available and relatively economically feasible. Furthermore, the labour so available wasn’t highly skilled. Hence, the quality of constrcution was another factor that was taken into consideration.

STAIRCASE DETAILS

Against the heavy load bearing structure, the expression that was chosen for the staircase was that of a light sculptural element. Furthermore, given its placement in the plan, it forms a very important element in the overall gesture of entrance for the guest accomodation. The staircase is a steel double stringer staircase with kota stone treads.

DOOR AND WINDOW DETAILS

One of the primary observations from existing buildings on campus was how the doors and windows would get jammed due to the swelling of timber during monsoon. Hence, to prevent this, the primary design consideration while designing this was to prevent timber to timber contact between main and shutter frames of the doors and windows. Furthermore, sealing of the space was important so as to prevent infiltration as well as seepage of air and water.

SERVICES

Clockwise: Electrical plan of guest accommodation, Section through washrooms, plan of washrooms, isometric section of services

The entire service block was designed as a plug- in to the main dining space. Instead of having a singular washroom accommodating all necessary utilities, they were split so that more than one user could use a service at a time. Sections were drawn so as to ensure appropriate alignment and placement of sunk slabs and service shafts. The electrical layout was decided based on the proposed layout of the room, but is still done so as to allow rearrangement of the furniture.

WORK AS A ‘CONTRACTOR’

Left: Wall section and details provided by the architect Right: Final model

In this exercise, one got to play the role of architect as well as contractor. A wall section as well as necessary details were provided to construct a 1:10 scale model of one of their peer’s design. The result was a series of negotiations and discussions to come up with the final product.

FROM UTOPIAS TO HETEROTOPIAS

MIGRANT HOUSING- VALUES OF TIME, DENSITY, CULTURE AND ENERGY

Studio 6 | Spring 2020

Kumbharwada, Dharavi- Mumbai (Maharashtra)

Kumbharwada is one of the first settlements in Dharavi, built by migrants from Gujarat in the second half of the 19th Century. It is home to the pottery industry, one of Dharavi’s most famous local crafts. Kumbharwada is made up of five lanes, dotted with over 120 kilns, with houses and workshops crowded around them. Most of the houses in Kumbharwada fall under the ‘live-work’ typology. In addition to pottery, the residents are also engaged in tailoring, embroidery, conduction tuition classes as well as running small clinics.

Keeping in mind the very rich context, the aim was to design a modular masshousing scheme covering an area of 42,300 sq.m, inhabited by approximately 1750- 2000 families. A very sensitive approach had to be maintained towards the relationship between the built and open spaces, as well as the multiplicity of the open spaces. A series of explorations were done while planning and organizing various housing cluster ensembles in response to the adjacent urban context, thus, creating an ‘interface’ by balancing the underlying orders and complexities.

Guided by: Imran Mansuri, Suraj Kathe

UTOPIA TO HETEROTOPIA | COMMUNITY MAPPING

The most active chowk in the street. Multiplicity of space here was evident. Activities varied throughout the day. This ranged from washing of clothes, cooking, making and firing of pots, and children playing.

Another chowk with a temple. Here, morning activities can be seen with women washing clothes, people bathing on the streets and other praying.

The most active chowk in the street. Multiplicity of space here was evident. Activities varied throughout the day. This ranged from washing of clothes, cooking, making and firing of pots, and children playing.

COMMUNITY DOCUMENTATION

The gully that was documented had a mix of residential, live-work and pottery activities. The orientation of the street is along the predominant wind direction. A prominent feature of this street was the manner in which the activities change according to the time of the day. The nature of the open spaces varies according to the peripheral conditions. Another observation is the absolute lack of space. Kilns which are not functional anymore have been converted into storage space. In order to claim more space they use otlas and box jaalis as gestures of extension. This particular gully also had two temples. In contrast to the usual treatment of temples, here they were integrated into the dense fabric of the street, with a lesser sense of sanctity attributed to it. The various nodes on this street were formed due to their peripheral conditions. Due the the aforementioned as well as the elements constituting the space, the liveliness of the space varied drastically

CRITIQUES: IMRAN MANSURI | SURAJ KATHE TA: ZEEL PATEL

Hawkers traversed the streets, trying to sell goods. They would stop temporarily at setbacks to set up shop.

A chowk with a temple integrated into the built fabric. The shikhara is visible only from the neighbouring terrace.

A work chowk is formed due to the kilns.

Internal court where goods are stored. The surrounding houses are used for packing of goods.

R e t e n i r e c t o n , c r e a t i o e m e n t o f M o v n g a t h e k l n s t o o n e e n d o f t h e c o m m u n i t y a n d n t e rs p e r s n g v e w o r k a n d r e s d e n t a l a c t v i t e s a c r o s s t h e r e s t o f t h e c o m m u n t y T h e e d g e s w i b e c o m m e r c a l f r i n g e s

w e d i n t h e v i l l a g e s f r o m w h e r e m l y o w n s a k n l o c a t e d r g h t n r o r g a n i z a t i o n b e c o m e s e a s y f o r o n o f m a t e r a l s a n d p r o d u c t s n s i s d u e t o t h e m a n n e r i n w h c h e s o w n n g k n a s a r e t o o w d em u n t y , t h e p o l l u t o n s n o t c o ns v e r y w i d e s p r e a d

M o v i n g a t h e k i l n s t o o n e e n d o f t h e c o m m u n t y a n d n t e rs p e r s i n g l i v e w o r k a n d r e s i d e n t i a a c t i v t e s a c r o s s t h e r e s t

o f t h e c o m m u n i t y T h e e d g e s w l b e c o m m e r c a l f r i n g e s

SITE MASSING MODEL

The massing model developed aimed at retaining the existing character of Kumbharwada by enhancing the hierarchical nature of the open spaces. Courtyards were introduced in between blocks in the residential as well as the pottery community, with varied proportions according to function.The gullies running in the east- west direction maintain their staggered nature and act as connectors between the primary streets running in the predominant wind direction. The narrowness of the street was retained while also making them more accessible. Clusters are also interconnected at upper levels through streets. Along the commercial edge, The commerce is retained to the lower level while the upper levels are for residential purposes. This edge also has semi open spaces for hawkers or smaller vendors to set up shop temporarily.

Stacking: Stacking was done by sliding units along the service shafts to form terraces as well as large overhangs and shaded spaces. Hence, the nature of the street on the ground level was also maintained at higher levels, thereby forming a street in the air.

Linking: Linking of units was done along the services. These had been moved to the sides of the units to obtain a clear space for cross ventilation.

Flexible workspace on the ground level which is customizable according to the needs of the user. Can double as a space to dry earthenware as well.

LIVE- WORK CLUSTER

The idea of creating a flexible workspace in the pottery community was explored, where in the structure is provided such that the users can customize their workspace. The idea of a shared workspace, thereby enhancing strenght of community becomes important. These spaces may also later be converted into spaces where pots can be dried, thereby enhancing the multiplicity of the space.

FAMILY CYCLE

One of the houses that was documented belonged to the Gedia family. There were 12 members (2 families) living in a 2 storeyed house. They were involved not only in pottery but also in various other occupations across the city. An interesting feature to note is that although they had 2 floors available to them, they chose to use only the upper floor to accommodate themselves. The entirety of the lower floor was used for storage purposes.

EXPERIENCE AS A TEACHING ASSOCIATE

HISTORY 4: AGENTS

HISTORY 2: TECTONICS

L3 ARCHITECTURAL DESIGN STUDIO: THE PRACTICE

Cedric Price

(S22) AR2609 HRW4 Agents

Cedric Price entered the architectural scene in the late 1950s, at a time when British society was rapidly rebuilding itself after an exhausting World War. Growing up, he had seen the country transform from a threadbare, bombed-out nation into one with a booming economy and reformed cities. It was a time when architects and educators were trying to use architecture to be socially responsible and address the future , and Price was captivated by these ideas. The son of an architect, Price was ingrained with notions of architecture as “the ultimate social art” (MoMA, 2013) as he journeyed through Cambridge University and the Architecture Association (AA).

In 1959, an encounter with the urban theorist Arthur Korn showed Price how his interests in indeterminacy and suspicion of convention might contribute to remaking the built environment and its social relationships (Melvin, 2003).

Price’s outlook towards the built environment developed as a result of such interactions with diverse sets of people and as a criticism of the norm . He regarded architecture as a set of processes; not objects (Murphy, 2018). He refrained from imposing physical or psychological constraints upon the users or reducing them to a standard form (MoMA, 2013); his architecture providing inhabitants individual freedoms and the control to shape their environments. Modernism was rampant in the 1950s and 60s, and true fidelity to its ideals meant the disappearance of the building (Murphy, 2018). Price strived towards this goal; his projects becoming temporal and almost “anti-building” in nature.

His works were technology-driven and quite industrial or “factory-like” in design; characterised by a paradigm of flexible networks and not a static structure. His designs were unique since they explored architecture’s potential to be life-enhancing and to nurture social and intellectual development rather than to offer a definitive aesthetic statement (Melvin, 2003). Price’s architecture focussed on people and processes to the extent that his projects could be considered containers for activities and not actual buildings . However, during the construction boom in postwar Britain, this refreshing outlook was welcomed by many.

HISTORY 4: AGENTS

Adaptable, flexible architecture offering individual freedoms

Price realised early on that collaboration amongst people of diverse backgrounds was necessary, and many of his key projects were conceived as a group effort. For example, “Fun Palace” was developed with theatre producer Joan Littlewood and numerous scientists, sociologists, artists, engineers and politicians.

This course explores the oeuvre of notable architects and other agents of architectural production. It specifically examines how architectural practice and individual design decisions have been intersected by timespecific functions, aesthetic norms, political and cultural regimes, among other things. Through the lectures and the assignment, students are taught to identity key conditions that characterize an individual architect’s formative stages of becoming an architect & acquiring a particular worldview.There on, they study the interactions between individual knowledge systems & lived experiences of his/her world to be able to choose a particular work which can be regarded as emblematic of the architectural practice’s salient features. Finally, through an illustration essay, they analyse the chosen work for its contextual, organizational, spatial & tectonic relationships. Through these students learn how the architectural agent emphasizes particular cultural & philosophical ideas which are believed to be important values. The study ends with students finding out if these values manifest themselves in architectural thinking anymore? Is there a continuing relevance of the particular modes of exercising architectural agency in the world of architecture today?

1 HRW4 Agents Ninad Shroff

Ninad Shroff UG190960

Rapidly transforming postwar British society

2 HRW4 Agents Ninad Shroff

Course tutor: Smit Vyas

HISTORY 2: TECTONICS

Tectonics is defined as “the science or art of construction, both in relation to use and artistic design.” Using tectonics as its lens, this course explores history of architectural forms and expressions. It anchors on four most important materials in architecture till date (Brick/Stone Masonry, Timber, Steel and Concrete) which become key sections of the course. Students are expected to reflect and assimilate the ideas related discussed in classes in various exercises leading to an illustrated essay. The essay comprised of wall sections of the buildings, which were made after multiple site visits. These were accompanied by elaborate descriptions of keywords pertinent to the tectonic specificities of the chosen buildings.

Wall section of Artdome Studio by Kunal Barve, Deetisha Koradia and Ananya Pathak

Wall section of Paramdham Temple by Jayeeta Mehta, Khushi Patel and Drashti Desai

Course tutor: Sachin Soni

An introduction to ideas such as dualities, contingencies and authorship through the works of Dana Cuff (The Story of Architectural Practice) and Jeremy Till (Architecture Depends).

THE PRACTICE.

Design studios are usually centered around a ‘design project’ in which aspects of site and program context have a larger bearing on design decisions. In practice, however, the ideology and structure of the office has an equal impact on design decisions. This studio attempted to address the impact of aspects of practice on design. In the first half of the studio, students designed their architectural practice based on book readings, personal reflections, an experimental collaborative project and visits to 15 architectural practices. In the second half, students attempted two projects simultaneously. The first project was proposed by the student as a ‘dream’ project for their practice. And the second project was given by the tutor who enacted the role of the client. The studio culminated with the students designing a website of their practice. This studio provided a platform to critically examine the role of architectural practice on architectural design decisions and the architect themselves. The projects served as a means to arrive at design processes that aid in translating a vision [ideology] into reality [building] that the practice would uphold. The studio was a unique opportunity to purview varied kinds of practices, reflect, brainstorm, and present ideas on how practice affects the architecture produced and the architect themselves.

L3 ARCHITECTURAL DESIGN STUDIO: THE PRACTICE

Studio tutor: Vishwanath Kashikar | www.thepracticecept.com

A first hand inquiry into the process of running a practice through visits to 15 practices of various scales and specialties, spread across Ahmedabad.

An collaborative role-play project, that sought to decode the relationship between various configurations of hierarchy amongst teammates, and the impact of the same on the process of designing a product, ideology and practice.

An introspection into the version of themselves that the students brought to the studio, through past

An

Design studios are usually centered around a ‘design project’ in which aspects of site and program context have a larger bearing on design decisions. In practice, however, the ideology and structure of the office has an equal impact on design decisions. This studio provided a platform to critically examine the role of architectural practice on architectural design decisions and the architect themselves. It provided a unique opportunity to purview varied kinds of practices, reflect, brainstorm, and present ideas on how practice affects the architecture produced and the architect themselves. For more information, do check out www.thepracticecept.com,a website development that I was involved in.

After several weeks of research and introspection, the students then arrived at the formulation of an ideology or a manifesto- the core values and belief systems on the basis of which they will choose to run their practices.

“As a designer, view architecture as a response to the larger societal issues we face. aim to create designs that align with the project’s vision, encouraging positive human behavior and contributing towards achieving larger societal goals.”

“We believe in the power of creating experiential spaces. We believe that functional and contextual spaces are the foundation for creating memorable experiences, and we use a variety of methods, including reconsidering the anthropometrics, structural experimentation, and resource selection, to achieve this goal.”

“The ideology of the architecture firm “One to Hundred” centres around the relationship between the individual and the collective. They approach design challenges with a precise and adaptable philosophy, seeking to create architecture that can impact a larger user base and catalyze positive change in society.”

Examples of some of the ideologies of the students’ practices.

Devising stepwise design processes based on the ideologies. They are simultaneously tested out on 2 design projects to understand the similarities and differences in the implementation and translation of the steps.

How does a difference in approach from project driven to practice driven affect the overall processes and products? An analysis of the degree of similarity and variation at each step helps one keep track of their interpretation of the ideology.

STEP 1

STEP 2

The practice’s ideal project. A client (tutor) initiated project.

STEP 3

STEP X

Although the steps of the design process may be similar, minor differences may stem due to variations in site, programme and client. Examining the degree of differences further helps one clarify the overall intent of the design process.

A reflection of the effect of the similarities and differences in the approach, process and outcome. As aforementioned, The projects served as a means to arrive at design processes that aid in translating a vision [ideology] into reality [building] that the practice would uphold. The studio was a unique opportunity to purview varied kinds of practices, reflect, brainstorm, and present ideas on how practice affects the architecture produced and the architect themselves.

projects, stances and personal reflections.

ongoing process throughout the course of the semester. Through introspection and a retrospective analysis of decisions, and an influence of the primary and secondary research, one arrives at the heart of what constitutes their notions, beliefs and hence their practice.

Diagram of studio structure

Student projects- Anushka Poddar, Mehlam Makda and Adarsh Reddy

ANCILLARY WORKS

UNDERSTANDING PLACE- STUDY OF BRIEF AND LUNUGANGA GARDENS- BENTOTA, SRI LANKA

RELATED STUDY PROGRAMME (RSP)- MEASURE DRAWINGS OF SETTLEMENTS IN CHOTA ODA, RAJASTHAN

UNDERSTANDING PLACESTUDY OF BRIEF AND LUNUGANGA GARDENS

Bentota, Sri Lanka

The course was designed to understand the making of a place as an intersection between context, designer and articulation. Both the gardens were understood through text, images, sketches as well as site visits so as to gain an in depth understanding of the character of the place. The course outcome included means of visual representation that allowed for a reading of the continuity of spatial experiences that imparts a ‘sense of place’ to any landscape.

DOCUMENTATION OF PUBLIC OPEN SPACES | Kathmandu, Nepal

The open spaces in Kathmandu valley are unique from the point of view of their public-ness and the manner in which they govern the formation and usage of built forms around them. This workshop was aimed at enabling one to read the urban morphology of a city with respect to its urban spaces. Some of the topics with respect to which this workshop was conducted were: Architectural typology and open space, Urban nature of water structures, Transient open spaces- nodes and street, Performative urban spaces.

RSP: MEASURE DRAWING OF A TRADITIONAL SETTLEMENT

Chota Oda, Rajasthan

The study attempts to introduce students to both -the overall landscape and topographical relationships of the settlement as well as understanding the house form. For the former, a prominent clearing (village square) and one major street (streetscape) are measure drawn to study the characteristics of open spaces between houses, gradients, ground cover, etc.

For the latter, detailed plans, sections and elevations of the houses are drawn with great emphasis on mapping activity and peopleanimals-paraphernalia relationships.

In a major departure from the generic house within and yard or shed for animals outside the situation, here the interior assumes a microcosmic dimension to support living, cooking, storage as well as accommodation of livestock.

A Reflection of my work through “Where do we Stand?” by

Marcel Breuer

Preface

What is simplicity and what is complexity? If simplicity is a thread of wool, then, is complexity a tangled mess of an unkempt ball of wool? If this mess was to be unravelled, wouldn’t it become a simple thread? But then again, isn’t this thread constituted of finer fibres, wound and woven with each other to make this seemingly simple object? Just like the thread and the knot, simplicity and complexity exist and are interwoven with one another; it takes a layering of complexities in order to generate something that may appear to be simple.

while designing the mass housing, I was of the same opinion. I did what seemed to be the simplest approach- get rid of all the problems they had and give them a new, similar slate for them to personalize and regenerate complexities. The output of this sort of an approach led to a formally complex organization, a different one from what already existed; one which was a lot clearer functionally.

Upon reflection, had I taken a more complex approach and intervened surgically in strategically chosen areas, the interventions themselves would’ve seemed simple and small, but underneath the surface would’ve been layers of decisions and processes, both simple and complex. The output may not have exuded clarity functionally, but the identity of the space may have remained.

Reduce, Rationalize, Revolutionize

In his book “Where do we stand?”, Marcel Breuer states that though modern architecture is a many sided complex, ideologically speaking, its aim is simple- to revolutionize, create contrast and generate clarity. When Breuer talks about new architecture trying to revolutionize, the fundamental idea he speaks of here is seeking rationality through objectivity. The only parameters he looks at here to evaluate the ‘containers of men’s domiciles’ (Breuer, 1935) are those which are either functional or possibly programmatic in nature. Simply reducing a work of architecture to its functions may increase its clarity, but eradicating other complexities of the context most certainly cannot make a project simple. In trying to be objective, we remove all subjectivities of the context, and reduce everything to binaries- blacks and whites. A want for rationality makes one become selective about the issues that they are choosing to address.

In some situations, this sort of a ‘rational’ approach may be beneficial in streamlining one’s thought processes. While designing ‘A Place for Wellness, Wellbeing and Mindfulness’, the site that I worked with in Lonavala was almost a tabula rasa. Here, I could afford to choose what Breuer considered to be a rational approach. By using the functional and programmatic requirements to determine a simple method of organizing the plan, I could then layer this with temporal complexities, such as the transient nature of light in the space and openings framing the shifting landscape.

However, while developing a mass housing strategy for migrant workers at Kumbharwada (Dharavi), choosing a rational approach actually ended up eradicating all temporal complexities. What was once a tapestry of materials now got reduced to ‘simple’ standardized housing units, doing away with specificities and a personalized way of building. The layering of complexities was removed and what remained was an imitation of simplicity.

Contrast: The Newer the Better?

Breuer quite rightly talks about a change in our method when it comes to approaching a project. Instead of family traditions and force of habit, we employ scientific principles and logical analysis. He mentions that novelty is a powerful commercial weapon, but as architects, it is our responsibility to create something that is suitable, intrinsically right and as relatively perfect as possible (Breuer, 1935). We are usually of the opinion that newer is better. All processes instantly become more streamlined with newer technologies- a lot simpler in utilitarian terms. In terms of a process,

Breuer defined clarity as the definite expression of the purpose of a building and a sincere expression of its structure. (Breuer, 1935) But can a structure ever sincerely express the complexities of the processes and decisions that went into its making?

In ‘A Place for Wellness, Wellbeing and Mindfulness’, the internal spaces seem quite clear and uninterrupted. One is free to focus on the quality of space, the light, the textures of the materials. It is a space in which Breuer would ‘feel at ease’, which to him, defined a simple building. What one can’t see is the number of elements, materials, members, agencies, decisions… the list goes on. As seen in this example, as well as other examples of modern architecture, as simply as a structure may be expressed, it will never be reflective of the complexity of processes, decisions and involvement of agencies that went into the planning of it. All seemingly simple forms are built on a foundation of complexities.

Clarity: Of the Surface and the Underlying Conclusion Bibliography

As stated before, one does not achieve simplicity simply by ignoring other complexities. Of course, during the Modernist movement, all emphasis and focus was on the functional clarity of a building, reducing it to the core needs. But if one starts removing the very fibres that constitute a thread, they’re going to end up with a weak, much thinner thread, not strong enough to hold itself together, let alone weave a fabric. Can a building then ever truly be considered simple or complex? Perhaps, while trying to fit a project into a box that’s neatly labelled as either ‘simple’ or ‘complex’, it will ultimately end up losing the very simplicities that make it complex, or the very complexities that make it simple. Maybe, a project should be like a cloth. For after all, a cloth seems seamless, simple and utilitarian when viewed from afar, but up close, it is a complex weave of warps, wefts, threads and colours systematically and precisely woven together to create a tapestry. Breuer, M. (1935). Where do we Stand? Architectural Review Smith, K. H. (2012). Introducing Architectural Theory: Debating a Discipline. New York: Routledge.

SHREYA SHRIDHAR

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