Akash Godbole Portfolio 2018

akash.godbole@gmail.com +1 (508) 733 8817 Akash Godbole Portfolio

1 Godbole

PORTFOLIO

DESIGN II - A GIRAFFE IN THE CITY SITE ANALYSIS AND INTERVENTION

0-90 axonometric of isolated site with the park included.

Model with unhinged facade and objects.

Rhino-Model with unhinged facade and objects.

2 Godbole

0-90 and 45-45 degree axonometric, of formally abstracted site overlapped.

0-90 degree axonometric of the site elements, documenting form.

The chosen site was previously a children’s park on 6th Avenue and Minetta Lane in New York City’s West Village. Based on the site, a set of documents were created, displaying the latent formal qualities that were pre-existing. The abstraction of the site rendered it as an L-Section field within which objects freely floated. The spatially ambiguous relationships between objects referenced the problem of a still life.

Spring 2014; Professors Lowder, Aviv, Tabolt

3 Godbole

Series of giraffe drawings depicting height inversion between the viewer and the giraffe.

The asymmetrical conoids create differentiated sloping, defining a strict programmatic order of circulation and inhabitation through plan and section. This constricts the humans and giraffes to only inhabit certain areas of the site. The giraffe and the person, through the undulating ground of objects, invert the scale between the viewer and the giraffe. This effect creates an ambiguity that allows the giraffe and the humans of New York to coincide.

4 Godbole

0-90 degree axonometric of the invervention before being placed on the site, documenting color.

Model photographs of inverntion within the site, documenting form.

The Intervention through color is perceived to be a foreign object, just as the giraffe is to the site within New York. The coinciding of the foreign object and the site alters the qualities that once existed in both. Once embedded, both operate seamlessly within the context, allowing the giraffe and the person to live in ambiguity.

DESIGN III ANALYSIS STUDIO - HABITAT 67 Academic Work - Analysis, Habitat 67

DOCUMENTATION

Cropped plan of 6th floor, includes all apartment types on that floor.

Cropped section through rear most staircore.

Extended site plan.

The documentation of Habitat 67 began with an investigation of the repetitive qualities of the building. It is measured by the reflection lines, which are physicalized by the vertical ambulatory cores.

Fall 2014; Pofessors Rustow, Zinguer, Krimizi and Anderson [ Documentation done in collaboration with Connor Holjes ]

5 Godbole

Academic Work - Analysis, Habitat 67

STRUCTURE

6 Godbole

Twelve overlayed floor plans, but only including structure, and module overlaps.

The structural beams, columns, and cables that were embedded inside each module were identified and drawn. The plumbing code defines a 3’6”x3’6” cubic-modular system. However, the inherent structural system that is formed defies that modernist structural-grid.

Academic Work - Analysis, Habitat 67

MOVEMENT

7 Godbole

Plan Sequence, repeated five times horizontally, overlayed with a diagramming script.

Looking at the movement of the ‘L’ type modular through a series of systems; patterns and relations became visible through the language of the generic codifier. This revealed several operations within the structure of Habitat 67, more importantly it codified the building into a script of architectural movements.

Academic Work - Analysis, Habitat 67

MODULE AS A DRAWING

8 Godbole

Two unfolded drawings of stairshaft type one.

Three unfolded drawings of the elevator shafts.

Three unfolded drawings of stairshaft type two.

Photographs of final model.

Through the initial drawing analysis, the modules seemed to be organized by the infrastructure. However, in construction, the infrastructure is organized by the modules. In the model and the drawings, tension exists because the infrastructure served as the construction lines in the drawing, where the modules are the construction lines in the model.

BUILDING TECHNIQUES 9 Godbole

FULL-SCALE CONSTRUCTION

Rebar from the cantelivered floorslab.

Photographs of final model, without plants.

Rebar from the corner of the module.

Side view of formwork and exposed concrete of floorslab.

Plan section of two stacked modules, with the detail highlighted.

Photographs of final model, with plants.

Formwork and rebar detail.

Exploded axonometric of detail including embedded rebar, embedded foam, hidden wheels and a deck.

A section of the detail for the Planter Box, the Terrace, and the Module was built. In this regard, every detail of the building that is truly a part of the built spirit of Habitat 67 was constructed. The detail roughly measured 6’ 7” x 3’ 6” x 3’ 6” as a box.

Fall 2014; Professor Anderson [ Done in collaboration with Connor Holjes, Lucas Chao, Hannah Kim, Yoonah Choi & Yoo min Lee ]

DESIGN III - A PUBLIC HIGH SCHOOL FOR NEW YORK CITY Academic Work - Design III, Public Highschool

Initial massing study model.

10 Godbole

THE SHELF AS A REDEFINITION OF THE SKYSCRAPER

Initial sketch.

Final massing model.

Designing a school within the context of New York City’s anti-object typology was my critical point of departure. The design of the school is based on repeated grounds, upon which individual schools can exist. This allows each of the schools to have “subject-specific program” that houses buildings (e.g. gallery space, theatre, running track). All become small low-rise typologies that normally would not exist in Manhattan, because of the exuberant cost of land.

Spring 2015; Professors Young, Shieh, and Allin

Academic Work - Design III, Public Highschool

Plans above and below, in the School of Science.

A TABULA RASA THROUGH STRUCTURAL REPETITION

11 Godbole

Plans above and below, in the School of Art.

It was important that in the creation of each aggregated landscape the ability for a completely free free-plan existed, in the sense that it conceptually existed as a tabula rasa. For this to exist, infrastructure contained within a 25-ft floor to ceiling height had to exist to maintain such an ambitious cantilever. Within each “infrastructural floor, existed all the generic program for a high school, allowing for a individualized construction methods.

Academic Work - Design III, Public Highschool

CIVIC INFRASTRUCTURE

12 Godbole

Cross Section, displaying programmatic variation.

The condition that emerged was one of ground and ceiling. Each above level would have means and mechanisms through which an interaction between schools would be provoked.This system of multiplication allows for an open relationship with the city, as an exposed civic infrastructure.

Academic Work - Design III, Public Highschool

Model of super structure.

13 Godbole

DEFINING IDEAS OF REALISM

Process Renders of interior classrooms and views displaying artificial topography on the exterior.

Elevational Rendering.

Developing a super structural system of a concrete compression wall and steel-truss and cable construction was modeled after long-span bridge infrastructure. Expressing the wall as a background, towards the foreground assembly of each landscape was essential in defining autonomy. This was created through the painted sky applied to the back wall, allowing each landscape to independently float in space. These still-life relationships then are processed with an attempt to define contemporary realism as an architecture of a subverted reality.

BUILDING TECHNIQUES Academic Work - Building Techniques, Public Highschool

14 Godbole

CONSTRUCTION DETAILING

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Construction Detail of artificial topography and drainage.

Final Cross Section.

Construction Detail of cable structure for suspended floorslab.

In the further expression of space as artificial construction, each interior detail was defined to completely expose the artificial dream-like landscape. This was to create an architectonic condition, similar to that of a billboard, or the Statue of Liberty.

Spring 2015; Professor Anderson

STUDIO MUMBAI - ONOMOCHI LOG HOTEL Professional Work-Studio Mumbai, Onomichi Log Hotel

INTERIOR COMPOSITION

15 Godbole

Interior perspective view of common room

Interior perspective view of work space (left) and shop (right)

Given the existing framework of the building, we were tasked with defining space and function through furniture. After creating a catalogue of furniture types we adjusted each type to fit the function of the individual rooms. A related yet seperate decision was made to expose the ceiling conduits rather then placing a false ceiling, as the internal heights would become too tight. Given the required codes for emergency exits, lighting, and ventilation we coordinated the locations and resulting patterns for the electrical conduits.

Fall 2017: Studio Mumbai [Done with Bijoy Jain, Krish Shah, Joseph Marshal, Napat Tengtrirat, Kashap Bhagat, and Pranit Rawat]

STUDIO MUMBAI - JAIPUR NEELA FOUNDATION Professional Work-Studio Mumbai, Neela Foundation

SITE AS A NARRATIVE LANDSCAPE

16 Godbole

0-90 East Exterior Axonometric View

0-90 Exterior Axonometric Collages

Given the site with the exsisting 75 year old stone and lime plaster Haveli, the conditions were seen as a mountain, giving agency for narratives to arise through the density of landscape and architectural conditions. The building was to be traversed freely, allowing all visitors to roam and loiter, akin to a public park or an open forest..

Fall 2017: Studio Mumbai [ Done with Bijoy Jain, Celine Bianchi, Mimo Shirazi, Rameshwar Bhadhwa, Moniek Kamphius, Pranit Rawat, Varada Nambiar, Liang Chang, Kashyap Bhagat, Fabrizio Chianeze, Napat Tengtrirat]

Professional Work-Studio Mumbai, Neela Foundation

SITE SURVEY AND SITE ANALYSIS

17 Godbole

Plans and Sections with Initial Scheme

Initially a thorough site analysis was conducted, as the existing structure on site was not properly documented. During a period of a month, the existing site conditions and the Haveli were completely drawn from scratch, from placing the building on the site, to drawing wall and ceiling cross sections with the aid of the stone masons knowledge. This set of drawings was used as the basis for all further technical and design decisions made thereafter.

Professional Work-Studio Mumbai, Neela Foundation

18 Godbole

COLOR AND SCHEMES

Painted Teakwood Model of Proposal

Basement of Painted Teakwood Model

Ground Floor of Painted Teakwood Model

Roof of Painted Teakwood Model

Through a collaboration with the carpenters, masons, and paint specialists, a series of parti’s and color schemes were developed in the form of models, made completely by hand

Professional Work-Studio Mumbai, Neela Foundation

19 Godbole

Perspective Render Collages

Interior renderings were created using early photographs that documented the original building conditions as a base to create views of the site as they would be once the project is complete. These renderings were also testing the initial color studies which related to site and program.

Professional Work-Studio Mumbai, Neela Foundation

20 Godbole

MOCK UPS AND PROTOTYPES

Interior Mock-up Room with Stone Flooring Options and Lime Dado and Surkhi Plaster Wall Finishing

Window, Door, Ventilator, and Flooring Mock-up

Interior Mock-up Room Wall, Cornice, and Ceiling Finishing

Interior Mock-up Room View

Interior Polished Dado Mock-Up

Door Mock-up with Exterior and Interior Finish

After the clients approval of the inial design phase, prototypes and mock ups were created with the collaboration of the in-house carpenters, masons, color specialists and the chosen contractor. As the existing building was made primarily with stone, and lime plaster, special attention was taken for the use and finish of materials in an attempt to preserve the construction detailing and quality of the original structure. All existing door and window frames were permanent as they were made out of the same stone as the walls, therefore special attention was required of the proposed door design, therefore many mock ups were produced.

Professional Work-Studio Mumbai, Neela Foundation

21 Godbole

PROCESS

Waste Stone Material from Demolition Being Reused for New Construction

Temporary Lime Tank for Construction Process

Construction Material Stored on Site

Demolition in Progress of Existing Building

Exposed Structural Stone Ceiling Slabs

Demolition in Progress of Existing Building

Lime Wall Dado Being Pressed

3x6’ Marble Floor Slabs Being Cleaned for Presentation

Detail of Lime Dado Rounded Skirting

With the completion of many on-site mock ups, the demolition phase of the project complete, and the initiaion of site work, many phases of the construction process were documented.

PAINTING I Elective Work - Painting I

PAINTING FROM THE EARTH

Paintings, Oil Paint, Marble Dust and Clay on Plywood

Fall 2015 - Spring 2016; Professor True

22 Godbole

Elective Work - Painting I

Photograph of Painting, with scaled figure

23 Godbole

INHABITING PAINTERLY SPACE

Photograph of Painting, with scaled figure

Photograph of Painting, with scaled figure.

In painting there is a constant battle between the paint as a medium, and the representational image that it produces. By amplifying the literal material qualities of the paint, and its ability to express its paint-ness became the pedagogy called ‘medium specificity’. Medium specific paintings originated prior to modernism, but very closely linked. Initially these paintings attempted to flatten the picture-plane of the canvas, repressing its ability to render three-dimensional space. Eventually the three- dimensionality of the paint as a material in itself became apparent, through works like Jackson Pollock and Jean Dubuffet to name a few. This trajectory of thickening the canvas through the heavy use of paint redefined paints ability to be able to define space from representationally to literally.

The shift from representational to literal allows for a painting to be seen at a scale in relation to a body, in this sense one might even say painting has then transcended into sculpture. The key difference between sculpture and painting is that painting still has a duty and affinity towards pigment and coloration, while sculpture has the ability to avoid this through a default coloration based on material. The necessity to color something brings back the representational qualities of traditional painting, in this sculpture-painting hybrid. Therefore the literal three-dimensional surface that is being produced via paint must be representational of something other than itself, allowing it to have scale.

The ability for a painterly surface, or the literal three-dimensional surface of the canvas, to define a landscape not just in two-dimensional representation, but also in three-dimensions at scale becomes key. The ambiguity between reading something as a painting or a model becomes clear when there is tension between the two dimensions (2nd and 3rd) or between the paint and the clay (used in the two paintings attached). The creation of a landscape (and maybe even architecture) out of painterly space is the intent of this exploration.

THESIS I - USE WHAT YOU HAVE TO MAKE WITH THOSE AROUND YOU Academic Work - Thesis Semester I

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Image of rtifact in space

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Name of Artifact Description around Artifact

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Representation of Artifact

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A BROKEN STILL LIFE An experiment into joining a loose aggregation of objects to a common surface. By pouring drops of gesso, fairly evenly across the surface of a still life drawing, then while wet, broken clay stones of a similar size are dropped ontop of the gesso. After they dried the stones stuck firmly to the surface.

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Name of Artifact Description around Artifact

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24 Godbole

DISCOVERING A WAY TO MAKE

ONE BIG MESS An experiment into an intervention into public space, and the recording the public reaction. By placing objects on the floor, with seemingly little worth and little intent, the publics general reaction to it was similar to trash. A broom and dustpan was placed by current thesis student Daniel Hall to add into still life of objects.

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Name of Artifact Description around Artifact

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DESTROYED PRINTS An experiment into the mark of a tool and its ability to destroy, renew, and transform the object inflicted object from its original state. Also an experiment into the formation of a sense of community through syncronised action / work.

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Image of rtifact in space

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ANYTHING CAN BE A PUBLIC SPACE An experiment into utilizing spaces that are ruined, or in other words, have been compromised and altered from its intended form. By doing this one begins to see the potential in objects that are found and utilized in a completely radicalized way

OBJECT I INSTRUCTIONS 1 cut 5 pieces of PLYWOOD into square PALLETS 2 place OIL PAINT on the PLYWOOD PALLET WDNH D Âś[ Âś EORFN RI &/$< DQG VSOLW LW EHWZHHQ WKH ÂżYH 3/<:22' 3$//(76 4 spread the CLAY on the entirety of the surface, so that the OIL PAINT will spread too 5 start mixing the CLAY and the OIL PAINT 6 create a surface condition with the CLAY 7 paint the top surface of the CLAY with the OIL PAINT on the PLYWOOD PALLET 8 let the CLAY/OIL PAINT air-dry 9 cracks will form, separating the surface into small pieces 10 separate the pieces 11 place OIL PAINT on the PLYWOOD PALLET WDNH D Âś[ Âś EORFN RI &/$< DQG VSOLW LW EHWZHHQ WKH ÂżYH 3/<:22' 3$//(76 13 spread the CLAY on the entirety of the surface, so that the OIL PAINT will spread too 14 start mixing the CLAY and the OIL PAINT 15 create a surface condition with the CLAY 16 paint the top surface of the CLAY with the OIL PAINT on the PLYWOOD PALLET 17 let the PLAY/OIL PAINT air-dry 18 cracks will form, separating the surface into small pieces 19 separate the pieces WDNH DOO WKH SLHFHV DQG SODFH WKHP RQ RQH 3/<:22' 3$//(7 VR WKH LQGLYLGXDO SLHFHV PL[ 21 categorize pieces by size 22 store the sized piles of dry clay into separate containers 23 24 25 26 27

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Image of rtifact in space

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Name of Artifact Description around Artifact

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Representation of Artifact

Beige Letter Size Paper

Blue Pen

Gesso

OBJECT I INSTRUCTIONS 1 cut 5 pieces of PLYWOOD into square PALLETS 2 place OIL PAINT on the PLYWOOD PALLET WDNH D Âś[ Âś EORFN RI &/$< DQG VSOLW LW EHWZHHQ WKH ÂżYH 3/<:22' 3$//(76 4 spread the CLAY on the entirety of the surface, so that the OIL PAINT will spread too 5 start mixing the CLAY and the OIL PAINT 6 create a surface condition with the CLAY 7 paint the top surface of the CLAY with the OIL PAINT on the PLYWOOD PALLET 8 let the CLAY/OIL PAINT air-dry 9 cracks will form, separating the surface into small pieces 10 separate the pieces 11 place OIL PAINT on the PLYWOOD PALLET WDNH D Âś[ Âś EORFN RI &/$< DQG VSOLW LW EHWZHHQ WKH ÂżYH 3/<:22' 3$//(76 13 spread the CLAY on the entirety of the surface, so that the OIL PAINT will spread too 14 start mixing the CLAY and the OIL PAINT 15 create a surface condition with the CLAY 16 paint the top surface of the CLAY with the OIL PAINT on the PLYWOOD PALLET 17 let the PLAY/OIL PAINT air-dry 18 cracks will form, separating the surface into small pieces 19 separate the pieces WDNH DOO WKH SLHFHV DQG SODFH WKHP RQ RQH 3/<:22' 3$//(7 VR WKH LQGLYLGXDO SLHFHV PL[ 21 categorize pieces by size 22 store the sized piles of dry clay into separate containers 23 24 25 26 27

A Loose Sorting of Stones

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A SIGNED ORIGINAL An experiment into the undermining of the artists signiture on a work. First by printing out multiple images on the same page, the ink is constantly darkening with the building up of layers. This technique undermines the autonomous image for a relational one. By reducing the percieved worth of an object others are more willing to utilize it for alternate needs.

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Representation of Artifact

Dust Pan

Mop

A Loose Sorting A Loose Sorting of Stones of Stones

A Loose Sorting of Stones

Pallet as a Ground

A Dust Shaker (Maker)

Destroyed Prints

INTERVENTIONS INTO A PAINTED LANDSCAPE An experiment in the establishment of a new ground, the sculptures are formed by altering the given ground conditions, dictacted from the materiality of the previous paintings. To define a ground condition, one cannot just building a base, but actually sculpt objects whose materiality is from as its base. This redefines the base condition as a raw material that can then become processed and sculpted objects.

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Beige Letter Size Paper

Materials / Tools

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Beige Letter Size Paper

Blue Pen

Glue

Printer

Photographs from India Public Spaces

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A SMALL CHUNK OFF STRUCTURES OF LANDSCAPE

While at Tippet Rise Arts Center in Fishtail, MT we were walking around the three sites by Ensamble Studio. Each site was scattered with small shards and chunks broken off from the Structures of Landscape, possibly during the construction process. I took two shards, each from a portal, to construct my own mini portal back in New York, NY.

Concrete

Pkastuc Sheet

Garden Soil

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A DIORAMA An experiment into the depth of a diorama. By decreasing the depth to around the thickness of paper, the three dimensionality of the enclosed objects become very aparent, as something that isnt a drawing, but a series of autonomous object.

Paint Brush

Plywood

Clay

Painting Landscapes 1

Painting Landscapes 2

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Representation of Artifact

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TESTS OF STRUCTURES OF LANDSCAPE

An experiment into the structural principles behind Structures of Landscape by Ensamble Studio, the objective was to find loss of structural integrity through the cracks, a physical alteration of the structural forces to the physical form.

Concrete

Model of Structures of Landscape

Person Standing on a Rock

A Home for Dead Flowers

A HOME FOR DEAD FLOWERS

An experiment into the aesthetic contrast between growth and stasticity. The Drawer as a tool only moves once made to move, however nature moves/grows as it will. The contrast between the nature that is being nurtured by an otherwise static a tool shows that nature actually has a sense of agency over the tool, as the tool is being utilzed to grow. However in reality, the flowers are dead, this is why it is simply an aesthetic excersize and not a literal one.

Water

Automatic Center Photographs from India Public Puncher Spaces

An experiment in the thickening of the canvas into the third dimension. Now painting on horizontal sculpted clay surfaces the painting becomes a literal landscape, rather than a represented one. Being able to be seen at multiple scales, the painting becomes a sort of model.

Place clay on surface

Mix clay with paint

Spread and flatten clay over plywood

Spread and mix paint on top of clay

Name of Artifact Description around Artifact

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Representation of Artifact

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Paint Brush

Plywood

Clay

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A LOOSE ROCK, LOOSE PBRISE-SOLEIL SYSTEM

Floor To Ceiling Glazing

Paint Image

An experiment into furthering the play of depth in a diaorama, the three dimensionality produced with the layers outside the glass became key. Dust became a distinct physicalized registration of time and action, where if one interacted with the piece, the dust would react, marking their moment in time. The fragility of the entire piece spoke of this fear.

Painting Landscapes 2

Remove tape and wipe of acess paint

Materials / Tools

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Oil Paint

Canvas

Paint Brush

Painting of a Photograph

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A MATERIAL INDEX

Slabs of Stone

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Peter Cooper Statue

A Home for Dead Flowers

DIGITAL FEEDBACK An experiment into digtal scanning. Through the imprecision of the technology itself, the app created a warped version of reality. Where technology is seemingly supposed to produce precise objects, it actually completely altered the original form.

render

Clay

OBJECT I INSTRUCTIONS

Beige Letter Size Paper

Glass Picture Flowers Frame

Gesso

Structural Excess

Dust Shaker (Maker)

Garden Soil

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Plastic Drawers

Flowers

Architects Table

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Beige Letter Size Paper

Precise Food Eaten on Imprecise Utensils

A Loose Sorting of Stones

An experiment into an intervention into the temporal registration of an object in space.

By placing frozen food on unglazed clay, as the food melted the clay soaked up its residue, leaving

An experiment into the heightening of raw material form, giving agency over to the material. By doing this, a raw form is produced, completely removing a human author from the index of its process. Rather, the form of the object becomes the index of the material. Placing this in context with material that is completely authored by humans defines a range of ambiguous in-betweens.

1 cut 5 pieces of PLYWOOD into square PALLETS 2 place OIL PAINT on the PLYWOOD PALLET WDNH D Âś[ Âś EORFN RI &/$< DQG VSOLW LW EHWZHHQ WKH ÂżYH 3/<:22' 3$//(76 4 spread the CLAY on the entirety of the surface, so that the OIL PAINT will spread too 5 start mixing the CLAY and the OIL PAINT 6 create a surface condition with the CLAY 7 paint the top surface of the CLAY with the OIL PAINT on the PLYWOOD PALLET 8 let the CLAY/OIL PAINT air-dry 9 cracks will form, separating the surface into small pieces 10 separate the pieces 11 place OIL PAINT on the PLYWOOD PALLET WDNH D Âś[ Âś EORFN RI &/$< DQG VSOLW LW EHWZHHQ WKH ÂżYH 3/<:22' 3$//(76 13 spread the CLAY on the entirety of the surface, so that the OIL PAINT will spread too 14 start mixing the CLAY and the OIL PAINT 15 create a surface condition with the CLAY 16 paint the top surface of the CLAY with the OIL PAINT on the PLYWOOD PALLET 17 let the PLAY/OIL PAINT air-dry 18 cracks will form, separating the surface into small pieces 19 separate the pieces WDNH DOO WKH SLHFHV DQG SODFH WKHP RQ RQH 3/<:22' 3$//(7 VR WKH LQGLYLGXDO SLHFHV PL[ 21 categorize pieces by size 22 store the sized piles of dry clay into separate containers 23 24 25 26 27

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PRECISE FOOD EATEN ON IMPRECISE UTENSILS

Image of rtifact in space

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A GLASSTOP TABLE

Painting Landscapes 1

An experiment in the process of abstraction, the painting pictured above is a painting of a smaller painting painted by Akash Godbole of a photograph landscape in Yellow Stone National Park. The objective was to repaint the original painting at a larger scale (12â&#x20AC;? x 20â&#x20AC;?) to examin the brush strokes of the original painting that were used to represent a photograph.

Concrete

The Material Index

Intervensions into a Painted Landscape

PAINTING OF A PAINTING

Make a Tape Border

Gamsol

By placing opaque or translucent objects on hooks, protruding through the outer structural-glass pane, an informal system of shading is created. Operating in bending, the cantilevered hooks are tied back with a thin cable located in between the two panes of glass. The hooks direct all compressive forces of the objects through the structural-glass pane, further reinforced by a thin steel member.

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Image of rtifact in space

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Image of rtifact in space

Let paint and clay air dry, and crack

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Oil Paint

Scale Model People

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Files

PAINTING LANDSCAPES

Paint plywood surface

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Blue Pen

Clay

Dust Shaker (Maker)

123D Catch

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Smartphone Camera

Rhinoseros

Megalith

Aluminum Sheet

Flowers

Pottery Wheel

Newsprint

Frozen Meal

Milk

18 Drawings, Diagrams, Images, and Text Analyzing various objects that were made

A mistake, in its most generic definition is when someone does something wrong, in some cases occurring because of a lack of skill in the said activity. For mistakes to then exist a â&#x20AC;&#x2DC;right and wrongâ&#x20AC;&#x2122; must also exist, because inherently something wrong can be seen as a mistake. â&#x20AC;&#x2DC;Rights and wrongsâ&#x20AC;&#x2122; are defined by social constructs, eliminating objects and events that go against the societal norm. Even though repeatedly throughoutâ&#x20AC;¨history the radical and the avant-garde that shaped society as we see it today were initially producing mistakes. We are therefore blinded of the fact that todayâ&#x20AC;&#x2122;s wrongs will be tomorrowâ&#x20AC;&#x2122;s rights.

Fall 2016; Advisors Kogod, and Turnbull

Academic Work - Thesis Semester I

ARCHIVING TIME

25 Godbole

Section Drawing through archival shelf of objects

So if the mistake is actually seen as a way forward how should they be celebrated? An example, in the process of constructing a building, could be that deforma- tions and mismanagements that occur would be celebrated in the final object, where detailing would fit the mistakes. This would let the process and its temporal nature take agency over design, rather than covering up what was initially seen as wrong. Consequently, the drawings of designs submitted by architects would never be seen as an uncompromising depiction of the built result, but rather just an equal part in a larger process.

Academic Work - Thesis Semester I

DRAWING AS ARCHEOLOGY

26 Godbole

Drawing of the linear process by which objects were made

- Intuition is the ability to acquire knowledge without proof, evidence, or conscious reasoning, or without understanding how the knowledge was acquired.[1][2] Different writers give the word “intuition” a great variety of different meanings, ranging from direct, mystic insight to unconscious pattern-recognition.[3][4] The word “intuition” is often misused or misunderstood to mean instinct, truth, belief, meaning, and other subjects.[5] The word “intuition” comes from the Latin verb intueri translated as consider or from late middle English word intuit, “to contemplate”.[1] -

SCULPTURE II Elective Work - Sculpture II

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Laser-Etched Clay, Rebar, Unopened Clay Package

The Primitive Hut at first glance clearly states that architecture is a shelter from nature and site. However once one takes a second glance at the depiction by Marc- Antoine Laugier, a paradoxical statement arises: What is shown as protecting man from nature actually is nature itself, built by tees that are still growing, along with the other stumps and shrubs that make up what resembles a pitched roof sitting on columns. With this reinterpretation in mind nature and environment then has the ability to become the critical element with which architecture could establish itself. It is the key element that architecture must both simultaneously avoid and embody. Constantly existing within a state of paradox, architecture has strived to find ways within which it may subvert nature and the environment it exists in.

Spring 2017; Professor Hewitt

THESIS II - USE WHAT YOU HAVE TO BUILD FOR THOSE YOU KNOW Academic Work - Thesis Semester II

SITE ANALYSIS, THROUGH EMAILS AND MEMORIES

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Laser-Etched Clay, Rebar, Unopened Clay Package

Environment within architectural theory today has become somewhat of a taboo. This occurrence is due to the fact that environmental studies have distanced itself so far from architecture that it has become its own form of study. This might be seen as endangering to an architecture that strives to be autonomous (which is what one might see as the definition of theory itself). The separation between architecture and landscape has always facilitated the simple and naive relationships that exist between the two. However within the naivety exists an unconscious recognition that architecture itself is nature, as the primitive hut alludes too.

Spring 2017; Thesis Mentor Professor Mesa with Advisors Kogod, and Turnbull

Academic Work - Thesis Semester II

AN EXPANDING LIBRARY OF ELEMENTS DRAWN FROM THE SITE

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Drawings of various elements, their relationship to site materials, and notational examples

Medium specific architecture is the experimentation of material capabilities. Perhaps it is now defined as the pushing of functional and aesthetic boundaries through the systematic variation of the utilized material. It used to be and still is also about material affinity and its native uses, like “What do you want Brick?” famously asked by Lou Kahn towards a brick, which allegedly responded with “I like an Arch”.

Academic Work - Thesis Semester II

Plan of various architectural figures transforming along the wall figure

ROOMS INSTEAD OF BUILDINGS

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Axonometric of isolated architectural figure in site

The collaboration between Tippet Rise Arts Center and Ensamble Studio created structures in mediation with its landscape. The structures were cast from formwork made out of roughly systematized holes that were dug directly into the surrounding landscape. Dug and lifted out of the ground, these structures became artifacts of the dialogue between the people, and landscape that were necessary to construct it. Everything and everyone involved left marks, from the loosely placed tarp defining the texture of the concrete, to the track marks of the large machinery required to build the objects.

Academic Work - Thesis Semester II

A HOME FOR MY FAMILY

Axonometric / Elevation / Perspective of one moment of the proposed house on site

rather than making objects objectively, make an object that is charged with all subjectivities.â&#x20AC;¨Create objects where everyone/everything involved in a project has the equal ability to make marks in its construction.

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Academic Work - Thesis Semester II

THE LAYERING OF MEMORY IN CONSTRUCTION

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As a thesis student in the final year of my time here at The Cooper Union, I’m tempted as many are to take it as a moment of deliberation, to look back and simultaneously project forward. This same moment of stillness [and uncertainty] is very much like the way I (we) create architecture, projecting into the future while looking at the past, all while sitting on uncomfortable stools staring at computer screens in the very very exhaustive present. However in this moment, we as students are able to define entire worlds, really only being encumbered by the limiting flatness of drawing paper, or the nauseating three-dimensionality of rhino-space. For my thesis I wanted to enjoy this freedom one last time. But I couldn’t reeaally enjoy it knowing, as students, our disregard towards the outside world and its many constraints. Especially now that it’s all about to hit me in the face… In this last-ditch attempt to acknowledge the flaws that come with our autonomy, I appropriate them [and the looseness they can provide] to be the subject of my project. The space that exists between the confrontation of our autonomy in here and the heteronomy outside is where I see my thesis existing.

COMPUTER DOODLES Academic Work - Thesis Semester II

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akash.godbole@gmail.com +1 (508) 733 8817 Akash Godbole Portfolio

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