VRINDA
SHARMA
DE[CONSTRUCTING]_EDGES EMBARCADERO_PUBLIC LANDSCAPE
KEITH PLYMALE
The concept focused on rebuilding a memory to revive the port. The structure develops from the conventional pier architecture with a crack in between depicting the demolition of the freeway after being damaged by the earthuake. It opened a thoroughfare and reconnected city with it's edge. The site had forces acting from opposite directions - tidal force and people movement. Design becomes an experiential journey, reliving the history. SF Port Authority - Tidal Supersurface Garden, Live Plant Estuaries Pier4-
Traditional Japanese Tea Room, Flex Space, Outdoor Cinema.
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Axis pulled in the direction of the movement /
To get water in the structure to create estuaries.
Central crack developed, in the direction of the axis pulled in the direction of the the movement. Divides program in the two different halves - for San Fransisco Port Authority and for Pier 24 Direct connection between the Flex Spaces, Tea Room and Pier 24.
Represents the diagonal grid of the city. Symbolizing the connectin established with the edge, post crack development.
Though a direct connection exists, the walkway leading programs, to specific perforations and estuaries build in the cracks keeps the visitor engaged with the structure.
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ATREY CHHAYA// DEEPALCHHAYA//
Ami Matthan// Avinav Venkatachalam// Sohil Soni// Surabhi Sakhalkar// Vrinda Shama//
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MyCily-me inaugurated My Very Own City (MVOC) exhibition in October 2012 at the Palacio de Congresos of Fira Barcelona, within The World Bank Symposium "Rethinking Cities: Framing the Future". Featuring more than 50 projects, this exhibit aims to be a collaborative dialogue around five key concepts about cities: "citizen", "infrastructure", "mobility", "in-formed urbs" and "productivity". The Khetwadi area, prior to urbanization was an area of cocnut plantations and paddy cultivation (Khet=Farms). Bombay underwent a period of intense prosperity and construction riding on profits from exporting cotton and opium in the early and midl 9th century. Following the city's expansion northwards, large swathes of low-lying swampy land to its immediate west, inundated during high tide, were reclaimed. Expansion of the arterial roads to the area then decisively brought urbanization to Khetwadi. The area then began attracting the new migrants coming to Bombay as construction labour or mill/dock workers. Owing to its proximity to both the new mill areas and the expanding docks, most of the occupants of the area came to be associated either directly with these industries or with their ancillary plug-ins. Workers were housed in cramped, shared living quarters. By the late 19th century, migration rates made the need for migrant housing an emergency. Coupled with unhygienic sanitation practices (human excreta being cleared away manually by low-caste sweepers everyday), these conditions promoted the outbreak and rapid spread of the plague in 1896. As a reaction to this, the City Improvement Trust went about decongesting inner city areas, building new streets for ventilation and developing reclaimed land for government housing. The Sardar Vallabhai Patel road, shown here, typifies this approach - a planning-oriented stroke ploughing right through the otherwise organic locality, connecting the city from shore to shore.
AN[i]MATE
NARRATIVE EXPERIENCE DEVICE
NURU KARIM
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The research explores the in-between spaces in comics to rebuild a reader's experience of comic art purely as motion. Comics use fragments to build the narrative and a reader stitches them together with his imagination. The spaces between fragments (or panels),also referred to as "White Spaces"; act as visual pauses between two consecutive panels. Even though they are just static spaces, the reader's imagination is at its zenith, as she tries to link the transition between panels, via a series of dynamic connectors that represent the motion experienced by the reader. Each of these connectors has a memory of the past (the panel before) and a projection of the future (the panel ahead), hence the plot becomes significant for defining the connector's motion.The aim is to experiment and translate the motion experienced in between the panels to body movements such that the body itself becomes a device for narrating the entire experience. Additionally, the texture resulting from the depth of stroke becomes the mechanism for depiction and exaggeration of the motion derived from the plot. Body movements acts as a triger to all mechanism hence using body as a device to narrate the experience of reading a comic book. As the reader is the one to imagine the motion, the reader is responsible for the motions in these blank spaces between the panels. The reader's body movement should trigger these motions.
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Looking al the first page. the first thing seen is the window(lighl source) and glimpses of background.
By lifting the hand the focus shifts lo broken. small textured foldable hand gear That is the the for texture background (broken thin strokes). Texture used for the character(bold, solid, thick strokes)
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From the light source (window), light falls on the character. By folding the arm a larger texture pattern opens up depicting the change of focus lo the character.
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While looking at the character, the reader experiences a sudden pull lo the next pannel zooming itno the character. Hence, the same arm opens up the texture with even larger cuts and folds lo signify the motion of zooming ilnolhe character and being engulfed by these motions.
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