Movement in Architecture

MOVEMENT IN ARCHITECTURE

Submitted in Partial fulfillment of the Requirements for The Degree of Bachelor in Architecture

ADVAITH MANI

B.ARCH, SEMESTER IX

Guide: Ar. Mridula Pillai Gudekar

L.S.Raheja School of Architecture Affiliated to Mumbai University 2019-2020

Advaith Mani / Fifth Year B.Arch / L.S.Raheja School of Architecture

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MOVEMENT IN ARCHITECTURE

CERTIFICATE This is to certify that ADVAITH MANI has successfully completed his/her design dissertation (part 1) on the topic ‘MOVEMENT IN ARCHITECTURE’ under the guidance of Ar. Mridula Pillai Gudekar.

The dissertation is undertaken as a part of the academic study based on the curriculum for Bachelors of Architecture program conducted by the University of Mumbai, through L.S. Raheja School of Architecture, Mumbai.

SEAT NUMBER: ______

Ar. Mridula Pillai Gudekar

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(Thesis Guide)

L. S. Raheja School of Architecture, Mumbai Ar. Mandar Parab.

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(Principal)

L. S. Raheja School of Architecture, Mumbai

External Juror 1 :

External Juror 2 :

Advaith Mani / Fifth Year B.Arch / L.S.Raheja School of Architecture

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DECLARATION I hereby declare that this written submission entitled “MOVEMENT IN ARCHITECTURE” represents my ideas in my own words and has not been taken from the work of others (as from books, articles, essays, dissertations, other media and online); and where others’ ideas or words have been included, I have adequately cited and referenced the original sources. Direct quotations from books, journal articles, internet sources, other texts, or any other source whatsoever are acknowledged and the source cited are identified in the dissertation references.

No material other than that cited and listed has been used.

I have read and know the meaning of plagiarism* and I understand that plagiarism, collusion, and copying are grave and serious offences in the university and accept the consequences should I engage in plagiarism, collusion or copying.

I also declare that I have adhered to all principles of academic honesty and integrity and have not misrepresented or fabricated or falsified any idea/data/fact source in my submission.

This work, or any part of it, has not been previously submitted by me or any other person for assessment on this or any other course of study.

Signature of the Student: Name of the Student: Advaith Mani Exam Roll No: Date: Place: Mumbai

*The following defines plagiarism: “Plagiarism” occurs when a student misrepresents, as his/her own work, the work, written or otherwise, of any other person (including another student) or of any institution. Examples of forms of plagiarism include: The verbatim (word for word) copying of another’s work without appropriate and correctly presented acknowledgement; The close paraphrasing of another’s work by simply changing a few words or altering the order of presentation, without appropriate and correctly presented acknowledgement; Unacknowledged quotation of phrases from another’s work; The deliberate and detailed presentation of another’s concept as one’s own.

“Another’s work” covers all material, including, for example, written work, diagrams, designs, charts, photographs, musical compositions and pictures, from all sources, including, for example, journals, books, dissertations and essays and online resources.

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ACKNOWLEDGEMENTS It is only when one writes that one realises the power of MS Word.

Thank you Bill Gates and Microsoft…

The undertaking and completion of this research took the efforts, guidance and undivided backing of more than a few individuals.

Firstly, to my parents, Prof.RSS Mani and Bharathi Mani, my sister Ananya Mani for always being my constant rock of support.

To my guide, Ar. Mridula Pillai Gudekar, without whom none of this would have been possible. Can’t thank you enough for all you have done!

To my faculty at L.S.Raheja School of Architecture, Ar. Anuj Gudekar, Ar. Anmol Warang, Ar. Sachin Prabhu, Ar. Meghana Patil and Ar. Arun Fizardo, Ar. Shraddha Geevith, Ar. Ninad Patkar for teaching me everything I know today.

A special mention to Mrs. Sumitra Sridharan for your unconditional support throughout. Ar. Lakshmi Menon for all your inputs and brainstorming sessions.

Ar. Ruturaj Parikh, Ar. Hrushita Davey and everyone at Studio Matter, Goa for revolutionizing the way I look at architecture and design.

To my colleagues, Anushka Samant, Manmeet Kaur, Rushikesh Gawade, Gargi Jain, Vaishali Panchal & Vatsal Shah for all the insights, mad rides and memories.

To Prachi Kadam & Dielle D’sa for for your constant belief and encouragement. (And of course, the Eureka moment!). To my juniors, Sai Pradhan & Vishwa Vora for all the assistance.

A special thanks to Adhiraj Gorule and Purti Hardikar for being the most friendly and helpful seniors.

And to my childhood friends, Arjun, Advait, Pradyumna and Rohit for the innumerable late night laughs and quirks, helping me get through some challenging times.

And finally, to Chuck Lorre, Bill Prady, David Crane, Marta Kauffman, Christopher Nolan and Leonardo DiCaprio- you know what you created!

Not to mention, Mr.Larry Page for creating Google.

Neener Neener.

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PART 1 Advaith Mani / Fifth Year B.Arch / L.S.Raheja School of Architecture

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PROLOGUE It was a long hot day. He was walking under the blazing hot sun in search of a reprieve.

He had just been told off for not doing his work properly and his mind was buzzing with self-doubt. On one hand he felt the urge to improve but on the other hand, he thought how boring everything had become. Even when he looked around, nothing excited him.

Was this how it was meant to be?

Suddenly, he let out a sound of agony. He didn’t notice that he had unknowingly walked right into a thorny hedge along the road. Carefully plucking the last thorn off his sleeve he was about to turn around when he happened to look beyond the hedge through the small gap created due to his clash. He had never noticed this place before. A little ahead, he noticed a small niche through which he entered and he was appalled. He could see the sharp rays of light piercing through the dense foliage of the large banyan tree. As he went ahead, he suddenly heard the melodious singing of the koel bird. Walking towards the other side of the tree he was surprised to discover a dark room. It had no doors. As he tentatively placed a hand on it, it moved as if it were made of paper. As the panel moved he saw that there was another way through on the other side. Peering through, he could smell the sweet fragrance of the earth, as if after a first shower and saw water trickling, as though it was a tiny brook.

This place suddenly reminded him of his grandmother’s house in the village, where he had spent innumerable summer holidays. For the next 10 minutes he just sat on the unusually cool surface of the rock by the brook, reminisced his childhood memories and looked at a small caterpillar artfully gnawing at a leaf. One of the trees had broken and fallen onto the brook, creating an impression of a fancy triangular arched bridge.

His phone suddenly buzzed and he realised he was late. He slowly walked back to the road, looking all around this lovely niche he had discovered and smiled. But hold on, wasn’t he worried sick just a few minutes back? But never mind, he knew that he would now get through the day, which was for sure!

When he went back to the spot a few weeks later, he found that someone had pruned the banyan tree. He was surprised to see how the sun’s rays created different patterns today.

The walls appeared to be made of green velvet due to the even layer of moss which had formed over them. The caterpillar had done a fine job on the plant and now the leaves appeared as if they had some beautiful pattern carved on them. The water level had increased due to the recent showers and now it seemed to flow towards a tiny tunnel underneath which he had never noticed before. The bridge had surely been carved into shape by a carpenter because now it seemed like some cool surfboard. And this time what made him smile was the beautiful auburn colour of the drying leaves, which almost created a symphony with the brown of the wood, the fresh green leaves, the reflecting blue waters and the raw shiny stone surface.

It was as if the space had completely transformed itself. Never before had he realised that merely moving through a space would have such a huge impact on how he felt, what he saw and what he connected with. Indeed, he was moved.

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ABSTRACT THE core proof to Earth’s very existence, movement governs the reality of everything around us. This thesis looks to examine the different iterations of movement through its different forms in the environment and its effect on the user.

This dissertation aims to re-examine the idea of human movement through space. The study look to explore movement beyond its literal connotation, as an emotional, sensory and contextual element in design. The intent is to utilize the resulting inferences to realise the power of architecture to move human lives, thereby creating a positive difference.

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PART 1 PROLOGUE 011 ABSTRACT 013 INTRODUCTION TO MOVEMENT 017 WHAT IS MOVEMENT IN ARCHITECTURE?

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EXPRESSED, CONTAINED AND REPRESENTED MOVEMENT

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WHAT MAKES MAN MOVE?

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MUSCLE MEMORY 029

VOLUME ZERO- THE WANT OF DISCOVERY

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THE SENSORY CONNECT TO SPACE

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KINAESTHETIC EMPATHY 032 EMBODIED COGNITION- the movement of the mind

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THE EYES OF THE SKIN- Juhani Pallaasmaa

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THE HUMAN SENSES-WITHIN AND BEYOND

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EMOTION AS A SIXTH SENSE

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THINKING ARCHITECTURE- PETER ZUMTHOR

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THE APPROACH TO A JOURNEY

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a. Bharat Bhavan

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b. Druk Padma Karpo School

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c. Maggie Center for Cancer

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d. Maxxii Museum for Modern Art

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e. Military History Museum

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f. The Blue Planet

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g. The Water Temple

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WITHIN AND BEYOND- THE PARAMETERS

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THE HOLOCAUST MUSEUM- the existence of expression 093 LOOKING BACK 097

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PART 2 WHAT IS MOVEMENT IN ARCHITECTURE?

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THE IMPACT OF MOVEMENT

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THE POSITIVE IMPACT OF SPACE

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MOULDING THE MIND 111 FOOD FOR THOUGHT

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THE PRESENT SCENARIO 117 STATISTICAL ANALYSIS 122 THERAPY- TREATMENT OR TABOO

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THE TRANSITION TO TRANQUILLITY

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HOW DOES ARCHITECTURE PLAY ITS PART?

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THE CHAMPALIMAUD CENTRE FOR THE UNKNOWN

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LIVE CASE STUDY- 1. Kaunashraya Hospice

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2. Muktangan Rehabilitation Centre

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THE INTENT

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THE PREMISE

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THE CONTEXT

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THE SITE 156 THE PROPOSAL

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APPENDIX Annexures 163 Table of Figures 164 References 169

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INTRODUCTION TO MOVEMENT

Life begins with movement. The very existence of the universe is considered the result of a Big Bang. The emergence of life on Earth as we know it today, is also the result of the movement of volcanic outgassing which resulted in the creation of an atmosphere. . It is the quintessential facet of human existence, even before birth. Ever since the moment we are born to even after we die, movement exists within and around us, in different forms. No movement. No life. (Singh, 2005) (Manhesa, 1980) Humans have always been captivated by movement. The thrill one feels while watching an action movie, a dance performance. The want for exploration has led to the discovery of new continents.

Consequently, the most basic aspect of design, one which governs how space is seen, perceived and experienced is movement. It can be singled out as the defining aspect of all architecture.

The moment from which one sets eyes on a space, walks into it, explores its various zones, pauses, processes and exits is an integral part of user experience. And it is this experience which becomes the core conjecture which is considered while designing spaces as well. To put it simply, movement through a space is the underlying judgement to its success or failure in functioning.

Movement is the design element that operates in the fourth dimension – time (Jirousek, 1995) However in application, architecture can be categorized as one of the most static entities. A structure takes a couple of years or more to get built, has a life span and eventually may get demolished.

In all this while, there is no perceivable movement of the structure (unless of course, one considers the Leaning Tower of Pisa!)

Then in what form and how does one consider architecture to be dynamic? Does architecture move at all? And if so, how?

Figure 1-(Facing Page) The Man, the Mountains and the Milky way.

(Source: Pinterest, edited by author)

Does architecture, in its true sense, have the capacity to move people?

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WHAT IS MOVEMENT IN ARCHITECTURE? Movement becomes an integral part of designing spaces. It is the purest form of interaction that a body has with its surrounding space. It is the element with which an architect can communicate with the user.

It is probably due to this property, is it opined that circulation is the centrality to the formulation of any built environment. This usually occurs in set patterns or rhythms and affects the usage and defines the extent to which the space serves its purpose.

The following cases illustrate how movement patterns have been controlled by means of design through the ancient cities of the world-

MOVEMENT PATTERNS THROUGH TIME-

THE GREEK AGORA-(8th Century BC) One of the oldest civilizations ever, the Greeks created monumental structures and all circulation was reduced to leftover patches. Here the aspect of a street, did not exist.

THE ROMAN FORUM-(6th Century BC) - The idea of an enclosed city was adopted by the Romans. The Walled city was dominated by a military government and all movement on the street was in the form of interlocking linear patterns.

THE ITALIAN PIAZZA-(4th Century AD) An aspect of centrality was brought about by the creation of Churches, which was flanked by a Piazza or a public square. A radiating plan towards a central foci, with maze like connection patterns towards the fringes, often giving one the impression of being lost in a maze.

Figure 2-(Facing Page, top left) Ancient Athens- the non-existence of the street (Source: Wikiwand) Figure 3-(Facing Page, top right) The walled city of the Roman Forum (Source: Space, Time & Architecture)

THE RENAISSANCE PERIOD-(14th Century AD) A significant change was noticed as more hierarchy began to emerge in society. The streets got divided into primary, secondary and tertiary, depending upon the function of structures.

Figure 4-(Facing Page, bottom right) The radiating plan of the Italian Piazza (Source: Pinterest) Figure 5-(Facing Page, bottom left) The hierarchy during the Renaissance (Source: The Papal Policy 2)

(Chhaya, 2008)

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MOVEMENT PATTERNS THROUGH TIME (continued)-

THE INDUSTRIAL REVOLUTION-(17th Century AD) One significant transformation was the emergence of the automobile. As more importance began to be given to vehicular movement, pedestrian movement began to be restricted to the corners along long narrow passages between towering warehouses or buildings.

THE INDIAN TOWN SQUARES-(2600 BC) Even before the Greeks even emerged as a civilization, the Indian town squares of ancient cities like Harappa and Mohenjo-Daro followed circulation patterns which are replicated even today.

Every street had its own identification in terms of function, cultural significance and occasion.

(Chhaya, 2008)

CONCLUSIONAs the trend of movement patterns gave undergone significant change over time, it can be derived that architecture has the sole power to choreograph movement through space and it controls human experience.

In retrospect, it is this movement which tells one a story about the space occupied. It allows one to look back on time and also recall the past. It is this patronage that rejuvenates that movement plays a pivotal role in redefining the supposed fourth dimension of time.

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Figure 6-(Above) The economically driven city of the Industrial Revolution (Source: Cornell) Figure 7-(Facing Page) The ever progressive City plan of Harappa-The Indus Civilization (Source: Ancient Civilizations)

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EXPRESSED, CONTAINED AND REPRESENTED MOVEMENT The depiction of movement in architecture exists in various forms. These are broadly classified as expressed, contained and represented movement. The three mentioned classifications however, are not the only ones and there are other notions to the same. (Hardy, 2011) People move about, lifts and escalators go up and down, sun and shade play across the walls through the day, the breeze wafts through the openings and the foundations gently settle.

Apart from these literal kinds of movement, architecture can prompt movement—or in other words imply, convey or embody movement—without actually moving.

The notion that architecture represents implied movement within built forms that are not themselves in motion, has been a conventional part of modernist thinking, and still seems to be widely taken for granted. (Forty, 1997) Movement can have many implications and meanings. In terms of the physical realm, they can be categorized as the followingFigure 8-(Facing page) The Fibonacci curve- the most natural movement (Source: Pinterest)

Figure 9-(Below left and right) Moving facades of the Bund Center, Shanghai (Source: Archdaily)

EXPRESSED MOVEMENT

The literal movement of a structure or building can be called as its expressed movement. A form of movement which can be literally seen to the eye, a physical entity. It plays an important part in changing the perception of a user towards a single space over time.

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CONTAINED MOVEMENT-

Contained movement is when “it is not architecture that is thought of as moving, but the eye, the mind and other imagined bodies or forces.”

‘Contained movement’ is seen in the architecture: it is the not the architecture that is thought of as moving, but the eye and mind, or the imagined body, or forces. ‘Contained movement’ is perceived when the imagination runs up the stairs, or follows virtual penguins along ramps. (Forty, 1997)

REPRESENTED MOVEMENT-

Represented movement is the illusion that architecture, or space is in motion. It comprises of the formal characteristics which imply that architecture itself is moving: not actually moving, of course, but illustrating movement, or perhaps even creating an illusion of movement. (Forty, 1997) This can be implied through change in context, microclimate or alterations in the physical and experiential quality of a structure.

Figure 10-(Above) the eye moves along the line of the railing and bridge- contained movement (Source: Author) Figure 11-(Left) The road is same, but the journey is different (Source:Issuu) Figure 12-(Facing page) The symphony between contained and represented movement- The Kala Academy,Panjim (Source: Author)

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WHAT MAKES MAN MOVE? The exploration of the Contained and Represented notion of movement has been the central consideration in the design of architectural spaces. The expression has been changing its language since time immemorial.

Consider shelter, right from the primitive shelters in caves, to the sun dried brick settlements, the simple Vedic huts to the clusters along the Nile, the niche squatter to the sprawling forts, the humble chawl to the skyrocketing apartments and so on. Each of them have their own time, their own identity. Their progression ultimately throws light on how shelter has moved with time and necessity.

(Premjit Ramchandran, 2010) Architecture is all about creating a balance between mobility and stasis. It is this play of back and forth which defines the true relationship between man and space. When space stands still, its surrounding elements must move. And when space moves, it must generate the aura of stillness from its surroundings. That is the true beauty of architecture. (Doshi, 2010) But what allows for this to happen? How does walking through one space feel different from another? There are certain spaces which one gets used to, which in turn makes them appear mundane over time. This is because, here, only the user moves and there is no interplay of space and time.

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Figure 13(Below) The Guggenheim Museum, Bilbaothe eptiome of dynamic ability of form (Source: Iren Turkkan) Figure 14-(Facing Page) The Farnsworth House- The rhythmic symphony between nature and architecture (Source: farnsworthhouse.org)

MOVEMENT IN ARCHITECTURE

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MUSCLE MEMORY Human activity is directly connected to repetition. The more number of times a person repeats the activity, the more comfortable or easy it becomes. For example, driving a car or remembering an ATM pin.

With reference to space, this occurs much quicker. The human body is designed in a manner that as one moves through space, their muscles involuntarily align themselves to how the space is being used. The capacity of a body to orient itself in space, in relation only to itself, where the muscles register the displacement of body parts in relation to one another is called Muscle Memory.

(Leon, 2010)

Figure 15-(Facing Page) The corridors of IIM Bangalore- the subtlty of change in space, a new experience always (Source: Author)

Muscle memory plays a huge role in why certain spaces move people and why some don’t. Spaces with an element of surprise can create a dramatic effect in the mind of the user. This effect is further enhanced when the aspect of time is introduced further reinforcing the fact that space must have the capacity to move, either directly or indirectly.

Figure 16-(Below) Horizontal strokes of paint, appearing like the back of an outstretched palm (Source: Tumblr)

Sometimes, it is all about changing the vantage points, which in turn can be controlled by design, enabling a change in experience over time, keeping the user intrigued.

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Figure 17-(Above) The world begins at Zero. The Binary representation of the words- Volume Zero (Source: Pinterest, edited by author)

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VOLUME ZERO-

THE WANT OF DISCOVERY

What Kahn (Louis I Kahn) would tell his students at MIT was something like this; “I love English history, I love the bloodiness of it. I have got eight volumes which I enjoy reading.”

After a slight pause, he would add,” well I haven’t actually read all eight- I have only read Volume one……… And even that, I haven’t read more than the first few pages.”

Upon noticing the puzzled faces of his students, he added, more fiercely, “Actually, I don’t even think that history started the way they say it did. I think it started before that.”

“I want to read Volume Zero.” (To be continued….)

(Correa, 2010) Man is a funny animal, he fears the unknown and yet it is the unknown that is the most fascinating to him! It makes him curious, it makes him question. It gives him the potential to discover. And this has been the driving force for all inventions till today.

In order to immerse oneself in the beauty of architecture, it must be discovered. For which one needs to actually explore every nook and corner of the space. For these niches to be explored the space must generate in its user, that level of curiosity and inquisitiveness. It must allow itself to emerge out of the unknown. It must have the ability to ignite the depths of the human mind and virtually communicate with it.

As a person discovers space, the space unveils its identity, slowly evolving its own impression in the mind of the user. And this is Volume ZERO. This also links to the Hindu concept of ‘Shunya’ or the presence of nothingness. It is an ancient metaphysical concept, central to Vedic thought. Metaphysics is the branch of science which explores the relationship between man and matter. Similarly, moving through space, connects man with his surrounding, establishing a personal relationship between the mind and physical space. (Correa, 2010) (Jason Winning, 2019) Thus the aspect of movement in architecture, goes beyond the physical realm. It connects the mind and the body, it rejuvenates the soul.

Continuing what Kahn said…..

And then he would finish with a truly extraordinary sentence, “Architecture is magnificent because it deals with the recessions of the mind…..with that which is not yet said, and not yet made.”

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THE SENSORY CONNECT TO SPACE KINAESTHETIC EMPATHY A term linked with neuroscience, kinaesthetic empathy is the ability of humans to perceive motion or movement. Technically, a form of represented movement, kinaesthetic empathy is directly linked to the activation of motor neurons within the human brain. Its meaning can be understood by isolating the two words, kinaesthesiameaning to move and empathy- meaning to understand.

At times, the feeling of ‘a shiver down the spine’ occurs when the mind is emotionally stimulated by a perceived movement. It directly associates to the brain regions associated with emotion and arousal.

(Hagendoorn, 2003) Emotionally stimulating environments have the capacity to increase blood flow in the limbic system by 10%. (Ishizu & Zeki, 2011).

Even photographs of a moving object or a sense of depth stimulates the motor receptors of the brain, an effect described as ‘implied movement’. This goes to show that motion and emotion are therefore inherently linked: one is moved by movement (perception; impression; affection) and moved to move (action; expression; emotion) (Fuchs et al., 2014) It is this ability of the human body to stimulate and embody the action of a perceived motion is made possible through the phenomenon of kinaesthetic empathy.

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Figure 18-(Facing Page) The Creation of Adam by Michelangelocreates the perception that the fingers will eventually touch.

(Source: Schipper Paint)

MOVEMENT IN ARCHITECTURE

I am not interested in how people move, but what moves them.

-Pina Bausch (2009)

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EMBODIED COGNITION- the movement of the mind Embodied cognition is the idea that the mind is not only connected to the body but that the body influences the mind and vice versa.

This concept is closely related to the ‘extended mind’ or what a person experiences beyond his physical reality. The idea of cognition links closely to how a person behaves, his psychology, linguistics and natural response to various stimuli.

(Mcnerney, 2011) In philosophy, embodied cognition holds that cognition is strongly influenced by aspects of the body beyond the brain itself. It is connected to a person’s environmental interactions with their immediate surrounding, how they react to change and how it has the capacity to influence and manipulate one’s state of mind.

(Foglia, 2011) MIND AND SPACE- This phenomenon directly links to the basic aspect of human intuition, how space responds to user and viceversa. Although seeing is believing, the human understanding is more rooted towards physical experience. This shapes a person’s thought, belief and expectations. Through the interaction of the human senses with the environment, it becomes possible to shape human perception. That’s where architecture becomes signficant.

As a culture, we tend to separate the mental and the physical realm, but embodied cognition opines that the mind and body are bound together, inseparable. It is the design of the human mind that allows us to create order in whatever we see, hear or experience which in turn becomes our perception.

Embodied cognition in architecture uses the basic philosophy of curating space in a manner where a person’s perception can be controlled, manipulated & questioned. The derivations have resulted in giving human emotion a new status as a human sense, something which is an integral part of experience, almost involuntary.

Figure 19-(Above) The human mind, the strongest and the weakest at deceptionof self and of others (Source: Coldplay)

Embodied cognition becomes an integral part of a user’s movement through space, where every user experience is influenced by his present state of mind and the physical space he occupies.

The theory identifies principles such as visual search, distance perception, mental perspective, language comprehension, memory and learning. Every principle is applicable to the basic notation of physical movement through space, which subsets onto the mental and emotional realm, thus becoming an integral part of design.

(Foglia, 2011)

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THE EYES OF THE SKIN- JUHANI PALLASMAA Through this book, the writer has romanticised the relationship between the human senses and space. Through various examples, he has associated the impact of sensory responses on human mind-set. He looks to explore various stimuli and how they can alter perception. A critical analysis has been made of how architecture of the recent past, is exceedingly giving importance to the visual realm. Through a structured analysis he explores the impact that the other senses through architecture.

Life enhancing architecture is one that addresses all senses simultaneously.

(Pallasmaa, Touching the World, 1996)

Figure 20-(Facing page) The sense of space, a connect to the mind and beyond.

(Source: Flickr)

Pallasmaa states that an exchange must occur- between the human mind and associations to the space which emancipates perceptions and thoughts. He looks to identify a reverse perspective to space does the space relate to who you are or do you find yourself trying to relate to the space you are in? What affects most, the person’s mind-set walking through built form?

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BEYOND THE VISUAL REALM The visual sense in humans, is probably the strongest and most effective sense of perception. In most cases, it is the mere sight of something that attracts or deters a person. In architecture too, the first major perception towards a space is when one sees it Rene Descartes, for instance, regarded vision as the most universal and noble sense of all. However, not everything can be understood by the visual realm of things.

For instance, you will never know how cool a stone surface is just by seeing it.

Pallasmaa opines that, in order for the human body to develop a sense of empathy and compassion, the visual realm is not enough. True architecture must look to enhance human experience beyond the peripheral vision. In recent times, there has been an increased focus on the visual realm in architecture. This leads to inhuman

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interventions in design. It is only when the other senses work in sync is when a space truly lives on.

(Pallasmaa, Vision and Knowledge, 1996) Visually overloaded spaces cannot emote.

Sometimes a blank screen makes you think more than an essay of 2000 words. The visual identity of space may need to take the backburner for the other senses to take over.

Since stimuli generally tends to attract the eye quickest, the visual language can be the guide to the mind towards other stimuli. For instance, the sound of silent murmuring in a dark space is probably more eerie than if its occurrence was in broad daylight.

Architecture has been regarded as the art form of the eye.

(Ledoux)

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THE SENSE OF SOUND The eye reaches, but the ear receives. Sight isolates but sound incorporates. Vision is directional but sound is omnidirectional.

(Pallasmaa, Touching the World, 1996) Sound makes the presence of a physical entity known. For examplea chorus in a large music concert, the sound of water dripping.

Silence in space, allows one to create a sense of self. This allows one to establish a personal connect with the space they are occupying.

Figure 21-(Facing page) The Sagrada Familia, Barcelona, one of the most visually enticing pieces of art and architecture (Source: Travel & Extra)

Figure 22-(Alongside and Below) The crunch of a dried leafnature’s form of music (Source: Tumblr)

For instance, in the movie Interstellar, the sound tracks created an altogether different perception of being trapped in space, probably dramatizing the incident manifold.

The most essential auditory experience created by architecture is tranquillity. Architecture presents the drama of construction silenced into matter, space and light. Ultimately architecture is the art of petrified silence. (Pallasmaa, Silence, Time and Solitude, 1996)

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THE TANGIBILITY OF TOUCH Touch is the sensory mode that integrates our experience of the world and our inner self. All the senses, including vision, are the extension to the tactile sense.

In other words, all the sensory experiences are modes of touching, and thus relate to tactility.

Vision reveals what touch already knows. The sense of touch is the unconscious extension to vision. Our eyes stroke different surfaces, contours and edges, but it is truly the tactile interaction with the same which determines the agreeableness or unpleasantness of the experience. (Pallasmaa, The Shape of Touch, 1996) Surfaces indicate different emotions which have a huge part to play in how the space feels, for instance a cool marble surface as compared to a rough concrete bed, each one of them feel different, even if one is wearing shoes.

Moreover, materials play a huge role in establishing the visual identity of a space, for example mud is earthy, wood is rustic, whereas acrylic is neutral. Touch plays the most pivotal part in establishing a feeling of comfort to the mind.

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THE SPACE OF SMELL The most persistence memory of a certain space is often its smell.

For example, the fragrance coming from the biscuit factory at Vile Parle, Mumbai was enough to convey to a person where they have reached.

The nose makes the eye remember. The damp smell of a closed space probably impacts more than its architecture. This indirectly becomes the identity of what a space represents.

Different smells tell different stories about places. The smell of a fresh catch of fish along the docks, the fragrance of fresh bread being made in a bakery, the smell of sweet earth from a potter’s workshop or the odour of garbage from a dumping yard.

(Pallasmaa, Spaces of Scent, 1996) Figure 23-(Facing Page) The beauty of textures, a play of perception (Source: Pinterest, edited by author) Figure 24-(Above) The fragrance of the first rains on soil, a truly serene experience (Source: Author)

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I confront my city with my body; my legs measure the length of the arcade and the width of the square.

My gaze unconsciously projects my body onto the faรงade of the cathedral, where it roams over the mouldings and contours, sensing the size of the recesses and projections.

My body weight meets that of the cathedral door, and my hand grasps the door pull as I enter the dark void behind.

I experience myself in the city, the city exists through my embodied experience.

The city and my body supplement and define each other. I dwell in the city and the city dwells in me.

(Merleau-Ponty, 1996)

INFERENCE-

THE EYES OF THE SKIN

The human senses come into play when exposed to different stimuli. However, each sense has its own implication and purpose, depending upon the message the space is intended to convey.

Architecture is a very effective mechanism which helps ignite a certain sense at a particular instance. The interplay of senses in the process of movement through space can render multiple user experiences, which change with time. The space thus,truly becomes dynamic.

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THE HUMAN SENSES-WITHIN AND BEYOND The senses make the human body and the body is the centre of experience in any space. Thus human senses become an automatic part of everyday experience. One’s sense of reality is strengthened and articulated only by a constant interaction and interplay among the senses. Metaphorically, architecture too cannot work as a single entity. It exists because of its context, user and function. When one undergoes change, it impacts the other too. Hence architecture must have the capacity to move.

When I was your age they would say we can become cops, or criminals. Today, what I’m saying to you is this: when you’re facing a loaded gun, what’s the difference?

(Dialogue between a gangster, Frank Costello and his adopted son in THE DEPARTED) (Scorsese, 2006)

Figure 25-(Above ) The mind derives its own meaning- depending on what needs to be found (Source: Ken Chwam, edited by author)

The implication of the above dialogue is that the existence of senses in architecture is a paradox. For design can easily allow them to spring free and at the same time, they can be manipulated in the simplest of ways. They exist as two sides of the same coin, it is just the position from which one views the coin that changes, and that is the true beauty of what architecture can achieve.

Movement is thus the catalyst, guiding a user to establish their own perspective to what is depicted. Following which, it is the equation one institutes with their immediate surrounding, that defines the impact of space, within (the mind) and beyond (the senses).

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EMOTION AS A SIXTH SENSE

(Definition of sense by Merriam Webster Dictionary)

A sense is a physiological capacity of an organism that provides data for perception. Our senses help us to identify with reality. They are the soul aspect which help us realise our existence.

Through the senses of sight, smell, touch, taste and sound, one understands his surroundings. And this notion is different for every individual.

A person who has a keen sense of smell may not necessarily have the best eyesight. However, the senses in an individual can be classified as their involuntary reaction to certain situations.

Research in neurobiology has shown that the numbing of particular regions of the brain can nullify the existence of a certain sensory response in humans. Hence, unless acutely damaged due to specific reasons, every human being has an innate quality to perceive his surrounding and derive meaning out of it. (Lambert, 2019) For instance, the olfactory senses are stimulated when garlic is added to food. This renders a positive reaction in some whereas some completely detest it. However, each one has their individual perception of the same commodity.

Having said that, senses are something which we naturally possess.

These senses are perceived and we derive an opinion or feeling towards the stimulus.

Figure 26-(Alongside ) A graphical representation of Architecture and Perception, of space and form (Source: Pinterest, edited by Author)

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(Definition of emotion by Oxford Dictionary)

Upon realising our senses, we simultaneously process the information and establish its importance/relevance in our lives. We develop a certain ‘emotion’, which may be positive or negative, which may anger us or calm us, but which leaves an impression.

Neurologically speaking, emotion is also controlled by the nervous system.

The Hypothalamus (sexual responses, hormone releases), the Hippocampus (memories and spatial understanding), the Amygdala (fear and anger) and the Limbic cortex (mood swings, motivation and judgement) are the four main cores controlling human response to its immediate environment. (Anon, 2018) In architecture too, we see space, derive meaning, certain elements stimulate us and we remember it in our own personal capacity depending on how we relate to it. This goes to show that the experience of a space is not only sensory but emotional too.

Movement through space is an emotional episode between the user and the design. The space tells its story, the mind perceives and responds to the story.

Thus, beyond the notion of seeing visually pleasing spaces, hearing relatable sounds, developing impressions through surfaces and reminiscing sweet fragrances, the human mind must be able to relate to architecture beyond the 5 senses, through a sixth sense, the sense of emotion.

Figure 27-(Alongside ) A graphical representation of the various meanings of Space and its perception by the mind (Source: Pinterest, edited by author)

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THINKING ARCHITECTURE- PETER ZUMTHOR Zumthor, through different examples, defines the serene relationship between architecture and man that goes beyond form and physicality. He looks to explore the facets of architecture that may be almost hidden in the larger scheme of things but become a benevolent part of ones memory of the space.

He associates that the experience and emotional connect to a space is the pivotal element that makes architecture timeless.

The work of Architecture is based on disharmony and fragmentation, on broken rhythms, clustering and structural disruptions, each of them conveying some sort of message. As soon as we understand its statement, our curiosity dies, and all that is left to question is of the buildings practical usefulness. (Zumthor, For the Silence of Sleep, 1998) The above statement highlights the importance of space communicating with its user. Symbolism and surprise allow one to relate to a space in a much deeper manner. He opines that every built form must leave “open patches� where imagination and curiosity can penetrate the mind. This allows for the buildings presence to be felt. It makes one feel that the building belongs to them, that nothing can alter its importance to them.

(Zumthor, Preliminary Promises, 1998)

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Figure 28-(Alongside ) View of the St. Peters Chapel by Peter Zumthor (Source: Ariana Zilliacus)

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Architecture has its own realm. It has a special physical relationship with life. I do not think of it primarily as either a message or a symbol, but as an envelope and background for life which goes on in and around it, a sensitive container for the rhythm of footsteps on the floor, for the concentration of work, for the silence of sleep.

- PETER ZUMTHOR

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Any good building must be capable of absorbing traces of human life.

The journey through a space has the capability to stir different reactions to different extents among its users. According to Peter Zumthor, it is when architecture creates an emergence of emotions, rather than stirs them, it has achieved its goal. This goes to show that space has the power to manipulate or alter people’s perception and understanding about a certain aspect. It has the capacity to make people retain feelings.

Zumthor goes to show that at some point of time, architecture and functionality must be separated. What counts eventually is the journey one has through space.

“But architecture will have served its true purpose only when it can achieve beyond what it what it was meant to do. A building is like a narrative, it must be able to extract reactions from people who use them. And like any good narrative, it must unfurl itself each time one reads it.

This ideology is what drives Zumthors architecture, where nothing can be taken for granted and everything has its own true meaning.

Seen eloquently in his structures like the St. Benedict Chapel. By moving in and around the chapel, we can simultaneously perceive discontinuity and synthesis.

The building enables us to simultaneously experience alienation and identity, disorientation and certainty. And this experience changes every time one goes there. Because every time, the space has a different story to tell.”

The Pritzker Laureate Announcement Speech by Philip Ursprung (Ursprung, 2009) Figure 29-(Facing Page Above ) The internal view of St. Benedict Chapel by Zumthor- a continuous play of nature and architecture, change being the only constant (Source: Ariana Zilliacus) Figure 30-(Facing Page Below ) Zumthor’s initial visualization of the St. Benedict Chapel (Source: Peter Zumthor)

Zumthor tells his stories through the impeccable use of materials, play of light, dynamic volumes and knack of uncertainty of what is to come.

Architecture must allow for its users to explore, move freely and through this movement, connect with their inner self.

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THE APPROACH TO A JOURNEY The journey through space is like a process of self-discovery. As one moves through space, there is a constant discovery one has with their surrounding or their own self. This interaction between the environment and human beings is what keeps man alive. It leads him to learn, understand and eventually redefine. This is like a cyclic process of learning which has been going on for centuries together.

If this process is disturbed, man’s entire purpose of living is nullified.

(Sanchez, 2015) Whatever man has learnt has been through nature. Man’s association with nature gradually reduced as time passed and now is almost non-existent. Our tendency to live in closed forms has catered to many untoward and unimagined problems, which is about 85-90% of our entire day. How does this process of constant discovery happen in closed spaces?

(Roberts, 2016) This is where the importance of architecture comes in. Architectural spaces must be designed in a manner where they keep the user engaged, thus keeping this age-old interaction alive.

Spaces in built forms must inculcate the feeling of a journey in its user, thus enhancing its true meaning beyond functionality. Mundane spaces only reduce productivity thus affecting mental health and output.

Thus architecture goes a long way in enhancing user output and overall physical and mental wellbeing among humans.

The journey through space has different notions of expression.

Figure 31-(Facing Page ) The Art Gallery of Ontario by Daniel Libeskind- a space beyond functionality (Source: Author)

WHAT MAKES A JOURNEY? It is difficult to define a journey through space since it is felt and experienced very differently than those who undertake it. A journey is often subjective, defined largely by the character of the one taking it.

It is influenced by decisions, some right and some wrong. Whatever the outcome, a journey has the power to create unforgettable moments in ones life. This journey has a different connect when it is related to architecture. Though specific actions and scenarios cannot be defined, an attempt has been made to generalize the concept that creates the foundation to explain a journey.

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The approach to a journey.......

APPROACH 1 by Ar.Israel Sanchez in his research paper, ‘A Journey through Architecture’.

A. THE CHALLENGE It is the challenge that makes the adventure, the struggle is to make it to the end. Architecture, through its dynamic nature of form or aesthetics, has the capacity to leave individuals awestruck. At times, one needs to actually spend time within the built form in order to perceive its true meaning.

Moreover, it has the capacity to completely control ‘the voyage through space’ by creating obstacles or bumps which add to the journey. No one ever remembers a story which did not have any sort of suspense or twist. A challenge could be represented in different ways, physical, emotional or spiritual.

It could be simply between deciding whether to go right or left along a pathway. A challenge in turn allows one to shape their personality, because once the challenge is accomplished, it creates reminiscence of the achievement. (Sanchez, 2015)

Figure 32-(Facing Page ) The bridge over water leading to the ascending path of Machu-Pichu Inca settlement, Peru (Source: Tripadvisor)

B. THE OUTCOME or THE REWARD After the challenge is conquered, the satisfaction of winning the reward, achieving the result or reaching the destination is known.

In spatial terms, it is the point where one decides to stop, where the intent has been met with reality. It is the other end of the journey.

It is what gives one closure and peace of mind. The reward gives meaning to the journey. Perhaps, it is the sole purpose for which some journeys are undertaken. (Sanchez, 2015)

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The approach to a journey.......

APPROACH 2 by American Architect Grant Hildebrand in his book, ‘The Origins of Architectural Pleasure’.

A. REFUGE AND PROSPECT The main purpose of architecture is shelter. Every built form must inherit the essential quality of being a haven of refuge for its users.

This is probably the most rhetorical notion of any space and yet it is in select spaces that this sense of spirituality of refuge is achieved.

For example, just a horizontal plain surface to stand on can also be considered as refuge in a steep terrain.

Once the feeling of refuge is achieved, the user leaves the outside world behind. And this is when the magic of space unfurls, i.e. the prospect. This is the point when the design can unfurl its majestic first impression on a more open and positive mind-set. This further implies how space moves a person even in the smallest way.

(Hildebrand, 1999)

Figure 33-(Facing Page ) The ancillary spaces of IIM B’lore, providing immense opportunity to explore and learn (Source: Author)

B. EXPLORATION Once in the comfort zone, the mind is in a more vigilant state and adept to discover what lies ahead. Exploration is purely the skill with which the design speaks to a person.

It’s almost like the space introduces itself to the user. It shows itself through its materiality and posture, it converses with the user through its different zones and at some point and it confides its purity through its interplay with nature.

This more than often happens by chance, you notice a corner and it eventually leads you onto another wonderland, which you never knew existed. This facet has been executed in the most subtle and sacred manner by BV Doshi at IIM Bangalore.

The main purpose behind the corridors of IIM was how to create spaces where people can accidentally meet. In the educational field, when something is heard, one wants to reflect. The reflection creates a reaction and then there is a dialogue. The dialogue eventually leads to resolution. And all this is ultimately possible when the architecture allows you to explore.

BV Doshi’s narration on his design of IIM-B (Bharathi, 2014)

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The approach to a journey.....(2)..

C. ENTICEMENT Amazement is fancied by all. And if it strikes one in the most unlikely situation, it is all the more effective. Such situations or instances are permanently etched in ones memories. For example, the dream scene of the movie, Inception.

Humans by nature are drawn towards the light. But what intensifies this existence of light is darkness. Science proves that human mind searches for darkness whereas the eye looks for light. Hence for the amazement of light to exist, darkness must exist. (Hildebrand, 1999) This goes to show that enticement in architecture results majorly from a play of contrasts. A monumental structure will always stand out in its otherwise ‘timid’ context. A change in volume is another example which designers play with in order to generate and prolong the interest of the user.

More than anything, enticement is an aspect which keeps a space alive, which is why a space must be able to move with time, showing its different identities, thus offering a new element of amazement, from time to time. (Hildebrand, 1999) D. THRILL To be a part of a riveting experience of falling 35,000 feet from an aeroplane or that of discovering a new scientific element cannot be probably described in words. The feeling of adrenaline pumping through the body, when the outcome is not necessarily known.

Thrill involves the existence of two paradoxical emotions- fear & pleasure. Although the two emotions are mutually exclusive, humans seek to experience the unknown, to live in danger. (Hildebrand, 1999). The thrill in architecture hardly involves the danger aspect though. (But obviously!)

Similarly, architecture has the power to defy the regular philosophies of what is unique. It can leave a viewer in awe. And upon discovering such instances, one may just want to stand, stare and admire, nothing beyond that.

E. DRAMATIZING A HAVEN To have been through the thrill of an experience and having explored its various possibilities, one looks for ‘that comfortable bed’ they can tuck into. It is like observing a single sapling growing among the debris of concrete.

Most often, the built form takes this peaceful epiphany and creates a hyperbole. The space always existed, but arriving upon it by means of a journey undertaken, escalates its mere subtlety. Such exaggerations in built form is often a zone of introspection of the entire journey, forming the final imprint about the person’s perception of the space. (Hildebrand, 1999)

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Figure 34-(Facing Page ) The master of using spaces to tell stories- Alfred Hitchcocks mock setup sketches of a staircase scene, a predicament in the power of spatial experimentation.

Hitchcock created different case scenarios of the same set with different props. This allowed him to decide which set would eventually generate the greatest drama and tension among viewers.

(Source: Alfred Hitchcock)

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The secret impresses no one. The trick you use it for is everything (Nolan, 2006)

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INFERENCE- THE APPROACH TO A JOURNEY

Very often, function overshadows the true beauty of what architecture intends to portray. Hence spaces must possess the quality of communicating their true meaning to the user, which goes beyond physicality, which creates an unbreakable bond between itself and the user, through memories, for time immemorial.

In consideration with the above statement, the aspect of journey is what makes the experience of a space what it is. The following case studies look to illustrate the same. They have been analysed, keeping in mind, the nuances of what a person undergoes walking through present practical application of built forms. This study however, is not based on functional or user based design, but solely analysed as a representation of movement and journey.

Figure 35-(Facing Page ) View from the entrance of the Chapel at the Dachau Nazi Concentration camp- a space of tranquil and peace, a paradox to the situation that existed beyond the walls of the space (Source: Author)

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BHARAT BHAVAN LOCATION- Bhopal, India ARCHITECT- Charles Correa The journey towards water.

This symbolic gesture is the crux of what the design stands for.

A sense of subtlety, bordering on the lines of nothingness, the structure seamlessly integrates with the natural terrain.

At no zone on the site, does a person lose his connect or relatability to immediate ground. All the built mass is woven around the open spaces, towards the periphery, allowing the open to sky spaces to garner complete attention, at all times.

Figure 36-(Facing Page) (Clockwise from top left) View from entrance, The art gallery, The play of levels, The non existence of a built form, The courtyard spaces, The play of light (Source: Archdaily, CCF) Figure 37-(Below) The unhindered play of levels of the Bharat Bhavan (Source: A Placce in the Shade)

One enters the site at its highest point and descends downwards towards the spaces. At regular intervals, a person gets a glimpse of the water beyond, generating a sense of intrigue in the journey.

The built spaces have been bermed to the earth and seem like decks along the river bank. The play of levels in the space allows for the creation of voids and courtyards, which are almost hidden from the outside.

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This structure is an antithesis of the general notation as the built spaces serve as transition between the two open spaces, creating a subtle play of light and shadow and changes in volume from zone to zone.

The flexibility of paths allows one to experience the same void through different vantage points, one overlooking the courtyard, and the other from down below.

Moreover, the flooring in the closed spaces is smooth and reflective, appearing like a thin sheet of water, enhancing the quality of space.

The dome like space, which at the entrance, appears as a regular ground structure from the outside, is actually a double heighted skylight at the level below.

The play of light happening in this zone creates different focal points at different times of the day.

The terraces, at some point or another, overlook the spaces below, creating a seamless visual connect. The journey concludes with an amphitheatre space overlooking the river bank, which creates a zone of pause.

The structure allows a person to discover space, in one’s own time and comfort, yet bringing them to a common destination, of peace and connect to nature

(Figure 38-44) (Facing Page)- Source:Author

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DRUK PADMA KARPO SCHOOL Location- Ladakh, India Architect- ARUP ASSOCIATES The built form is a humble single storey structure, 2 linear blocks of stone & wood and tinted reflective glass, giving one a breath-taking glimpse of the mountainous terrain beyond. The entrance to the space is from a narrow walkway between these two blocks which acts as the threshold between the ‘outside’ and the ‘inside’.

There is an interesting play between the built and unbuilt across the entire plot, rejuvenating intrigue, making a person want to explore.

Every block has a veranda, allowing the penetration of the sunlight and the habitable spaces tucked behind them, allowing a seamless visual connect all through the space.

The central circular space, acts as a unique element of surprise in the otherwise linear form of the complex, taking one into an intimate congregation space in the form of an amphitheatre. This is a zone of peace, disconnecting one’s mind from the immediate outside world.

Built in stone and wood which are the local materials, every sheltered space overlooks an open courtyard with built-in stepped seating, blurring the lines between the open and the closed. The interior spaces become a zone for shelter whilst the outside is a platform for exchange and interaction.

Figure 45- (Facing Page, Clockwise from top left) The unassuming entrance, the built form merging with context, the courtyard spaces, the relatable human scale of the school.

(Source: Dezeen, Arko)

The courtyards allow enough penetration of sunlight due to the humane scale of massing and are warm enough as the winds are stopped by the peripheral walls.

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The space is in complete harmony with its natural surroundings, allowing a sense of comfort and security in a zone of unpredictability.

The movement through the complex is enhanced by the subtle change of levels. This allows a new perception of the same space by creating different vantage points of connectivity. The rustic nature of the stone and wood, give one a sense of being part of the natural terrain, yet being in complete shelter.

The design of the built form enhances the play of light and shadow through different times of the day as each space has a ‘butterfly shaped’ roof, allowing light and heat to penetrate into the spaces.

Ladakh, being a region of extreme temperatures, calls for the architecture to blend into the changing landscape, which the structure successfully does. The stone, light grey in colour, blends in with the natural terrain.

The wood in the summers, successfully gels with the green of the deciduous trees and in winter the foci shifts to the dark tinted glass panes and the wooden members stand out in the white scenery.

The space creates a sense of positive reminiscence, a space can be safely said that man and nature, are in complete sync with one another.

(Figure 46-54) (Facing Page)- Source:Author

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MAGGIE CENTRE FOR CANCER LOCATION- Manchester, Great Britain ARCHITECT- Foster & Partners The climate of Manchester is unpredictable, leading to a want of shelter. However, disconnecting from the outside natural environment is also detrimental to one’s health. A window may not be always enough to ‘connect’ the inside and the outside. At the same time, a space must be able to give warmth, both physically and mentally to a person.

A person enters through an orchard of wild trees and shrubs, which creates a suitable transition from the bustle outside. The openness of the space allows one to move around freely.

Despite having minimal partitions, it is enough to create an element of interest in the person to explore further.

Figure 55- (Facing Page, Clockwise from top left) The hidden cozy mezannine space, The open floor plan merging the inside and outside, the front view of the center (Source:Dezeen)

The wooden batons, which act as structural members, create a sense of security and comfort, blending in with the surrounding wilderness. The structure utilises the horizontal and the vertical planes to full effect to create a sense of openness throughout.

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The structure is almost non-discrete in its immediate environment, challenging the barriers between the inside and the outside

The veranda opens towards the green (horizontal) and the central spine, opens towards the skies (vertical) along with subtle changes in volume, which enhances the movement from ‘outside to inside’.

In summers, the vegetation takes over in engaging the eye, while the wooden batons become the element which merges with the surrounding.

In contrast, the white winters enhance the existence of the wood as columns and the bare trees outside act as the primary element of focus.

In a climate like England’s, the sun is always welcome inside the house, which is taken care of in the form of skylights along the central spine.

The glass walls are flexible, welcoming the outside. The structure is a small cocoon, creating a microclimate of its own, yet the built form barely establishes a continuous connect with the natural environment. It functions as a shelter and yet gives the feeling of being free, in the open.

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MAXXII MUSEUM FOR MODERN ART LOCATION- Rome, Italy ARCHITECT- Zaha Hadid Rome is a city of the old. Considering the context, a building of the 21st century Modern Art faced the challenge of standing up for its time and yet respecting what has been successfully surviving for the last few centuries.

Built in a pristine Romanesque neighbourhood, the structure partly sits on an old building on the street-side. This faรงade is bare, respecting the streetscape yet allowing one to recognize that there is a certain change.

Figure 64- (Facing Page, Clockwise from top left) The rear facade, View from the plaza, The museum entrance,The visual drama of the interior spaces, Sunlight through the slits above(Source:Dezeen, stringio, Archdaily)

The structure is made of exposed concrete with huge glass fenestrations, reflecting the city beyond, creating a spiritual connect between the new and the old.

Despite the expansive cantilever and inclined walls, the structure seems to adhere to the architectural language of the city. This is the conformity.

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The effect of art is truly exemplified when on the outside, it creates an impression which is direct, probably conforming, but from the inside it is a tale of booming rebel.

However, it is when one enters into the structure, there is a complete contrast in language with white, black and grey being the only colors. This jarring neutrality leaves one’s mind blank, puzzled and stops the chain of thought.

Perhaps this was necessary as one is moving from the vast expanse of a city of the past into a more modern present-day or even futuristic setting.

The walls and floors are plain white and the ceiling is primarily composed of thin slit like concrete beams which allow sunlight to enter. It is the staircases which are eye-catching. Like a black patch on a white canvas, these staircases act as the central point of focus for the eye at all times.

They are designed to actually give direction to a person from one space to the other. They appear to be floating, appearing almost like a rhythmic whiff of air.

Since the entire structure is bare concrete with reflecting glass, the surrounding climate actually dictates how one perceives the structure as a whole, enhancing its already existing dynamic nature.

(Figure 65-71) (Facing Page)- Source:Author

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MILITARY HISTORY MUSEUM LOCATION- Dresden, Germany ARHITECT- Daniel Libeskind A distortion. This is the first impression of the structure to the eye.

An old symmetrical mansion-like horizontally spanning structure, visually gentle and subtle. This is almost brutally interrupted by the sharp dynamic steel and glass wedge which becomes the point of focus.

The wedge like structure intrigues the onlooker to find its true meaning and what it entails. A person enters the space through the old neo-classical structure which has large volumes and linear walls, a more relatable space.

The museum space is entered through a dynamic space of inclined walls made of exposed concrete, which actually creates a sense of transition from the old to the new. Volumetrically, this space also changes the perception of a person from being in a free bright space to being overpowered by the converging dark walls.

Figure 72- (Facing Page, Clockwise from top left) The pronounced wedge like form, The staircase to Libeskinds extension, Spaces for contemplation, Glimpses of Dresden beyond, Thrill at the top (Source:Dezeen, Archdaily, Author)

The user moves to a level above by a dynamic staircase, by which point, unpredictability seemingly becomes predictable. This journey is immediately contradicted as a person re-enters the old structure where the movement is free and the change of space happens in a very subtle and ‘regular’ manner.

Moving through the old structure, one arrives at the topmost level, the exhibits being the point of focus in the subtle backgrounds with momentary glimpses of the outside.

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The museum allows one to actually perceive the entire journey in a new light, from peace to unrest, from old to new, from relatable to alien and the rediscovery of order, through the built form.

The final part of the journey is when a person finally arrives at the pinnacle, the top of the wedge like structure. This space again creates a feeling of unrest, with just a platform to stand on, and thin steel members converging and diverging between junctions.

This space is the most dynamic in the structure as there is a huge difference in perception of the space itself depending on the time of the day. The sun here, plays a crucial role as it is the light which penetrates in the gap between the steel that actually gives a person visual direction and focus.

The element of thrill is experienced at the end of the platform as at this point, there is nothing below and one can see right through, to the ground, giving the feeling of standing on a diving board 40 meters above the ground.

One can also have a look at the town of Dresden, being the only link between the museum and the town. The person is brought back down through a dynamic staircase, into a space underground, where the internal partitions are angular, but the walls are linear, probably creating a gradual transition back to reality.

This path ends when a person comes back to the entry point and into the free space.

(Figure 73-78) (Facing Page)- Source:Author

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THE BLUE PLANET LOCATION- Copenhagen, Denmark ARCHITECT- 3XN Architects In the form of a whirlpool, the fluid form seems naturally emerging from beneath the waters. Thus, a visitor is intrigued by what actually lies ahead.

The aluminium façade is reflective of the mostly blue skies throughout the year in Copenhagen, further merging with the immediate landscape or waterscape in this case.

The entrance into the structure is through a natural crevice which appears carved out of the curved edifice. The visitor descends 2 metres below ground thus giving one an impression of entering the water.

The entrance foyer is zoned in the central atrium space which then divides itself into the different zones. There are multiple circulation paths which give users the option to explore the space at their own will, enabling crowd management.

Whichever pathway a person chooses, he is met by dark converging walls, which activates intrigue on what is to come beyond. Each space beyond is lit only by the light coming from the water beyond the convex glass walls thus establishing focus onto the marine life.

Figure 79- (Facing Page, Clockwise from top left) The form of a humungous wave, The aquarium drawing in natural light, Reflecting the surrounding ocean (Source:Dezeen, Archdaily)

The ceiling is lower in the central passageway and slant upwards towards the edges onto the glass walls, subconsciously guiding a person’s eye.

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Emerging out of the ocean- is the first impression one receives upon setting eyes on this mammoth wave like structure.

Although the walls are plain and dark in color, it is the water which actually makes this space dynamic. The light penetrating through the water creates interesting patterns on the walls opposite the water tanks at different times of the day, enabling multiple experiences at all times.

Since the structure is partly submerged, the sound of the gurgling water gives the person the feeling of being underwater. The journey culminates at a deck which overlooks the entire ocean beyond, almost feeling like being on an isolated island, away from the mainland. This is where nature completely takes over, with the water, sky and sun being the only companions.

The exit pathway is through the central atrium. At this moment, the volume of the atrium and the experience of the structure being underwater, allows one to gauge the vast depths and expanse of the ocean and how the structure, although massive, is just a tiny impression at most.

Upon exiting, the structure speaks a different language as a few hours might have passed from when one entered. This major change happens due to the reflective quality of the titanium surface and the movement of the sun.

At sunrise and sunset, the structure appears yellowish, in the day it reflects blue. The lighting of the faรงade at night creates an altogether new experience, as the water acts as a mirror, giving a completely new identity to the structure.

(Figure 80-85) (Facing Page)- Source:Author

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THE WATER TEMPLE LOCATION- Hyogo, Japan ARCHITECT- Tadao Ando A structure which questions more than answers, the journey is one of discovery, of space and of self. The unassuming nature of the architecture which merges with its immediate context peaks the interest of a person on the first glance itself.

An almost non-existent structure, allows for a symphony between nature and the built form. (Or in this case, un-built) A person begins his journey with a steep climb of stairs along a blank concrete facade, towards two seemingly converging walls.

Upon reaching the intersection, a small crevice guides a person onto a reflecting circular lotus pond, giving a placid visual of the mountains and sky. This is a point of pause where the person actually gets the notion of being part of a built space.

Figure 86- (Facing Page, Clockwise from top left) The view towards the lotus pond, The staircase to solace, The burst of color in the interior, the walls giving direction (Source:Dezeen, Archdaily, Tadao Ando)

A concrete stairway cuts the circular pool in two symmetrical halves.

A person then descends down into momentary darkness from the light above, into a space with high walls, painted with a bright vermillion hue.

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A path towards solace and sanctity, of the mind & of the body.

(The Water Temple.....)

Contrary to the brutal monochromatic faรงade, the interior spaces are saturated with colour, with an intense red-orange light pulsating from its core.

One follows a circumambulatory path along the closed walls that leads gradually onto the main space, surrounded magnificently in a background of natural light, coming in from the jaali like walls.

The exit is through a tunnel onto the main road, back at ground level.

The structure seamlessly blends with the surroundings, allowing a user to gauge the form differently at different times of the year. Amid the snowy whitescapes in winter or the lush green fields in summer, nature is always in the fore.

Even at a micro level, in the evenings, due to the orientation, the vermillion hue of the interior spaces is accentuated when the setting sun falls on the walls, thus enhancing the volume within.

The structure gives a different notion of peace and self-discovery through its architecture.

(Figure 87-92) (Facing Page)- Source:Author

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An endless succession of spaces, leads to exhaustion.

We need spaces where the eye can rest and the mind can contemplate.

- Gregory Kepes, MIT

(Correa, A Place in the Shade, 2010)

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WITHIN AND BEYOND- THE PARAMETERS The structures analysed are of different genres, in different regions and have entirely different user groups. However the approach, experience and impact of each of these spaces is equally eloquent.

These nuances have been considered to arrive at the parameters of movement through space.

They are as follows1- A Sense of intrigue or questioning (as to what the structure stands for) 2- The influence of context (how it stands along with and respects its immediate surrounding and vice versa, how the structure blends with nature) 3- A sense of arrival (the identity of the space, massing or material change, at different zones and at different times, creating a sense of homeostasis) 4- A play of Volumes (a change in the spatial quality keeps interest at peak) 5- The element of surprise (a sense of discovery of something unusual) 6- Creating sentience ( the capacity to feel and experience the space, having a personal connect, to be emotionally activated through certain stimuli, creating an introspection and a memory) 7- The 5 elements of nature (air water fire earth space) 7- Symbolism or a message?

A space should be one which allows a person to discover new facets, whether it be about themselves or otherwise. Indirectly, an exploration of the human mind and body.

Figure 93- (Alongside) The waiting room at the Dachau Concentration Camp, Dachau (Source:Author)

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THE HOLOCAUST MUSEUM- the existence of expression LOCATION- Berlin, Germany Year-1998 ARCHITECT- Daniel Libeskind The Holocaust museum extension in Berlin, stands as an ode to the suffering of the Jewish during the Second World War. It is an experiential museum, allowing one to experience and empathise with the conditions of the Jews suffering in the Holocaust concentration camps during the unrest.

The symbolism of various emotions like hopelessness, struggle, introspection, hope, resurrection, freedom etc have been abstracted through space.

Figure 94- (Facing Page, Clockwise from top left) Birds eye view of the extension, The installation in the old structure, The staircase leading underground and to the museum entrance, The Holocaust Tower, The Floor plan of the 3 Axes, The Garden of Exile, The Axis of Continuity, Exterior Facade, the Multiple Axes(Source:Dezeen, Archdaily, Dezeen, Author)

The façade of the structure is brutal in nature, made of titaniumzinc sheets, with narrow and long linear openings intersecting at irregular intervals, giving the impression of scratches on a plain façade. One enters the structure through the old museum which is a remembrance to the legacy of the place.

The entrance to Libeskind’s extension happens from a dimly lit staircase which leads underground. This opens up onto a long corridor of plain white walls and channels of lighting on the ceiling, guiding a person ahead.

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A visitor is made to endure the anxiety of hiding and losing the sense of direction before coming to a cross roads of three routes.

This is symbolic gesture to confuse a visitor who inevitably takes the nearest axis i.e. the Holocaust tower, where one is met with a dark room with towering walls, with only a small slit at the far top end, allowing a sliver of light to enter the space.

Turning back, the second axis is the Axis of Exile, which is like a maze, having narrow linear divisions with high walls, allowing a user to glimpse at the sky above yet giving one a sinking feeling of not finding their way out.

The third axis is the Axis of Continuity which is where the actual museum starts. This is in the form of a staircase core which goes up 3 levels. Upon reaching the final level, one peeks out to the city of Berlin, symbolising freedom by a visual connect to the outside world.

These present opportunities for a visitor to experience the struggle of the Jewish in the chronology of time. Libeskind creates a promenade that follows the “zig-zag� formation of the building for visitors to walk through and experience the spaces within.

(Pavka, 2010) The experience does not stop at the visual realm, but recordings of the holocaust prisoners praying during their imprisonment hums in certain spaces, sending chills through the spine. The bare concrete walls, rough textures, each portray some symbolic gesture of the respective space.

Although the exhibits do add to the experience, it is the built form which takes over entirely in guiding a user on a journey of introspection, to a time that man should recall, but never dare to replicate.

(Figure 95-104) (Facing Page)- Source:Author

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LOOKING BACK As effectively as human beings communicate with one another, it is the interaction with self that impacts one’s personality more. And this in turn, is affected by the spaces one occupies or goes through every day. A journey is different for every individual hence one has a unique perception. However, undertaking the same journey multiple times can turn out to be a mundane affair.

Physically, architecture is considered static. So how can the same journey, taken multiple times, entice the user’s experience?

Take the example of a roller coaster. The first time one takes the ride, it is beyond thrilling. The excitement and adrenaline is sky high. There are instances when you are barely able to keep your eyes open. You clutch tightly onto your seat, gasping and probably screaming, at the very thought of defying gravity. You enjoy it, so you want to experience it again. This time, your muscle memory comes into picture and you are slightly more accustomed, hence your eyes and body search for other elements. You probably notice that the grip you’ve held onto is a soft cushion or you happen to see the splendid view while ascending. The rest of the ride too, you have a little more courage to actually experience what is going on.

Consider that the same ride is taken about 3 times more. It begins to feel as if the ride, which earlier was scary to even see, could now be had sipping a cold beverage too!

Figure 105-(Facing Page) A journey of multiple meanings, seen from a different eye, each time. (Source: Pinterest)

So what could have made a difference?

Take for instance, the same ride being taken in the night when the entire surroundings are lit up. Or that in the pathway, the rollercoaster suddenly turned left instead of right. It does affect the entire experience, even if it may be of just two minutes.

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Looking Back (continued)....

Built forms utilize very subtle elements in order to make such journeys unique and interesting.

The play of light and shadow, alternate pathways, the impact of the surrounding climate etc. are all factors that contribute in the passive or represented movement. It makes a huge difference in the perception of a single space over time. For example, The Farnsworth House by Mies Van Der Rohe.

Architecture truly has the power to synchronise space with time.

It has the power to change impressions and outlooks.

It has the power to move.

Figure 106-(Facing Page) The subtlty in the plethora.

The intricate facade of the Aga Khan Museum, Ontario (Source: Author)

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PART 2 Advaith Mani / Fifth Year B.Arch / L.S.Raheja School of Architecture

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WHAT IS MOVEMENT IN ARCHITECTURE? Architecture and movement are synonymous with each other. It is like the equation of peas in a pod, where architecture are the peas and movement is the pod. There is no space in this world which can exist without a sense of movement, tangible or intangible.

Having established the concept that architecture has the capacity to move, this notion is purely symbolic of the fact that every built or natural space, has an invisible chord established with its users.

It is the strength of this link which eventually decides the impact of a space on a person. For instance, can you shut your eyes and imagine the look and feel of the grocery store in the locality? With the same regard, can you picture the Taj Mahal?

These chords become pivotal in deciding the relatability one has to a space. Which is why some spaces stand out and some don’t. Some can be easily remembered but some are blank spots in the mind.

It is this reciprocity between man and space which architects and designers take into due consideration. How a person moves, what he sees, hears, touches and feels, can eventually be controlled by deciding the way a person moves through or uses the space.

Moreover, this is the true sanctity of architecture, the association of man with his inner self.

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Figure 107-(Facing Page) The relatability and remembrance of space, a true play of perception of Architecture. (Source: Author)

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THE IMPACT OF MOVEMENT You can kill a human with an apartment just as well as with an axe - Heinrich Zille Space has the capacity to re-instate certain feelings in their users.

These feelings are mostly based on the experience of the user, the function of a space and most importantly, its impact.

The quest to create ‘good architecture’ started off with this very concept. Man realised the power of space to leave an impact on the human mind and hence architecture became an inseparable aspect of life. Louis Sullivan’s implication of ‘form follows function’ is symbolic of the very fact.

However, this implication can be interpreted a little differently.

Ultimately, it is the space which eventually leaves an impact on a user, more than its function, because the function would not exist, if not for the form. For example, in an office, everyone has a computer and a desk, but it is the overall space which a person identifies with.

The same goes for a home, a hospital or a garden. The requirements are the same for everyone, but it is almost impossible that the space that cater to these requirements mimic one another at any point. And this is how space creates its identity, this is how space allows for that impact to be created on its user. Because the human connect with architecture goes beyond its functional identity.

It is almost involuntary and subtle, yet the association that any human being has with a space is immense and almost impossible to measure.

Figure 108-(Facing Page) A space that serves beyond its function and has multiple identities to its multiple users. The VAC Library, Vietnam) (Source: Archdaily, edited by Author)

Hence any space that we are around affects us in some or the other way. Whether it be the comfort of the chair one sits on, or the amount of light coming into the room, or the time one spends looking around, every small nuance is registered by our body generating some response. This response can vary depending on the experience registered by the mind, which is why it becomes the core element while designing a space.

Does architecture have the power to affect the mind in a positive manner?

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THE POSITIVE IMPACT OF SPACE The human mind has the power to associate itself with some spaces more than the others, similar to how a person associates himself with a character in a movie.

Space, through its sensory and emotional connect, can establish a sense of positivity in the mind of the user, the notion we usually refer to as ‘beautiful spaces’. There are certain elements in a space which make a user like or dislike it. Hence, architects look for elements which increase the probability of positive responses from the users. This in turn, becomes the aspect which a person tends to relate with, more than function.

Figure 109-(Facing Page Top) The ever changing spaces of The Therme Vals, Switzerland.

A space of discovery and selfattainment.

(Source: Designboom)

For example, the Therme Vals by Peter Zumthor speaks about this very impact. Using subtle changes in volumes, light, material and transitions, Zumthor establishes a very different identity of the space. A spa by functional identity, the space renders a sense of discovery of peace and participates in the activation of all the senses of the human body. Thus, it is more a journey of rejuvenation than merely different pools of hot water.

Figure 110-(Facing Page Bottom) Mr. Correa’s favourite corner of his house in Panjim, Goa. ‘He used to say that the corner allowed him to connect with architecture and the natural elements and through it, his inner self’,as narrated by Monika Correa. (Source: Author)

In everyday life too, having such impactful spaces creates a huge boost in improving mind-sets and lightening moods. For example, a cozy corner when one can read a book, a small gazebo in a garden which allows one to be in shade yet experience the open and such.

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The positive impact of space...(continued)

The process of movement in an individual is continuous, within and around himself. Hence, while spending a lot of time in a single space, a person looks for these small buffers or let-outs which allow the mind to relax.

Despite all these intricacies, human beings are always excited at discovering something new however small it may be.

Cubbon Park, in Bangalore, is one such space. Heralded by lush greenery, it acts as the lungs of the city. Being in the heart of the business districts, the number of users are large in number.

At every point of the day, the experience is different. In the mornings, one can hear the chirping of birds and feel the morning warmth of the sun, in the afternoons it becomes a shaded haven where one sees the light trying to penetrate through the foliage, almost as if they were playing with one another, the squirrels running freely and in the evenings, one can see a splash of orange all around while the sun sets, ever so peacefully.

Even a beautiful piece of sculpture can create a massive impact purely based on its look and detail. The difference between sculpture and architecture is that architecture is used every day whereas a sculpture is seen once and forgotten. Which is why, architecture must have the capability of garnering its user’s attention, not momentarily but through its entire existence as a habitable space.

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Figure 111-(Facing Page) (Clockwise from top left) The play between the trees, the sun and the sky, the play of life all around, The different pathways of Cubban Park, Bangalore. (Source: Author)

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MOULDING THE MIND In O. Henry’s short story, The Last Leaf, the woman recovered from an incurable disease merely on the hope of the last tiny leaf not falling from the drying plant. The plant survived storms, gusts and gashing rains and yet the leaf was a source of positivity and recovery for the woman.

In a similar regard, if a leaf has the capacity to unintentionally create such an impact on a person’s mind, one can only imagine the magnitude of impact that an occupied architectural space can have.

Why does man look to create good spaces? Isn’t a roof, a soft bed and the necessary equipment for our occupation enough for survival? What role does architecture need to play and how do we associate or disassociate ourselves with the space we occupy or pass through? This is because architecture is the purest connect that an individual can have with his own self.

Every individual is different and each one has an association with elements depending on what they relate to. Similarly, architecture allows for a person to activate their senses and emote naturally. It is never a forced process and it is never materialistic. It is purely a symphony of elements around us which not only give us shelter but allow our mind to be active and alert.

And the most effective rendition for this to happen is movement.

Because spaces are built to be experienced, and experience occurs through movement. Movement is the nucleus of space.

Figure 112-(Facing Page) The Jai Jagat Theater, Ahmedabad, a sublime association of space with its user and context (Source: The Merit List 2019) Figure 113-(Overleaf) Non-imposing yet impactful.

(Source: Author)

Take the example of a traditional Hindu temple. The very meaning of the temple, not considering the deity being worshipped was only meant to revive and re-ignite the 5 human senses. Although this occurence was through the various activities one performed, the implication was pure and definitive of the positive impact of keeping our senses alive and alert. (sight- the lamp under the dimly lit shikhara, sound- the bell, taste- the tulsi water, smell- the fragrant flowers, touch- the stone and marble/granite surfaces) (Gordon, 2014)

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ARCHITECTURE allows the most natural response to senses because our senses are almost involuntary. Which is why the capacity of architecture to move people is exemplified beyond any other element.

Because architecture is natural and non-imposing.

Can this natural ability of space go beyond and create a difference in society? Can the positive notion of space help create a difference in the mind-sets of people?

Can architecture heal the mind??

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FOOD FOR THOUGHT Figure 114- (Facing Page and Above) News Articles and Surveys on Mental Health in India (Source: WHO, NIMHANS)

There is nothing like the sight of an amputated spirit, there is no prosthetic for that.

-Al Pacino in Scent of a Woman (Brest, 1992)

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THE PRESENT SCENARIO India. The country today with the highest population and the most number of youngsters, emerging as the driving force across the global scenario.

India has progressed heaps and bounds over the last decade in almost every arena, be it science and technology, sports, business etc. Today, every individual in the country is working towards peaking at their respective fields. The intellectual progress of a country is solely dependent on its younger generation.

But achieving such levels of excellence comes with a price. It can so happen, that in the bid for being the best, some get left behind. In a millennium marked by innumerable successes on one side, the other side was probably ignored. Urban India today, faces a very similar situation.

In a country where the statement “life is a race, agar tez nahi bhaagoge to koi tumhe kuchalkar aage nikal jayega” is followed to the word, one begins to realize that the ones who have been left behind are far more in number.

“Every action has an equal and opposite reaction”.

(Newton’s Third Law of Motion) In a result oriented environment, it is often the top of the system that gets all the attention. As profoundly explained in Maslow’s Pyramid of Hierarchy, the top is the tip, a pinnacle which only a few can even hope to achieve. (McLeod, 2018) But no law in the world states that every individual, whether at the top or at the bottom, has no right to a peaceful and happy life.

The ensuing gap in the expectations and results among individuals is resulting in fatal circumstances. Basic health is under threat, not only physically but mentally as well.

In an era where livability standards are measured by the number of electronic gadgets, amenities or the height at which an apartment is, human expectations have become more and more materialistic.

Figure 115-(Facing Page) The whithering of the mind, as expressed by the effect of a gust on a tree.

(Source: Demenica, Behance)

In all this hullabaloo of increasing wants, man does not realize that he is the biggest victim in this process.

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WHAT is the reason that humans today, are not able to handle the increasing demands off them?

WHEN did this all eventually start and how come no one ever realised it?

WHY is it still a huge grey patch in society?

HOW can this problem be solved?

In this sudden and recent boom of ‘over competitiveness’, there has been an excessive demand for spaces that cater to this growing population. And the insensitive use of natural resources has been the appalling yet resultant solution.

Man’s demand for a better life has been a continuous process. Then why is this attempt at betterment having more negative than positive effects in present times? Why is the most productive age group of youngsters facing such a difficult time dealing with their selfinduced, frantic pace of life?

Today time has become a major constraint in the lives of people.

Demands are getting bigger and more elaborate and the coping capacity is not equally expanding.

This has resulted in a large chunk of the population undergoing unforeseen or even unrecognized problems. This in many cases leads to self-doubt and loss of self-confidence. However small it may seem on the outside, these issues have plagued the youth of the recent past. Imagine being stuck in a tunnel, the end in sight but never attained. In case of mental health, it is the tunnel which keeps changing, the disdain remains the same.

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Figure 116-(Facing Page) Is the Left Brain right or the Right Brain left? The outburst of activity and perception in a persons mind while dealing with an emotion.

It is a constant tussle over which overpowers the other.

(Source: Behance, edited by Author)

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Whot, when, why, how....

The obvious result of this scenario is that today, a large number of youth in the country have fallen prey to disorders like anxiety, depression, bipolar disorders and chronic stress.

But what does constitute to a healthy mind? How has its death in recent times, actually impact human life?

Despite all this, the elephant in the room which is often never addressed is that how is this problem being addressed?

Today, in a country like India, therapy is still considered a huge taboo. There is an untold social stigma attached with the very word.

It is fairly unusual that in a country which faces this problem in such large numbers, how is it still one of the most unspoken and unresolved?

It is often said that the human in ‘human’ resources has been lost in recent times. And this notion applies to both sides of the coin. The person who is facing the music and the one who is playing it too.

Figure 117-(Facing Page) The black dot on the white sheet, or in this case the few outnumbered, who will always be seen in a different light among the majority. Probably the same case with a person dealing with mental health problems.

(Source: Author)

The aspect of EMPATHY is still considered a huge myth in society.

In a culture where untouchability is still prevalent, one is forced to question the attitude regarding disorders like anxiety and depression.

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STATISTICAL Figure 118 (Source: NIMHANS)

PERCENTAGE OF PEOPLE WHO WOULD OPT FOR THERAPY IF NEEDED

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ANALYSIS Figure 119 (Source: WHO)

ATTITUDE TOWARDS MENTAL ILLNESS

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THERAPY- TREATMENT OR TABOO The first obvious solution that anyone with a dire mental problem is to undergo therapy. Being considered as the ‘most depressed country in the world’ one would imagine that equal efforts were being taken to address and moreover, change this dubious tag.

(WHO, 2016) Unfortunately, even considering therapy as a solution in India today, is like a stigma. According to the WHO, the treatment gap in India for mental health disorders is tremendous- only 10% of patients with mental problems even consider therapy as an option.

Treatment centres for mental health are still in the form of converted storerooms in clinics or vacant corners in hospitals. Even therapy clinics in the country are in closed concrete boxes, almost claustrophobic in nature.

Moreover, psychiatric treatment in India is not light on the pocket of the common man and further deters anyone from considering it. Being a country where ‘samay ke saath sab theek ho jayega’ is considered clarion call, voluntarily considering treatment is far beyond the mind-set.

Figure 120-(Facing Page) The still unanswered question of society, which perceives one in the wrong light at first and when the intention to improve is shown, they turn their backs, quite literally, the classic case of a Yin-Yang.

(Source: Tumblr) Figure 121-(Bottom) The unanswered yet everexisting question in Indian society! (Source: Author)

Even despite all these barriers and obstacles, a person who does go for therapy to a shrink or a professional, there exists the social stigma of being considered ‘abnormal’ or ‘deranged’.

The affected in turn, are more vulnerable to society than even to their own selves. It is high time that we as a responsible society understand that everyone around us is as normal or abnormal as we are, and that IT’S OKAY to not be fine.

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You don’t always need to speak to someone else, sometimes it is just about spending a moment with yourself, about realising your inner voice.

And architecture has several such moments which have been captured across generations and centuries. It’s all about seizing the moment which belongs to you.

- Author

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THE TRANSITION TO TRANQUILLITY As a human race, if the youth today are suiciding and giving up hope on life, what future are we really working towards?

Realistically speaking, it is the generation of tomorrow which matters, and if that generation’s coping capacity is not up to scratch, then we got ourselves a huge problem.

Today no one is turning a blind eye to problems which we can see, then when there is a Frankenstein like monster standing in our midst, why is it being ignored?

In India, a country plagued with taboos and superstitions even today, it is time to move forward. It is time the country accepts and the country realises.

Change cannot happen instantaneously, it has to be a gradual process. And architecture is the catalyst, the true source of possibility.

Figure 122-(Facing Page) Peace can be found, sometimes even bobbing gently on the edge of a river.

(Source: Author)

Stigma cannot be eliminated in one day, but instead, spaces can be designed that help the problem be dealt with in a different manner.

Architecture can move minds to adapt to the changing time and can induce in one, a source of hope towards a better future.

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HOW DOES ARCHITECTURE PLAY ITS PART? Although mental health problems are largely governed by the situation a person is in, another pivotal role is the environment in which the situation actually occurs. This is similar to phobias, where people have an unexplainable fear about an object or a situation which deters them from being in the same place or situation again.

For instance, if an employee is reprimanded 5 times in a month for his work by being called in the managers’ office. Thus the manager’s office only has negative memories for the employee.

Eventually he will develop hatred towards the very office as it might remind him of the past instances.

Architecture has the power to re-instate memories, hence it has a deep connect to the human mind and emotions. However there are always two sides to a coin. If architecture has the capacity to negatively influence the mind, it can equally create a positive impact.

Take the above instance, if each time a person got told off, he could just walk into a garden and be by himself for a while, and the overall impact of the situation may have reduced. Thus, if by chance he does get called again, his mind will prepare itself to combat the situation with the positive memory of the garden.

The connect architecture has with the human mind is probably greater than words. The capacity of spaces to move people can be a resilient solution to not only replenish the mind, but also relax the muscles and the nervous system as a whole.

If one looks at it plainly, it is just the play between the tangible and the intangible which is made possible due to architecture. A tangible space saves/improves human life through its innumerable intangible notions. And this is truly the embodiment of the fact that architecture has the capacity to move human lives. (Mead, 2019)

Figure 123-(Facing Page) Space affects the most innate depths of the mind, and thereby establishes its perception and identity among its users.

(Source: Flickr, Author)

Figure 124-(Overleaf) The Ismaili Centre, Toronto by Charles Correa.

(Source: Author)

Tell me and I forget, teach me and I remember, Involve me and I learn - Benjamin Franklin

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“ Architecture has the power to speak to the skies above, the ground below and the soul within. When a space is built, the experience is not solely about itself and the user.

It is the involvement of the other forces like the sun, the wind, water, the earth and the trees. And this inter-relationship is what in turn moves a person. �

-Balakrishna Doshi (Ramachandran, 2010)

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It is what you go in search of, It’s what drives you to discover, And that is the analogy which links the true beauty of this space with the mind of its user.

Charles Correa

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THE CHAMPALIMAUD CENTRE FOR THE UNKNOWN LOCATION- Lisbon, Portugal ARCHITECT- Charles Correa YEAR OF CONSTRUCTION- 2011-2014 The Champalimaud Centre for the Unknown is iconic not only in its form but its purpose too. Built as a speciality research unit for cancer and neuroscience, this project, through architecture, looked to eliminate the taboo associated with the same. In Portugal, diseases like cancer and neurobiological disorders were looked down upon as awareness was minimum. As a result, empathy was almost non-existent.

Hence this centre proved to be a symbol to eliminate this stigma by being a treatment centre in the public realm rather than being a private campus. This also is a gesture of the structure of giving back to the city.

Being located at a historical landmark of where Vasco Da Gama set out for voyage towards unknown and undiscovered shores, the Centre derives its name and concept from this ideology. The spaces guide a person and a multitude of experiences, symbolising a voyage of discovery through the built form.

Figure 125- An elimination of a stigma requires more than just a peek. (Source:Archdaily)

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(Figure 126)

134

Site Plan

Schematic Section through Research Centre

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landscaped zones

public zone research zone/ medical facilities

Figure 128-(Top Right) A play of Reflections,a connect within and beyond (Source: Dezeen)

Figure 129 &130-(Alongside and Bottom Right) A play of volumes, enabling visual and spatial connect (Source: Stringio & Archdaily)

Advaith Mani / Fifth Year B.Arch / L.S.Raheja School of Architecture (Figure 131)

Classification of Public and Private zones

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The architecture is subtle and allows unhindered visual and spatial connectivity, blending naturally with the context.

The pergolas are constantly in play with the sun, thus creating varying patterns at every hour of the day.

The path towards the ocean allows one to peek into the building and vice versa making it a wholesome experience for all user groups.

The central part of the plot is a curved public pathway and the more private spaces are along its either side. The formal spaces are connected by a floating glass bridge which cuts across the public path.

Figure 132-(Facing Page, Clockwise from top left) The pergolas creating a play of light and shadow, The bridge connecting the 2 facilities, Looking out from the auditorium, The play of levels in the Public space, Walking towards the unknown, Private open spaces inside the campus (Source: Stringio, Dezeen, Archdaily)

The public space ends at an infinity pool and an amphitheatre, symbolising the connection between the river and ocean. This space was designed to be a zone of contemplation and reminiscence, a space of positivity.

More than anything, this structure is a symbol of modern science and that architecture can be the most natural facet to eliminate social stigma, bring the city together and boost progress of the human race as a whole.

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LIVE CASE STUDY1. KARUNASHRAYA HOSPICE (of a connect with nature and the outside world, of realising the value of the smaller things, by small interventions in a major medical setup).

LOCATION- Bangalore ARCHITECT- Sanjay Mohe

YEAR OF CONSTRUCTION- 1997-1999 A centre for treatment of cancer and palliative care, Karunashraya is a space which is representational of its true meaning, ‘an abode of compassion’.

The hospice has a capacity to accommodate 300 patients, divided among 6 wards along with residential facilities for 120 volunteers, nurses and doctors. Though equipped with all the paraphernalia required by a healthcare facility, its spatial experience revolves around empathy and positivity towards life.

In an environment where the major users of the space are suffering from an incurable disease like cancer, the euphoria of life still exists in every nook of the premises. And it is the architecture which stimulates this aura.

Figure 133-(Facing Page) View towards the central pool of water and the wards beyond (Source: Author) Figure 134 & 135-(Overleaf Bottom Left) The pool of water binding the built form together (Source: Author) Figure 136 & 137-(Overleaf Bottom Right) The administration office and the Prayer area.(Source: Author)

Humble in scale, accessible in all regards, the centre is nestled between lush greenery with its nucleus in the form of a large pool, an automatic visual focus at all points through the journey. The beds of the patients are all facing the outside, opening out towards the central water body or a green garden, imbibing in every user, a sense of connect to the outside world.

Karunashraya goes beyond the general notion of a hospital, providing the opportunity to connect with nature, to be comfortable, and most of all to hope for a better tomorrow.

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(Figure 139)

140

Site Section

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(Figure 138)

Advaith Mani / Fifth Year B.Arch / L.S.Raheja School of Architecture

Site Plan

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The materials used is stone, which allows the structure to naturally merge with the green and also prevents heat transfer. At every zone in the premise, one has the sense of being connected to nature, be it through the chirping birds, the swimming fish or the rustling leaves.

The centre suitably houses prayer and meditation rooms for its visitors. However, since the organisation does not profess one particular religion, the concept of seeking a higher power is also achieved through nature. A simple stone floor for meditation, overlooking a small stream which has water continuously trickling down from the creepers above. The sunlight greets the user through different angles all through the day through the jaali walls made with hollow rectangular concrete panels.

Every users’ mind-set and perception is taken into consideration in the design of the hospice which goes back to the motto of the organisation of restoring dignity and giving care.

(Services @ Karunashraya, 2011)

INFERENCE- Where Karunashraya is different from other healthcare centres, is that it generates a sense of positivity and care through both, tangible and intangible means.

The space is in harmony with its immediate natural environment, which in turn becomes the element of peace for a user.

Figure 140-(Facing Page Clockwise from top left) The body of water,connecting the courtyards, The meditation / Prayer space, A subtle connect with the elements of nature, The built form at human scale- the old and the new wards.

(Source: Author)

The architecture of Karunashraya successfully achieves its sole purpose- of eradicating the fear of a life threatening disease and looking at it more as a journey of self-discovery, through empathy, and a symphony, between man, nature and architecture.

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2. MUKTANGAN REHABILITATION CENTRE (of using the power of the outside space and a constant change of spatial perception in order to accustom the mind to new challenges, in this case, de-addiction)

LOCATION- Pune ARCHITECT- Shirish Beri YEAR OF CONSTRUCTION- 1986-1988 Located in the heart of a residential and commercial zone, Muktangan is an ideal portrayal for inclusiveness in society, by its working as well as its architecture. The centre operates on the basic ideology that every individual is the same, with different paths and must be treated equally. The architecture of the centre also adds therapeutic value, by being a part of the healing process of a drug addict.

Home to about 150 residents (they do not accept the word ‘patient’!) and about 40 volunteers and counsellors, the centre is a G+2 structure built of stone and RCC.

Figure 141- (Facing Page) The heart of the design, the central amphitheatre (Source: Author)

The transparent design is expressive of freedom and increases the physical and visual interaction, thereby reducing the isolated alienated feeling. The cut-outs, the terraced balconies and the seating, encourage the patients to open up and interact.

(Beri, 2000)

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Ground Floor Plan

First Floor Plan

(Figure 143)

Common spaces Congregation spaces

146

(Figure 142)

Second Floor Plan

(Figure 144)

Central courtyrard / amphitheatre Counselling rooms

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(Figure 145) Schematic Section (Source- Shirish Beri)

The datum of the entire design is the courtyard in the form of an amphitheatre, which is overlooked upon by all the built spaces, enabling the sense of belonging for every user in the space. This space acts as a zone for congregation and let-out. Its raw stone faรงade has an uneven sheet of creepers growing over, which gives a sense of it, naturally carving itself out of the ground.

The existence of the creepers on the 15m high wall allows for a change in perception over time creating an interesting play between grey, green and the skies above.

The working structure of the centre also works on the principle of changing self-perception and keeping the mind occupied. For this reason, every 4 days, the residents are made to change their dormitories to try and achieve equilibrium of the mind.

In this case too, the courtyard serves as the element of homeostasis, except from a different vantage point, thus binding the entire space together.

INFERENCE- Although the movement here is physical but the emotional and sensory connect with the architecture significantly changes as one moves to the floors above.

The space, fairly open and accessible at all zones, is not only a functional advantage but a symbolic gesture of the philosophy of the centre of a natural re-integration into society, without barriers, without restrictions and with utmost compassion and empathy. (Mitra, 2018) Figure 146-(Top Left) All spaces overlooking the central Courtyard (Source: Author)

Advaith Mani / Fifth Year B.Arch / L.S.Raheja School

Figure 147-(Alongside) A sketch of the main entrance, enveloped by nature Shirish Beri) of(Source: Architecture

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THE INTENT In a country like India, where positive mental health is in the dearth, an immediate solution must be sought. Moreover, in a time where the country is on the brink of progress, mostly driven by its youth in the metropolitans, it is of utmost importance that this prevailing condition be addressed.

However, as discussed earlier, the persisting stigma and staunch ideologies cannot be eliminated overnight and hence, architecture can prove to be the mediator and movement, the catalyst.

The proven notion of positivity through space can help enable individuals to learn, grow and feel affirmative towards their own selves and others. The core of the intent is to not bring about a forced change but to allow a natural transition to tranquillity by the power of architecture.

The aim is to create a space which is part of the city, naturally occurring. To create an opportunity for therapy through spaces that move people. A space for rehabilitation, in the public realm.

By creating a journey where one can re-connect with their senses and emote positively, the space intends to rejuvenate the mind and body of its multiple users.

It is a means to challenge the pre-existing stereotype about mental health problems and create a positive difference to society.

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THE PREMISE The city of Mumbai.

For a city that relies majorly on its public transport network, i.e. the local trains, the bus and the upcoming metro, the streets are the fore of major footfall. Moreover, for a city lacking in its public open spaces, it is quintessential to revive its existence.

The business and financial capital of the country, it is home to about 1.2 million office goers concentrated in its major business districts. These numbers are only restricted to the district of Mumbai i.e. South Mumbai. (Knoema, 2018) Subsequently, about 40% of the youth below the age of 35 admit to being depressed or to have undergone some mental problem.

However, a staggering 4% of those even attempted to seek help or treatment. (Bureau, 2019)

Figure 148-(Alongside) The map of the city of Mumbai (Source: Pinterest, edited by Author)

These numbers speak volumes about the state of one of the most significant metropolis in the country. Hence, an intervention in a city like Mumbai is bound to have a large scale impact on urbanscapes facing a similar situation.

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Figure 149-(Above) The Mahalakshmi Station Precinct (Source:Google Earth, edited by Author)

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01- Mahalakshmi Railway Station 02- Shakti Mills Lane and Compound 03- Mahalakshmi Racecourse 04- Various office complexes 05- Phoenix and Raghuvanshi Mills 06- Railway Quarters and other Residences 07- Jacob circle Monorail Station 08- Nehru Planetarium

NORTH

THE CONTEXT In foresight of creating a positive difference in light of the present situation, the precinct of Mahalakshmi in South Mumbai was chosen. Predominantly a mill land in the past, it has emerged as one of the bustling business and commercial in the modern present.

The Mahalakshmi railway station serves as the terminal for transition towards the office complexes at Phoenix and Raghuvanshi mills and around Shakti Mills. It also consists of various manufacturing units and small startups in its viscinity.

The Tulsi Pipe Road and Dr. Moses road are the spines connecting the nodes of the precinct. Since public transport from the railway station to the offices is not easily available at peak hours, it becomes imperative for people to walk the stretch. Since the main road is almost perennially clogged due to mismanagement, the internal roads are preferred for pedestrian commute.

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NORTH

Figure 150-(Above) The connectivity to the City nodes nearby (Source:Google Maps, edited by Author)

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In foresight of creating a positive difference in light of the present situation, the precinct of Mahalakshmi was chosen. Predominantly a mill land in the past, it has emerged as one of the bustling business and commercial in the modern present.

The Mahalakshmi railway station serves as the terminal for transition towards the office complexes at Phoenix and Raghuvanshi mills.

The office going crowd from the Eastern suburbs presently utilize the Monorail services which terminates at Jacob Circle.

Since public transport from the railway station is very difficult at peak hours, it becomes imperative for people to walk the stretch. Since the main road is almost perennially clogged due to mismanagement, the internal roads are preferred for pedestrian commute.

Along the Shakti Mills lane is the defamed plot of Shakti Mills compound. Lying vacant since the early 1990’s it has become a dumping ground and breeding ground for crime and drugs. Flanked to its south is the defunct plot of the old railway office.

Being directly in the path of the pedestrian movement towards the offices, it provides great potential to be re-used and recovered.

Along the pathway to the offices, the railway quarters and other residences have been existing for the last few decades. This in turn, has encouraged the pedestrians to use the internal pathway even at the wee hours.

The old mills at Phoenix and Raghuvanshi have been converted into bustling public and private commercial entities which garner a lot of interest among potential small/large offices and large trading firms. Presently, about 3000 employees utilize these office premises.

The age old and prestigious Mahalakshmi racecourse is the most important landmark for anyone to identify with the precinct.

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THE SITE

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Figure 150-(Facing Page) The context in consideration, the Shakti Mills Compound (Source:Google Maps, edited by Author)

Figure 151-(Alongside, Clockwise from bottom right) 01. The exit at Mahalakshi Station, The pavement along the railway tracks, 02. Shakti Mills Lane, The remains of Shakti Mills facade, 08. The exit at Raghuvanshi Mills, 10. The connect to Phoenix Mills, road along the Railway Gymkhana, 07. The Industrial Estate along the Shakti Mills Lane, 02. View towards the defunct plot.

(Source:Author)

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(Figure 152)

(Figure 153)

(Figure 154)

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(Figure 155)

THE SHAKTI MILLS COMPOUND

(Analysis of the footfall on Shakti Mills Lane)

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THE PROPOSAL The elimination of a stigma around mental health in India has to be done in a very sensitive and empathetic manner. Therapy needs to be looked at, beyond the four walls of a room and moreover, needs to become an integral part of the life of today.

Although prevention is better than cure, in case of mental health, the prevention is the cure. Hence it becomes primitive to create a comfortable atmosphere to prevent the existing situation from going south.

The proposal attempted, is a relook at mental rehabilitation, IN THE PUBLIC REALM. Rather than considering at it as a problem of the few, it looks to delve into the depths of understanding how mental health can be integrated in everyday life.

The design proposes a subtle balance between the soft and hard infrastructure and in turn, become a clinical influence in the process of healing. Learning from its user and adapting itself to generate more positive impact is a major factor which will govern the functioning of the built form. The aim is to diminish the existing blur about the topic of mental health and to give back to the city of Mumbai, a place belonging to its people.

The Shakti Mills compound, having its own share of tragedies in the past, can be a symbol of recovery and rehabilitation. And bearing in mind its prime location in the transit route of the large number of commuters, the effect generated will be personified by architecture, symbolized by meaning and multiplied by positivity.

Considering all of the above, it proposes to utilize the subtleties associated with the human mind and its emotive responses to space thereby utilizing movement as the catalyst to achieve its purpose.

It looks to give birth to a journey which becomes an integral part of the existing social fabric thereby uplifting various humane quotients associated with the same.

The way to go forward is to use the power of architecture in order to change the preconceived impressions and outlooks.

To create a space that has the ability to cure and the power to

move.

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APPENDIX ANNEXURES

Development Plan 2034 of the Shakti Mills Precinct

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LIST OF FIGURES 017

Figure 1- The Man, the Mountains and the Milky way. (Source: Pinterest, edited by author)

018

Figure 2- Ancient Athens- the non-existence of the street (Source: Wikiwand)

018

Figure 3- The walled city of the Roman Forum (Source: Space, Time & Architecture)

018

Figure 4- The radiating plan of the Italian Piazza (Source: Pinterest)

018

Figure 5- The hierarchy during the Renaissance (Source: The Papal Policy 2)

020

Figure 6- The economically driven city of the Industrial Revolution (Source: Cornell)

020

Figure 7- The ever progressive City plan of Harappa-The Indus Civilization (Source: Ancient

Civilizations) 023

Figure 8- The Fibonacci curve- the most natural movement (Source: Pinterest)

023

Figure 9- Moving facades of the Bund Center, Shanghai (Source: Archdaily)

024

Figure 10- the eye moves along the line of the railing and bridge- contained movement (Source:

Figure 11- The road is same, but the journey is different (Source:Issuu)

024

Figure 12- The symphony between contained and represented movement- The Kala Academy,Panjim

026 026

Pinterest, edited by author)

Figure 18- The Creation of Adam by Michelangelo- creates the perception that the fingers will

035

Tumblr)

Figure 17- The world begins at Zero. The Binary representation of the words- Volume Zero (Source:

032

(Source: Author)

Figure 16- Horizontal strokes of paint, appearing like the back of an outstretched palm (Source:

030

farnsworthhouse.org)

Figure 15- The corridors of IIM Bangalore- the subtlty of change in space, a new experience always

029

Turkkan)

Figure 14- The Farnsworth House- The rhythmic symphony between nature and architecture (Source:

029

(Source: Author)

Figure 13- The Guggenheim Museum, Bilbao- the eptiome of dynamic ability of form (Source: Iren

eventually touch.(Source: Schipper Paint)

Figure 19- The human mind, the strongest and the weakest at deception-of self and of others (Source:

Coldplay)

037

Figure 20- The sense of space, a connect to the mind and beyond. (Source: Flickr)

039

Figure 21- The Sagrada Familia, Barcelona, one of the most visually enticing pieces of art and

architecture (Source: Travel & Extra)

039

Figure 22- The crunch of a dried leaf- nature’s form of music Source: Tumblr)

041

Figure 23- The beauty of textures, a play of perception (Source: Pinterest, edited by author)

041

Figure 24- The fragrance of the first rains on soil, a truly serene experience (Source: Author)

043

Figure 25- The mind derives its own meaning- depending on what needs to be found (Source: Ken

044 047

Chwam, edited by author)

Figure 26- A graphical representation of Architecture and Perception, of space and form(Source:

Pinterest, edited by Author)

Figure 27- A graphical representation of the various meanings of Space and its perception by the

mind (Source: Pinterest, edited by author)

048

Figure 28- View of the St. Peters Chapel by Peter Zumthor (Source: Ariana Zilliacus)

051

Figure 29- The internal view of St. Benedict Chapel by Zumthor- a continuous play of nature and

164

Author)

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architecture, change being the only constant (Source: Ariana Zilliacus) MOVEMENT IN ARCHITECTURE

051

Figure 30- Zumthor’s initial visualization of the St. Benedict Chapel (Source: Peter Zumthor)

053

Figure 31- The Art Gallery of Ontario by Daniel Libeskind- a space beyond functionality (Source:

055

Figure 32- The bridge over water leading to the ascending path of Machu-Pichu Inca settlement, Peru

057

(Source: Tripadvisor)

Figure 33- The ancillary spaces of IIM B’lore, providing immense opportunity to explore and learn

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Author)

(Source: Author)

Figure 34- The master of using spaces to tell stories- Alfred Hitchcocks mock setup sketches of a

staircase scene, a predicament in the power of spatial experimentation. Hitchcock created

different case scenarios of the same set with different props. This allowed him to decide

which set would eventually generate the greatest drama and tension among viewers.

060

(Source: Alfred Hitchcock)

Figure 35- View from the entrance of the Chapel at the Dachau Nazi Concentration camp- a space of

tranquil and peace, a paradox to the situation that existed beyond the walls of the space

(Source: Author)

063

Figure 36-(Clockwise from top left) View from entrance, The art gallery, The play of levels, The non

existence of a built form, The courtyard spaces, The play of light (Source: Archdaily, CCF)

063

Figure 37- The unhindered play of levels of the Bharat Bhavan (Source: A Placce in the Shade)

064

Figure 38- The connect to nature- free flow of wind (Source:Author)

065

Figure 39- Sentience- a zone of remniscence, by the waterfront (Source:Author)

065

Figure 40- The element of surprise- a change in volume (Source:Author)

065

Figure 41- A sense of intrigue- an almost non existent built form (Source:Author)

065

Figure 42- A sense of arrival- a constant view of the water (Source:Author)

065

Figure 43- A play of levels, creating different vantage points (Source:Author)

065

Figure 44- An element of constant discovery- of the same space in a new light (Source:Author)

067

Figure 45- The unassuming entrance, the built form merging with context, the courtyard spaces, the

relatable human scale of the school. (Source: Dezeen,Arko)

068

Figure 46- A sense of intrigue (Source:Author)

069

Figure 47- Context, raw stone texture merging with the mountains(Source:Author)

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Figure 48- Free flow of wind- through subtle level differences (Source:Author)

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Figure 49- Sentience- a space to introspect, within and beyond(Source:Author)

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Figure 50- The control on light (Source:Author)

069

Figure 51- The influence of the mandala, the meditation space(Source:Author)

069

Figure 52- High plinths, protection against rain and snow (Source:Author)

069

Figure 53- Play of levels, different vantage points (Source:Author)

069

Figure 54- Surprise- curvilinear path with high walls (Source:Author)

071

Figure 55- The hidden cozy mezannine space, The open floor plan merging the inside and outside,

the front view of the center (Source:Dezeen)

073

Figure 56- An element of intrigue, form is open and welcoming (Source:Author)

073

Figure 57- A sense of arrival- overwhelmed by the foliage and the wooden members (Source:Author)

073

Figure 58- Context- Nuzzled between a thick cover of green on all sides (Source:Author)

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Figure 59- Winter (Source:Author)

073

Figure 60- Summer (Source:Author)

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Figure 61- The element of surprise, the cozy mezannine (Source:Author)

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Figure 62- A play of sun and shade- the skylights and openings (Source:Author)

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Figure 63- Controlled flow of wind, climate responsive (Source:Author)

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Figure 64- The rear facade, View from the plaza, The museum entrance,The visual drama of the

interior spaces, Sunlight through the slits above (Source:Dezeen, stringio, Archdaily)

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LIST OF FIGURES...

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Figure 65- A sense of intrigue- merging with the context (Source:Author)

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Figure 66- Sentience- the connect back to the city (Source:Author)

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Figure 67- Surprise- the symphony between the old and the new (Source:Author)

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Figure 68- Connect to nature- penetration of the sun (Source:Author)

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Figure 69- Surprise- the contrast between the outside and the inside (Source:Author)

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Figure 70- A sense of intrigue, the vista and the voi- no notion of the complete form (Source:Author)

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Figure 71- A notion of arrival, the array of columns giving direction (Source:Author)

079

Figure 72- (Facing Page, Clockwise from top left) The pronounced wedge like form, The staircase to

Libeskinds extension, Spaces for contemplation, Glimpses of Dresden beyond, Thrill at the top (Source:Dezeen,

Archdaily, Author)

081

Figure 73- A sense of intrigue- a wedge like incision in an existing form (Source:Author)

081

Figure 74- Small spaces and a change in comfort, a play of perceptions (Source:Author)

081

Figure 75- The connect with nature the steel louvres adhering to the dynamic quality of the space

(Source:Author) 081

Figure 76- The element of surprise, the obstruction in the linearity (Source:Author)

081

Figure 77- Sentience- a satisfaction similar to that of scaling a summit, a cantilevered platform

overlooking the city beyond (Source:Author)

081

Figure 78- (Source:Author)

083

Figure 79- The form of a humungous wave, The aquarium drawing in natural light, Reflecting the

surrounding ocean(Source:Dezeen, Archdaily)

084

Figure 80- A sense of arrival, walking into the ocean (Source:Author)

085

Figure 81- Sentience, a feeling of being away from the mainland (Source:Author)

085

Figure 82- A blend with nature, form allowing a suitable diversion of wind and reflecting the sea

(Source:Author)

166

085

Figure 83- A sense of intrigue, merging with the context in the form of a wave (Source:Author)

085

Figure 84- The element of surprise- an impression of being within the sea (Source:Author)

085

Figure 85- The humungoes structure, yet so little in the context of the ocean (Source:Author)

087

Figure 86- (Facing Page, Clockwise from top left) The view towards the lotus pond, The staircase to

solace, The burst of color in the interior, the walls giving direction (Source:Dezeen, , Tadao Ando)

089

Figure 87- A sense of intrigue- barely any essence of a built form (Source:Author)

089

Figure 88- A drastic change in volume and spatial quality (Source:Author)

089

Figure 89- An element of surprise, the reflecting pool at the summit (Source:Author)

089

Figure 90- A sense of arrival, from light to complete darkness (Source:Author)

089

Figure 91- The connect to nature, in conversation with the sun and wind (Source:Author)

089

Figure 92- Merging with the context, an almost non existent built form (Source:Author)

091

Figure 93- The waiting room at the Dachau Concentration Camp, Dachau (Source:Author)

093

Figure 94- Birds eye view of the extension, The installation in the old structure, The staircase leading

underground and to the museum entrance, The Holocaust Tower, The Floor plan of the 3 Axes, The

Garden of Exile, The Axis of Continuity, Exterior Facade, the Multiple Axes(Source:Dezeen, Archdaily,

Dezeen, Author)

094

Figure 95- The garden of exile- so near yet so far (Source:Author)

094

Figure 96- the bright, open and massive entrance (Source:Author)

094

Figure 97- From light to dark (Source:Author)

094

Figure 98- A sense of doubt and scepticism by multiple pathways(Source:Author)

094

Figure 99- A sense of being trapped (Source:Author)

094

Figure 100- A longing for light and escape (Source:Author)

094

Figure 101- A notion of having no escape (Source:Author)

094

Figure 102- A path to redemption (Source:Author)

094

Figure 103- The Facade, a sense of mystery (Source:Author)

094

Figure 104- A sense of hopelessness (Source:Author)

MOVEMENT IN ARCHITECTURE

097

Figure 105- A journey of multiple meanings, seen from a different eye, each time. (Source: Pinterest)

099

Figure 106-The subtlty in the plethora. The intricate facade of the Aga Khan Museum, Ontario

(Source: Author)

102

Figure 107- The relatability and remembrance of space, a true play of perception of Architecture.

(Source: Author)

105

Figure 108- A space that serves beyond its function and has multiple identities to its multiple users.

The VAC Library, Vietnam) (Source: Archdaily, edited by Author)

107

Figure 109- The ever changing spaces of The Therme Vals, Switzerland. A space of discovery and self-

attainment. (Source: Designboom)

107

Figure 110- Mr. Correa’s favourite corner of his house in Panjim, Goa. ‘He used to say that the corner

allowed him to connect with architecture and the natural elements and through it, his inner self’,as

narrated by Monika Correa. (Source: Author)

108

Figure 111- The play between the trees, the sun and the sky, the play of life all around, The different

pathways of Cubban Park, Bangalore. (Source: Author)

111

Figure 112-The Jai Jagat Theater, Ahmedabad, a sublime association of space with its user and

context (Source: The Merit List 2019)

111

Figure 113- Non-imposing yet impactful. (Source: Author)

115

Figure 114- News Articles and Surveys on Mental Health in India (Source: WHO, NIMHANS)

117

Figure 115- The whithering of the mind, as expressed by the effect of a gust on a tree.(Source:

Demenica, Behance)

118

Figure 116- Is the Left Brain right or the Right Brain left? The outburst of activity and perception in a

persons mind while dealing with an emotion. It is a constant tussle over which overpowers the other.

(Source: Behance, edited by Author)

121

Figure 117- The black dot on the white sheet, or in this case the few outnumbered, who will always be

seen in a different light among the majority. Probably the same case with a person dealing

with mental health problems.(Source: Author)

122

Figure 118- Statistical analysis (Source: NIMHANS)

123

Figure 119- Statistical Graphs (Source: WHO)

125

Figure 120- The still unanswered question of society, which perceives one in the wrong light at first

and when the intention to improve is shown, they turn their backs, quite literally, the classic case of a

Yin-Yang. (Source: Tumblr)

125

Figure 121- The unanswered yet ever-existing question in Indian society! (Source: Author)

127

Figure 122- Peace can be found, sometimes even bobbing gently on the edge of a river. (Source:

Author) 128

Figure 123- Space affects the most innate depths of the mind, and thereby establishes its perception

and identity among its users. (Source: Flickr, Author)

128

Figure 124- The Ismaili Centre, Toronto by Charles Correa. (Source: Author)

133

Figure 125- An elimination of a stigma requires more than just a peek. (Source:Archdaily)

134

Figure 126- Site Section (Source: Author)

134

Figure 127- Site Plan (Source: Author)

135

Figure 128- A play of Reflections,a connect within and beyond (Source: Dezeen)

135

Figure 129 &130- A play of volumes, enabling visual and spatial connect (Source: Stringio &

Archdaily) 137

Figure 132- The pergolas creating a play of light and shadow, The bridge connecting the 2 facilities,

Looking out from the auditorium, The play of levels in the Public space, Walking towards the

unknown, Private open spaces inside the campus (Source: Stringio, Dezeen, Archdaily)

139

Figure 133- View towards the central pool of water and the wards beyond (Source: Author)

139

Figure 134 & 135- The pool of water binding the built form together (Source: Author)

139

Figure 136 & 137- The administration office and the Prayer area.(Source: Author)

Advaith Mani / Fifth Year B.Arch / L.S.Raheja School of Architecture

167

LIST OF FIGURES...

140

Figure 138- Site Plan (Source: Author)

141

Figure 139- Site Section (Source: Author)

143

Figure 140- The body of water,connecting the courtyards, The meditation / Prayer space, A subtle

connect with the elements of nature, The built form at human scale- the old and the new wards.

(Source: Author)

145

Figure 141- The heart of the design, the central amphitheatre (Source: Author)

146

Figure 143- Ground Floor Plan (Source: Author)

146

Figure 142- First Floor Plan (Source: Author)

146

Figure 144- Second Floor Plan(Source: Author)

147

Figure 145- Sketch by Beri (Source: Author)

147

Figure 146- All spaces overlooking the central Courtyard (Source: Author)

147

Figure 147- A sketch of the main entrance, enveloped by nature (Source: Shirish Beri)

151

Figure 148- The map of the city of Mumbai (Source: Pinterest, edited by Author)

152

Figure 149- The Mahalakshmi Station Precinct (Source:Google Earth, edited by Author)

154

Figure 150- The connectivity to the City nodes nearby (Source:Google Maps, edited by Author)

157

Figure 150- The context in consideration, the Shakti Mills Compound (Source:Google Maps, edited by

Author)

168

157

Figure 151- 01. The exit at Mahalakshi Station, The pavement along the railway tracks,02. Shakti

Mills Lane, The remains of Shakti Mills facade, 08. The exit at Raghuvanshi Mills, 10. The connect to

Phoenix Mills, road along the Railway Gymkhana, 07. The Industrial Estate along the Shakti

Mills Lane, 02. View towards the defunct plot. (Source:Author)

158

Figure 152- Footfall- Morning(Source: Author)

158

Figure 153- Footfall- Afternoon(Source: Author)

158

Figure 154- Footfall-Evening(Source: Author)

159

Figure 155- Shakti Mills Compound (Source: Author)

MOVEMENT IN ARCHITECTURE

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