CONTENTS
01 03 Hard and Soft Edges
05 06 The Impeccably Understated
Working Drawing
Melange of Senses
04 Sensory Mapping
Multi Functional Centre
Exhibition Design
02
07 Hands-on Experience
08
01
ExhibitionDesign Year : 2018 Location : Kumartuli, Kolkata.
01
Figure 1 : Site location in Kumartuli, Kolkata
All the buildings range from one storey to up to fourstoreys. The buildings nearest to the streets where clayidol makers have to keep their clay idols to dry generally range between one to two storeys. The structures aremostly studio spaces or commercial with very few residential in nature .
Rarely any vegetation is there which results in the streets having no shade other than that of the structures on the sides. One of the reasons for lack of shade is so that the clay idol makers have enough sun to dry the idols.
But in scorching heat of summer, the lack of shade creates a very unpleasant perception of the place to a non-worker. The lack of greenery also makes the clutter of the half done sculptures, straw figures, benches, wooden planks, raw materials, etc. on the sides of the street look more chaotic.
02
Figure 2 : Ground Floor Plan
03
The core idea behind the design was to represent the context of Kolkata on a global level by desiogning an iconice structure that also becomes a landmark and a part of the new image of the city.
Figure 3 : Detailed view of the below
Figure 4 : Detailed view of the below
Figure 5 : Section through North
04
Figure 6 : Roof Floor Plan
05
The design started with the roof of thick exposed bricks . Light enters the building through the voids created in the exposed brick walls like jalis. Figure 7 : Detailed view of the below
Figure 8 : Detailed view of the below
Figure 9 : Section through West
06
Figure 10: Exploded 3D of the structure
07
Figure 11 : Joinery Details
The exposed brick roof makes up the major part of the design both functionally and astheticall attractive pleasing. A simple courtyard is designed at the center which would be the interactive hotspot of the structure and the voids made on the walls opens up the structure to the light on all the directions. The exhibiron space and the workshop is catered by the service room on the backside of the building which is accessible by the vechiles through a service road.
The exisiting cluster of the trees is untouched and the landscape is the designed sensibly around them making up space for outdoor expos and events.
Figure 12 : Material Details
08
02 Multi Functional Centre Year : 2019 Location : Dadar, Mumbai.
The Project was to design a Library and Digital Convinence Center in a crowded area of Mumbai i.e Dadar. The buildings in this locality does engage with the surroundings and disapperas in the gray city’s sky.
The Concept for the project is to design a modular structure but by playing with the dimensions of the modules. There are few trees on site, using them we get some pockets of areas where the trees are located. Building the structure around the trees helped us to come up with some spaces which can be useful for the users of the building and also for the outsiders.
Figure 13 : Initial Stage of Modules
Figure 14 : Modules Combined together
The modules are placed alternately on each floor leaving a void in between. These floors are connected by service block.
Figure 15: Final Structure
Figure 18 : Exploded 3D of the structure
09
Figure 16 : Site Context and Analysis
10
Wanted to make this project as a landmark of the city, open to public and it’s environment. In order to do so I decided to open the ground floor level by creating a small Amphi- theatre and Cafe that could allow for diverse outdoor events. I also designed a shapeof the building that would make it stand out while providing a sense of identity and shading for the glass facades.
Figure 19 : Zoome
To make the structure more welcoming to the public we made pockets of spaces around the trees on site and created some public space at the ground level. We addressed circulation of the people both coming on foot or by public transportation from the main street and people driving to the building and parking at the back. The modules are placed alternately on each floor leaving a void in between. These floors are connected by service block.
Figure 21 : Zoome
Figure 17 : Ground Floor Plan
11
ed on views of the Children’s Library
Figure 20 : Zoomed on views of the outdoor cafe
ed on views of the Art Gallery
Figure 22 : Zoomed on views of the Adult’s Library
12
Figure 23 : Sectional view through Office
Figure 24 : Zoomed in view of the Office
Figure 25 : Zoomed in view of the Office
13
Figure 26: Zoomed in views of the indoor Cafe
Figure 27: Zoomed on views of the Outdoor Cafe
Figure 28: Sectional view through Cafe
14
Figure 29: Zoomed on view of the Art Gallery
Figure 30: Zoomed on view of the Art Gallery
Figure 31: Sectional view through Art Gallery
15
Figure 32 : Sectional view through Library
Figure 33 : Zoomed on views of the Library
Figure 34: Zoomed on views of the Library
16
03 Melange of Senses Year : 2019 Project Type: Landscape.
The aim of the design was to ignite the sense of sight,sound, touch and smell. Like in a traditional market all our senses are triggered which leaves us to wholesome experience.
The user confronts the design with his eyes. The legs and hands constantly measures the length of the path having different material pavements. The design intervention consists of number of varying plantation and material pavements which are colourfull and allows the user to be barefoot inside the garden. The design of the park has been derived from simple irregular curves resulting in hybrids of semi-circles. This creates different spaces dividing them into small pockets of different senses and the surrounding showing visually pleasing and colourful plantations.
We could think of sense of touch as the unconscious of vision. The eyes stroke distances, surfaces and the heights. The design intervention is built with different recycleable materials . Natural things convence the user about the material .
17
Figure 35: Exploded view of the site
Figure 36: On site Trees
Figure 37: On site shrubs
Figure 38: On site pavements
Figure 39: On site creepers
Figure 40: Longitudinal section
18
Figure 41: 3D sectional view
Figure 44: Section of the above given 3D
19
Figure 42: 3D sectional view
Figure 45: Section of the above given 3D
Figure 43: 3D sectional view
Figure 46: Section of the above given 3D
20
Figure 47: Photo of the garden from the site
Figure 48: Photo of the garden from the site
Figure 49: Photo of the row housesfrom the site
04 Hard and Soft Edges Year : 2019 Location : Vash, Navi Mumbai.
The selected site area was comprising of the main residential typology, the street in between the housing and the garden space connecting to it. The pedestrian route between these landmarks intersects with the main acts of road, which generates a series of urban voids. The research on these resedential typology and it’s street character describes the behaviours and spatial qualities such as soft and the hard edges of the site. Understanding the qualities of how useful the edges are to create an active space was the aim behind this study. Along the fragment of the site, there are many such edges which provie an opportunity for the future interventions. These spaces create a network of public spaces which generate quality connector spaces through a consistent green space in between and material palette.
Figure 53: Site Analysis of Vashi, sector 6
21
Figure 50: Photo of the garden from the site
Figure 51: Photo of the ground from the site
Figure 52: Photo of the row houses and lane from the site
Figure 54: 3D view of the site with detailed zoomed in views
22
Figure 55: Resdential Space
This map shows the residential spaces and the garden in between the two row housing typology with a main junction that acts as in a soft edge for the street.
Figure 56: Soft Edges
This map shows the residential spaces and the main garden space in between the two row housing typology wuth the road.
Figure 57: Natural Veget
This map shows the natural scapes spaces around the
23
tation and Landscape
l vegetation and the lande stie with road networks.
Figure 58: Natural Vegetation and hard Edges
This map shows the natural vegetation and the landscape spaces around the site with the road networks and how the hard edges respond to it.
Figure 59: Natural Vegetation and Residential Spcaes
This map shows the natural vegetation and the landscapes around the site with residential areas.
24
05 Sensory Mapping Year : 2019 Location : Mumbai.
While walking in the city, the senses play an essential role in human behaviour, providing rational grounds for knowledge and action. The research objective of this project is to investigate the nature of this integration during the spatial experience of wayfinding and navigation in the city. The existing imbalance in the multisensory could disconnect people from the built environment. Investigating the senses in depth in their singular modality as well as the multisensory identifies their significance in designing for environmental quality outdoors. The actual experience of urban spaces while navigating in the city is based on the overlapping of sensory experiences, presenting an array of methodological problems in its assessment and evaluation. The project of sensory navigation in the city of Mumbai takes a holistic view of places and their sensory identity and draws on users’ experience in evaluating environmental and spatial quality of place.
Figure 60: Sound Topography of Mumbai
Figure 61: Smell Topography of Mumbai
25
Figure 62: Photomontage of the places showing sensories
26
06 Working Drawing PRODUCED BY AN AUTODESK STUDENT VERSION
Year : 2019 Location : Khandeshwar, Navi Mumbai. C38
C37
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1675
C39 1825
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SEMINAR ROOM 15SQ M F2
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DUCT
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1600
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935
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1555
650
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25 24 23 22 21
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Figure 66: Detail at C
PCC BED (1:2:4)
Figure 67: Strip Section PRODUCED BY AN AUTODESK STUDENT VERSION
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Figure 63: Plan
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PROD
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Figure 69: Centerline Plan
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Figure 70: Foundation Plan
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C21,C22,C23,C24, C25,C26,C27
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F27
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C38,C39 +22000 MM
600X600
C34
C12,C20,C26, C33,C39,C42
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P2 F34 P7
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START FACE +22000 MM
C36
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C11,C19,C25, C32,C41
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UP 21
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F1 C1 Q1
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Figure 74: Staircase Plan
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Figure 78: Door and Window Details
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07 I.M. Pei : The Impeccably Understated Modernism “Life is architecture and architecture is the mirror of life.” - I.M.Pei
INTRODUCTION: Ieoh Ming Pei was a Chinese-American architect. Pei drew inspiration at an early age from the garden villas at Suzhou. In 1935, he moved to the United States and enrolled in the University of Pennsylvania’s architecture school, but he quickly transferred to the Massachusetts Institute of TechIeoh Ming Pei was born into a world of mandarins and missionaries in war-
nology. He was unhappy with the focus at both schools on Beaux-Arts
torn China on April 26, 1917. His mother opened his heart to the rhythms
architecture, and spent his free time researching emerging architects, es-
of natural beauty and his grandfather opened his mind to the depth of
pecially Le Corbusier. After graduating, he joined the Harvard Graduate
one’s connection to the past, both concepts apparent in his creation of ar-
School of Design (GSD) and became a friend of the Bauhaus architects
chitectural design. Although Pei claims that he does not have a stylistic
Walter Gropius and Marcel Breuer. Pei’s first major recognition came with
signature, his buildings are identified by geometric form and minimalist beauty, an integral relationship with their natural surroundings and a profound respect for the past while exceeding the needs of those who utilize them. His architectural sensibilities and achievements have made Pei one of the premier architects of the twentieth and twenty-first centuries. Pei once explained his approach as requiring ‘a full understanding of the three
the Mesa Laboratory at the National Center for Atmospheric Research in Colorado. His new stature led to his selection as chief architect for the John F. Kennedy Library in Massachusetts. He went on to design Dallas City Hall and the East Building of the National Gallery of Art. In the early 1980s, Pei was the focus of controversy when he designed a glass-and steel pyramid for the Musée du Louvre in Paris. Pei won a wide variety of prizes and awards in the field of architecture, including the AIA Gold Medal in 1979, the first Praemium Imperiale for Architecture in 1989, and the Lifetime.
35
FLOW OF SPACES:
Achievement
Award
from
the
Cooper-Hewitt,
Nation-
al Design Museum in 2003. In 1983, he won the Pritzker Prize,
Rock and Roll Hall of Fame and Museum.
which is sometimes referred to as the Nobel Prize of architecture. Though known as a modernist, and notable for his forms based upon arrange-
During early discussions on where to build the Hall of Fame and Mu-
ments of simple geometric shapes such as triangles, circles, and squares, Pei has
seum, the Foundation’s board considered the Cuyahoga River. Ulti-
rejected the implications of globalism inherent in the “International Style,” instead
mately, the chosen location was along East Ninth Street in downtown
advocating contextual development and variation in style. He has commented
Cleveland by Lake Erie, east of Cleveland Stadium. At one point in the
that “the important distinction is between a stylistic approach to the design; and
planning phase, when a financing gap existed, planners proposed locat-
an analytical approach giving the process of due consideration to time, place, and
ing the Rock Hall in the then-vacant May Company Building, but finally
purpose.” On a trip to China in 1974, he even urged Chinese architects to look
decided to commission architect I. M. Pei to design a new building. Pei
more to their architectural tradition, rather than designing in a Western style.
came up with the idea of a tower with a glass pyramid protruding from
Pei founded his own practice in 1955, then known as I. M Pei & Associ-
it. The museum tower was initially planned to stand 200 ft (61 m) high,
ates (but later changing its name to Pei & Partners in 1966 and finally to Pei
but had to be cut down to 162 ft (49 m) due to its proximity to Burke
Cobb Freed & Partners in 1989). In its six-decade history, the firm’s most
Lakefront Airport. The building’s base is approximately 150,000 square
well-known work is likely his crystallin extension to the Louvre in Paris; oth-
feet (14,000 m2). The ground-breaking ceremony took place on June 7,
er highly influential works include the Bank of China in Hong Kong, the East
1993. The museum was dedicated on September 1, 1995. In addition to
Building of National Academy of Art in Washington DC and the JFK Resi-
the Hall of Fame inductees, the museum documents the entire history of
dential Library in Boston. In 1990, Pei retired from full-time practice, pro-
rock and roll, regardless of induction status. Hall of Fame inductees are
gressively reducing his workload over the following decades. However, he still
honored in a special exhibit located in a wing that juts out over Lake Erie.
takes on some work as an architectural consultant, often for Pei Partnership Architects, the firm founded by his sons Chien Chung Pei and Li Chung Pei.
Figure 83: Suzhou Museum, China
Figure 84: Rock and Roll Hall of Fame, Cleveland, USA
36
There are seven levels in the building. On the lower level is the Ahmet M. Ertegun
Finally, the top two levels of the Rock and Roll Hall of Fame fea-
Exhibition Hall, the museum’s main gallery. It includes exhibits on the roots of rock
ture large, temporary exhibits. Over the years, numerous ex-
and roll. It also features exhibits on cities that have had a major impact on rock and
hibits have been installed on these two levels, including exhib-
roll: Memphis, Detroit, London, etc. The Ahmet M. Ertegun Exhibition Hall in-
its about Elvis Presley, hip-hop, the Supremes, the Who, etc.
cludes a theatre that features films on various subjects such as American Bandstand. The first floor of the museum is the entrance level. It includes a cafe, a stage that the museum uses for various special performances and events throughout the year, and a section called “Backstage Stories.” This level also includes a gallery with artifact-filled exhibits about Les Paul, Alan Freed, Sam Phillips and the evolution of audio technology.
Figure 86: Le Grand Louvre, Paris, France
Designed by I. M. Pei and structurally engineered by Leslie E. Robertson Associates, the building rises above the shores of Lake Erie. It is a combination of geometric forms and cantilevered spaces that are anchored by a 162-foot tower. The tower supports a dual-triangular-shaped glass “tent” that extends (at its base) onto a 65,000-square-foot plaza that provides a main entry facade. The building houses more than 55,000 square feet of exhibition space, as well as administrative offices, a store, and a café. Figure 85: Rock and Roll Hall of Fame, Cleveland, USA
Visitors enter the Hall of Fame section of the museum on the third floor. This section includes “The Power of Rock Experience,” which includes one of Jonathan Demme’s final works, a film shown in the Connor Theater. Visitors exit the Hall of Fame section on the fourth floor. That level features the Foster The-
“In designing this building,” Pei said, “it was my intention to echo the energy of rock and roll. I have consciously used an architectural vocabulary that is bold and new, and I hope the building will become a dramatic landmark for the city of Cleveland and for fans of rock and roll around the world.” “These are the things I tried to imbue in the building’s design—a sense of tremendous youthful energy, rebellion, flailing about.
ater, a state-of-the-art 3-D theater that is used for special events and programs.
37
Part of the museum is a glass tent leaning on a column in the back. All the other forms—wings—burst out of the tent. Their thrusting out has to do with the rebellion. This, for me, is an expression of the musical form of rock and roll.” - I. M. Pei .
general public, and a library that provides information about Islamic Arts in both English and Arabic. The library also has nine study rooms. The museum is influenced by ancient Islamic architecture yet has a uniquely modern design involving geometric patterns. It is the first of its kind
Museum
of
Islamic
Art,
Doha
The Museum of Islamic Art is a museum on one end of the seven-kilometer-long (4.3 mi) Corniche in Doha, Qatar. Per the architect I. M. Pei’s specifications, the museum is built on an island off an artificial projecting peninsula near the traditional dhow harbor. A purpose-built
to feature over 14 centuries of Islamic art in the Arab States of the Persian Gulf. Occupying an area of 45,000 m2 (480,000 sq ft), the museum is on an artificial peninsula overlooking the south end of Doha Bay. Construction of the building was done by a Turkish company, Baytur Construction, in 2006. The interior gallery spaces were designed by a team of Wilmotte Associates. The museum was opened on November 22, 2008 by the then-emir of Qatar, Sheikh Hamad. It opened to the general public on December 8, 2008. At 91 years of age, the museum’s architect, I. M. Pei had to be coaxed out of retirement to undertake this enterprise. He travelled throughout the Muslim world on a six-month quest to learn about Muslim architecture and history and read Muslim texts to draw inspiration for his design. According to Pei, the light fountain in 9th century Ibn Tulun Mosque of Cairo was the inspiration. Declining all proposed sites for the museum, he suggested a standalone island for the structure to avoid encroachments by other buildings in the future. It was built off an artificial peninsula, approximately 60 m (200 ft) off the Doha Corniche and surrounded by a somewhat crescent-shaped 290,000 m2 (3,100,000 sq ft) park. Pei requested that the museum spaces be designed by his collaborator on the Louvre project, Wilmotte & Associates. Along with this design team, Leslie E. Robertson Associates was the structural engineer for the project.
Figure 87:Museum of Islamic Art, Doha, Qatar
park
surrounds
the
edifice
on
the
eastern
and
southern
facades
while two bridges connect the southern front facade of the property with the main peninsula that holds the park. The western and northern facades are marked by the harbor showcasing the Qatari seafaring past. The museum hosts the restaurant IDAM led by the head chef Alain Ducasse. The restaurant is inspired by French Mediterranean cuisine. IDAM also offers master classes in cooking artisanal bread and raw foods. The museum has a park, workshops for schools and the
38
08 Hands-on Experience
Year : 2017 - 2020
The studio was heavily handson. We worked a lot with models, which aided us in the group work and during reviews with proffesionals . Also, the full scale construction of the tour documentation allowed us to learn and gain a new level of understanding of how things come together. Also my expeditions are a huge part of my life and how I articulate my life.
39
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07
08
URVI JOSHI urviajo17pi@student.mes.ac.in urvijoshi308@gmail.com 9920999308