Sudarshan Venkatraman - Work Samples

S U D A R S H A N

+91 99204 24988

V E N K A T R A M A N

sudarshanv05@gmail.com

SUDARSHAN VENKATRAMAN PHONE : +91 99204 24988 E-MAIL : sudarshanv05@gmail.com Masters graduate with 10 years of work experience looking to build on knowledge and skills gained from exposure to professional practice & graduate programs, possessing strong interests in the conceptual and detailing aspects of building design.

EDUCATIONAL QUALIFICATIONS GRADUATE DEGREE (Masters of Science in Advanced Architectrual Design) JUNE 2013 – MAY 2014

Graduate School if Architecture, Planning and Preservation COLUMBIA UNIVERSITY, New York UNDERGRADUATE DEGREE (Bachelor of Architecture) AUGUST 2005 - JULY 2010

School of Architecture, R.V. College of Engineering, Bangalore, India

LICENSES Council of Architecture, India, 2012

PERSONAL INFORMATION

COMPUTER SKILLS

LANGUAGES SPOKEN:

Autodesk AutoCAD

INTERESTS:

English Tamil Hindi Reading, Basketball, Movies, Music & Driving Avid collector of movies spanning all genres

Rhino 3D Grasshopper Adobe Photoshop Adobe Illustrator Adobe InDesign

Keen follower of sports including the NFL, NBA, Formula 1 and Premier League Soccer

Autodesk Revit

TWITTER:

@sudarshan2205

Microsoft Office Suite

INSTAGRAM:

sudi2205

LINKEDIN:

sudarshanvenkatraman-2205

MAILING ADDRESS

#817, 1ST A CROSS, 4TH BLOCK, KORAMANGALA, BANGALORE - 560034 INDIA

CA/2012/57597

V-Ray Enscape

REFERENCES ODA, New York Christian Bailey, AIA, LEED® Principal christian@oda-architecture.com Dongyoung Kim Associate dongyoung@oda-architecture.com Serie Architects, Mumbai Santosh Thorat Senior Associate santosh@serie.co.in Dharmesh Thakker Associate dharmesh@serie.co.in

WORK EXPERIENCE SENIOR/ASSOCIATE ARCHITECT – SAMEEP PADORA + ASSOCIATES, MUMBAI, INDIA

JUNE 2017 – PRESENT

Based in Mumbai and headed by Ar. Sameep Padora, sP+a is a relatively young but well acclaimed design firm that through its work challenges the formal tradition of existing typologies, either by a re-interpretation of program or building/design processes. www.sp-arc.net Project lead on large commercial development for the India HQ in Mumbai of Double Negative - An acclaimed Hollywood post-production/visual effects studio.

Role as lead on project involved client and consultant co-ordination, budgetary and feasibility analysis as well as co-ordination of construction documentation and site execution.

Project lead on renovation of full F&B portfolio at the Oberoi Hotel, Bengaluru.

Responsibilities included client presentations, sampling of materials and furnishings, budgetary analysis and construction documentation & site supervision.

Project lead on renovation of full room portfolio on 4 floors at the Trident Hotel, Mumbai.

Responsibilities included client presentations, sampling of materials and furnishings, budgetary analysis and construction documentation.

Part of team on various competition proposals involving production of presentation drawings and visuals.

ARCHITECT - SERIE ARCHITECTS, MUMBAI, INDIA

NOVEMBER 2015 - JUNE 2017

Founded in 2006, by Christopher Lee in London and Kapil Gupta in Mumbai, Serie is an international practice whose work is known for its organizational intelligence, elegance and contextual engagement. www.serie.co.uk Project Lead on a large commercial project in Rural Maharashtra, India.

Co-Project Lead on Shri Ram School project for the Lodha Group in Mumbai.

Worked on various document sets for final site construction and presentation drawings on for project pitches.

JR. ARCHITECT – O.D.A , NEW YORK

OCTOBER 2014 – JUNE 2015

Headed by Eran Chen and founded in 2007, ODA specializes in the creation of a variety of residential paradigms within the dense undergrowth of New York’s urban expanse. www.oda-architecture.com Part of Design team for Pier 6 Competition in Brooklyn Bridge Park.

Worked on various drawing sets for approval by Department of Buildings in New York City. This included constant meetings with consultants as part of responsibilities as Junior Architect.

Part of team on various projects in Manhattan, Brooklyn and Long Island City with responsibilities including creating project pitch documents and final construction drawing sets.

JUNIOR ARCHITECT – SAMEEP PADORA + ASSOCIATES, MUMBAI, INDIA NOVEMBER 2011 – MAY 2013

Project lead on 3 projects in both residential and hospitality sectors with responsibilities varying from design development to site execution.

Worked on various aspects of building design from conceptual envisioning to final working drawing sets for site construction. Working drawings ranged from architectural plans & sections to final finish and construction details.

Part of design team on various projects & project pitches with responsibilities including preparation of presentation diagrams and 3D renders.

Attended regular site meetings and inspections in capacity as project lead and junior architect.

Involved in regular interaction with various vendors & consultants as required for execution of projects on site.

INTERN – OCHRE ARCHITECTS, BANGALORE, INDIA AUGUST 2008 – DECEMBER 2008 Team of seventeen architects headed by Ar. Tushar Vasudevan credited with about 80 completed and 60 ongoing projects which include clubs, apartments, offices, interiors, colleges and residences www.ochre.in Worked on various housing, commercial and hospitality projects, involving preparation of working drawings, sanction drawings, proposal presentations as well as preliminary estimation.

Working drawings involved door, window, staircase & washroom details.

Involved in preparing complete preliminary interior proposal for the Brigade Gateway clubhouse, Bangalore. This included basic estimation, 3D modelling of all spaces and discussions with vendors.

Attended various site meetings and discussions with clients and senior architects.

ONTENT

FRAGMENT STATEMENT LATTICE HOUSE

SIDHRA, JAMMU, INDIA

MINIMAL

ROOM RENOVATIONS THE TRIDENT, NARIMAN POINT MUMBAI, INDIA

DNEG HQ

FILM CITY, MUMBAI, INDIA

FILIGREE LAPIS

THE OBEROI - BENGALURU, INDIA

ENVELOPE BEVELLED PIER 6

BROOKYLN BRIDGE PARK, NYC

42-20 27th STREET

LONG ISLAND CITY, QUEENS, NYC

CAVERN

CONTORT

BALANCE

THE OBEROI - BENGALURU, INDIA

THE OBEROI - BENGALURU, INDIA

THE TRIDENT - UDAIPUR, INDIA

WABI SABI

POLO CLUB

TERRACED NOTATION RESIDENTIAL TOWERS KALPATARU DEVELOPERS BANER, PUNE, INDIA

FALL SEMESTER

COLUMBIA GSAPP, NYC

LOBBY & BAR

ELASTIC

SPRING SEMESTER COLUMBIA GSAPP, NYC

STAGGER

SHREE RAM SCHOOL

LODHA PALAVA - MUMBAI, INDIA

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LATTICE HOUSE

SIDHRA, JAMMU, INDIA STAGE: COMPLETED DESIGNATION: PROJECT LEAD The Lattice House is the epitome of the idea of a “Self-Becoming” project that the firm has dealt with. Due to various issues (change in client requirements, site conditions), the design has evolved dramatically from the its genesis.

The form of the building is very simplistic in its nature, being that of shifting horizontal volumes, meant to enhance the perceived horizontality of the profile of the slabs of the building. The weight of these horizontal strips is lightened by running wooden vertical battens along the length of these strips, forming an intricate screen to shield the residents from their surroundings.

The façade of the house is also a response to the climatic severity of the region which experiences extremely hot and dry weather for 8 months of the year and hence the horizontal bands of vertical wood lattice screens act as light filters.

The wooden material of the screen has remained a constant throughout the design process and with the dense pattern of battens that run around the bands, they echo a contemporary parallel to the traditional pinjirakari workmanship that local craftsmen employ.

AREA: 5000.00 sq. ft.

DURATION: November 2011 - March 2015 PROJECT TEAM: Sudarshan Venkatraman Aparna Dhareshwar Karan Bhat

Above: Living Room on Ground Floor Facing Page: Evolution of massing in relation to surrounding context * Images and Drawings © sP+a ** Photos © sP+a, Edumnd Sumner

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The early conceptual direction was focused a series of floor to ceiling panels that covered both the first floor and extended till the parapet of the terrace level. Broken up in areas to form openings, these panels aimed to mimic local traditional pinjirakari craftsmanship, with more functional purposes.

STAGE 01

A fenestrated wooden box which rests on a glass base, thereby giving the appearance of a floating element.

Using a sun path study as the basis for the tesselations, the screen varied in intensity based on the associated programme, opening up for more public functions and tightening up for more private ones.

A mid-development request from the client necessitated a re-think on the formal concept.

STAGE 02

The visible profile of the plinth slab prompted the exploration of bridging horizontality as the main avenue of development.

Introducing a basement meant creating a ventilator that ran around the plinth to bring in natural light & ventilation. The now visible profile of the plinth slab and the thickness of the slab ensured a strong emphasis on the horizontal.

Thus, the screen became a bridging element between slabs and was re-worked to become a facade of metal strips that ran the length of the element.

Due to the monolithic nature of the fenestrations in the previous scheme, the bridging elements were further broken down into smaller strips.

Vertical wooden battens run along the length of these facade strips, highlighting the major horizontal elements of the building (slabs, sills, lintels etc.).

STAGE 03

Evolution of the large bands into smaller strips, thereby becoming a series of shifting screens

The spacing of the battens (25mm battens with 25mm gap between them) allows for a variance in porosity depending on the time of day and the amount of illumination.

Above: Living Room on Ground Floor Facing Page: Evolution of massing in relation to surrounding context * Images and Drawings © sP+a ** Photos © sP+a, Edumnd Sumner

The stacked configuration of offset boxes references the way other buildings in the area expand vertically over time as the occupying families grow. Each of the horizontal bands is shifted slightly to shade the level below, while cladding made from lengths of local deodar cedar helps to filter direct sunlight.

The dense array of wooden battens was intended to give the building’s exterior a solid and impenetrable feel, addressing security concerns relating to the house’s infrequent occupancy.

“The house contains no walls along its length, and instead uses a light layered skin of openable wood and glass to create better ventilation while sheltering the interior from the harsh climatic conditions,” - Sameep Padora when speaking to Dezeen Solid partitions were avoided in the main living spaces to maintain a bright feel and continuous lines of sight between the various areas, while bedroom suites are located at the opposite end of the plan from the garden to maintain the interior’s openness. Rooms on the first floor open onto balconies screened by the timber cladding, which also conceals services and storage on the building’s roof.

DOMUS India September 2015 Issue Volume 04/Issue 10 “Bipolar Order” Pg. 93-97, Editoriale Domus

Wallpaper* February 2016 Issue Design Awards Special Best New Private House http://www.wallpaper. com/designawards/2016#140984

http://www.archdaily. com/620851/latticehouse-sameep-padoraand-associates/ http://www.dezeen. com/2015/04/15/latticehouse-jammu-indiaholiday-home-woodenscreens-sameeppadora-associates/

Above: Living Room on Ground Floor Facing Page: Evolution of massing in relation to surrounding context * Images and Drawings © sP+a ** Photos © sP+a, Edumnd Sumner

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DOUBLE NEGATIVE HQ

FILM CITY, MUMBAI, INDIA STAGE: UNDER CONSTRUCTION DESIGNATION: PROJECT LEAD When it came to designing the India headquarters for Double Negative, the facility had to be a statement that was reflective of a studio known for it’s ground breaking visual effects in movies like Inception, Blade Runner 2049 and Interstellar.

In contrast to greenfield projects typically associated with large corporate headquarters, this project was conceived as a retrofit of an existing complex.

The floor plate was configured to ensure that the workzones occupied the column free areas close to the center and could be isolated when necessary with a “breakout” circulatory track running around it and connecting all primary and secondary Support programs.

From the moment employees and guests step into the facility, they are immersed in an experience that is meant to emblematic of modern office complexes with an emphasis on healthy and interactive workspaces and a myriad of breakout activities that aid in the physical and mental well being of the employees at all times.

AREA: 90,000.00 sq. ft.

DESIGN PHASE: June 2017 - March 2018 PROJECT TEAM: Sudarshan Venkatraman Anisha Malhotra Akshay Mirajkar

Above: Rooftop Cafe for Employees Facing Page: 1. View from Facility Entry 2. Reception * Renders were done by the In House Render Team ** Renders © sP+a

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The statement piece of the complex is the central three storey Atrium around which all workspaces are organised.

The core of the complex is meant to be reflective of the lush greenery that surrounds the building, brightening up the adjoining open-plan workzones.

In keeping with the concept of ensuring that employees are always immersed in a bright, naturally light space, the atrium roof was conceived as an open grid with green elements.

Instead of keeping the green elements isolated to the roof and away from the occupants, the rectilinear grid of the roof is distorted around the planter elements to create pockets of outdoor space which form enclosures for the green elements.

This ensures that while indoors, the occupants have a tangible connection to the idyllic surroundings, making the inhabitation of the space more of an experience during long working days.

These planter boxes are fully suspended from the roof with minimal anchoring support provided on the East & West facades of the Atrium, allowing the Atrium to retain its nature as a Large, open column free space.

To minimise heat gain and maximise comfort for the occupants, the roof grid employs a series of North Lights evocative of the complex’s Industrial history. The North Light panels themselves compress as they get closer to the suspended Planter boxes, ensuring visual connectivity to the outside environment is always available.

The solid face of the north light panels could be fitted with solar panels as a means of energy generation to offset some of the overall energy consumption of the facility.

The delicate filigree of the distorted grid proves to be a complement to the heavier sculptural amphitheater bowls which are staggered on the three levels of the Atrium providing a non-stop connect from the Ground to Roof Level making the space perfect for large gatherings and events which are commonplace in DNEGs workplace ethos as an Animation and Visual Effects Studio.

Previous Page: Main Atrium from the Top Most Floor Facing Page: Main Atrium from the Entry Level * Renders were done by the In House Render Team ** Renders © sP+a

Circulation as Breakout?

The circulation on floors has been conceived as a continuous loop of breakout activities that appeals to the interests and pasttimes of the employees.

Jogging tracks, Sports, Reading nooks, Display cases all coalesce into a single entity that provides users a relief from work. With an emphasis on green elements integrated into the structure of the circulation is meant to be reflective of the lush outdoor greenery.

Above (Top to Bottom): 1. East Side Circulation/Breakout 2. Southwest Breakout Void & Pantry 3. South Side Circulation & Meeting Rooms Facing Page (Top to Bottom): 1. Third Floor Workzone 2. Third Floor Workzone and Adjoining Circulation 3. Typical Workzone on Ground, First & Second Floors * Renders were done by the In House Render Team ** Renders © sP+a

Subverting Convention While following conventional open plan office guidelines in the planning of the workzones, some spaces with additional height were configured to have work desks which were staggered in section.

This allowed for more compact organisation and a 20% increase in seating numbers, while at the same time allowiing for unique opportunities for interactions and discussions.

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LAPIS

THE OBEROI, BENGALURU, INDIA STAGE: COMPLETED DESIGNATION: PROJECT LEAD It is impossible to disconnect the restaurants at The Oberoi, Bengaluru from the expansive gardens that the hotel is known for.

With Lapis, maintaining the connection meant ensuring that the space remained bright and airy. The existing windows that dot the periphery of the restaurant provide a well framed view of the gardens and the landscape beyond – an almost marginal boundary between the inside and outside.

Taking inspiration from these windows, connections were made between the three central circular columns forming archways that frame these views while also seamlessly blending the distinction between the verticality of the columns and the vast horizontal expanse of the ceiling.

The delicate brass filigree that radiate from these archways simultaneously lighten the visual load of the heavy columns and organise all the technical requirements are essential to the functioning of the restaurant. The combination of all of these elements transforms the circular columns from a series of freestanding verticals into a single cohesive element that becomes the central feature that structures everything within the restaurant.

AREA: 2,700 sq. ft.

DESIGN PHASE: June 2018 - March 2019 DOCUMENTATION PHASE: March 2019 - June 2019 CONSTRUCTION PHASE: June 2019 - January 2020

Above: The Central Colums that define the Restaurant Facing Page: Outdoor Al Fresco Dining and Deck Areas * Photos © sP+a, EIH Limited

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Clockwise from Left: 1. Central Column with Radial Brass Inlay Detail 2. View of the Restaurant during Breakfast Service 3. View of the Restaurant during Dinner Service 4. Buffet Counters and Gold Mosaic Clad Pizza Oven * Photos © sP+a, EIH Limited, Debolina Ray (SheKnowsGrub Blog)

While some inspirations manifest themselves directly, others emerge as contrasts. This holds particularly true when considering the wall treatments and the colour scheme for the space.

In keeping with its role as the feature element of the restaurant, the blue of the central columns serves to project an aura of calmness and tranquillity within the space contrasting its nature as a beehive of activity, working in harmony with the ever-present vibrant, lush greens of the gardens to provide a peacefulyet-active home for guests to enjoy throughout the day.

The wall cladding only serves to highlight the notion of contrasts further, providing a neutral but elegant background - the fluted panels offering a nominal texture to large stretches of the surroundings while the brass accents that run horizontally around the restaurant balance the overwhelming verticality delivering a sense of hierarchy within the space.

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WABI SABI

THE OBEROI, BENGALURU, INDIA STAGE: COMPLETED DESIGNATION: PROJECT LEAD With Wabi Sabi, the proximity to the expansive hotel gardens and the favourable weather of the city necessitated ensuring that the entry to the restaurant remains imperceptible – something that, in a pinch, can be transformed from a border into a gateway, affording the guests immediate physical and visual connects to the greens that surround them.

The ceiling for the restaurant was raised substantially adding a sense of grandeur to the spacealso allowing for the addition of large clerestory windows to supplement the French windows on the entry façade, making the space seem more open and spacious than before.

To balance these delicate portals, the décor of the restaurant was deliberately made more rugged, with textured slate cladding on the remaining 3 facades.

Rather than rely on cladding large swathes of the wall in a traditional manner, the slate was broken into tiles and staggered in elevation, with the pattern generated by these gestures affording all the otherwise plain surfaces a sense of depth while the illumination within the pockets adding to the ambience of the space by providing a diffused ever-present glow within the space.

AREA: 1,850 sq. ft.

DESIGN PHASE: June 2018 - March 2019 DOCUMENTATION PHASE: March 2019 - June 2019 CONSTRUCTION PHASE: June 2019 - January 2020

Above: Entry Display & Gold Leaf wall behind with Artwork Facing Page: 1. View from the French Windows 2. View of Entry Face from Service Stations * Photos © sP+a, EIH Limited

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Clockwise from Left: 1. View from the Entry 2. View of the Central Banquette and the Restaurant beyond 3. View looking outwards towards the Gardens * Photos © sP+a, EIH Limited

The substantial continuous wall area afforded to the patterned wall cladding is parted at the back of the restaurant to reveal the Sushi counter with gold leafing carefully integrated within the slate pattern providing an imperial backdrop to the live kitchen while simultaneously becoming a focal point for guests within the restaurants and the passers-by in the gardens beyond.

The furniture pieces in the restaurant were designed to be reflective of these complimentary natures of ruggedness and delicacy. The polished Black Galaxy Granite chosen for the furniture provides a sense of solidity while the chips within the Granite glow under the lights appearing as subtle points on an otherwise plain surface. The Walnut wood and brass accents work in concert with the Granite as extensions of these ideals that define the space.

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POLO CLUB

THE OBEROI, BENGALURU, INDIA STAGE: DESIGN DEVELOPMENT DESIGNATION: PROJECT LEAD Polo Club’s importance in the Hotel’s ecosystem is due to both it’s program and it’s proximity to the Hotel’s gardens.

Beloved by guests due to it’s open nature, getting a drink at Polo Club meant a relaxing evening with lovely weather and immersed in lush greenery.

As the most important of the F&B spaces in the hotel, the renovation focuses on making the space a welcoming statement piece that catches the eyes of all who pass by.

As with the other spaces, the ceiling was raised substantially to add to the grandeur of the space. To make the statement, the ceiling and bar back were treated as a single element, with the warm Wooden fins on the ceiling twisting to reveal the backlit Onyx Bar back, diffusing the space with an ever present glow.

The combination of unfinished stone elements and Wood/Wicker furniture reminiscent of mid-modern styles, allows for the space to have a retro-modern feel with the swooping contemporary Wooden element being balanced out by more old school elements reflective of the history of the club and the hotel itself as a whole.

AREA: 1,600 sq. ft.

DESIGN PHASE 01: June 2018 - March 2019 DESIGN PHASE 02: October 2019 - January 2019

Above: View of the Bar Back Element and Bar from the Banquette Seating Facing Page: View from Entries along the face adjoining the Main Corridor * Renders were done by myself ** Renders © sP+a

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LOBBY & BAR

THE TRIDENT, UDAIPUR, INDIA STAGE: CONCEPT/SCHEMATIC DESIGN DESIGNATION: PROJECT LEAD Small interventions in a space which is contextually and thematically strong are always a complicated endeavour.

The Trident Hotel at Udaipur is designed entirely to play to it’s location that is steeped in it’s history.

With the interventions in the Lobby and Bar areas of the hotel, the inspiration was not to replace the heritage themed elements, but to provide a balance, transforming the space into one with a more modern look & feel.

Using delicate elements with contemporary flourishes and midmodern century furniture, the spaces were designed to be respectful of their context, yet unique enough to appeal to guests to inhabit throughout the day.

The theme of balance continues in the selection of the soft furnishings, with the warm tones of the upholstery in the Lobby are meant to be a complement to the Baroda Green Marble flooring that is ominpresent in the hotel, while the use of Deep Blues and Greens in the Bar Area complement the only public area in the hotel with heavy Wooden elements.

AREA: 3,900 sq. ft.

DESIGN PHASE: August 2019 - October 2019

Above: Lobby Waiting Area Facing Page (Top to Bottom): 1. View from Hotel Entry 2. View from Concierge Desk 3. View of the Bar Area * Renders were done by myself ** Renders © sP+a

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STAGGER SHREE RAM SCHOOL

LODHA PALAVA, MUMBAI,INDIA STAGE: COMPLETED DESIGNATION: CO-PROJECT LEAD In a large scale development of the scale of Lodha Palava, educational facilities form the heart of the city. The presence of these places of learning assure new and prospective tenants and buyers of the quality of living that is available to their families should they decide to settle in the locality.

The Shree Ram School serves to help in this scenario, creating a statuesque and contemporary island in the development. The carefully staggered volumes creating a series of breakout terraces as a response to the tight confines of the site. This allows for the recreational programs of the school to be distributed along the terraces of the building.

The stark exposed concrete finish of the volumes work in contrast with the delicate screen that populates the facade. The screen functions both as a shading device and as a means of creating a unique and easily identifiable landmark within the development.

AREA: 1,40,000 sq. ft.

DESIGN PHASE: December 2015 - March 2016 DOCUMENTATION PHASE: March 2016 - May 2017 CONSTRUCTION PHASE: Feb 2017 - June 2020

Above: View of the Patterned Grille that makes up the Facade Facing Page (Top to Bottom): 1. View from the Adjoining Pulic Pool 2. Aerial View from the Entry Side * Renders were outsourced to an external agency ** Renders, Images © Serie Architects, Lodha Group

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ROOM RENOVATIONS

THE TRIDENT NARIMAN POINT, MUMBAI STAGE: UNDER CONSTRUCTION DESIGNATION: PROJECT LEAD The renovations at the Trident hotel at Nariman Point had a very simple directive: Redefine the aesthetic of the guest rooms at the hotel and provide a standard which would be the basis for all future renovations in the hotel.

The location of the hotel on the picturesque Marine Drive meant that the main focus was to maxmise the views of the seaface and the Arabian sea beyond.

The Furniture Layout and selections was carefully recalibrated with lighter elements to make the room feel roomier than its 315sqft Floor Area.

The material palette was deliberately kept free of excessive flourishes, opting for neutral and pastel tones to make for a refreshing & contemporary reboot.

Light veneer accents and Fluted Glass elements only accentuate these gestures.

The combination of all of these elements provides a solid and minimal refresh of the hotel’s visual identity making it more relatable to a modern clientele.

AREA: 50,000 sq. ft. (116 Rooms) DESIGN PHASE (MOCK-UP ROOM): July 2020 - May 2021 DOCUMENTATION PHASE (MOCK-UP ROOM):

May 2021 - June 2021

CONSTRUCTION PHASE (MOCK-UP ROOM):

August 2021 - October 2021

Above: Wardrobe with Fluted Glass shutters in the Vestibule Facing Page: 1. View of the reworked Headboard and the adjoining Window into the Washroom 2. View towards the Sea Facing External Window 3. View of the Minibar Unit & Multi-Use Table * Photos © sP+a, EIH Limited

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ENVELOPE PIER 6

BROOKLYN BRIDGE PARK, NY STAGE: COMPETITION DESIGNATION: DESIGN TEAM Pier 6 is a dynamic juncture point for not only the Brooklyn Bridge Park, but for Brooklyn itself. Historically, having been docks for manufacturing use, the piers have transformed to cultivate a new Brooklyn; one that celebrates the edge of the city as a place for public interaction.

With playgrounds, volley ball courts, and restaurants, Pier 6 acts as the catalyst for this interaction both within the park and for the western edge of Brooklyn.

Our design gives homage to this transformation. The overriding gesture of the facades for both buildings is meant to embody this ideal.

Building on the history of Brooklyn Heights, the façade invokes the traditional grid work that had characterized the industrial buildings in this area for decades. This framing happens at two scales within the façade - larger, rigid terra cotta frames that mimic the old factory buildings of the past, and a smaller metal grid that is revealed as the building begins to peel away. Closer to the ground, this lattice work is furthercut away to reveal the glazing behind, resulting in a unique relationship between the base of the building and the surrounding park and streetscapes.

AREA: 295,000 sq. ft.

DESIGN PHASE: March 2015 - May 2015 PROJECT TEAM: Dongyoung Kim Sejung Kim Sudarshan Venkatraman

Above: View of the Facade Detail of the Envelope Facing Page: Evolution of envelope aesthetic based on weekly discussions with the New York City Building Council * Renders were outsourced to an external agency ** Renders © ODA

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The scope of the project was to design two towers of 315’ and 155’ height respectively. The guidelines provided at the beginning of the competition also specified that the smaller of the two towers must provide inclusionary housing which was a key selling point for the New York City Building Council.

As a result, the taller of the two towers is almost exculsively condiminiums for sale by the developer and the smaller tower has a 60:40 mix of Inclusionary to saleable housing units.

Achieving a delicate balance between saleable area to appease the financial concerns of the developers and the rigid guidelines set forth by the Buidling Council was key to the success of the proposal.

Due to the fairly unique design process involved in this competition, ODA directly presented proposals to the city council on a weekly basis for discussion, debate and opinion.

This led to an exhaustive elimination process in which the design was refined and edited, sometimes daily, to keep in mind the critiques provided during the weekly meetings.

As the overall form of the building was, in essence, fixed due to neighbourhood concerns and various zoning restrictions, the process of experimentation was limited to the envelope of the building, with the various intricacies and filigree being the main focus of the design.

The mandate to have the towers have a very clear podium element that relates to the context of the surrounding park was one of the paramount concerns heading into the design process, often becoming the defining characteristic in the elimination process.

The relationship between the two towers was also of a high priority.

Considering the smaller of the towers was, in effect, a rental building, the difference between the two towers needed to be subtle yet easily distinguishable. As a result, the smaller tower has thicker frames and less intricacy in its envelope to reflect its more modest innards, while the taller tower boasts of a more delicate filigree that provides more open window area to its inhabitants.

Clockwise: 1. Night time view from main drop-off avenue and highway.

2. Winter time view of both buildings.

3. Aerial View showing the context particularly the proximity to the Downtown Manhattan waterfront

* Renders were outsourced to an external agency ** Renders © ODA

BEVELLED 42-20 27th STREET

LONG ISLAND CITY, QUEENS, NY STAGE: CONCEPT/ DESIGN DEVELOPMENT DESIGNATION: DESIGN TEAM Envisioning a modern industrial structure merged with a residential building, culminates in the design of Long Island City’s 27th Street.

Concrete is used for the structure and façade, as if it protects the more delicate materials of the building such as the glass terraces and botanical gardens. The two botanical gardens for residents (one 65 feet high and the other 75 feet high) have openings to the exterior and are visible to pedestrians.

The botanical gardens themselves appear as sculpted supports which enhances the notion of a large yet delicate mass that is suspended above the sidewalk.

Efficient unit placement allow for maximum number of terraces where some connect to the botanical gardens, while others look out into the street.

The project is designed as a low height block in this phase as this becomes the base for possible tower expansions when the Zoning code revisions for the Long Island City area are implemented in the furture.

AREA: 192,000 sq. ft.

DESIGN PHASE: Jan 2015 - June 2015 PROJECT TEAM: Dongyoung Kim Sejung Kim Sudarshan Venkatraman

Above: View of the Staggered Terraces under Construction Facing Page (Top to Bottom): 1. Day Time View from the South Corner 2. Night Time View from the West Corner * Renders were outsourced to an external agency ** Renders, Images © ODA

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RESIDENTIAL DEVELOPMENT

KALPATARU DEVELOPERS, PUNE STATUS: CONCEPT DESIGN DESIGNATION: DESIGN TEAM Based in Baner, a upcoming suburb in the city of Pune, this residential complex called for a high-density, high-rise development with upto 4 tower of 20 floors.

The 9 towers of varying heights are reorganized so as to optimize the green spaces available to the residents, achieving as much as 75% open area.

As a result, all 7 towers have a greater number of towers, but the increased distance between the towers as well as the greater openness of the public spaces add to the premium nature of this development.

The towers gradually step down towards the podium, creating terraces which can be used by the adjoining apartment units.

Rather than group the apartments according to their respective typologies, the units have been distributed more efficiently so as to increase the visual benefits of the location of the site at the base of a hill. The premium 4BHK units form a series of terraced row houses, increasing their value by ensuring greater privacy as well as increased visual connection to the common open spaces.

AREA: 450,000 sq. ft.

DESIGN PHASE: August 2012 - October 2012 PROJECT TEAM: Vami Koticha Vipul Verma Sudarshan Venkatraman Nipun Agarwal

Above: Detailed Presentation Massing Model Facing Page: Development of Massing Strategy and Typological Distribution * Renders were done by the In House Render Team ** Renders © sP+a

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CLIENT’S REQUIREMENTS: SITE AREA: 36084 SQ. M • 1 tower of 4BHK apartments (3000 sq. ft) - 2 apartments per floor with a total of 40 apartments.

• 1 tower of 4BHK apartments (2500 sq. ft) - 2 apartments per floor with a total of 40 apartments.

• 2 towers of 3BHK apartments (1900 sq. ft) - 4 apartments per floor with a total of 160 apartments.

• 5 towers of 3BHK apartments (1500 sq. ft) - 4 apartments per floor with a total of 240 apartments.

STAGE 01 Extrusion of the tower volumes based on the corresponding programme elements.

The 4BHK unit towers get the prime view of the hill to the South-East of the site.

STAGE 02 Creation of a new type of unit-the 4BHK terraced, which were located at the base of the towers.

The terracing is a means of adding value to those units which are usually considered lower echelon to the prospective clients. These units become valuable to families with the extra outdoor spaces.

LEGEND 3 BHK TYPE 1 (1500 sq. ft) 3 BHK TYPE 2 (1900 sq. ft) 4 BHK TYPE 1 (2500 sq. ft) 4 BHK TYPE 2 (3000 sq. ft) SERVICE CORE DECKS TERRACES

TERRACED PREMIUM APTS. (FLOORS 1 - 4) The gradual terracing the of the premium 4BHK apartments reduces the imposing nature of the towers making the central open spaces more enjoyable.

UNDULATING PODIUM To better relate to the adjoining terraces of the towers, the podium has smaller undulations at a more human scale that are both aesthetic and programmatic in nature

STAGE 03 Addition of a unifying podium element, which houses all the services, parking.

The roof of this becomes a large open green space. This also adds to the designated amenity space, adding to the extra green space of the terraces of the lower level apartment units.

STAGE 04 Shifting the units out further to form individual terraces which add to the value of these units. The stepped profile of the bases allow the tower to scale gracefully to the podium, making it less imposing.

This is also continued in the podium units ensuring all outdoor spaces have no clear boundary between all green areas.

CORE

POSSIBLE DECK LOCATIONS

CORE

Massing Strategy A provision in the development control regulations for the city of Pune allows for double height terraces to be considered free of FSI calculations.

CORE

LIVING ROOM

With the client insisting that this be one of the key considerations for the entire proposal, the apartment layouts were worked on in conjunction with Vastu planning principles so as to allow the deck to move its location on alternate floors so as to free up headspaces and create a “double-height deck”.

BEDROOMS

CORE

CORE CORE

DOUBLE HEIGHT FLOWERBEDS

DECKS

VIEW

Previous Page: Aerial View from Upper Floor Apartments Clockwise (Left to Right): 1. Massing Strategy 2. View from the Podium looking North 3. View from 4BHK Terrace Unit * Images and Drawings © sP+a ** Photos © sP+a, Edumnd Sumner

NOTATION CONCEPT + NOTATION BERNARD TSCHUMI

FALL SEMESTER 2013 GSAPP, COLUMBIA UNIVERSITY Architecture invents concepts and materializes them by turning them into physical spaces and constructed materials. It is the art of building concepts through spaces and materials.

Two different materials can be used to express the same concept but will generate different effects. Concepts are what differentiate architecture from mere building.

Sometimes the concept is preceded by a diagram, meaning an abstract configuration that represents the prevalent forces or movements that will come to define the project.

A concept is not an image, shape, or parti. An architectural concept that is materialized in bricks will inevitably differ from one that is made out of metal or glass. What distinguishes a concept in architecture from a concept in philosophy or mathematics is implied materiality. A material can reinforce or distract from a concept.

So what is a concept and what is it for? Etymologically derived from the Latin verb concipere, a concept is about grasping or holding onto the real. Concepts are what allow us to apprehend reality.

An architectural concept in and of itself has no materiality, and a concept should not be confused with the way it is materialized.

- Bernard Tschumi Concepts: Red Is Not A Color

Above: 1. Formula 1 Telemetry used as a Notational Reference 2. Notational Translation of Salk Institute Case Study Facing Page: Spatial Re-configuration of Notational Analysis within a Rigid Environment

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Generating Space through Notation: A Case Study of the Salk Insitute through the Lens of Formula 1 Telemetry Telemetry in Formula 1 is a condensed informative tool used by drivers and engineers to gain a greater understanding of the performance of the car. Data is wirelessly transmitted from the car as it circulates around the track giving the engineers a constant information stream for them to analyze.

The data is split into individual components for in-depth analysis, but can also be combined as shown for comparitive analysis, which allows for true understanding of the performance of the car, as the relation between the various performative aspects of the car is what helps rationalize the seemingly disparate information.

SERVED SPACE 01

MINIMUM LIGHT CONDITION (ENCLOSED STAIRCASE)

START LINE

TRAVERTINE COURTYARD MINIMUM LIGHT CONDITION (NIGHT-TIME AND EXIT CONDITION)

The assumption that formed the basis of the notation system to describe SERVED the functioning of the Salk Institute for SPACE 02 Biological Studies is that there is a fixed circulation that is undertaken as part of average daily routine of a scientist at the Institute.

SECTOR 03

The information from the telemetry SECTOR 02 always involves the element of time TRANSITORY CONNECTOR which is critical to the measurement of the performance of the Formula 1 car.

Each aspect is measured over a limited and fixed period of time, i.e. the duration of a lap.

With the lap and its duration being the point of correlation between the original notation and its derivative infographic, the circulation through the space becomes the object that allows for the translation of the information.

The information itself depicts the various aspects of the building the scientists come into contact with as they travel through the building enabling the circulatory space to take shape as an avatar of this data.

TIMING POINT 01

MINIMUM LIGHT CONDITION (ENCLOSED STAIRCASE)

END OF CIRCUIT

SERVED SPACE 01

TIMING POINT 01

START LINE

TRAVERTINE COURTYARD

SECTOR 01 MINIMUM LIGHT CONDITION (NIGHT-TIME AND EXIT CONDITION) SERVANT SPACE

The derivative infographic takes into account four major aspects that help clarify and quantify performative qualities of the Salk Institute - Material Quantity, Light Intensity, Relationship between Servant & Served spaces, Relationship between Solid & Void.

These information streams allow for an analogical charting of the path of circulation through the space, with the rise and drop of the circulatory spine mapped in relation to the path through the Institute itself.

END OF CIRCUIT

START LINE

SERVANT SPACE

SPATIAL CONCEPT

Attached to the facade, the spaces that result from the folding process create windows that connect visually to the outside.

STAGE 01: Unfolding the bounding box of the entire space to create more floor area to work a linear progression of events in the space

STAGE 02: The Unfolded box then becomes the base plane for the design to take root

STAGE 03: The design treats the base plane as homogenous without the previous boundaries of the individual folded planes

STAGE 04: Using the previous boundaries as folding points, the base plane is folded once again

The extent of the extrusions sometimes results in interesting collisions.

The two intersecting auditorium extrusions create an open amalgamated space where the users all face each other.

STAGE 05: The Process of folding the Unfolded base plane with the designed spaces acts as a means of transgressing the linear visualization of the spaces as they were before creating new points of intersection & conflict which, when resolved, yield new definitions and new spaces

The space is notable for the lack of a focusing stage so the resulting configuration is meant for debate and discussion.

The extrusions also intersects with circulatory paths forming shortcuts connecting the auditoriums to the surrounding spaces.

Notation and Education: Thematic and Programmatic Translation of Notational Concepts

The extruded blocks when folded sometimes intersect with other elements like circulation paths.

These paths in turn when rotated form modes of vertical circulation which create new possibilities in regards to usage of the original programmatic designation.

“We are surrounded today, everywhere, all the time, by arrays of multiple, simultaneous images. It seems as if we need to be distracted to concentrate.

The state of distraction in the metropolis seems to have been replaced by a new form of distraction, which is to say a new form of attention.”

- Beatriz Colomina Enclosed By Images: The Eameses’ Multimedia Architecture The Education Center is a spatial translation of the current state of distraction and disorientation that we live in with the multiplicity of screens and windows, the allure of social media, and the ready availability of advertisement opportunities and technological communication devices in contemporary society.

The lack of formal programmatic defintion ensures that the spaces remain in a constant state of mutation, with the transformative nature of its flexible ideology catering to the diverse whims and curiosities of the variety of users present in the area.

The apparent non-logic of the circulation systems connecting the ‘windows’ encourages the users to ‘Drift’, with the possibility of unpredictable serendipitous encounters with new information nodes and paths of exploration, turning the very nature of education into a social construct.

The conscious decision to ignore the boundaries of the individual planes in the unfolded box creates collisions with in the objects themselves.

These objects when connected to the circulation paths create extensions with interesting forms.

These forms transgress the traditional usage of the spaces forcing the users to confront their own prejudices in regards to presentations and discussions.

Traditional spaces are also littered around the base plane which after folding remain exactly as they are both in form and programmatic usage.

Exhibition Space/Cafe from original auditorium block

Intersecting gallery space connected to the auditorium

Roof of the circuit used as extensions of the spaces

Connecting Auditoriums with intersecting shortcuts

Circulation planes transform into a display framework

Folded planes turn into an impromptu auditorium

ELASTIC PLASTIC & ELASTIC

LISE ANNE COUTURE SPRING SEMESTER 2014 GSAPP, COLUMBIA UNIVERSITY Museums reside at the intersection of the urban realm and the space of culture.

As the interface between architecture and the city, and between the public realm and the private interior, occur within the thickness and across the surface of enclosure, museums explore the architectural possibilities of a hybrid condition that stretches between a taut two-dimensional envelop and a scultpural three-dimensional mass.

Plastic and Elastic is not intended to be taken literally as an aesthetic or physical quality but rather describes a terrain that enables multiple kinds of exchanges and experiences through shared and overlapping territory.

While the building envelop carries with it ideological, aesthetic, political and technological intentions the a priori existence of the zoning envelop is a critical protagonist in the determination of the intersection betwen the spheres of urbanism and architecture.

Using the mechanics of zoning, air rights and incentives, the architecture of the museum seeks to ‘stretch’ the limits of surface and enclosure, creating new volumes and spaces as a means of countering an urbanism too often rendered banal by virtue of infinite expanses of taut building skins that are seamless and increasingly flat.

‘Plastic and Elastic’ refers not only to a reconfigured (program as well as boundary condition but also to the spatiality of the interior spaces that serve to challenge the orthodoxy of the white box and other museological conventions while engaging local events such as the Art Biennale & the Design Biennale.

Above: Structural Framework and the Residual Exhibition Spaces Facing Page (Top to Bottom): 1. Exploded Axonometric of the Project 2. Spatial and Circulatory Planning Strategy

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Upper Roof Level

The unified undulating surface is further manipulated in order to mould itself to the programmatic needs of the spaces it neighbours. This surface after all modulations becomes the structural framework that acts as the backbone to the facade, thereby creating a cloak for the adjoining ‘open’ spaces, shielding these spaces from the nearby street.

Level 04

Larger Commercial Art Spaces

Structural Facade

Roof Level 02

The escape space for primarily commercial levels acting as a relief from the hustle and bustle of the indoor street

Level 03

Continuation of Level 02 with more commercial art spaces like Galeri Arter and Salt, Beyoglu

Pixelated Facade

Level 02

Shopping and commercial activities

Level 01

Primarily commercial galleries and the first of the pocket art spaces that have extensive visual connection to the street

Ground Level

Roof Level 01

The first roof level is a green extension of the ground level amphitheater. It acts as an escape for the adjoining commercial spaces and the neighbouring pocket art spaces as well.

The final modulated facade is mapped thoroughly to the connected programs behind to form a collection of screens of varying sizes based on the programmatic requirements of the spaces. This results in the appearance of a pixelated facade which can project a single fragmented image or a collage of individual displays related to the programmatic desgination.

A series of ramped green spaces form an amphitheater alongside the street as a natural gathering point for all visitors

Based on the observation regarding compressed and expanded streetscapes, the program blocks for the stores are moved into and away from the street as an experiment into its effect on the street condition.

The experiment results in the formation of clusters and pockets, both adjoining and disconnected from the street.

The movement of the program blocks into the street creates clashes and intersections, thereby making them ineffectual as a usable space.

Based on the zone in which the clash exists the blocks are moved in the z-axis to hover over or rest below the street.

These ‘residues’ are then linked to form a secondary circulatory network aligned and connected to their adjoining private pockets. These act like shortcuts plugged into the existing programmatic volumes, ensuring serendipitous encounters in an isolated yet connected ecosystem.

Plastic & Elastic and Istanbul In Istanbul. the existing street conditions provide a unique opportunity. The rapidly undulating topography moulds and shapes the street into a constantly changing element that scythes between the buildings.

Much like the Chelsea Art Galleries in Manhattan, some store spaces along the main boulevards are colonized into art galleries and workshops. In other instances, galleries take the place of ordinary office spaces, blending unassumingly into the streetscape.

Balcony projections in the form of bay windows make for a common sight in the city. This has the effect of compressing the streetscape in some spaces while expanding them in others.

Previous Page: View from the Adjoining Pavement Clockwise (Left to Right): 1. Second Entry into the Complex 2. Circulation on Level 03 & adjoining Escape space 3. Void spaces between program and facade containing the pocket art spaces

Clockwise (Left to Right): 1. Void spaces between program and facade containing the pocket art spaces 2. Roof Level 01 3. Void spaces between program and facade containing the pocket art spaces 4. Primary Entry leading to the amphitheater and to the center of the site.

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