Ainish Sheth | Graduate Portfolio | 2022

AINISH SHETH

CONTENT 1. MEMORY - BUILT

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2. SCAFFOLDED

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3. ABACUS 3 5 4. URBAN ENCLAVE 4 9 5. APERTURE

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MEMORY, BUILD! Instructor : Miguel Guitart, PhD Team : Keith Benes, Vaidehi Patel, Jessica rote

BUFFALO’S ANONYMOUS BURIAL GROUNDS REMEMBERED|SPRING ‘22

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CONTEXT Loss is a universal experience. It can come in many forms, at any time, and has the potential to bring forth intense emotions. While it is often seen with a negative connotation, it has frequently proven to be a catalyst for positive growth and transformation.

The project aims to address this very idea of loss architecturally, through the concept of erosion. Erosion is one of the most natural phenomenons, which broadly results in the natural decomposition of the outermost layer, to reveal the beautiful and permanent inner layer.

Loss is represented by clay blocks, the softer exterior material, and concrete, the harder interior material. The exterior gradually erodes to reveal a stronger, more permanent interior structure. It is sited on the University at Buffalo’s South campus, where the 2012 discovery of bodies, buried in shallow graves, estimated at over 3,000 individuals, provides an opportunity for acknowledgment.

These bodies are the remains of men and women who died at the former Erie County Poorhouse, now UB’s Hayes Hall, and its related hospital.

Built in mid 19th century, the poorhouse institutionalized the poor, mentally and physically handicapped, and those seen as morally deficient by the society. Here they died, separated and estranged from their families and society. A century later, the cemetery had been long forgotten under the busy university campus.

The proposed installation takes the form of a walled, square enclosure. It creates a visible presence on campus, while its interior space is set aside and reserved for these individuals, providing a level of dignity in death which was denied to them in life.

Materializing the Loss acknowledges the deaths that occurred in this poorhouse, and by doing so, it means to pay its respects to the dead. It also attempts to address its own history that was built on the legacy of the situation at the Erie County Poorhouse, to further sensitize and strengthen the university and local communities will become stronger. Through the earth that builds up the memorial, and the earth that keeps the thousands buried, the erosion of loss reveals their stronger core.

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LIMIT OF AREA MONITORED BY 2012 INVESTIGATIONS

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CLEMENT ROAD

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Existing Sanitary Sewer

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Existing Water Line Existing Storm Sewer

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Utility Trench Disturbance from Former Parking Kiosk

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LIMIT OF AREA MONITORED BY 2012 INVESTIGATIONS

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RY ETE EM TO FC S O L PHO IT LIM ARIA TED 1929 IMA N EST ASE O B Storm Sewer

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2021 Site Map 1920 Site Map Estimated Burials Curb Line

New Curb Line

Existing Gas Line

Existing Water Line

BAILEY AVENUE

New Curb Line

Far Top Left 1853 - Names of the estranged at the almshouse.

(Source: Buffalolib.org)

Far Middle Left and Far Bottom Left 1851 Rendering of the newly built Erie County Poorhouse and Insane Asylum. The building at right is currently known as Hayes Hall at the University at Buffalo.

(Source: UB Archives)

Left In 2012, during a road reconstruction project, shallow graves were discovered at the site of the poorhouse cemetery. The map shows the locations of bodies found, and estimated locations of up to 3,000 more still buried under the university campus.

(Source: Masters Thesis, Anthony, Alexis)

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CONTEXT

Right and Far Top Right In the late 19th century, Almshouse residents would have lived in cramped quarters like this, estranged from their families and hidden from society.

(Source: historycollection.com) Far Middle Right 1990’s- Inside the Apothecary at the Erie County Almshouse Far Bottom Right 1920’s - Inmates evacuated during a devastating fire leaving them homeless.

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The final installation will be located on the UB South Campus, adjacent to Michael Road. The original cemetery location has been lost to time however, during a 2012 project remains were excavated around this location. Anthropologists and archaeologists at the University saved the remains, and relocated them into storage for study and eventual reinternment.

While the university has also created a memorial garden on South Campus, the location of this monument is far removed from the location of the existing graves, still forgotten under a parking lot and patch of grass next to the university’s daycare.

Based on this, our project aims to immortalize each of these individuals, and each brick represents each person who were treated like they were. The installation means to imply that even though their lives and the stories were lost in time, our installation is a modest attempt at allowing the dead to leave their mark on the city’s history and story. In the installation, the concrete that is poured into the cavity of each brick is representative of their memory, and what remains of them.

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MATERIALIZING DEATH

MATERIALIZING LOSS The concept of cavity brick for the BUFFALO’S ANONYMOUS BURIAL G installation emerged from an idea of having a sanctimonious enclosure as Erosion the core, that honored the dead. To further create just a visual access, a semi-permeable screen through columns was created all across its perimeter, which passed through these double cavity bricks.

Next, the square was chosen as the shape mostly due to its symmetrical, equal and pure form. Visual aesthetics is one of the most important aspects for an installation, and a similar view 6 Months from all the MATERIALIZING LOSS sides is an imperative thing for the artwork installation. The BUFFALO’S ANONYMOUS BURIAL GROUNDS REMEMBERED same thing was further reinforced Erosion with selecting English Bond as the style of masonry for the installation.

With erosion as one of the most symbolical parts of the installation, its outer layer has been made out of dirt clay, which is projected to gradually erode over the years to reveal a more complex and sanctimonious structure made out of concrete.

MATERIALIZING LOSS

6 Months

BUFFALO’S ANONYMOUS BURIAL GROUNDS REMEMBERED Erosion

Finally, two alternating brick layers will form 1the outer brick 8 structure, Year the mix for whom was intricately designed after 10+ iterations.

3 Years

6 Months

2 Years 1 Year

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ARC 606 Memory, Build! | Jessica Rote / Keith Benes / Ainis

Top Far Left Sketches: Conceptual sketches proposed installation

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Bottom Far Left (Left to right): Conceptual models of erosion process Left (Top and Bottom) Working drawings of the installation from two different levels

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MATERIALIZING DEATH

Left: Rendered view of proposed model in the UB site

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MATERIAL SOURCING AND BLOCK MAKING County Line Stone is a quarry located in Akron, NY that typically provides stones of different sizes to be used in different construction materials and applications.

Test 2: Wet Clay: Sand: White Lime: Black Lime:

Test 3: Quarry Clay: Sand: Portland Cement:

57% 29% 7% 7%

47% 29% 14%

Test 4: Leftover material from tests 1-3.

Added clay and portland cement.

The project utilizes a large quantity of material with a variety of material types. To -Uneven distribution of material -Lowmaterials initial strength a sample -Unknown material amounts accurately assess the -Brittle -Uneven distribution FALO’S BURIAL GROUNDS REMEMBERED was ANONYMOUS taken from various places visited on site, and a soil test was done. These tests show the raw material mixtures and allow a rial Strategy further understanding the different particle earlier explorations focused on qualities and materials ar materialssizes and mixtures of materials, we were getting from the tely determined juxtapose soft and rawtoearth materials.

ATERIALIZING LOSS

rials. To do this, we decided to use the ed earth block press, which creates While thebeearlier locks whose voids could used to explorations focused mbine or interlock with another material qualities and mixtures of materials, nt.

on we ultimately determined to juxtapose soft and ial concept hard is to create an initial structure materials.

To do this, we decided to use atively soft, erosive block which will the compressed ver time. Using this as a formwork, aearth block press, which ore lasting, resilient internal structureblocks whose voids could creates modular ced in the form of concrete poured into interlock with another material component. l and horizontal network of cells and

ithin the modular block wall. To achieve d qualities, a precise mixture was devised The material concept is to create an initial ck; one which was firm enough to be structure from a torelatively soft, erosive d and stacked, but also weak enough e and erode to reveal the internal core.

block which will degrade over time. Using

this as anumerous form work, a harder, more lasting, explorations achieved qualities, from the lightness and textural resilient internal structure is introduced in through introduction of perlite or the form of concrete poured Test into1: the vertical and the Test 6:rich color and relative strength ofTest 7: y.Quarry Clay: 43% Quarry 43% and horizontal network of Clay: cells and grooves Wet Clay: 52%

the modular block To achieve Sand: 14% Charcoal:wall.

14% erials were within used for the blocks.

Soil, lime, Charcoal: 18% Portland Cement: 14% 14%was 4% Portland Cement: were sourced from a local quarry.

Since Lime: the desired qualities, a precise mixture -Low initial strength -Low initial -Non-absorbant strength soil lacked sufficient clay content to devised for the block; one which was firm -Brittle -Brittle trong blocks, a portion of refined clay was-Non-absorbant Wet Clay:

29%

Wet Clay: Sand:

29%

26%

enough to be transported and stacked, but also weak enough to deteriorate and erode to reveal the internal core.

Test 8: Test 2: Wet Clay: Wet Clay: 57% 57% Sand: 29% Sand: 29% Portland Cement: White Lime: 14% 7% Black Lime: 7% -Low initial -Uneven strength distribution of material -Too much clay

Test 4: Leftover material Added clay and p

47% 29% 14%

-Low initial strength -Brittle

-Unknown materia -Uneven distributi

CLAY TYPE 1

CLAY TYPE 1

CLAY TYPE 2

CLAY TYPE 3

SAND TYPE 1

SAND TYPE 1

AGG. LIME

AGG. LIME

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The initial explorations achieved numerous desirable qualities, from the lightness and textural properties through introduction of perlite or charcoal, and the rich color and relative strength of refined clay.

Test 3: Quarry Clay: Sand: Portland Cement:

1/

4”

2”

1/

3/

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1

4”

4”

Local materials were used for the blocks.

Soil, lime, and sand were sourced from a local quarry. Since the quarry soil lacked sufficient clay content to produce strong blocks, a portion of refined clay was added.

Test 11: Test 5: Test 10: 3000 Earth Block Press to produce the Aurum Quarry Clay: Quarry Clay:which allow us 29% cks with voids to pour a concrete Quarry Clay: 67% White Lime:Wet Clay: 13% Wet Clay: 36% a rigid, unified, network of block cells to create Sand: 13% Sand: 21% cture.

Sand: Perlite: 7% Lime: 14% Lime: Specifications: -Low initial strength -Expensive-Low initial strength w -Uneven 290 14distribution -Low initial strength ze (L x W x H, in mm) 290 x 140 x 90

43% YELLOW QUARRY CLAY

43% YELLOW QUARRY CLAY

21% CONCRETE SAND 7% AGRICULTURAL LIME

21% CONCRETE SAND 7% AGRICULTURAL LIME

29% RED REFINED CLAY

43% 29% 14% 14%

Final Mix: Test 6: Quarry Clay: 43% Refined Clay Dust: 29% Wet Clay: Sand: 21% Sand: AgriculturalPortland Lime: Cement: 7% -High initial -Low strength initial strength -Erodes in 3-Brittle months

Clay: STRENGTH, EASY 43%TO HANDLE FINAL MIX 1:Quarry GOOD INITIAL 29% 14% 14%

29% WHITE REFINED CLAY

Test 8:

Test 7:

Wet Clay: QuarryMIX Clay: FINAL 2: SAME AS MIX 1,43% A BIT LIGHTER IN COLOR Wet Clay: Charcoal: Lime:

-Low initial strength -Non-absorbant

29% 14% 14%

Sand: Portland Cement:

-Low initial streng -Too much clay

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Crushing raw materials into smaller pieces.

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Loading material into press cavity.

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Checking compaction level.

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Adding water is done by hand so ensure correct consistency,

Dropping compressed block machine arm.

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Pushing brick up and out of press

Removing from compressed block machine.

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Assembling first layer of bricks.

Electric mixing is done while materials are dry to ensure all parts are evenly distributed.

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MATERIALIZING LOSS

BUFFALO’S ANONYMOUS BURIAL GROUNDS REMEMBERED Material Strategy While the earlier explorations focused on qualities of particular materials and mixtures of materials, we ultimately determined to juxtapose soft and hard materials. To do this, we decided to use the compressed earth block press, which creates modular blocks whose voids could be used to easily combine or interlock with another material component.

The material concept is to create an initial structure from a relatively soft, erosive block which will degrade over time. Using this as a formwork, a harder, more lasting, resilient internal structure is indroduced in the form of concrete poured into the vertical and horizontal network of cells and grooves within the modular block wall. To achieve the desired qualities, a precise mixture was devised for the block; one which was firm enough to be transported and stacked, but also weak enough to deteriorate and erode to reveal the internal core.

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The initial explorations achieved numerous desirable qualities, from the lightness and textural properties through introduction of perlite or charcoal, and the rich color and relative strength of refined clay.

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ALIZING LOSS

Mixing concrete to pour into block cells

NONYMOUS BURIAL GROUNDS REMEMBERED

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Hand filling brick voids.

Local materials were used for the blocks. Soil, lime, and sand were sourced from a local quarry. Since the quarry soil lacked sufficient clay content to produce strong blocks, a portion of refined clay was added.

Test 1: Wet Clay: Sand: Charcoal: Portland Cement:

52% 26% 18% 4%

-Non-absorbant -Brittle

Test 2: Wet Clay: Sand: White Lime: Black Lime:

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57%

Test 3: Quarry Clay:

47%

Portland Cement:

14%

Test 4: Leftover material from tests 1-3.

Tamping the concrete bubbles and pockets.

29% Sand: to remove air 29% Added clay and portland cement.

7% 7%

-Uneven distribution of material

-Low initial strength -Brittle

-Unknown material amounts -Uneven distribution

ARC 606 Memory, Build! | Jessica Rote / Keith Benes / Ainish Sheth / Vaidehi Patel | Inst. Guitart | School of Architecture and Planning | Spring 2022

y

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sed on qualities s of materials, pose soft and ded to use the ich creates be used to nother material 1/4

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umerous ess and textural perlite or lative strength of

blocks. Soil, lime, al quarry. Since ay content to f refined clay was

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an initial structure k which will formwork, a nal structure ete poured into of cells and wall. To achieve xture was devised enough to be weak enough to e internal core.

Test 1: Wet Clay: Sand: Charcoal: Portland Cement:

52% 26% 18% 4%

-Non-absorbant -Brittle

Test 2: Wet Clay: Sand: White Lime: Black Lime:

57% 29% 7% 7%

-Uneven distribution of material

Test 3: Quarry Clay: Sand: Portland Cement:

Test 4: We utilized 3000 Earth Blockfrom Press to produce 47% the Aurum Leftover material tests 1-3. modular which allow to pour cement. a concrete 29%blocks with voids Added clay andus portland mix into 14%the network of block cells to create a rigid, unified, interior structure.

-Low initial strength Technical Specifications: -Unknown material amounts -Brittle -Uneven distribution Mold: Hollow 290 Full block size (L x W x H, in mm) 290 x 140 x 90 Net volume of material 2.846 litres Gross volume of block 3.654 litres Bearing area 326 cm2 Void 19.5 %

Test 5: Quarry Clay: Wet Clay: Sand: Lime:

43% 29% 14% 14%

-Low initial strength

Test 6: Quarry Clay: Wet Clay: Sand: Portland Cement:

43% 29% 14% 14%

-Low initial strength -Brittle

Test 7: Quarry Clay: Wet Clay: Charcoal: Lime:

43% 29% 14% 14%

-Low initial strength -Non-absorbant

Test 8: Wet Clay: Sand: Portland Cement:

57% 29% 14%

-Low initial strength -Too much clay

Far Top Left Images: Group members sourcing raw materials from Country Line Stone Quarry

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Top Left Images: Block making and concrete mock-up

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1/2 1 3/4 ”

Far Bottom Left Images and Diagrams: Images of selected Blocks and diagrams showing material proportions

ck Press to produce us to pour a concrete reate a rigid, unified,

Test 5: Quarry Clay: Wet Clay: Sand: Lime: -Low initial strength

290 x 140 x 90 2.846 litres 3.654 litres 326 cm2 19.5 %

43% 29% 14% 14%

Test 6: Quarry Clay: Wet Clay: Sand: Portland Cement: -Low initial strength -Brittle

43% 29% 14% 14%

Test 7: Quarry Clay: Wet Clay: Charcoal: Lime: -Low initial strength -Non-absorbant

43% 29% 14% 14%

Test 8: Wet Clay: Sand: Portland Cement: -Low initial strength -Too much clay

57% 29% 14%

Test 9: Wet Clay: Quarry Clay: Sand: Portland Cement: -Low initial strength -Brittle

43% 29% 14% 14%

Test 10: Quarry Clay: Wet Clay: Sand: Lime: -Low initial strength -Uneven distribution

29% 36% 21% 14%

Test 11: Quarry Clay: White Lime: Sand: Perlite: -Expensive -Low initial strength

67% 13% 13% 7%

Final Mix: Quarry Clay: Refined Clay Dust: Sand: Agricultural Lime:

43% 29% 21% 7%

-High initial strength -Erodes in 3 months

Bottom Left: Series of images showing different blocks made out of different mixes

Aurum 3000 Earth Block Press (Source: https://aureka.com/auram-press-3000)

ARC 606 Memory, Build! | Jessica Rote / Keith Benes / Ainish Sheth / Vaidehi Patel | Inst. Guitart | School of Architecture and Planning | Spring 2022

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BLOCK TESTING

Guided by Instructors : Christopher Romano, Dr. Kimberly C. Meehan Partner - Jessica Rote As part of the Intellectual Domain Seminar, in the spring ‘22 semester, I worked with Jessica Rote under the guidance of faculty members Christopher Romano and Dr Kimberly Meehan on testing various cementitious materials like Fly Ash, Silica Fume, Slag and Iron Ore. We mixed these materials each at a time with compressed earth blocks(CEB), and put them through compression testing, water testing. We also studied them under reflected light microscopic imageries.

Going into the nuances, we selected 6 different CEB blocks with distinct mixtures and eventually concluded that the one with agricultural lime as the additive proved to be the most desirable block for our project.

We made the choice after a number of considerations such as all natural and materials, handling convenience and rate of erosion.

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Far Left Images (Top to Bottom): Curring Blocks with Tile cutter and Testing with series of compression and water tests to understand strength and erosion under various condition.

Left: Reflected light microscopic images of final bricks to understand cementation and bonding process at macro level Bottom: Microscopic images of final bricks to understand material composition and proportions.

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ASSEMBLY

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Acknowledgment: Digital collage of the assembly process including every person and every tool who/which helped in process

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ASSEMBLY

MATERIALIZING LOSS

BUFFALO’S ANONYMOUS BURIAL GROUNDS R Assembly The final assembly is comprised of individual drystacked compressed earth blocks forming solid walls. The use of these blocks allow for ease of transport, and assembly. The walls take the shape of a closed square, creating an inaccessible void which is reserved for the memory of those buried in the surrounding ground.

The dry-stacked walls themselves are used as formwork into which concrete is poured. The hardened concrete creates a more rigid, lasting interior structural network which is designed to remain, even after the earthen blocks have eroded away. To ensure structural stability, vertical rebar is centered in each cell as the concrete is poured. The form of the block features a notch into which we will lay horizontal rebar tying the structure together.

ERIALIZING LOSS MATERIALIZING LOSS Right: Series of 6 images showing assembly process

LO’S ANONYMOUS BURIAL GROUNDS REMEMBERED UFFALO’S ANONYMOUS BURIAL GROUNDS REMEMBERED

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1 Place blocks in square formation allowing rebar in each cell.

bly ssembly

bly comprised of individualofdrynalisassembly is comprised individual dryssed earth blocks forming solid ed compressed earth blocks forming solid f The these blocks allow for ease of for ease of use of these blocks allow ssembly. walls take shape port, and The assembly.

The the walls take the shape re, creating ancreating inaccessible void losed square, an inaccessible void the memory of memory those buried in buried in hdisforreserved for the of those ground. urrounding ground.

walls themselves are used asare used as dry-stacked walls themselves hich concrete poured. The work into whichisconcrete is poured. The ete creates a more rigid, lastingrigid, lasting ened concrete creates a more l network which is designed or structural network which istodesigned to er earthen blocks haveblocks eroded n, the even after the earthen have eroded vertical rebar is . structural To ensurestability, structural stability, vertical rebar is hred cellinaseach the concrete poured. The cell as theisconcrete is poured. The koffeatures a notch intoa which the block features notch we intowill which we will bar tying rebar the structure orizontal tying thetogether. structure together.

Diagrams: Series of 6 diagrams showing proposed assembly process 1 Place blocks in square formation allowing for vertical 1 Place blocks in square formation allowing for vertical rebar in eachrebar cell. in each cell.

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2 Concrete is2 poured into cellsexisting as the wall gradConcrete is existing poured into cellsisas the wall is gradually built up.ually built up.

3 Horizontal reinforcement laid in grooves in blocks and concrete poured around.

MATERIALIZING MATERIALIZING LOSS LOSS

BUFFALO’S BUFFALO’S ANONYMOUS ANONYMOUS BURIAL BURIAL GROUNDS GROUNDS REMEMBERED REMEMBERED

nedprefabricated

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Assembly Assembly The final assembly The final is comprised assemblyofisindividual compriseddryof individual drystacked compressed stackedearth compressed blocks forming earth blocks solid forming solid walls. The usewalls. of these Theblocks use ofallow thesefor blocks ease allow of for ease of transport, and transport, assembly.and Theassembly. walls takeThe the walls shapetake the shape of a closed square, of a closed creating square, an inaccessible creating anvoid inaccessible void which is reserved which foristhe reserved memoryforofthe those memory buriedofinthose buried in the surrounding theground. surrounding ground.

The final assembly is comprised of individual dry-stacked compressed earth The dry-stacked The walls dry-stacked themselves walls arethemselves used as blocks are used asforming into which formwork concrete into which is poured. concrete Theis poured. The solidformwork walls.

The use of these blocks allow for hardened concrete hardened creates concrete a morecreates rigid, lasting a more rigid, lasting interior network structural which network is designed which to is designed to easeinterior of structural transport, and assembly.

The walls remain, even after remain, the even earthen after blocks the earthen have eroded blocks have eroded takeaway. theTo shape ofensure a closed square, creating ensure away. structural To stability, structural vertical stability, rebar isvertical rebar is centered in each centered cell asinthe each concrete cell asisthe poured. concrete Theis poured. The an inaccessible which reserved form of the block form features ofvoid the block a notch features into which ais notch we will into which wefor will the lay horizontal rebar lay horizontal tying therebar structure tyingtogether. the structure together. memory of those buried in the surrounding ground.

The dry-stacked walls themselves are used as form work into which concrete is poured.

The hardened concrete creates a more rigid, lasting interior structural network which is designed to remain, even after the 1 Place blocks in1 square Place blocks formation in square allowing formation for vertical allowing for vertical earthen blocks have eroded away. To ensure rebar in each cell. rebar in each cell.

REMEMBERED MBERED structural stability, vertical re-bar is centered in each cell as the concrete is poured. The form of the block features a notch into which we will lay horizontal re-bar tying the structure together.

g for vertical

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2 Concrete is poured 2 Concrete into existing is poured cellsinto as existing the wall cells is gradas the wall is gradually built up. ually built up.

Right:

Concrete is existing poured into cellsmembers the wall is grad-the with 2 Concrete is2 poured into cellsexisting asGroup the wall isas grad3 Horizontal reinforcement 3 Horizontallaid reinforcement in grooves inlaid prefabricated in grooves in prefabricated completed installation ually built up.ually built up. blocks and concrete blocks poured and concrete around. poured around.

4 Build higher row 4 Build by row, higher pouring row concrete by row, pouring with every concrete two with every two block courses block courses

4 Build higher row by row, pouring with every two 4 Build higher row by row, pouring concrete withconcrete every two 5 Final blocks put 5 Final in place blocks and put concrete in place poured. and concrete poured. block courses block courses

6 Finished structure 6 Finished structure

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ARC 606 Memory, ARC 606Build!

Memory, | Jessica Build! Rote | Jessica / Keith Rote Benes / Keith / Ainish Benes Sheth / Ainish / Vaidehi ShethPatel / Vaidehi | Inst.Patel Guitart | Inst. | School Guitartof| Architecture School of Architecture and Planning and| Planning Spring 2022 | Spring 2022

EROSION

Zoomed in photograph from the Top part of installation

Zoomed in photograph from the middle part of installation

After the installation was completed, it was the erosion process that attracted a lot of attention. It all began with the corners as the erosion started from those points first. By the end of the second month we could observe a few holes between the columns from the top down, which had traveled the whole height of the column by the 6th month. We could finally observe the inaccessible enclosure that we had been envisioning since the beginning.

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Zoomed in photograph from the Bottom part of installation

Textures after 2 months of erosion on top - middle parts

Textures after 4 months of erosion on top parts

Left Condition of the installation after 6 months of erosion Far Left Photograph of a section of installation after 2 months of erosion

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SCAFFOLDED Instructor : Stephanie Cramer

PRE - FABRICATED POST TENSIONED FABRIC PAVILION | FALL ‘22

Image: Hybrid render over a model photograph showing the entrance space of pavilion

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CONTEXT - PRECEDENT STUDY Partner - Leo McDowell

This project was undertaken as a precedent study to understand the differences in various systems of scaffolding. From learning about the foundations of such temporary structures, to studying the nuances of the material of construction, the amount of knowledge which was gained through this was immense.

I worked with another person for this study, and explored conventional bricklayers scaffolding made out of timber, and a geodesic dome as an anti-scaffolding system. Broadly speaking, we deduced that the bricklayers scaffolding was rendered a little useless when it came to erecting a wall that went in any other direction, than horizontal or vertical. Even for its contemporary, geometry seems to be a limiting factor after a particular point, as its rigid form prevents it from having much larger/wider application.

Top: Bricklayers Scaffolding above the lintel level with Human figures

Right layer 1 (Left to Right): Three Images showing two people laying first few layers of bricks on foundation.

Right layer 2(Left to right): Two people constructing first layer platform after completing brickwork approximately till waist height.

Right layer 3 (Left to Right): Scaffolders Laying down planks on top of pre made lumber grid system to make it a workable space

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Top: Two people making geodesic dome with pre - fabricated elements.

Right layer 1 (Left to Right): Two people assembling triangular geometries on site with pre fabricated materials

Right layer 2(Left to right): Two people transforming the triangular segments to its place and attaching them on its desired location

Right layer 3 (Left to Right): One person lifting the triangular segments and passing them to the other person on the upper level of structure. The second person lifting it to its desired location and both of them attaching the segments together

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EXOSKELETON - COLUMBARIUM DESIGN

Above: Conceptual sketch of proposed pavilion Far Right(Top to Bottom): Scaled Model photos showing assembly process

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Tasked with creating a Pop Up Pavilion out of scaffolding materials, the precedent study helped in understanding the importance of temporary structures and the impact they have on the final building in the longer run.

This pavilion was conceptualized on the idea of adding permanence to these temporary structures, for which the technique of inverting the endo and exo-skeletons of a geodesic structure was integrated. The idea also draws a very strong inspiration from the natural phenomenon of metamorphosis, wherein the larva constructing its own cocoon to hibernate and eventually evolve into a better self, forms the central idea of having a layered structure.

Next, a tetrahedron was finalized as the form of the exoskeleton of the pavilion, from which the fiberglass fabric would be suspended as the endo-skeleton of the structure.

Assembling tetrahedral exoskeleton having pulleys and tensile cables attached to it

Another thing that the precedent study brought into the light was the simplicity of the triangles which formed the basic shape for the fiberglass endo-skeleton. It was an intersection of 13 different triangles across all three dimensions, with one triangle acting as a narrow opening to the pavilion.

The images on the right detail-out the construction process of erecting the tetrahedron-shaped pop-up pavilion. The construction follows the rules of interlocking geometries in an equilateral pyramid, whose edges have been transformed into lightweight hollow metal pipes.

Furthermore, there are cables that uphold the prefabricated fiberglass fabric through tensile forces. Finally, there is an assembly of pulleys and tensile cables that are bolted to the aforementioned lightweight hollow metal pipes.

Attaching pre-fabricated fiberglass fabric to cables.

Popping up the fabric skin by pulling cables

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COLUMBARIUM - A GLOWING BODY 3” DIAMETER TOP RING LOCK WITH PIN JOINT(DETAIL 1)

LIGHTWEIGHT HOLLOW METAL PIPE - 2” DIAMETER

DETAIL 1

2” DIAMETER PULLEYS WITH PIN JOINT (DETAIL 2)

THREE FABRIC FLAPS CONNECTION WITH 3” CARABINER

DETAIL 2

TWO LAYERED FIBERGLASS FABRIC

1/4”CARBON FIBER REINFORCEMENT

PRECAST 3 PIPES WELD JOINT WITH SAILING CLEAT WELDED ON 1/2” PLATE (DETAIL 3)

DETAIL 3

6”

DEEP CONCRETE FOUNDATION

OUTSIDE GROUND LINE

Right: Wall section cutting through fabric pavilion

INSIDE 0

6” 3”

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FINISHED FLOOR

2’ 1’

4’

2” X 2” L - SECTION

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COLUMBARIUM - A GLOWING BODY

TOP JOINT - 18’ - 00”

PAVILION TOP - 14’ - 00” LEVEL 2 - 12’ - 00”

GROUND LEVEL - 0’ - 00” This visualization is to depict how the pavilion will act as an individual element with its own architectural character in the given context.

Furthermore, a water body has been added inside the enclosure to primarily provide a sense of calmness and to act as a reflective element for the natural light that enters the pavilion right from the top.

32

Left: Hybrid Render of exterior view over model photograph.

33

34

ABACUS

CONTEMPORARY ART MUSEUM | SPRING ‘21 Instructors : Annette LeCuyer, Abigail Peters Partner - Mumuksha Patel

Right: Rendered view of reflected pool on the exterior surface of grid 3

35

CONCEPTUAL DEVELOPMENT

6. OPENINGS

5. PRESS N’ PULL VOIDS

4a.VERTICAL PLANES AS A STRUCTURAL WALLS

4. PLANES VERTICAL PLANES ADDED TO DIVIDE THE SPACE AT 25’ DISTANCE

3. DIVIDE VOLUME IS DIVIDED INTO 25’ GRIDS FROM NORTH TO SOUTH

2. BUILDABLE VOLUME

1. BUILDABLE AREA

CONCEPTUAL DEVELOPMENT

36

Abacus, meaning an oblong row of wires or grooves, forms the very fabric of this art museum. Conceptualized around nine such rows, it is made to encapsulate a wide variety of art galleries, especially for contemporary art. Segregated among two floors, it is strategically planned to empower artistry through facilities like classroom learning and digital teaching.

Located on the intersection of North Street and Delaware Avenue, the site posed a strong set of constraints, right from the word go. The site had a maximum contour height of 7 feet along its northern edge, which influenced the decision of entrances and exits. The adjoining residential building along its western edge also dictated the design to a certain extent, as it was imperative to address its privacy through the design.

GROUND LEVEL PLAN

UPPER LEVEL PLAN

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VOIDS AND GALLERIES As the segmentation was being done through walls, the idea of staggering the spaces to create interesting voids further enhanced the design. On the exterior, this made way for perceptible pocket spaces, capable of hosting a wide array of artistry. Apart from that, spaces like terraces and courtyards introduced the aspect of internal voids to the design.

Where the courtyards and terraces brought an appropriate quanta of indirect and diffused light into the building, aesthetic strategies like water-bodies, translucent glass ceilings and double height spaces further elevated the design.

38

Top Far Left: View from the top showing the staggered planning Bottom Far Left: Exploded view of the 5 intermediate adjoining segments Left: The double height gallery, grid 6.

39

VOIDS AND GALLERIES

Above: Visualization of the courtyard and the gallery on the upper level

Middle: Visualization of the courtyard and the gallery on the upper level

Top Right: Gallery on ground level

Bottom: Perspective section from grid 4 showing two different voids and their connection with gallery spaces on different levels

40

When it comes to the internal voids, they can be classified broadly into courtyards, terraces, glass coverings and double height spaces. Courtyards have been strategically placed throughout the staggered blocks to increase the luminosity within the building.

The courtyards are developed in a variety of ways to host art installations and sculptures, while providing a visual shift to the crowds ‘outside’ the building.

Double height spaces have been specifically planned to highlight large scale artworks in the museum, the experience of grandeur for which has been achieved through volumetric modulations within the building. Not only do they act as light shafts for the building, but they also play an important role in diversifying the user experience as one traverses through the widths and lengths of the building.

41

VOIDS AND GALLERIES

To further accentuate the use of light, the ceiling details have been drawn from the aforementioned Beyeler Foundation whose incorporation of glass to diffuse the ceiling light elevates the overall experience.

The building houses a variety of art galleries to deliver a diversity in experiences to the visitors. From galleries that overlook double height spaces, to the galleries that extend out towards a courtyard, the building ascertains to do justice to the artworks displayed in their premises.

A special emphasis on the ‘sculpture gallery’ has been paid, as it is one of the few spaces in the building that welcomes the southern light in its purest form. A number of sculptures placed strategically would further assist in dictating the path of traversing for the visitors.

42

Left: Perspective section from grid 6 showing two different voids and their connections with gallery spaces on both levels Bottom left: Visualization of the courtyard space and gallery area on lower level of grid 6 and 7 Bottom right: Visualization of the courtyard and gallery on lower level of grid 6

43

VOIDS AND GALLERIES

44

Left: Visualization of the ‘Sculpture Gallery’ on upper level of grid 1.

Far Left: Light - study model phonograph of the grid 3 Bottom: North to South cross section of the building, focusing on vertical circulation looking West.

45

EXTERIOR DEVELOPMENT

Right: Front elevation of the building from Delaware avenue Bottom: Side elevation of the building from North Street

46

Left: Visualization of a front space in two different time

47

Image: 3D Rendering of a sectional view from the greenhouse pyramid

48

URBAN ENCLAVE Instructors : Brian Carter, Maia Peck

URBAN FOOD SCHOOL | FALL ‘21

49

Buffalo Food School JUXTAPOSITION Exploded axon drawing AND PLANNING

Ainish Sheth

Fourth level

- Special education classroom - Teachers workroom - Nurce office - SST office

Third level

- Special education classroom - Art classroom - Locker spaces

Second level

- Classrooms - Teachers resourceroom - Main office - Guidence suit - Office for principal and assistant principal

Ground Level - Greenhouse - School entry - Library - Computer Classroom - Banquet - Banquet kitchen and store - Loading unloading Deck

LANDSCAPE

Right Exploded scheme

axon

of

complete

Far Bottom Right Rendered view of west elevation

side

Far Top Right: Rendered view from the top showing arrangements of solids on two sites.

50

Basement - Gym - Locker rooms - Changing room - Kitchen - Bakery - School cafe

The building was planned as a definite response to the core downtown area in the city of Buffalo. Given its rich architectural history, its planning has always complemented the long term vision moving forward. There are number of community buildings like City hall, Court house etc. But there is certain absence of urban community spaces that would be addressed through this design.

Among everything else, one aspect that stands out particularly is an enclosure that envelopes the entire public realm. It is a public node that invites the people within its boundaries, and offers them with a variety of experiences. From secluded seating to covered pathways, the entire space is designed meticulously to provide a diversity every time one visits the place.

51

JUXTAPOSITION AND PLANNING

GROUND LEVEL PLAN

52

Juxtaposition is one of the key aspects that has been employed in the design process for this building. It is specifically evident in three separate areas, namely planning, form and materials.

From addressing the linear grid that has built the town, to introducing the tangential grid that stands out in the entire urban fabric; the juxtaposition of two distinct grids opens up an entirely new avenue for further massing and design development.

BASEMENT PLAN

The forms of the buildings have been heavily inspired from the rich architectural history of the town, that proudly incorporates Modernist, Brutalist and Art Deco styles of architecture. While the urban enclosure is a representation of the very modernist style of architecture, the school building starkly contrasts as a Brutalist building in the same complex.

Apart from that, planning is another key element that has dictated a number of decisions throughout the design process.

From opening up more than half of the entire front, to placing the school building at the very back of the site , the amalgamation of two distinct grids with the necessity of an open urban space has influenced the most spectacular design decision of letting the building cross over the road to another part of the site.

TYPICAL CLASSROOM LEVEL PLAN

TOP LEVEL PLAN

53

THE GREENHOUSE PLAZA The most interesting aspect of the entire complex is the urban enclosure, that peculiarly houses a variety of organic farms. The public finds its attraction in an octahedron-shaped metal and glass enclosure, with access on all four sides for the public. The entire space is decked with wooden planks, and its punctuated with secluded as well as diner seating, to further enhance the earthly experience for the users.

54

GREENHOUSE

Top: Section through public greenhouse and banquet hall

SECURITY OFFICE

55

THE GREENHOUSE PLAZA

uffalo Food School

ctions

SCIENCE CLASSROOM

56

SECTION 11

CLASSROOM

SECURITY OFFICE STORE

Volumetric proportions in the entire complex are something that have been carved out after a very careful contextual study. With areas below the ground level connecting seamlessly with their counterparts above, the user is certain experience a wide range of spaces throughout the complex.

Ainish Sheth

Above Section through the classroom, greenhouse and Banquet.

Top Rendered View of entrance of the greenhouse

GREENHOUSE

57

58

APERTURE

TAPERED THIN CONCRETE STUDY | FALL ‘22 Instructors : Christopher Romano, Michael Hoover, Randy Fernando Team - : Luke Dole, Jackson Gaylord, Joshua Kneer, Patrick Ma, John Mark Silbert Nachbar, Harsh Thakkar

Image: A segment of the concrete Aperture

59

SIGN

PROPOSAL Center Line

Nachbar eth

1

1

1

1

1

0

1

1

1

Image: A segment of the concrete Aperture

”

x 9cm x19cm) 60

As part of the Structures - 3 course in the Fall 2022 semester, a pre-cast aperture/opening was to be made in a wall, out of concrete.

Working in a group of 7 people, the whole project was executed with a lot of precision.

From volumes and quantities to the chamfer angles and concrete mixes, the technical details were the most important precedents that were calculated for the project.

PLAN AT 3’ - 0”

PLAN AT 6’ - 0”

3 4"

The form work for the same was prepared out of 3/4” thick plywood, and a concrete mix of 1:2:2:1 (Portland cement, concrete sand, washed screenings, 1A stone) were utilized.

Finally, a frame of re-bar (3/8” thick) was inserted in the wooden form work to further add strength to the whole structure.

PLAN AT 5’ - 3”

PLAN AT 2’ - 3”

3 4"

PLAN AT 4’ - 6”

PLAN AT 1’ - 6”

3 4"

3 4"

PLAN AT 3’ - 9”

PLAN AT 0’ - 9”

61

MOCK-UP

SECTION

VOIDS Voids

To further study the strength of the mix we prepared a simulation in Karamba 3D, and studied the interaction of sand, water and gravel particles at a microscopic level.

The study of voids was also an important part of the analysis, as it impacted the strength of the concrete directly,

Concrete Section Mix 1 / Core 1

E

2: DIGITAL

Scale - Microscopic

NUMBER: 2 01: Luke Dole 02: Jackson Gaylord 03: Joshua Kneer 04: Patrick Ma 05: John Mark Silbert Nachbar 06: Ainish Shailesh Sheth 07: Harsh Thakkar

Aggregate

ELEVATION

Poorly packed area - large air gap prevents components from making contact reducing adhesion and creating weak spots in the concrete

Particle-01 (Large) Particle Size = 1/4” - 1/2”

Represents 3 parts of a “standard” mix ratio

E 01:

Aggregate 1A gara Escarpment an Period, 443.8 Million Years Ago urer: Lafarge North America wder Grey 4”-1/2”

E 02:

Portland farge North America ar old urer: Bath Plant, Eastern Canada y 007-0.2mm

E 03:

Portland

Particle-02 (Small) Particle Size = 0.007 - 0.2mm

Represents 1 part of a “standard” mix ratio

Sand

Particle-03 (Medium) Particle Size = 0.074 - 4.75mm

Represents 2 parts of a “standard” mix ratio

Masonry Sand posit from Melting Glacier oximately 18,000 years old urer: Lafarge Aggregates ges from brownish cream to caramel 074 - 4.75mm

Right Images: 2D and 3D simulation of partial packing of mix ratios.

62

Well Packed area - All componenets making contact producing good adhesion

3 4"

PLYWOOD

HIGH DENSITY FOAM FOR NEGATIVE SPACE

2X4 BLOCKING

Left Drawing: A segment of the concrete Aperture

Form Work Plan: 6” = 1’

Chemical tching produced a better result in Chunk Model 2

Fibers introduced in mix design 2 showed in final cast

63

FORM WORK

3/4” Melamine coated MDF

2”

Poured Concrete 45”

4.25”

3/4” Melamine coated MDF

8.25”

7-1/2” thick CNC high density Foam

8.25”

0.75” 12.5”

67.25”

0.75”

3/4” Melamine coated MDF 10” 47.25” 73.75”

71.25”

5.25”

64

3 4"

MELAMINE

HIGH DENSITY FOAM FOR NEGATIVE SPACE

2X4 BLOCKING

Left: Exploded axon drawing of the form work and form insert Right: Section of form work showing all the materials

65

FABRICATION AND ASSEMBLY PROCESS To prepare the form work of the aperture, a CASTING variety of materials and layers were used. melamine coated MDF(3/4” thick) FINALFrom PROJECT - APERTURE

to multiple 2x4s as horizontal, vertical and inclined bracings, utmost precision was GROUP NUMBER: 2 exercised.

Member 01: Luke Dole To further make Gaylord the strength of the structure Member 02: Jackson better, #3 re-bars were used that ran across Member 03: Joshua Kneer the lengths, breadths Member 04: Patrick Ma and heights of the form work. Apart from that there was a negative Member 05: John Mark Silbert Nachbar space that was left open/un-poured to make Member Shaileth Sheth way06: forAinish the desired aperture.

Member 07: Harsh Thakkar

Mixing 4.19 cuft of concrete for pour

Formwork Reinforcement skeleton to reduce bowing and flexing of MDF

More clamps, more clamps, more clamps....

Day of Desisions To increase the strength of the form work and reduce any chance of bulging or deformation a wood exoskeleton was added to the formwork.

The entire cast was anchored to a table in the shop via a frame to increase the stability and safety of the pour.

Dry fitting rebar to ensure fit

The pour was completed in the upright position instead of pouring on the oor due to concers about lifting the wet concrete and the safety of team mebers.

Is that supposed to look that way?

Caulk was used to seal the joints of the form work due to the wetness of the mixture. Extra water was added to the mix to ensure that the concrete would ow around all the angles and ll in the small tollerance areas.

Placing Rebar around positioned Foam Insert

Sealed corners with caulk

Large “A” frame attached to table and straps used to ensure stability of formwork Foam insert reinforced with wooden dowels for pour

Essential equipment

PAGE 26 66

Vibrating formwork to reduce air bubbles and increase particle packing

Caulked Corners leaked much less than un-caulked corners

Image: Form work analysis after concrete pouring process was completed

67

THE APERTURE

TURE

ylord er

Silbert Nachbar eth Sheth kar Foam insert left rougher finish than MDF Foam insert left rougher finish

mooth nish for the ure. In some places ame to the surface. This oided with additional to different vibration

than MDF

latively smooth nish se than the nish ated MDF. To avoid this other coating methods sert was spackled and le, but perhaps paint, ting could have provided

mix created a unique ome of the smoother rable in all application, esting and provided and pe.

Images: Final Product after demolding the foam work and zoomed in images with analysis

68

Wet mix left left interesting marbled pattern Wet mix interesting marbled in long vertical surfaces pattern in some spots

Trapped air bubbles the top surface of Air bubbles ononsome surfaces the beam

69

AINISH SHETH ainish1997@gmail.com