Masters' Stroke - Design Studio

MASTERS’ STROKE MATTERS OF ARCHITECTURAL LANGUAGE SUMMER - 2022 AVANEESH NATARAJA UG190239

C O N T E N T S

01 02 INTRODUCTION The portfolio is a compilation of the work done throughout the semester of spring 2020 for the “Masters’ Stroke: Matters of Architectural Language/ style” studio conducted at CEPT University. It is an overview of all the learning outcomes gained from each exercise to the final design proposal which is a culmination of all the skillsets gained during the studio.

STUDIO BRIEF The studio unit will introduce students to the idea of Architectural Language/Style as a medium to realize the same. Students will study the Architectural Languages/Styles of selected architects through series of analytical and design exercises during semester to frame statements elaborating architects’ distinct approaches and attitudes. During semester, these attitudes will be tested and modified when employed to connect various design aspects of a project in a completely different context.

Subsequently in the later stage of Studio, students apply their understanding by undertaking Design of a Marine Ecology Substation located at Diu, Gujarat.

Faculty - Prof. Sachin Soni T.A- Rajshri Jain

03 04 05 06

PORTRAIT 1-2

CUBE 3-4

MAZE 5-6

TROPHY 7-8

IG POSTS 9-10

DESIGN 11-24 SITE - PROGRAM - CONCEPTS

11-12

SITE PLAN

13 -14

PLAN

15 -16

SECTIONS

17 - 20

PERSPECTIVE - WALL SECTION

21 - 22

MODEL PHOTOGRAPHS

22 - 24

KENGO KUMA YOKOHAMA, JAPAN

01

Kengo Kuma is a Japanese architect and professor in the Department of Architecture at the University of Tokyo. He is considered one of the most significant contemporary Japanese architects. His design philosophy largely focuses on erasing architecture between humans and nature. He defines his architecture to be non monumental, fragmented and approachable to human scale. He tries to achieve this by using fragmented screens and structural systems that combine smaller elements to generate the building form.

Japanese traditions and ancient wisdom are his major areas of interest and he constantly tries to apply it in his architecture.

WORK AS A REFLECTION OF SELF Kengo kuma thinks in modules, he believes that ‘systems which has the possibility of an endless combination of small particles produces total freedom in overall design.‘ After a design marathon, Kuma looks into the mirror and imagines the sectional perspective of his last project, G.C Prostho Museum, which defines the features of his face with voids in the wooden lattice and exhibits displayed in the museum space which is in its actual use

02

PHYSICAL/EPHEMERAL SUBSTANCES MASS

A module is multiplied to make systems that grow against gravity

Mass is lifted from the ground to accentuate lightness

SURFACE

Permeable surfaces - Space leaking out to the surroundings

Mass is fragmented to make it more porous and less prominent

MATERIAL

Sliding screens - Flexibility of space

Wood - Sustainable, traditional Japanese, lightness

Dramatic play of shadows changing throughout the day

Chiarascuro - Complex lattices create mutiple shadow patterns.

LIGHT

Interior lights gives a perception of building as a lantern

SPACE

Layered spaces create a threshold to the core space

SCALE

A negative space(void) is created to make the space disappear.

Fragmented surfaces become more approachable to human scale

03

CUBE

The cube reflects Kengo Kuma’s attitudes towards the physical and ephemeral substances. The top and bottom planes of the cube are made out of softwood and given smooth texture in order to resonate with Kuma’s ideas of emphasizing horizontality in his design. The whole cube is lifted from the ground to give a perception of a floating volume. Horizontal wooden slats are stacked and interlocked with each other at the corners for structural support. No vertical member is used in the making of the cube, to further resonate the ideas of horizontality. The use of multiple wooden slats to form the cube conveys Kuma’s idea of architecture being a fragmented system. The form of the screens reflects the quality of its core, which is the flowing property of a hung cloth. The cube manifests the ephemeral nature of Kuma’s buildings by acting as a lamp in the darkness.

04

ORGANISATIONAL DEVICES DATUM

Common space at the entrance becomes a datum for spaces

Processional axis of the Noh performance creates a datum

Horizon becomes a datum for horizontal surfaces

GRID

Structural grids are used as reference to create spaces

Grids are altered according to the functional needs

Grids are skewed at the ends to fit in the site boundary

Linear geometry is broken by addition of an elliptical shape.

Space created with diagonal paths as it signifies a change in Japanese tradition

Hierarchy is created by separating spaces of higher importance

Shallow waterpools aggregate multiplen spaces

MOVEMENT

A void is created to interrupt the sequence and connect to views

ORDER

Roof aggregates the individual spaces and creates an order

05

MAZE

The maze reflects Kengo Kuma’s attitudes towards the organisational devices in his projects. A grid acts as a larger guiding principle of the maze, just like the spaces guided by the structural grid in his projects. Hierarchy is created to the entry and exit points of the maze, by breaking from the orthogonal geometry. At the starting point of the maze, common space is used as a datum with multiple options to move around, few leading to dead ends.

The idea of the floor is an aggregator of all the activities is accentuated by the use of all transparent walls. A complexity is brought in by introducing movable walls, just like movable screens in Kuma’s projects.

06

MAKING AND DETAILING DETAIL AS ORDER

Reflection in the water pools give a sense of infinity

Structural elements are wrapped in ‘washi’ paper to give a cozy perception

Walls disintegerate into jalis to enhance fragmentation

PLEXI GLASS

Use of screens to accentuate fragmentation

Light reveals the structure due to the transluency of the surface

Use of plexiglass for roof enhances transparency to sky

DETAIL AS JOINT

Infinite systems made by combining smaller elements

Modules of cedar wood panels with thatch are multiplied

Each plant tray on the facade define the part to whole relation

DETAIL AS NO DETAIL M.S COLUMNS

WATER POOLS

BAMBOO STRIPS

Structure hidden with natural materials to enhance the space

BASE PLATE

Base details of the columns are hidden in water pools

False ceiling made out of paper reveal the structure through shadow

07

TROPHY

The trophy reflects Kengo Kuma’s attitudes towards detailing and making in his projects. Fragmented slats of minimal dimension are stacked upon each other with cantilevering members projecting out. This system conveys Kuma’s idea of using infinite systems, which are usually made of smaller elements, that combine to form larger elements.

The whole fragmented system rests on a mirrored base to give a sense of infinity through reflection. This idea is reflected in Kuma’s projects as he creates shallow water pools around his projects, to give a sense of continuity to the fragmented systems.

08

SITE - CONTEXT

Continuity in nature is maintained by creating a void

Seamlessly sits on the undulating contours

Linear arrangement of spaces along the view corridors

Systems are formed based on the availability of materials in accessible dimensions in the existing context

FOREST FLOOR, 2003

A negative space (void) is made in landscape, to make the space dissappear in it

09

Japan as a larger context - The system for the bridge inspired from ancient japanese bridges

The importance given to the horizontality in ancient japanese architecture is reflected in the project

IG POSTS - IN KENGO KUMA’S PERSPECTIVE

A series of Instagram posts were posted during the site visit to Diu. Based on what Kengo Kuma would find fascinating throughout the visit. These observations are further used to develop architectural concepts.

SITE - DIU, GUJARAT

10

SITE - DIU, GUJARAT Site for the project is located between Diu Fort and Government Circuit house on the southern coast of Diu. Marked by the rocky outcrops of coral limestone, this location is frequently visited by locals and tourists due to the breathtaking views of the ocean.

OCEAN

FORT

CITY

PROGRAM - DIU MARINE ECOLOGY SUBSTATION Research- Laboratories and other facilities for 6-8 scientists to conduct field research on marine ecology.

Education- Engage school children, youth and eco-enthusiasts with short courses, field tours and lectures.

Public Outreach - Spread awareness about marine ecology and impact of human activities on the same among local community and tourists by creating an immersive experience with facilities like an aquarium, exhibitions, awareness tours and other events.

Entrance Lounge + Information Aquarium- Immersive experiential space Research Lab + Workstations (6 people) Lecture/ Conference Room (50 people) Library Administration Support + Meeting room Washrooms + Services Cafeteria + Kitchen Souvenir Shop Boat Docking Area + Oceanographic equipment room Outdoor Deck + OTS Gathering Space (150 people) Total Carpet Area Built-up Area

30 sqm 150 sqm 90 sqm 60 sqm 30 sqm 30 sqm 60 sqm 60 sam 30 sqm 30 sqm 570 sqm 800 sqm

CONCEPT - PROCESS

PROCESS MODELS

Focused relationship with

Form disintegrates as it

the sky

emerges out

Diagonal pathway reveals the view - signifying change through ‘Noh’ - philosophy Walkways connecting multiple sunken spaces in order to not affect/dominate the view corridors of the landscape

Models made to explore the develop the form according to its siting in the topography of the site

12

SITE PLAN

Linear organisation aligning with the existing approach path

13

Topography - main spaces tucked into the mounds with deck in the valley

Part of the site, sloping towards the sea - used as O.T.S cafe and boat jetty

SITE PLAN 0

2

4

8M

14

PLAN

SERVICE

MAIN

Space within space - gives a floating perception with gravel as ‘Engawa’

15

Fragmented aquarium- continues into an closed immersive experience room

Diagonal axis signifies ‘change’ according to Japanese ‘Noh’ tradition

5

1

7

3

8

6 4

8

10

2

9

12 11

GROUND PLAN 0

1

3

6M

7

1 - Info Center 2 - Admin 3 - Aquarium 4 - Library 5 - Lecture Hall 6 - Immersive Exhibition 7 - Research Labs 8 - Toilets 9 - Storage 10 - Cafe Kitchen 11 - Souvenir Shop 12 - Cafe Seating

SECTIONS

Space within a space - the core structure and the facade are separated

17

Self shading form - building shades the walkway from south sun and lets in the north light

Fragmented false ceiling made up of thin stone slats texture the ceiling

18

SECTIONS

The form seamlessly sits in the undulating landscape

19

The built form disintegrates into thin stone slats as it emerges above the ground

The building is designed to emerge out from ground always below the eye level

20

WALL SECTION

Facia

C.L.S Clading

Lime plaster

C.L.S SLABS

M.S Box section

Toughened glass

Detail as no detail - the concrete slab is completely hidden by stone cladding and lime plaster

21

Screen detail - Modular steel frame with alternative stone slabs and glass panels to filter light

Thin stone slats of 75mm thickness are used for the facade to increase the perception of fragmentation

WALL SECTION 0

0.5

1.5

3.5M

MODEL PHOTOGRAPHS

Photographs of the structural frame model

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