Internship Portfolio_2PKM Architects_Subbitsha

INTERNSHIP

SCHOOL OF ARCHITECTURE

MEENAKSHI COLLEGE OF ENGINEERING

ANNA UNIVERSITY CHENNAI 600 025

PRACTICAL TRAINING REPORT

This is to certify that the Practical Training Report of SUBBITSHA S , IV year (Batch 2016-2021) School of Architecture, Meenakshi College of Engineering, Chennai Has been approved on 30 04 2020 Submitted for the university VIVA – VOCE Examination held on ___________

SCHOOL OF ARCHITECTURE

MEENAKSHI COLLEGE OF ENGINEERING

ANNA UNIVERSITY CHENNAI 600 025

BONAFIDE CERTIFICATE

Certified that this internship report is the bonafide work of SUBBITSHA S who carried out the work under my supervision.

Signature Signature

HEAD OF THE DEPARTMENT INTERNSHIP CO-ORDINATOR

ACKNOWLEDGEMENT

I hereby express my sincere gratitude to School of Architecture, Meenakshi College of Engineering, Chennai for giving me this opportunity to carry out this Practical Training as part of my course work.

I owe my great thanks to people who helped and supported me during this training period. My deepest thanks to Ar. Divya who guided and corrected me in various forms of work. She has taken utmost care to guide me this entire period.

I express my thanks to the Principal Architects Ar. Hareesh Kumar and Ar. Vaisakh Varkey Mathunny for extending their support in training me in various concerns. My deep sense of gratitude to the firm 2PKM Architects, Mysore. Thanks and appreciation to the helpful people at 2PKM Architects for their support.

I would also thank my institution and my faculty members without whom this training would have been a distant reality. I also extend my heartfelt thanks to my family and well wishers.

DATE: 30.04.2020

Signature of the Candidate

2PKM_MYSORE

2PKM is a firm founded by five partners and two branches - Mangalore and Mysore. Mysore office is a young and energetic firm led by two partners, Ar. Hareesh Kumar and Ar. Vaisakh Varkey Mathunny. The firm was set up in 2013 in Mysore. Since then the firm has tried to experiment and come up with new ideas and achieved the same in their designs. The firm is not limited to a specific type of program and tries to strive in any interesting project that they can be a part of.

Currently the firm has 5 senior architects, 4 junior architects, 6 interns, a Site Engineer and a office support staff.

We have a studio culture here. We work in teams with each team having one Senior Architect, one Junior Architect and an Intern. Interns are given the opportunity to work on all projects assigned to their teams. We are encouraged to ask questions, come up with new ideas, office management and in making the office a fun space to work :)

Senior Architects - Ar. Akshaya, Ar. Divya (Landscape Consultant), Ar. Krishna, Ar. Pranav, Ar. Sabir.

VERTIKALES RESIDENCE | MYSORE

STAIRCASE DESIGN DRAWING

Vertikales is a residencial project for Mr. Rakesh in Bangalore. It is a G+4 individual villa with gallery space for the client. The fusion of landscape in the perimeter of each floor gives a feeling of staying close to the ground.

I was asked to study and draft the design drawing for the Staircase from second floor to fourth floor. We have attempted to design a staircase using toughened glass as support, as if the treads are levitating from the ground.

MATERIAL STUDYTOUGHENED GLASS

Glass Type - Safety Glass

Thickness Available - 4mm, to 21mm Color - Clear glass or tinted

Toughened glass is one of the varieties of Safety Glasses available in the market. Toughened glass is either thermally treated or chemically strengthened making them 5-8 times stronger than standard glass.

As the top thickness of the glass cools it contracts and forces the corresponding glass elements to contract to introduce stresses into the glass panel and increasing strength.

The types of glass available in the market are classified based on the way the glass shatters on external force. Toughened glass shatters into small pieces or cubes, with less sharp edges when broken, making them fall under the safety glass category.

Properties

• Toughened glass is 4-5 times stronger than normal or float glass.

• It can withstand temperature changes up to 250 degrees Celcius.

• Toughened glass is difficult to break.

• It has high resistance to electric and thermal shock.

• It has high durability

Applications

• Tempered glass is used in commercial applications where wind, snow, or thermal loads are high.

• Many countries worldwide have mandated the use of toughened glass in high rise buildings.

• It is used for escalator side panels, handrails, balustrades, glass floors, roofs, skylight glazing, curtain walls of high rise buildings, and partitions of resorts, and airports, etc.

Advantages

The best type of glass used for stairs is the toughened glass with a minimum thickness of 21,5 mm or 27/32 inches. This type of glass is used in the manufacturing of both steps and railings or balustrades.

• It does not break easily, even if it breaks due to impact, it will shatter into small pieces which are blunt and do not cause fatal injuries. Thus it is widely used as safety glass.

• Toughened glass is also easier and safer to clean up if it breaks.

• It can even withstand a direct flame, so it is also suitable for laboratory equipment or cookware.

Disadvantages

• Toughened glass can’t be re-cut or drilled once it has gone through the tempering process, as this would cause the entire pane to crumble.

Toughening is a process in which the glass is heated to 600 degree Celcius and then rapidly cooled making the outer surface harder than the interior. This produces tensile stresses on the surface of the glass with the warmer internal glass particles.

• The glass will break completely if its edges are damaged.

PHOENIX IVF CLINIC | BANGALORE

PRELIMINARY DESIGN

Phoenix IVF Clinic is a fertility clinic run by a couple in Bangalore. The project is in the preliminary design stage. The site area of the project is sq.m.

The task assigned to me was to come up with, a study for In-Vitro Fertilization and the activities happening in the same.

Do a proximity diagram showing the hierarchy of spaces as provided by the initial requirements of the client.

Come up with circulation and zoning diagrams for the layout developed.

Our initial study was to understand the program of an IVF clinic and to understand the spaces dedicated to an IVF. By the end of the study we came up with a basic bubble diagram showing the number of cores required, placement of a space next to another, circulation of various users - patient, doctors and service staffs, and initial zoning of space like public, semi-public and private spaces.

ZONING DIAGRAM

This diagram is to show the spaces and their approximate area, that can be accommodated in each floor. This was derived from the initial study and was useful for the initial planning of the clinic.

CIRCULATION DIAGRAM

The next step was to Zone the spaces on each floor and understand the circulation within them. The circulation was defined based on the usersPatient, Doctor, and Nurse/Staff.

GROUND, FIRST & SECOND FLOOR LAYOUT

A basic plan layout showing the arrangement of spaces within the site.

BASEMENT & THIRD FLOOR LAYOUT

A basic plan layout showing the arrangement of spaces within the site.

IVORY EDGE COMMERCIAL | BANGALORE

FABRICATION DRAWING

Ivory Edge is the office studio and experience center for an automation and lighting design company in Bangalore. It is one of the earlier projects of the office.

The task assigned to me was to draft the fabrication drawing of the steel staircase connecting the ground floor to the basement floor. It is a service stair that connects the Store and storage.

ALL DIMENSIONS ARE IN MILLIMETERS, UNLESS OTHERWISE MENTIONED. ALL LEVEL NOTATIONS AND DIMENSIONS ARE IN MILLIMETERS UNLESS OTHERWISE MENTIONED.

JEWEL MANDIR | MYSORE

ARTWORK

Jewel Mandir is a showroom interior design for one of the well-know Gold Jewelry shops in Mysore. The project was completed and handed over in mid-March, 2020.

I was assigned the task to create various options for an artwork that was displayed in the showroom after studying a famous painting of the painter, Van Gogh.

STUDY

The main study was on Van Gogh’s paintings. Understanding Van Gogh’s paint strokes for creating a dynamic artwork.

The sky, is painted using broken lines that create a sense of movement. The combination of the two points, where the sky appears to be moving, creating a swirl using strokes of a painting knife as if the sky moves in the direction of the wind. Also, the other landscape elements in the painting, such as, mountains, fields, trees all tend to move in the direction as the sky moves.

The stars are depicted as objects that emit out light into the dark sky and are the stationary elements in the painting, and Van Gogh placed them as if the sky folds and embraces the stars.

VINCENT VAN GOGH - DUTCH PAINTER

DESIGN PROCESS

OPTION_01

OPTION_03

An attempt to replicate the strokes, broken line, and swirl from Van Gogh’s Painting to achieve a dynamism in the painting.

OPTION_02

An attempt to create patterns using continuous lines, to form a swirl. Creating movement by offsetting the outline of the goldsmiths.

Manipulating the existing photo with Van Gogh’s strokes in order to achieve the desired dynamism and movement in the artwork.

OPTION_04

Converting the image into continuous horizontal lines. By increasing the number of lines in the image to create an abstract of Van Gogh’s painting.

OPTION_05

Using this as a base, the artwork was completed by Ar. Sabir - Senior Architect and Artist in 2PKM and also the project architect of Jewel Mandir.

HUBLI MERCANTILE HUB | MYSORE

SCHEMATIC 3D MODEL

Hubli Mercantile Hub is a commercial plaza. The design is in its preliminary stage. We tried variations with the location of the atriums and the shops to achieve a balance between saleable and common space. The rear entry is for the Hotel.

I was asked to make an Isometric view of the plan for an option and a conceptual diagram showing the variations in the corridor placement.

OPTION_01 OPTION_02 - ISOMETRIC VIEW

MULTIPLEX LEVEL

MULTIPLEX LEVEL

THIRD FLOOR LEVEL

OPTION_02

SECOND FLOOR LEVEL

FIRST FLOOR LEVEL

GROUND FLOOR LEVEL

THE CURVE | MYSORE

PRELIMINARY DESIGN DRAWINGS

The curve is a commercial hub in Mysore city that has the potential to be one of the busy areas in a few years. The main challenge was to come up with a functional design as the site is a narrow strip of land in a Junction. Keeping in mind the users and the context we proposed 2 options.

I was assisting in drafting, one of the options, coming with solutions and in compiling the process.

VIKRAM RESIDENCE | MYSORE

LINTEL BEAM DETAIL DRAWINGS

Vikram residence is a renovation project in Mysore for a family of 4 adults and 2 children. Retaining the structural members and vertical circulation core, this was a design challenge to achieve the client’s requirements.

The task I was assigned was to draft the working drawing of lintel beam sections.

2100 MM +2100MM LVL 1500 MM +2100MM LVL +2300 MM LVL V2 2850 MM 600 MM +2900 MM LVL 1 +2300 MM LVL KITCHEN

Designed 2PKM

19080241-VRM-B-1001 19080241-VRM-B

SU HK 17.01.2020

±0 MM LVL FFL

1 SCALE 1:40 SECTION A' 2 SCALE 1:40 SECTION B' 3 SCALE 1:40 SECTION C' 5 SCALE 1:40 SECTION E' 6 SCALE 1:40 SECTION F

+3000 MM LVL B.O.S +2100 MM LVL LINTEL LEVEL

±0 MM LVL FFL

4 SCALE 1:40 SECTION D'

+3000 MM LVL B.O.S +2100 MM LVL LINTEL LEVEL +1500 MM LVL SILL LEVEL +800 MM LVL SILL LEVEL

1 SCALE 1:70 FIRST FLOOR PLAN ±0 MM LVL FFL

FIRST FLOOR-DOOR

4 D5 900 MM 2100 MM +2100 MM LVL 1 BED ROOM TOILET

-

IN MILLIMETERS, UNLESS OTHERWISE MENTIONED. ALL LEVEL NOTATIONS AND DIMENSIONS ARE IN MILLIMETERS UNLESS OTHERWISE MENTIONED. 3 - 4 - 4 4 9 O O B O C O M P O U N D K A D R K A M B A C R O S S N E W R O A D M A N G A L O R E - 5 5 0 0 4 K A R N A A K A N D A d e g n @ 2 p k m c o m + 9 1 7 7 6 0 9 9 2 5 0 1 4 4 D 7 H M A N G O K U L A M 3 R D S A G E M Y S O R E - 5 7 0 0 2 K A R N A T A K A N D A d e s g n m y s @ 2 p m c o m + 9 1 8 2 1 4 1 9 5 7 4 VIKRAM

TOILET 3, TOILET 4 SD5 2420 MM BED ROOMScale B-1002

PROJECT REFERENCE 19080241-VRM 7 SCALE 1:40 SECTION G

+3000 MM LVL B.O.S +2100 MM LVL LINTEL LEVEL

NOTE: APS AS PER SITE APST AS PER STRUCTURE 8 SCALE 1:40 SECTION H'/I'/O' 9 SCALE 1:40 SECTION J 10 SCALE - 1:40 SECTION K' 11 SCALE 1:40 SECTION L 12 SCALE 1:40 SECTION M 13 SCALE 1:40 SECTION N 14 SCALE 1:40 SECTION P'

17.01.2020 STAGE FOR EXECUTION

19080241-VRM-B-1001 19080241-VRM-B CLIENT

SMOKEY’S FARMHOUSE | MYSORE

DESIGN DEVELOPMENT

Smokey’s is a farmhouse in Mysore. The preliminary design presentation to the client was a success and we are currently working on the design development stage.

My task was to draft the various options for the outdoor spaces in the design.

SMOKEY'S KENNEL 8'-2" X 8'-4"

POWDER ROOM 8'-2" X 5'-0"

DINING 17'-0" X 12'-3"

A

LVL +98.7 M

X 36'-2"

LVL +98.1 M

• 17’4” verandah space with pond intergrated.

• Pond offsetted inside by 2’

• Corner window at Dining area.

• Planter box in front of Smokey’s Kennel.

• Planter space maximised.

SMOKEY'S KENNEL 8'-2" X 8'-4"

POWDER ROOM 8'-2" X 5'-0"

DINING 17'-0" X 12'-3"

A

VERANDAH

X 36'-2"

LVL +98.7 M LVL +98.1 M

• 17’4” verandah space with pond intergrated.

• Corner window at Dining area.

• Planter box in front of Smokey’s Kennel.

• Planter space maximised.

SMOKEY'S KENNEL 8'-2" X 8'-4"

POWDER ROOM 8'-2" X 5'-0"

DINING 17'-0" X 12'-3"

9'-4" X 36'-2"

LVL +98.1 M

LVL +98.7 M

• 17’4” verandah space with pond intergrated.

• Pond offsetted inside by 2’

• Corner window at Dining area.

• Planter box in front of Smokey’s Kennel.

• Planter space maximised.

• Jaali wall for Smokey’s Kennel.

OPTION_01

OPTION_02

UPPER GROUND LVL

ROOF LVL 97.0 M

99.4 M LOWER GROUND LVL

97.6 M

OPTION_03

ROOF LVL 97.0 M

UPPER GROUND LVL

97.6 M

99.4 M LOWER GROUND LVL

UPPER GROUND LVL

ROOF LVL 97.0 M

99.4 M LOWER GROUND LVL

97.6 M

OPTION_04 OPTION_05

99.4 M

UPPER GROUND LVL

97.6 M

ROOF LVL 97.0 M

LOWER GROUND LVL

OPTION_04a

99.4 M

UPPER GROUND LVL

97.6 M

ROOF LVL 97.0 M

LOWER GROUND LVL

UPPER GROUND LVL

ROOF LVL 97.0 M

99.4 M LOWER GROUND LVL

97.6 M

OPTION_05a

99.4 M

UPPER GROUND LVL

97.6 M

ROOF LVL 97.0 M

LOWER GROUND LVL

LIVING ROOM 14'-0" X 20'-0"

DECKED LANDSCAPE 32'-0" X 31'-0"

SMOKEY'S KENNEL 8'-2" X 8'-4"

MANGO DECK

POWDER ROOM 8'-2" X 5'-0" LVL +98.7 M LVL +98.1 M

DINING 17'-0" X 12'-3" VERANDAH 17'-4" X 36'-2"

SMOKEY'S KENNEL

LIVING ROOM 14'-0" X 20'-0"

DECKED LANDSCAPE 32'-0" X 31'-0"

SMOKEY'S KENNEL 8'-2" X 8'-4"

MANGO DECK

POWDER ROOM 8'-2" X 5'-0" LVL +98.7 M LVL +98.1 M

DINING 17'-0" X 12'-3" VERANDAH 17'-4" X 36'-2"

SMOKEY'S KENNEL

VERANDAH

LIVING ROOM 14'-0" X 20'-0"

DECKED LANDSCAPE 32'-0" X 31'-0"

SMOKEY'S KENNEL 8'-2" X 8'-4"

POWDER ROOM 8'-2" X 5'-0" LVL +98.7 M LVL +98.1 M

DINING 17'-0" X 12'-3" VERANDAH 17'-4" X 36'-2"

SMOKEY'S KENNEL

KATHIYANI RESIDENCE | BANGALORE

TOILET DRAWINGS

Kathiyani Residence is a G+3 individual residence for a couple in J.P.Nagar, Bangalore. The design idea is to emphasize the Verticality of the building in both the exterior and interior. The infusion of indoor landscape, double-height spaces, and skylights add value to the residence’s interior space.

The task assigned to me was to come up with ideas for designing the bathrooms and toilets without deviating from the initial design of the building.

2 TILE LAYOUT SCALE -1:35 4 SECTION C SCALE -1:35

SYMBOL

PLAN SCALE -1:35

SECTION A SCALE -1:35

DESCRIPTION 01

FIXTURES

FFLUSH BUTTON 02

HHEALTH FAUCET 03

B4WASH BASIN 04

S4FAUCET 05

DDIVERTER 06

SHSHOWER HEAD 07

RCLOTH ROD 08

TFLOOR TRAP 09 NOTE: STSTART TILE CUT TILE FULL TILE600 X 1200 WALL TILE FLOOR TILE

7 LEGENDS W4WATER CLOSET 8 KEY PLAN SCALE -NTS S.NO.

150MM LEDGE WALL 12MM PLASTERING 10MM WALL TILE

V1a X5

+ 2475 LVL LINTEL BOTTOM + 3000 LVL BOS +450 MM FFL FLOOR LEVEL + 440 MM FFL TILE DROP + 1350 MM LVL SILL LEVEL WALL TILE 150 MM NICHE 515 1200 75 300 150 1050 150

1500 R D SH 2990 450

2100 970

PRJ. REF Architects

6 SECTION D SCALE -1:35

DATE

DESCRIPTION

REV

TOILET DETAILS BEDROOM-2

Reviewed

12MM PLASTERING 10MM WALL TILE

13/03/2020 Drawing Title

SU KRB-19060238 DR.AVINASH & DR.KATHYAINI

Scale Drawing Number

North Drawing Reference Drawn

Date Designed 2PKM

Client Project

KATHIYAINI RESIDENCE

WALL WALL TILE 450 750 900 2990

KRB-19060238/T-1002 KRB-19060238/T SERIES SB NOTE BOSBOTTOM OF SLAB

515 2400 75 450

300 150

SECTION C SCALE -1:35

THIS DRAWING IS THE EXCLUSIVE PROPERTY OF 2PKM ARCHITECTS,AND SHALL NOT BE RE-PRODUCED OR USED ON THE SITE OTHER THAN THE ONE SPECIFIED FOR WITHOUT PRIOR PERMISSION AND MUST NOT BE RETAINED, COPIED, USED WITHOUT AUTHORITY. DO NOT SCALE THE DRAWING. FOLLOW ONLY WRITTEN DIMENSIONS. DISCREPANCY OF ANY NATURE SHALL BE BROUGHT TO THE ARCHITECTS' NOTICE AND WORKS HAVE TO BE EXECUTED ONLY AFTER NECESSARY CLARIFICATIONS HAVE BEEN MADE BY THE ARCHITECTS OR, BY ENGINEERS APPROVED FOR SUCH SPECIFIC TASKS BY.HE ARCHITECTS. THIS DRAWING SHOULD BE READ IN CONJUNCTION WITH OTHER RELEVANT ARCHITECTURAL, STRUCTURAL, MECHANICAL AND ELECTRICAL DRAWINGS AND ALL RELEVANT SECTIONS OF THE SPECIFICATION. ALL DIMENSIONS ARE IN MILLIMETERS, UNLESS OTHERWISE MENTIONED. ALL LEVEL NOTATIONS AND DIMENSIONS IN MILLIMETRES, UNLESS OTHERWISE MENTIONED. NOTES

SYMBOL

DESCRIPTION 01

FIXTURES

FFLUSH BUTTON 02

HHEALTH FAUCET 03

B4WASH BASIN 04

S4FAUCET 05

MMIXER 06

RSRAIN SHOWER 07

RCLOTH ROD 08

TFLOOR TRAP 09

STSTART TILE CUT TILE FULL TILE600 X 1200 WALL TILE FLOOR TILE 10

LEGENDS W4WATER CLOSET 8 KEY PLAN SCALE -NTS S.NO.

WALL TILE 12MM PLASTERING 10MM WALL TILE

TOILET DETAILS BEDROOM-3

Reviewed

PRJ. REF Architects

6 SECTION C SCALE -1:40

13/03/2020 Drawing Title

SU KRB-19060238 DR.AVINASH & DR.KATHYAINI

Scale Drawing Number

North Drawing Reference Drawn

Date Designed 2PKM

Client Project

KATHIYAINI RESIDENCE

2 TILE LAYOUT SCALE -1:40 4 SECTION D SCALE -1:40 3 SECTION B SCALE -1:40

DESCRIPTION

DATE

PLAN SCALE -1:40

SECTION A SCALE -1:40

REV

KRB-19060238/T-1002 KRB-19060238/T SERIES SB NOTE BOSBOTTOM OF SLAB

THIS DRAWING IS THE EXCLUSIVE PROPERTY OF 2PKM ARCHITECTS,AND SHALL NOT BE RE-PRODUCED OR USED ON THE SITE OTHER THAN THE ONE SPECIFIED FOR WITHOUT PRIOR PERMISSION AND MUST NOT BE RETAINED, COPIED, USED WITHOUT AUTHORITY. DO NOT SCALE THE DRAWING. FOLLOW ONLY WRITTEN DIMENSIONS. DISCREPANCY OF ANY NATURE SHALL BE BROUGHT TO THE ARCHITECTS' NOTICE AND WORKS HAVE TO BE EXECUTED ONLY AFTER NECESSARY CLARIFICATIONS HAVE BEEN MADE BY THE ARCHITECTS OR, BY ENGINEERS APPROVED FOR SUCH SPECIFIC TASKS BY.HE ARCHITECTS. THIS DRAWING SHOULD BE READ IN CONJUNCTION WITH OTHER RELEVANT ARCHITECTURAL, STRUCTURAL, MECHANICAL AND ELECTRICAL DRAWINGS AND ALL RELEVANT SECTIONS OF THE SPECIFICATION. ALL DIMENSIONS ARE IN MILLIMETERS, UNLESS OTHERWISE MENTIONED. ALL LEVEL NOTATIONS AND DIMENSIONS IN MILLIMETRES, UNLESS OTHERWISE MENTIONED. NOTES

ATHEEQ RESIDENCE | BANGALORE

SCHEMATIC SECTION

A residence is a preliminary design for a retired government servant in Bangalore. We approached the project to create a feeling of grandeur with the use of double-height space for the living and the courtyard.

The task assigned to me was to draft section and details to understand the spaces better and also to contribute to design development.

+7000MM LVL SECOND LEVEL TERRACE D6

+6100MM LVL LINTEL LEVEL + 3400MM LVL FIRST LEVEL FAMILY LIVING

ARCHITECTS

±0MM LVL GROUND LEVEL

A T H E E Q R E S I D E N C E B A N G A L O R E REVISION DATE DRAWING TITLE

W6 Scale Drawing Number North Drawing Reference

GENERAL NOTES THIS DRAWING IS THE EXCLUSIVE PROPERTY OF 2PKM ARCHITECTS AND SHALL NOT BE RE-PRODUCED OR USED ON THE SITE OTHER THAN THE ONE SPECIFIED FOR WITHOUT PRIOR PERMISSION AND MUST NOT BE RETAINED, COPIED, USED WITHOUT AUTHORITY. DO NOT SCALE THE DRAWING. FOLLOW ONLY WRITTEN DIMENSIONS. DISCREPANCY OF ANY NATURE SHALL BE BROUGHT TO THE ARCHITECTS' NOTICE AND WORKS HAVE TO BE EXECUTED ONLY AFTER NECESSARY CLARIFICATIONS HAVE BEEN MADE BY THE ARCHITECTS

OR, BY ENGINEERS APPROVED FOR SUCH SPECIFIC TASKS BY.HE ARCHITECTS.

THIS DRAWING SHOULD BE READ IN CONJUNCTION WITH OTHER RELEVANT ARCHITECTURAL, STRUCTURAL, MECHANICAL AND ELECTRICAL DRAWINGS AND ALL RELEVANT SECTIONS OF THE SPECIFICATION.

+9450MM LVL LINTEL LEVEL +10350MM LVL ROOF TOP Drawn Reviewed Date P-1027 PRELIMINARY DESIGN DRAWING

1:75 SU AM 07.02.2020

Designed 2PKM

SECTION - BB' P-1027 CLIENT STAGE PRELIMINARY DESIGN DRAWING 3 - 4 - 4 4 9 O O B O C O M P O U N D K A D R K A M B A C R O S N E W R O A D M A N G A O R E - 5 7 5 0 4 K A R N A A K A N D A d e g n @ 2 p k m c o m + 9 1 7 7 6 0 9 2 7 0 1 4 4 / D H M A N G O K U A M 3 R D S T A G E M Y O R E - 5 7 0 0 0 2 K A R N A A K A N D A d e g n m y s @ 2 p k m c o m + 9 1 8 2 1 4 1 9 3 5 7 4 ATHEEQ PROJECT REFERENCE 1 SECTION @BB' 1:75

SANJAY RESIDENCE | MYSORE

WARDROBE DESIGN DRAWINGS

Sanjay Residence is one of the early projects of our firm for a couple in Mysore. It is a G+2 individual villa with civil works near completion. The key design idea was to understand the user needs while designing.

I was assigned to draft design drawings for Wardrobes. To understand how a furniture responds to the space and to know the user’s need before designing was the key lesson learned in this assignment.

4'4"x8'4"

5'-8" 1'-4"

THIS DRAWING IS THE EXCLUSIVE PROPERTY OF 2PKM ARCHITECTS,AND SHALL NOT BE RE-PRODUCED OR USED ON THE SITE OTHER THAN THE ONE SPECIFIED FOR WITHOUT PRIOR PERMISSION AND MUST NOT BE RETAINED, COPIED, USED WITHOUT AUTHORITY. DO NOT SCALE THE DRAWING. FOLLOW ONLY WRITTEN DIMENSIONS. DISCREPANCY OF ANY NATURE SHALL BE BROUGHT TO THE ARCHITECTS' NOTICE AND WORKS HAVE TO BE EXECUTED ONLY AFTER NECESSARY CLARIFICATIONS HAVE BEEN MADE BY THE ARCHITECTS OR, BY ENGINEERS APPROVED FOR SUCH SPECIFIC TASKS BY.HE ARCHITECTS. THIS DRAWING SHOULD BE READ IN CONJUNCTION WITH OTHER RELEVANT ARCHITECTURAL, STRUCTURAL, MECHANICAL AND ELECTRICAL DRAWINGS AND ALL RELEVANT SECTIONS OF THE SPECIFICATION. ALL DIMENSIONS ARE IN MILLIMETERS, UNLESS OTHERWISE MENTIONED. ALL LEVEL NOTATIONS AND DIMENSIONS IN MILLIMETRES, UNLESS OTHERWISE MENTIONED. NOTES

+0'10" LVL +1'3" LVL +1'3" LVL +1'3" LVL

+0'5" LVL 11'-3"x5'-8"

POOJA +0'10" LVL +1'3" LVL

4'4"x8'4"

DUCT +2'7 LVL

WALK-IN 11'6"x6'8"

5'-0"x7'-4" 11'-6"x15'-6" 16'2"x16'9" 16'2"x16'9" COURTYARD BEDROOM 1 WALK-IN

BED ROOM

2'-6" 8'-4" 32'-9 8'-4" 2'-3" 8'-4"

BELOW CHAMBER PIT BELOW +2'2" LVL

2'-6"+8'-4" 5'-8" 1'-4"

6'0"x8'6" 5'0"x8'0"

+0'5" LVL

±0'0" LVL DUCT

THIS DRAWING IS THE EXCLUSIVE PROPERTY OF 2PKM ARCHITECTS,AND SHALL NOT BE RE-PRODUCED OR USED ON THE SITE OTHER THAN THE ONE SPECIFIED FOR WITHOUT PRIOR PERMISSION AND MUST NOT BE RETAINED, COPIED, USED WITHOUT AUTHORITY. DO NOT SCALE THE DRAWING. FOLLOW ONLY WRITTEN DIMENSIONS. DISCREPANCY OF ANY NATURE SHALL BE BROUGHT TO THE ARCHITECTS' NOTICE AND WORKS HAVE TO BE EXECUTED ONLY AFTER NECESSARY CLARIFICATIONS HAVE BEEN MADE BY THE ARCHITECTS OR, BY ENGINEERS APPROVED FOR SUCH SPECIFIC TASKS BY.HE ARCHITECTS. THIS DRAWING SHOULD BE READ IN CONJUNCTION WITH OTHER RELEVANT ARCHITECTURAL, STRUCTURAL, MECHANICAL AND ELECTRICAL DRAWINGS AND ALL RELEVANT SECTIONS OF THE SPECIFICATION. ALL DIMENSIONS ARE IN MILLIMETERS, UNLESS OTHERWISE MENTIONED. ALL LEVEL NOTATIONS AND DIMENSIONS IN MILLIMETRES, UNLESS OTHERWISE MENTIONED. NOTES

THIS DRAWING IS THE EXCLUSIVE PROPERTY OF 2PKM ARCHITECTS,AND SHALL NOT BE RE-PRODUCED OR USED ON THE SITE OTHER THAN THE ONE SPECIFIED FOR WITHOUT PRIOR PERMISSION AND MUST NOT BE RETAINED, COPIED, USED WITHOUT AUTHORITY. DO NOT SCALE THE DRAWING. FOLLOW ONLY WRITTEN DIMENSIONS. DISCREPANCY OF ANY NATURE SHALL BE BROUGHT TO THE ARCHITECTS' NOTICE AND WORKS HAVE TO BE EXECUTED ONLY AFTER NECESSARY CLARIFICATIONS HAVE BEEN MADE BY THE ARCHITECTS OR, BY ENGINEERS APPROVED FOR SUCH SPECIFIC TASKS BY.HE ARCHITECTS. THIS DRAWING SHOULD BE READ IN CONJUNCTION WITH OTHER RELEVANT ARCHITECTURAL, STRUCTURAL, MECHANICAL AND ELECTRICAL DRAWINGS AND ALL RELEVANT SECTIONS OF THE SPECIFICATION. ALL DIMENSIONS ARE IN MILLIMETERS, UNLESS OTHERWISE MENTIONED. ALL LEVEL NOTATIONS AND DIMENSIONS IN MILLIMETRES, UNLESS OTHERWISE MENTIONED. NOTES

THIS DRAWING IS THE EXCLUSIVE PROPERTY OF 2PKM ARCHITECTS,AND SHALL NOT BE RE-PRODUCED OR USED ON THE SITE OTHER THAN THE ONE SPECIFIED FOR WITHOUT PRIOR PERMISSION AND MUST NOT BE RETAINED, COPIED, USED WITHOUT AUTHORITY. DO NOT SCALE THE DRAWING. FOLLOW ONLY WRITTEN DIMENSIONS. DISCREPANCY OF ANY NATURE SHALL BE BROUGHT TO THE ARCHITECTS' NOTICE AND WORKS HAVE TO BE EXECUTED ONLY AFTER NECESSARY CLARIFICATIONS HAVE BEEN MADE BY THE ARCHITECTS OR, BY ENGINEERS APPROVED FOR SUCH SPECIFIC TASKS BY.HE ARCHITECTS. THIS DRAWING SHOULD BE READ IN CONJUNCTION WITH OTHER RELEVANT ARCHITECTURAL, STRUCTURAL, MECHANICAL AND ELECTRICAL DRAWINGS AND ALL RELEVANT SECTIONS OF THE SPECIFICATION. ALL DIMENSIONS ARE IN MILLIMETERS, UNLESS OTHERWISE MENTIONED. ALL LEVEL NOTATIONS AND DIMENSIONS IN MILLIMETRES, UNLESS OTHERWISE MENTIONED.

VONTIKOPPAL CLUB | MYSORE

SCHEMATIC 3D MODEL

Vontikoppal Club is one of the landmark places in Mysore. They wanted to have a rooftop restaurant and had already installed the hollow sections. Since the layout was not designed by the office a measured drawing was done. We went to the site did a measured drawing of the existing layout. Later, in the office we drafted and made a 3D model in Rhino for the same.

SITE VISIT | MYSORE

BHARATH RESIDENCE

Bharath residence is a renovation residential project in Mysore. It is a ground floor structure with a terrace. The site visit was a weekly inspection of the work on site.

During this site visit, we inspected the skylights that were cut from the existing roof slab. Also, inspecting the removal of screed on the terrace floor.

SITE VISIT | MYSORE

VIKRAM RESIDENCE

Vikram residence is a renovation project in Mysore for a family of 4 adults and 2 children. Retaining the structural members and vertical circulation core, this was a design challenge to achieve the client’s requirements.

The site visit was to finalize the masonry dimensions with the contractor and the client. We make a site report with the Minutes Of Meeting.

9'-8"

6'-7" X 3'-4"

7'-4" X 3'-2"

Entrance

1.Sliding Folding Gate in Entrance. Ladies Living area & Media Room

2.Ladies living and media room to be separated by a Sliding Folding door, so that it can act as one single large space when required.

3.Media room to be converted into office space. Pooja Area

4. Requirement for direct sunlight in the Pooja area.

5. Requirement for Niche for the Idol to be placed in the Pooja area topped with a dome.

Kitchen

6. Utility and Storage area to be interchanged.

7. Light well to be provided to the utility shared with Bedroom 01.

8. Storage area modified to accommodate cylinder storage, accessed from exterior.

9. A vent to be provided in the storage area, for light.

10. Suggestion for using Glass Blocks as partition was proposed.

11. Breakfast counter to be removed. Dining Area

12. Wooden louvers/ MS grills were proposed to create a semi-open partition from setback area to compound wall.

13. Dry utility location to be decided (2PKM to propose options). Bedroom 01

14. Cot to be made into one integrated unit with the wardrobe

15. Cot position to be confirmed (East or South –Option to be checked with vastu consultant).

16. Maximum storage space to be provided in Bedroom 01.

17. Bedroom area to be increased by 2’ towards the kitchen area.

18. Set back area to be provided as an accessible private garden from the bedroom, separated by a sliding door.

19. Wooden louvers/ MS grills were proposed to create a semi-open partition from setback to compound wall.

20. To provide a safe locker in the South Western corner of the room (as per vastu).

21. Light well to be provided to the bedroom space above the wardrobe, share with Utility.

Passage towards Bedroom 02

1. Wall to be pushed inside to accommodate storage on Passage wall.

Bedroom 02

2. To make two options for wardrobe area - one as a flexible space combined with the Bedroom 02 and another as proposed earlier.

Bedroom 02 – Toilet 02

3. Bathroom to be aligned to the third tread of the staircase – to reduce size by 2’-4”.

Bedroom 04

4. Toilet in Bedroom 04 to be reduced as 4’-6” and both toilets (toilet 03 and toilet 04) to be equally divided.

5. Bedroom 04 wardrobe idea was accepted by the client.

SITE VISIT | MYSORE

DAWN RESIDENCE

Dawn residence is a luxury five-story residential project in Mysore. It is one of the earlier projects of our firm. It is a renovation project.

We visited the site to cross-check the existing lintel beam height in Ground Floor and First Floor. Since the construction was started long back, few of the windows were placed such that they opened directly to the neighbor’s building. We had to re-locate such window openings.

MISCELLANEOUS | PRESENTATION

MY FAVORITE DESIGNER

Weekly presentations on assigned topic for all interns takes place. To collect data, make a script for the presentation, analyzing the data, going through discussions before presenting the data is all guided by architects.

Different perspectives from various minds helped me to look at things in ways I haven’t thought of. It definitely increased my confidence to speak.

MY FAVORITE DESIGNER

Described by Vanity Fair as “The Hottest Designer” alive, the 49-year-old British Designer Thomas Alexander Heatherwick is the designer behind many buildings we witness in the last decade.

Heatherwick prefers to be called as a designer rather than an Architect. He aims, “to bring architecture, design, and sculpture together within a single practice”. The same being the aim of his studio - Heatherwick Studio - King’s Cross, London.

Thomas Heatherwick has a unique approach to design. This may be because of his childhood influence by his parents. His father and mother were separated during his young age. His mother had a jewelry store were his favorite was the bead store and she emphasized her customers to touch and feel them before buying. On the other hand his father took him to carpentry and metal workshops. These two experiences had a huge impact on him.

We can see the same reflected by him in his designs. His designs give solution to problems but they are not just solutions he adds a touch of magic to them. His designs are not just aesthetically appealing but they solve a greater purpose. And all his designs are enjoyed and experienced by the users. All this makes his design special and authentic.

THOMAS HEATHERWICK - BRITISH DESIGNER

ANALYSIS

Rolling Bridge

Program User : Public Idea : Jurrasic Park - Dinosorus Tail.

Aim : To carry pedestrians across a narrow inlet of the main canal, while also allowing the passage of boats when necessary.

Analysis: It is one of the early projects of the studio. The studio, takes a different approach to address the common requirement in London.

Heatherwick not only tries to provide a solution but also tries to create a new experience for the known problem. The bridge folders and opens which engages the user through visual pleasure. Watching a pentagon to unfold itself to form a bridge is not something in common. Unlike the conventional bridge in London, it works in silence and is a one-piece marvel that completely moves itself from the way than to break into two.

This design not just solved the need but also shows the idea that goes back to designing something.

Vessel

Program User : Public Idea : Step Wells, Rajasthan.

Aim : To build a landmark for Hutson Yards, something like Eiffel Tower for Paris.

Analysis: One of the most popular projects of Heatherwick studio. Also, a project that faced most criticism. Vessel breaks the idea of ‘buildings’ as a landmark and sets a new age definition for a gathering space.

Though the height of it is 15 story - it is quite small compared to other buildings in the vicinity - it didn’t seize to stand out. The copper color, the honeycomb-shaped, vessel-like structure attracted much attention. Though in the beginning people were not sure of the purpose of hundreds of stairs that led to nowhere. Today, it is a must-visit destination for travelers and tourists around the world. And as Thomas says, “A space to ‘bring people together’”.

The way how Thomas has created a space without any closed surface is unimaginable. Creating a seamless experience of Hudson Yards from varied point of views an observer gets at each landing is something Hudson Yards didn’t quite imagine.

Program User : Public Art Museum

Idea : Maize Grain

Aim : To build a contemporary art museum for South African Art from a grain silo.

Analysis: To convert a huge concrete structure of hollow cylinders that were used to store grains into a new age museum is not a piece of cake. But, the studio has found a way to achieve not only just a museum but a museum that leaves everyone speechless.

Thomas and his team have managed to create a museum space where the art can be exhibited, space for the sovereign, etc. But the unique element in this building is the atrium space or as he says it ‘the heart’ of the museum - a gathering space for the public. One can not be struck by this space in the building. The highlight is the proximity of this space from the exterior. As a person enters the building, he walks down a shallow lobby and is then allowed to witness this massive 11 story high atrium, carved out from the long, hollow concrete cylinder. The light enters the building from, the skylight above. This breaks the cold feeling of the concrete and gives a warm, welcoming feel. Though this is a simple idea the effect it has as a space is quite breathtaking.

He has also placed the vertical circulations such as the spiral stair and the glass elevators look down to the atrium. The stairs are made to fit inside one of the hollow cylinders, creating an experience of the long, tall storage silo. To break the claustrophobic feel he has cut a side of the stair wall looking down to the atrium in the center. the Elevators are made of glass and looks as if the person using it is levitating in a vacuum. Retaining the100-year-old building and using most of its elements to create and solve a new-age building takes more than just an Architect.

Zeitz MOCCA

MISCELLANEOUS | DAILY SKETCH

A daily ritual for all interns in 2PKM is to sketch a building, detail, or product. We get comments on our sketches and how to improve them from Sabir - Senior Architect, Artist. We vote to chose the day’s best sketch and display the same in our ‘Sketch of the Day’ rack.

This helped me to know new buildings each day and also improved my strokes and lines in freehand sketching.

The following are a few of my ‘Sketch of days’.

Arnheim

Pavilion - Aldo Van Eyck, 1966

Arnheim Pavilion - Aldo Van Eyck, 1966

Town Hall - Alvar Aalto

O Tori - First gate to Toshogu Shrine, 1636 CBS Building - Eero Saarinen

Abu Simbel - 1235 B.C.

Tetrastyle Atrium, House of silver wedding, Pompei 1

Taos Pueblo, New Mexico, 13th Century

Bacardi Office - Mies Van de Rohe

MISCELLANEOUS | REVIEWS

These exercises were given to me by my team senior architect, DivyaLandscape consultant. I was interested to learn more about architecture and architects and these exercises were a step towards it.

To write a review on what I understood in the podcast, paper, or book helped not just as a future reference but also improved my vocabulary and writing.

Are new cities lacking Human Quality and Humanity in them?

Reinterpreting Thomas Heatherwick

THOMAS HEATHERWICK - BRITISH DESIGNER

In today’s fast phase world where everything and everyone are moving in high speed, that at times we need a moment to cope up with the world. We tend to move around within a city, socialize with people, take a walk, have a coffee, go to a park, find our desire, etc. But what we tend to experience unconsciously is that, we are constantly enclosed in a space. We can easily find a city with spaces in two different timelines. A building that was created either two decades ago or the ones built after that.

Though it has been scientifically proven, that a space can psychologically affect a person’s behavior and mental state are we considering it as a major factor while designing a building. We often tend to forget that it is these individual buildings that make the locality and thus making a city. The question I would like to put forward is, “But are

hese cities built to have an authentic character?

Or are these built to look alike? Should all cities around the world be similar and not unique? Why is the heritage of the particular city least considered?

Thomas Heatherwick, a British Designerand one of my favorites of the decade - is in, I would say a quest, to find a design solution for the Cities to have ‘Human quality and Humanity’ in them. Being a Londoner through and through, Heatherwick is fond of old buildings and cities in London. He describes his feeling as, moving away from old city to new buildings as ‘Sad’ and ‘insensitive Development’. Well I think it is because he doesn’t look at Buildings as an individual element but rather looks at them as a collective of the whole - city.

We usually have a notion that Architects on spot light take up projects where they have real opportunity to showcase their talents. But Heatherwick, breaks that concept, as he finds and tries to design spaces that are , as he calls them ‘Pockets’ in a city. These pockets are often the most unnoticed spaces. But these are same spaces that are accessed by people on a daily basis. He excellently gives an analogy, “The hard thing to talk about is that what impact a building has on its streets. Walking past a dead office lobby with a reception desk and a token big piece of art in the background doesn’t give anything really to the street”. This perspective, to question the existing, is what has given rise to some of his exceptional buildings in London and around the world.

He made me pause and think when he said, “We forget emotion is also a function... And trying to bring that back will constitute truly functional design”. Are we in an era where Human Emotions

are taken lightly or not even though of. When he says, “It is the essence of the need”, has considering humanity or people’s comfort into a space has become a requirement. Shouldn’t they be the factors that impact a design in the first place? Shelter is one of the basic needs for Human beings. What will be the need for the shelter if the user doesn’t find peace in it.

Heatherwicks buildings - for example Vessel in Hutson Yards, Coal drops in London, Zeist MOCAA, South Africa - are some of the best examples where his ideas and thoughts are converted into design elements that focus on putting Human experience its priority.

• Vessel is a visual treat as such, but the flight of stairs and the landings, the way they open up as they move above ground, and the final view of the Hutson Yards from such place is an experience everyone wants to rejoice.

• The fine details that went into designing the lift buttons in coal drops, was not just to look good but to let the user take home a memory.

• A ‘heart’ carved out of a silo. As revolutionary as it sounds. Zeist MOCAA is truly a marvel in unveiling what a century old silo can be. It is a sculpture by itself.

Thomas makes sure that a person uses all his senses to experience his building. It is not just the appearance but it is also the choice of materials and innovative use of them that makes him do the impossible without compromising the human scale. He takes into consideration the context and deeply respects the space one is about to experience. His projects are widely known and are spoken highly not just because they are aesthetically appealing but they are highly functional. Each of his buildings may have a different ‘personality’, but they are have a common trait that makes them unique and talked about. It is his

‘whole-hearted’ designs and thoughts that makes them stand apart. *---*

Thinking Architecture

PETER ZUMTHOR - SWISS ARCHITECT

Peter Zumthor’s Thinking Architecture, is a simple yet a beautiful sequence of his memories and personal experiences he had. Every one of us would have memories like these of our own. But we often forget to bring back those down to the paper.

I’m the first chapter, he talks about, how a person can look at the world around him. He not only talks about Architecture and the role of an architect. But, talks about the impact these small details give to a person. One may get lost by this point, but he also makes it clear that the practical use of a building is what keeps the building going once the curiosity dies.

We tend to answer problems in a logical way were the building satisfies the program intended. Yet, we never concentrate on things that people can actually sense. The attention to detail and

more importantly, the desire to achieve that precision is what makes one to even think of it in the first place. He also says that, combination of feelings and desire is what gives birth to a form.

He says, Architecture is an art. Like a painting, a sculpture, a music composition, a poem or a movie. One thoughtful design can make a person emotionally responsive to the space. It is always once subjective thoughts, that initially comes up as an idea for a building form. But, when asked, the Architects never revel their secret passions towards the idea of such building. He explaines the nuances, of designing and the experience such a space can produce. One’s difference aspects of life carries out in a building. And how well he remembers it and what goes down his memory is essential than mere concrete structures.

In chapter two, the hard core of beauty, his attempt to design a thermal bath after listening to John Cage’s lecture. The process was by answering the questions arising from the context and turned out to one of the best solutions and were also able to answer many problems that were earlier not known. He says, “To me buildings can have a beautiful silence that I associate with attributes such as composure, self-evidence, durability, presence and intergrity and with warmth and sensuousness as well; a building that is being itself, being a building, not representing anything, just being.”

His thoughts on Edward Hopper paintings: “it is only between reality of things and the imagination that spark of the work of art is kindled.” The hard core of beauty is present in the authentic nature of the buildings itself and not in the ornamentation wears.

In the third and fourth chapters, he expresses his passion and interest towards architecture

He also says that, “When an Architectural design drawn solely from tradition and only repeats the dictates of it’s site, I sense a lack of a genuine concern.” He also lists down a series of observations. These are the experiences he had in different places at different point of time. These tell not just the experiences but how these have shaped this well being now.

His expression that, the materials themselves are not poetic but if the Architect creates a meaningful context for them they will assume a poetic quality, is one of my personal favorites. He explains his motives as memories and personal moving moments. A sentimentality that always accompanied him, whether it is in wood-working as a teenager or as a world-famous architect in late adulthood.

The first half of the book is about how one uses his memories, common sense and construction to think, design and bring a form to reality. The chapter ‘Learning architecture’ is more of questioning the existing be it architecture. “Music needs to be performed . Architecture needs to be executed”. He makes us rethink about the way how we approach designs. We follow ‘idea - plan - concrete object’. But he asks one to think of concrete object as the primary idea. This raised a question within me, “Am I following it?”. He says one must be taught in this was in Architecture school. He also emphasizes that Practicing Architecture is a new experience where everyone is finding answers to their own questions. And that, most of the answer for the questions has no predefined answers.

When one doubts of what question to be asked he points out daily experience and also images from our memory. He asks us to question them in order to understand the essence of such memories. He says it is the concrete image - real

materials like stone, concrete, metal, glass, etcthat forms the image. These images formed, when one thinks of Designing a space, are the initial ideas that help one to develop and create a design without getting lost in thought. These images may be blur and parts of the whole but these are thought through to make a whole.

My favorite chapter is where he has shared his views by explaining various incidents that shows beauty as aesthetic, atmosphere, art, music, buildings, poem and even how beautiful is a shoe. When I read it, I could relate myself to few incidents and felt like reading through my own journal. His simple English and poetic nature of words are pure Bliss I would say. This is a chapter where one must let oneself go in the flow of the writing and pause and absorb the experience.

I find a continuation, as he comes back talking to making buildings that responds to human needs. He gives an analogy of his experience sitting in a cafe in a square and observing the place as he takes notes. He then says the notes are still fresh and rereading it make him be moved. He emphasizes about the context or the atmosphere of a space. The cafe is not a building but a public space and he encountered not just one but many activities. But the point that they are remembers them in the first place is because of the atmosphere or surrounding it happened. Or the state he was in because of the atmosphere or surrounding. Beauty lies in not just the eyes of the beholder but also the space it happens.

I feel that I may revisit this particular book back. I feel like it has more depth to it and to unwind them I must re-read this at various times. Who knows, Peter Zumthor may become my inspiration in subsequent years!

Understanding Architecture Summaries of my Understanding

Chapter 1: Space

When one says, ‘Understanding Architecture’ we are make to think how one can understand architecture. It is then followed by the thought, if it can only be understood by an Architect or even a layman can grasp its nodes. Well, humans have been experiencing architecture as early as the first settlement or even preceding it, when the need for a shelter emerged. Through, History of Architecture, we know that humans have made Monumental buildings even before Architecture was a profession. And most of these are experienced unconsciously. To master this and to know its true essence, the book, ‘Understanding Architecture’ helps.

Robert McCarter says one must experience architecture in order to understand it. We know that one uses one’s five senses to experience anything. But, McCarter breaks this perspective

and puts forward that one must experience with his whole. With his mind and body both indulging in what is in front of him.

“The architecture experience is not just a visual or sensorial encounter; a great work engages our entire being”.

He also points out that, a building’s exterior is not something that gives the observer the experience or memory. But it is the interior that moves a person and touches him and creates a memory that lives with him forever. A photograph of a building may create a visual attraction towards the building but is never equal to the personal experience one can get. Also, a building’s interior is an Architects Canvas, where he can create what a person must feel when he stands there.

It is important to understand that, the real purpose of architecture is not to create aesthetized objects or spaces, but to provide frames, horizons and settings to understand the word and finally ourselves. It is the reflection of one who dwells in it. And it should act as a background to our daily activities. We may get lost in the sea of indirect meanings and hidden design beauty but Architecture experience is not symbolism but a direct connection. It does not go with hidden meanings. They are vivid and clear.

To know and learn what “Understanding Architecture’ truly means, Robert McCarter has chosen twelve themes. The first theme being Space.

We usually tend to imagine an enclosed room when we think of the word ‘space’. But Space has always been an infinite entity. A Space has changed and evolved in architecture through history. The importance of space can be understood when Burno Zevi says, interior space is fundamental to architecture and he would omit architectural structures that doesn’t have one. A

space we are referring to here is not a geometrical enclosure. It is something one can relate to, where ones memory and sense of belonging is provoked. He also describes space as the fusion of a person’s both physical space and mental space. He calls them existential space. He says that we connect our self to a space as like how we connect to a piece of art and music. It is a one whole factor that may impact and transform one’s life.

experience time in our daily life, a known friend yet hard to define it using concrete words. Though in physics, there are different theories for time, time in arts, is considered as mouldable and reversible. As he brings in arts, ‘is the same applicable in Architecture too?’ one may question. But the way he unfolds the answer is pure bliss for the readers.

We have always been in constant search of thoughts and bringing new ideas for escaping from linear time and creating a new reality of our own. And we make this possible though the use of different mediums of art, like cinema, literature, music, painting where one may tend to alter, reverse, emphasize and capture, time. It is important to note, one is clear that, to understand time we may need another entity-Space. Space and time are two different things but they work together. The space-time continuum came around in the twentieth century. The author points out to us that, it was during Cubism, Purism, Constructivism, Neo-plasticism and Futurism where architecture and art integrated space and time. He also mentioned, mathematician Hermann Minkowshi’s words, “Henceforth, space alone or time alone is doomed to fade into a mere shadow; only the kind of union of both will preserve their existence”.

Chapter 2: Time

“The degree of slowness is directly proportional to the intensity of memory; the degree of speed is directly proportional to the intensity of forgetting”. - Milan Kundera.

Time, looked thought the eyes of architecture can be perceived as a vortex of historical references. But it is when the author takes a different approach to let understand that time is much more than that. As he begins, we

As mentioned above where Mila Kundera made a thought provoking remark about, how speed in our generation has taken an accelerated shift of how we look and experience our surrounding. He explains it with an example, a good novel can speed up or slow down the phase of the story, thus engaging the reader to the story. This good novel, as Italo Calvino describes, is something that continues and gives the reader an experience, as if time doesn’t stop and is yet about to explode. Architecture in the other had is also capable of engaging its user to the space.

As we enter a building of past, is it not just the space but we tend to engage in the memories and images of how people must have formed and gathered in such spaces. Thought we have no complete knowledge about it, our mind wanders and tries to connect the bits and pieces we know about that space to complete the experience. This is what completes the experience of the building and makes the space more connected to one’s memories. Architecture, through spaces creates its own reality, like how the user experiences it in a novel, movie or painting. He says, one can experience architecture through movement in space, and hence, ‘architectural space is fundamentally kinetic and embodied’.

“Great buildings are not mere historical remains, symbols and metaphors; they are also museums of time”.

Time is in fact a tool to understand, the period of one’s lifetime. This was used by many artists and architects to create an illusion, as if the space was built a long time ago. “ The desire of built history and the illusion of depth in time”.Alvar Alto’s ‘Experimental House’ is one example for the purposeful use of ruins. The intended use of brick in the courtyard of the house, to embrace its wear and tear over the time creates a statement of existing beyond time. The author show us how this is applicable in our present lifestyle. This idea of timeless space is what we experience in shopping malls today, the Government buildings continue to have a language of the past-to gain trust and hope among public, and city centers and hotels replicate or adapt themes to recreate the past to engage one self and become part of the environment.

All this brings us to the present day of designing spaces. The fast world and its idea to dwell in fragments than in the continuity of time, is one of the many results of having buildings that lack

the unique character or the authenticity they should be sort for. The author says, as we experienced slow, calm and patience spaces in buildings of the past. Whereas, the buildings post modernism are faster phased and appear haste and tense.

He also says this has led to buildings that look as if they were ‘momentary’ explosions of form. Every age and every building has its characteristic sense of time and velocity. Our buildings often seem to exist in timeless space without contact with the past or confidence for the future. As Lars Svendsen adds, “But as novelty is sough only for the reason that it is new, everything becomes identical, as it has no other properties but newness”. The detachment of our spaces from past history may lead one to emotional and psychological discomfort. We evolved from our ancestors and we still carry within us the traits of early marine and tree climbing species. This explains one’s instinctual feel of joy, safely and warmth as we sit beside a fire place. The experience or warmth one gets in these small elements are what binds together the building as a more human-able space.

“Architecture needs to fuse us with our casual and experiential reality, not to alienate and isolate from it.”

Chapter 3: Matter

“What a grand and beautiful force the immense and wildly unappreciated power of human touch”. -Atticus

Of the five senses one of the most effective sense is the sense of touch. Even when all other senses fail to calm us down, a touch can make one’s racing heart beat to slow down; a touch can sooth anxious mind; a touch can push away loneliness; a touch is what we all long for now. All these make hugs and cuddles the best cure for depression, anxiety, blood pressure, fatigue and even heart attacks and strokes. Playing such a huge role in not just humans but almost all living being, touch can be associated to materials and to their various textures, in architecture.

As this chapter begins, the authors put a philosophy given out by Gaston Bachelard where, everything we used to build a strong house - materials like stone, brick, wood and metal- are

obatined from Earth. And use the same to bind us to the ground. They also point out that buildings are usually built with different materials, but those built with a single material have a completely different ‘emotive power’.

The works of Laurie Baker, and the IIM campus in Ahmedabad by Louis Khan gives Goosebumps overtime a person visits it because of the single material usage- brick. In the same IIM campus, Ahmedabad one can see the complete contrast of materials from the new building to the old building. The new building, is made of exposed concrete and few metal fabrications on its façade. The warm fresh bright brick contrasting the cold dull grey concrete finish. The two buildings have uniqueness of their own. The beauty of a building lies not in its ageless existence but also in its timely flaws and alteration that happen in response to the climate and the material’s wear and tear.

The use of a material is not just to have the material as new as it was constructed, but rather to enjoy the coloration like fading from the sunrays and the endless washes by the rain. A building’s age and its history can be understood by the usage of materials. These were taking a toll during the modernism period where materials that projected flatness, geometry, immateriality and timeless whiteness were held high. Modernism emphasized on the new lightness and the industrial materials made them possible to achieve the same.

“The experiential absence of matter gives rise to a feeling of distance and outside-ness, whereas strong materiality evokes haptic sensations and an experience of intimacy and nearness.”

In today’s world, materiality has become a luxury. But, the use of different materials is not just to show case the richness but to also provide varied level of privacy in a building. As modern buildings were built with transparent façades, the

level of privacy in a residence was reduced making many residences building during early modernism a practical failure. Providing pockets and slits that creates a sense of curiosity within the space than exposing the interior space in a glance. This could be achieved with analyzing the nature and property of a material. The use of materials may create patterns around the clock. The behavior of the material, against the sun over a year during various months is never the same.

The authors say that in today’s modern construction, where we mostly rely on factory made materials and technologies, we lost the rootedness and the physical origins. Almost all materials are produced in factories making them not connecting to human emotions. We humans, are evolution of nature dating back to millions of years. Though we are civilized and modernized, we do have our instinct to connect to natural world, by using natural materials in our built environment one can find peace within oneself. The use of natural material tends to create a balance in nature. Where we tend to take and give back some to nature. But using only man made materials gives rise to unsustainable building practice. Modernism has given us the image that everything has to be perfect, but as the author says, “real life is ‘impure’ and ‘messy’ “ and we have to find a margin in between to provide an environment that can help us achieve that than handing over a perfect building.

Use of Materials make the space more humane. The texture, color, fragrance and even taste from a material can only be experienced from natural materials. Though today’s technology made it possible for the factory made products to replicate the physical appearance of natural materials, it can never be a replacement for the original.

“Architecture stands above the line combining, soul and space rather than concrete and steel.”