AsHWINI AsHoKKUMAR M.ARCH I APPlICANT
The following portfolio contains the work of Ashwini Ashokkumar, a graduate from the Faculty of Design, Centre for Environmental Planning and Technology in Ahmedabad, India. The work is categorized into 5 sections containing research, professional and studio work. Each section addresses a different approach to architecture within the realm of her training as an interior designer. Ashwini is currently a Teaching Assistant for the Descriptive and Projective geometry courses as well as an elective on Algorithms for the undergraduate students of architecture and design at CEPT University.
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QUEsTIoN
REINTERPRET
RECREATE
ADAPT
lEARN
This section is based on a research thesis that questions the mathematical orders of architectural form as it responds to contextual pressures
This an executed project for CEPT University that responds to architectural concerns in building of the Faculty of Technology due to change in programmatic requirements.
Inspired by the Padmanabhapuram Palace in Kerala this is a studio project that aims to recreate a spatial experience of the palace in a resort.
Amidst the ruins of Mandhu, Madhya Pradesh the PreMughal Palace of Baz Bahadur is hypothetically transformed to a vibrant School of Sufi Music.
A revisit to some select exercises from the foundation years that have contributed to my learning and understanding of space.
[ research thesis ]
[ executed project ]
[ design studio iv ]
[ design studio iii ]
[ early exercises ]
‘Calculated design: The role of mathematics in defining form’ is a research-based thesis that aims at understanding the inherent logical structures of mathematical principles as it informs form generation processes in its attempt to respond to contextual pressures. In this research 8 principles namely constructional geometry, infinite sequences, ratio & proportion, polyhedral geometry, differential geometry, topology, vector calculus and systems theory are studied understanding its logical structure. For these 8 principles corresponding architectural forms are studied analysing how the mathematical code embedded in them becomes purposeful in responding to context-specific pressures. The following three case studies are excerpts from the main book.
QUESTION
1
CAlCUlATED DEsIgN
“The universe as we know it undergoes an endless cycle of creations and destructions. Within each cycle, the cosmos begins as an indifferentiated “something” from which evolves, in orderly sequence, the multiplicity of creation..”1*
Pg. 42, Davis, Richard H. Worshiping “siva in Medieval India: Ritual in an oscillating Universe”. New Delhi, India: Princeton University Press, 2000. *
[ Case study Two ] Kailasanatha Temple: In the Vastu Sastra it is said that space is not empty but filled with cubical atoms of energy. This energy is found inside us and according to the rules prescribed by the Vastu Sastra it can be represented in a built form as well. so when one is within the Garba Griha (sanctum sanctorum) these energies are said to be in sync, creating a spiritual harmony within oneself. The temple superstructure, or the Vimanam, at Kailasanatha Temple, Kanchipuram is a symbolic representation of this infinity within a finite space.
Dimensional system generated from the size of a grain of till.. The dimensions fall under a octal (base 8) system of measurements,
Plans showing progression in layers. The outer-most square is known as the Prasada and it’s area must be equal to twice the area of the Garbha Griha. The Grabha Griha holds the Shivalingam.
Infinite sequencing in its logical structure has the ability to symbolize infinity even if it is not used up to its infinite term. By using an infinite sequence every layer of the superstructure regressively reduce in size in a smooth way till it reaches a point on the top known as Bindhu. The Bindhu is both everything and nothing.
the inherent infinite sequence of the Kailasanatha temple.
)a
)a
√3 (2/ b=
c=
(4
/3
)a
A √2 progression diagram projected onto an equilateral triangle, provides a set of progressive elements all having a common ratio of √2.. The sum of the sequence of each dimension is given by:
To verify with on site measurements the values of the summations of ‘a’, ‘b’, & ‘c’ are calculated to find the plinth height which is given by:
i.e, 9832.93 - 9270.58 = 562.34 mm
FINDING THE DOUBLE UNIT THROUGH PHI
TRANSFORMING THE FINDINGS INTO A SERIES OF USABLE DIMENSIONS
GRID OF PROPORTIONS
Portion of red series used for Unite D' Habitation at Marseilles
Portion of blue series used for Unite D' Habitation at Marseilles
Constant Ratio: Finding the ratio that provides a range of values that corresponds to the human proportions relied on the method of finding the golden ratio of a square whose side ‘x’ is taken as the height of a man’s naval from the ground. This distance is also half of the full height of a man with arm raised. ‘x’ and ‘2x’ therefore set off two series of dimensions intricately linked to the human proportion through the constant “Phi” the golden ratio of 1.618. Fig 2.1 shows the mathematical method of finding 2x from x through the golden ratio. Fig 2.2 show the red & blue series set of by these values that are used in the Unite D’ Habitation and Fig 2.3 show the grid of proportions that these sets of values offered for the design of the building.
[ Case study Three ] Unité D’ Habitation: Due to large scale destruction post World War-II many families were relocated to unaffected locations across Europe. These areas thus required to improve housing facilities and accommodate the increase. Due to the increased demand for cost-effective mass-production, the standardization committee (AFNoR) floated a request to develop a system that could be efficient in mass production. le Corbusier found the solution in the mathematical structure of Ratio & Proportion. The logic of the principle is that a system of numbers can be related to each other if they contained the same constant (In this case ф). This system of numbers was a grid of proportions. le Corbusier thus adopted the use of ф in the development of the standardizing system of the Modular.
INCREASING FREQUENCY
FINDING THE KIT OF PARTS
FINDING THE LENGTH OF EACH SEGMENT
∴x =2.48m 4
Euler-DesCartes Formula for Polyhedra: V+F–E=2 No. of Vertices = 2562 No. of Edges = 7680 Length of Edge = 2.48 m
STRUCTURE OF THE ICOSAHEDRON
Unity in Structure: Due to war-time requirement for easy-to-assemble and cost-effective structures there was a demand for systems that could be made a kit of standardized parts. This demanded the use of a logical structure that can provide a kit of parts that have a unity in structure. Such a structure is found in Polyhedral Geometry because the logic of the principle (of regular polyhedra) is that they are made from a unique code that determines the positions of the vertices, edges and faces for particular forms. When these vertices, faces or edges are reproduced they can be assembled to regenerate the required polyhedron. The geometry of the geodesic emanates from the structure of the icosahedron. To transform the icosahedron smoothly into a geodesic the frequency of the side of the icosahedron is increased steadily.
*A 1/5 segment of the Biosphere dome. This segment show the nodes (vertices) and the connectors (edges). Thenode ‘22’ at the centre is a pentagonal node, meaning it belongs to the parent icosahedron. The grid shown in green is the hexagonal grid projected onto an inner sphere. The space frame is formed between these grids.
NODE 1: Connected to all 5 segments
4 2
1 3
NODE 2: Lies in the centre of segment.
[ Case study four ] Biosphere: As World War II was near factories across the U.s were to mass manufacture shelters and military tents in large numbers for their soldiers. The aim was to create a ‘system’ that was lightweight, collapsible, compact and easy to assemble and transport. geodesic domes proved to be perfect solutions to all the requirements set forth by the government for these camps.
NODE 3&4: Connected to 2 segments *Redrawn by author. Pg. 21 Fuller, Buckminster, K. Michael Hays and Dana Miller. Buckminster Fuller :starting with the Universe. U.s.A : Whitney Museum of American Art Book in assn. with yale University Press, 2008
The geodesic domes were a result of experiments conducted by Buckminster Fuller in the late 1940’s. These domes were intrinsically sturdy due to the continuous tension forces and discontinuous compression forces that works together to hold the form. The dome is ultimately a sphere which has the least surface area for maximum volume implying that there is less area to lose heat from or for adverse weather condition to affect the form.
{ oTHER CAsE sTUDIEs }
Vedic Fire Altars
El Altillo
Ils*
Dynaform
Constructional geometry
Differential geometry
Topology
Vector Calculus
The logic of constructional geometry was that all construction starts from a single reference. owing to this it is possible to equate the areas of similar shapes. The Ancient Hindus believed in attaching strict pedagogy to their religious practice. In the Rig Vedas it was instructed that daily rituals must be conducted to offer sacrifices to the gods. This must be done on three fire altars that are of equal sizes but different shapes. Therefore to respond to this demand constructional geometry was used to create a square, circle and semi-circle of equal area.
Differential geometry deals with forms that are generated by the plotting of functions in 3D space. These functions move uniformly in space creating surfaces that have an inherent structure based on these generators. Therefore to respond to the demand of optimization these surfaces proved to be useful because the surfaces that generated by systems of straight lines could be used for shell structures because along these lines reinforcement can be placed to help reduce the thickness of the shell.
The subject that deals with deformations in space is topology. Upon deformation the properties of the material remain constant. So when a form finding method was conducting to mimic the structural benefits of a soap model experiment this logic of continuous space under deformations is used. In the experiment for the structure of the Institute for lightweight structures the deformed surface of the soap film is topologically mapped out using a distortion-correction optical setup. This new topology is then used to reproduce the soap film form in a new model using scaled down material of the final form for testing.
Using vector calculus combinations of vector force fields can be calculated using this knowledge the geometry of the resultant surfaces can be defined. In the case of the Dynaform Pavilion for BMW this was used to generate a ‘dynamic’ looking form that stood for the company brand identity. These processes demanded parameterization because they have to account for a number of requirements put forth by the client. Thus vector calculus is used in the simulation of force fields generated by a moving car and its effect on a space matrix is measured and used for the form of the pavilion.
Embryologic House* systems Theory
The development in systems theory has opened new doors to form generation methods. since large amounts of data can be systematized into data structures and stored in terms of interrelationships it was possible to create environments in which form could self generate. The logic of genetic coding and information transfer was used in the design proposal for the embryological house to produce unique house form that could be mass customized.
DIGITAL PROCESSES: A MATHEMATICAL JOURNEY:
*Note: All diagrams and analysis are done by author except cases 6 and 8 which are studied from secondary sources.
It is indeed difficult to predict what the future of built form will be, however with the advancement in science and technology there are clues that suggest a coalescence with nature. A mathematical principle is the medium through which truth is represented. From the beginning of time man has turned to nature to give him clues to understand this truth. Today the study of mathematics has evolved to incorporate explanations for a host of natural phenomena, especially systems and their behaviour. With this understanding we are able to recreate environments that are correspondent to the real world and propose methods to simulate scenarios that can determine which form is best suited to respond to them. We are getting closer to being able to define best fits.
Faculty of Technology is a project completed for CEPT University. Due to change in programmatic requirements, this building designed by world renowned architect B.V Doshi, was beginning to face severe light and ventilation issues. The approach is to reorganise the spaces and reassess the programmatic structure to create open spaces within the building whilst paying homage to the strong architectural context. This project was completed under Aakruti Architects as project architect.
REINTERPRET
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FACULTY OF TECHNOLOGY
oRIgINAl
NEW
Zoning and circulation
First Floor
ground Floor
N
s
Basement Floor
REINTERPRETATIoN
Zoning and circulation
First Floor
ground Floor
N
s
Basement Floor
APPRoACH Circulation/ open space Post-graduate programs Undergraduate programs
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open North-south Axis, visually and physically Improve circulation around central court Create more unallocated open space within the building Elimination of dead-end corridors. Introducing more green and seating. Photo courtesy Š Dinesh Mehta
NEW
Massing and Connectivity
oRIgINAl
Massing and Connectivity
The original massing had inward views, disconnecting the north-south axis. organising the programmatic requirements in such a way that this axis is opened out could make the building feel more spacious. By doing so we could also create more open space within the building for activities like exhibitions, performances etc. Photo courtesy Š Dinesh Mehta
AFTER
BEFoRE
CLASSROOM CLUSTER i
larger vestibules to connect a cluster of 4 classrooms. The vertical louvres brings in light to the common areas through classrooms.
Photo courtesy Š Dinesh Mehta
AFTER
CLASSROOM CLUSTER i i BEFoRE
A central corridor that connects a cluster of 4 classes and has views to the outside at the basement level.
Photo courtesy Š Dinesh Mehta
AFTER
BEFoRE
CENTRAL COURT & BASEMENT
opening out spaces that are around the courtyard to improve circulation and visual connectivity.
Photo courtesy Š Dinesh Mehta
AFTER
BEFoRE
COURTYARD CONNECTION
To make the basement less dark and dingy it helped to connect existing courtyards and open out the central bay. Photo courtesy Š Dinesh Mehta
Waterline Feroke: This project is part of the Final Year Studio at the Faculty of Design CEPT University. In an attempt to reconnect with the memories of Kerala’s vernacular architecture this project was chosen. In a tranquil location amidst coconut groves and a river a sprawling resort is to be built to embody the architectural experience of Padmanabhapuram Palace near Trivandrum in Kerala. Here the challenge is to recreate the experience and architectural qualities without actually imitating the elements from the palace.
R E C R E AT E
3
WATERLINE FEROKE
AREA TO BE DESIGNED
CONTEXT
SITE
sITE, CoNTEXT & INsPIRATIoN This 17,000 sq. Ft. project is part of a tropical getaway resort that sprawls over 11.4 Ha on the banks of the Chaliyar river in Calicut, Kerala. Master plan is given by Allies and Morrison Architects in london and the project clients are UKN Properties Pvt. ltd. Bangalore. The chosen area for design is the central recreational spline of the resort that includes a spa, restaurant, cafe, yoga & meditation centre. The brief given by the client is that the design must draw inspiration from the architecture of Padmanabapuram Palace near Trivandrum. Therefore to incorporate this influence in the design but not imitate it, a careful study is made to identify core experiential qualities of the palace that can be adapted in the design.
Proposed mast er pl an by Alli es & Mor r i s on A rchit ect s, l ondon
Exist ing sit e condit ion Wal l sect ion of t he padmanabhap u r am p alace
INSPIRATION
padmanabhapuram palace U n der st a n di n g the s p atial e le me n ts con trib utin g t o t he e x p e rie n ce of the p alace
i. Juxtaposition of roofs The Padmanabapuram Palace when viewed from any direction frames a view of a set of roofs that are seemingly unconnected. This was a result of efforts to ensure security and hierarchy.
iii. Corridors Corridors are formed along the exterior edges of two building in the palace complex. This creation of corridor spaces between building is used in three circulation pathsloop, meander and direct.
ii. Inner Courts The palace has a combination of central courts that a formed between buildings and smaller courts within buildings to increase porosity for climatic control.
iv. Water Body Water bodies act as a generator of subclusters in the complex. In the resort water bodies are introduced as extensions of the river thus creating an illusion of islands subclusters
APPROACH Based on findings from the study of Padmanabhapuram p a l a c e ma ssi n g an d circulation are articulate d to a c h i ev e t h e q ualitie s of the four s p atial e le me n ts . Th r ee p a t h s a r e d e fin e d that e n han ce vie ws within g t h e c en t r al s p in e as we ll as the outs id e . Direct: The path at the highest level gives you uninterrupted views to the river ahead Loop: The path at the lowest level with the low eaves directs your eye to the water body along the edge. Meander: This path at the mid level gives you views of juxtaposing roofs of the existing exterior blocks whilst meandering through the central spine.
1.
2. 3.
1. direct
2. loop
3. meander
DEVEloPINg THE PlAN T he ne ga tiv e s pa ce s t h a t a r e g en er a t ed f r o m t h e move me n t of the thre e paths a r e d e v e l ope d i n t o t h e f un c t i o n s o f sp a , r est auran ts an d me d itation cen tre s . To enhance the experience of walking along the river all functions are treated as islands such that water bodies are introduced to line the corridors.
CoURTyARDs: The treatment of courtyards depends on the activities of the surrounding building. In the case of the spa the courtyard behaves as a centripetal node to the surrounding buildings and therefore is articulated into seating with a tree at the centre.
INTERIoR IslANDs: To enhance the experience of walking along the river all functions are treated as islands such that water bodies are introduced to line the corridors. Here one can sit and face either the inner water bodies or the river and greenery outside.
INVERTED CoURTyARDs: The openings along the building edge ensure that the corridors are always flooded with natural light on either side. Also, the walkways at the upper level and the corridors at the lower level become visually connected through these openings.
Th e S u fi School of Mus ic : Adaptive reuse of Baz Bahadur Palace in Mandu, Madhya Pradesh for a Sufi School of music. The site is located north of the ruined town of Mandu near the Rani Rupmati Mahal. Built on a 6000sq.mt site half of which are open courts and contoured landscape. The School of Sufi Music is a place for learning where one is in search of the divine self. With the activation of self comes a certain degree of consciousness and insight. A person starts to sense that his or her ‘I’ reflects another ‘I’. The ‘I’ of the Supreme Being.
A D A P T
4
SUFI SCHOOL OF MUSIC
Dark n e s s & Light | | Se lf & the D i vi ne : In the search of the Supreme being within oneself the space of the Baz Bahadur palace is designed to reverberate this energy. The spaces at Baz Bahadur respond to these inward and outward spirituality by the high contrast in indoor and outdoor experiences. Performance spaces are located to wrap around the building at different levels while the meditation and inward looking spaces are tucked in the dark interiors.
I nter s pe r s e d pe r f o r ma n c e sp a c es : The performance spaces are located such that they have their own focus point while in an open-to-sky atmosphere. These spaces envelope the building activating parts of it when performances or classes are in session. The spirit that lingers is transported through the building by these interspersed performances spaces. The levels are designed to create this interplay with the building.
CoNTEXT: since Baz Bahadur is situated on a contoured site with a lake (Rewa Kund) on one side and greenery all around, the approach is to identify ideal pockets within the landscape that can best activate the building
interior cells provides darker carved out spaces for the ‘inward’ spirituality. courtyard one with water body that reflects the interior facades
terraces used for performances and riyas for the ‘outward spirituality
courtyar with gre
1. dark cells created at basement levels
4.
IDENTIFyINg PossIBlE BACKDRoPs: 1. sky 2. Ashoka trees 3. Rani Rupmati Mahal 4. East facade of Baz Bahadur 5. Rewa Kund (lake)
d’
‘Riyas’ platforms tucked into the landscape.
rd two een patch
3.
2.
5.
2. Section AA'
1.
Section BB'
B
C
1. A D
A’A'
2.
4. 3. D' D’
3.
Section CC'
B B’
4.
Section DD'
Key Plan
C' C’
Th e Ea r l y Ye ars: As I prepare to be a student again it becomes essential to revisit some early exercises that has particularly contributed to my learning and understanding of space, culture and material. The following section comprises a few selected projects from my foundation years.
L E A R N
5
THE EARLY YEARS
NANO CAR SHOWROOM
FACADE IS ARTICULATED TO HEIGHTEN THE EXPERIENCE OF THE USER TO ELIMINATE THE NOTION OF MEDIOCRITY
Nan o Car Showroom : In 2008 Tata Motors, India’s largest automobile company released “Nano” the peoples’ car. Priced at an affordable Rs. 100,000 this car was rapidly becoming the covetable choice for the Indian middle class. The task is to design a showroom for the car in the bustling shopping district of Ahmedabad- C.G Road. The given site is a standard commercial space of 6mX10m exhibiting a coloumn and beam structure. Strategy: This showroom should provide such an experience to the novice car buyer that surpasses the mediocrity that has been woven around the car owing to its low-price. The staircase is strategically located, protruding from the facade, such that the customer circumambulates the car to move to the purchase counter on the first floor, and on doing so is able to simultaneously reconnect with the city.
schematic plan
staircase that connects the user to the CITY as he circumambulates the car
COUNTERWEIGHT TABLE
oNE sPACE | TWo FUNCTIoNs
Coun te r- w e ighte d Tab le: To accommodate resultant space constraints due to the relocation of an Ngo called “Chetna.org� to a new smaller building a single space had to cater to two functions. Therefore it was required to design space making elements that were multi functional. In this case an element needed to be designed that could facilitate the function of a seminar room as well as a conference room. since these two functions require opposite spatial arrangements it was necessary to design a conference table that could disappear when the room needed to be used as a seminar room. A table counterweighted by ledges on either side solves the problem and adds a fun element for the users.
seminar Room
Conference Room
HIDE & SEEK
PLAY
WHAT IF DESIGN ELEMENTS PLAYED A GAME OF HIDE AND SEEK
dot: marks position, and suggests focus. The dot starts the game
Line: suggests direction and orientation and follows the point
PLANe: suggests stability and expanse and provides the background for the players.
CUBE: represents confinement, boundaries. The cube defines the rules. Each move is determined by the geometry of the cube.
H id e an d Se e k: The design elements line, dot, and plane are essential to the foundations of spatial thinking. In order develop a spatial story; attributes are assigned to these elements such as ‘focus’ for point, ‘direction’ for line and ‘stability’ for a plane. Using these attributes the elements are manoeuvred across twelve cubes exhibiting a ‘journey’ of sorts. Four cubes from these are enlarged to a house for a family of four. This changing of scales reinterprets the lines, dots and planes as elements of space.
HIDDEN VOLUMES
HIDDEN VolUME As
FoRM
When fragments are forcibly made to take new positions, the order and rules followed in this process will contribute to a hazy form that is perceived through the result. To represent this form as a structure implies that all elements are in equilibrium when they take form. A break in any one element will result in the collapse of the total form.
& FoRM As
sTRUCTURE
H id d e n V olume s: 5 planes are divided into smaller sections. These five planes are sequentially organised, but before that each plane undergoes change. Fragments are taken out in any order desired. The steps taken for each plane corresponds to the next plane. As one follows certain rules without a defined goal for the ultimate form, the volumes generated can be quite interesting. A conscious process to identify this form as represent it through different materials to define it conceptually and structurally.
CRAFT STUDIES
CRAFT IN BUILT-FORM, FURNITURE AND ARTEFACTS
P e mayan gs te mon as try: In the summer of 2008, three friends journeyed to the Himalayas to study the builtform and space making crafts of Pemayangste monastery, the oldest Buddhist monastery in Sikkim. Built in 1500 B.C this monastery atop a mountain in East Sikkim’s Pelling district is the home to nearly 300 Buddhist monks. The site consists of a centralized monastery perched on a cliff consisting of the main monastery building and surrounding smaller buildings which serve as dormitories for students and office buildings. The study included both the monastery and its adjacent settlements. A study is also made of the local crafts of wood carving to understand how it is used as a space making craft in the built form.
THANK yoU. Name: Ashwini Ashokkumar Ph no. 0091 8141493021 Email: ashokkumar.ashwini@gmail.com