architectural design research portfolio

ARCHITECTURAL DESIGN RESEARCH STUDIO

DESIGN EXPLORATION PORTFOLIO

MODULE A: FORM ANALOGUE MODULE B: THEORY ANALOGUE SCHEMATIC DESIGN AGNES SARA

MODULE A: FORM ANALOGUE

SRD 741 Design Research Studio 2020 TRI1

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OUTPUT 1

NAME: AGNES SARA

MODULE A_FORM ANALOGUE

REFLECTIONS Figure 1 was captured by rubbing the texture from different wooden planks.

The texture was purposefully superimposed in different directions to break from the monotonous linearity of the texture.

Ruled and Continuous lines were mapped out from the Rubbing to capture both the linear and organic nature of the texture.

Fig.1 Rubbing

Fig.2 Ruled line

Subsequently, a solid and void mapping was also traced to understand the depth of the pattern.

It is interesting to find organic and spatial elements in a seemingly rigid linear surface.

It doesn’t exhibit any spatial qualities but rather looks like random patterns.

Fig.3 Continuous line

Fig.4 Figure Ground

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Design Exploration Portfolio

NAME: AGNES SARA

ITERATIONS

MODULE A_FORM ANALOGUE

REFLECTIONS Upon working with the iterations, certain diagrams started exhibiting some vague characteristics of space and forms.

For instance, figures 1 and 2 looks like an aerial view of a complex townscape, figure 3 could be interpreted as a hamlet set in a rural context with ample open spaces and vegetation.

Figure 4 can be interpreted as a faรงade element or a roofing system for a parametrically modulated scheme.

Fig.1 Ruled + Figure Ground (Iteration A)

Fig.3 Continuous + Figure Ground (Iteration C)

Fig.2 Ruled + Figure Ground (Iteration B)

Fig.4 Ruled (Iteration D)

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NAME: AGNES SARA

ITERATIONS

MODULE A_FORM ANALOGUE

REFLECTIONS Figure 1,2,3 and 4 were developed by overlapping various patterns previously developed with an intent of developing a viable scheme for the purpose of a design.

Figure 1: overlapping Ruled and continuous line seemed interesting because of its linear and geometric elements. It was further importing the figure ground scheme which produced a balanced and vibrant scheme.

Fig.1 Ruled line+Continuous line (Iteration E) Fig.2 Ruled line + Continuous line + Figure Ground (Iteration F)

Its spatial composition exhibits a hierarchy of the spaces enclosed within the lines as well as interacts well within the assemblage.

Figure 3 was an attempt further clean up and simplify the geometry which went in a direction of town planning and looked more like a network of roads and buildings interwoven into each other.

Figure 4 was produced by fragmenting the lines and removing a few parts, produced a maze-like labyrinth. It can be developed further into an exhibition space where we need a lot of vertical areas to hang the exhibits.

Fig.3 (Iteration G)

Fig.4 (Iteration H)

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NAME: AGNES SARA

MODELS

MODULE A_FORM ANALOGUE

REFLECTIONS Figure 1,2,3 and 4 were developed by overlapping various patterns previously developed with an intent of developing a viable scheme for the purpose of a design.

Figure 1: overlapping Ruled and continuous line seemed interesting because of its linear and geometric elements. It was further importing the figure ground scheme which produced a balanced and vibrant scheme.

Its spatial composition exhibits a hierarchy of the spaces enclosed within the lines as well as interacts well within the assemblage.

Figure 3 was an attempt further clean up and simplify the geometry which went in a direction of town planning and looked more like a network of roads and buildings interwoven into each other.

Figure 4 was produced by fragmenting the lines and removing a few parts, produced a maze-like labyrinth. It can be developed further into an exhibition space where we need a lot of vertical areas to hang the exhibits.

This scheme can be further developed to design an Exhibition centre as it contains lot f vertical areas to hang the exhibits.

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OUTPUT 2

NAME: AGNES SARA

MODULE A_FORM ANALOGUE

REFLECTIONS The small rectangular boxes were well balanced with the vertical lines and it is a well-balanced composition.

The Figure ground study didn’t give any ideas for an architectural scheme, but it looked like a painting by itself.

Fig.1 Rubbing

Fig.3 Continuous line

Fig.2 Ruled line

Fig.4 Figure Ground

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ITERATIONS

NAME: AGNES SARA

MODULE A_FORM ANALOGUE

REFLECTIONS Iteration on figure 1 was an attempt to connect all the fragmented lines, squares and planes.

It emerged as a cluster of rigid and fluid spaces juxtaposed with each other. But it didn’t yield any feasible architectural massing.

Figure 2 was an attempt to further simplify and evolve the same idea of interconnected vertical boxes and elements.

Fig.1 Ruled+ Continuous+ Figure Ground (Iteration A)

Fig.3 (Iteration C)

Fig.2 (Iteration B)

Fig.4 Section

It presents an idea of a building or a row of buildings on a hillside. It can be a resort or a private apartment.

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OUTPUT 3

NAME: AGNES SARA

MODULE A_FORM ANALOGUE

REFLECTIONS Figure 1 is an abstract painting with the theme of machines. The painting was selected because of its circular elements (the previous exercises was with straight and curvilinear lines) and its peculiar interaction with each other.

The drastic contrast in the colour scheme was also a notable feature which I hypothesised would make out an interesting scheme.

Fig.1 Image

Fig.2 Ruled line

Figure 2 : As the painting was radial in nature, it could not produce many ruled line schemes. However, the lines where very crucial elements which acts as an axial force which pull the circles apart or keep them together.

Figure 3: The circles and radial elements identifies a few epicentres in the diagram and creates a visual composition which is similar to the ones we see in Martian settlements of sci-fi movies. Each of the globules are well connected to each other and well balanced.

Figure 4: With the exercise of figure and ground study, I tried to bring in one more aspect of the painting- the colours to explore the relation between them.

Fig.3 Continuous line

Fig.4 Figure Ground

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ITERATIONS

NAME: AGNES SARA

MODULE A_FORM ANALOGUE

REFLECTIONS The iteration A and B were developed by combining all the three earlier diagrams to explore the spatial functionality of the composition.

Iteration ‘A’ gave a few insights about a design scheme which can be radial in nature. The imbalance in the composition due to the large epicentre can be balanced out by introducing multiple smaller globules in the fringes of the design.

Fig.1 (Iteration A)

Fig.2 (Iteration B)

Iteration B was an attempt to further simplify and to create something similar to an architectural plan. The central nucleus is developed as a focal point which pulls in all the attraction.

So, it could be a stage where people can perform. The idea is explained as architectural plan in the following page.

Iteration ‘C’ is another offshoot from the Iteration ‘A’ which I felt could be morphed into an elevation for the above mentioned plan.

Iteration D is the refined schematic elevation which is made to suit the plan developed for the performing arts centre.

Fig.3 (Iteration C)

Fig.4 (Iteration D)

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ITERATIONS

NAME: AGNES SARA

MODULE A_FORM ANALOGUE

REFLECTIONS In order to design the Performance arts centre, Iteration ‘B’ was used.

The central nucleus is developed as a focal point which pulls in all the attraction. So, it could be a stage where people can perform. The space which is surrounding the stage can be seating areas and other ancillary facilities related to the arts centre, such as backstage, practice room, stores, cafes and so on.

Plan

Section

The essence of the original composition is well absorbed, and it is put into use in the context of an architectural design.

Iteration D is used in the section and elevation for the massing and skin of the performance arts centre, which gives it a monumental feel and the compositional balance for an elevation.

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OUTPUT 4

NAME: AGNES SARA

MODULE A_FORM ANALOGUE

REFLECTIONS Figure 1 is a different part of the painting used in the previous exercise.

Even though this composition is more complex in terms of the depth, elements used and colour scheme, it is distinct from the previous one.

It has more lines in the composition compared to the previous exercise, but they are not radial forces which excerpts any momentum. It is more of a datum upon which the circular elements are placed.

Fig.1 Image

Fig.3 Continuous line

Fig.2 Ruled line

Fig.4 Figure Ground

Continuous line and the figure and ground study did not transcend to an architectural scheme.

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ITERATIONS

NAME: AGNES SARA

MODULE A_FORM ANALOGUE

REFLECTIONS Figure 1 was captured by overlapping the previous three study figures.

The composition brought forward the radial and axial elements together could be interpreted as a scheme for a complex architectural setup such as a town hall or a court building.

Fig.1 (Iteration A)

Fig.2 (Iteration B)

However, since I did a similar design development in the previous design, I thought of refining the design to something simpler and functionally legible.

Iteration ‘B’ is developed by developing the essence of the painting which I took- smaller bubbles and the linear elements as a datum.

Iteration ‘C’ and D further tries to simplify the scheme and introduction of various textures to premise a feasible architectural schema.

Fig.3 (Iteration C)

Fig.4 (Iteration D)

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NAME: AGNES SARA

MODULE A_FORM ANALOGUE

REFLECTIONS Subsequently, a model was prepared to explore the planes from the iteration ‘D’ and the radial special organization as suggested by it.

Up on making the model, the need for an enclosure was evident. Since the linear element provided the datum for the circular elements, a roof element was introduced by connecting the linear elements.

By the sheer appearance of the structure, it could be used as a temporary pavilion or a kiosk.

The design provides ample shade for the people beneath and the roof as an element holds together the structure.

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NAME: AGNES SARA

MODULE A_FORM ANALOGUE

REFLECTIONS A plan and section were developed for a waterfront cafĂŠ considering the nature of such a structure and its ancillary facilities.

It in a way resonates with the shape of a seashell, which would make it perfect for a seaside architectural attraction.

It can be constructed a tensile structure with steel members to take the load.

Plan

Section

CONTEXTUAL VISUALIZATION

WHAT ?

WHERE ?

WHY ?

HOW ?

A Waterfront Kiosk with cafĂŠ, visitors centre and other facilities for a beach goer.

It is located in Eastern beach, Geelong.

Upon analysing the model developed through the process, it suited well for a Kiosk and there were no such facilities in Eastern Beach. This can be an attraction for the beach goers.

It can be constructed a tensile structure with steel members to take the load.

MODULE B: THEORY ANALOGUE

INFORME: Circumstantiality + Event Situations Research proposition: Will the unpredictability of circumstances could lead to fluidity of the form and design?

One of the main concepts of Informe is the event’s relationship with its circumstance.

Through this series of frottages, I am proposing to study the unpredictability in the result as constituted by the change in the subjects.

In this series of drawings, I traced four different textures from the same site using paper and charcoal.

Here, the circumstance is the randomness of various frottages that are put together to map the output. Hence, the output reflects the change in circumstances.

The factor which is acting as the event situation for these outputs can be considered as the number of frottages overlapped.

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NAME: AGNES SARA

FROTTAGES

Frottage 1: Tree Bark

Frottage 2: Fence

Frottage 3: Mulch ground

Frottage 4: Sewer cover

MODULE B_THEORY ANALOGUE

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NAME: AGNES SARA

MODULE B_THEORY ANALOGUE

FROTTAGES COMBINATION

Tree Bark

Tree Bark

Tree Bark

Fence

Fence

Fence

Output 1

Mulch ground

Mulch ground

Output 2

Sewer cover

Output 3

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NAME: AGNES SARA

MODULE B_THEORY ANALOGUE

FROTTAGE INPUT

Context

Figure ground

Penetration

REFLECTIONS The frottage from output 2 was taken for analysis and its different aspects of composition were analyzed.

This composition had a strong vertical and diagonal axes.

Different bands of transitory grains moving away from the diagonal axis, which makes it dynamic.

On studying the figure ground drawing, deep penetrations of ground could be identified, which acted like a datum that connects the whole drawing pattern.

In this perspective, the diagonal line felt non-relevant and the penetrations to be considered as structural order.

Contextual realization

Structural Order

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FROTTAGE ITERATION 1 The structural order identified from the composition has a curvilinear structure and had a concurrent arrangement.

Through this model, I explored the idea of hierarchy and balance while trying to keep the randomness of the pattern as reflected in the contextual realization.

It was interesting to find the shadows from the model reiterates the structural order of the base drawing.

NAME: AGNES SARA

MODULE B_THEORY ANALOGUE

SRD 741 Design Research Studio 2020 TRI1

Design Exploration Portfolio

NAME: AGNES SARA

MODULE B_THEORY ANALOGUE

FROTTAGE INPUT

Axis & Grid

Nodes

Figure ground

REFLECTIONS The frottage from output 3 was rather complex and had all sort of vertical, horizontal and diagonal elements.

The drawing has a dominant characteristics of a rigid geometry and a grid pattern. The horizontal and diagonal grid patterns constituted another array of nodes, creating a strong sense of structural order.

It was later enhanced by adding the distinguishable triangular pattern to the original composition.

Contextual realization

Structural Order

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FROTTAGE ITERATION 2 The model is formed by stacking squares and triangles side by side, over and below, analyzing the structure of the pattern.

The model tries to capture the intermingled grid of squares and triangles which truly is the first visual connection from the frottage.

The structure of the pattern was allowed to grow organically and take a shape of its own.

Model reflects a sense of geometry and growth through solid and void which relates back to the frottage.

NAME: AGNES SARA

MODULE B_THEORY ANALOGUE

SRD 741 Design Research Studio 2020 TRI1

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NAME: AGNES SARA

MODULE B_THEORY ANALOGUE

THE DRAWING MACHINE The Drawing Machine is intended to capture the formlessness of an occurrence in terms of circumstantiality and event situations.

The volatility of a flickering candle flame is reflected in the direction, density and fluidity of its own smoke to generate various outputs. The smoke is made to fall on a white paper and the impressions are recorded in intervals of time.

Two factors were observed to be affecting the direction of the candle’s flame. One was the wind and the other one was the rate at which the wax melted and aided the combustion.

Hence, two different circumstances were created.

One was recorded inside a closed room environment where there is no flow of wind and another one in the outdoor where the frequent winds swayed the flame more often.

Drawing machine inside a closed room environment

Drawing machine in an outdoor environment

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NAME: AGNES SARA

MODULE B_THEORY ANALOGUE

Outputs from the drawing machine in an indoor room environment

a. 30 seconds

b. 1 minute

c. 2 minute

d. 2.5 minute

Outputs from the drawing machine in an outdoor environment

e. 30 seconds

f. 1 minute

g. 2 minute

h. 3 minute

SRD 741 Design Research Studio 2020 TRI1

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NAME: AGNES SARA

MODULE B_THEORY ANALOGUE

DRAWING MACHINE INPUT

Geometry

Tangents

Structural grid

Contextual realization

Hierarchy

REFLECTIONS This is the analysis of the impressions of the candle flame on a paper when placed in a closed environment captured at a time period of 1 minute.

Different methods such as drawing tangents, identifying the structural grids etc., where analyzed to understand the geometry of the impression.

The grid has a strong compositional hierarchy and major structural axes. Circles with a tangent was drawn over the structural grid best reflects the composition and selected to explore further through a model.

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DRAWING MACHINE ITERATION 1 The essence of circle with a tangent was captured through a series of spiraled cones which was arranged as tangents to each other.

The fluidity of the candle fumes are reflected in this model and has an architectural characteristic to it.

The model explores the idea of repetition and fluidity. The elements are scaled up and down to create a rhythm and allowed the freedom to grow organically.

NAME: AGNES SARA

MODULE B_THEORY ANALOGUE

SRD 741 Design Research Studio 2020 TRI1

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NAME: AGNES SARA

MODULE B_THEORY ANALOGUE

DRAWING MACHINE INPUT

Context

Structure

Penetration

REFLECTIONS This impression is a superimposed composition of all the outputs captured from the indoor environment.

In this exercise, I tried to depict the fume markings as a series of arcs. However, the end result was a collection of random arcs without any sense of order or hierarchy.

Hence, the experiment was advanced by taking a few strands from the context. The resulted organic form was manipulated by using the theories of addition and multiplication.

Contextual realization

Organic form

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DRAWING MACHINE ITERATION 2 The model is a direct depiction of the organic form from the previous drawings.

The growth is largely limited to the central axis with a radial structural organization.

The form, if scaled up to an urban level can be realized as a major landmark or in a smaller scale it can cater as an art installation.

NAME: AGNES SARA

MODULE B_THEORY ANALOGUE

SRD 741 Design Research Studio 2020 TRI1

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NAME: AGNES SARA

MODULE B_THEORY ANALOGUE

DRAWING MACHINE INPUT

Structure

Geometry

Ruled line

REFLECTIONS This impression is from an outer environment where the natural forces where in action. In contrast to the previous set of impressions, the area where the flame left its markings is higher mostly due to the influence of wind force.

The markings were analyzed in terms of arcs, circles and ruled lines and a rigid pattern of geometry with triangles with a definite hierarchy was identified.

This triangular grid multiplied in its natural progression for developing a schematic drawing.

Contextual realization

Hierarchy

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DRAWING MACHINE ITERATION 3 The triangular grid is developed to a dome like enclosure with an entrance canopy.

These triangulated modules have some of its faces closed whilst others are left open, which, in addition to providing structural rigidity and enables greater variation of lighting effects.

An interesting aspect of this structure is that, all the elements are structural and utilitarian at the same time. It can be closed using glass panels or left open which helps to enjoy the outside environment depending on the climate.

The form can be developed further to a multi purpose space or a play area for kids.

NAME: AGNES SARA

MODULE B_THEORY ANALOGUE

SRD 741 Design Research Studio 2020 TRI1

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NAME: AGNES SARA

MODULE B_THEORY ANALOGUE

DRAWING MACHINE INPUT

Context

Structural grid

Structure

REFLECTIONS This impression is an outcome from the drawing machine in the outdoor atmosphere for a duration of 3 minutes.

Rhythm

The composition was analyzed in terms of geometry, nodes and the structure.

The result was a series of continuous wave like curves. It depicted the contours and a wave like fluidity.

This structure thus identified is multiplied and arranged with a rhythm and hierarchy.

Contextual realization

Hierarchy

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DRAWING MACHINE ITERATION 4 The model is a series of white paper cut in to waves and arranged progressively to explore the conceptual interface.

The model is made with multitude of layers of overlaid membranes to form a complex structure.

This represents the fluidity of the structural realization analyzed from the composition. It has a hierarchy and rhythm matching with the previous series of drawings.

This model explores contouring to make continuous surfaces and layering to bring about the rhythm.

This can also be interpreted as a faรงade for a highrise building .

NAME: AGNES SARA

MODULE B_THEORY ANALOGUE

SRD 741 Design Research Studio 2020 TRI1

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CONTEXTUAL FRAMING What?

This structure is conceived to be a multi-purpose gathering / exhibition / pavilion space.

The geometry of the form enables the enclosure to be of an informal nature, where the users are free to explore its capabilities to its fullest.

These triangulated modules have some of its faces closed whilst others are left open, which, in addition to providing structural rigidity and enables greater variation of lighting effects.

Where?

The site chosen is the waterfront area, near to The Carousal, Eastern beach road, Geelong.

Why?

The site is adjacent to the waterfront walkway and jogging track with vistas towards the sea.

Moreover, its next to the Carousal, which is a children’s amusement area.

This space can act as a spillover children’s play area or parents waiting space or recreational space for the daily joggers.

Materiality

Stainless steel or aluminum framings with round edges framings.

NAME: AGNES SARA

MODULE B_THEORY ANALOGUE

SRD 741 Design Research Studio 2020 TRI1

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CONTEXTUAL FRAMING

NAME: AGNES SARA

MODULE B_THEORY ANALOGUE

SCHEMATIC DESIGN

CONCEPTUAL IDEA

ARCHITECTURE AND MUSIC “Music is liquid Architecture; Architecture is frozen Music” -Johann Wolfgang von Goethe

“The same piece of Music can affect two people differently” -Charles S Myers from ‘Effects of Music’

DESIGN RESEARCH PROPOSITION

What are the Individual Effects of Music on a person?

Does it have any similarity with How architectural spaces affect people?

Throughout the ages, music, architecture, painting, sculpture, literature and poetry have developed in tandem these fields of art always interacted with each other. They borrowed, influenced and developed various fields of art among themselves.

A paradigm shift in one of the arts has led to changes in the perception of others. In other words, one artform has served to inform and enrich other art form.

Architecture and Music has such a strong relationship with each other.

Music can be interpreted as the art of organizing sound and architecture, that of ordering and configuring of different spaces. Both these arts share some same principles such as rhythm, proportion, scale, harmony and texture.

Both architects and musicians manipulates these principles to express different meanings.

Through the study, am attempting to translate a piece of music into space. The study begins by representing music into 2-dimensional drawings and diagramming. These diagrams are extruded into third dimension, thus creating a Space.

OUTPUT 1

Medium A0 panel using colour pastels

The objective was to represent a piece of music visually. The seventh symphony of Beethoven was selected due to its varying pitch and repeating rhythm. Mind and body was fully immersed into the music and the hands were involuntarily allowed to flow with it to make an impression on paper. The result was a collage of lines, circles, doodles, etchings, scratches etc. Charcoal and colour pastels were used due to its sensitivity towards pressure. This allowed to record a high note in the music or a soft string of violin. Different colours were used for each movements of the symphony, thus creating various layers to the drawing.

The outputs were analyzed critically to study the feasibility of creating spaces that would invoke a sense of music in the user. The same exercise was repeated with different piece of music to create iterations and to further the research.

OUTPUT 2

Medium A1 sheet using colour pastels

OUTPUT 3

Medium A1 sheet using colour pastels

OUTPUT 4

Medium A1 sheet using colour pastels

ITERATION 1

CRITICAL REFLECTIONS A snip of the drawing where the pitch and the free flowing melody was recorded is taken and it was translated to 3 dimensional space.

The lines of the pitch was made using steel wires in varying height.

Strands of paper of different thickness representing different instruments used in the composition was allowed to spiral in between the steel wires.

The resulting model was interesting as it is symbolically representing the original piece of music from which it took its form.

CRITICAL REFLECTIONS While documenting the model, the shadow was found to be quite interesting and seem to represent the true spirit of the musical composition.

It did not had any architectural meaning as such, but the shadows gave a feeling of encircling loops around a form.

The fluid nature of this representation draws an allegory towards music which is also Known for its fluidity.

This work reminds the works of the famous artist Christo who used to envelope various landmark buildings and sculpture with cloth.

The thin strands of paper envelopes the structure supporting it, similar to the music which envelopes its listener.

ITERATION 1 – Contextual Analysis

CRITICAL REFLECTIONS What?

Spiraling pedestrian ramp next to the walking trail.

Where?

Muir woods National Park, USA. Material?

Iron and Steel self supporting ramps.

Why? The site which is selected for the contextual analysis is Muir woods National Park, California which is popular for the Giant Sequoias and various other tall trees.

This site was selected because the intent was to create something that would envelope the structure supporting it. The giant trees were selected due to its massive heights.

The model in this context can be interpreted as a series of spiraling and intertwining ramps that would take people to higher elevation and help them to immerse themselves to the nature.

The thin steel protrusions at the top of the ramp is supposed to make some kind of music, due to its reverberation when strong wind flows through it. Thus this installation finally becomes a piece of music by itself.

ITERATION 2

CRITICAL REFLECTIONS There are place in music where the soft piano or the violin go on ascending and descending. These are the places in music which are very delicate, yet powerful to create an array of emotions in us.

My response to the music was this wavy undulated lines. It was converted in to a 3 dimensional place with a long strip of paper folding into the shape of the drawing. The result was this wave shaped serpentine form.

The two images on the left shows the feel of the model when it is put on the ground. The images on the right shows it when it is elevated to a height. This was done deliberately to ease the rigid and static form when it sits on the ground, which is not translating the true sense of the music.

Up on elevating the shape, it become less rigid, light and fluid. The wave goes around and through the structure and envelops it.

The shadow of the model is also interesting as it generates another layer of undulating patterns which is an abstract representation of the drawing from which the model was developed.

CRITICAL REFLECTIONS The model was modified by using a very long strand of paper with varying thickness. It starts from the ground and gradually elevates to a height and then slowly descends to reach the ground. It closely follows the music, which started with a low note and gradually ascends to high pitch, waves and takes its shape through melody and slowly descends towards the end.

The variations in the tone of the music is represented using the varying thickness of the paper.

As this three dimensional study gave a sense of enclosure by means of an intertwining plane which goes around, it can be considered similar to the previous study.

Hence the site for the contextual analysis is taken that is similar to the previous one.

ITERATION 2 – Contextual Analysis

CRITICAL REFLECTIONS What?

Spiraling pedestrian ramp / art installation Where?

Muir woods National Park, USA. Material?

Iron and Steel self supporting ramps.

Why? The site selected for this intervention is same as the previous one because of the encapsulating nature of both the models.

The model in this context can be interpreted as a continuous ramp, spiraling and intertwining with the tall trees in the forest, which would help the visitors to enjoy the woods from an elevation, which would give them a different perspective.

This installation in this context represents the immersive and encapsulating nature of the music.

The large scale of the installation will go hand in hand with the size of the trees in the forest, hence would not alienate the intervention.

This can be considered as a walk in piece art installation as well.

ITERATION 3

CRITICAL REFLECTIONS There were parts in the music which had movements which went up and down on various scales. It was represented using wave like curves.

Together with other layers, it created a spider web like pattern.

It visually resembles a series of waves in an ocean. Architecturally thinking, it resembled the design of a pop-up tensile fabric structure.

Following the theory of Cities and Eyes concept from the famous book ‘Invisible Cities’ by Italo Calvino, the structures were raised to different levels on stilts.

The cluster didn’t show any architectural qualities. But it resembled a street installation or a decoration on a pavement where people can walk through it.

From the top view the model looks similar to that of a Poppy flower.

ITERATION 3 – Contextual Analysis

CRITICAL REFLECTIONS What?

War memorial installation Where?

Shrine of Remembrance, Melbourne Material?

Coloured Stainless steel mesh, and wood Why? The Shrine of Remembrance is selected because of its significance for poppies.

The red Poppy flowers are considered as a symbol of sacrifice, the reminder of courage beyond the call of duty.

The shape of the model that resembles the poppy flower makes it meaningful to be converted as an installation in a context where the Poppy flowers holds a strong symbolic identity.

Unlike the red poppy flowers that are usually laid on the Roll of honour, the model is white representing the prevailing peace that they won for the country.

ITERATION 4

CRITICAL REFLECTIONS This drawing was developed by tracing the circular elements from the drawing .

This can be considered as a section of a building or the faรงade treatment for a structure.

It draws comparison to the residential pods or post modern inhabitant spaces.

A model was made to study the pros and cons of this section.

The hollow tubes can be made into exhibition space or as a screen to project subversive virtual reality visuals.

ITERATION 4 – Contextual Analysis

CRITICAL REFLECTIONS What?

Musical installation Where?

Sujeska National park, Bosnia Material?

Steel Pipes Why? A hilly area with constant flow of wind was selected. When the wind blows through these long steel pipes, it produce a music naturally.

Otherwise, it can be seen as an art installation of organic form and shape.

ITERATION 5

CRITICAL REFLECTIONS This experiment was similar to the previous one. The curves from the outputs was traced.

It had a spiraling curve and a few horizontal lines merging towards a point.

While making the model, it was realized that the vertical elements had to be brought outside to support the springing curls.

To represent the convergence of the line, a pointed vertical support system was designed.

The model resembled a lighthouse kind of structure or a tower building in a prominent urban center.

ITERATION 5 – Contextual Analysis

CRITICAL REFLECTIONS What?

Lighthouse Where?

Land’s End, England Material?

Concrete Why? The form of the model was demanding a tall structure that is ideal for a lighthouse.

This location was selected because of its magnificent landscape and proximity to the ocean.

ITERATION 6

CRITICAL REFLECTIONS While tracing the straight lines from the iteration, his series of short and long straight lines was found to be interesting. The concept was to use it to explore the ability of the model to balance the mass above it, which is off the center.

The relationship between these lines found interesting as if they were keeping a rhythm between themselves.

To reflect the placement of the circles, a transparent skin was selected to cover the mass.

The model looked as if it was a acrobatic professional, who was holding together a complex pose.

The concept of this model can be developed to that of a tower.

However, it would require strong structural elements to old it in place.

ITERATION 6 – Contextual Analysis

CRITICAL REFLECTIONS What?

High rise building Where?

Jumeirah Lake towers, Dubai Material?

Concrete, steel and Glass Why? Dubai is known for its out of the box and futuristic designs.

As this structure requires research and development of customized structural systems strong enough to hold the tilted mass together without fail.

The fluid nature of this building tries to represent the fluidity in music.

ITERATION 7

CRITICAL REFLECTIONS Those part of music which flows continuously with one or two instruments were represented using the etching method with pastel colours.

The resultant drawing upon tracing the ruled lines gave a complex collection of lines.

It was refined to a simple composition with 3 or four sided polygons.

The pattern thus received was converted to a model using acrylic sheets of different colours to represent the vast palette of colours that was present in the composition.

CRITICAL REFLECTIONS The interplay of light and the diffused shadow of the colored acrylic sheets was found interesting.

Notably, seven colours were used in this model as we have seven different sounds in the octaves.

Human figures were placed to study the scale. This would represent a skyline of an urban nature.

It can also be a site specific immersive installation that explores light, shadow and colour mixing.

It elicits a different mood through the prismatic treatment and transcends the user to a surreal landscape.

ITERATION 7 – Contextual Analysis

CRITICAL REFLECTIONS What?

Walk through installation Where?

Vagator beach, Goa, India.

Material?

Coloured acrylic prisms Why? A beach setting where people come to watch sunset was selected by taking in to consideration the long shadows it might produce and the constant winds.

The colour in a way represent the rich cultural diversity of India. In a country which is known for its celebration of colours (Holi).

Goa is selected as the location for it is the cultural capital of India and is known for its numerous beaches which attracts a large number of tourists every year.

It has a tradition of hosting music festivals by the seashore which has a wide reputation across the world.

This installation will produce music on its own when the prevailing winds reverberate the thin acrylic panels.

Project Statement INTENT Architecture and Music has such a strong relationship with each other. As Johann Wolfgang von Goethe eloquently said, “Architecture is frozen music”.

Music is intangible and ephemeral. It is the most abstract of all the art forms.

Music exists only in the present as a series of sounds.

The intent of this study is to device a method to translate the transient music into a visual representation and then transcend the knowledge in to spaces which are solid and would endure through the time.

The main intends for this research are:• • • •

•

How can music be represented as architectural spaces?

How can the permeance of music be achieved?

How can architectural spaces can become music?

How the elements of music such as rhythm, proportion, scale, texture etc. affects the composition in both music and architecture?

What is good music and what is good architecture?

CONTEXT

PROGRAM

To establish the relationship between music and architecture, a site that will nurture the sound is vital. Vagator beach in Goa, India is one of such places where people come together to have a good time singing, dancing and playing instruments. This was the very place where the annual EDM “Sunburn” festival of India used to take place. Thanks to the small communities of hippies still living in the area, the beach is vibrant with full of activities and small parties.

The main intent for this program is to create an identity and to provide the basic infrastructure for the Vagator beach. The challenge of this program is to sustain the reference of music in every architectural intervention, since the connection between the site and music is quite evident and a historical one.

However, the beach lacks the infrastructure. There are no showers or public toilets in the beach. Despite the large number of attendees for the sunburn music festival, there are no proper signages or an information center in the beach.

The waterfront is well known as “the beach where the music festivals take place in goa” but its identity as a beach is not established nor marketed as a potential tourist destination.

The following spaces has to be designed by keeping the above contexts in mind.

• • • • •

Tourists Information Center Cafeteria for tourists Toilets and beach showers A performance arena Installations and other interventions to create an identity for the beach.

Face Uplift of Vagator Beach, Goa

SITE CONTEXT The site is in the Vagator Beach which is the northernmost beach of Bardez Taluka, Goa. It is located on the opposite bank of the Chapora River from Morjim in Pernem. To the south of Vagator is Anjuna.

Vagator is a little more laid back, though still pretty much steeped in the rave culture. A series of rusty cliffs and headlands bursting out of thickets of greenery that helps to give Vagator one of the prettiest settings on the North Goan coast.

The Backdrop of the beach is rather dull and opening directly to the backyard of Vagator Beach Resort

The Beach lacks restaurants or sanitation facilities in the near proximity except a few pop up Shacks and private toilets inside the nearby bars and pubs.

The tourist traffic is predominantly Western backpackers; who particularly come to watch the sunset from the rocks. The sunset through rocks is breathtaking from Vagator Beach.

Vagator Beach

There are several places for people to play dance & music during the tourist season. These include: Nine Bar located just above Little Vagator, Hilltop (a little back from Little Vagator) and Primrose back towards Big Vagator beach, they play different types of trance and psychedelic music from different DJ's from around the world.

SITE ANALYSIS Chapora Fort

The entry to the site is from the Rockpool area, where there is a pathway leading towards the beach.

There are multiple ways to reach Vagator Beach. It has another way from the southern part of the site connecting to the main road towards the town.

The Vagator Beach Resort and the 500 year old Chapora fort are in close proximity to the selected site.

Rockpool

People gather in the beach mostly during the evening to watch the sunset from the rocks in the beach. It is quite a view of the sun set from here.

The most prominent wind in this region is from the south west to the north east. Morning sun is not a significant one since the view is obstructed by the hills in the east.

SITE

Arabian Sea

Vagator Beach Resort

STRATEGIC PLAN

Tourist Center & Restaurant

Art Installations

Toilets

Art Installations

Performance arena

Performance arena

Public Toilets

Public Toilets

Tourist Center & Restaurant

Aerial view of interventions in the site

Public Toilets

Performance Arena Art installations Public Toilets Tourist center & Restaurant

Conceptual Integration Creating a style palette that could be used throughout the project can help to create an identity for the place.

It could be used in designing a logo for the beach, can be used in branding, and can be followed easily in landscaping, designing of public furniture or street lamps.

1. Individual units can be used as signages

2. Wind will blow through the perforated units and will produce music on its own.

3. Clustered Units grouped along with perforated and signage units come together to make art installations along the beach shore.

Further designs has to be generated in an urban design context to fully utilize the potential of this prototype.

Performance arena- Elevation

4. Arrangement of shapes (similar to that of the individual unit ) gives rise to a uniform style that could be used throughout. Performance arena, public toilet blocks, and information center follows the same vocabulary.

Performance arena- Plan

View of the Performance Arena and Installations

Tourist Information center and Restaurant - Elevation

The information center is strategically placed next to the rock pool, which is the entrance to the beach. One has to come to rock pool and take the steps down in order to access the beach.

The tourist Information center will serve the purpose of providing information about the events at the beach, nearby tourist spots, transportation and lodging.

An indoor restaurant is set for the people who want to enjoy a sip of coffee by sitting at a comfortable environment and relax to the panoramic view of the ocean.

There is a self service counter as well, for the people who want to buy a snack or coffee and to go down to the beach.

Tourist Information center and Restaurant- Plan

Views of the tourist Information Center and the restaurant

The lack of public toilets and showers in the beach is quite a problem for the visitors to the beach. Most of the people visit the bars or the pubs that are in the vicinity and use their toilets when in need.

Adequate number of beach showers and toilets has to be provided if we want people to spend longer time in the beach.

Public Toilet Block- Elevation

Even the design of the toilet block follows the same concept of the individual prototype. It’s appearance is designed in such a way that it appears to be a cluster of four sided shapes kept together.

The color of the shapes are also made to follow the installations to make everything uniform across the beach.

Public Toilet Block- Plans Beach Shower –Elevation & Plan

Views of the Public Toilet Blocks

SELF ASSESSMENT Many architects has drawn inspiration from music to design their buildings. There are precedent projects by various artists where they mechanized various strategies that would produce music on its own.

Even though the intent of the project was not to device a method to construct naturally playing instruments, some of the outcomes, by the virtue of the materials used and the setting in which they are placed is anticipated to produce music on its own.

The process of converting music to patterns was the easier part in this, since it solely depends on the mood and immersive feeling that the music sets on the individual. Analyzing the drawing and inferencing spatial solutions that would represent the original music composition needs strong imagination and capacity to draw analogy between the music and the composition. For this project, I tried my best to stay truthful to the original composition of music and admits that a few of the ideas didn’t come through well. There is a need to device better practices to translate a series of scribbles in to architecture than mere intuition.

The advantage of the project is that it helped to understand the structure of a musical composition a little more closer and look in to it structurally. Each of the architectural studies presented with a concept rather than mere forms, which can be used to develop simple signages to complex buildings. The scalability of the concept is an advantage.

Another perk of working in this way is that it opens doors to methods that could be used to find and to solve design problems in a perspective in which you haven’t looked before.

The disadvantage of the method is that you have a solution in your hand and you would have to set out and find the right question. The success of the project depends on the appropriateness of the question.

On an overall, the project was a wonderful learning experience, to unleash the creativity and to explore the vistas that I have not seen before.