Design Portfolio by Siddhi Desai

DESIGN SIDDHI DESAI

PORTFOLIO

INTRODUCTION SIDDHI D.DESAI TEL. ADDRESS

E-MAIL LANGUAGES BLOG

+91 9930 105760 Block no.3, Laxmi Prabha, Dawood baug road, Andheri (west), Mumbai-400 058. siddhidesai@rocketmail.com English, Hindi, Gujarati, Marathi, French, Sanskrit. www.desaisiddhiworks.blogspot.in

WORKSHOPS 2008 : Summer Construction workshop (Designed & Built a 9” inch Brick wall having Display and lounging spaces) 2009 : Design Worshop_Design and execution of full scale installation on the topic of Emergence in BSSA corridor 2009 : BSSA + IAAC (Institute of Advanced Architecture, Catalonia, Spain) Joint Workshop_Design ideas for the fringes of Mumbai ( http://bssa-iaac-groupfifteen.blogspot.in/) 2010 : BSSA + Cornell, USA Joint Workshop_Documenting housing typologies in Mumbai 2012 : Universal Design Hands-On Workshop @ The World Heritage Site ‘SANCHI’ Organized by SPA, Bhopal

SKILLS & EXPERTISE Design

Technical

Architectural Design Urban Design Conservation Sustainable Design

Autodesk AutoCad Google Sketchup Adobe Photoshop Adobe Illustrator

CorelDraw Adobe InDesign Flash MX Microsoft Office

Vray rendering(sketchup) Sketching Model making

EXPERIENCE Intern at dUo (Design Urban Office Architects) Worked as an intern in a team on developing a flash based interactive interface for E-learning, Walkthrough and E-Games packages for Exhibition at Ajanta Visitor Center. Intern at Ar.Sanjay Mhatre _ Assisted in Organising a Painting Exhibition in Jehangir Art Gallery. Worked in a team to plan out an interior layout for Mr. Manish Dhanda.

AWARDS & PUBLICATIONS Regional Winner of Transperance 2011, Architectural Design competition_theme ‘Housing for the future’ - The Project was published in the The Journal of the Indian Institute Of Architects (IIA) Third Prize in National Student design Competition 2012,SPA, Bhopal_theme ‘Universal Design for Exploring World Heritage Sites in India’. The Design Dissertation Research was published in ‘The Manshodhan III 2012’ magazine_an event of SVKM trust. IMPRESSIONS_A book designed and compiled of the study tour, documenting SRI LANKA through sketches, drawings, pictures and text. EXPLORING BANDRA_Urban Design Project ‘Coherent Commerce’ was published in the BSSA publications.

OTHER INTERESTS Painting_Exhibit and have sold paintings - Sketching_During Study trips and have sent for many Sketching competitions (http://www.architectsjournal.co.uk/home/sketch-a-facade/sketch-a-facade-entries-def/8632218.article) - Travelling_NATIONAL (Agra, Ahmedabad, Aurangabad, Bangalore, Bhopal, Delhi, Himachal Pradesh, Indore, Mandu, Rajasthan, Ranakpur, Ujjain)INTERNATIONAL (Sri lanka)

INDEX

WORKSHOP + COMPETITION WORKS

STUDIO WORKS a.

Site+X, Khetwadi Mumbai _2nd year a. Spanning Structure_1st year

b. Community & Cultural Housing Dharamsala_3rd year c. Extension to Jehangir Gallery_3rd year d.

Art

Street Mall, Juhu Market_4th year

e. New

b. Emergence_2nd year c. BSSA + IAAC (Institute of Advanced Architecture, Catalonia, Spain) Joint Workshop_2nd year d. Verti-gram Transparence 2011 Competition

Paradigms in Collective house. National Design Student ing, Versova Mumbai_4th year Competition 2012 f. Coherent Commerce, Exploring Bandra_4th year

BALWANT SHETH SCHOOL OF ARCHITECTURE ÂŠ Copyrights reserved

No part of this book may be reproduced without the prior written permission of the copyright holders of the entire book, text, visuals and the design.

VISUALS

THESIS

a. Photographs b. Drawings

+ Sketches

01.

a. SITE + X_museum/gallery_2nd

KHETWADI, MUMBAI

Concept

year architectural design

The history of Khetwadi is very evident in its fabric. The structures in Khetwadi are a clear look-up for the history. There is a clear set-up of a hybridized colony. The different typology of the buildings has evolved during the time and has made Khetwadi a very hybrid situates. The land of Khetwadi was once full of plantations. As it had plantations there were temporary structures for the maintenance of the fields. Slowly there were small permanent structures which came up. Because of this, the plantations diminished and a new residential typology ‘chawls’ came up. As number of people increased and new technology boomed, newer and newer structures came into existence.

The fragmentation of Khetwadi is an overview of the fabric, how every element is adding, attaching and fitting into each other.

Thus we find that Khetwadi has different typologies of structure throughout the area making the place very fragmented.

Looking at the way the new is blended with the older parts of the Khetwadi exaggerated operations were carried out like different types of notching with different joints to show the old-new relationship of the structures in the Khetwadi.

Catalogue

Site selection : the site selected was the Khetwadi sixth lane. The Sixth lane compared to the other lanes has varied kinds of buildings within it, from thatched roof houses to chawls, to low rise structure and even the high rises are seen here.

Parts of the museum: reception, bookshop, gallery space, administration, reading area, café.

the new and the old

01.

a. SITE + X_museum/gallery_2nd

year architectural design

Ground level plan

First level plan

roof plan

Second level plan

VIEWS

01.

a. SITE + X_museum/gallery_3rd

year working drawing

01.

a. SITE + X_museum/gallery_3rd

year working drawing

01.

b. COMMUNITY HOUSING dharamsala_3rd

year architectural design

PRAYER FLAGS Prayers flags are used to promote peace, compassion, strength, and wisdom. The flags do not carry prayers to ‘gods’. The Tibetans believe the prayers and mantras will be blown by the wind to spread the goodwill and compassion into all pervading space. Therefore, prayer flags are thought to bring benefit to all. By hanging flags in high places the “wind” will carry the blessings depicted on the flags to all beings. As wind passes over the surface of the flags which are sensitive to the slightest movement of the wind, the air is purified and sanctified by the mantras. The prayers of a flag become a permanent part of the universe as the images fade from exposure to the elements. stage 1

stage 2

stage 3

stage 4

stage 5

Just as life moves on and is replaced by new life, Tibetans renew their hopes for the world by continually mounting new flags alongside the old. This act symbolises a welcoming of life changes and an acknowledgement that all beings are part of a greater ongoing cycle RMC

Dharamkot

Tushita meditation center

CHOWK 1 10

LOCATION PLAN

Concept Taking the concept of flags and housing to form an interactive cultural space. Programme : Temporary resident housing Cultural space Common gathering space

Different types of Interactions

Interaction level surfaces forming multiple levels for interaction

Maximum interaction level

01.

b. COMMUNITY HOUSING dharamsala_3rd

year architectural design

Ground floor Plan

Section

Design

First floor Plan

Section

Second floor Plan

Roof Plan

ELEVATION

Axo of a unit

01.

c. EXTENSION_jehangir

art gallery_3rd year architectural design

SITE :Jehangir art gallery, Mumbai

- Lifting the street up to incorporate activities on the roof - Extending the gallery

Concept

- Converting the roof to programme a pavilion - Opening the inner edge of the gallery into the landscape

Model PROGRAMME Extension to gallery

Workshop spaces

Lounges + Cafe + Bookshop

Installation spaces extended out to the landscape

01.

c. EXTENSION_jehangir

Ground level plan

art gallery_3rd year architectural design

Roof plan

Design

VIEWS

SECTIONS

EXPLODED AXO

01.

d. STREET MALL_juhu

market_4th year architectural design

Site Plan : Juhu market, Mumbai

Case Studies : Souk, Manek chowk, Weekly bazars

Gestures on site

Existing elevations of juhu market

Design

01.

d. STREET MALL_juhu

market_4th year architectural design

Walkthrough

01.

d. STREET MALL_juhu

market_4th year working drawing

01.

d. STREET MALL_juhu

market_4th year working drawing

01.

e. NEW PARADIGMS IN COLLECTIVE HOUSING_4nd

India always had this notion of neighborhood spaces and interdependences. Most of the country’s habitation survived on the courtyard culture. This nowadays is diminishing with people opting for nuclear families and the buildings losing the idea of community and forgetting the context of the site.

PRO

POS

ED M

ETRO

year design

LINE

SITE PLAN : VERSOVA, MUMBAI

VOIDS AND CONNECTIVITY IN THE BUILDING FORMING COMMUNITY GATHERING

TYPICAL BLDING SECTION

The buildings in the city are insular which do not allow much interaction with the ground plane and also within neighborhoods. As a result of this, Apartment blgs has become space to dissociate from the city. In this urban life people don’t have much time and space for leisure. The spaces for leisure all over the city is less and spaced out. The conclusion to our observation was that the buildings around the city are ‘stacked up’ floor plates with a cherry size balcony and with no connection to the ground plane. SITE BOUNDARY

EXISTING CONDITION- RETAIL

OPENING UP OF THE EDGE

Concept LIG

LIG

LIG HIG LIG

LIG LIG

MIG

MODEL SECTIONS - SHOWING THE VARIATION IN MASS AND VOID

LIG LIG

LIG

So our perception for collective housing was to make a building more introvert and interactive. First intuition was to introduce community spaces with the help of voids inside the building compelling people to spill out of the house.

LIFTING THE MASS

LIG

MIG

METRO LINE PASSING THROUGH THE MASS

MIG

HIG

MIG

THE RELATIONSHIPS BETWEEN LIG MIG HIG HIG

LIG

MIG

FSI - 4 LIG

LIG

MIG

LIG MIG

MIG

LIG

01.

e. NEW PARADIGMS IN COLLECTIVE HOUSING_4nd

NINTH FLOOR PLAN Showing HIG & MIG units

year design

01.

e. NEW PARADIGMS IN COLLECTIVE HOUSING_4nd

PART SECTIONS

year design

01.

e. NEW PARADIGMS IN COLLECTIVE HOUSING_4nd

year design

Our project is not about collection of apartments but a collection of neighborhoods.The project is about bringing in community as a whole. A large part of the city is becoming geto-ised in terms of religion, occupation, income. So the project attempts to relook at the mass housing.

01.

f. EXPLORING BANDRA_coherent commerce_4th

year urban design

SITE

PLOT AREA TO BE RESTRUCTURED THE CHARACTER OF THE STREET SHOWS RETAIL FOR THE LOW INCOME GROUP. THE RETAIL IS EXTREMELY INFORMAL INVOLVING THE ENTIRE STREET FILLED WITH HUMAN TRAFFIC. THE V-JUNCTION IS A MIXTURE OF HUMAN AND VEHICULAR TRAFFIC, MAKING IT EXTREMELY CHAOTIC IN NATURE. THE STREET SHOPPING IN EXTREMELY DOMINATING, WHICH FORCES OTHER ACTIVITIES TO ADAPT TO IT. THE CHARACTER OF THE STREET SHOWS MIXED RETAIL FOR INCOME GROUPS OF ALL KINDS. THE STREET IS CHAOTIC IN NATURE, YET IT CATERS TO ALL KINDS OF DEMANDS, THEREFORE DOES NOT GO OUT OF USE. WHEREAS THE JUNCTION SHOWS AN EXTREMELY BUSY CHARACTER MIXED WITH HUMAN AND VEHICULAR TRAFFIC.

RESTAURANTS

COMMERCIAL SHOPS

STREET SHOPPING

PARK

01.

f. EXPLORING BANDRA_coherent commerce_4th

year urban design

CONTRACTION AND COMMONALITY MATRIX

AGENCIES ACTORS

POLICE

R.T.O.

M.C.G.M.

RESIDENTIAL ASSOCIATION

SHOP OWNERS

B.E.S.T.

RICKSHAW

PAY&PARK

FOOD JOINTS

TOTAL VECTOR

TOTAL MAGNITUDE

RESIDENTS

-3

-2

-5

-1

-2

-3

-2

-1

-2

SHOPPERS LOWER ECONOMY SHOPPERS MIXED ECONOMY SHOPPERS HIGHER ECONOMY SHOPPERS PRIVATE VEHICLES SHOPPERS PUBLIC VEHICLES

-2

PASSER BY

-5

PARK USERS

-1

TOTAL VECTOR TOTAL MAGNITUDE

CONTRADICTION

COMMONALITY

ACTORS

TOTAL VECTOR

TOTAL MAGNITUDE

RESIDENTS

2nd in magnitude indicates for considering their interests like park, parking and policing

A lower vector sumation indicates lesser priority in designing

Higher vector and magnitude indicates maximum involvement and higher priority in the scheme

A lower vector indicates their involvement is restricted and preserve interests for parking, formal shoping

Convinience in movement and approach to the selected group of shops is to be considered

Higher magnitude and vector indicates their major involvement in the scheme. Necessity for providing easy approach and movement for public transports.

PASSER BY

A lower vector sumation indicates lesser priority in designing and least involvement in the scheme

PARK USERS

Higher vector and magnitude indicates maximum involvement and reactivating the park with better facilities

SHOPPERS LOWER ECONOMY SHOPPERS MIXED ECONOMY SHOPPERS HIGHER ECONOMY SHOPPERS PRIVATE VEHICLES SHOPPERS PUBLIC VEHICLES

VEHICULAR ROUTE

LANDSCAPE SQUARE

CONCLUTIONS

VEHICULAR ROUTE

PEDESTRIAN ROUTE

01.

f. EXPLORING BANDRA_coherent commerce_4th

year urban design

SITE

MOVEMENT PATTERN

EXISTING TRAFFIC PATTERN

PARK

PEDESTRIAN

PRIVATE CARS

PROPOSED BUS STOP WAY TO PARKING

PEDESTRIAN

ENTRY TO PARK

PROPOSED AUTO STAND

PUBLIC VEHICALS

PEDESTRIAN MOVEMENT

PROPOSED TAXI STAND PROPOSED BUS STOP

MAIN NODE AROUND THE SITE ENTRY TO PARK

POSSIBLE METRO STATION SITE (NATIONAL COLLEGE)

FRAME WORK FOR FUTHER DESIGN

OVERLAY OF INFERENCE FOR FRAMEWORK OF URBAN FRAGMENT

RETAIN

STREET SHOPPING

RELINK

CLEAN

PARK

RE-ORGANISE CLEAN

SHOPPING OUTLETS EXTEND

DAILY OUTLETS

REACTIVATE

RESTAURANTS MEDIATE

TACTICAL MANEUVERING OF EXISTING ENTITIES

PROPOSED INTERVENTION SHOWING ZONING

01.

f. EXPLORING BANDRA_coherent commerce_4th

year urban design

1. INFORMAL SHOPPING 2. FORMAL SHOPPING 3. DAILY RETAIL 4. OFFICES 5. INFORMAL FOOD JOINTS 6. RESTAURANTS 7. REDESIGNING THE PARK a. SAND PITS b. JOGGING TRACKS c. CYCLING TRACKS d. BADMINTON COURT e. PLAZA / TERRACES f. FLOWER BEDS 8. INTERNAL ROUTE a.BUS STOPS b.AUTO STAND c.TAXI STAND 9. PARKING 10. PUBLIC TOILETS 11. POLICE CHOWKI EXISTING AREA

PROPOSED AREA

RESTAURANTS

1359.2

1800

REKDIWALA

59.4

1190.5

STREET SHOPPING

4306.5

5827.7

SHOPPING OUTLETS

2285

4050

OFFICES

3691.5

2925

PARKING

229.5

2925

10013.7

10125.2

PROGRAMS

LANDSCAPE

INFORMAL SHOPPING

LANDSCAPE BUFFER

LANDSCAPE BUFFER INFORMAL SHOPPING

TERRACES

BRIDGE

S.V. ROAD

PUBLIC ROUTE

INFORMAL SHOPPING

LANDSCAPE BUFFER

FORMAL SHOPPING

RAMP

FORMAL SHOPPING RESTAURANT

TERRACES

FOOD JOINTS

PART SECTION OF THE INTERVENTION

01.

f. EXPLORING BANDRA_coherent commerce_4th

year urban design

PLAZA

FORMAL SHOPING

RESTAURANTS

INFORMAL SHOPPING

EXPLODED AXO

TACTICAL MANEUVERS

GROCERIES

OFFICES

PARK

MINIMAL CRITICAL MASS AS A DRIVER

“It adopts minimalism as an attitude that has an inherent capacity to extricate the essential from the superfluous and thus attempt to reduce the intervention to the least possible dimension.” The approach is appropriate for situations that are unstable and have less chance of receiving investment. The methodology involves use of abstract yet clear rules that become evident to all of those who must adhere to them. A form of development that generates a city fragment using only the essential ingredients but that provides all of the required programs and uses even though the priorities in the brief might be open and more flexible

PIECEMEAL AGGREGATION THE URBAN PROJECT AT THE INTERMEDIATE SCALE “A strategy at the scale of urban fragment, with understanding that an intervention can use this starting point to address the general issue of a city.” The basic guidelines for restructuring aim to enhance the integration between infrastructure and city, public and communal spaces, architecture and services.

01.

f. EXPLORING BANDRA_coherent commerce_4th

year urban design

PARK PLAZA RESTAURANTS

INFORMAL SHOPPING FORMAL SHOPING

Itâ&#x20AC;&#x2122;s purely a morphological exercise that accepts that architectural components can vary according to specific pressures but they must always fit into the overall syntax. Designing of the whole without detailing its specific architecture, by merely laying down guidelines for subsequent development. Itâ&#x20AC;&#x2122;s provides an overview of urban fragment and the quality of the interaction and roughly defines the sum of its parts.

02.

a. SPANNING STRUCTURE_1st

year foundation workshop

Watch Maker Sticks + Rubber Bands

2d module 3d module

a pair of 2d module

Design synopsis This exercise of spanning structure was done to understand structures and strength of different materials. Each group was given a different material (sticks, wire, rubber foam, plastic tubes etc.) which was to be experimented to create a module, further making a design which can span 6ft. One more condition to this exercise was not to use any adhesive. The material given to our group was sticks. The pictures show the sequence in which we progressed with the exercise.

Result 1

Result 2

joinery between 2 3d module

view

notching between 2 modules

02.

b. EMERGENCE_ fibonacci series_2nd

year workshop

The “Emerging” patterns of a spiral which take place involuntarily in nature is comprehended here. There is an understanding of a phenomenon in these patterns

process model

Concept These spirals can be seen in pearl formation, rhino’s horn, and in root growth. The path which the nacre follows to become a pearl is a spiral. This spiral follows the golden mean ratio. The spiral which is present in rhino`s horn is based on the logarithmic principles. The spiral of the root hair grows following the gnonom rule which leads to the emergence of the Fibonacci Spiral.

The Fibonacci no. series follows the rule where there is addition of the number prior to it is gnonom and the answer is the resultant number. For example : 0,1,1,2,3,5……… 1+1=2; 2+1=3;3+2=5…. . Here the numbers are plotted on a graph along with a surface to attain the folds which are later represented on the paper to get the curve through monodirectional paper folding. Along with the Fibonacci number series various other number series are plotted to get diverse spirals. The volume is created by folding the paper which has a graph plotted on it to get a spatial spiral.

FINAL INSTALLATION

light quality

modules

02.

b. EMERGENCE_swarm behaviour_2nd

Initial path of the fish

Further simplifying the path of fish

Extracting frames from the mesh model

year workshop

Abstracting the positions in a mesh model

Morphing of frames to form a space

Concept SWARM BEHAVIOUR OF FISHES : Fishes, particularly small fishes form swarms to protect themselves from predators and in search of food.As they move , at every second there is a change in the pattern (emerging patterns).Assuming these patterns as rings,they are morphed into each other to form a space. Simulated 3-d Model

Walking through the space

c. FRINGE_2nd

year joint workshop BSSA-IAAC

( http://bssa-iaac-groupfifteen.blogspot.in/)

02.

d. HOUSING FOR THE FUTURE_vertigram_competition

INTERSTITIAL SPACES FORMED BY THE HOUSES

PERUNGUDI, a suburb of Chennai. Fastest developing IT –Hub, which shall cater variety of resident population. Hectically scheduled IT technocrats would need to be socialized without sparing apparent time for it. Envisioning the socio-economic requisite of these futuristic residents, we aimed at the provision of agglomerate Housing patterns by tracking on the organic-traditional path, yet evolved with rational design.

TOWN SCAPE

Concept

SITE FIELDS

LAKE FIELDS

SITE : PERUNGUDI,CHENNAI

2011

COURTYARD SPACES OF POLE,AHMEDABAD

JAISALMER FORT AND VILLAGE

The traditional Indian houses and settlements are not planned but yet they have an amazing sense of spatial quality and logical climatic response.The interstitial spaces are socially interactive. These spaces have a great sense of visual connectivity as well as privacy. The ootlas(plinths), verandas, courtyards encourage the sense of transition from one space to another.These spaces have sense of informality and turn out to be very inviting.

TRANSITION OF SPACES

Built form The growth of the form is based on the site conditions and climate factors.

Gram

Fields

6% MUNICIPAL UTILITIES 94% BUILD ABLE AREA

Townscape

Lake

Verti-Gram

Entry

PHOTOVOLTAIC ON SOUTH WEST ELEVATION

Vertical circulation FORMATION OF BUILT MASS

The red and the blue , are indicative of the orientation of the housing units. The blue is on the external periphery opening on to the vantages and the red opens in the inner courtyards.

Our vision is to provide a unique housing solution that compliments the surrounding neighborhoods “SOCIALLY”. We have folded a typical village section and stacked it one above another and have carved out series of interesting spatial conditions for social interaction DIVISION OF SITE

02.

d. HOUSING FOR THE FUTURE_vertigram_competition As seen in the village, here the wet waste from the houses will be collected here and converted into manure, which shall be used for the roof gardens and the lawns.

The houses are arranged in such a pattern that they create stimulating social spatial conditions similar to the courtyard and ootlas seen in the traditional houses. These conditions are formed due to the organic planning of the settlements, which create interstitial social spaces.

Design

The roof tops of some houses are proposed to be green. The fifth floor of the structure is a jogging track. CIRCULATION

SITE BOUNDARY 5% UTILITY

ENTRY

ENTRY-A humane and a subtle gesture is devised by lifting the mass. Other entry to the structure is created by the fissures of the courtyard opening on to the street

2011

02.

d. HOUSING FOR THE FUTURE_vertigram_competition

The orientation of the houses is majorly in two rings, one facing the city and other facing the courtyard, providing them with interesting vantages and spatial conditions. Internally the houses are arranged in such a pattern that they create stimulating social spatial conditions similar to the courtyard and ootlas seen in the traditional houses. Such organic planning helped in creating funnels for wind to blow through the structure.

2011

Part section showing different usage VERTICAL CIRCULATION

Details

CORRIDOR

SOUTH ELEVATION WITH SGG ALBARINO glass and PHOTOVOLTIC PANELS

KITCHEN COURTYARD /LOBBY

BEDROOMS

VIEW OF GYM ON FIFTH FLOOR

View of a typical lobby with ootla

The panels will harness the solar heat and convert it into electricity,which shall be used for common spaces and other amenities.

VIEW OF CHILDREN PLAY AREA

DETAILED PART PLAN

JOGGING TRACK

The roofs of some housing units are converted into green spaces. Some are converted into roof top kitchen gardens,cultivating daily use herbs and vegetables.

View of a connecting corridors

These green roofs will help the temperature to fall down by 28% and circulate fresh aromatic air.

SWIMMING POOL

02.

e. NATIONAL STUDENT DESIGN COMPETITION _competition

2012

“UNIVERSAL DESIGN AT WORLD HERITAGE SITES OF INDIA”

30 700

29 28

27 26

16 25

21 20 17 23 22

14 12

700

Aurangabad

Ghrishneshwar temp

0m 600

200m

ELLORA

32 33

11 10 6-9 5

600

30 WATER BODY EXISTING APPROACH ROAD

29 28

27 26

21 20 17 23 22

15 14

12 13

700

32 1

LOCATION PLAN

11 10 6-9 5

33 600

Site Ajanta Nasik Mumbai Karli

ELLORA MAHARASHTRA

LOCATION PLAN

29 28

27 26

21 23 22 20

16 17

JAIN CAVES

HINDU CAVES ELLORA OVERVIEW BUDDHIST CAVES At a distance of 30 km from the opposite side of Aurangabad are 34 World Heritage Ellora Caves. Situated in Sahyadri mountain ranges these monoliths have been carved out to an immense articulation with an eye for details. The cave complex is a secular ground where three important religious beliefs have thrived and flourished architecturally, respecting and learning from each other. Every person develops his concept of ‘self’ by the interaction with his environment and get educated, encouraged and inspired by the series of experiences he has with his surroundings. If his access to the environment is limited, his self-image is negatively impacted. So our design is about creating an EXPERIENCE for all who descend the land of mind contemplation...

15 14

700

11 10 6-9 5 4

32 33 600

TYPES OF USERS AND THEIR INTERESTS

PRESERVED DESTROYED/IN RUINS

29 28

27 26

21 23 22 20

16 17

15 14

700

12 13

NATIONALITY Domestic / International

AGE GROUP Kids / Youth / Old

PHYSICALLY FIT

11 10 6-9 5 4

32 33 600

PROVIDING UNIVERSAL ACCESSIBILITY

29 28

27 26

21 23 22 20

16 17

15 14

700

12 13

11 10 6-9 5 4

32 33 600

5th CENTURY 6th CENTURY 7th CENTURY 8th CENTURY 9th CENTURY

PHYSICALLY CHALLENGED Mentally challenged / visually impaired / Handicapped PREGNANT WOMEN PURPOSE (Interests) Tourist / Pilgrim / Student / Researchers and Experts

02.

e. NATIONAL STUDENT DESIGN COMPETITION_competition

2012

CONCEPT OF ROCK CUT ARCHITECTURE

Ellora cave are the finest examples of the rock cut architecture. The cave are carved from the face of the rock and then gone deeper into it. The space that is created inside is purely an outcome of the requirements and a predefined programme or function of the cave. Had the cave to be a temple the carving was done to such a precision that a previously determined object (form of the temple) is achieved. In this process the cave is chiseled and facets are created on the rock. It is these facets that are carefully further chiseled into to achieve the caves.

This nascent beauty of the caves is used to re-create the physical manifestation of the idea of a cave. A number of small sections are meticulously designed using facets to fulfill a specific function of that section. The facets are modified and manipulated depending upon the needs of the function of the section.

h Concept & Modules The 1.7km long Ellora caves are now divided into , where visitors will be droped off and can visit the caves. To syncronise the visitors flow and avoid concentration of crowds, there will be battery operated 10 seater carts which will run continuously from one node to another. A detailed time management study helps in regulating the number of vehicles and their frequency at these nodes. The target batch is of about 32 - 35 persons at a node in every 30 min.

caves 30: remains of paintings pilgrims

caves 27, 28: ruins

caves 29: sculptures historic event

caves 31: ruins

caves 32, 33, 34: remains of paintings sculptures Mode of Transit: The visitor can walk the stretch of 1.7 km and experience the caves and the interventions in the way they please. But those who wish to go in the conducted trip can get seated in the battery operated eco-friendly carts that will drive them around the whole stretch; dropping them at the eight nodes, from where they will see the panels, models and get prepared to see the actual caves with greater understanding and those who donâ&#x20AC;&#x2122;t wish to see the caves can come back in the cart as they have already experience the ambience of the cave in our interventions and move to other caves and interventions. The rest can assemble at the pickup point and catch the next cart.

NODE 8 CAVES 31 - 34 t

40min

NODE 7 CAVES 30 t

20min

NODE 6 CAVES 25 - 29 t

20min

02.

e. NATIONAL STUDENT DESIGN COMPETITION _competition

2012

- engagements

t I r s h – Information The ‘I’ –icon represents all the medium of dissemination of information. This medium will prepare them and comprehend the information if one doesn’t want to take a guide or just want to know in brief about the structure that he is seeing.

INSTALLATION

DRAWINGS

PANELS The intervention will display panels. There will be brief information about the cave, the architectural importance in the caves. The panels will also show case a time line in which it was constructed. The facets of the rocks are so manuplated that panels can be displayed.

-Shopping and Recreation The S- icon stands for areas where we have provided shopping as well as recreational facilities. We have also provided an amphitheater to conduct some cultural programs and events.

AUDIO KIOSKS

VISUAL INTERFACE

SCULPTURES & RELIEFS

REPLICAS

SHOPS

SOUVENIRS

MODELS

BENCHES REFRESHMENTS VANTAGE – Resting /Food / Vantage The R- icon stands for all the places where we have introduced pause spaces. Currently the 1.7 km stretch of the Ellora caves has only one node to rest and take a pause i.e. the Kailash temple. This junction currently is under constant chaos, because it serves as an entry, an exit and only place where there are food kiosks. So we have distributed these pause spaces throughout the sit so that physically challenged people as well as the pregnant ladies can use it to relax and take pause while enjoying the Caves.

- Heritage Gallery: The Heritage Gallery is a single space in our intervention that connects the Ellora caves with other World Heritage Sites in India. In this gallery we are showcasing the importance of our rich heritage. This gallery also aims at creating larger awareness and respect for the marvels of magnificence that we have in the country. The gallery will also showcase the painstaking efforts taken by ASI to preserve these sites. This gallery will be in the main node i.e. opposite the Kailash temple along with all other caves 16: engagements caves 15: sculptures caves 21, 22: pilgrims sculptures need access pilgrims caves 17, 18, 19, 20: ruins caves 23, 24:

need access cave 14, 15: sculptures and stories

caves 26, 25: need access

cave 10, 11, 12: cave 7,8, 9: sculptures and sculptures and stories stories caves 6: need access caves 2,3, 5: important

ruins

caves 1, 4: ruins

FIRST DROP OFF 1hr

ba nga ura

30min

NODE 5 CAVES 21 - 24

rish

nes

hw ar t em ple

N NODE 4 CAVES 16 - 20 t

1hr

NODE 3 CAVES 13 - 15 t

20min

NODE 2 CAVES 10 - 12 t

40min

NODE 1 CAVES 1 - 9 t

40min

02.

e. NATIONAL STUDENT DESIGN COMPETITION_competition

2012

NODE 2 AS SEEN FROM TIN TAL - CAVE 12

NODE 2 CAVES 10 - 12

NODE 1 CAVES 1 - 9

SECTION THROUGH NODE 1

A VISITOR TAKING PICTURE OF NODE 2

VIEW FROM CAVE 5 LOOKING AT NODE 1

Tangible Replica

Models VIEW THROUGH NODE 3 OVERLOOKING THE ENTERANCE OF RAVANKI KHAI - CAVE 15

VIEW THROUGH NODE 1 OVERLOOKING THE VARIOUS MODES OF ENGAGEMENTS

SECTION THROUGH NODE 4 (ON THE AXIS OF KAILASH TEMPLE

02.

e. NATIONAL STUDENT DESIGN COMPETITION _competition

2012

20 21

NODE 5

CAVES 21 - 24

IMAGE BEING TAKEN FROM CAVE 30 - CHOTA KAILASH

NAVIGATION BROCHURE SECTION THROUGH NODE 5

Design The aim of our designs is to INFORM, EDUCATE, and ENTERTAIN all the visitors. All eight inserts are modular and flexible in nature. The design is an outcome of selecting the appropriate section which will appreciate and complement the value of experience while visiting that particular set of the caves.

SHO

Dowels to connect the various sectional modules

r STR E

RES

BEN

CHE S

ET F

REF

ENT S

RNIT TAN URE GIBL MO E RE I DEL PLIC S AS INST ALLA PAN TION ELS BRO S CHU E RS A DRO N D AU P OF F/ P DIO ICK

On arriving in World Heritage Ellora Caves, one is greeted by the magnificent Kailash Temple. Retaining this welcoming gesture, we have proposed our main orientation centre in the axis of Kailash. The subterranean structure has Heritage gallery which showcases the treasure trove of Indian heritage. It also shows the amazing work done by the ASI in these heritage sites. The structure is cave like with faceted walls showing the display panels and sculptures. There is a kids play area, food kiosk and lounging places in this node. So one can take a pause and start his journey to see the beautiful Kailash temple and other caves. As one moves out of this places he/she only sees the magnificent Kailash rising from the ground and opening up the plethora of amusements for the visitors.

03.

a. PHOTOGRAPHS

National crafts museum, Delhi Dilli Haat, Delhi

Kumbhalgarh, Rajasthan

Light house hotel, Sri lanka

Jawahar kalakendra, Jaipur

Udaipur city

IIM, Bengaluru

Kasar ole, Udaipur

Jain temple, Ranakpur

03.

“

a. PHOTOGRAPHS

Photography, as a powerful medium of expression and communications, offers an infinite variety of perception, interpretation and execution. - Ansel Adam

”

Patwa ki haveli, Jaisalmer

Jain temple, Ranakpur

Gallery Cafe, Sri lanka

Mehrangarh, Jodhpur

Jain temple, Ranakpur

Gallery Cafe, Sri lanka

Taj Mahal, Agra

Lunuganga, Sri lanka

Jodhpur city

Patwa ki haveli, Jaisalmer

Sri Niwas Palace, Udaipur

03.

b. DRAWINGS + SKETCHES

Sigirya, Sri Lanka

Light house hotel, Sri Lanka

Lunuganga, Sri Lanka

Municipal school, Ahmedabad

Ahmedabad pols Mandu

Mandu

Manek chowk, Ahmedabad

03.

b. DRAWINGS + SKETCHES

Ujjain Ghats

Kundpara chowk, Jaisalmer fort

Jaisalmer fort

(http://www.architectsjournal.co.uk/home/sketch-a-facade/sketch-a-facade-entries-def/8632218.article)

Udaipur Palace