ROWC Booklet Spring Sem 2022 by CEPT University

Reading Objects, Writing Craft

Reading Objects WRiting cRaft

selected student WORk

Monsoon Semester 2022 CEPT Foundation Programme CEPT FOUNDATION PROGRAMME CEPT FOUNDATION PROGRAMME

Spring Semester 2022

This is a draft version. Not to be used or circulated without explicit permission from the CEPT Foundation Programme.

READING OBJECTS, WRITING CRAFT & PERSPECTIVES

SELECTED STUDENT WORK SPRING 2022

The second semester of the Reading Objects, Writing Craft course builds explicitly on skills developed individually and while working in groups during the initial semester, in ways which are relevant to each module.

For An Eye for Detail, this entails moving from object description, where the scale and details to be thought through made it possible to focus on both observation and expression skills, to the description of spaces. The possibilities require selection, and a clear structuring of the text, along with focus on the way image and text come together to support each other. This in turn provides an opportunity to work once again with captions.

After developing skills towards preliminary research: skimming through texts, compiling a working bibliography, close reading and drawing on various sources to ethically come up with concept notes during the previous semester, the students are now expected to follow the various stages independently, with peer support and feedback if they require it, and take the process forward towards more detailed descriptive essays. Restricting the genre to descriptive essays focusing on works pertaining to well known architects ensures that the students work at a level at which they can engage honestly, without pushing them into bringing in concepts which

require more time to explore and understand. The comparative nature of the essay provides the platform where each student’s contribution may come in, through observation and interpretation of detail, thinking through different types of user experiences, manufacturing techniques, etc.

A similar shift in complexity takes place with One Step at a Time. The nature of the studio exercises invites engagement with documentation of processes and reflection on methodologies and approaches. One of the studio exercises also works with a less frequently seen process of starting from text to arrive at visual interpretations of spaces, for which the students work on the single piece that comes closer to creative writing.

Compiling the writing and research in which each person engaged during the semester functions as a reminder of the various practices they explored and can take forward into more independent research and writing. It is also a pause point allowing reflection on the growth one has seen in one’s own writing processes and style.

E1.2 | describing Spaces 15

Framing the assignment 16

Learning Outcomes 16

Painting on Curved Walls 19 Harmony in White and Space 22

The Multipurpose Terrace Of G Homestay 26

Empty-theatre 30 Interstitium 34

The Mezzanine One floor of CEPT Library: a breather from the masses 42

Harmony and Utility of CFP Kund 46

Classroom of True material 51

Reception Of The CEPT Library: An Overview 55

E2.7 | Concept Note 65

Framing the assignment 66

Learning Outcomes 67

Expression Through Spatial Arrangement : Indian Institute of Management, Ahmedabad v. National Assembly Building of Bangladesh 69

Play of light and Volumes 73

The similarities and differences in the design approaches of Louis I. Kahn and Tadao Ando towards public spaces in the 20th Century 73

Deconstructing Expressionism - A Comparative Study of two buildings; Walt Disney Concert Hall by Frank Gehry and Auditorio de Tenerife by Santiago Calatrava 79

Accentuating Space: The Differing Design Approaches of Bawa and Ando towards Modernism in the 20th Century 82

CONTENTS Spring 2022 Grades Legend G VG E A

Timelines Apart : Tropical Modernism V/s Futuristic Architecture in Housing 85

Concept Note 88

Highlights and Shadows 90

Establishment: A Comparative Study Between Heydar Aliyev Center And Guggenheim Museum 92

E2.8 | Descriptive (Comparative) Essay 99

Framing the Assignment 100

Learning Outcomes 100

Form Folds Light: Tadao Ando’s Church of Light and Kenzo Tange’s St. Mary’s Cathedral 103

The Opera House Vs. The Heydar Aliyev Center: Similar Structure, Different Design Intent 119

A Comparison of Approaches Towards Housing Complexes Through Moshe Safdie’s Habitat 67 and Tadao Ando’s Rokko Housing 1 128

Bawa and De Silva: Pioneers of Tropical Modernism in Sri Lanka 138

Nature and Design: Examining the Church Design Approach of Ando (1988) and Tange (1964) in Post-War Japan 148

Design Aesthetics (Design, Geometry & structure) of Zaha Hadid And Santiago Calatrava 163

E3.3 | Documenting Processes 183

Framing the Assignment 184

Learning Outcomes 185

Detailing The Area Around Ghogha Circle, Bhavnagar 187

Through the Textile Hub 193

Mapping a Packed Area of Dubai 203

Megatron on Tithal Road: Mapping the attributes of the Neighbourhood in Valsad 209

Mapping of a Peaceful Township in Ahmedabad 217

The Tourist Map: Exploring my neighbourhood in Nanded 225

Joineries that Fix Tight - Play of Wood and Metal 233

To Build a Structure, Break One! 249

All’s Well That Ends Well: The Making Of A Wood And Metal Assemblage 255

Solving the Articulation Puzzle 264

BIY: Build It Yourself 277

Bhuj: A Saga of Making, Breaking & Learning 289

E3.4 | Describing Settings 303

Framing the Assignment 304

Learning Outcomes 304

An Alluring Diversion 305

The Little Prince’s Coronation 307

City of the Skies 309

The Mystery Tucked in by the Mountains 311

A Frantic Search: Wandering through the streets of Old Ahmedabad 313

On a Dusshera Morning 315

Through the Eyes of a Dabbawalla 317

Lost and Found in Bandit 319

Building Utopia 321

Escapading With A River 322

E4.3 | Compiling Writing 327

Framing the Assignment 328

Learning Outcomes 328

Nav 329

Structural Blocks: A Step Ahead 341

Think. Plan. Execute. 355 Building the Groundwork for Success 363

P2 | Perspectives 373

Rebellion of Yesterday, Today and Tomorrow 375 And the Valleys Call Me Home 377

Returning to the Roots 379 Shruti Veena Vishwanath 381 [untitled] 383

UGOG Rebels: Poems in Song and Translation 384

Sekool: A talk by Stenzin Tanjong 385 Shruthi Veena Vishwanath 390

E1AnEyeforDetail

E1.2Describing Spaces

E1.2 | describing Spaces

We open doors and close them, not giving them a second thought. Our feet take us almost automatically down flights of stairs, while our hands grasp at railings. They fade into the background in our minds, details we no longer pay attention to, since they are so familiar. And then we read a line like, ‘The handle is the handshake of the building,’ and for a second the unfamiliar has been made strange. We are compelled to pay attention, listen to what the metal surface polished by so many hands over the years has to say.

In the same way we started paying more attention to objects around us, we need to begin to take notice of the built environment. With the second part of An Eye for Detail, Describing Spaces, we expand the habit of observing our surroundings and engaging closely with building elements paying attention to every detail that makes up a built space. Our focus is on developing the ability to capture the immediacy of various elements, from material and position in relation to other elements, to the function each element fulfills and the way people, users, engage with it. And then piece the elements together in our reading, as we usually do when we engage with spaces. We find the words to understand and express the way the overall built space is connected by a common design language.

Your work and practice are likely to offer different opportunities. You will meet other architects eager to show you their work, and you cannot stand there tongue-tied. You will have to talk about it meaningfully. You will also have to talk to clients about what you have in mind, perhaps about a space you’ve seen before, that you feel would suit their needs well. You’ll have to constantly be on your toes, observing, asking questions, figuring out how things work.

Your ability to notice aspects of the built environment, and put them into words accompanies the sketching and drawing skills you strive to acquire. Each has its moment and together they will help you see and communicate. Just like with everything else, the more you use these words, the more you write and talk and practise, and identify ways of sequencing your thoughts that help readers and listeners, the more you are likely to find just the right thing to say when the time comes.

We work our way through this exercise with the same principles that underpin the entire approach for the course: we read as writers, learning from the strategies and techniques others have used before us, and write as readers, with a clear intended audience in mind for whom we have to tailor each text.

Framing the assignment

The upcoming issue of the magazine Architecture Review for Everyone is seeking submissions describing residential and work spaces across India, in an attempt to capture the architectural detail to people’s lives over and above the well-known names. Through the proposed issue, Architecture Review for Everyone endeavours to make available vignettes of different lives in context, to a wide range of readership comprising architects and all others interested in the connections between the built environment and the experiences of our daily lives.

Entries must be between 500 and 750 words, not counting the captions and references and must include at least 5 photographs and sketches for which the writer holds the copyright. Priority will be given to built spaces that the writer has been living/ working/ studying in, enabling them to capture the relationship between the experience of the space for multiple users, and the material qualities of the space.

Learning Outcomes

Connecting elements and materials to user experience

Relationship to context/ whole

Identifing architectural elements

‘Reading’ dimensions, form, material, basic aspects of construction where relevant

‘Reading’ connections/ joinings/ relationships between component parts of elements

‘Reading’ connections/ relationships between elements

Observing and understanding various types of users’ interaction with (elements of) the built space

Learning through group observation and discussions

Reading for structure and style

Identifying the workings of structure and style in a given text

Learning through group reading and discussion

Basic knowledge of descriptive and narrative writing focused on material qualities of spaces in relation to user experience

Central theme, idea and argument

Use descriptive writing to present material aspects of spaces

Use narrative writing to present details of user interaction with spaces

Writing effective, concise, accurate titles

Dividing writing into coherent paragraphs with topic sentences

Useing connectors to link paragraphs and provide a descriptive structure/ sequence that enables the reader to visualize the space

Making use of introductory and concluding paragraphs

Making use of language and register appropriate to the reader

READING OBJECTS, WRITING CRAFT 18

Painting on Curved Walls

Adjacent to the CEPT university campus in Ahmedabad lies an unconventional underground art gallery, Amdavad Ni Gufa ( which literally translates to Ahmedabad’s cave). The entrance to this beautiful structure is through a small opening in a wall leading to a semi-hidden staircase which then opens up to a cave-like structure. Surprisingly, the entrance to the structure seems small and quite unimportant in relation to the mammoth construction. The proximity of a cafe in the periphery of the entrance makes the structure lose the essence of its monumentality. However, in some sense it is still successful in covering the cultural value of the structure for which it was made.

The domes and curved walls being the most distinct visual feature, give the structure its unique character. They are made of curved metal wire mesh with layers of ferro cement casted on them. The interior curved walls made of exposed cement, which make the space look raw and palaeolithic, are painted on by MF Hussain. The paintings on these walls look quite primitive and largely use primary colours which add to the cave-like simplicity of the structure.

Furthermore, the presence of adequate light is essential to view the paintings in the otherwise dark cave. Thus, there are snout-like projections, as seen in Figure 3, on the surface of the domes which let in light from multiple directions. The natural light falling on the windows and doors makes myriad patterns in the interior because of the metal wire mesh on them. The importance of these windows lies in bringing in light in an otherwise dull cave, facilitating the user in viewing the paintings and creating a vibrant atmosphere in the cave. The compactness of the windows enables the structure to retain the essence of its gloominess and the authenticity of a cave-like construction. Even though there are artificial lights installed inside the cave, seen in Figure 5, viewing the paintings in the evening is very difficult because the strength of these artificial lights is unparalleled to the natural soothing light.

This structure can be classified into “blobitecture’’ which is an architectural style with unique, organic forms resembling

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E1.2 | Describing Spaces

a blob or an amoeba. Similarly, this structure consists of multiple, irregular domes (blobs) with snouts protruding from one of them. The random and unusual placement of these domes depicts the architect’s ability to incorporate art in architecture. Additionally, the columns inside the structure bear the load of the entire structure and transfer it to the foundation. Their role is to support the domes and curved walls. The columns look like tree trunks, thereby adding to the already organic form and recreational feel of the space. The IPS flooring in the cave makes it uncomfortable to tread on which misses the idea of making it a design that is inclusive for all. Thus, old aged people or people with disabilities are at risk because of such a slippery floor.

With curved walls and soft edges, the cave museum emphasises its purpose of leisure and informality which is very unconventional. In contrast, the Chester Hurwitz Art Gallery outside the cave provides a more formal platform to display artwork. In its totality, the Gufa feels peaceful and divine to the user as one forgets about the outside world amidst cold quiet walls, diffused light and unusual paintings.

The curves all across the cave, from the entrance leading up to the interior, bind the entire space into one. Despite all the climatic and structural challenges that the city faces, the Gufa is arguably one of the most fancy looking and beautifully made buildings. It lies at the intersection of art and architecture and is the product of two great minds in their respective fields.

p. 19

Fig 2. Gufa’s Entrance Note. The image clearly shows the glass windows and doors to let in extra light in the cave. Copyright @ 2022 by M.Gaudani

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Harmony in White and Space

For all of humanity’s history, storytelling in one form or the other has been ever-present. Built spaces also tell us a story, of form or of function, that we as users are privy to. Just as the massive echoing chambers of a cathedral, with intricate details and stained windows, tell a story of faith and struggle, so do the pin drop silence and book filled walls of a library. In hushed whispers and calm breaths, the atmosphere of a library is as sensory as the act of reading is cerebral.

Located in Navrangpura, Ahmedabad, the CEPT University campus is characterised by Brutalist bare concrete and raw brick buildings, with dashes of glass and wood. Perhaps the crown jewel of the campus and the aesthetic it propagates is the CEPT Library, a free-standing square edifice in the centre of campus, accessible by four entrances at the cardinal points. The first floor of the library is defined by the hallway pictured in Figure 1 – about 3 strides wide — that runs along the periphery of the square structure. Framed by floor-to-ceiling glass windows, it has a view of the slatted side of the library building with the walkways and basement below on one side. On the other side, the white plaster walls create a sense of airiness and calmness that permeates the entire floor, as well as creating a diffuse reflection of light from the light bars and studio lighting. This saves energy by reducing the amount of lights required for the floor..

Entering the space from the stairwell and pulling back the well-weighted metal and glass door, one is greeted by a grey carpeted floor and a long white table spanning almost the entire inner wall. The door itself is set in a bare polished concrete wall with two square openings set to the right and an elevator for wheelchair users set to the left. Next to the elevator on the left is a control panel that provides easy access to perform routine maintenance or repairs as staff of the library. The smooth white table on the inner wall is split down the middle, with the left half being standing height and the right designed for seated usage. It is lit by a light bar on the ceiling close to the inner wall which stretches almost the entire length of the table. Also on the ceiling are three square AC vent openings. On the right hand side of the inner wall, the table turns in, continuing parallel to the adjacent wall on

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the right in a small alcove, leading to the main working space further along. As a student, the comfortable shaded seating is perfect for working on the computer for extended periods of time. There is a switchboard with plug points so that students or faculty can charge their devices while working. The smooth laminate surface makes working with a mouse and computer easier and wicks away heat, which is good for the user as well as their computers. The bare tables and plain wall offer no visual distractions so work can be done undisturbed, adding to the focused ambiance of the library.

The hallway running down the left side from the entrance runs straight down with sheer glass on the left. It is lit by studio lights arranged next to the AC vent in a channel running down the length of the hall a little right to the centre of the ceiling, pointing inwards at the stairway and workspace. The windows seem hard to clean for staff since they do not open. On the right, there is a large staircase as pictured in Figure 2, that leads to the second floor. As a student or faculty, it is wide enough for people to traverse while holding their supplies or laptops. The steps are also carpeted for sound deadening just like the rest of the floor, which silences footsteps and makes it easier to concentrate on work, contributing to the library atmosphere. However, this makes it slower for wheelchair users to travel on due to the increased friction and harder to clean for the housekeeping staff than a regular tiled floor.

Past the staircase, there is an entrance to the main working space on the right, spanning theentire width of the inner structure as seen in Figure 3. It has three rows of desks of the same laminate finish as the initial table parallel to the left and right sides, with one against the wall between the two entryways open to the fourth hallway that is on the opposite side of the structure from the entry. Two light bars run perpendicular to the three rows of tables. The walls and desks are white which opens up the space in combination with the windows visible through the right and left entryways and the open side. The main working space connects to the

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READING OBJECTS, WRITING CRAFT

initial hallways through the alcove on the right hand side of the inner wall. The white table from the first inner wall also continues around the corner and connects to the table against the wall in the main space. The working space itself is ideal for students because there are ample plug points and the lighting is not so bright that screens are not visible.

The placement of walls on both sides frame the entryways into the main working space, as seen in Figure 3. The lack of a door on both sides connects the entire floor as one volume of air, which contributes to the airy and open feeling.

To conclude, the library floor stays true to its function by providing a space where students can work for long stretches without disturbance or feeling claustrophobic. Through the use of colour – the white walls, material – the laminated desks and the placement of walls – as in the entryways to the working space, the silent, focused and academic atmosphere of a library has carefully been engineered into every aspect of the floor. It can be felt while working at the desks or walking in the hallway. Even ascending the stairs has the sense of quiet occasion that makes the CEPT Library students’ favourite place on campus – open and accommodating for faculty, students and staff alike.

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E1.2 | Describing Spaces

The Multipurpose Terrace Of G HomestayU21094

Architect Catherine Dee noted that a terrace is most commonly used to link a structure to the landscape as an extension of a living space. The terrace at G Homestay, a girls’ hostel is on the sixth floor of the north facing building in Navrangpura, Ahmedabad. The terrace links the hostel building to its surroundings by adhering to the locality’s neutral colour scheme (figure 3) and adds to the area’s expanse (figure 5). The elevator goes up to the fifth floor after which a flight of stairs provides access to the terrace. On climbing to the top of the stairs, at the landing, there are two entrance doors opposite each other facing the east and west side (figure 1). This is great, as it allows the user to choose where they want to enter the space from.

The rectangular landing is illuminated by natural light that shines through the two open doors (figure1). Thus, the user receives a warm welcome, quite literally if one is to go at any time during the day in Ahmedabad’s heat. Both doors open out to a large, roughly cuboidal space (figure 2). The flooring of the entire terrace is consistent and made of ceramic tiles. They can withstand high temperatures and weight load making the space suitable for excessive footfall, such as a party, and to store the building’s heavy machinery. However, they are easy dust collectors and need to be cleaned often.

Majority of the space is covered by a metal corrugated roof (figure 2), supported by slender, nine feet tall steel columns and slightly thicker beams. This framework gives the partially enclosed space a shed like appearance and provides cover from the rain and sharp rays of the sun. A three inch lining of plastered brick on the floor also marks an outline for the covered area of the terrace and it supports the columns of the shed. A four feet high RCC parapet wall forms the terrace boundary. The RCC walls have a coarse texture and grainy appearance, giving the space a rough finish. Also, the airy atmosphere of the space is maintained owing to the low parapet.

As most terraces in western India, its purposes are generic. It is home to the building’s water tanks and heaters. In addition to that, it could not be more suited to dry clothes for a large

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Fig 2. A Sketch of the Terrace Note. The illustrated plan shows the different areas of the terrace and also depicts the movement of various users through the space. The key of the map is located on the bottom left corner for clearer understanding. The grey dotted lines represent the sheltered corrugated roof area. Copyright 2022 by Nakshatra Punjabi.

Fig 3. A Clear Distinction Note. The image shows the partially enclosed as well as open area and the plastered brick on the floor which provides a clear distinction between the two spaces. Copyright 2022 by Nakshatra Punjabi.

number of people such as those in hostels. The terrace is also the place where all the electrical lines, cables and plumbing of the building come together and houses the master boards and switches.

In accordance with that, the users of the space, that is, electricians, cleaning staff, plumbers (workers) and college students (tenants) all perceive and utilise the space for varied purposes. For the former the space is just another job site they visit during the day. Owing to the sharp rays of the sun and the stinking heat, they may not have a pleasant experience. While the latter may visit at night for quiet, peace, fresh air, and the openness of the terrace provides an escape from their cramped rooms and life. It may even be a meeting place for the several tenants to gather and talk/sing their problems away. Making them associate the space with good memories.

Due to the lack of many high rise buildings around the hostel, the terrace provides a panoramic view of the expanse of Navrangpura buildings (figure 5). The kitchen located on the fifth floor tingles the olfactory senses, but the scent usually dissipates soon in the large open space. At an approximate height of twenty-four metres, sounds of traffic are lost. In the mornings, the chirping of birds may be heard and at night, it is quiet, calm and potentially eerie. Overall, the terrace is spacious, open and breezy. It leaves one feeling hot and exhausted during the day and light and fresh at night.

Fig 5. ‘The Spot’ Note. The cityscape makes the view perfect to be the setting for a lead in a romantic movie’s life changing realisation scene. Similarly, the users feel a fraction of that drama too. Copyright 2022 by Nakshatra Punjabi.

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Empty-theatre

Named and probably inspired by traditional Indian water collecting kunds, the CFP Kund combines traditional Indian architecture with a sense of modernism, with its straight edges, subtracted cubes and a general lack of ornamentation. Meant to act as an amphitheatre in summers and a kund in the monsoons, it fails to satisfactorily fulfil either of its roles. Located at an extreme corner of the CEPT campus, the CFP Kund is an open air amphitheatre sunk beneath ground level.

Hidden from sight by the CFP building and the Balwant Rai Hall, the kund is a secluded place that barely boasts any visitors throughout the day. For someone outside of CFP the amphitheatre might not even exist. The only way to access it is through the CFP building or from a narrow pathway between the building and the outer wall of the campus. To get to the amphitheatre one must go through the CFP double height towards the courtyard behind it and then take a left towards it, or coming from the north lawns, go through the CFP basement straight towards the theatre.

The amphitheatre is rectangular in shape with only two sides being utilised for stepped seating. It is made by cubic subtractions with a large bricked open space in the middle that allows various levels of interaction, along with a small rectangular stage in the far left corner. The brick floor can also act as a stage when the number of performers are greater or an event requires the spectators to play more of an active role. The earthy brown of the brick is complemented by the cool grey colour of the unpolished kota stone which merges with the concrete and brick buildings around the theatre. The planters along its boundary add an accent of vibrancy to the plain grey concrete structure. There are two distinct water elements that adorn the left and right walls. The water elements add to its name as the CFP kund. One of the water elements follows CEPT’s frequently used water spouts, first used by Le Corbusier in his buildings. The other is a stepped channel that flows onto a bed of rocks, placed in the far right corner, opposite to the stage.

The stepped seating allows a large number of people to fit into a relatively smaller space. However, in certain areas, the

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Fig 1. All the World’s a Stage Note. Depending on the type of event, both the brick floor and the designated stage can be used. Notice how the steps blend in with each other and are not clearly marked for easier access. By S. Deo. Copyright 2022 Savyasachi Deo.

stage is blocked by a concrete block making that particular area unviable for sitting during events. A portion of seating, on stage left is behind the stage, rendering it ineffective for viewing, however, the seating is separated by a concrete block which makes it a good place for performers to sit and use it as an entry/exit point. The stage cant be accessed with people with disabilities limiting them to a role of spectator and not an active participator. The absence of railings or guides for the visually impaired is another way the theatre isolates itself from the larger public. LED footlights that don’t actually work, have been used to indicate the steps which would otherwise blend in with the seating.

The kota stone flooring is too hot to be usable as it reflects the hot heat during summers. Although quite cool at night the theatre still remains sparsely used probably owing to its location; it’s only used by a few people to play badminton or frisbee. One can even see one to two people sitting doing their work or just relaxing in a place that’s almost never crowded making it a good spot for some solitary relaxation away from the crowd of people in the north lawns, which is directly opposite to the amphitheatre.

During winters, the amphitheatre is used by several people during the late morning and afternoon hours to bask in the warm sunlight. It’s also used by several people to have their lunch during the day.

The Kund’s potential to be a good hangout/relaxation spot is lost in monsoons as the kund fills up with murky water and the area around it gets muddy, making it the perfect place for someone, that is if one is a mosquito.

Due to its close placement to busy roads outside of the campus, traffic noise can be clearly heard during night time.

Planters around the borders help to limit this to a certain extent. During an event concrete’s sound reflecting properties come into effect as the sound from the event fills up the space dominating over the outside traffic, however for that to happen, an electrical output for the sound is necessary as without it the sound diffuses in the air.

The Kund, even with its flaws, has potential to become a great hangout/relaxation spot especially for the students of CFP due to its closeness. A pair of headphones can easily eliminate the traffic noise allowing one to relax after classes unhindered by other people. Ignoring its few flaws one can only appreciate its design aesthetics.

READING OBJECTS, WRITING CRAFT

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Fig 2. These are My Steps, This is My Spout Note. Stepped water channel that flows into a small pond. The channel goes around the CFP building towards the north lawns. The image on the right has Le Corbusier’s famous waterspouts adopted by B.V. Doshi, which can be seen in all CEPT buildings; another way the amphitheatre attempts to follow CEPT’S design language. By Savyasachi Deo. Copyright 2022 Savyasachi Deo.

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p. 30 (bottom right)

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Interstitium

Inside the Lilavati Lalbhai library found in the CEPT campus, a spiral staircase descends into the cool exposed concrete basement. The entrance to this space is whimsical, evoking themes of Alice falling down a rabbit hole right into Wonderland. Made of a sturdy metal painted in light grey, the staircase has a matte finish. It is wound around a single monolithic metal pole painted in a similar fashion. A railing follows the path of the staircase with metal balusters at equal intervals to provide support if needed and emphasise on the spiral form of the staircase. Climbing down the stairs is playfully suspenseful and mysterious, as if the space is challenging you to discern its contents below.

Like a Russian nesting doll, the exterior facade of the library holds another cuboidal space inside it. Unusually so, there is a hollow leeway left in between. This superfluous space, constructed of exposed concrete, embraces the interior room completely and forms the interstitial space. It functions as an insulating screen to deny heat entry in blistering hot summers. The space is used to present panels of work during exhibitions and other events. Contrasting against the stark grey walls, a line of wooden strips runs all around the external basement wall for holding those precious panels in place.

Good art can only be appreciated in good lighting, and like suspended bells in church, a string holds decorative pendant lights above the path of the wooden strips. Upon descending down the staircase, a visitor is greeted by a gallery of panels displaying student’s work in soft, warm-toned lighting. The lighting is bright but not harsh to the eyes. Five columns of warped-glass bricks squares on the floor further enhance the play of light by catching it and reflecting it into organic shapes.

Three bridges extend from the walls in the cardinal directions, like a blossoming flower. Located on the ground floor, these bridges serve as entrances from the outside to the inner space, passing the interstitial space in between.

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p. 34 (top)

Fig 1. Rabbit Hole

The interstitial space doesn’t feel cramped or suffocating due to the periodic placement of large rectangular windows at equal intervals, which let in a generous amount of sunlight and occasionally, air. There are two sizes of the aforementioned windows, one slightly larger in width and one and one smaller, which alternate in the placement. However, the area on the west facing wall is missing a window, to prevent letting in direct sunlight during sunset. Numerous skylights on the tiled white ceiling function as natural stage lights, giving the room an airy feel.

As one might have noticed by now, this interstitial space plays with natural and artificial light to alter our perceived volumes of space. A brighter room always seems larger than it actually is. That is why, despite being rather small, the space seems large and airy. Following this theme, two rows of large, wooden, vertical shutters form a perimeter around the whole building. Found on the first floor, not only are they useful for letting in daylight, but they also block direct sunlight, and therefore heat by being kept at an angle.

Four wooden compartments protrude from the inner space. Inside them, one can spot diligent students hard at work with some occasionally napping. The dark grain of the wooden compartment as well as the chairs, gives the whole affair an erudite and refined look. Thoughtfully designed to maximise the use of a space, which would otherwise be left barren, the architect has fully utilised its potential, demonstrating how even an insulation screen can function as a pleasing architectural element.

p. 34 (bottom)

Fig 2. Wonderland Note. Constructed keeping the mind the principle of Brutalist architecture, the library chooses to expose its building materials instead of hiding them behind a layer of plaster. Copyright 2022 by Lakshita Arora.

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Fig 3. Parallels

Note. Two parallel lines of polished softwood, with a metre of width between them go around the interior of the hollow space.

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Fig 4. Decorative Pendant Lights Note. The lights have a hollow hemisphere as a container for the bulb inside. Not only does it serve a decorative purpose, the hemisphere reflects light back to the ground Copyright 2022 by Lakshita Arora.

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Fig 7. Let there be light Note. Large windows placed around two and a half metres above the floor, help direct light and air to the interstitial place, which is placed underground.Copyright 2022 by Lakshita Arora.

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Fig 8. Light from above Note. A grid of skylights can be found on the ceiling with a metre and a half of space between each other. The skylight is in the form of a truncated pyramid, rather than a cuboid, to help disperse light.

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The Mezzanine One floor of CEPT Library: a breather from the masses U21035

The Mezzanine One floor of the Lilavati Lalbhai library of CEPT campus, Ahmedabad acts as the intermediate floor between the double height basement 1 below and the ceiling. It consists of an open space in the middle to sit and read on the wooden table and four cuboidal structures filled with books at its corners making it a balanced and symmetric structure . All the elements of Mezzanine One floor work in such a manner together that as one steps on the floor, they get the feeling that time has stopped. The flooring comprises gray kota stone square tiles which reflects any light falling on it and makes the room brighter, although one might slip here due to the smoothness of the floor causing reduced friction between the feet and the floor. The walls are made of cement. with a smooth texture they act as a great sound absorbing material, essential for the silence required by the students and the faculty to work and research. The flat ceiling also contributes in maintaining the stillness in the library as it prevents the voices from being echoed. Furthermore, one can identify the rough textured cement blocks used to construct the ceiling, which gives the environment its simplicity, a place one can peacefully read books in. The area is centrally air conditioned, resulting in a cool and comfortable space. In addition to this, the cement walls also help in lowering down the temperature due to its heat absorbing properties. This compels a lot of students of CEPT to come here to sit and relax and protect themselves from the scorching heat of Ahmedabad.

The floor can be approached from either of the two staircases on the opposite sides of the basement 1 below it. Except the stairs, there is no other way for one to approach the floor making it inaccessible for a person with old age or physical disability. The steps are made by joining two individual pieces of wood which with time have started creaking causing disturbance in the environment. As seen in figure 2, a small metal plate is present instead of the riser to prevent people from slipping. The railing of the stairs are made of smooth textured light gray metal which makes it slippery. The balustrades attached to the railing are far spaced and balanced which gives a sense of openness to the library full of books, but at the same time can also be the cause of another danger of slipping and falling.

Fig 1. The center part of the Mezzanine One floor looking towards the table Note. The air vents present in the bookshelves are place to opposite to each other to create cross ventilation in the environment. Copyright 2022 by D. Garg, CEPT University.

Fig 2. The stairs to join the basement one to Mezzanine One floor Note. The metal plate placed instead of the riser might become a problem for a person trying to go up as their foot might get stuck in the empty space. Copyright 2022 by D. Garg, CEPT University.

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Fig 3. The area of one of the four cubicles on the floor Note. The bookshelves in cuboid can be used from both the sides which means that a person can approach the books of one side from the mezzanine one floor and the other side from the basement below it. Copyright 2022 by D. Garg, CEPT University.

Fig 4. The entry to one of the cuboids on the floor Note. The cement opening creates the illusion of one entering an entirely different space from the rest of the floor. Copyright 2022 by D. Garg, CEPT University.

The cuboidal structures on the corners consist of a flat cement ceiling, cold kota stone flooring and bookshelves acting as the partition walls on three of their sides and a cement wall on its fourth. The rectangular opening for the entrance in these separate reading structures (as seen in figure 4) is of full height from floor to ceiling. Due to their elements and their placement, a person feels surrounded with books from all the directions .

These spaces provide one solitude and quiet which is much needed in a campus like CEPT, full of people. Many times, the readers prefer to sit down on the floor itself with their books to be alone and to feel its coolness. Despite being a closed structure, the user would never feel suffocated on this floor due to the air vents, in the middle of each bookshelf, as seen in figure 3, creating enough circulation of air in the library and spreading the aroma of books all over the floor. But these cuboids can also sometimes cause a problem as their spatial aspects are more inclined towards the storage of books than accommodating the readers, thus creating chaos.

Most of the furniture (the table and the chairs) present on the floor is made of wood with a smooth texture to complement the design language of simplicity and use of raw materials of its surroundings. When dragged across the kota stone flooring, it does not create any noise, maintaining the peace of the library. The presence of sockets on tables attracts another group of people to the library, one that just wants to find a comfortable and cool place to work.

Even though there is an absence of natural light in the mezzanine one floor of the Lilavati Lalbhai library, the user does not feel stale or stuffy because of the placement of lights as well as the neutral color palette of brown and grays the floor follows as these colors reflect all the light falling on them, thus making the room brighter and lending a hand in energy conservation. The floor in the middle does not have walls on its two sides (other than the ones consisting of staircases) making the floor appear much larger than its actual size and contributing to the openness and vastness of the library. To avoid accidents, the endings of the floor

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Fig 5. The center part of the Mezzanine One floor looking away from the table

Note. The cement walls along the reading stand continue even after the Mezzanine One floor has ended creating a feel of a passage and an illusion of one going somewhere.

are obstructed with a wooden reading stand and a running wooden stool as seen in figure 5 and 6 to indicate that the floor stops there.

Most of the elements used in the Mezzanine One floor are in their raw form implicating the simplicity of the library. Yet, the structure formed with these unornamented elements is complex. All the components of the floor work in such harmony that they manage to create a comfortable and quiet place to read or work, a cool place to rest from the heat and an interesting alert test for a newcomer.

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Harmony and Utility of CFP Kund

The Amphitheater called CFP kund is located in CEPT University campus in University Area, Navrangpura in Ahmedabad where the atmosphere is hot and semi-arid. The space is called CFP kund as there are gargoyles attached on the left side and there is a small water channel on the right side which leads the rainwater from both sides to this place(a kund is a place where rainwater is collected).

The amphitheater is behind the CFP building and beside the Balwantrai lecture hall where all the important student teacher and student council meetings are held. The Campus does not have any aesthetic buildings but are rigid and made for structural efficiency. The amphitheater space is of orthogonal geometry and the sunlight falls on all surfaces throughout the day which complements the space and buildings nearby belonging to the same line of architecture. The buildings generally have a neutral colour scheme which gives a person a balanced state of mind without any distractions for creativity.

The amphitheater has higher ground around it with greenery which provides a sense of balance ecologically. The plants keep the place cooler and remove pollutants that enter into the space. There are gargoyles built on the left side as you can see in figure 1 which steer away the water collected from the high ground to the platform underneath which then drains all the water through a small hole.

The amphitheater has six rectangular rows as a seating area at two sides of the space which has Kota stone tiles. Kota stone is not water absorbent and suits all climatic conditions. It is also a good reflector of heat which makes it easy to sit and walk on. On the contrary, the ground has cement tiles which have high thermal mass which helps to keep the place cool and have a very hard wearing surface which is easy to take care of.

There are two ramps from the Balwant Rai lecture hall for wheelchair users from both sides. The ramps have tiny vertical protrusions which give a grip and friction to the surface.

The amphitheater has an extended area which acts as a stage

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in the middle of the space. As the seating area is of width four footsteps and the height is up to knee length of an average height person it would be difficult to traverse up and down the space so the side steps of size of three footsteps are made at the ends of sitting rows.

There are small rectangular led lights attached to the end of the rows so that the user can traverse up and down the steps without major difficulties in the dark. There are light posts at the corners of the amphitheater to light up the extents of the CFP kund as the exterior parts may get overlooked by concrete blocks surrounding them, there are lights attached too as explained before. LEDs are used as they are cost efficient and work for a longer period of time.

The amphitheater is used for social gatherings and playing different games. its similar colour scheme as the campus buildings keeps a healthy working environment. The CFP Kund has concrete mainly as a material with the cluster organisation of blocks on either side of the space. It has an extruded space which can be used as a stage for plays, or sketching sessions. The honesty of the structure and geometry of the architecture used makes it a coherent space to be in with other brutalist buildings in the campus.

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Classroom of True material U21174

U2 studio is located in the CEPT Foundation Program building. The whole cfp building is one block. The building was designed by Christopher Charles Benninger in 2018. Studio unit 2 classroom access is easy and more convenient for students and faculty to reach in the classroom. It has two entrances, one main from the south lawn and 2nd from opposite of balwant rai hall. U2 studio is located on the second floor, to reach the studio it has two staircases, one at the main entrance in the basement and second one is at the same side but near the south lawn and south entrance. Classrooms are connected with corridors, The first floor lobby’s width is proper for the walkway to classrooms that are connected with both sides of the staircase. The Classroom is designed as a rectangular form with a concrete structure divided in five horizontal barrel vault ceilings. The columns and the beams contain grooves of 20mm. The classroom walls are made of exposed brick and concrete. In that there is both side wall left one that includes a glass window and the right one has a partition wall of thick glass for the aesthetic. classrooms that include the balcony that is divided with a sliding frame. It is wide enough for two people to stand on the balcony that gives the north lawn view in the evening where you feel cool air. Negative thing in winter is the open balcony sunlight that flashes on the students laptop while working in the morning during a communication lecture.

Fig 1. Classroom view

The area of the classrooms is large enough for thirty six students to comfortably work in classrooms. classroom walkways are also broad so sometimes we can also work like making models on the floor. Classroom has a big window that gives maximum light. It’s made up of a glass and metal frame. Whole classroom wall is of exposed brick work that is made up of flemish bonds, In between there is a pattern of stretcher header stretcher. They used new bricks for the walls. On the classroom wall there is a display board where students can present their work. Studio has perfect lights and ventilation so students have a perfect place to draft the drawings. lights that fit horizontally under the beam and fan the fit in the bottom of the vault so each row gets equal light to work. In summer the classroom feels hot rather than in the corridor where we feel cool.

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Classroom Flooring is of kota stone with a polished smooth surface so there is no chance of slipping. In the studio the cleaner would have faced little difficulty while cleaning the room’s floor because of tables and student stuff. Furniture like tables and sitting stools made up of wood and metal in shape match the classroom. The placement of the table is in two rows and four columns and the good thing is that tables have a drawer so students can put all the stuff. The switch board is fixed at the proper place at entry in the classroom. It has a partition wall between the two classes that’s made up of thick glass of square shaped blocks.The aesthetic contrast with the exposed brick walls than exposed brick walls.

In the studio it’s difficult for faculty to explain things to the whole class because of the fan and the open access of the class due to this voice is not audible properly at the last bench. The placements of furniture work better for studio class but are a little difficult for ROWC classes.

U2 studio is designed perfectly to work in terms of light, ventilation, furniture, overall form. The contrast of exposed brick work and concrete structure suits for working space. Students can comfortably work because of the perfectly designed working table. So the space is designed functionally to work.

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Reception Of The CEPT Library: An Overview U21215

Entering the CEPT campus, Lilavati Lalbhai Library is located at the southern side of the campus at a certain height. Walking into the CEPT Library by a series of stairs, the exhibition room takes us to the reception. It’s on the eastern side of the ground floor. Reception has a unique shape which looks like rectangles stacked down in hierarchy ( figure 1).

To access the reception, two gates are provided facing east and west which are in a straight line, which are seen after passing through the exhibition room. The doors are made of glass with a wooden frame. There is a book sensor kept before the doors to ensure that no book goes out of the library without being noticed. (figure 2). On entering the room, the first thing one can notice is the reception table.

The reception table is a fence-like wooden table which defines the work space of assistant librarians working there (figure 3). The information about books and the issuers can be found here. It is placed in such a way that one can approach the librarian easily from both the gates. A concrete slab is seen in front of the table which acts as a wall and also supports the staircase. There are two extended spaces in the corners which are in the same line ( figure 4 &5).

One of these two spaces on either side of the room exhibits recent students’ work followed by the men’s washroom (figure 1). The other space consists of tag boards which have the posters of events and women’s washrooms (figure1). It has the way to the stairs which connect the whole library and elevator. A concrete slab can be seen opposite the reception table which supports the staircase behind ( figure 4 &5). There are two wooden pieces indicating the floors and their purposes. The design of this room is peculiar which manages to focus on the reception table the most yet doesn’t lose one’s attraction to the corners because of the lighting inside.

The reception is on the inner side of the building resulting in a less natural light source. Due to this, the led lights are on here during the whole day. A panel of lights runs across the false ceiling to keep the room enlightened. It is a compact room with an AC fit in the false ceiling and glass doors. The

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noise gets reduced as there are three doors before accessing the library and the workspace of the library. Thus it has a cool and silent ambience. It has more visitors during noon and evenings as the lectures end usually at 1: 30 and 5: 30 PM. As one walks in the room, the cool breeze from AC is felt providing relief during the summers. A frequent movement is seen throughout the day but one can still feel the pleasant vibe and the silence of the library.

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61 E2Reading,Writing,

MakingSense

E2.7ConceptNote

E2.7 | Concept Note

By this point, we already have a fair amount of experience with the preliminary stages of a research process and we are familiar with most of the reading and writing techniques that we need. As we move on, our focus is going to be on identifying opportunities to use these techniques in order to conduct research ethically, intelligently as well as smartly, without going back to patterns of reading and writing that hold us back. We build on these in order to develop our ability to synthesize and finally to engage with others as well–in the form of readers and listeners–attempting to persuade them of the significance of exploring the areas of research we are interested in.

We work with concept notes because they are the genre intended to persuade peers, seniors, tutors, employees, funders, clients, of the value of an incipient idea in which we want them to invest their time, experience or resources, so that we may conduct research on it. Knowing how to think through a concept note, what to emphasize and what to leave for further research is something that will be immediately useful in any course that requires you to write a paper and to convince your tutor that the idea you want to work with makes sense. It will be equally important to be able to put together a concept note, with its accompanying working bibliography, when you want to invite an expert in your discipline to guide your work as part of your research project, thesis, DRP, at any stage. And this is just what comes before you begin your practice.

For the second concept note you work on, the process will be less rigorously guided and will target your ability to transfer the knowledge you have already gained, both in writing and in providing and working with peer feedback for the concept note.

Framing the assignment

For our centenary edition, Frontline Architecture India is looking to gift our readers an interlinked overview of some key approaches to architecture across the globe, after the beginning of the Second World War (1939). We are particularly interested in comparative descriptions of specific works by well known architects, written in a style that is easily accessible to a wide range of readers.

Interested architects, designers and scholars are invited to submit proposals in the form of concept notes, accompanied by working bibliographies and two reference images (one for each building). The concept notes should be no longer than 500 words (not counting the bibliography). The writers whose concept notes are selected by the review committee will be requested to submit full descriptive comparative essays accompanied by images.

Learning Outcomes

Conceptualizing and articulating the area of research

Articulating clearly and specifically the reason and grounds for comparison

Presenting briefly the methodology

Incorporating essential reference materials

Providing a comprehensive working bibliography Integrating existing knowledge and skills

Peer learning in thematic groups

Articulating arguments orally as a testing ground

Working with tutor/peer feedback

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Expression Through Spatial Arrangement

Indian Institute of Management, Ahmedabad v. National Assembly Building of Bangladesh U21034

The designs of Kahn are an infusion of modern monumentality and traditions. Understanding the functionality and what the building should symbolize is reflected in the spatial arrangement of his buildings.Two of his famous works- IIM Ahmedabad (1974) and National Assembly of Bangladesh (1982) are a living proof of his architectural style molded with geographical and cultural needs of the design. Exterior facades with pure geometric subtractions, use of a single primary building material and play of light form his unique style. His designs are an amalgam of his style and culture of that place.

Even though the designs of both the institutions are quite similar in terms of conceptualizing light as a creator of space and visual aesthetics, they radiate a different sense of space. IIM Ahmedabad is planned around the idea of creating spaces that evoke interaction and learning whereas the central plan of the assembly echoes an idea of unity and democracy.

The above ideas are represented through their spatial arrangement. In IIM, the dormitory and the classrooms are built close by so that learning is not confined to the teaching areas. In the dormitories, the long corridors are avoided, resulting in a semicircular space inviting interactions (William Whitaker, 2021). The National Assembly is planned on a central axis divided into three parts with the Assembly chamber in the center extending into south and north plaza. The individual blocks are placed at the periphery. It is also surrounded by an artificial lake from three sides which stands for the riverine beauty of Bangladesh (Banglapedia, 2021).

The large rectangular, circular and triangular omissions in the facade instead of traditional windows, add to an interesting visual aesthetic which is indeed an iconic feature of both the structures. The opening in the exterior walls not only acts as a defendant against hot weather but is also used as an aid to create interesting spaces for informal gathering at IIM and symbolizes Bengali tradition.

Another major difference between the buildings is the use of different building materials based on the local availability. IIM

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A is a monolithic exposed brick structure with use of concrete band as a structural member at critical places. And for the National Assembly he chose to build a concrete structure lined up with marble strips (Eduardo Souza,2010).

The organization of buildings within a building plays an important role in how architecture is intertwined purposefully with each other and human interaction. This comparative study of IIM Ahmedabad and National Assembly Of Bangladesh would explore how different emotions can be reflected with changes in the spatial arrangements of a building with similar designs.

Fig 1. Indian Institute of Management, Ahmedabad

Fig 2. National Assembly of Bangladesh

Image Reference-

Image 1 - Indian Institute of Management, Ahmedabad (reference) Morris, D. (n.d.). Indian Institute of Management / Louis Kahn. Archdaily. Retrieved from https://www.archdaily. com/83697/ad-classics-indian-institute-of-management-lou is-kahn

Image 2 - National Assembly of Bangladesh (reference) Coyle, J. (n.d.). Bangladesh National Assembly. Blogs.lse.ac.uk . Retrieved from https://blogs.lse.ac.uk/southasia/2016/08/19/bulge-hun ger-in-a-developing-country-understanding-escalating-cor ruption-in-bangladesh/

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Lists of Works Cited -

Jatiya Sangsad Bhaban. (ed. 2021, 18 June). Banglapedia. Retrieved from https://en.banglapedia.org/index.php/Jati ya_Sangsad_Bhaban

Kroll, A. (2010, October 25). AD classics Indian Institute of Management / Louis Kahn. Archdaily. Retrieved from https://www.archdaily.com/83697/ad-classics-indian-insti tute-of-management-louis-kahn

Mashru, S. (n.d.). IIM Ahmedabad by Louis Kahn: Blending modern architecture and Indian traditions. Rethinking the future. Retrieved from https://www.re-thinkingthefuture.com/case-studies/ a4963-iim-ahmedabad-by-louis-kahn-blending-modern-ar chitecture-and-indian-tradition/

Souza, E. (2010, October 20). AD classics National Assembly Building of Bangladesh / Louis Kahn. Archdaily. Retrieved from https://www.archdaily.com/83071/ad-classics-national-assem bly-building-of-bangladesh-louis-kahn

Whitaker, W. (2021, January 7). Indian Institute of Manage ment, Ahmedabad an annotated chronology: 1962-2021. Architexturez net. Retrieved from https://architexturez.net/doc/az-cf-217447

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Play of light and Volumes

The similarities and differences in the design approaches of Louis I. Kahn and Tadao Ando towards public spaces in the 20th Century U21075

Modernism; an architectural style and philosophy that influenced a majority of architects in the 20th century, was usually associated with an analytical approach to the function of buildings, rational use of materials and structural innovation. It was characterized by an emphasis on volume, asymmetrical compositions and minimal ornamentation. Contemporary architecture was a style that started in the 1960s after the end of the modernist style. Contemporary architecture elaborated on the beliefs of modernism while providing the added advantage of having at their disposal an arsenal of innovative materials and building methods.

Louis Kahn and Tadao Ando were architects belonging to different beliefs of design. On one side was Kahn who believed in modernism whereas Ando believed in the contemporary principles which had the modernism beliefs as their base.

Even then similarities in their work existed. The similarity of the effortless use of light and volume by both the architects in their respective buildings; Phillips Exeter Academy Library and the Church of Light, to achieve a certain required purpose/to promote a specific activity is the focus of this essay. Along with that, the use of material to achieve their respective purposes will also be discussed.

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Fig 1. Phillips Exeter academy building (Exterior)

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Fig 2. Church of Light (Exterior) p. 75 (top)

Fig 3. Phillips Exeter academy building (Interior)

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Fig 4. Church of Light (Interior)

Louis Kahn was a late modernist who incorporated the style of monumentalism in his buildings. Louis Kahn was well known for striking a balance between modern architecture and traditional architecture. His ability to understand the demands of a client and to rethink a certain function is extraordinary. Certain patterns can be seen throughout his work including his use of wood, concrete, brick and stone. His affection for these materials is seen even in the Phillips Exeter Academy Library. The wood contrasted the stone by giving the spaces a sense of warmth and a glow that welcomed readers when the natural light flooded upon this natural material.

Tadao Ando’s architecture style is classified as brutalist and contemporary. The term brutalist architecture is used in context with blocky, rigid geometric buildings with large scale

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use of poured cement concrete. Working in Japan, Ando’s self taught style was highly influenced by the style of Le Corbusier. His use of concrete is widely seen in all the buildings he designs. In the Church of Light, he makes use of the material to induce darkness on worshipers inside the building. The concrete adds to the darkness of the church by creating a more humble, meditative place of worship (Kroll, 2011).

Though the architectural styles of both architects differ, both Kahn and Ando are engaged in an experiment involving volumes and light along with the use of material to induce their desired result. On one hand, Khan makes use of windows arranged in a grid like pattern to invite people to the periphery of the building to read a book and on the other hand, Ando deprives the users of his building the opportunity to view things on the outside and thus this darkness that he casts encourages people to stay within this place of worship that he has created.

Both architects explore the use of silence. Kahn makes use of his monumentalist ideas to encourage people to silence. He induces it in the library in two ways; firstly through the fact that it is a library and secondly through his monumentalist/ grandiose design. Ando induces it upon the people that visit his building through the place’s actual use and secondly through the use of the material and the number of openings he provides.

Key differences exist in the way that both the designers have designed their buildings. Khan makes use of intentionally elongated paths around his building to make an impression on users. This path of movement further explores the monumentalist ideology that Kahn employs (AD Classics: Exeter Library, 2010). Kahn uses his design to induce a desired movement in people. He has created a radiating path within his structure.

The Church of light on the other hand has a straightforward entrance since the real impression tha Ando wishes to create is on the inside. The overbearing use of RCC for the entryway may enforce the idea of submission to god/to faith.

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Thus, the essay wishes to compare the use of light, volumes and materials by both the above mentioned desires in achieving the desired use of the space. An attempt will also be made to understand the thought process behind the construction of these buildings.

Images for reference

Image 1 - Phillips Exeter Academy Library building by Louis Kahn (1965)

(reference) Anonymous(n.d.). Phillips Exeter Library Building (photograph). Archdaily. Retrieved from https:// www.archdaily.com/63683/ad-classics-exeter-library-classof-1945-library-louis-kahn/5037e18f28ba0d599b0001bfad-classics-exeter-library-class-of-1945-library-louis-kahnimage?next_project=no

Image 2 - Church of Light by Tadao Ando (1989) (reference) Anonymous(2017). Church of Light (photograph). Interaction Green. Reterieved from https:// www.interactiongreen.com/church-light-tadao-ando/churchof-the-light-tadao-ando-exterior-1/

Image 3 - Phillips exeter academy Library building interior by Louis Kahn (1965)

(reference) Jauréguiberry. X (2011). Phillips Exeter Academy Library building (photograph). Divisare. retrieved from https://divisare.com/projects/304785-louis-kahn-xavier-dejaureguiberry-library-at-phillips-exeter-academy

Image 4 - Church of light Interior by Tadao Ando (1989) (reference) Bergmann (2006). Church of Light (photograph). Wikipedia . retrieved from https://en.wikipedia.org/wiki/ Church_of_the_Light#/media/File:Ibaraki_Kasugaoka_ Church_light_cross.jpg

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Sources

Modernism -

Modernism (n.d.). Architecture.com. https://www. architecture.com/explore-architecture/modernism

Thomann, L. (2022, April 21). What is modern architecture? The spruce. https://www.thespruce.com/modernarchitecture-4797910

Brown. P (2016). The Relationship Between Japanese and Modernist Architecture. Design Culture and History. Medium. https://medium.com/design-culture-history/therelationship-between-japanese-and-modernist-architecture7faef7e3b1ab Kahn -

AD Classics: Exeter Library (Class of 1945 Library) (2010). Archdaily. https://www.archdaily.com/63683/ad-classicsexeter-library-class-of-1945-library-louis-kahn

Stott. R (2020). Spotlight: Louis Kahn. Archdaily. https://www. archdaily.com/334095/happy-112th-birthday-louis-kahn Ando-

Freeman. J (2017). Tadao Ando, Least Modernist of Modernist Architects. Tokyo Art Beat. https://www. tokyoartbeat.com/en/articles/-/tadao-ando-least-modernistof-modernist-architects

Kroll. A (2011). AD Classics: Church of the Light. Archdaily. https://www.archdaily.com/101260/ad-classics-church-ofthe-light-tadao-ando#:~:text=Besides%20an%20extruded%20 cross%20from,humble%2C%20meditative%20place%20of%20 worship.

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Deconstructing Expressionism -

A Comparative

Study of

two buildings;

Walt Disney Concert Hall by Frank Gehry and Auditorio de Tenerife by Santiago Calatrava U21258

The 20th century witnessed expressionism to a great extent ranging from paintings and sculpture to massive architectural structures. The style was characterised by the use of new materials to create slightly complex structures which are eye-catching while being pleasing to the eye. The process of achieving these structures varied depending on the architect and the location of the structure.

The essay focuses on two such buildings; Walt Disney Concert Hall (2003) designed by Frank O Gehry and the Auditorio de Tenerife (2003) by Santiago Calatrava. Both well-known for the ornamentation and their creative structures, both structures consist of heavy ornamentation and undulating forms which have been achieved with the material used in construction. The essay will thus focus on how these ornamentations are achieved in these buildings and the variations it brings with it. It will also point out how the location of these structures affect its utility and the wayin which it was constructed.

The Auditorio de tenerife is located next to the Atlantic ocean which naturally adds to its overall aesthetics. The striking part of the structure is its giant arc which almost shells the entire building. The arc varies in 15-20 cm in thickness. The suspended end of the arch as seen in the photograph also adds to its beauty. Almost the entire structure is made of concrete and the white colour has been achieved with the addition of titanium oxide which brings its a homogeneous finish. Advantage of using white concrete is its durability and lack of need for a finished painting. One of the important features of the building is its multi functionality. It is a host to many operas, orchestras and music events.

Fig 2. Auditorio de Tenerife (2003), By Santiago Calatrava

One can also see unusual facades metal frames which help in the bending. The steel roof structure spans over the entire ceiling thereby eliminating the need for internal columns. The building is designed for optimum display and sound. The stage is made of wood (yellow cedar) although Gehry himself was supposed to this notion.. The seating arrangement surrounds the entire hall keeping the stage in the middle. From the two buildings it is evident that although a large

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Fig Walt Disney Concert Hall (2003), By Frank Gehry

E2.7 | Concept Note

amount of bending and curves is visible, it has been achieved using very different materials.

The essay will compare the two buildings in detail; comparing the use of very different materials to achieve highly undulating and organic structures. Both being almost similar as far as utility is concerned, the play of light and sound is very different. It will also compare the geographical position of the buildings, and how the location of nearby land or water bodies affect the utility. The interiors, although very similar in terms of the use of material, the seating arrangement and the plazas and other spaces which come within these structures vary depending on their geographical position and its utility. The essay will also throw light on the architects (here; Frank Gehry and Santiago Calatrava) and their ideologies and a personal understanding about their style and methodology.

The essay hence will focus on the usage of material and the play of light and acoustics in the two buildings, elaborating on the similar and very contrasting features used by the two architects in order to achieve a structure serving a more or less similar output.

Bibliography

Jones, R. (2013). AD Classics: Walt Disney Concert Hall / Gehry Partners. Archdaily. https://www.archdaily. com/441358/ad-classics-walt-disney-concert-hall-frank-gehry

Master. C (2013). Walt Disney Concert Hall 10th Anniversary. Overview. http://wdch10.laphil.com/wdch/architecture.html

FORA.tv (2009, July 25). Frank Gehry on the Architecture of LA’s Disney Concert Hall [Video]. Youtube . https://youtu.be/ zZoR6SpmqSQ

Tenerife’s Auditorium. (n.d). Wikiarquitectura. https:// en.wikiarquitectura.com/building/tenerifes-auditorium/

Adan Martin Auditorio de Tenerife (2022). Santiago calatrava Architects and Engineers. https://calatrava.com/projects/ adan-martin-auditorio-de-tenerife-santa-cruz-de-tenerife. html

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Deborah Vankin (2018, September 6). Frank Gehry on Disney Hall, what he originally intended — and what it could still be. Los Angeles Times. https://www.latimes.com/entertainment/ arts/la-et-cm-frank-gehry-disney-hall-centennial-20180906story.html

N.A (2015). Auditorio de Tenerife Adán Martín by Santiago Calatrava: The great Arc. Rethinking The Future. https:// www.re-thinkingthefuture.com/case-studies/a4653-auditoriode-tenerife-adan-martin-by-santiago-calatrava-the-greatarc/#:~:text=The%20Concept%20and%20Form%20of%20 Auditorium&text=Auditorio%20de%20Tenerife%20in%20 the%20Canary%20Islands%20is%20an%20example,a%20 wing%20or%20a%20moon

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Accentuating Space: The Differing Design

Modernism was characterised by minimalism and a methodical approach to building, with a logical use of materials and form following function (Perera, 2021). The emergence of Modernist architecture reinforced the idea that the purpose of a building was to just be functional, or ‘rational’, by the optimisation of space and omission of any ‘irrational’ elements that do not contribute to the functionality of the space as a whole. Hence, building design was seen to focus on the building itself, rather than its surroundings. This development did not strike a chord with some of the indigenous architects in various regions of the world, who did not want to stop representing their culture or beliefs through their buildings.

Geoffrey Bawa and Tadao Ando, were two such pioneers who, rather than rejecting Modernism, embraced it by incorporating their respective culture and traditions into their work. The research essay will shine light on two buildings, the Lunuganga Estate by Geoffrey Bawa (1958 onwards), and the Church on the Water by Tadao Ando (1988), by focusing on the design styles of the two architects, who both sought to construct spaces which were traditionally modern, and emphasised on connecting the interiors to the exteriors, but had stark differences in their approaches, giving us a clear comparison of how culture and nature can be introduced into architecture in uniquely distinct ways.

Bawa was widely associated with tropical modernism, a movement which looked to construct with space rather than in space. During the colonial period, the British designed “Modernist” bungalows sealed off from the outside world, a barrier that Bawa sought to destroy by creating buildings with huge open verandahs leading to large courtyards, overhanging roofs and lush gardens This is seen in the Lunuganga estate, which is a classic example of tropical modernist architecture, which is characterised by wide open spaces connected to the outdoors by giving importance to the local context, as observed in Bawa’s other works such as the Kandalama Hotel (1991) and the Ena de Silva House (1962). His sensitivity to context went hand-in-hand with his sense of vernacularism, for example, the use of traditional building elements such as

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Approaches of Bawa and Ando towards Modernism in the 20th Century

Fig 1. Lunuganga Estate by Geoffrey Bawa

(reference) Lishani Ramanayake. Lunuganga [Photograph]. Cultured. Retrieved from https://www. culturedmag.com/article/2020/11/02/ lunuganga-a-self-portrait-of-geoffreybawa

Fig 2. Church on the Water by Tadao Ando (1988)

(reference) Hirofumi Inaba. Church on the Water [Photograph]. Metalocus. Retrieved from https://www. metalocus.es/en/news/nature-imagetranscendent-church-water-tadao-ando

pitched roofs and inexpensive clay tiles helped in adapting to the local climate.

Ando is celebrated for the attention he pays to nature and the relationship between interior and exterior spaces of his buildings. While his style can be called Modernist, he did not always fall in line with its overriding preoccupation of functionality (Freeman, 2017). He majorly gave importance to ‘ma’, negative (empty) space in his buildings, such as the Water Temple (1991) and Church of the Light (1989). His emphasis on empty space is said to create a “haiku” effect (Michalarou), indicating that beauty often lies in simplicity. Like Bawa, the element of nature is apparent in Ando’s works, however, it is not one with the building, unlike in Bawa’s work, where nature is welcomed into the space.

Although both the architects dealt with representing their culture despite the prevalence of Modernism, while Bawa actually made use of traditional elements and building materials, Ando only embraced modern design and materials such as concrete in his works, but represented his culture through his beliefs and principles rather than the building itself.

The essay will study the layout, materials, space, and style of building in both works in detail, and reflect on how Bawa glorified space using traditional methods, whereas Ando did the same, but by showcasing his minimalist design which had its roots in ancient Japanese principles, by means which were vastly varying.

Working Bibliography

Baek, J. (2009). Nothingness: Tadao Ando’s Christian Sacred Space. Routledge. https://doi.org/10.4324/9780203642818

Freeman, J. (2017, November 18). Tadao Ando, Least Modernist of Modernist Architects. Tokyo Art Beat. https://www.tokyoartbeat.com/ en/articles/-/tadao-ando-least-modernist-of-modernist-architects

Jayawardene, S. (1986). Geoffrey Bawa of Sri Lanka. Mimar 19: Architecture in Development. https://www.archnet.org/ publications/2900

Kunkel, P. (2019, July 23). Spotlight: Geoffrey Bawa. ArchDaily. https://www.archdaily.com/770481/spotlightgeoffrey-bawa

Michalarou, E. ARCHITECTURE:Tadao Ando. Dream Idea Machine. http://www.dreamideamachine. com/?p=2670#:~:text=Ando’s%20architectural%20style%20 is%20said,simplicity%20and%20the%20absolute%20 minimalism

Perera, D. (2021, July 13). How This Sri Lankan Architect Defied Colonial Norms to Create a New Architectural Style. House Beautiful. https://www.housebeautiful.com/designinspiration/a36720424/tropical-modernism/

Robson, D. (2001). Genius of the Place: The Buildings and Landscapes of Geoffrey Bawa. In Modernity and Community: Architecture in the Islamic World. Thames & Hudson. https:// www.archnet.org/publications/4645

Sveiven, M. Church on the Water / Tadao Ando Architect & Associates. ArchDaily. https://www.archdaily. com/97455/ad-classics-church-on-the-water-tadao-ando

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Timelines Apart : Tropical Modernism V/s Futuristic Architecture in Housing U21258

While the purpose of housing has been protection and comfort since the dawn of it, the way one perceives it is ever changing. Geoffrey Bawa pioneered in creating open spaces, proper air ventilation, climate responsive design all the while maintaining the sleek modern aesthetic. His buildings often remind of a calm and controlled era with hints of vernacular elements that make it regional. Zaha Hadid is a name that represents an entirely different emotion of dynamism and fluidity in architecture. Her buildings point to a hopeful future straight out of sci-fi taking the shape of spaceships and alien structures. Comparing the vastly different styles of Geofferey Bawa and Zaha Hadid, it becomes interesting to look at the way they would design houses for two equally different people.

Designed for artist and designer Ena De Silva in 1961, Geoffrey Bawa incorporated elements like dragon head ornamentation on doors and antique looking wooden furniture with modernist principles of minimal design and clean interiors. Cushioned with various trees and plants around the house adds to the tropical look of the house. Another striking feature is the urban courtyard inside the house that brings back a tradition seen previously in colonial houses only. ( Daniel, S 2016). The house designed by Zaha Hadid for russian billionaire Vladislav Doronin in 2006, on the contrary, takes the form of a large spacecraft sitting on a tall pillar. The giant structure stands out overlooking the canopy of trees around. The house consists of one large master bedroom on the top floor and elevator and common areas based in the pillar.

The Ena De Silva house flaunts native materials like granite stone, brick, and satin wood with terracotta tiled roofing (Sona, 2017). Small water bodies filled with pebbles and creepers make the house feel natural and earthy. The Doronin house is a bulky structure of modern materials like concrete, steel and glass. The dynamic shape and steel edges make it look like it’s in motion, and less like a place of comfort.

In their conception and execution, these two houses depict the difference in traditional and neo-modern approach.

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Despite being only 50 years apart, they seem like they are from two different eras entirely. One designed more in the image of a house, quaint and neutral while the other a completely bold take on housing are representative of the styles of the two architects. It thus becomes interesting to study the differences between Tropical Modernism and Futuristic Architecture through the lens of housing. Bibliography

5 Characteristics Of A Tropical Modern House. (2022). Architropics.https://architropics.com/tropical-modernarchitecture/

Canavet, M. (2022). Discovering Futuristic Architecture. Michael Zingraff. https://www.michaelzingraf.com/en/group/ blog/architecture/discovering-futuristic-architecture

Daniel, S (2016, September 20). Sri Lanka: Ena De Silva’s Moving House. Aljazeera.https://www.aljazeera.com/ features/2016/9/20/sri-lanka-ena-de-silvas-moving-house

Ena De Silva’s Moving House. (2016, September 21). Architexturez. https://architexturez.net/pst/azcf-180188-1474470845

Futuristic Architecture. (2020, September 3). Designing Buildings. https://www.designingbuildings.co.uk/wiki/ Futurist_architecture

Mairs, J. (2018, April 12). Zaha Hadid’s Only House Finally Completes In Russian Forest. DeZeen. https://www.dezeen. com/2018/04/12/zaha-hadid-architecture-vladislav-doronincapital-hill-residence-moscow-russia/

Perera, D (2021, July 13). How This Sri Lankan Architect Defied Colonial Norms to Create a New Architectural Style. House Beautiful. https://www. housebeautiful.com/design-inspiration/a36720424/ tropical-modernism/#:~:text=Tropical%20Modernism%20 is%20an%20architectural,and%20knowledge%20of%20 indigenous%20builders

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Sona (2016). How Tropical Modernism Is Making Its Mark on Architecture. Modlar.https://www.modlar.com/news/210/howtropical-modernism-is-making-its-mark-on-architecture/

Warren, K. (2020, September 15). Spaceship House. Business Insider India. https://www.businessinsider.in/thelife/news/ look-inside-a-billionaire-developeraposs-140-millionaposspaceship-houseapos-in-a-russian-forest-which-has-anunderground-nightclub-and-a-master-bedroom-that-soars100-feet-in-the-air/slidelist/78114343.cms

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Minimalism has shaped architecture for over a century. Embracing new materials and rejecting ornament, the modernist movement grounded minimalist architecture through rational use and function (Archdaily, 2022). Throughout the 20th century, architects returned to minimalism as they worked with glass, steel and reinforced concrete. Over time, minimalist and modernist designs became more closely tied to cost, construction and aesthetic (Archdaily, 2022).

As a minimalist architect Tadao Ando used natural lights, concrete and ventilation as his major tools. He made concrete, steel and glass material buildings using geometric shapes surrounded by beautiful nature. Which gives experience of sensitive transition within his architecture (Archdaily, 2019).

Tadao ando’s two big concrete built museum projects i.e. The Langen Foundation and Hansol museum known as SAN museum gets in touch with nature directly. The langen foundation is built on the grounds of Museum Insel Hombroich, Germany, which blends well into the forest having a structure of glass, concrete and steel. This museum is intended to house and exhibit a collection of Eastern and contemporary art built up by Mrs Langen and her husband. In response to the program, Ando designed two different spaces: a still space filled with soft light for Eastern art and a dynamic space for contemporary art (Rana, n.d.).

The Hansol museum is located in the Oak valley, on the mountain peak of Wonju, South Korea. Because of the location Tadao Ande wanted to make a relation between the sky and the building. Hence he made the building touching to the sky and surrounded by the sky. He reflected the ideology of disconnect to connect which address the individualistic culture. The main building comprises the Paper Gallery which is dedicated to the themes related to paper and the Cheongju Gallery consisting of a permanent exhibition ranging from traditional artworks made of paper to contemporary art, including video art and light art (Rethinking the future, n.d.).

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Concept Note

Fig 1. The Langen Foundation, 2004

Fig 2. The Hansol / SAN Museum, 2013

The essay will focus on the geometry, materials and design of the museums situated in different nations and very close to nature. This will go through the different experiences of the museums and sensitive transitions within the buildings which is tied with the “energy of life (nourishment for the mind that will last throughout the whole life)” and minimal use of materials.

Working bibliography History. (2002). Langen foundation. https://www. langenfoundation.de/en/architecture/history/

Minimalism: the latest architecture and news. (2022, March 5). Archdaily. https://www.archdaily.com/tag/minimalism

Museum SAN by Tadao Ando: harmonizing art, architecture and nature. (n.d.). Rethinking the future. https://www.rethinkingthefuture.com/case-studies/a3082-museum-san-bytadao-ando-harmonizing-art-architecture-and-nature/ Museum SAN, the museum under the sky. (2018, July 5). Cision. https://www.prnewswire.com/news-releases/museumsan-the-museum-under-the-sky-3006 76237.html

Rana, M. (n.d.). Langen foundation by Tadao Ando. Architect boy. https://architectboy.com/langen-foundation-tadao-ando/ Tadao ando museum langen foundation. (n.d.). Divisare. https://divisare.com/projects/382645-tadao-ando-lorenzozandri-museum-langen-foundation

When sunlight meets tadao ando’s concrete. (2019, April 18). Archdaily. https://www.archdaily.com/915270/whensunlight-meets-tadao-andos-concrete?ad_source=search&ad_ medium=projects_tab&ad_source=search&ad_ medium=search_result_all

Highlights and Shadows

Theme: Both structures make extensive use of light and shadow as materials in their designs.

It is well known in the art world that Tadao Ando is known for his innovative use of concrete, sensitive lighting, and a profound relationship with nature. It can be concluded that his design style incorporates all three of these Japanese ideals: Shintai, Zen, and Haiku. Empty spaces are used to showcase the beauty of simplicity and show the co-emergence of the interiority of selfhood and the exterior environment. In the three churches highlighted in 2004 (Baek), the architect’s efforts to bring the spiritual realm to life through architecture may be observed. To generate a strong sense of refuge within his works, he uses reinforced concrete predominantly as a means of bridging the gap between architecture and the surrounding landscape. This study aims to be able to compare the many ways in which Ando used his beliefs to create distinct environments, even though his goals remained consistent.

Ando Designed the church’s unique lightweight and are using really simple components like rectangular boxes and crosswise planes. A church may be as large as 6x6x18 meters. Later intersected by a wall that rotated fifteen degrees from the most central axis. Besides the sliding glass screen, it also houses the entrance of the space, similar to a very old Japanese shoji. Chichu Art Museum was designed by Tadao Ando in a brutalist style. Concrete was used to achieve smooth lines and built-in ornamentation. The museum’s empty spaces have been evaluated as a reflection of the individual’s spatial movement.

Concrete blocks balance wood’s warm glow with cutting-edge lightweight transportation to transport peace and hope. The concrete bulk controls the space, but wood is used for bench seats and floors. A minimal design by Tadao Ando for the Chichu Art Museum. Besides concrete, steel, glass, and wood are used as secondary components. Concrete is used for the walls. Concrete has a sense of weightlessness despite being a heavy and substantial material.

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Fig 1. Building 1: Church of Light by Tadao Ando

Fig 2. Building 2: Chichu Art Museum by Tadao Ando

Light is the most important element in Ando’s work. It is felt that light is moving through the concrete’s diagonals and sharp edges. It is formidable as it appears unassuming. The design is made up of repetitions of pure geometric designs such as the cuboid, plane, and cylinder.

Both structures make extensive use of light and shadow as materials in their works, as well as concrete to create a variety of aesthetic effects. Comparison research concentrating on the impacts of light when employed differently will be done to understand this variation in appearance.

Bibliography

Baek, J. (2017, March 28). Church of The Light: Tadao Ando. Wiley Online Library https://onlinelibrary.wiley.com/doi/ abs/10.1002/9781118887226.wbcha161

Mairs, J. (2017, October 31). Tadao Ando creates a full-scale mock-up of the church of the light for the Tokyo exhibition. Dezeen. https://www.dezeen.com/2017/10/31/tadao-andofull-scale-mock-up-church-of-the-light-exhibition-tokyonational-art-center/

(N.D.). Archute. Church of the Light by Tadao Ando. https:// www.archute.com/church-of-the-light/ (N.D.). (2011, September 9). Archute. Church of the Light by Tadao Ando. https://www.archute.com/church-of-the-light/ (N.D). AD Classics: Church of the light/ Tadao Ando Architect and Associates. arch daily.com. https://www. archdaily.com/101260/ad-classics-church-of-the-light-tadaoando

(N.D). (2020, July 02). Tadao Ando’s Church of The Light. Arckit. https://us.arckit.com/blogs/news/tadao-ando-schurch-of-the-light

Shah N. (2021, October 11). The Church of Light by Tadao Ando - archEstudy - Cultural/Religious. archestudy.com. https://archestudy.com/the-church-of-light-by-tadao-ando/

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Establishment: A Comparative Study Between Heydar Aliyev Center And Guggenheim

The research is based upon the two different styles of communal architecture and types of materials used. The primary focus of this research is to analyze how the different types of designs can be created and how different materials are used for construction of these designs. Designs play a key factor in formation of structure, thus analyzing the practicality of the building is also the primary focus.

Heydar Aliyev designed by Ms.Zaha, is a convention center situated in Baku, Azerbaijan. The building has a fluidic design which was constructed by DIA construction company. The project was named after the first secretary of Soviet Azerbaijan, ‘Heydar Aliyev’. The building significantly contributes to the cultural and social programme of the country. Peeking into its design the building establishes a connection between its environment and interior while providing a fluidic and continuous design. The architectural landscape of this building serves a multitude of functions like, welcoming, embracing and directing the visitors. The reason behind such design was to connect the historical ideology of continuity and fluidity by expressing the design in modern contemporary architecture.(Heydar Aliyev Center / Zaha Hadid Architects | ArchDaily, 2013).

Having such a geometrical structure there were a lot of construction logics, technology and other factors. The construction was done using two collaborating structures: a concrete structure and a space frame structure.(Heydar Aliyev Center / Zaha Hadid Architects | ArchDaily, 2013).

A concrete structure is a structure which uses reinforced concrete along with a metal frame. The metal frame provides superstructure and provides rigidity, whereas a space frame structure is a type of structure in which the frames are made in a geometrical pattern using interlocking struts. The structure is made column free in order to maximize the fluid look of the building. The vertical elements of the building are absorbed by the curtain wall system. The invers peel roofing of the building was created by using curved boot columns.The dove tail tapering of the cantilever beams supports the building to east of the site. Looking at the sub-

Fig 1 & 2. Heydar Aliyev center(2012)

Fig 3. Guggenheim museum(1959)

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structure of the building,the space frame and free form of the building is joined by seam cladding of glass fiber reinforced concrete(GFRC) and glass fiber reinforced polymer(GFRP), the base of the building also includes 150 foot long concrete piles to withstand an earthquake of magnitude 7.(Tanisha Agarwal, 2001)

The Guggenheim museum was designed by Frank Lloyd wright. It was considered to be his longest work in terms of time period. The construction started from 1943 and ended in 1949. The museum is situated in New York towards Manhattan. The curvy design of the museum is designed in a contrast with respect to the grid structure of the city. (How One Simple Material Shaped Frank Lloyd Wright’s Guggenheim | The Guggenheim Museums and Foundation, n.d.)

The exterior curves of the building are constructed by using reinforced concrete. The structure was created in such a way that it swirls from ground to sky. The superstructure is constructed using metal and wood frame work. These frameworks were then filled by three types of concrete in different stages. Reinforced concrete is lightened with elit to create the super structure of the building, then lightweight reinforced concrete for slabs and ramps were used and concrete mixed with gravel for filling up the outer shell of the building.(Adelyn Perez, 2010). For construction of this museum over 7000 cubic feet of concrete and 700 tonnes of structural units were used. The floor slabs of the museum reaches upto 30 meters between each support, it also has cantilevers upto 8 meters. The material used in the skylight of the central dome is manufactured glass and steel and the dome is reinforced with a concrete beam. Looking into the interiors, as soon as someone enters the museum they are introduced to an atrium which is 92 feet in height with an expansive glass dome. The ramps of the building create a continuous flow of structure. The interior wall of the building is painted in white color in order to ensure the paintings stand- out. The exterior of the building is painted regularly to maintain the color the building.(Adelyn Perez, 2010)

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Bibliography

Heydar Aliyev Center. Zaha Hadid Architects. ArchDaily. (2013, November 14). https://www.archdaily.com/448774/ heydar-aliyev-center-zaha-hadid-architects.

Agarwal, T. (2001, March 1). Heydar Aliyev Cultural Centre. Heydar Aliyev Cultural Centre; https://www.slideshare.net/ TanishaAgarwal1/heydar-aliyev-cultural-centre

How One Simple Material Shaped Frank Lloyd Wright’s Guggenheim | The Guggenheim Museums and Foundation. (n.d.). The Guggenheim Museums and Foundation; https:// www.guggenheim.org/blogs/checklist/how-one-simplematerial-shaped-frank-lloyd-wrights-guggenheim

Perez, A. (2010, May 18). AD Classics: Solomon R. Guggenheim Museum. Frank Lloyd Wright. ArchDaily. AD Classics: Solomon R. Guggenheim Museum. Frank Lloyd Wright; www.archdaily.com. https://www.archdaily. com/60392/ad-classics-solomon-r-guggenheim-museumfrank-lloyd-wright

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E2.8Descriptive(comparative) essay

Descriptive

Even before reaching the stage of writing a thesis, at the level of writing the simplest of essays, there has been so much romanticization and obfuscation of what should go into the process and into the final product, that a disappointing majority of the essays we get to read nowadays are more opinion pieces based on ‘facts one has made up’, and less research and reflection on what already exists. The outcome of this trend affects us all, in the demand to produce text that shows our familiarity and ease with complex concepts, even before we have a chance to in fact engage with them. Sustainability, postmodernism, deconstruction are such concepts we feel compelled to throw into our writing, proof that we have ‘made it’.

What is lost in the process is precisely what we should go back to focusing on: essays as honest pieces of writing, not striving to impress, but to communicate thoughts that the writer has taken the time to research and reflect on. That is why the journey to the essay has been so long, involving skimming to identify what is pertinent, articulating it so that the information and ‘facts’ we use are not taken out of context, close reading to engage with existing knowledge, not only to show that we have, but to in fact have a comprehensive view of what already exists and how it may help form our own opinion. That is also why we have gone through a process in which the logic of the very simple, descriptive essay we intend to write had to be mapped and argued in a concept note, and it is only once the concept note has reached the required level of clarity that we can now invest in moving forward and writing a comprehensive piece, knowing that we will not get lost in the flourishes of style in between.

The type of essay we will work on is descriptive – there is no pressure to come up with an original argument. That is a task for courses later on, once our knowledge has reached a point where it can produce originality, and even justifiable critique. It is a comparative essay, because it allows us to make sure that we frame the focus and structure of our essay actively, not guided by the availability of materials and by what other writers have considered interesting, which can often be the case for beginner writers.

E2.8

Framing the Assignment

Your concept note and presentation have persuaded the review committee of the value of your research for the centenary edition of Frontline Architecture India. They are interested in receiving a complete essay, between 1500 and 2000 words long (including bibliography), exploring in detail the comparative description of two specific works by well known architects, in a style easily accessible to a wide range of readers. Only essays submitted before the deadline will be considered for publication. They will follow a process of peer review to ensure that they fit the mandate.

Learning Outcomes

Ethical research and avoiding plagiarism

Conducting additional focused research

Maintaining a bibliography

Structuring a comparative essay

Writing clear descriptive text

Compiling a list of works cited

Providing representative titles

Integrating knowledge and information from multiple sources

Writing clear paragraphs, captions

Peer learning in thematic groups

Articulating arguments orally as a testing ground

Working with tutor feedback

Editing and formatting one’s own work based on structure, formatting and editing feedback

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101 E2.8 | Descriptive (Comparative) Essay

102

Form Folds Light: Tadao Ando’s Church of Light and Kenzo Tange’s St. Mary’s Cathedral U21053

Abstract

Sacral architecture, means architecture formulated for a house of worship; connects people together through faith. Ideas of Metabolism and Minimalist Brutalism are translated into the forms designed to engage with light beautifully. The logic and geometry of these light folding forms are explored to create an experience while weaving the idea of timelessness by Tange and Ando’s practice of Shintonism. Symbolism is often used for architecture that involves faith, here the universally known symbol of Christianity is used as a window for light to seep in through. The forms of both houses of worship are built around this window of light as its key characteristic. The differences of the architects’ ideologies are what sets them apart and the engagement with light differs accordingly. This is discussed in the essay while engaging the use of nature, more specifically, light into sacral architecture of Japan by two Japanese architects- Kenzo Tange and Tadao Ando.

Keywords: Sacral architecture, Metabolism, Minimalism, Brutalism, Shintonism, Symbolism, Reconstruction in Architecture, Ornamentation, Lack of Ornamentation, Light, Slits, Gaps, Concrete, Volume, Spirituality, the Holy Cross, Christianity, Faith, Sunlight, Sciography, Spotlight effect, Reflection, Emptiness.

103

E2.8 | Descriptive (Comparative) Essay

With the end of the second world war, Japan was on its way to stand back on its feet. As a result of constant air-raids and violence, many public spaces and buildings were razed down to the ground. Rising from the ashes of war, reconstruction with an agenda to indicate Japan’s stand in the developing world was a patriotically unanimous response (Lin, n.d.). This unique situation caused distinctive buildings to stand under an architectural movement called “metabolism”. The word “metabolism” refers to the process of maintaining living cells, where constant adaptation and evolution occurs in urban spaces (Britannica, T. Editors of Encyclopaedia, 2019). Kenzo Tange launched this modern architectural movement in the 1960s, soon after the end of the second world war. Young architects like Tange used this as inspiration and made their buildings emulate a living cell. They believed cities and architecture are ever changing and not static in time, hence “metabolist architecture seems to be timeless, something that could have been built a few decades ago, today or maybe a few decades later” (Craven, 2019). One such timeless example is the St. Mary’s Cathedral by Tange which was built in Tokyo as a replacement for an old wooden gothic style cathedral. As the political instability started to settle down three decades later on the western side of Japan, a humble church arose as a renovation of a pre-existing church built by Tadao Ando in Ibaraki, Osaka. The Church of Light stands as another timeless and minimalistic design with a modest setting. Minimalist in terms of its lack of ornamentation, strong use of symbolism and dependability on basic shapes like rectangles. Comparing this along with Tange’s grand, ornamented cathedral, his use of symbols and complex shapes and curves of the cathedral shows a different approach. While both use light as a dominant element in their work, this essay focuses on their study of light and use of geometry in terms of form to pursue sacral architecture.

Fig 1. Soaring High like a Golden Bird Note. Tange’s design for the cathedral stands out in the context it’s built in, with the low urban setting and open plains, the cathedral tends to contrast and try to reach the sky with its volume and shape. Sun rays glisten on its surface, catching the eye of a passerby, attracting even more attention. From “St, Mary’s Cathedral” by Summer, E. (2016), Dezeen (https://www.dezeen. com/2016/07/18/kenzo-tanges-brutalclassic-st-marys-cathedral-edmundsumner-photography-tokyo-japan/) Copyright 2016 by Dezeen.

Context

Ise Shrine is an outstanding house of worship where the idea of post-war rebuilding and metabolism is inspired from;

Fig 3. A Humble Presence Note. Seated amidst a humble neighborhood, the church blends with its surroundings through the continuity of nature, with low height and its cuboidal shape, it almost seems like it belongs there and was always timelessly there. From “Church of light, Tadao Ando.” by Morimoto H. (2015, October 10), Het Gallery (http:// www.hetgallery.com/church-ofthe-light.html ) Copyright 2015 by Het Galley.

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established over 2000 years ago, its main characteristic is that it is rebuilt every 20 years, signifying the openness to change and keeping constant (Inner Shrine, 2021). When the St. Mary’s Cathedral was given to Tange to reconstruct, he took the opportunity to translate a cathedral which stands true to its fundamentals while it changes and regenerates into a grand form. Appearing as it is rising from the earth like a bird reaching out to the sky with its wings open wide so it “recalls the lightness of a bird” (Gianotti, 2011). Fundamentals about love and forgiveness, how the cathedral rises higher than ever though it was burnt down.

On the other hand, Ando celebrates fundamentalism and regeneration in Shintoism which is a popular and optimistic way of life in Japan where they believe in spirits and how they reside in a space. While following the belief of “less is more”, the Church of Light stands as a simple church having a strong involvement with light, making one believe in the presence of holy spirits in this space while it stands as a host (Baek, 2008). This host building is a cuboidal structure with inclined walls separating spaces. Present at a low height it almost blends with the environment, into the fauna and the residential area. Its in-situ casted concrete slabs lay true to their construction with exposed appearance (Shah,(2021). This showcases a true approach to the church as an honest portrayal of a house of worship through verity in construction elements and no cladding or hiding anything under a more beautiful surface. A space comparatively smaller in terms of volume seems more homelike and this habitable volume enables a person to connect on a personal level.

With the idea of portrayal of truth in our mind, Tange talks about the reality of sacral architecture where he says, “Architecture is the creation of a special form of understanding of reality. This understanding requires the anatomy of architecture, as its substantial and spiritual structure, be understood as a whole.”

From this we can see how Tange perceived the reality of things, how even with stainless steel cladding on the

Fig 1. Sunlight Curtains Reaching to the Roof

Note. Curving light creates an interesting setting for the cathedral as the tall curving walls appear rigidly straight, light unfolds this appearance and shows reality. This lighting changes throughout the day, creating an interesting experience with each visit. From “Kenzo Tange, St. Mary cathedral” by Florio (n.d.), Divisare (https://divisare.com/projects/373510kenzo-tange-james-florio-photographyst-mary-s-cathedral) Copyright by Divisare.

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cathedral, one has to understand the architecture as a whole. How its spiritual nature and the physical cathedral’s form and built are supposed to be understood together. The cathedral’s use of grand curved walls comprises eight walls which also act as the roof in the way they enclose the space allowing only vertical gaps (Giannotti, A, 2011). Folding from a wider rhomboidal base, walls curve and join at the top while making a shape of the holy cross, almost like a flower about to bloom. This geometry shows how one can connect form to abstract ideas of spirituality under the name of sacral architecture.

Another strategy of form and its along with a structurally required material is the monochromatic stainless steel. It is cladded on concrete on the outside to reflect sunlight which prevents water from entering the cathedral and avoids water damage to the internal structure, enhancing its life further (Giannotti, A, 2011). It also almost sparkles at a passerby, adding to the contrast of light and depth of the curves of the entire structure.

Light

“The light becomes glorious only when it is lit against the background of the deepest darkness, wanting to abstract nature to the fullest extent and at the same time to purify the architecture correspondingly. The changes of the transitory light remind us of a new relationship between humans and nature” as said by Ando.

With this approach of contrasts, creating the deepest darkness and then making slits with the symbolic use of the cross as the highlight of the church delves towards its “less is more” nature. Along with this, brutalism is incorporated in a soft manner, the architecture movement asks for bare construction building materials to be visible without any ornamentation. Along with this, Nishida’a philosophy of topos (nothingness) and “shintai” in mind, Ando leaves most of his design minimal and empty (Baek, 2008). With one big cross slit

Fig 4. Traveling from Outside through the Cross following the Light’s Path Note. Light travels from the top of the open roof, glistening on the stainless steel outside; all the way inside as diffused sunlight, embracing the inner concrete and creating gradients on the walls. From “Kenzo Tange, St. Mary cathedral” by Florio (n.d.), Divisare (https://divisare.com/projects/373510kenzo-tange-james-florio-photographyst-mary-s-cathedral) Copyright by Divisare.

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cutting through the entire wall, he creates an experience out of emptiness, an emptiness that allows light to seep in the chapel to let the light take the focus. The idea of “nothingness/ emptiness” used here is that in the church, the interior comprises basic necessities like seating space, an altar, and more. It has been stripped of any extra unnecessary objects or ornamentation.

Incorporating a minimal outlook, the lack of ornamentation highlights the church’s use of this empty space to its advantage. Regardless of being mostly empty with a box-like structure, one doesn’t feel so when they visit thanks to the cross slit immediately in front of their eyes. A very simple slit stretching across the front wall, the idea of this gap, a void created in this cut allows light to enter.

A similar idea of letting light seep in through slits, the hyperboloid curves in St. Mary’s cathedral forms slits that enable light play that changes every hour of the day, inside and on the outside. Outside, due to the highly reflective surface, it acts as a curved mirror for the sky. White light from the sun is prevalent during the late morning and late afternoon as seen in figure 1. During sunrises and sunsets, the cathedral glows a beautiful orange and amber yellow. Glistening with pride as it appears as if it has been dipped in gold, visual warmth is created in cooled down times of the day.

On the inside, different patterns and shades of light seeping in through the vertical gaps on the interior curved walls create an interesting experience, it makes the cathedral feel limitless with its seemingly endless curves. Sciography, the study of casting shadows, is explored with straight and vertical slits allowing light to enter at all times of the day, diffused light and direct sunlight both are present throughout the day (Fujisan Drone Base, 2016). While direct sunlight enters and is immediately reflected from the surfaces it touches. The light softens on the concrete as the harsh straight rays appear to be curved due to the curved concrete. As one looks for the limits of these curves, they’re struck with the roof. Reflected and diffused light dawns on the viewer from above, forming

Fig 5. The Holy Cross and its Reflection on the Floor Note. The sunlight that seeps in acts like a spotlight effect, while stealing all focus of the chapel to itself, invoking an overwhelming feeling of spirituality. From “ Capilla de le luz” by Martinez, S. (2014, July 31st) Behance (https:// www.behance.net/gallery/18731137/ Capilla-de-la-luz) Copyright 2014 by Behance.

Fig 6. The Nothingness and everything of Ando’s design Note. The cross, the focus of Ando’s design in the Church of Light, is to allow light to enter from the cross slit. The clear glass and concrete join together to make this possible. From “Church of Light” by Morimoto H. (2015, October 10), Artland (https:// magazine.artland.com/master-oflight-tadao-ando/) Copyright 2015 by Behance.

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interesting gradients on the curved walls on its way to the visitor’s eye (Florio, n.d.).

Diffused light allows visual clarity throughout the space, helps one navigate well, however the cathedral has added artificial lights recently to increase visibility, interfering with the cathedral’s natural state.In addition to that, being a massive dark place, such light entrances create an overwhelming experience for the visitor, enhancing the symbolism of the church as a religious space. In a way, this contrast creates a spotlight effect where one feels like the focus of an audience, Tange uses this to make the visitors feel seen and paid attention to by God or a higher power.

A similar visual aspect played by Ando is the direct reflection of the cross created on the floor, which in turn reflects the light in the church, allowing visibility for navigation. The orientation of the main chapel plan is in the southwest direction to ensure morning sun rays directly enter it. There is a plane cutting the church at an angle of 15 degrees, separating the interior from the outside area (Moreno, 2021). It allows diffused light to enter at the back end of the church. This plane also allows the mind to separate these spaces, a public space to a slightly more private space though public. A similar spotlight effect created here is through the use of space and a spatial division between outside and inside in terms of layout plan of the church.

Conclusion

Ando uses brutalism to keep his designs minimal, the lack of ornamentation and avoidance of maximalism while Tange’s maximalism is evident through the staggeringly high cathedral, its shiny nature and the grand interiors; it stands as a stark difference between the two. Both architects have used the physical “emptiness” of this cross to allow direct sunlight to enter, in a way bending its shape into a cross. Along with this, the idea of incorporating nature and directing and molding it into a universal symbol of Christianity- the holy cross is highlighted. We can see an effect of a japanese

Fig 7. The Proud Golden Peacock Note. Standing ablaze, opening its feathers towards the sun, embracing its warmth, the St. Mary’s Cathedral glows in the evenings. It transforms from a pure white and silver to a glistening gold. From “St. Mary’s Cathedral, Tokyo by Fujisan Drone Base. (2016, October 21), Youtube (https://www. youtube.com/watch?v=TXt4vJVziQs) Copyright 2016 by Youtube.

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origin, how one’s culture and way of life is involved in the design. This is evident through their process of designing, Tange used metabolism which was evoked through the political vulnerability of the country since world war two had recently ended (Kalantri & Tajik, 2017); while Ando had a more spiritual and personal approach where he took japanese teachings he came across as a student and worked with Shintonism and spirituality (Baek, 2017). Being three decades apart one can notice a shift, a rising economic status of Japan through its architecture and the architects’ way of life from these incorporated ideas. The two architects have bent light in the pursuit of connecting with God in their own ways, allowing the visitors to do so too. Sacral architecture is a divine field, it is highly difficult to tackle considering this space is to be occupied by humans but more importantly by a power above everyone. The fact that mere humans try to achieve such seraphic goals, and architects like Tange and Ando succeed with flawless fervour is simply remarkable.

List of works cited

AD Editorial Team. (2019, September 4). Spotlight: Kenzo Tange. ArchDaily. https://www.archdaily.com/270043/happybirthday-kenzo-tange

Baek. J. (2004). Empty cross: nothingness and the church of light. Dissertations available from ProQuest. https:// repository.upenn.edu/dissertations/AAI3125781/

Baek, J. (2008). From the “topos of nothingness” to the “space of transparency”: Kitarō Nishida’s notion of shintai and its influence on art and architecture (Part 1). Philosophy East and West, 58(1), 83–107. http://www.jstor.org/stable/20109448

Baek. J. (2017, March 28). Church of light: Tadao Ando. Twentieth-Century Architecture. Part VI. The Present Generation: Engaging the Contemporary World. https://doi. org/10.1002/9781118887226.wbcha161

Fig 8. Play of Light with the Concrete and Glass Windows

Note. Straight lights of the cast in situ concrete pair well with the contrasting curving wall; light exaggerates this property through the game of sciography. From “Kenzo Tange, St. Mary cathedral” by Florio (n.d.), Divisare (https://divisare. com/projects/373510-kenzo-tangejames-florio-photography-st-marys-cathedral) Copyright by Divisare. Copyright 2016 by Youtube.

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Britannica, T. Editors of Encyclopaedia (2019, September 4). Metabolist school. Encyclopedia Britannica. https://www. britannica.com/art/Metabolist-school

Church of Light, Osaka. (n.d.). Architecturaviva. https:// arquitecturaviva.com/works/iglesia-de-la-luz-osaka

Church of Light by Tadao Ando. (n.d.). Archute. https://www. archute.com/church-of-the-light/

Craven, J. (2021, February, 16). What is metabolism in architecture? ThoughtCo. https://www.thoughtco.com/whatis-metabolism-in-architecture-177292

Daelemans, B. (n.d.) The christian symbol between representation and expression in Tadao Ando’s churches. Ando’s Cross, 47 (2).https://faithandform.com/feature/andoscross/

Durgin, R. (1953, January). Christianity in post war Japan. Far Eastern Survey https://online.ucpress.edu/as/ article-abstract/22/2/13/35827/Christianity-in-PostwarJapan?redirectedFrom=fulltext

Frank S. (2021, March 4). Minimalism in architecture. Medium. https://stevie-frank.medium.com/minimalismin-architecture-7cb9e1282010#:~:text=Minimalist%20 architecture%2C%20sometimes%20referred%20to,true%20 'essence%20of%20architecture

Fujisan Drone Base. (2016, October 21). St. Mary's Cathedral, Tokyo /[video]. Youtube. https://www.youtube.com/ watch?v=TXt4vJVziQs

Giannotti, A. (2011, February 23). A.D. Classics: St. Mary Cathedral /Kenzo Tange. ArchDaily. https://www.archdaily. com/114435/ad-classics-st-mary-cathedral-kenzo-tange

Inner Shrine. (2021). Japan Guide.https://www.japan-guide. com/e/e4300.html

Kalantri, S. & Tajik, S. (2017, July 13). Japanese architecture of world war 2: significant events and ideologies from 1955-

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1970. Academia. https://www.academia.edu/37620606/ Japanese_Architecture_after_World_War_II_Significant_ events_and_Ideologies_from_1955_1970

Lin, Z, (n.d.) Restructuring the modern city. Metabolism, pp. 871- 878. https://www.acsa-arch.org/proceedings/Annual%20 Meeting%20Proceedings/ACSA.AM.95/ACSA.AM.95.120.pdf

Loffler, B. (2018). Acculturated otherness. christian churches and wedding chapels in modern japanese society. Entangled Religions, pp. 312-346. https://er.ceres.rub.de/index.php/ER/ article/download/7367/6537/2518

Moreno, G. G. (2021, July 11). Shaping the light, church of light by Tadao Ando. Metalocus. https://www.metalocus.es/ en/news/shaping-light-church-light-tadao-ando

Morris, M. N. (1999). From the ground up: the reconstruction of Japanese historic buildings from excavated archaeological data. Japan Review, 11, pp. 3–30. https://www.jstor.org/ stable/25791033

Sacral Architecture. (2019, September). Wikipedia. https:// en.wikipedia.org/wiki/Sacral_architecture

Sambrook, J. (2015, February 17). St. Mary’s Cathedral, 1964. The RIBA Journal. https://www.ribaj.com/culture/st-maryscathedral-tokyo-1964

Shah, N. (2021, October 11). The church of light by Tadao Ando. ArcheStudy. https://archestudy.com/the-church-oflight-by-tadao-ando/

Images for reference

Image 1: Soaring High like a Bird with Open Wings (reference) Summer, E. (2016). St, Mary’s Cathedral [photograph]. Dezeen. Retrieved from https://www.dezeen. com/2016/07/18/kenzo-tanges-brutal-classic-st-maryscathedral-edmund-sumner-photography-tokyo-japan/

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Image 2: A Humble Presence

(reference) Morimoto H. (2015, October 10). Church of light, Tadao Ando. [photograph]. Het Gallery. Retrieved from http://www.hetgallery.com/church-of-the-light.html

Image 3: Sunlight Curtains Reaching to the Roof

(reference) Florio. J. (n.d.). Kenzo Tange, St. Mary cathedral. [photograph]. Divisare. Retrieved from https://divisare.com/ projects/373510-kenzo-tange-james-florio-photography-stmary-s-cathedral

Image 4: Play of Light with the Concrete and Glass Windows (reference) Florio. J. (n.d.). Kenzo Tange, St. Mary cathedral. [photograph]. Divisare. Retrieved from https://divisare.com/ projects/373510-kenzo-tange-james-florio-photography-stmary-s-cathedral

Image 5: Traveling from Outside through the Cross following the Light’s path

(reference) Florio. J. (n.d.). Kenzo Tange, St. Mary cathedral. [photograph]. Divisare. Retrieved from https://divisare.com/ projects/373510-kenzo-tange-james-florio-photography-stmary-s-cathedral

Image 6: The Holy Cross and its Reflection on the Floor (reference) Martinez, S. (2014, July 31st). Capilla de le luz. [photograph]. Behance. Retrieved from https://www.behance. net/gallery/18731137/Capilla-de-la-luz

Image 7: The Nothingness and everything of Ando’s design (reference) Mancinelli, C.(n.d.). Church of Light [photograph]. Artland. Retrieved from https://magazine. artland.com/master-of-light-tadao-ando/

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The Opera House Vs. The Heydar Aliyev Center: Similar Structure, Different Design U21211

Abstract

The essay compares two similar buildings, the Heydar Aliyev Center located in Baku, Azerbaijan, and the Opera House located in Sydney, Australia in terms of structure and materials used and explores the differences between these two similar buildings. The Aliyev Center was made by Zaha Hadid in the year 2007 whereas the Opera House was made by Jorn Utzon in the year 1959. Both the buildings have shell-like structures and are built to hold cultural programs and performances. The essay talks about the difference in the architectural styles of both buildings. Keeping in mind the time difference in which both the buildings were made, the essay compares the modern styles present in the 1950s to that of the styles present in the 21st century. The essay further establishes the difference between the buildings on the basis of what ideas the architects had in their minds for their structures. For eg., Hadid focused on fluidity for the structure to represent Islamic religion whereas Utzon was inspired by nature and its organic forms. In nutshell, the essay discusses all the aspects like inspiration for design forms, specific characteristics, and how the structures that are used for the same purpose are different from each other.

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Widely inspired by Islamic architecture, Zaha Hadid’s Heydar Aliyev Centre, located in Baku, Azerbaijan, is one of the most complex fluid structures in the world with no sharp angles. Built-in the year 2007, the Center is majorly used for the nation’s cultural programs, promotes the Azerbaijani language and history, and is conceived as a symbol of the process of the country’s recent economic development and modernization (Bianchini, 2021). Whereas inspired by nature and its organic forms, Jorn Utzon’s Opera house, built in the year 1959, located in Sydney, Australia, is quite known for its creativity and innovation in both architectural form and structural design (UNESCO World Heritage Center, 2022). The Opera house is a multi-venue performing arts center where all the cultural events like ballet dance, choir performances, and popular music shows take place (T Information Architects of Encyclopedia, 2022). The Opera House was built in the year 1959 while the Heydar Center was built in 2007. Both of the structures are made of the same material, i.e., precast concrete shells but because of different built-in times and different technologies, the Opera House took 14 years to get built whereas the Aliyev Center took only 5 years. The essay will compare the modern architectural styles of both buildings with respect to their built-in time. Both the buildings had different advancements in terms of architectural construction and method and both the architects chose the most modern styles present in that time period to attain sustainability and unique structures. The essay starts with giving a brief about both the buildings and further compares the structural system of the buildings and how a certain character was achieved by the construction method. The essay also discusses the specific characteristics of both the structure that makes them unique and the basic inspiration of the design forms for both the structures.

The Opera House has a series of large precast concrete shells, forming the roof of the structure, set on a monumental podium (Architectuul, 2022). The three main parts of the structure consist of the concert hall, the opera house, and the restaurant (wikiarquitectura, 2022). The main elements of the building are the base podium, the roof shells, and the

Fig 1. The Opera House, Sydney Note. All the white shell-like structures of the roof would make a perfect sphere when joined together. Copyright @ 2022 by Hynes, M.

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polarized glass with steel frame windows. The whole structure of the building is symmetrical through the central axis of the hall. Each half main shell consists of a series of concrete ribs that are reinforced in precast concrete sections to strengthen the main shells (Arup, 1973). There are in total 14 shells that make up the roof of the Opera House, which when combined, would make a perfect sphere. “The design consisted of two main halls side by side facing out to the harbor on the large podium. Each hall was topped with a row of sail-shaped interlocking panels that would serve as both roof and wall” (Murray, 2021). Inspired by Myan and Aztec architecture and the ancient way of keeping buildings on a raised platform, Utzon also made the podium, the main element of the building, on which the roof structure rests.

Unlike the Opera House which used shell-like structures to achieve organic shapes, Zaha Hadid’s Aliyev Center chose fluidity to attain organic shapes. Continuous shell structure, being one of the best and most lightweight structures, is used in the building to avoid the usage of columns. The design of the Center “establishes a continuous, fluid relationship between the surroundings and the plaza”. “Different formations such as folding, bifurcation, partition, and inflections modify this plaza that performs many functions such as welcoming, directing, and embracing the visitors through different levels of the interior”(ArchDaily, 2022). Fluidity connects the various cultural spaces and at the same time, provides each member of the plaza with its own identity and privacy (Slideshare, 2021). The structural system of the building consists of two main systems that collaborate: Concrete Structure combined with a system of Space Frame (refer to figure 3). The fluid structure is created through the space frame, i.e., steel struts are bent and attached to achieve fluidity.

The structural system of the building consists of two main systems that collaborate: Concrete Structure combined with a system of Space Frame (Slidesharenet, 2022). As can be seen in image 3, the reinforced concrete structure is the main structure of the building that provides strength and transfers the load to the ground, and divides all the interior sections,

Fig 2. The Heydar Aliyev Center, Azerbaijan Note. The fluid structure of the building is so continuous that it appears to be emerging from the ground towards the infinite sky. Copyright @ 2017 by Muller, L.

Fig 3. The Construction Method to achieve fluidity Note. To achieve the fluidity in the structure, first the reinforced concrete structure was made above which the space frame structure is placed. Copyright @ 2022 by Slideshare.

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Fig 4. The Design Form Inspiration Note. Utzon came up with a perfect sphere solution while peeling an orange and it solved all the complexities that were posed during the making.

upon which the space frame system sets. The fluid-structure is created through the space frame structure, i.e., steel struts are bent and attached to achieve fluidity. This space frame structure is then covered with white glazed tiles that create a fluid pattern so continuous that it feels almost homogeneous.

Designing Inspiration for the form:

Jorn Utzon and Zaha Hadid both were inspired by nature and both tried to inculcate organic forms that are curvilinear in shape with no straight edges into their buildings. Made from the same material, i.e., precast concrete shells and the same shell-like structure, both the buildings are very similar to each other. The basic inspiration behind both the projects was the same but how both the architects used that inspiration to create something new was very different. Even after having so many similarities, the ideologies and inspirations of both the architects made a real difference in the overall form, geometry, and concept of the structures. “The design of the Opera House was inspired by nature, its color, form, and function. Utzon was highly influenced by bird wings, the form of clouds, shells, walnuts, and palm trees” (Ryan, 2021) (Refer to figure 4). He looked upon nature for guidance when designing, as nature over time combined both efficiency and beauty, hand in hand (Sydney Opera House, n.d.). It is said that Utzon thought about the design of the roof structure while peeling an orange and then came up with the sphere solution, i.e., all the shells of the structure would make a perfect sphere (Technology Student, n.d.). The Center being located in Baku was made to promote the nation’s cultural and traditional values. Zaha Hadid took inspiration from “the Islamic religion”. The fluid structure of the building was

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inspired by the “continuous flowy calligraphic and ornamental pattern” (ArchDaily, 2022) present in the Islamic Religion. The Aliyev center focuses on the smooth continuous fluid relationship between the exterior and the interior with a little sense of mass and void, wherein the mass is the walls and the structure around and void is the feeling of emptiness in space or space filled with air (Denis, 2014) while the Opera House focuses on its construction and its exceptional technological innovation for the roof structure.

Specific Characteristics of the structures:

The Opera House and the Aliyev center both had very different characteristics in terms of the exterior facade of the building. What was similar in both the structures was that both the architects used the most modern styles that were present during that period. The Opera House uses materials like “concrete and glass” to express an “emotional perspective” (Designing Buildings Ltd., 2020). The shells that make the roof structure being curvy and abstract, symbolize the “biomorphic forms”, i.e., forms that are inspired directly by nature or mother earth itself. Utzon was also inspired by nature as discussed in the above paragraph, so the elements like the roof structure (inspired by nature) determined the style of the building. Meanwhile, the Aliyev Center is in many ways a highly imaginative and exciting space, “which can often challenge the boundaries of more traditional structures” (Digital School Technical Design College, 2022), i.e., boxy straight buildings with no curves. The central idea behind this style is to achieve practicality as well as the aesthetics of the modern city (OmDayal Group of Institutions, 2022). It is different from the usual boxy styles of the buildings and has a more curvilinear, flowy design similar to the organic shapes present in nature (OmDayal Group of Institutions, 2022).

To conclude, both the buildings have used the same material and had the same organic design, still, the inspiration of both the architects and the way they used it to come up with a unique structure, the time difference, and ideologies made the difference in both the structures. Both were inspired by nature and they used this inspiration in a way that suited them.

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Hadid had to design a cultural platform for Baku, Azerbaijan, so she took that inspiration from the Islamic religion whereas Utzon got inspired by sea shells, and palm trees and came up with a solution for the roof structure while peeling an orange. Both the buildings are used for the same purpose but the interiors are designed differently in a manner that comforts the visitors and goes with the structure. In nutshell, this essay compared two similar-structured buildings with the same purpose but the difference in the design intent and advancements present during the built-in time of both the structures made the actual difference.

Bibliography

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Computers and the Sydney Opera House. (n.d.). Vamacuk https://www.vam.ac.uk/articles/computers-and-the-sydneyopera-house

Craven, J. (2018, July 4). Biography of Danish Architect Jørn Utzon. ThoughtCo. https://www.thoughtco.com/jorn-utzonpritzker-sydney-opera-house-175873

Did you know? Sydney Opera House and the problem of the shells. (2017, February 2). Architecture and Design. https:// www.architectureanddesign.com.au/suppliers/interseatstadium-seating-systems/did-you-know-sydney-opera-houseand-the-problem-of#

Heydar Aliyev Center. (n.d.). Arts and Culture Google. https://artsandculture.google.com/story/ qgXRXtAc9hoYIA?hl=en

Heydar Aliyev Center / Zaha Hadid Architects. (n.d.). Archdaily. https://www.archdaily.com/448774/heydar-aliyevcenter-zaha-hadid-architects

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Hynes, M. (n.d.). The Sydney Opera House, Port Jackson. [Photograph]. Britannica. https://www.britannica.com/topic/ Sydney-Opera-House

Long, M. (2018). Opera Houses. Sciencedirect. https://www. sciencedirect.com/topics/engineering/opera-houses

Maddula, M. (n.d.). Heydar Aliyev Center by Zaha Hadid: Incredibly Ambitious Project. Rethinking the Future. https:// www.re-thinkingthefuture.com/case-studies/a3806-heydaraliyev-centre-by-zaha-hadid-incredibly-ambitious-project/

Muller. L. (2017, October 17). Heydar Aliyev Center. [Photograph]. Flickr. https://www.flickr.com/photos/lucien_ muller/37189109694

Murray, L. (2011, July 8). Sydney Opera House. Britannica. https://www.britannica.com/topic/Sydney-Opera-House

Neo futurism in architecture towards a more sustainable life. (n.d.). OmDayal. https://omdayal.com/blog/neo-futurism-inarchitecture-towards-a-more-sustainable-life/

Opera Daily- La traviata & the building of the Sydney Opera House. (2020). [Photograph] Your Opera Daily. https:// www.youroperadaily.com/p/opera-daily-la-traviata-and-thebuilding?s=r

Ruan, X. (2017, April 26). Platforms and Plateaus: on the Chinese and Mayan influences on Sydney’s famous Opera House. CityMonitor https://citymonitor.ai/environment/ platforms-and-plateaus-chinese-mayan-influences-sydney-sfamous-opera-house-2805

Sydney Opera House. (n.d.). Wikiarquitectura. https:// en.wikiarquitectura.com/building/sydney-opera-house/

Sydney Opera House, Sydney Harbour, Australia. (n.d.). Manchester History. https://manchesterhistory.net/ architecture/1940/sydneyopera.html

The Architect: Jorn Utzon. (n.d.). Sydney Opera House. https://www.sydneyoperahouse.com/our-story/the-

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architect-jorn-utzon.html#:~:text=The%20Spherical%20 Solution,milestone%20in%2020th%20century%20 architecture.&text=His%20competition%20entry%20 contained%20schematic,how%20it%20would%20be%20built.

The Sydney Opera House: The Inspiration Behind the Scenes. (n.d.). Arts and Culture Google. https://artsandculture.google. com/story/the-sydney-opera-house-the-inspiration-behindthe-scenes/sgXh63bUjd6gRw?hl=en

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A Comparison of Approaches Towards Housing Complexes Through Moshe Safdie’s Habitat 67 and Tadao Ando’s Rokko Housing 1

Housing complexes consist of several residential spaces built together as a single development. Popular these days as ‘high rise apartments’, these have been in existence on a smaller scale for centuries accommodating all classes of people. Both the housing complexes discussed in the essay, Moshe Safdie’s Habitat 67 and Tadao Ando’s Rokko Housing 1, started off with different reasons. While Safdie dreamt of affordable housing for all and sundry, Ando focused on enriching the ties between nature, humans and settlements and not destroying the natural topography. But it’s the material and design which make the two built forms similar. The fact that both the complexes make use of a single module repeated multiple times gives rise to an overall grid rule of organization. Both architects have also used precast concrete modules as apartments which inturn become the structure. Thus making them similar in organization as well. Regardless of the design process/needs the two followed, interestingly both came up with the exact same idea of a terrace-roof garden. While the outcome is the same, the use of stepped design and intersecting apartments going up in a pyramidal fashion in Rokko Housing and Habitat 67 respectively gave rise to this unique and fresh concept of the roof of a unit acting as a terrace garden for the unit above it. Play and use of void spaces is another commonality in both these buildings.

Both Safdie as well as Ando thought way ahead of their times in terms of design. Their ideas of keeping greenery, view of a water body, rooftop terrace gardens and voids, both overlapped which makes their comparison worthwhile. This comparative study was carried out with the help of several sources, mainly books by the architects themselves and websites of these architects.

Keywords: Housing complexes, affordable housing, not destroying the natural topography, single module repeated multiple times, grid rule of organization, precast concrete modules, terrace-roof garden, stepped design, intersecting apartments, play and use of void spaces

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Post World War 2, the demand for housing complexes has been steeply surging. Urbanization, industrialization, mass production, growing population with a limited availability of land and the need for affordable housing were all the reasons for apartment housing to become the new normal. Most governments across the world made efforts by introducing subsidies and low cost housing. Soon several architects stepped in as well to provide affordable housing for all. During these times of making affordable housing possible, a young architect Moshe Safdie proposed a housing project in terms of a thesis and a prototype at ‘Expo 67’, conceived by McGill University. It eventually became his debut project; Habitat 67 (Moshe Safdie, 2022, May 19).

Rapid modernization made residents in several cities across the globe struggle to spend time in nature. Addressing this issue through apartment housing and to strengthen this bond between nature, public and private spaces, Tadao Ando built Rokko Housing in 1983. The two projects built on two opposite sides of the globe are surprisingly similar in terms of ideology and design. These overlapping ideologies mainly include use of mass production/technology, sensitivity towards nature and inexpensive housing. (Ando. T, 2014).

Location and Implied Consequences

Set alongside river Saint Lawrence at Montreal, Canada, the residences of Habitat 67 open up to the panoramic view of the river. In the entire complex, most of the residences have windows on 3 sides while some also have the door opening on the fourth side. Thus all 4 directions have been used for ventilation and lighting. The setting of Rokko Housing is quite similar. Set on top of Mt. Kobe, with a sloping angle of 60 degree, Rokko Housing too provides a picturesque view of the Osaka Bay, Japan. In the land of rising sun, most of the windows are on the Eastern facade of Rokko Housing for daylight, and a few in the North/South direction for ventilation. Thus the setting of the building is the same in both the cases; against a water body. The thought of ample air

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and light also juxtapose but vary according to the location and climatic conditions. (Ando. T, 2014).

Sizes and Numbers

Both the buildings have been built using modules repeated and mirrored. The building Habitat 67 consists of 365 construction modules connected to create 158 residences. Each apartment varies in size; from 600 square feet single bedroom flats to 1,800 square feet four bedroom ones. In total there are 15 different types of houses (Safdie Architects, 2022). The most interesting feature are the skywalks at the fourth floor that connect one part of the building to the other. (PCI Journal, n.d.). Following modular construction as well, each unit is around 17.7 by 15.7 feet in Rokko Housing 1. 20 units are staggered and piled one over the other. Although most of these units are similar in size, the orientation, and division of space in each unit is very different from the other (Ando. T, 2014).

Spatial Organization

The repetition of the modules lends a grid like principle of organization to both these buildings which is very evident from the appearance of the two buildings. But there is a hidden difference; Moshe Safdie chose to create a criss cross grid with intersecting modules (as seen in Figure 1), in contrast, Ando stacked the modules in a stepped fashion keeping in mind the slope of Mt. Kobe (as seen in Figure 2). As a result, ventilation and lighting increase in both these apartments naturally. Along with the construction methodology, the material used in both these buildings is also exactly the same; concrete. Moreover as mentioned both the buildings are made up of individual modules repeatedly. Thus during construction, precast, modular concrete units had to just be lifted and stacked one over the other.

Fig 1. Intersecting Cubes

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The variation in rule of organization is also a direct implication of the sections of these individual buildings. Comparing the sections of the two, while Rokko follows the contours of the slope of Mt. Kobe and adopts a geometric form, Habitat 67 has a gradually stepped pyramid like section. Although these designs seem quite similar to the other, the reasons that brought about this design are strikingly different. In the case of Rokko Housing 1 it was the topography and the desire to build without removing too much soil and affecting the land. It is fixed to the slope by using earth anchors (a device designed to support structures, commonly used in geotechnical and construction applications) (Earth Anchor, 2021, August 2). To achieve this the complex is partially buried inside the hill, hence it seems low (Refer Figure 3 and 4). While in the latter case it is the limited availability of land and the desire to maintain a good amount of greenery.

Challenges and Commonalities

Growing number of suburbs and slums were a cause of worry and a challenge for both the architects. People started agglomerating in suburbs (lower cost housing on the outskirts of a city). This only accelerated the growing demand for housing complexes. The popularity rose over the years and among all classes especially the elite. Thus soaring skylines have now become the pride of any city across the globe (Apartment House, n.d.). The biggest challenge that Moshe Safdie had taken up while designing a prototype for Expo 67 was to provide affordable housing, without compromising on any basic services/amenities. Although his design then and architecture now have been receiving praises for unique

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Fig 3. On Site Photograph of Construction of Rokko Housing Note. Some amount of soil digging had to be done to create some space for the foundation and plinth of the building to rest on and to accommodate the building along the slope. Copyright 2022 by Polyucee. p. 134

Fig 4. Sectional View of Rokko Housing Note. The gray line is an indicator of the original slope of Mt. Kobe. Some amount of soil had to be dug up to accommodate the building along the terrain, this is shown by the solid red line. Copyright 2022 by Here Architecture.

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and sustainable design, his dream of providing affordable residences never really came true. The probable reasons for which could be his highly regarded, unique design and architecture (Safdie.M, n.d.).

On the other hand, Ando’s biggest challenge, influenced by the number of growing suburbs again, was not to compromise on nature rather minimize the amount of damage caused while building along a sloped terrain. Hence he chose not to level the land which helped retain mountainous vegetation. The entire building was fit along the slope with the help of earth anchors which reduced the amount of soil removal/ filling to a great extent during construction. In addition, Ando was also thoughtful about the location of the apartment on Mt. Kobe. He left a considerable amount of gap from the edge of the mountain for two main reasons: to create buffer zones between the hills, the rural area and the housing complex and to cleverly utilize these for services such as drainage, ventilation and lighting. The drainage and sewage pipes along with electric cables are almost well hidden then (Ando. T, 2014). Even in case of Habitat 67, there are gaps, but these are vertical voids (Refer Figure 1). The general notion is to have multiple storied apartments with a couple of houses per floor. But what happens in this concept is that if there are two houses facing each other, both would receive light from mainly one direction. Safdie hence devised a method to stack them in a staggered fashion thus creating intersections of residences through a criss cross grid. This was wholly done to ensure all the residences receive a good amount of light and there could be cross ventilation (Safdie Architects).

The other very interesting commonality between the two buildings is terrace - roof gardens. This means the roof of one unit acts as a terrace garden for the unit above it. This is achieved by stepped stacking of units in Rokko housing and on the other hand in Habitat 67, the common area of intersection that is generated of the three units aligning along 3 different axes creates a terrace roof garden (Refer Figure 1). Apart from a private terrace garden to every residence, this concept also provides a good amount of sun, light and ventilation to all these residences (Ando, 2014).

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Conclusion

Housing has gone through a revolution of changes over decades and centuries and the housing complexes have become very popular off late. This popularity grew with such interesting designs and growing population. Habitat 67 and Rooko housing didn't just accelerate this but also brought in a revolution in terms of design thinking as they were ahead of their times. While Safdie played with cuboids to provide a good amount of ventilation and light, Ando succeeded in creating a housing complex without damaging the land.

List of Works Cited:

Ando,T. (2014). Tadao Ando Details 1. (Yukio Futagawa. Ed.). A.D.A EDITA Tokyo.

Apartment House. (n.d.) In Britannica. https://www. britannica.com/technology/tent

Earth Anchor (2021, August 2). In Wikipedia. https:// en.wikipedia.org/wiki/Earth_anchor.

Moshe Safdie. (2022, May 19). In Wikipedia. https:// en.wikipedia.org/wiki/Moshe_Safdie.

Safdie, M. (n.d). Habitat ‘67 Towards the Development of a Building System. PCI Journal.

Safdie, M. (2021) Habitat ‘67. Safdie Architects. https://www. safdiearchitects.com/projects/habitat-67.

List of Images:

Figure 1: Habitat 67, 2022, Wikipedia https://en.wikipedia. org/wiki/Habitat_67

Figure 2: Tadao Ando, 2022, Pinterest. https://www.pinterest. com/pin/344243965262846998/

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Figure 3: Rokko Housing Phase I-III, Kobe, Japan, 2022, Polyucee. http://www.polyucee.hk/cecspoon/lwbt/Case_ Studies/Rokoo/Rokoo.htm

Figure 4: Tadao Ando, Rokko Housing 1,2 , Kobe - 19831993, 2022, Here Architecture. https://www.herearchitecture. com/architetture/modern/1988_t_ando_rokko_housing_ kobe/1988_t_ando_rokko_housing_kobe.php

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BAWA AND DE SILVA: PIONEERS OF TROPICAL MODERNISM IN SRI LANKA

Minette De Silva and Geoffery Bawa, two architects based in Sri Lanka, helped decolonize the architecture there during the 1940s and 50s, respectively. Both were firm practitioners of Tropical Modernism and believed in taking a sustainable approach to construction by using elements vernacular to Ceylon. Comparing the two architects one understands how the results of their ideologies and tactics are different despite having similar limitations or conditions in terms of topography and climate. Minnette makes structural modifications in order to achieve comfort for her clients. She incorporates local construction techniques and materials, follows modernist principles and draws inspiration from international Modernist structures as well as traditional Sri Lankan buildings. Whereas, Bawa transformed an abandoned rubber plantation into Lunuganga. He manipulates the natural flora of Ceylon to achieve aesthetic views inspired from Italian and Japanese gardens. Every space in Lunuganga sets a different mood and displays a different aesthetic. Therefore, both Bawa and De Silva reach Tropical Modernism differently and comparing them provides a better insight into their practices and design processes.

Keywords: Minette de Silva, Geoffery Bawa, Tropical Modernism, Modernism, Minimalism, Lunuganga, Pieres House, Sri Lanka, Sustainable, Indoor-Outdoor Living, Italian Renaissance, Ceylon, Vernacular, Topography, Functional.

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The idea of using innovative and universally acceptable construction techniques to create a form that rejects ornamentation and is purely functional defines Modernism in Architecture. The idea naturally follows the principles of minimalism that emphasizes on achieving simplicity through the use of a minimum amount of necessary resources. Tropical Modernism, on the other hand, can be interpreted as an architectural style where the principles and concepts of modernism, like functionality and modesty, are combined with the local construction techniques, materials and resources to build a structure that is minimal as well as sustainable in approach. This essay aims to explore the differences between the Pieres House and the Lunuganga based on structure, interior details and the architect’s inspiration.

Geoffery Bawa, the father of Tropical Modernism, used this approach to decolonize architecture in Sri Lanka in the 1950s. He was heavily inspired by Minette De Silva, who previously coined the term “Modern Regionalism” to engage with the new architecture of independent Sri Lanka in the 1940s (Pinto, 2019).

Both Geoffery Bawa and De Silva use their limitations and advantages very differently. While both aim to achieve sustainability through the use of local elements and construction techniques their approaches to and perspective of ‘a good design’ are completely different. For instance, in the Pieres house, Minette focuses on how she can achieve comfort through improvement in the structure that responds well to the climate and topography of Ceylon. Whereas, Bawa chooses to ponder upon how to attain a breathtakingly scenic view through the manipulation of Sri Lanka’s natural flora itself. The curator of the Bawa trust, Shayari de Silva, claimed that Bawa “literally moved mountains to create the slopes and views that he wanted” (Ramanayake, 2020).

Hence, comparing the Pieres house and Lunuganga gives us an insight into how distinct results can be achieved through matching aims but independent ideologies.

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Fig 1. Side Elevation Pieris House

Note. The house is raised on columns providing an open space below for De Silva’s signature elements like open courtyards and verandahs alive with trees, shrubs and a pond. Copyright 2021 by Hidden Architecture.

Fig 2. Lunuganga

Note. The attention to minor details, such as the positioning of palm trees and various shrubs in the foreground to achieve a ‘perfect view’. Copyright @ 2022 by P. Jitesh.

The Pieres House was constructed for Ian Pieris in Colombo’s Alfred House Gardens of 1952 and demonstrates contemporary living in a tropical city (Robson, 2015). De Silva’s vision was to create a space that softens the confines of the inside into a more open and free space. Structural elements like a raised floor, a central courtyard, a loggia, etc. became her signature in order to promote indoor-outdoor living. To further emphasize on the exteriors, modifications were made to the space like the carport was designed to double over as a play area, the pond and the yellow oleander tree were placed strategically to beautify the place, etc. However, De silva famously possessed a sense of using space usefully i.e. no space was wasted, which might have led to compactness especially considering the size of her site. Relatively, although it makes the space highly functional, it plays against the aesthetic of open spaces that she wished to fulfill.

On the other hand, Bawa easily accomplishes outdoor living through the Garden landscape of Lunuganga. The site started as an abandoned rubber estate on the south-west coast of the island. Bawa’s love for landscape architecture is what distinguishes him from other practitioners of Regionalism and gives him a different perspective on indoor-outdoor living. Hence, Lunuganga doesn’t attempt to merge the interior and exterior. It doesn’t differentiate between them in the first place. It can be best described as:

“An introspective labyrinth of rooms and garden courtyards, which together create the illusion of limitless space. Words like inside and outside lose all meaning; here rooms do not have roofs and roofs do not have walls, instead they are connected by a complex matrix of axes and internal vistas” (Sreekanth, 2011).

Bawa enjoys his creative freedom with Lunuganga and paints it into a self-portrait by reforming it over forty years. The structures there have no boundary along the outside that require blurring and satisfies the definition of outdoor living. It, one might even say, is in a symbiosis with nature.

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Fig 3. Use of Wrought Iron Grills Note. The leaf patterned iron gate further elevates the sense of utilization of conventional ceylon techniques and materials. Copyright @ 2021 by Hidden Architecture.

Fig 4. Sculpting the perfect view Note. The use of artifacts from across the globe that gives each space a mood of its own. Copyright @ 2021 by Teardrop Hotels.

Minette and Bawa both address the finer details of their projects very uniquely. Minette uses local materials such as kabook (laterite) and rough stone to lower the construction cost of walls. As visible in Figure 3 there is also use of handicrafts like decorative wrought iron grills, woven mats, perforated grilles, glass louvers that ensure constantly changing patterns of light and constant through breezes (Robson, 2015). She also included satinwood parquet floors, gold-lacquered wood balusters and Kandyan tilework. Therefore, there is a focus on the utilization of artworks and skills vernacular to Ceylon. Hence, she merges the ideas of modernism with locally available construction techniques and materials to create something sustainable and individual to her while providing employment for often-underpaid artisanal tradespeople.

Whereas, Lunuganga has been described as a spectacle in motion, a series of scenic images that change with the season, the point of view, the time of day, the mood (Sreekanth, 2011). It isn’t stationery. Various artifacts from across the world like a Burmese gong in the shape of a cow’s head, a stone statue of a leopard sitting placidly right by the water, a bust of Pan leering over a lotus pond, a windmill over what looks like an English castle and Chinese ritual wine vessels spaced evenly along the lawn gave each part a different aura (Ramanayake, 2020). Unlike Minette, instead of making the landscape something connected to Ceylon, Bawa actually aims to create distinct little worlds of their own inside the space.

Inspiration for both of these structures also vary greatly. De Silva followed the idea of collaborative interaction with clients in an attempt to understand how they wanted to use the space. She used a similar approach for the housing development scheme she designed in the 1950s for public servants in Kandy as well as the Pieres House. Inspiration from both International modernism and long established Ceylon architecture was discernible in her work. For instance, the Pieres house itself may have been inspired in equal measure by the piloti houses of Le Corbusier and the traditional tampita vihara or raised temples of medieval Sri Lanka as can be seen in the side elevation in Figure (Robson, 2015).

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Fig 5. The staircase sweeps up to the second floor to the residential rooms and the kitchen.

Note. The floor was raised on columns to provide her clients with better ventilation and privacy on the higher level. Copyright @ 2021 by Hidden Architecture.

Whereas, Geoffrey Bawa bought the abandoned rubber plantation intending to create an Italian renaissance garden and a weekend house, but ended up with creating a variety of overwhelmingly aesthetic planes. He saw the construction and renovation process as a conversation among artists instead of adopting a linear point of view of houses being mere architectural creations. Hence, Lunuganga takes inspiration from Italian Renaissance gardens, English landscaping, Japanese garden art, the water gardens of ancient Sri Lanka, etc (Lunuganga Trust, 2022). It's a combination of interests across various fields of art.

In conclusion, despite having similar topographical, climatic conditions and limitations of sustainable approaches both Bawa and De Silva manage to make their design their own. De Silva uses elements like central courtyards, ponds, spiral staircases, walled gardens and artistic use of vernacular handicrafts to make the designs her own. She attempts at blurring the boundaries between the interior and exterior and draws inspiration from ancient Sri Lankan structures and Le Corbusier's modernist creations. On the other hand, Lunuganga feels like going through an art major’s organized Pinterest boards. Bawa exploited the space to the full of its extent to create something boldly expressive. The idea of indoor-outdoor living was executed immaculately and the inspiration was drawn from numerous sources to diversify the aesthetics. Such differences define them as designers. Minette’s focus on integrating Ceylon in her art to create something unique to her differentiates her from Bawa who diversified his aesthetic palette and experimented with it for over 40 years.

BIBLIOGRAPHY

Patel, J. (2020, July 15). Architectural Digest Map Geoffery Bawa. Jitesh Patel Illustration. https://jiteshpatel.co.uk/ portfolio/architectural-digest-map-geoffrey-bawa/

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Fig 6. Classical Sculpture Note. Lunuganga was a culmination of a tasteful person’s numerous interests. Copyright @ 2022 by S. Posingis & D. Sansoni.

Fig 7. Harmony among elements Note. Lunuganga was bought with an intention of being transformed into a weekend house. Copyright @ 2022 by S. Posingis & D. Sansoni.

Ramanayake, L. (2020, November 2). Lunuganga: A Self Portrait of Geoffrey Bawa’s Life and Work in Sri Lanka. Cultured. https://www.culturedmag.com/article/2020/11/02/ lunuganga-a-self-portrait-of-geoffrey-bawa Zagaria, E. (2019). Minette De Silva, The Story of a Forgotten Pioneer. Elle Decor. https://www.elledecor.com/it/best-of/ a27423736/minnette-de-silva-architect-sri-lanka/ Robson, D. (2015). Andrew Boyd and Minette De Silva. Thinkmatter. https://thinkmatter.in/2015/03/04/andrewboyd-and-minnette-de-silva-two-pioneers-of-modernism-inceylon/

Guralnick, M. (2018). The Birth of Tropical Modernism: A Pilgrimage to Architect Geoffrey Bawa’s Country Estate in Sri Lanka https://www.remodelista.com/posts/geoffrey-bawalunuganga-country-estate-sri-lanka-tropical-modernism/

Pieres House. (2021, October 3). In Hidden Architecture. http://hiddenarchitecture.net/pieris-house/ Sreekanth, P. (2016, January 11). Geoffery Bawa- The Lunuganga. The Archi Blog. https://thearchiblog.wordpress. com/2011/01/17/geoffrey-bawa-the-lunuganga/

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Nature and Design: Examining the Church Design Approach of Ando (1988) and Tange (1964) in Post-War Japan

Post-war Japan witnessed a lot of changes, because of the arrival as a result of westernising Japanese architecture. As a result the architects then tried to design buildings that spoke both modern and Japanese traditional style. The structures being compared are two churches built for the reasons stated above. The Saint Mary’s Cathedral in Tokyo by Kenzo Tange and The Church on the Water by Tadao Ando are two of the Architecture epics in the world, built to develop relations with nature. We will come across their interpretation towards this approach and how modernism and the materials changed the way of looking at the existing style of churches. The significance of using clean, minimal, and asymmetrical designs to visually communicate the building. Modernism introduced the concept of creating a structure for its function rather than its aesthetics. The essay will compare and contrast the similarities and the dissimilarities between the churches.

Keywords - Kenzo Tange, Tadao Ando, Modernism, Westernised Japanese Architecture, Minimalism, Saint Mary’s Cathedral, Church on the Water, Nature, Light, Biomimicry

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In response to large-scale changes in both technology and society, modernist architecture (or modernism) emerged in the mid 20th century in Japan as a result of westernising Japanese architecture in the years following World War II. Modernism was driven by new construction techniques, such as the use of glass, steel, and reinforced concrete, and thus a rejection of the conventional neoclassical and Beaux-Arts styles popular in the mid-1800s (Corbusier, n.d.). Architects took up ideologies that exposed the building's structure's essence rather than concealing it with ornamented facades. Tadao Ando and Kenzo Tange are no exception. Here, we will compare two of their buildings designed, on the basis of a major principle of modernism, 'Form follows function', by which they designed the building according to its purpose.

Architects and Buildings: An Overview

Acclaimed modernists and postmodernists such as Kenzo Tange (1913-2005) and Tadao Ando (1941) are well known in the west (Ando, n.d.). Tange, the renowned postwar Japanese architect, has succeeded to combine traditional Japanese architecture with scientific and technological breakthroughs. Ando is recognized as the father of modern minimalist movements for his exposed concrete buildings that seamlessly blend with nature(Ando, n.d.). Modernist ideologies of minimalism and abstractism shaped their church designs, which are two of the greatest works of architecture in Japan.

To replace the old gothic wooden cathedral, destroyed during World War II, the Saint. Mary’s Cathedral was completed in 1964 (Zhi, 2016). Tange visited several mediaeval Gothic examples for his Tokyo Cathedral of Saint Mary. "After experiencing their heaven-aspiring grandeur and ineffably mystical spaces," he says, "I began to imagine new spaces and wanted to create them by means of modern technology” (The Pritzker Architecture Prize, 2022). Tange altered the way churches were built by removing Gothic embellishments such as pointed arches, vaulted ceilings, flying buttresses, large stained glass windows, and so on, and replacing them with large exposed concrete walls with modern elements.

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Fig 1. Chapel on the Water Note. Isolated from the outside world, Chapel on the water is situated. Copyright @ 2015 by RethinkingInternet Media Pvt Ltd.

Fig 2. St. Mary’s Cathedral Note. Designed in such a way that it doesn’t look like a place of worship. Copyright @ 2018 by Wikimedia

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Fig 3. St. Mary’s Cathedral, Tokyo, Japan Note. An ethereal shimmer appears when sunlight reflects off the stainless steel cladding on the external walls. The wings of the Tokyo cathedral are constructed asymmetrically. Copyright @ 2016 by Pinterest.

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Fig 4. Plan of Chapel on the Water Note. The long L-shaped wall separates the chapel from the exterior. The cross inside the square depicts the transparent cube with four crosses, and the arrow that goes through the plan helps to understand the direction of the seating arrangement. Copyright @ 2014 by Dreamstime.

The architecture historian Francesco Dal Co defined Ando’s approach to architecture and landscape as "critical regionalism" (2022). Church on the Water, aka. On the island of Hokkaido, Japan, Chapel on the Water is a privately owned wedding chapel that was designed and built by Ando in Tomamu, Shimukappu. Constructed in rectangle forms on exposed concrete, The "haiku" effect created by Ando's architecture exemplifies simplicity by emphasising nothingness and empty spaces, which are visible in the wedding chapel (//, n.d.).

He prefers to maintain the appearance of minimalism while designing complex spatial circulation. In contrast to Tange's unadorned modern-gothic structure, Ando's church was extremely simplistic. Due to its purpose as a wedding chapel, the chapel on the water does not adhere to the basic cruciform layout, as is the case with the Tokyo Cathedral.

Building and its Location

Located in the Sekiguchi neighbourhood in Bonkyo city of Tokyo, blocked by existing buildings in North, West and South, the former church stood in the diamond-shaped space where the Cathedral of Saint Mary now stands. Tange conceived the new church as a concrete structure, simple in concept and complex in shape, which recalls the lightness of a bird and its wings (Vathupola, 2014, 8). Its called biomimicry, which is an approach to innovation that seeks sustainable solutions to human challenges by emulating nature’s time tested patterns and strategies (Biomimicry: Nine Laws of Nature and Examples, n.d.). In the traditional cruciform plan of cathedrals, the layout of this ‘Modernist brutal classic’ is viewed from the sky.

With its slope down to a small river, Ando's architecture induces subliminal experiences with its natural elements. The church in Shimukappu, on the island of Hokkaido in Japan, has a horizontal composition with rectangular forms and a whitewashed exterior. Built-in a hilly area, the Chapel from the outside, does not seem like a place of worship, but at the same time retains the sanctity of the sacred site. There is a

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resort hotel to the east and hills and trees surround the church to the west. An L-shaped wall runs along the south and east sides of the building that edges the pond, disconnecting the church from the hotel behind it (Tadao Ando - Church on the Water, n.d.).

The layout of the Buildings

A cross dominates the building's layout, from which rise eight hyperbolic parabolas like a contemporary landmark cathedral in San Francisco, also referred to as St. Mary's Cathedral (Tange, 2016). Near the main building is a bell tower standing at a height of 61.6 m (St. Mary's Cathedral, Tokyo, n.d.). Flowing upward from its four vertical lines, the bell tower follows the composition guidelines. There is also an outdoor recreation of Lourdes' Grotto with a statue of the Virgin Mary in addition to the building itself (Lane, n.d.). The rectangular features contrast with the cathedral's symbolic nature. The Tokyo cathedral is composed of eight wing-like walls that fold inwards and upwards to support the cross-shaped roof window, which Tange based on the crucifix (Gibson & Ishigami, 2016). Where the walls meet, these windows continue vertically as four glazed facades (//, n.d.). The bottom level (of the Saint Mary’s Cathedral) has a seating capacity of 600 people and a standing capacity of 2000 people, and the basement contains a modest chapel with a seating capacity of 200 people and a standing capacity of 100 people, surrounded by stone blocks that contrast with the structure’s metallic facade (Chauhan, 2020). A large organ built by the Italian firm Mascioni was installed in 2004 (Zhi, 2016). It was specially designed to adapt to the space of the entrance (Giannotti). In the chapel, the use of reinforced concrete and steel in the angular facades with no embellishment or mouldings makes it a good example of modernist architecture. Large windows positioned in horizontal bands in those white facades appear magnificent in this asymmetrical composition.

Unlike the Tokyo cathedral, the Chapel on the Water, situated

Fig 5. Church On The Water, Hokkaido, Japan

Note: “You cannot simply put something new into a place. You have to absorb what you see around you, what exists on the land, and then use that knowledge along with contemporary thinking to interpret what you see” (Tadao Ando - You Cannot Simply Put Something New Into a..., n.d.). With his architecture, Ando emphasises the relationship between the interior and exterior spaces with nature (Sveiven, 2010). Copyright 2015 by Ribapix.

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Fig 6. Isometric view of Church on the Water

Note. Staircase is provided near the intersection of two cubes. Copyright @ 2015 by Architectuul.

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Fig 7. Church on the water, during winter and spring

Note: Throughout the year, nature appears vibrant and colourful from the glass windows of the chapel, ranging from sepia tones in fall to glaucous tones in winter, spring flower patches in summer, and lush green in spring.

in a local suburban area, does not cover a vast area. Designed as two overlapping cubes, the wedding chapel ( church on the water) faces a pond that steps down to a small river (St. Mary's Cathedral, Tokyo, n.d.). The white cross in the middle of the pond depicts the divinity of the ceremonial purposes and provides a sense of purity and tranquillity. Using a semicircular spiral staircase (located near the intersecting part of these cubic modules) the larger of the two cubes serves as the chapel and meets the smaller cube's entrance (Sveiven, 2010). A large steel cube covered in glass stands at the northernmost end of the square. Within it are four large concrete crosses. In combining an occidental subject with oriental sensibilities, the Tokyo cathedral resolves the project's ramifications in a memorable manner. A total of ten longer benches are there inside the chapel. As it is used for ceremonies, the seating capacity is much smaller than the Tokyo cathedral. In addition to the chapel, there are three waiting rooms, a washroom, and a storage area in the church. The exterior cladding is made of stainless steel (Zhi, 2016). At the basement level, the stone blocks are distinguished from the metal wings by hanging to the ground the movement of the walls (Giannotti, 2011). With rough concrete, the interior has been finished. Modern characteristics such as lack of adornment, elements of asymmetry, emphasis on nature, etc. are evident in his buildings (Hovnian, 2020).

Influence of Nature

Another great characteristic of these two churches is the influence of nature. Many of Ando’s works are based on developing relationships with nature. In that sense, Church on the Water is one of its most successful initiatives, as he integrated nature into the design (Aravena, 2022). On the sloping hill, surrounded by beech trees, the chapel creates a serene atmosphere. Throughout the year, nature appears vibrant and colourful from the glass windows of the chapel, ranging from sepia tones in fall to glaucous tones in winter, spring flower patches in summer, and lush green in spring. The connection between the hallowed place and the natural

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environment and stream outside creates its own stigma. Furthermore, the chapel appears to blend in with the surroundings. One could even argue that Ando's chapel finds a stronger connection with nature because it's cut off from the outside world.

However the surrounding environment of Tokyo cathedral is not conducive to seeing the elements of nature as it is in a city. How does it relate to nature, then? The form itself is an example of nature's influence on the design. For the design of the cathedral, it is said that Tange had the image of the building as “a bird with its wings outstretched” (Ohsumi). Through his biomimicking, the interplay of nature in the form of the building itself makes the cathedral stand out in Tokyo. There is also the Japanese tradition of asymmetry in the “different heights of the wings’ of the church (Giannotti). With four vertical gaps that produce a cross of light within the church, could be imagined as a showering of light from the heavens (Heaven is regarded as being part of nature). Even though the Tokyo cathedral lies in the middle of the city, the indirect influence of mother nature is discernible in the shapes, forms, and designs of the modernist cathedral.

A Major Element, Light

In this small wedding chapel, Ando brought light horizontally instead of from the top, by creating an open wall facing the pond. The reflection of light from the artificial pond creates a calming atmosphere. The smaller of the two squares is a soothing preparatory space, surrounded on four sides byilkywhite frosted glass, an "enclosure of light," where visitors can take a breather before entering the glass-walled chapel below (n.d.).Because Ando designed the building with a lot

Fig 8. Beautiful play of choreographed sunlight inside the Tokyo cathedral Note: Sunlight leaks down through the glass fixed on the cruciform gap, creating visually appealing dance of light inside the cathedral. Copyright 2017 by Arch Daily.

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of open spaces (e.g., the open wall, glass enclosure, etc.) and and there is an internal flow of spaces because the spaces are not segregated, sunlight reaches almost everywhere inside the chapel. Thus he provided a visual comfort to the spaces, ensuring the maximum energy efficiency.

It is not until we reach the centre of the cathedral through the alter that we can see the cross, which is made in such a way that it showers light like the blessings from heaven, in contrast to dark and light, beautifully choreographed by the architect so that when people move they can sense the movement of illumination completely (Giannotti). Natural light changes during the day. The interplay of these concrete walls with light, which enters through the studied openings at the apex or through elongated windows on the sides, provides a dynamic spectacle. Adding more drama and melancholy to this cathedral is stained glass behind the altar (Cao, 2016). Changing at every hour, the reflection of sunlight on the curved surface makes the interior atmosphere very involved (Giannotti).

In both of the churches the choreographed play light becomes crucial as it gives the building an inviting effect and a heavenly atmosphere. Since the buildings in

Conclusion

Post-war Japan witnessed drastic changes in architecture. The arrival of the modernist style as a part of westernising Japanese architecture (along with conserving it) put some great influence on the world. Ando’s church on the water and Tange’s Saint Mary’s Cathedral are no exception. Beautifully interpreting, and removing unnecessary things from the design of buildings, the architects took the perspective of modern architecture to a different level. In both of these places of worship, the form is simple yet exposed with visual weightlessness. The asymmetrical construction and the lack of adoration make them 20th-century projects (Giannotti, 2008). The designers created beautiful poetry from those buildings, depicting the relationship between architecture and the variability of nature of the place over time. However, we could

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plausibly say that it was constructed yesterday, just as it was 50 years ago.

Bibliography

Ando, T. (n.d.). MODERN JAPANESE ARCHITECTURE AND ARCHITECTS: KENZO TANGE, TADAO ANDO AND SANAA LTD. Facts and Details. https://factsanddetails. com/japan/cat20/sub129/item686.html

Church on the Water. (n.d.). Architectuul. http://architectuul. com/architecture/church-on-the-water

Corbusier, L. (n.d.). Post-war Modern architecture. HiSoUR. https://www.hisour.com/post-war-modernarchitecture-28038/

Giannotti, A. (2011, February 23). AD Classics: St. Mary Cathedral / Kenzo Tange. ArchDaily. https://www.archdaily. com/114435/ad-classics-st-mary-cathedral-kenzo-tange

Japanese Architecture after World War II: Significant events and Ideologies from 1955-1970. (n.d.). Academia.edu. https:// www.academia.edu/37620606/Japanese_Architecture_ after_World_War_II_Significant_events_and_Ideologies_ from_1955_1970

Lane, G. (n.d.). St. Mary's Cathedral. Tokyo Cheapo. https:// tokyocheapo.com/place/st-marys-cathedral/

Modern Architecture: Characteristics & Style - Video & Lesson Transcript. (2021, December 22). Study.com. https://study.com/academy/lesson/modern-architecturecharacteristics-style.html

Herranz, M., Leira, M., Mestre, N., Roig, E., & Gaudí, A. (2021, July 18). Nature as image of the transcendent. Church on the Water by Tadao Ando | The Strength of Architecture | From 1998. Metalocus. https://www.metalocus.es/en/news/ nature-image-transcendent-church-water-tadao-ando

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St. Mary's Cathedral, Tokyo. (n.d.). Wikipedia. https:// en.wikipedia.org/wiki/St._Mary%27s_Cathedral,_Tokyo

Sveiven, M. (2010, December 20). AD Classics: Church on the Water / Tadao Ando Architect & Associates. ArchDaily. https://www.archdaily.com/97455/ad-classics-church-on-thewater-tadao-ando

Image References

(n.d.) Ando Tadao, Church on the Water, Tomamu, Hokkaido, Japan, Plan and sketch,1985–1988. [Photograph]. Moma.

chapel on the water + theatre on the water - tadao ando - 1988 + 1989 - axos | Tadao ando, Tadao ando plan, Tadao ando architecture. (n.d.). Pinterest. https://www.pinterest.com/ pin/436215913886233239/

Green Scarlett(n.d.) AD Classics: St. Mary Cathedral / Kenzo Tange. [Photograph]. Archdaily.

Jindal, I. (n.d.). Church on the Water, Shimukappu by Tadao Ando: The church in borrowed scenery - RTF. Rethinking The Future. https://www.re-thinkingthefuture.com/rtf-designinspiration/a1831-church-on-the-water-shimukappu-bytadao-ando-the-church-in-borrowed-scenery/

Kenzo Tange Lane, G. (n.d.). St. Mary’s Cathedral. [Photograph]. Tokyo Cheapo.

https://tokyocheapo.com/place/st-marys-cathedral/ Laodesco - Tadao Ando Works: Chapel on the Water (1988). [Photograph]. (n.d.). Facebook.

https://m.facebook.com/Laodesco/photos/tada-ando-workschapel-on-the-water-1988the-main-feature-of-the-church-isits-vi/509026067128074/

Moreno Gonzalo Garcia (2021, July 18). Nature as image of the transcendent. Church on the Water by Tadao Ando | The Strength of Architecture | From 1998. [Photograph].

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Metalocus. https://www.metalocus.es/en/news/nature-imagetranscendent-church-water-tadao-ando

Tadao Ando. Church on the Water, Tomamu, Hokkaido, Japan, Plan and sketch. 1985–1988. (n.d.). MoMA. https:// www.moma.org/collection/works/222

Tadao Ando https://www.google.com/

Tadao Ando. (n.d.). Wikipedia. https://en.wikipedia.org/wiki/ Tadao_Ando

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Design Aesthetics (Design, Geometry & structure) of Zaha

Hadid And Santiago Calatrava

Abstract

Futurist Architecture emerged withinside the early twentieth century. It got here to be characterized through the belief of motion of flow, fluidity design,linearity in design,domes, etc. Such examples are Heydar Aliyev Center designed by Zaha Hadid which is located in Azerbaijan and Paul De Les Arts designed by Santiago Calatrava Which is located in Valencia,spain. Zaha Mohammad Hadid was a british-iraqi architect, artist and designer famous for curving facades, sharp angles, and using materials such as concrete and steel. On the other hand, Santiago Calatrava Valls is a Spanish architect, structural engineer, sculptor and painter known for bridging the division between structural engineering and architecture. Both the architects are one of the most influential architects of 21th century. The essay will focus on the Heydar Aliyev (2007) by Zaha Hadid and Paul De Les Arts (2005) by Santiago Calatrava both buildings are similar structure of glass and shell concrete frame structure in their design, also curvilinear shape and structure of building, and also building having some same physical functions like auditorium, conference hall etc inside the buildings. The essay will also explores similarities as well as differences begin by describing the design structures of both the buildings and discussing the style of architecture then comparing the materials used to build and the uses of both the buildings.

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Fig 1. Hyder Aliyev Center

Note: The day length view of the building reflects its own natural beauty when the sun falls on it. The landscape of the building also helps people to get a beautiful view of gardening open space surrounding the building.

The Heydar Aliyev Center, it’s a cultural center which is situated in Baku,Azerbaijan. Paul De Les Arts Reina Sofia, it’s an opera house and also it’s part of Center of Arts and Science complex which is situated in Valencia, spain. Both architects are famous for curving building design, sharp angles, and using materials such as concrete and steel to make building geometry more stable. The landscape of both buildings is also good, the structure of Paul De Les Arts linking large gardens and water bodies around the building where the Hydar aliyev which is situated in urban area but the landscape of building reflects multiple functions and beauty of whoever enters to the building through different levels of the interior. (wikiarquitectura). The landscape of buildings is also done beautifully where the sun lights directly come through glasses and make fluid interior structure more aesthetic throughout the whole day and also people get beautiful views of gardens and city.

The buildings are made of a space frame system which provides flexibility in building design and structure. The design of both buildings has fluidity, linearity and curved style in the building's exterior and interior which connects all inside spaces and parts of buildings. Continuous fluid pattern flow and curvilinear design in both buildings connects ground to walls, walls to ceilings, ceilings to slopes generate flawless links between architectural elements and the ground they occupy. The different volume shapes design and linearity in exterior and interior of both buildings also reflects lighting of buildings during day and night time. The semi-reflective glass design on the exterior of both buildings so during day time the reflections of sun lights also helps to make the building look more aesthetic. At night the character of light gradually decreased so the inside space light reflects through those glasses to maintain the volume and fluidity of interior and exterior of both buildings.

The major material used in Paul De Les Arts is concrete which is the main structural support of the whole building. The overall general form of the building is under the huge roof which is made of metal which is supported by brackets. The building has become a creative design that uses organic arches

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Fig 2. Paul De Les Arts Renia Sofia Note. The above image shows the Paul De Les Arts which situated near the river the Landscape of building also done beautifully, the water bodies are provided surround the building also reflects the beauty of the building. Copyright by Alan Kamcher.

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Fig 3. Sectional View of Paul De Les Arts Note. The above sectional image shows the details of the structure design ( linearity and curve shapes ) of the building and also it shows the interior space to easily identify the specific spaces of buildings. Copyright by Paul de les Arts Reina Sofía / Santiago Calatrava.

Fig 4. Sectional View of Heydar Aliyev Note. The above sectional image of Heydar Aliyev center shows structural geometry and design of curves and fluidity structure of building and also it shows the interior spaces denoted by numbers to easily identify different spaces inside the building. Copyright by Heydar Aliyev Center / Zaha Hadid Architects.

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Fig 5. Paul De Les Arts lightning Note: The Above image shows the night view of Paul De Les Arts which reflects the lighting of building which increase the aesthetics of building structure and also surround the water body’s beauty. Copyright by Palladium photodesign.

Fig 6. Heydar Aliyev’s lighting Note: The above image shows the night view of Heydar Aliyev Center which reflects the lighting of building done in the way which helps to look the fluidity design structure of building more Attractive and also increases the surrounding beauty. Copyright by Hufton+Crow.

and curvilinear shapes to depict peoples in the arena. The roof and walls that define the enclosure have an acoustic role in open spaces inside the building while the glass provides the insulating cover. The layer surrounding the building allows the outer peripheral circulation to different audiences, garden terraces, cafes and restaurants. These areas are linked by balconies, walks, exterior stairs and elevators, which offer beautiful views of the city and gardens.

The Heydar Aliyev consists of a concrete shape mixed with an area body system. In order to required large-scale columnunfastened areas that permit the traveler to enjoy the fluidity of the interior, vertical structural factors are absorbed with the aid of using the envelope and curtain wall system. The Heydar Aliyev Center's structure creates a continuous, flowing interplay among the building's surrounding plaza and its indoors. The plaza, because the floor surface, rises to envelop an similarly public indoors area and outline a sequence of occasion areas devoted to the network entertainment of cutting-edge and conventional Azeri way of life as a part of Baku's city fabric. The construction blurs the traces among architectural items and concrete environment, constructing envelope and concrete plaza, discern and ground, internal and outdoors with this gesture.

STRUCTURE & MATERIALITY:

The Heydar aliyev and Paul De Les Arts both are made on large scale with different curved shapes and bigger volume in exterior and interior. The building Heydar Aliyev is made on “large scale” with a continuous fluidity structure system to reflect fluidity design in interior spaces in which “vertical structure members are absorbed by curtain wall.”(wikiarquitectura). The Paul De Les Arts is structurally cut out in between the center of the exterior of the building and divided into two symmetrical shells.”( (20 Jan,2019). Architecture daily.). Most of the major materials which

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Fig 7. Frame Structure of Heydar Aliyev

Note: The above image shows the space frame system of Heydar Aliyev Center and also it shows how the vertical structural member like walls and column continuously joined to each other and makes buildings more stable structurally. Copyright by HEYDAR ALIYEV CENTER.

Fig 8. Frame Structure of Paul De Les Arts

Note. The above image of Paul De Les Arts shows the linearity Structural system of building and also it shows how it supports the two concrete shells of the building by frame structure. Copyright by PALAU DE LES ARTS REINA SOFÍA, VALENCIA, SPAIN.

are used in both buildings are steel, concrete and “white Fiberglass reinforced with concrete or polyester” used in roof structure systems for aesthetic purposes for building. The whole building is made on a steel frame structural system to hold a larger curvilinear shaped structure and make it a stronger and more stable structure.

The Heydar Aliyev has a large span in frame structure so due to that it is connected to the reinforced concrete structure in addition to the support of the columns and directly to the foundation, in order to maintain the stability of the structure as much as possible. Where the metal plume, planted on the footbridge at the main entrance of the Palau de les Arts, seems to float over the structure. This elevated footbridge can be reached by two different stairways, it is 56 meters long and it is situated at the western end of the building.

The Heydar Aliyev also made a space frame structure to provide flexibility in construction and also its fluid structure helps to give flexibility in free forms and “cladding seams outside of building.”(Architecture daily.). “Glass Fiber Reinforced Concrete (GFRC) and Glass Fiber Reinforced Polyester (GFRP) cladding materials” are also used in both building exterior to get more power plasticity in design structure.(Architecture daily.).

In the construction, they used “121,000m³” of reinforced concrete, “194,000 formworks” and “19,000” tonnes of steel molds are used. To create the base for a surface of “40,000m²” formed of panels of fiberglass reinforced with polyester or concrete.(wikiarquitectura). Where the Paul De Les Arts material is “77,000 cubic meter” concrete, “360 square meter”, “20,000,000 kg” structural corrugated steel is used in the building construction. (Structure analysis)

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Fig 9. Structural Material Note. The above image shows structural material which is used in both building roof system which is known as glass fiber which provides free and flexible fluidity design in building structure.

Fig 10. Interior Spaces of Heydar Aliyev Note. The above image shows the interior spaces of Heydar Aliyev Center which helps to identify the specific space on which floors of a building.

Fig 11. Interior Spaces of Paul De Les Arts

Note. The above sectional sketch of Paul De Les Arts shows buildings floor area and also it shows which space consumes which floor of building.

USAGE & USER EXPERIENCE:

The capacity wise these spaces are also different from each other. The auditorium hall of Heydar Aliyev has “1200” seats and sometimes music performances are also done there. The museum occupies “9 floors and it consists of exhibition halls, restaurants and administrative offices.” The library has “8 stories seated capacity.”(Researchgate acoustical) Where the Paul De Les Arts main component is auditorium having “1706 seats” also its having music concerts with “380” seats in hall.(Architecture daily.).The surrounding of the building allows the outer peripheral circulation to different audiences, garden terraces, cafes and restaurants. These areas are linked by balconies, walks, exterior stairs and elevators, which offer beautiful views of the city and gardens.

Conclusion

Both buildings are made by different architects in different cities having some similarities and differences in design, structural materiality and geometry. The Heydar Aliyev and Paul De Les Arts which are made of the same material but having different structure design and geometry. Also the both buildings have some different capacity in interior spaces like auditorium hall, restaurants and cafes. The research study focused on Zaha Hadid and Santiago’s design and also having different visions to make buildings.

Bibliography

Architecture Daily. Palau de les Arts Reina Sofía / Santiago Calatrava. (20 jan,2019). Architecture daily. Retrieved from https://www.archdaily.com/909673/palau-de-les-arts-reinasofia-santiago-calatrava

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Chris Karlson. Case Study / Queen Sofia Palace of the Arts. (28 march,2012). Chris Karlson. Retrieved from https://www. chriskarlson.com/blog/2012/3/28/rotch-research-queen-sofiapalace-of-the-arts.html

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Researchgate.Architecture inspired by nature. Human body in Santiago Calatrava’s works. Sophisticated approach to architectural design. (2019, February 24). Małgorzata Gościniak and Krystyna Januszkiewicz. ResearchGate. https://www.researchgate.net/publication/331313941_ Architecture_inspired_by_Nature_Human_body_in_ Santiago_Calatrava%27s_works_Sophisticated_approach_to_ architectural_design

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Architecture Daily. Heydar Aliyev Center / Zaha Hadid Architects. (14 nov,2013). Architecture daily. Retrieved from https://www.archdaily.com/448774/heydar-aliyev-centerzaha-hadid-architects

Wikiarquitectura. Heydar Aliyev cultural center. (n.d). Wikiarquitectura. Retrieved from https://en.wikiarquitectura. com/building/heydar-aliyev-cultural-center/

Zaha Hadid. Heydar Aliyev Center. (n.d). Zaha Hadid. Retrieved from https://www.zaha-hadid.com/architecture/ heydar-aliyev-centre/

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ResearchGate. Acoustical considerations in the design of Heydar Aliyev center auditorium. (2010, March 29). ResearchGate. https://www.researchgate.net/ publication/268326537_Acoustical_Considerations_in_the_ Design_of_Heydar_Aliyev_Center_Auditorium

eScholarship. Heydar Aliyev center. (n.d.). eScholarship. https://escholarship.org/uc/item/6962838t

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Practical aspects determining the modeling of the space structure for the free-form envelope enclosing Baku’s Heydar Aliyev Cultural Center. PPT. Researchgate

FIU Digital Commons | Florida International University Research. Remembering Zaha Hadid By Alastair Gordon + Claudia Busch.(n.d.). FIU Digital Commons | Florida International University Research. https://digitalcommons.fiu. edu/cgi/viewcontent.cgi?article=1043&context=inspicio

Taylor & Francis. The effect of language patterns on architectural forms (From the perspective of semiotics on Zaha Hadid’s works). (2018, October 5). Taylor & Francis. https://www.tandfonline.com/doi/full/10.1080/23311886.201 8.1507085

A.N.Beketov KNUME Digital Repository. THE CONCEPT OF FRAME IN HISTORIC CONSTRUCTION CONTEXT. (n.d.). A.N.Beketov KNUME Digital Repository. http:// eprints.kname.edu.ua/40838/1/190-192.pdf

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Texas A&M University College of Architecture. PPT. http:// faculty.arch.tamu.edu/anichols/courses/applied-architecturalstructures/projects-631/Files/HeydarAliyev.pdf

List of Figures

Figure 1: Heydar Aliyev Center/ Zaha Hadid Architects Hufton+Crow.(n.d). Archdaily. https://www.archdaily. com/448774/heydar-aliyev-center-zaha-hadid-architects/52 851fb4e8e44e524b0001ac-heydar-aliyev-center-zaha-hadidarchitects-photo

Figure 2: Paul De Les Arts Reina Sofia/ Santiago Calatrava Alan Karchmer. (n.d). Archdaily. https://www.archdaily. com/909673/palau-de-les-arts-reina-sofia-santiago-calatrav a/5c4208c0284dd1f40f00005c-palau-de-les-arts-reina-sofiasantiago-calatrava-photo

Figure 3: Paul De Les Arts Reina Sofia/ Santiago Calatrava section. (n.d). Archdaily. https://www.archdaily.com/909673/ palau-de-les-arts-reina-sofia-santiago-calatrava/5c420947 284dd1dc1900002c-palau-de-les-arts-reina-sofia-santiagocalatrava-section

Figure 4: Heydar Aliyev Center/ Zaha Hadid Architects section AA.(n.d). Archdaily. https://www.archdaily. com/448774/heydar-aliyev-center-zaha-hadid-architects/52 8527a1e8e44e2225000158-heydar-aliyev-center-zaha-hadidarchitects-section-a-a

Figure 5: Paul De Les Arts Reina Sofia/ Santiago Calatrava palladium photography. (n.d). Archdaily. https://www. archdaily.com/909673/palau-de-les-arts-reina-sofia-santiagocalatrava/5c420872284dd1f40f00005a-palau-de-les-arts-reinasofia-santiago-calatrava-photo

Figure 6: Heydar Aliyev Center/ Zaha Hadid Architects Hufton+Crow.(n.d). Archdaily. https://www.archdaily. com/448774/heydar-aliyev-center-zaha-hadid-architects/52 852033e8e44e2225000147-heydar-aliyev-center-zaha-hadidarchitects-photo

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Figure 7: Heydar Aliyev Center. ( 23 october,2017). Stylishmaze. https://stylishmaze.com/2017/10/23/heydaraliyev-center/#jp-carousel-2482

Figure 8: PALAU DE LES ARTS REINA SOFÍA, VALENCIA, SPAIN. (2018). ULMA. https://www.ulmaconstruction.com/ en/projects/restoration-maintenance-works/palacio-artesreina-sofia-valencia

Figure 9: Innovative free-form glass fiber reinforced concrete (GRC) panel. ( 1 september,2017). SEMANTIC SCHOLAR. https://www.semanticscholar.org/paper/Innovative-free-formglass-fiber-reinforced-(GRC)-Vergara-Aguirregabiria/7ac7416 c01ea953ce7028605849c8576a6e11c23/figure/0

Figure 10: Heydar Aliyev Cultural Center. (n.d). wikiarquitectura. https://en.wikiarquitectura.com/building/ heydar-aliyev-cultural-center/

Figure 11: Case Study / Queen Sofia Palace of the Arts. (28 march,2012). Chris karlson. https://www.chriskarlson.com/

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Documenting the work that we do is a process that we will need to follow as professionals, whether it is a formal requirement of our work or not. It forms part of our own record of work, part of our interactions with clients, and will be used to draw on for project and job applications. While a project is taking place, whether it involves the design of a product, a building or an upcoming township, documenting each step of the process enables clear communication between the designer team and the clients, with everyone on the same page regarding the reasons behind certain decisions being taken. Documentation comes in handy when presentations have to be made to larger communities or people for whom a product or a building, or a public space is being developed, even before the final details are decided upon. Having documentation at the ready makes it easier to articulate and substantiate a narrative that allows the audience to connect in project presentations, making sure one doesn’t miss out on details.

It makes it possible to track down implications of changes, and it also allows anyone coming to work on the same product/ building/ township in the future to understand comprehensively the logic of the approach and start from it with their own intervention. Sometimes, documenting a project or a specific part or detail of it, especially when it involves experimentation, makes it possible to share one’s learning with others as well.

Most professionals will agree that documentation is imperative, and yet it is often left for the last minute when it is not an immediate requirement. Even worse, sometimes it is left for some undefined later date. In effect, this means that when the documentation is needed, one needs to track down materials long after working with them, and count on memory to put them all together. That ends up producing flat documentation materials, where nuances of understanding which were really striking during the process are lost.

While as a professional, the nature of the work one documents increases in complexity, there are fundamentals to the logic of the process that remain the same. The nature of what one documents will evolve from exploring materials to learning about working with specific materials, to mapping neighbourhoods in the initial stages, to design proposals during the rest of your academic career, and even design projects that you are part of as an intern.

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Framing the Assignment

A call for project managers requires you to submit full documentation of a mapping project/ study you have undertaken, explaining in detail both your process and final outcome. This will allow a larger team of people comprising demographers, social scientists, geographers, and government officials to understand your methodology and approach while undertaking something similar.

The documentation has no word limit, but needs to be concise and make use of visuals including your final representation as well as details to explain both process and final outcome. The questions it needs to address are:

What were the specific steps involved in your process? These need to be mentioned concretely, with regards to what you studied, indicating outcome for each stage, not generically in a way that may apply to anyone conducting a similar study.

How can someone who cannot understand your final outcome begin to approach it in order to make sense of it? Put into words very clearly what they are to see in it.

Once you submit your document, you will be invited to make a 4 minute long presentation of the same.

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Learning Outcomes

Writing about process and methodology

Using headings

Titles Captions

Describing the steps of a process sequentially

Grouping together connected steps

Drawing logical connections

Selecting significant aspects for presentation

Informal peer feedback

Incorporating feedback

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Fig 1 The Mind Map

Note. The road network, the shops, legends and other major buildings such as BM Commerce school have been shown in the mind map. From “Mapping and Data Representation,” (Unpublished Undergraduate portfolio for CEPT Foundation Programme). By Vatsal Baraiya, 2022, CEPT University. Copyright 2022 by Vatsal Baraiya.

My house is located in the neighborhood, Ghogha circle, which is one of the busiest spaces in the city of Bhavnagar, Gujarat as it is one of the main junctions in the city. An area of 700 by 350 m was selected for mapping as it included most of the activities such as shops, eateries like Crave eatables, etc in the neighborhood. The area is full of residentials, different types of stores such as groceries, pharmacies, stationeries, eateries etc. There are a few educational institutes such as B M Commerce High School as well as some open grounds like KSM and Akhada. The neighborhood also comprises many temporary food stalls and the fruit/ vegetable vendors.

The map is showing the eateries, different shops present around the junction and the human interaction around the place during different times of the day. The time frames include morning 8am to 10am, afternoon 12pm to 3pm and evening 6pm to 11pm. These time frames were considered due to the different age groups utilizing these spaces at these specific times. For example, there are more students seen at the time period of 12 to 3. So that time period was selected. Three routes have been indicated in the map to access the junction from my house and the distance covered for each route for easy access to the junction for anyone who is not familiar with the area. The Final idea was to map the permanent amenities and the temporary food stalls and the vendors in the area.

Step 1: Preparing the Mind Map

The first step to understand the mapping process was making a mind map of the neighborhood through memory. A mind map is the map which consists of all the elements present in the area such as specific shops which are in your memory and it gives a rough idea about the attributes of the place. The mind map was digitally made using Autodesk Sketchbook as it could be done more efficiently than manual drawing. The mind map was helpful to understand the features and organization of the neighborhood. The area around Ghogha Circle has the most human interaction as it is full of shops,

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Detailing The Area Around Ghogha Circle, Bhavnagar

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Fig 2 The Base Map

Note. All the actual built forms and the road networks are seen in the base map. The circles represent the trees. From “Mapping and Data Representation,” (Unpublished Undergraduate portfolio for CEPT Foundation Programme). By Vatsal Baraiya,2022, CEPT University. Copyright 2022 by Vatsal Baraiya.

eateries etc and there's a school as well. So the mind map helped to understand the human interactions with the shops, eateries, the usage of the area around the school etc. Thereafter a list was made detailing these attributes.

Step 2: Listing the Attributes(different amenities)

After making the mind map, the different attributes such as grocery stores, bookstores etc and the user of that space(students, general public etc) along with the time of its usage were noted as bullet points. These observations were made by visiting the places at different time durations like morning and evening. The number of people visiting a certain place during a certain duration was noted. For example, it was observed that some temporary stalls such as vegetable vendors were operational throughout the day and there were some shops such as eateries which were operational only during the evening hours. So the bullet points helped to get a vague idea of what to represent in the final outcome. It helped in choosing the idea of mapping the temporary stalls and the human activities around the junction at different times of the day.

Step 3: Preparing the Base Map

Autocad was used to prepare the base map of the neighborhood. The google image was traced using Autocad and the image was scaled to the actual size to maintain the correctness in the size and proportions of the builtform and the road networks. The road network was traced first followed by the builtform, the trees and the temporary stalls. Firstly the road network was traced which gave an idea of the boundary of the map as well as the open spaces in the neighborhood. Then the builform which includes all the houses and buildings/ landmarks were traced. The trees were indicated as circles to indicate theis span. The line weights of each of these were considered to differentiate and give importance to the built form and the road network. The trees were traced in a lighter lineweight to make sure that they don't take away the attention of the viewer from the major aspects.

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Fig 3 Final Map showing the activities.

Note. The area under the dashed square has been zoomed in and human activities across different places have been shown by placing the human figures and the dynamic stalls. From “Mapping and Data Representation,” (Unpublished Undergraduate portfolio for CEPT Foundation Programme). By Vatsal Baraiya,2022, CEPT University. Copyright 2022 by Vatsal Baraiya.

The base map was only a line drawing and no coloring was done over it as it only needed to indicate the builtform and open spaces which was effectively done by the use of different line weights. A scale has been provided at the bottom right corner. A final layer of information was added to the base map using different colors and elements to get the final outcome.

Step 4: Mapping the final outcome

After making the base map, many layers of information were added to it for the final outcome. The type of buildingresidential, educational, commercial or institutional were shown with different colors. The area under the dashed square has been zoomed in as most of the shops and dynamic activities, i.e. the temporary food stalls and fruit/ vegetable vendors are present around it. The area around the B M Commerce school usually remains very crowded due to the food stalls which have been shown using human figures. Icons of the stalls and human figures have been placed accordingly to show the usage throughout the day.

Part- 2

The final map indicates the different types of buildings such as residentials, institutional, educational, and the permanent eateries and other shops. The trees in the neighborhood also have been shown in the form of green circles in the larger map. The road network is shown in a darker gray shade as it is the color of the actual roads. The different shops present in the area are depicted using different colors as mentioned in the legend. Open grounds like KSM, Akhada have also been indicated. Three routes have been indicated to access the junction from my home and the distance for each route. Furthermore, the area around the junction has been specifically zoomed in to show the different temporary food stalls and vendors operational during different time periods of the day. Adding these time periods was The human interaction with these spaces has also been shown by adding

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the human figures. The more human figures indicate that the place is crowded during that time period.

The collection of all of this information helps to get a better understanding of the neighborhood and also for a person who has just moved in, it becomes easier for him/her to access the amenities and get their locations.

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Fig 1. Labor Intensive Business Practices

Note. The roads are continually jammed due to them being narrow, the constant flux of toiling people and loaded vehicles. Copyright @ 2022 by K. Goplani.

Fig 2. Identifying the Major Textile Markets

Note. The map includes the Ring Road and railway track to display the commute practices of the market area. Copyright @ 2022 by K. Goplani.

Introduction

The textile hub of Surat is one the biggest markets in India, busting with constant and chaotic activity. To simply recall the directions and walk among the crowds is not an ideal way to navigate the dynamics of the market that thrives on the ambiguity that comes with being unorganized. Hence, this document shows the mapping of not only the routes but also the affairs of people in the area to make the experience of visiting the textile market of Surat less intimidating and overwhelming. Therefore, this map depicts the experience and knowledge of a native and communicates it in comprehensible terms.

Part I

Research

The very first step of the entire process was to choose an area that held most of the prominent and large markets since they are responsible for more than ninety percent of the overall trade that transpires inside them. Figure 2 demonstrates the flocking of established markets such as RKTM, NTM, Millennium,etc. To know which market dominantly trades in what kind of clothing also contributed to picking an area as it fulfilled the intention of covering the range of fabrics available at the marketplace. Furthermore, understanding the type of trade, i.e. wholesale or retail, also assisted in getting a clear sense of unsaid rules of transportation followed throughout the market.

Demarcation

After having a general idea of the chaos in the area, it was time to select a space that would not have made navigating a particular market strenuous for the user. The scale was to be appropriately adjusted to fit in all the factors while also maintaining the clarity of the minor roads that add to the disorder due to their web-like appearance, hence a rectangle of 500 by 700 m was handpicked.

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Fig 3. Google Earth image of Surat’s Textile Area

Note. The 100 m scale mentioned in the bottom right corner of the page was not cropped away because it is to be used later for accurate construction of the Base Map.

Fig 4. Selecting the Area Note. Elements like water bodies and residential streets were left out in the final map since they had no relevance to the information being represented. Adapted from Google Maps [Surat Textile Market Area]. Retrieved on March 9, 2022. Copyright 2022 by Google Maps.

Data Mining

One of the important steps of representing the data in the final map was visiting and observing the site and recognizing the attributes that make it unique. For this locale of Surat, it was the schedule of the vehicles that delivered the various products to and from the shops. For carrying large amounts of goods across cities, huge trucks with higher load capacity are used. Whereas local transactions of fabric are usually done by comparatively smaller tempos with lesser load capacity. Furthermore, most of the heavy lifting of material through places like streets too narrow for vehicles and staircases accessed multiple floors of the textile plazas is done by the workers. This helped establish the schedules of various modes of transport which were then displayed in the map.

To actually navigate the textile area though would require a map that could display the very essence of the business, the fabrics. Hence, the site visits were not just simply for observation but also involved interviewing the natives about their experience and expertise. These interviews gave an impactful insight into the speciality of each market like how the fabric from RKTM differed from that of Millenium, and how and when the quality and pricing are adjustable, etc.

Data Organization

The digital illustration of the first map involved the raw compiling of information collected. Therefore the aforementioned demarcated area is not focused on, since it was not in its organized form. The immediate step after this involved limiting the information to the area picked. Then the information was mind mapped, the fabrics were assigned an area and major markets were color coded accordingly as can be seen in Figure 5.

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Fig 5. First Draft Note. The various market buildings are color coded according to the dominance of particular fabrics they trade.

Fig 6. Base Map Note. The gray boxes portray the huge markets, the dark green areas portray a huge green space and the smaller circles portray the randomly scattered trees.

Making of the Base Map

The only way to get an accurate sense of the space was to use softwares like AutoCAD to plot the map to scale, since digital medium offers the leniency of error and is way faster to work in. The Map acutely shows all the streets and the green spaces, trees along the river bed and the railway line running diagonally through the map as expressed in Figure 6. Since it is made by tracing over the Google Earth map directly and is used as the standard of preciseness for the final map, hence it is called a base map. Juxtapositioning the first map with the Base Map, we notice the exactness and the subtraction of the layer of information. The Base Map is the final adjustment in the area selected for proportionate representation of the data collected.

Inspiration

At the first glance Figure 7 might look like a lot to be taken in at once, which if anything, does proper justice to the pandemonium that is the textile hub. The conscious decision of using a lot of color and patterns in the map is justified by the products being sold by these businesses. The idea was to integrate the textile with the cartography, to make the experience highly stimulating for anyone looking forward to visiting the market, new comers wanting to start a business, people looking for fabrics or just someone wanting to cross through the area in the least possible time.

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Fig 7. Attaching of Legend

Note. The colorful dots added for easy reading of the map also add to its vibe.

Part II

Data representation

The abstract form of cartography in the figure above (Figure 8) correlates with the Base Map. The Ring Road is represented by a bunch of patches sewn together haphazardly representing the disorganization yet consistency of the industry. The narrower streets are depicted using stitches of various colors which add to the zest of the map, bringing it closer to the energy of the actual market. The trees and green spaces follow the same formula of being sewn which appends to the overall illusion of the map actually being stitched on a large piece of fabric.

It must, however, be noted that solid objects that narrate activities are not torn or stitched onto the map. The concrete structures are also drawn in isometric contrast to the entire map which is represented in 2D. This is done because these elements need to stand out.

As can also be observed in Figure 8 the transport facilities are positioned on the roads they are usually found, hence the narrower streets contain only labor. For making this more legible, the reason for the same has been mentioned in the bottom part of Figure 9. Same has been done for every element of the map.

Looking at the final map in Figure 7, one can smoothly navigate the routes- hence the map serves its primary function. Attributes like transportation can be easily understood with the help of the legend. The structural elements, although not true to the form of the actual buildings, still give a pretty clear sense of the major fabric in a particular area. Therefore, a user can easily use the map to access the textile market of Surat.

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Fig 8. Representation of Data Through Textile Elements.

Note. The concrete structures aren’t true to their real life counterparts, they have been given a patterned look to complement the rest of the map.

Fig 9. Legend Note. The title of the map “Navigating Textile” written in a newly created font.

Conclusion

The mapping of the very cluttered textile area helped navigating not only the stationery markets but also the movements of the load bearers and the justification behind it. The vibrant nature of the map ends up providing stimulus and resembling the actual area not only in terms of dimensions but also the excitement. The harmonious hustle on the streets that makes the area lively has been accurately exposed. Thereupon, the map disciplines a rather tumultuous area while maintaining its aesthetic and following the rules of mapping.

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Mapping a Packed Area of Dubai

Fig 1 The Chosen Area Note. The image contains important labels showing the landmarks in the neighbourhood. Copyright @ 2022 by Riya Cherian.

The selected neighbourhood, named Muhaisnah is mostly a residential space with all the amenities nearby in Dubai, UAE. It is an area full of buildings and with very few trees. Thus, the data represented in the map shows the types of buildings in the area. The map will be helpful to identify the spaces easily for a person who is new to the neighbourhood

Part I: Important Processes and Decisions

Identification of Area

The image (refer to figure 9) of the actual map was captured using Google Earth. The chosen space was 700m x 550m by area. The dimensions were exceeded so that too less or too much data would not be represented because the area was full in terms of space and had so many similar residential apartments. Also, only by increasing the dimensions the important roads (flyover, etc.) and some buildings could be shown because these are the key features that help in the identification of this place.

Preliminary Observations of the Area

The flyover divides the area into two places called Muhaisnah and Sonapur. Sonapur’s inhabitants are labourers and industrial workers. Here there are a lot of paid parking spaces that are used as cricket grounds and playgrounds when empty. The main landmark here is the RTA (Roads and Transports Authority) building with a glass facade and curved structure. The main road named Sheikh Mohammed Bin Zayed Road is connected with all the other emirates of the UAE.

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Fig 2 The Base Map Note. This traced map shows the roads and some buildings in plan. Copyright @ 2022 by Riya Cherian.

Fig 3 Data Handling Note. This data shows the area occupied by different types of spaces. Copyright @ 2022 by Riya Cherian.

In both Muhaisnah and Sonapur, there are cafes, hypermarkets, saloons, bus stops, pharmacys are there in various spots within the area. There are a few villas too which are the police headquarters. Most of these observations were included in the final map so that no data would be misinterpreted if one comes to the neighbourhood and uses this map.

Preparing a Basemap

Some attributes mentioned above such as the crowding of the buildings can be seen in the basemap (refer to figure 2). It was traced using the Google Earth image with the AutoCad software. A variety of line types, weights and colours were used. The top view of the buildings was made in detail. The basemap was made to identify the plans and structures of different buildings.

Collecting Data

The data collection was done by interacting with people asking them what they think about the neighbourhood and how convenient it is for them to access the amenities because different people have varied views about the place. The map was mainly done using the observations over the past five years and the observations made during this process.

Data Analysis

The data collected as shown in figure 3 was used as the key feature in the map. The space occupied by the building was the basis on which the data was categorized and represented

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Fig 4 The Final Map Note. This map represents the types of private as well as public spaces in a dense area in Dubai. Copyright @ 2022 by Riya Cherian.

Fig 5 The Legends Note. This was part of the final map but was enlarged for better readability. These legends read along with the map will add more sense to it. Copyright @ 2022 by Riya Cherian.

for the final map. However, the data collection was done within a limit due to the ongoing pandemic. The decision to represent the map using buildings was taken because the data represented in the map would be cluttered if any other type of information was added, such as the activities around the area, traffic, etc.

Samples for Data Representation

The samples referred to present the final maps were collected from the internet. These samples gave an idea of how to represent a residential space in an interactive way. Some colours used in the final map were chosen from the reference maps.

Part II: Reading The Final Outcome

The final map is shown in figure 4 where the data collected is represented. There are legends and colour coded details using which each space is uniquely identified. The outline of the building done using grey colour was not removed so that the building when colour coded would not look like a huge chunk. The choice of colours used was very difficult to choose because the colours needed to complement each other so that it would be visually pleasing, otherwise it would be difficult to read the map. Hence, a variety of colour palettes were tested. The shade of green was very hard to choose because green is a very bright colour.

The map was done using 2D representations because when it was done using a 3D technique, the map turned out to be crowded with so many buildings and significant details were hidden too. The heading of the map is an Arabic font because

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the place ‘Muhaisnah’ is an Arabic name. The font of the legends was different from the heading font so that it would not be difficult to read especially as the font size is smaller.

The map clearly shows the area is tightly packed with a lot of buildings. Yet, people find it easy to live here because all amenities are accessible within one’s arm's reach at all times. Also, being in this neighbourhood people find it easy to travel to the other emirates of the UAE.

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Megatron on Tithal Road: Mapping the attributes of the Neighbourhood in VALSAD U21057

Part-1 Locating the Neighbourhood

Located in the coastal town of Valsad, Southern Gujarat, the neighbourhood that is to be covered in the document is on ‘Tithal Road’. The most popular landmarks of this area are- Luhana Samaj Wadi, which is one of the busiest banquet halls in the area. Rina Park Society, which is amongst the first housing societies to be developed.The last but not the least is the Dadiya Faliya lake, a beautiful man made lake.

Describing the Neighbourhood

Being a locality of foodies who also wish to be fit, the final map is an attempt to show the struggle a common man has to go through to decide between taste and slim waist. A mapping of all the fast food restaurants and the mere amount of fitness centres to counter the effects. Also, being a town which has 69% of its population as senior citizens, there was an effort to show the age of the built forms and how it developed over years.

Ranging from schools to malls, it has almost everything in its vicinity. Not high-fi but basic. 2 schools- one government, one private, about 12 general stores, 3-4 saloons, 3 gyms, about 25 food shops, pet shops, automobile maintenance shops, farmlands and a few temples.The area that is described, is a part of one of the busiest streets and the neighbourhood was amongst the first ones to develop, initially. Now, tightly packed with restaurants, cafes, gyms and saloons, was once just someone’s vast farmland where wolves and wild dogs used to stray. It has come a long way.

Similar to every object that is synthesised physically, even this map was firstly made in the mind. The process began with a mental picture of the neighbourhood’s precious memories that were important to the author, to prepare a cognitive

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Fig 1 It’s all about memories. Note. Notice how a snack vendor’s cart which is dear to the author is almost of the same size as a 12 storeyed apartment. This is the cognitive/representative drawing which is supposed to be the first step. The handwritten labels provide a sense of [one’s own-ness ] Adapted from “Mapping and Data Representation” (Unpublished Undergraduate Portfolio for Cept Foundation Programme). By J.Parekh, 2022, CEPT University.

map, which is the author’s version of the neighbourhood and focused just on the narrative details.This need not be scaled or accurate because this map has the freedom to emphasise on the attributes important to the author.. It could be as illustrative as one wishes it to be and thus helped in highlighting the important parts. For example, a ground where holika dahan is organised every year and is more important for the author, was bigger than the representation of a mall, which held less memories. Due to an area limit of 2,50,000 sq.km, there were some compromises on which part of the neighbourhood to include.

Marking the Neighbourhood

Using Google Earth, an area of 500m x 500 m, corresponding to the above requirements was selected. A few alterations were made in the size of the map to fit in a lake(an important spot for the author) that was a bit far away.

Creating a Base Map

After the area was carefully plotted on Google Earth, it was transferred to AutoCAD, where it was scaled according to its actual size so that details could be traced as accurately as they are. Starting with the road was easy as it creates a vague outline and we can have a clear image of the map being built up. The next item to plot was the built formsthe residential areas, shops and restaurants. This makes the placement of the map more clear.The next was the natural cover i.e the farmlands,open grass grounds, muddy fields and the density of tree plantation. As it is time consuming to plot each and every tree, based on an image, the density of the tree plantation and not each individual tree was plotted . The tracing being almost covered, it represented the Google Maps version of the neighbourhood and served as a base map for the final map. Alongside that, a narrative article (in any form- poetry, prose or even essay) which described the neighbourhood shown in the cognitive map, was written. This was also done to understand the neighbourhood, through the author’s lens, in a better way.

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The final map is made of a few layers of information to convey it more clearly and efficiently. Firstly a map just showing the built forms and road networks ( in a way, the man-made forms) was represented on the first page. On the second page, all the natural forms (lakes, grass lawns, farming lands and grounds) were shown. Both outlined the map in their own ways.

This map also tries to convey that, within recent years, there has been a rapid increase in construction sites to meet the needs of people. Proposed government construction projects, individual projects, all have been increasing quite well.

Fig 2 Megatron on Tithal Road Note. The shape of the map resembles the head of Megatron (a fictional anti-hero).Adapted from “Mapping and Data Representation” (Unpublished Undergraduate Portfolio for Cept Foundation Programme). By J.Parekh, 2022, CEPT University.

Fig 3 Base Map with colour coding Note. This base map made in AutoCAD is the replica of a google map of the same area.Adapted from S-11: Mapping and Data Representation (Unpublished Undergraduate Portfolio for Cept Foundation Programme). By J.Parekh, 2022, CEPT University.

Fig 4 The Final Map through layers Note. The left map shows the built forms and road networks. The right map shows the natural attributes. When overlapped, it creates the base map which is then used to map/mark the important attributes. Adapted from S-11: Mapping and Data Representation (Unpublished Undergraduate Portfolio for Cept Foundation Programme). By J.Parekh, 2022, CEPT University.

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Fig 5 & 6 The main layer of information-01

Note.The different restaurants and the gyms corresponding to that. These both images (which are parts of the final map) convey the fact that the people residing in this area are very fond of food and although they do spend time in the gyms, it’s quite apparent, which side weighs more!! Adapted from S-11: Mapping and Data Representation (Unpublished Undergraduate Portfolio for Cept Foundation Programme). By J.Parekh, 2022, CEPT University.

Fig 7 The main layer of information-02 Note. The age of different buildings which developed over years and how urbanisation has affected the city. Adapted from S-11: Mapping and Data Representation (Unpublished Undergraduate Portfolio for Cept Foundation Programme). By J.Parekh, 2022, CEPT University.

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Mapping of a Peaceful Township in Ahmedabad

Fig 1 Demarcated Area

Note. The area highlighted above is the area that I had chosen for the mapping and data representation. It includes various commercial, residential, and recreational spaces which were helpful to reach the final outcome. Copyright 2022 Arha Pandya

My neighborhood is a township called Adani Shantigram and is located on the outskirts of the main city, Ahmedabad. Being far away from the city has its own benefits and disadvantages, it has healthy green foliage which is why most of the area is covered with greenery. The township usually provides everything ranging from fun to necessity. It might be far from the main city but it doesn't feel like it. After collecting all such information for making the map, the data represented on the map mainly focuses on the activities done such as cycling, running, football, cricket etc, and how people are so connected to the area. The following text will show the steps on how I proceeded to achieve the final outcome.

Part- I- Initial Beginnings of the Project Identification of the Area

The first step was to decide which area should be mapped. The selected area must have our residence because we know our area well and also, it should be within the range of 500 x 500 m. Accordingly, the area has the maximum amount of information. The area that I chose exceeded the limit because it has a clubhouse, a lake, a shopping center, and a fountain show, so I took an area of 600 x 600 to accommodate the information. The particular area was taken because it had all the aspects that were meant to be shown. The image was taken from Google Earth to have a clear view of the neighborhood.

MAKING A COGNITIVE MAP

The cognitive map is something which implies that one has to do it with his/ her own remembrance showing how much they know about their neighborhood. This map shows all the happenings in my neighborhood that I can remember without taking an actual glance at it with the motive of making a map.

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Fig 3 Base Map Note. This image was traced using google earth image by marking all the specific areas at a certain height and making it understandable to the readers by the use of a key on the bottom right corner. Copyright 2022 Arha Pandya.

On the top right you can see a clubhouse with all the activities that I do in the club. Then the apartment and the fountain show my residence. The cricket ground on the bottom right and the mall on the bottom left shows crowdedness

Preliminary Observations of the Area and Identification Of Thematic Focus.

All the necessary information and attributes were compiled and I made observations regarding the same. The map shown in figure 2 was the first step towards the thematic focus for my final map. Initial observations showed that there are activities concerning every age group.

The clubhouse consists of outdoor and indoor games. One can see people cycling and jogging around, talking with each other. One can also observe that the area is crowded on weekends as it has become a tourist attraction for many people. It is necessary to list these observations for a thematic focus which is centered around the activities.

PREPARING A BASE MAP

A base map was prepared showing the top view of the demarcated area to give an overview explanation of the surroundings. A graphical scale and the orientation has also been mentioned on the sides. It was helpful in the final outcome as you could see and relate the location and context of the locality.

For the base map I traced a google earth image in 2D using autocad. This was a base to create our final map. Different autocad layers, multiple line weights were used to indicate the importance of certain things such as the road has a thick gray outline to show that it is the main road. All the trees are

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shown in circles. The lake has been shown in blue, indicating its color [figure 3]. All the things have been color coded for the reference of an individual to identify between spaces such as for the lake it has a blue color and for the roads it has gray color. This was done to create an accurate map to further use this information for the final map as this gives a top view of the area to the readers making it clear for them to relate with the final map.

COLLECTING DATA

After the base map, I chose to collect all the main points to be included in my final map.The initial years were during the pandemic but I’m aware about the surroundings and its happenings. After a full day of observation, that is roaming around and watching what people do and at what time, I compiled all the main points and tried different ways of representing but then the one that I actually chose suited the best for representation and also tried to include it in either the cognitive or final map. The changes the area has gone through is too much because it is a developing township and there are many construction sites going on, many buildings are being formed. So most of the surroundings are covered with trees.

SAMPLES FOR DATA REPRESENTATION

I looked up many samples for my reference, some we had searched for on our own. Knowing how to do it, and looking at others' work. I had picked up a few samples, taken some ideas from that and started to work on my final map. For example some maps had been drawn in perspective, some had been drawn in layers and some had fully colored hand drawn maps.

p. 222 Fig 4 Final Map

Note. This final map was prepared keeping all the observations details and whereabouts in mind. There are personal additional descriptions in the map on the side showing what I observed and what I like.

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FINAL DECISIONS REGARDING DATA REPRESENTATION

After looking at all the samples I started to compile all my ideas in an A3 landscape sheet. Since I wanted to show exactly how the building looks, giving it a realistic look, I started to draw them out in Sketchbook and give them a look which is near to real. Since I couldn't place it how I wanted to, I just placed it as a reference to the building I have drawn so one could get a clear sense of reality. Sense of reality might get someone closer to acquaintance.

PART II

Final Step

The 3D map in Figure 4 shows my final map where all the data has been compiled and composed keeping in mind all the key attributes such as people playing various outdoor games, jogging, cycling, one can also see them taking their dog out for a walk, vehicles on the main road. You will see a swimming pool, my residence, the mall and the cricket ground.

The title ‘Through the valleys of peace’ is kept so because it is very quiet and peaceful with all greenery around and also for a generic idea. There is not a single honk in the area unless and until required, it is one of the most peaceful things about the area, people are chatting near the building, the cricket ground is always filled with enthusiasm. There are matches on every weekend, the club house has each and every activity ranging from kids, teenagers to adults consisting of indoor and outdoor games, event nights, and a restaurant for a perfect family night. I decided to show all those things which were quite often in my observation.

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Compiling all the data on one sheet will give an idea to the readers how most of the area is covered in greenery, how peaceful it is and how joyful it is. The final sheet is a combination of the cognitive and the base map. The basics of what people are doing and what that township is famous for is its happenings in the surroundings. It is the best way to describe the neighborhood as one will understand it well when they pass through.

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About The City

Nanded is one of the cities located in southwest Maharashtra which is also known as Guru Gobind Singh’s native place and is considered the second most important religious place for the Sikh community after Amritsar. So the area I have selected is the Gurdwara Area which is nearly spread over 4 Sq.km around the main gurudwara building, I have chosen this scale of the area since the number of landmarks appearing in this area is much more than the others.

A Map For The Tourist: The Theme Behind This Map

The main theme behind this mapping was to show people (mainly tourists) which places could be major attractions in the gurdwara region of Nanded and what times they are frequented and what they offer.

Observations Made During The Day

I found an interesting place to sit in this region, near a famous food stall and observed people’s movements throughout the day. I have collected this information with the help of the local people, street vendors, and local shopkeepers. I also did an interrogation session with one of the shopkeepers who were old enough to give me insights about this place that went back the last 50 years. Although, I was asked a lot of questions about why are you doing these things, to which I simply replied that it is a survey.

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Making Bullet Points About The Data Collected

Making a Diagram for the Landmarks

A mind map is nothing but a diagram that is used to visualise the idea and the relationship between the ideas. The observations were then converted into a sketchy or a diagram showing only a mind map to get a general idea of the theme i.e. A map for tourists. This Diagram depicts Gurudwara, Riverfront, Weapons Museum, and Granth Bhavan with the stable, street vendors and conveys the information about what they are famous for and what time during the day, the crowd engagement at this place increases.

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Fig 1 Bullet points Note. Observations were made during the survey of the area. Adapted from “The Tourist Map”, (unpublished work from CFP) by, S.Shewalkar, 2022, CEPT University.

p. 227 Fig 2 Famous Landmarks in the area.

Note. This map is a rough sketch of the famous places around Gurdwara.

Adapted from “The Tourist Map”, (unpublished work from CFP) by, S.Shewalkar, 2022, CEPT University.

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Fig 3 Traced Map in AutoCAD Note. The main roads are highlighted in grey colours while the sub roads are just outlined to show which roads are busier. Adapted from “The Tourist Map”, (unpublished work from CFP) by, S.Shewalkar, 2022, CEPT University.

Tracing The Map in AutoCAD

A base map is a layer with geographic information that serves as a background. This Map consists of only Built ups, trees and roads. For the Base map, I have traced the area in AutoCAD since it is easy to trace the map while working with different layers. Layers are nothing but transparent pages on which you work and get a final product when you put them all together. The main motive behind creating this base map was to show an accurate representation of the area chosen. This was done with the help of using different layers like Road Networks, Build Ups and Trees shown in figure 3. There are different colours present in the below map such as green, grey and blue which are used as legends such as Trees, Roads and Built ups, respectively.

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Fig 4 Data Representation

Note. Data representation is done in terms of location tag to make people familiar with the concept adapted from “The Tourist Map”, (unpublished work from CFP) by, S.Shewalkar, 2022, CEPT University.

Data Representation

The Tourist Map gives suggestions to the tourists on how they need to travel during a day. There are also graphics representing what activities people do in a particular place which gives suggestions to people that what they can do at the respective place. This representation was done in two software SketchUp and Canva since this two software are very comfortable to use and canva provides a range of stickers and readymade graphics to use, where the buildings were made in Sketchup to create 3D Effects and Canva for the graphics art (Location Tag). This software allowed me to create or add some graphics to a simple map. Also, there are some legends used like the green colour for depicting the ground while the buildings are for white only. (Refer to Figure 4)

From the first part i.e. observations to the final i.e. data representation, the process required a lot of time, effort and last but not least Patience, to observe and represent the collected data accurately.

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Joineries that Fix Tight - Play of Wood and Metal

A lot of different materials are used to create products we use in our daily life. It involves a lot of twisting, bending, cutting and all different sorts of actions one can name. An assemblage was made out of wooden and metal pieces joined together to increase our understanding and familiarise ourselves with the process. With a collection of joints pieced together as a single unit; exploration of various possibilities for several joints giving discrete outcomes was done. With such exploration came problems and solutions to those problems. The following paragraphs will lead us to the process, problems faced and solutions that were implemented in the final product.

Part I - Design, Find Faults, Reiterate

Introduction to Materials and Joints

Before starting with directly designing the end product, understanding a joint and their working was done. Restraining to using just two materials i.e. wood and metal helped to focus on the joints rather than the choice of material. For wood, there were a plethora of ways in which one could join them together. Lap joints, Mitre Joints, Dovetail Joints, Mortise and Tenon Joints were a few of them which were introduced. In order to get a better understanding of these joints, 1:1 scale sketches were made [Figure 1a & 1b]. It was hard to gauge which piece came on top or bottom of the other while drawing them. In order to tackle the same, prototype pieces were made. Along with these, a study of the metal joineries like screwing and riveting was done. The materials decided were a cuboidal wooden block, a metal sheet, a metal rod and a metal pipe.

Measurements and Anomalies

Different sets of materials were provided after being introduced to us. The expected dimensions of our set were, a wooden block spanning 1200 mm, a metal sheet of 350 mm x 350 mm, a metal pipe of 1000 mm and a metal rod of 700 mm. The work on designing the model started with the

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Fig 1a. Lap Joint & 1b. Metal Insertion into Wood Note. In both Fig. 1a and 1b, blown up views of the joineries about to be used in the finished product are shown. This not only helps us understand the joins but also becomes easier to explain to the workmen. Copyright 2022 by Pisharody, N.

Fig 2a. First Design of the Product Fig 2b. Another View of the Model Note. The design was inspired by a chair that included a long metal sheet which resembled the backrest. The joint made to fix the metal sheet seemed easier on software but practically was poor in holding its strength. Retrieved from SketchUp. Copyright 2022 by Shankarasubramanian, A.

Fig 3a. The U bend Fig 3b. The Chaotic Jam Note. It was observed that the radius of the bend in Fig. 3a was not considered while designing the model. This led to a misunderstanding of the capability of the material and manual labour. Also, the fixed joint shown in Fig. 3b with the size of wood used would have broken the piece completely into two halves, making it unable to be rectified. Retrieved from SketchUp. Copyright 2022 by Shankarasubramanian, A.

Part I - Design, Find Faults, Reiterate

Introduction to Materials and Joints

Measurements and Anomalies

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Fig 4a. First Design of the Product 4b. Another View of the Model Note. After reworking the 3D model, Fig. 4a and 4b indicate the so-called final model, about to be made. Retrieved from SketchUp. Copyright 2022 by Shankarasubramanian, A.

Fig 5a. Structure made from styrofoam and straw 5b. Gray Paper and the pins Note. The material used to make the prototype wasn’t a good choice. Due to this, the prototype couldn’t hold together the pieces which were supposedly stable. The elasticity in the straws and PVC pipes didn’t help as they were trying to regain their original shape. Copyright 2022 by Pisharody, N.

estimated numbers. In more of a rough format, the isometric drawing of the first iteration was completed. This created a major misunderstanding, as it was not optimal to gauge the size and dimensions of the model and the material used in it. It was realised that the efficient way of working would be to measure the raw materials provided. There came to be a few changes in mm for certain measurements. Also, a few rotten spots existed on the wooden piece which needed to be considered while designing. A mock 3D SketchUp model was decided to be created with these aspects kept in mind [Figure 2a]

Iterating and Reiterating

While creating the SketchUp model, it was discovered that the estimated measurements taken in the rough drawing were way off, and the efficient use of the material was missing. It was because the design was just ideated and drawn without realising the amount of material available. After a bunch of discussions regarding the use of material, final measurements were decided and corrected in the 3D model. Fig. 2a and 2b indicate the first 3D prototype.

Since the wood was more abundant than other materials, it was decided to use it as the major exterior frame which creates the almost cuboidal form. The design was stable because it followed the principles of a chair and armrest. But later it was found that there is a flaw in the design in terms of the properties of the material.

Figures 3a and 3b indicate the two major flaws. Firstly, it was alarming that the bend of the metal pipe with such thickness used in that part would be almost impossible without an automated bending machine with high capabilities. Second, the insertion of two sheets and a rod into the same wooden piece of the dimension won’t be stable. It will weaken the joint, making it a very fragile point to bear such a load. It was decided to shift the plate towards the bottom to increase its structural integrity and the pipe upward connecting to the rod making it a unique metal-metal joint; keeping the wooden pieces the same. This was done to fix the issues observed

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Fig 6. The wooden base Note. The module which consists of the lap joint and rabbet joint forms the main base. After this metal sheets and pipes are to be added to the base to form the assemblage. Copyright 2022 by Pisharody, N.

Fig 7. The Precautionary

before. Figures 4a and 4b depict the fixed model based on the previous design.

Prototyping and Design Approval

After fixing the issues mentioned above, the design was close to finalisation. A prototype of the same was created using mock materials [Figure 5a & 5b]. This stage was important in order to understand the joinery and how the process of the model would be executed. Making the prototype gave a brief idea of how the model would look, how the joins are made and what problems are expected to occur while making the final product. It gave a buffer period to rectify or minimise the problems faced while constructing the model. The model seemed unstable but then it was concluded that the material used for prototyping wasn’t ideal. This led to slight ambiguity on whether the model constructed will be able to withstand the load of the materials. The same design was approved on a consensus after a series of dialogues and the work on the actual model started.

Workshop Orientation

Mark

Fig 8a. Drafted lap joinery 8b. Lap joinery made in the wooden piece Note. The sheet in figure 7a is drafted lap joinery on a 1:1 scale. One part of the wood is cut in lap joinery. Copyright 2022 by Pisharody, N.

Fig 9a & b. Wood metal joints

Note. Joinery shown in figure 9a shows wood to metal joining using making slits on the wooden block and figure 9b shows how the metal plate is fixed in the wooden block using riveting. Copyright 2022 by Pisharody, N.

Before directly working with the machines, orientation about the workshop and its tools was conducted. The expert personnel walked us through each of the facilities available in the workshop complex. Along with this, the rules of the workshops were explained. Doubts about the finalised model design were discussed. For example, bending of pipe was only allowed in right angles and not in slanted or curved directions. The experts approved the model as well and granted us permission to start working on the same.

Woodwork

After the design got approved since there was a lot of wood in hand, work on the wooden pieces started first. About three pieces of wood would have joined together with a single stand-alone log at one corner [Figure 6]. A choice of simple joints was decided since it was our first time working at the

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Fig 10.Lap joint Detail Note. The wooden key was inserted to fix the metal plate with the lap joinery, it was fixed by applying hammer pressure which was not stable and the joineries were breaking. Retrieved from SketchUp. Copyright 2022 by Shankarasubramanian, A.

Fig 11. Broken wooden joinery Note. This is a zoomed-in view of the wooden lap joinery which broke as it was a weak joint and a metal plate as well as the wooden key was inserted between the lap joint. Copyright 2022 by Pisharody, N.

workshop. Firstly the 1.2 m was equally divided into 4 parts using the mitre saw. A half-lap joint was made for the sleeping members where the pieces overlap each other Figures 7a and 7b. They created a major part of the base. A standing member was to be added to increase the vertical aspect of the model. In order to create that, a rabbet joint was created where there would be a small protrusion inserted into a niché made into one of the horizontal members. To do that, most of the wooden piece was to be cut into half with a band saw machine, where only about 2 cm from the bottom would be left to be inserted.

While cutting, it was made sure to have a 2 mm buffer between each cut. This buffer is wasted as wood dust when cutting the wood due to the thickness of the blade. Slits were also created in the pieces for metal sheets to pass through. Holes were drilled with the bench-drill machine, in order to insert the pipes and the rod. While drilling (and when using a mitre saw), the wood was fixed to a clamp so that it doesn’t move due to the pressure applied by the apparatus used. After completing all this, the work on metal was started.

Metalwork

Unlike the woodwork, metalwork was a bit challenging because it was quite scary to work with metal machines as fire pieces were spreading out while cutting and bending the pipe a lot of pressure needed to be applied. About 6 metal parts were to be made with the sheet, pipe and rod. The rod was utilised without cutting by just bending into a C shape. Since the radius of the bend was too sharp, it had to be bent manually using a clamp and a hollow metal tube. Along with this, the ends of the rod were threaded manually to easily insert it through the wooden piece. Welding of sheet metal wasn’t allowed so for the corner sheet piece, two metal pieces of the same height and breadth but different lengths as per the dimensions were cut. One larger piece of the sheet was also cut along the previous two pieces.

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p. 242

Fig 12. Metal-Wood Joinery Note. This is the exploded view of a metal pipe with a rod which was supported with the wooden element and a cylindrical wooden piece which failed to support, Retrieved from SketchUp. Copyright 2022 by Shankarasubramanian, A. p.243

Fig 13. Rod - pipe joinery Note. This is the zoomed view of pipe to rod joinery where the rod was fixed with the wooden block before connecting it with the pipe. After which a wooden block was inserted between the pipe and rod to fix it which was still not stable. Copyright 2022 by Shankarasubramanian, A. p. 244

Fig 14. Cost Estimation Sheet Note. For ease of it, the sheets were made on the software named Microsoft Excel Spreadsheet. The software helped in tallying up the total using certain formulas based on the input given to it. It also helped in making the list of costs appear aesthetically pleasing with proper legibility. Retrieved from MS Excel. Copyright 2022 by Shankarasubramanian, A.

One of the two metal sheets was bent at 90° with the bending press about 4 cm away from one of the ends. Then by placing the bend over the other sheets, coordinates were marked where they were drilled to let the rivets pass by. Then both the sheets were attached using the riveting technique. The third sheet cut out had to have an S shape along with a hole for the rod to be inserted. So using the same bending press, the sheet was bent on one side first, flipped and bent in another direction. Then the placement of the rod insertion was gauged and drilled using the bench-drill machine. All that was left was to modify the pipe. It was divided into pieces, one straight piece and another curved piece. The pipe was using the miter saw and the piece to be bent was bent manually using the metal bending equipment. And now the assembly was the only thing left.

Assembly and Minor Mishaps

After cutting all the pieces, joining them into a unit was all to be done. Joining the wooden pieces was started. A key affixing the overlapping joint along with the S curved metal sheet that rests over it was decided. A tongue was carved out of the extra wooden piece left to use as the key [Figure 12]. For the insertion, a rectangular hole had to be carved through the metal sheet over the lap joint; To do so, a circular hole was drilled through the wood and then it had to be chiselled manually. This led to the problem of not having a clean-cut since the chiselling was not done right. Thus the key when inserted got stuck in between halfway, where when more pressure was applied the bottom part of the lap joint cracked and chipped off a bit.

Not being able to rectify the mistakes, we moved to fix the C shaped rod into the vertical wooden piece connected to the L shaped wooden base. After inserting it was understood that the fit of the rod was so tight that fixing it with nut bolts wouldn’t be necessary. Nevertheless, it was realised that the pipe was inserted through the rod before fixing it to the wood. Thus, a few changes were made to the design. It was decided to lower the pipe just below the rod affixing it with a wooden block holding it together. Thus the hole in that stand-alone

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Fig 15. Exploded View Note. This 3D render explains about each component and its cut and represents how it is about to be joined together as a single unit. Retrieved from SketchUp. Copyright 2022 by Shankarasubramanian, A.

Fig 16. The Final Model. Note. The image shown represents the final model by fixing all the joineries in all terms and making the complete assembly. The pipe connected with the rod was not quite stable, we had to tighten it at times. Copyright 2022 by Pisharody, N.

wooden piece was extended and the pipe was fixed with a dowel of the same diameter for a snug fit. The wooden piece was also cut out and inserted into the pipe, but only one of the two pieces got inserted while the other cracked up into pieces. Thus, to patch things up, a hole was drilled toward the other end of the pipe (near the rod) and a dowel of the same diameter as the pipe’s insides was inserted extending to the hole. A screw was inserted and bent toward the rod to fix the joint in place.

After managing all the last-minute decisions, the metal sheets were fitted to the unit with wooden pieces through the slits using a few screws and dowels were inserted wherever necessary to fix all the joineries together.

Pay Up the Bill

After the entire model was done, it was time to estimate the cost of the product as if it were about to be given for production. This informs us not only about the material cost but also how the labour cost tolls up to the end product. Material cost and labour cost both equally affect the production/selling price of the product. Material cost (in sense of the exercise) includes the cost of wood, metal pipes, metal sheets and metal rods used in the product. Along with this comes hardware used to fix the pieces together to get the finished product. It says ‘used material’ since the cost adds up based on the dimensions of the wooden pieces or the metal pieces used and not on the dimensions of the raw material bought.

A list is made where the dimensions of each piece are written and the volume or area of the piece is calculated. For pipes and rods, only their length is required. Then the rate of each material is multiplied. Hardware is calculated on the market rate and the number of bits used. While labour cost is decided based on the hourly wage the company/organisation decides on.

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Part II - Pieces Joined Together Make the Story.

The final model consisted of two wood-wood joineries, two metal-metal joineries and several wood-metal joineries. The model had to be within the cube with a side of 30 cm (300 mm). It consisted of two wooden pieces joined together using a lap joint with a key inserted through it. This piece formed the major base of the model. Along with this, a metal sheet circumscribed the bottom square which is connected to both the wooden pieces through slits where a dowel is inserted to fix the sheet. A stand-alone wooden block is fixed to the folding metal sheet holding the sheet in place, completing the bottom square and having a place to fix the pipe that extends over the empty space. Another pipe is inserted between the metal sheet and wooden piece to hold its structural integrity.

The wooden piece connected to the base by a rabbet joint holds three elements together, the two metal sheets and the C-shaped metal rod. The rod extends from the top of the wooden piece, curves down and passes through the metal sheet to again fix with the wood. The S-shaped metal sheet is fixed to the model by inserting it into a slot in the vertical wooden member, and the key and screw are attached to the horizontal wooden member with the rod keeping the sheet in place.

The design of the model was inspired by the characteristics of a chair. This allowed the model to be stable on its own. The curving members resemble the armrest on the chair, with the sheets portraying its seat and the wood acting as its legs.

The overall experience of handling wood and metal was more interesting than it is expected to be. It taught us how to deal with last-minute fixes, learning about how a metal may be bent or twisted, how wooden pieces could be carved with various machines and tools and a lot more. More practically, it taught us what goes under in a design process, what decisions are to be made while designing a product and how cost affects the overall design in terms of its production. It gave us students a more hands-on experience on how it might be working in this industry when we graduate and become professionals.

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To Build a Structure, Break One!

This documentation comprehends the process of fabrication, testing and understanding load bearing as well as load transmission of a tower-shaped structure made out of reed sticks. This was performed in order to understand the similarity of a smaller scale model with much larger and hefty buildings wherein one can’t leave a possibility of failure.

Overviewing Constraints and the Know-Hows

One often doesn’t have an overall freedom to design a structure, certain limits are to be considered similar to the on-field structures. These constraints consist of material to be used and dimensions herein the area of the base that is 225cm and the height of the tower that is 75cm. The tower frame structure was expected to take a minimum of 25kg and maximum of 29kg weight. In addition, it also becomes crucial to know and gather knowledge about load bearing, load transmission and various possible failures within the structure. A research analyzing various possible failures and various load tramisting forces acting upon the tower structure was carried out. Herein it was concluded that the main force acting on the structure would be compression and that is what could lead to a possible failure. Therefore it was important to know the compressive strength and other characteristics of the reed sticks.

Developing Acquaintanceship with the Material

Materials used were reed sticks and a contrasting black cotton thread, something with which we never had handson experience with. It was therefore more crucial to know the limitations of the material and ways of overcoming those limitations if any. Upon a closer analysis of the material, it was derived that no two sticks were the same, there often was a difference in its size, nature or aesthetics. Some in its nature were hollow, making the stick extremely weak. Hence one had to hand-pick a collection of strong and nearly same sized sticks. It was decided to use 5mm sticks for the entire model.

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Fig 2. Perks of Research Note. Above diagram depicts one of the studies referred to during the research, for gaining knowledge about compression on a vertical tall structure. Copyright 2011 by Virginia Polytechnic Institute and State University.

This was deduced because it was observed the thicker and stronger sticks, when cut in halves carelessly could rupture the contents of soft material inside and tear it apart, leading to weakness. Considering the time frame, medium sized sticks were used for the entire model, to make the making process simpler. This step ensured that prior to conceptualizing the design limits of the material were known.

Conceptualizing and Sketching the Design

With a sufficient understanding of the research talked about previously, constraints and material, final design of the model was made. Structure was envisioned to either take 24 kg and break at 29kg or rather fail below 24kg. Idea behind was to not make an extremely overdesigned model taking upto 40kg. After making a couple of soft-line pencil sketches to get an understanding of the form of tower and load transmission on the same. Simultaneously after rectifying designs, a basic design was forged. This however was not the final design, the process of rectifying and understanding shortcomes of the design continued till the very end as we proceeded to understand the various possible joineries using the material.

Assimilating Various Joineries

The possible joining, grooving and lashing techniques were analyzed by experimenting with the material, especially Japanese knotting as it proved to be effectively strong and therefore was used to the fullest. Upon making an extended long stick, it was observed the stick had become weaker no matter how firmly it was connected using thread or how precise the grooves within it were, a very obvious but crucial lesson was learnt that the stick in its natural length was the strongest. This was the time modifications were to be carried out to a major extent, reducing the use of sticks longer than 20cm and it was much needed to fix certain dimensions of the model.

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Fixing Dimensions

Dimensions of the structure were fixed, now that the basic lesson was learnt. Finally an idea was introduced to make 7.5cm square frames and connect them as repeated modules at a distance of 16cm, making a long 75cm cuboidal frame. Supporting this thin frame would be larger square frames of 15cm on the base and the top, connected to the tower using diagonal bracing at

intersections of 18cm. With sufficient awareness of the dimensions the process of making could be proceeded.

The Making

The structure was now built, with the smaller square frames (7.5cm) being created using Japanese knotting. Using the grooving process, long vertical sticks and diagonal bracings were added, forming a cuboidal framework out of the smaller square frames.

Further larger square frames (15cm) were created and connected to the framework. As we approached the time for final testing, it was observed that the making had grown easier for the matter that there was certainty of the design and its measurements because of the technical sketches.

The Testing

Bricks weighing approximately 3kg each were stacked on the tower frame for testing, by fixing the structure on square plywood. Due to asymmetric imbalanced load transfer of the brick, it underwent extreme compression until it finally buckled and broke. It was observed that it is difficult to balance a long vertical tower on the square base frame of 15cm therefore redesigning the model was needed.

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Reasoning the Incompetence and Reconceptualising

The main reason that can be attributed to the failure was inefficient calculations of the slenderness ratio and inappropriate effective length of the thin cuboidal frame. The structure is suggested to be redesigned by increasing the side length of continuous inner square frames or connecting the outer, large square frames or reducing the overall length of the structure.

After performing this experiment it was evident how in the initial stage of learning design one can best understand the concepts by performing rather than just visualizing. Moreover, enabling designs to fail and break indeed leads to greater learnings.

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All’s Well That Ends Well: The Making Of

A

Wood

And Metal Assemblage

Fig 1 Beginning with Quick Sketches

Note. The above image shows the rough sketch of the initial ideas for the model design. It gives an idea of the different joinery used along with the dimensions mentioned. Also observe the use of dotted lines to understand the exact position of every piece. Copyright 2022 by Ananya Pathak and Nakshatra Punjabi.

Joining Elements is the undertaken project that introduces us to the various methods of joining wood and metal in different forms and capacities. A fixed set of materials; a wooden block, a metal sheet, metal rod (12mm diameter) and a metal pipe, (19mm diameter) was used. From these, an assemblage was to be designed, explored and built. It was to have the fundamental shape of a thirty centimetre cube, showcasing different joinery. Thus, allowing the familiarisation of the wood and metal workshops and their numerous tools, machines and functioning of the same. This workshop exercise helped with enhancing spatial visualisation skills, hand eye coordination, learning basic tool use and complex problem solving.

Part I - Conceptualising And Creating A Metal And Wood Assemblage

Designing D1 Of The Assemblage

‘In drawing, nothing is better than the first attempt.” - P. Picasso. This being said, the process of designing started by giving form to abstract ideas through a rough pencil sketch. A quick sketch was made showing a somewhat proportionate design to highlight the placement of the elements. This was done using a roughly estimated quantity of each element depending on the material allotted. At this stage, importance was given to creativity rather than accuracy. This allowed for several ideas to be explored before practicality dampened the creative juices. For references, the works of ex-students were extremely useful to look at. They provided examples of the various permutations and combinations that could occur using the same material.

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Fig 2 Wood - Wood Lap Joint Note. The given image shows the wooden lap joint used to fix the two wooden blocks on a corner of the assemblage. These wood blocks were cut using the band saw cutting machine in the wood workshop. Copyright 2022 by Ananya Pathak and Nakshatra Punjabi.

Fig 4 Fixing A Wooden Joinery Note. The wooden Dovetail joint shown in the given image shows the revised, strong joinery that was made with the help of a chisel and a hammer. Copyright 2022 by Ananya Pathak and Nakshatra Punjabi.

To Join Or Not To Join

After penning down a rough sketch of the assemblage and now being able to clearly see the meeting of different members, it was time to finalise the assemblage junctions with wooden and metal joinery. There were two wood - wood joints. Initially, the horizontal joinery was decided to be a lap joint and the vertical one was to be a dovetail joint with the dovetail visible on the length. For joining the metal sheet to wood, the sheet could be inserted into a slit made in the wood. Like this, at every junction different joineries were selected to attach two elements. Ensuring, as far as possible, that different combinations of elements meet each other in various capacities at the junctions.

Digital Representation

While drawings help communicate our ideas, one drawing, even a three dimensional one cannot show all the surfaces and edges of a cube. Hence, a 1:1 scaled 3D-model was made on SketchUp so that the assemblage could be viewed from all directions. This also made the later process of building the model much easier as it only had to be rotated to view all its parts and dimensions and its dimensions could be cross checked and marked on the materials.

Giving The Go Ahead

After drawing the design digitally and before starting the model making process, the heads of the wood and metal workshops looked at the SketchUp model from a technical aspect. They not only asked for a few changes to be made for the sake of practicality but also suggested innovative ideas,

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Fig 6 Metal Pipes and Sheets Note. This picture shows all the metal pipes and sheets that were cut and bent in the workshop using the appropriate machines. Copyright 2022 by Ananya Pathak and Nakshatra Punjabi.

Fig 8 The Attachment Note. The rivets will be drilled into the holes made on each flap and labelled as A, B, C and D. This way the metal pipe was attached to the metal sheet.

taught and explained the reasoning behind their suggestions. For example, the dovetail wood-wood joint would fall apart and be futile in the initial design but in the revised version, post discussion, it was on the other face making it a strong and useful joint. Thus, this step was of integral importance as it involved learning and understanding from professionals of the field.

The Birth Of The Model

Next was understanding how all the junctions would be made, that is, using different types of hardware for different materials and in different capacities. For example rivets of diameter four millimetres were used to join smooth surfaces of metal sheet to metal sheet. After finalising the same, in the wood workshop, the model started coming to life. First, the given block of wood was measured and marked to be cut into the pieces required. After watching a quick demonstration by the workshop professional, the wood was cut using the Band-Saw Cutting machine. Next, the carving of the dovetail joint using a chisel was done. This was particularly hard as it required skill and experience and it was tough to achieve an accurate, neat joint in the first and only try.

Moving to the metal workshop, the metal sheets were easy to cut and twist, owing to the beginner friendly metal cutting machine and the helpful workshop staff. Having a maximum quantity of metal sheet, all the joineries were fixed with either screw and nuts or rivets. The rod and pipe was cut in the Mitre Saw. To use this machine, protective equipment like gloves and clear glasses were worn. Thus, here the worker’s safety was successfully prioritised and the workshop orientations guidelines were followed. The bending of the rod and pipe took strength and manpower and were later twisted in the bending machine. However, the rods did not bend at the exact angle on the measurement that they were idealised to. This was because of the design flaw in the

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Fig 9 BOQ

Note. The above Bill Of Quantities shows the cost estimate of the entire project. It was made using Microsoft Excel. Copyright by Ananya Pathak and Nakshatra Punjabi.

bending machine. The machine’s placement marker was under one of its other parts and the rod could not be placed perfectly in it. It has to be an estimate, this caused errors in the turning radius. Thus, some joineries did not turn out to be the way they were imagined to be and now the design had to keep being tweaked as the model was made.

The Time Crunch

The initial pieces and joints were made with care and given time. However, halfway through making the model, the realisation hit that there time was running out. There was now a looming project deadline and hoards of people in line to use the same machines. Thus, a departure from the original design was made and a lot of the joineries were made circumstantially. For example, in places where four rivets were visualised, only two were inserted because while they were not the strongest they were strong enough (Figure 8) to hold the model together.

Lastly, a cost analysis was done. An excel sheet was made to calculate the cost of the project. This helped learn how to prepare a BOQ; Bill Of Quantity for future field work. Making the chart was a fun and informative experience. It also enabled an understanding of work and material efficiencies.

After long, strenuous hours, the workshop closed and the model was finally complete. While the criteria was for the model to be stable on one surface it could be placed stably on three out of six surfaces. With the metal sheet having cut outs, being folded and cut at angles it was used to its full capacity. Two different wood to wood junctions were explored and one wood to metal joinery forming a corner was made. In addition, the rod was bent in such a way that it formed two handles on the sides of the assemblage to carry it around. Different from what had been originally designed, the model stood strong, stable and sturdy fulfilling all its requirements.

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Fig 11 A 3D Explosion Note. This image shows the final exploded isometric view of the final model made. It indicates the various joineries with the help of dotted lines and makes it easier for the viewer to know which piece is placed where in the model with the help of dotted axis lines. Copyright 2022 by Ananya Pathak.

Fig 12 It’s In The Details Note. The given image shows the detailed drafted isometric view of a wood- metal and pipe- wood joinery also highlighting all hardware fixings. Copyright 2022 by Nakshatra Punjabi.

Now that the model was complete, it still needed to be communicated via drawings. Drawings would help the client understand the processes of making the assemblage. They would also show pictorially the details of how the now covered and fixed joinery were made. Hand drafted exploded drawings were then done. Exploded drawings were selected to best communicate the joinery and junctions for clear understanding.

Trust the process

This project taught the work ethics of the wood and metal workshops, how to use their numerous tools, machines and functioning of the same. It also helped with enhancing spatial visualisation skills, hand eye coordination, learning basic tool use and complex problem solving. While an intense and demanding project requiring long hours of labour it was also an enjoyable and memorable process. The initial design and final outcome varied vastly, yet the experience in itself allowed a lot of learning and gaining of knowledge. The ultimate product, while different, did meet all the criteria provided and thus it is safe to say the project was a success! Overall it was a great learning experience in addition to being chaotic, tiring and fun.

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Solving the Articulation Puzzle

This one-week intense project involves making a cubical assemblage of 300x300x300 mm measurements using wood and metal (pipe, rod and sheet) of specific measurements, using different materials with different properties that are held together by different types of joineries. The process started with conceptualising the design keeping in mind the stability conditions, then creating the model and finally coming up with a price estimate.

Part 1: Process

Procuring the Material and Understanding the Prerequisites

The first thing was to procure the set of materials that had specific measurements- a 700x350mm metal sheet of 1mm thickness, 1000mm long rod of a circular cross-section of diameter 12mm, 350mm long pipe of a hollow circular crosssection of diameter 19mm and 800mm long wood pice with a square cross-section of side 40mm; the model should not use any more material than provided. The prerequisites of this project were pertaining to edges and stability. The edges requirement is that out of twelve edges of the cube, seven should be made out of the metal sheet, two of the rod, one of pipe and the remaining two of wood; and the stability requirement is that the model should be stable on at least one face (the base).

Figure 1 Ideation 1

Gaining knowledge of Material Property, Tools Required and Joinery

The next step of the process was to understand the properties of the given materials, for example, the operation techniques, Woodworking operations include cutting, chiselling, planning, drilling and sanding and metalworking operations include cutting, grinding, bending, drilling and threading

Note. The concept doesn’t fulfil the edge requirement at all. Also, the elements were randomly placed and they didn’t have enough stability to make the model stand; for example, the triangular metal sheet at the top face does not have enough support to rest upon and hence in practicality, the model would have toppled and failed due to stability issues. By Z. Shah and D. Visavaliya, 2022, CEPT University. Copyright 2022 by Zeel Shah and Darshak Visavaliya.

Figure 2 Ideation 2

Note. The bent metal sheet on the back face was practically very difficult to make and also it would have kept on sliding. The concept also doesn’t completely fulfil the edge requirement. By Z. Shah and D. Visavaliya, 2022, CEPT University. Copyright 2022 by Zeel Shah and Darshak Visavaliya.

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For woodworking operations, hand tools like hammer, hand saw (for cutting), chisel (for cutting and shaping), files (for smoothening the edges), sandpaper (for smoothening the surfaces and edges), emery stone (for sharpening the tip of chisel), planner (for smoothening the surfaces), etc; and power tools like hand drill (for drilling holes), vertical bench drill (for drilling holes), hand cutter (for cutting), Miter saw (for straight cutting), table saw (for curved cutting), planer (for reducing the width and smoothing the surfaces) etc are needed. For metalworking operations, hand tools like hammer, hacksaw (for cutting any metal sheet, rod or pipe), metal sheet cutter (for only cutting sheets), files (for smoothening the edges), threading machine (for creating thread ie helically wrapped ridge around a cylinder or cone), cutting machine (for cutting pipes and rods) and power tools like drilling machine (for drilling holes), welding machine (for welding any metal pieces), metal pipe bending machine (for bending metal pipes at any angle) and metal sheet bending machine (for bending metal sheet at any angle), etc are needed for these operations.

Parallelly, various joinery of wood to wood without that don’t need any hardware, as well as, wood to metal and metal to metal joineries (like welding, bolting and riveting) were researched to understand their structure, usage and viability. Also, a knowledge of where and when various hardware (screws, nuts, bolts, washers, etc) can be used to join them together was obtained. All this knowledge helped in the ideation of the final design as well it proved to be very fruitful while making the model hands-on.

Ideation and Iterations

Initial ideation involved just placing elements of particular measurements in isometry in the 30x30x30 cm cube drawn on paper just thinking about their intersection. As material constraints and stability were not thought upon there were many mistakes. In Ideation-1, the concept had stability issues as the top surface, which comprises a metal sheet, did not

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Figure 3 Iteration 1 Note. The edge requirements were strictly followed and the measurements of each element were also thought about, but still, there were three issues with the concept- the long bent rod element was not practically not possible to make, the metal steel that diagonally joins and holds two wooden pieces was not sturdy enough to do so, and the metal element that looks like a step was too heavy for the bottom metal piece.

Figure 4 Iteration 2 Note. The issues were that the metal sheet joining rod and pipe was not strong enough to do so and also the base was not flat thus the model would have toppled. By Z. Shah and D. Visavaliya, 2022, CEPT University. Copyright 2022 by Zeel Shah and Darshak Visavaliya.

Figure 5 Iteration 3 Note. The pieces were arranged in a manner that they were stable and sturdy enough and also fulfilled the edges requirements; in addition, the concept has a flat base thus ensuring the model doesn’t topple. By Z. Shah and D. Visavaliya, 2022, CEPT University. Copyright 2022 by Zeel Shah and Darshak Visavaliya.

Figure 6 Fair Sketch of Iteration 3 Note. The sketch of Iteration is drawn in Isometry and what material is used to make each piece is clearly annotated. By Z. Shah and D. Visavaliya, 2022, CEPT University. Copyright 2022 by Zeel Shah and Darshak Visavaliya.

have enough surface area to rest upon and thus the model could have failed. Also, some of the materials were used more than what was provided; in Ideation-2 - The concept had a bent metal sheet which was difficult to achieve and not very structurally stable which could have resulted in the failure of the model. Moreover, both the concepts also didn’t meet the edges requirement in one or the other way.

Improving upon the concept and keeping in mind the edge requirements, Iteration-1 was developed that combined the design of both the initial ideas- Ideation-1 and Ideation-2, eliminated what didn’t work and retained the elements that worked like the ‘y’ shaped wooden element, ‘z’ shaped metal sheet element, ‘steps’ shaped metal sheet element, etc. This concept also didn’t work as it had a long, continuous rod with bends at small frequent intervals which were practically not possible to achieve even using machinery. Then Iteration-2 was made which solved this problem of a single continuous rod by replacing it with two smaller rods for the side edges and using a metal sheet to connect these two rods. This concept too failed as the sheet connecting the rod (on the front edge) and the rod (on the right edge); also the rod on the right edge would have made the model topple as there was no flat edge for it to rest on.

Final Iteration

Keeping in mind all the issues, Iteration-3 was made by placing particular elements at particular edges to meet the edge requirements. The stability issue was also worked out by arranging the elements of the bottom face at the same level, forming an even bottom surface ie a flat base that doesn’t topple. This concept was then finalised and neatly sketched in an isometric view with annotations of dimensions; this neat sketch provided technical charity and clear dimension details for the next step that involved creating a digital model.

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Figure 7 Note. The left side of the sheet shows an isometric view from the front side of the model and the right side shows the view from the backside. By Z. Shah and D. Visavaliya, 2022, CEPT University. Copyright 2022 by Zeel Shah and Darshak Visavaliya.

Figure 8 Note. The sheet is a compilation of all the two-dimensional views from each face of the cube. By Z. Shah and D. Visavaliya, 2022, CEPT University. Copyright 2022 by Zeel Shah and Darshak Visavaliya.

Figure 9 Note. The exploded view created using SketchUp also indicates, using the axis lines, where the hardware like screws, nuts and bolts, rivets etc will go. by Z. Shah and D. Visavaliya, 2022, CEPT University. Copyright 2022 by Zeel Shah and Darshak Visavaliya.

Figure 10 Note. All the hardware like screws, nuts and bolts, rivets etc were hand-drawn on the printout at the end of the axis lines. By Z. Shah and D. Visavaliya, 2022, CEPT University. Copyright 2022 by Zeel Shah and Darshak Visavaliya.

Deciding the Joinery

The next and one of the most important steps was to figure out the joinery that was best suited for this model. For this, a lot of research was done using various online resources like Youtube, blogs, articles etc. but the most enlightening of all were the discussions held with experienced craftsmen who have years of hands-on experience with wood and metal. For example, the discussion helped to figure out which wood to wood joinery will be best for my case, which joinery will be best for metal sheets, how to cut the pieces, how to insert rods and pipes into wood, and which hardware to use and where etc.

Creating Digital Model

After figuring out what joinery works best for my concept, a digital model was created to gain clarity using software called SketchUp. It had readily available tools to easily create any two-dimensional shapes and pull or push those shapes to make them three-dimensional form; and as this model comprises basic and majorly simpler forms, SketchUp was the preferred software. Using its feature of ‘Parallel Projection’ and ‘Views’, two sheets were composed, one of which had a three-dimensional view of the digital model and the other that had all the two-dimensional views like top, bottom, left, right, front, and back. Thus the digital model helped create and compile different views that give accurate proportions of the elements which proved to be of great value while communicating the final idea to the craftsmen who helped bring the final model into existence.

An exploded-view was then made using the same software, that best explains how the entire model will come together and how each screw, rivet, nut and bolt will fit using axis lines. Due to limitations of software like the difficulty in creating threads of the screws and difficulty in dragging and placing such small hardware pieces and/ or lack of know-how of the same, a printout was taken out and then screws, rivets, nuts and bolts were drawn over it.

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Figure 11

Note. The price estimation sheet was created on Microsoft Excel as it provides the opportunity to add formulas and thus avoid manual calculations, saving time.

Creating the Model

After the design was finalised and the digital model was made, the process of model making started, it involved the following steps. Firstly, all the pieces of wood and metal (sheet, rod and pipe) were cut according to the required measurements using the Miter saw (for wood) and metal-cutting machine (for rod, pipe and rod); also the pipes and rod that needed bending were bent using pipe bending machine, and sheets were bent using the sheet bending machine.

Secondly, wood to wood joinery was worked upon; this is done before any other joinery as it is the vertex from which the entire design starts and if there is any minute error in the wood joinery dimensions, it could be sorted out by adding or subtracting from the rods and sheets that were supposed to be attached to it; if this was not done first then the chances of error in measurement become exponential and the final result might not be a cubical model of thirty-centimetre edges.

Thirdly, the places where riveting and nut-bolting need to be done were drilled by a 4 mm hand drill or machine drill rods and pipes. Also, in places where the two rods and the pipe are supposed to be inserted into the wood, drilling was done using a drilling machine with the drill diameter same as that of the rod and pipe; then were tightly hammered into the wooden pieces.

The last step consisted of assembling the entire model using hardware like screws, rivets, nuts and bolts to attach two or three different pieces. The model was put together starting with the front face, then the base, right face left face, back face and finally the top face with pipe being the last thing.

Price Estimation

The final step was to make a price estimate by calculating the sum of the product of the amount of material and the rate per mm square, and the product of the number of hardware used and their rates. Finally to the sum the labour costs were added to get the total cost estimate.

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Part 2: Final outcome

The final cubical model of side 30 cm was made out of wood and metal (sheet, rod, and pipe). It consisted of three wooden pieces, two metal rod pieces, seven metal sheet pieces and one metal pipe piece that were composed in a particular manner to make it stable and to fulfil the edge requirements.

Description of the Pieces

There are three wooden pieces of a square cross-section of four centimetres. Wooden Element 1 is thirty centimetres long and has a projection (that increases its width towards the end) carved out of it; at the intersection of diagonals of the imaginary square of four-centimetre sides created at the opposite end of the bottom face, a hole of twelve-millimetre diameter and three-centimetre depth was drilled. Wooden Element 2 is fifteen centimetres long and a groove, of the same shape and size as the projection in Wooden Element 1, was chiselled; at the centre of the square bottom face, a hole of the same dimensions was drilled. Similarly, Wooden Element 3 is also fifteen centimetres long but at the intersection of diagonals, of the imaginary square of four-centimetre sides created at the one end of the top face, a hole of nineteenmillimetre diameter and two-centimetre depth was drilled; moreover, a through-and-through groove of one millimetre was made in the side faces, leaving three centimetres from below and a groove of four-centimetre height and twocentimetre depth was created from the centre of the opposite face.

Apart from the wooden pieces, there are two metal rods of a circular cross-section of twelve-millimetre diameter. Metal Rod 1 is eighteen centimetres long and Metal Rod 2 is fiftyeight centimetres long and is bent at a right angle at twentyeight centimetres. Also, there is only one metal pipe of the circular cross-section of nineteen-millimetre diameter and length of twenty-four centimetres.

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Lastly, there are seven one-millimetre thick metal sheet pieces. Metal Sheet 1 is twenty-seven centimetres long and six centimetres wide. Metal Sheet 2 is eighteen centimetres long and four centimetres wide, a small rectangle of one-anda-half centimetre length and one-centimetre width was cut off and the remaining projection was bent at a right angle. Metal Sheet 3 is thirty centimetres long and eight and twelve centimetres wide from top and bottom respectively; it is then bent at a right angle from the centre of the width and also there is a projection on either side about two centimetres deep and five centimetres wide. Metal Sheet 4 is thirty centimetres long and eight centimetres wide; it is also bent at a right angle from the centre of the width. Metal Sheet 5 is thirty-three centimetres long and six centimetres wide; two alternatively oriented bends at a right angle are made at fifteen and eighteen centimetres respectively, and a hole of nineteen centimetres is drilled where the diagonals of an imaginary square of four centimetres, at the corner of the piece, intersect. Metal Sheet 6 is thirty-two centimetres long and four centimetres wide; two alternatively oriented bends at a very less angle are made at four centimetres from both the ends and a hole of nineteen centimetres is drilled where the diagonals of an imaginary square of four centimetres, at one corner of the piece, intersect. Metal Sheet 7 is thirty-seven centimetres long and four centimetres wide, two alternatively oriented bends at a right angle are made at fifteen and twentytwo centimetres respectively.

Assembling the Pieces

The assembly of the model started with connecting two wooden pieces- Wooden Element 1 and 2 of a square crosssection of sides of 4 cm and with lengths of 30 cm and 20 cm respectively. They were joined using wood to wood joinery called Dove-tail; in which the projection of the longer piece was hammered into the groove of the shorter piece and a hole was drilled perpendicular to both the pieces passing through the joinery. This was done to insert a small circular wooden stick to make the joinery stronger and more permanent. Next, Metal Rod 1 and 2 were hammered into the holes in Wooden Element 2 and 1 respectively; and Metal Sheet 1 and Metal

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Figure 14 Note. The assembly of the entire model is shown in this exploded drawing with the use of axis lines. By Z. Shah and D. Visavaliya, 2022, CEPT University. Copyright 2022 by Zeel Shah and Darshak Visavaliya.

Sheet 2 is fixed on the other end of the Metal Rod 1 by drilling a hole of four millimetres and bolting them; parallelly, the other end of the Metal Sheet 1 is also attached to Metal Rod 2 using the same manner. This forms all four edges of the front face and completes it.

Then, Metal Sheet 2 is inserted into the two-centimetre deep groove of Wooden Element 3 and screwed; similarly, Metal Sheet 5 is inserted into the six-centimetre wide groove of the same element in a way that the drilled holes align with each other; next, the Metal Pipe is hammered into the hole to fix it. Later, the bottom projection of Metal Sheet 3 is riveted with Metal Sheet 5; the top-right part of Metal Sheet 3 is bolted to Metal Sheet 4 which in turn is screwed to the Wooden Element 1. The hole of Metal Sheet 6 is pushed into the pipe and the other end of the sheet is riveted to Metal Sheet 4. Metal Sheet 7 is attached by pushing its hole into the pipe and screwing the other end to the Dovetail joinery. Lastly, the pipe is bolted right below where the sheets meet to prevent them from sliding down due to the action of gravity; the remaining top part of the pipe is cut into six even parts and they are hammered into a flower-like shape to secure the two sheets from sliding out from the top. This step completes the cube in its entirety.

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01Understanding Soil

Soil should have the capability to withstand the weight of the building. Soil testing is hence done to determine the bearing capacity of the soil. This varies with the type of soil, from sandy to clayey to loamy etc. Thus, a physical testing based on the appearance, smell and texture is performed to differentiate between the soils. Further sieves of various sizes are used to determine the particle size distribution as well as to filter out the finest soil particles.

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Types of Soils:

01 Understanding Soil

There are several types of top soils. These vary from place to place due to climate and topography. The soil type inturn influences the construction methodolgy. Hence a study of its types becomes important.

Clayey Sandy Soil

• 25% clay.

Sandy Soil

•

• Requires pressure to cut a moulded soil.

• Slightly strange smell.

• Very sticky after drying.

Clayey Silty Soil

• Used to line wells.

• Very sticky and has a peculiar smell without water.

• Almost zero sand content.

• Used to make Adobe and in pottery.

Composition: Sand 75 microns, silt 2 microns

• Usually found in the top soil.

• Sticky to touch.

• Has the smell of monsoon which gets stronger on adding water.

Sandy Clayey Soil

•

Composition: 45% sand, 15 - 25% clay

• Smooth surface on cutting

• Cracks on drying

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How To Find Out The Type Of Soil?

Soil Testing. The chemical and the physical properties as well as the composition is determined through soil testing. The quality of soil determines the structure stability. The quality of soil depends upon various factors such as weather, climate change and for the past years how the land was deployed for different purposes and what resided upon it previously.

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Sieve analysis is performed to determine the particle size distribution of granular material. Sieve of different sizes are used to separate the various components of the soil. Sieves of sizes 4mm,1.1mm, 0.4mm, 0.3mm, 0.1mm are arranged in the decreasing order to obtain the finest soil. Certain pre and post requesitees involve weighing the soil before sieving rand filtering it with water after sieving.

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Soil Samples Collected from Various Locations. The colour of these soils is becausee o stone dust that comes along while digging the Earth.

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Wattle and Daub

A typical of vernacular architecture of north and north western regions, wattle and daub walls are eco-friendly and unstabilized methods of constructing walls. The wall is constructed on an underlying lattice of wooden strips called the wattle. Daub is the mortar applied on top of this lattice which consist of animal dung, hay, wet sand and clay.

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Loam Applying Doam on Wattle Pugging

Pugged

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Materials

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On Site Constructed Wattle And Daub Wall

Processes

and

Field

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INTRODUCTION

Over the course of the four day workshop at Hunnarshala, Bhuj, we learnt the methods of earth construction and how different structures of a building are constructed; from creating bricks, walls, foundation to arches and domes.

The learning was focused on the process of making, which helped create a stronger foundation and also helped to understand the nitty gritty details of the techniques better. It also helped create an appreciation for the works of laborers and artisans.

The teachings of the workshop helped inculcate consciousness for employing sustainable practices, creating structures which were responsive to their site and borrowed and innovated within the vernacular building styles Furthermore, the process of making and building together strengthened our teamwork abilities as each built over the contributions of the other.

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Trip Highlights CONTENT 1 2 6 7 8 9 12 13 14 15 16 18 19 21 23 E3.3 | Documenting Processes | Building Elements and Materials Field Trip

Understanding Soil Soil Analysis Sand Mixture Earth Construction Stone Foundation CSEB Bricks Adobe Bricks Wattle & Daub Wall Construction CSEB Brick Wall Rammed Earth Arches, Vaults and Domes Arch Construction Dome Construction

CSEB Wall Construction

A layer of mortar is applied on the surface.

Bricks are sprinkled with water and are then placed on this mortar layer.

Using a patti, which is a hollow metallic cuboidal pipe, the bricks are aligned Thereafter, the horizontal level is checked with the help of spirit level and plumb is used to check the level and alignment..

For the next layer, two triangular wooden members are placed along either sides of the brick wall. These help put a uniform layer of mortar

The process is repeated, till the desired wall height is achieved.

Process of wall construction

Patti being used to align the bricks

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Process 1. 2. 3 4 5.

Rammed Earth

Rammed Earth is a technique of earth construction wherein the soil mixture is put into a framework and rammed i.e. compacted by applying force, resulting in walls wherein the rious rammed layers are visible. Certain features of mmed earth include s a fast construction techniques, cheaper but of equal strength as CSEB The electrical points need to be decided beforehand as pipes for the same need to be placed in center of wall. Rammed earth walls can't be hammered into and one has to use a drill. Also the construction of rammed earth walls requires a levelled plinth

Door Frame

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Bracing Tie Rod

Plywood Su

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Rammer Instruments

Process

First a mixture of cement, sand and stone dust is prepared and added in the formwork

Then the level is checked with the help of a metal rod. The level must be up to 10cm

Ramming is done with a metal rod which has a wide base attached to it.

Upon ramming clay and silt come out on the outer surface.

A sound check is done to check whether it is properly rammed or not

Tongue and groove locking mechanism is used to connect two walls. Here

Small timber members on either sides help create a ‘V’ groove

Small amount of cement is added in the grooves to help join the 2 walls

The walls are left in the framework overnight and the assembly is removed the following day

Metal Rod is used to check whether the level of sand mixture reaches up to 10 cm

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1. 2. 3. 4. 5 6 7 8. 9.

Arches, Vaults and Domes

Arches are curved or pointed structures generally placed above openings such as doorways and windows. While a vault can be understood as a structural member which appears like an array of arches and acts as a roof. Similarly, domes are hemispherical structures which also act as roofs. These are constructed with materials such as bricks, stones

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Arch

It is a process in which a curved structure which acts as an opening or entrance known as arch is constructed. The following two types of arches were constructed

Pointed Arch Semicircular Arch

The frame is placed on a base and water is splashed on this base surface to clean it.

The frame is then placed on wedges and a spirit level is used to check whether it is properly aligned. Adobe/mortar is layered on either sides and spring stones are placed.

Mortar is layered and washed bricks are placed ensuring that the center point of the inner edges of the bricks are touching the frame. Also it is important to ensure that the bricks are simultaneously placed on both the sides to maintain equilibrium.

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Process 1 2 3 4.

Brick

Spring Stone

Frame Wedges

Mortar

Different elements of arch construction

5. This process is repeated till the top. After which the keystone is placed, which finally locks the entire structure together.

6 Finally the wedges are removed which helps in the removal of the frame.

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Dome

Two types of domes were constructed

Circular Dome Elliptical Dome

Process :1 2 3.

On a raised structure as seen in the illustration below, mortar is applied.

Water is sprinkled on the bricks and then placed in position.

The bricks are aligned with the help of a wire which is attached to the center incase of a circular arc, with one end of the wire free which is used to align the bricks to a wooden beam placed in the center of the elliptical dome Both ends of the wire are joined to the opposite ends of the beam. This arrangement helps align the bricks in an elliptical formation

a. b. 4.

Further on, the process is repeated, ensuring that the bricks are staggered.

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Staggering

Dome construction

Counterweights are dropped from the outer edge of the dome as we construct the upper layers. This is done to prevent the dome from collapsing inwards when constructing.

In earthquake prone areas, we either cover the oculus entirely or put a concrete ring, else even if a single brick breaks the entire structure collapses inwards

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E3.3 | Documenting Processes | Building Elements and Materials Field Trip

E3.4Describing Settings

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E3.4 | Describing Settings

Have you ever wondered how people – writers, artists, filmmakers – come up with ideas for the most remarkable things? Or have you maybe found it fascinating that someone could think of a locale so detailed, capturing every glimmer of sunlight through foliage onto rubble, the glint of a ceramic shard connecting to a story of the past, the crunch of snow underfoot as a motley party of teens and wildlife make their way on the banks of a frozen river? Where do these ideas come from, how do they develop, how does one know what to look for and what to capture, when to give free reign to the imagination and when to hold back on telling the reader/viewer/listener everything?

Describing Settings is an exercise through which we are going to take a step forward towards answering these questions and thinking about what it means and how it works to imagine a setting, and describe it. It is also a very preliminary step in using writing and this imagination for our design work. Because unlike the previous One Step at a Time exercises, we are no longer at a point where we have done something and we need to find within the patience to capture it in words. We move from describing spaces that already exist, whether we have access to them or not, to conceptualizing, imagining a space of our own.

This exercise in imagination is what we would have to do in different ways, when we are asked to begin to design a space. It’s like a game where the rules and constraints may change every time, just for a bit of a twist, but where we have freedom to reach towards what we envisage and draw it into our reality, make it part of the coherence and logic of a world that belongs to us. And this is far from a mystical project. An act of the imagination leading us there draws on spaces we are already familiar with, and their functioning and logic, and these roots that we have in how our existing world and spaces function are what allows us to move beyond into what we imagine might be.

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Framing the Assignment

By the end of this exercise, you will need to have a 300-400 word long description of an imagined setting, that allows the reader to visualize it through the perspective of the character/ narrator describing it.

In order to make sure the reader imagines the setting as you yourself have, the description needs to make specific reference to

• Aspects pertaining to the city: daily life activities, traffic, means of transportation, flora and fauna, specific colours, materials, urban planning elements etc

• Material qualities of the space: materials, colours, volumes, forms, dimensions, textures etc

• Atmosphere and mood

• Timeframe: historical and time of the day

Learning Outcomes

Techniques to describe settings

Descriptions from a specific perspective

Describing imagined settings

Describing from a specific perspective

Articulating clearly aspects specific to the setting

Informal peer feedback

Incorporating feedback

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An Alluring Diversion

Traversing the old city of Mastani, Mona noticed the transition from skyscrapers to havelis and flat roofed houses made of pink and red sandstone with pointed, cusped and trefoil arches instead of square windows. But she couldn’t distract herself with the mesmerizing blend of Rajput and Mughal architecture for she had an important assignment: the stolen manuscripts from the Gupta period. It had brought PI Mona Darling all the way to her hometown, the red city of Mastani.

Wandering the asphalt streets, the smell of the fresh earth after the rain gave her nostalgia. The monsoon air was a relief from the everyday hot arid winds even in the afternoon.

The uniform street facade with the concrete chajjas and carved wooden jharokhas disoriented her while navigating the grid organization of the city. The case files said the suspect lived in one of the chokris (residential complex). On her way, she noticed a royal procession carrying the teej mata on an antique wooden palkhi through the narrow lanes of the city with a fanfare of ghoomar dancers in traditional lahariya. The colorful kites in the cloudy sky and the sweet smell of ghewar in the air welcomed her .

Walking past this bustle she was distracted by the intricate red lattice screens on a modular system of arches. The fluted pillars and the traditional Rajput chhatris flanked with lotus columns remind her of the havili she spent her childhood in. Her reverie broke by the bell of the cycle rickshaws, she had reached the famous Kaanchi market of Mastani.

Walking through the symmetrical market with shops made of red sandstone, they sold everything from cycle parts to souvenirs to finger licking food, her mouth watered. Grabbing a quick bite of dal batti wouldn’t hurt. As she ate, her gaze drifted to the uniformly harmonious jharokhas placed along the entire facade of the four story Pawan Mahal tapering towards the top, built along the same road.

Further down the bustling road she saw the entrance to The Mastani Palace. Influenced by Mughal architecture seen

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through the use of marble pillars and flooring, and open courtyards, now a museum displaying the culture, lifestyle and arts from Mughal, Rajput and British period. It reminded her of visits to Nafargondh Fort on the highest hill of Mastani, flaunting a heavenly view of the city below.

Food gobbled, she got back to tracking down the suspect.

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Bored from the constant hymns and repetition of verses, the young prince Pratap Singh wanted to slip off from the temple premises as soon as possible with his friend Kumar. But he feared his mother and her bodyguards and decided to not do anything but sit there on the cold white marble floor and wait till the royal procession starts which will go to the palace where the royal throne with precious stones is waiting for its 7 year old ruler. Finally, the royal priest completed the havan ceremony and the prince ran down the stairs of Takhteshwar Temple, ringing the bells which came on his way. Kumar came running behind him and a troop of soldiers came behind, chasing them to grab them back so that the coronation ceremony can be continued and the prince’s rajtilak can be done. Light morning rays hit them as the shed of the temple came to an end. The prince took a sharp turn from where the stairs end which lead to the main gate of the temple which is made of iron. As the prince started running towards it the soldiers from behind shouted to the soldiers near the gate to close it, but the swift prince was able to climb the iron gate which swung out and he ran out. Kumar also followed him with his dhoti end in one hand as it was loose and he feared about it falling down. The boys continued running forward with the soldiers still following them and the people who were once standing in sparkling sarees and dhoti with fitted coat are now gasping at the site of the prince being chased by soldier and at the same time feeling pity at the poor Kumar who was busy handling his dhoti instead of busy running. Pratap was running at his top speed when a soldier jumped in front of him pushing people away from the stone paved sidewalk. But the prince acted smartly, when he bumped into the soldier he quickly pulled out the sword from the soldier’s side case. Now the soldier had no chance but to retreat. The prince continued running with Kumar a little behind him. The troop which was following them now reduced to just a squad of soldiers. Heavily breathing they reached the royal garden which was a little away from the palace and both friends locked the garden gates and decided to have some fun by practicing their swordsmanship. Prince already had a sword and Kumar took one from the armory beside the garden. As soon as they started, the prince showed his few

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The Little Prince’s Coronation

E3.4 | Describing Settings

moves and Kumar was going really slow so he was not able to cope up with the prince’s powerful strokes, one more move by prince and Kumar’s sword flew in the air and went directly on the royal gardner’s leg which cut opened and blood started pouring out like someone has just turned open a tap attached to some red liquid. Prince and Kumar got scared and ran from there directly to the royal palace. They reached there just to see that his mother, royal priest and all the respectable people which were important in today’s function were already posing an irritated expression on their face. Prince looked at his mother and could sense her anger from her eyes itself, he then saw Kumar who also sensed Rajmata’s anger. Both nodded at each other knowing that the day would be long with scolding.

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Tall colonnades scraping the cloudy skies, cool breeze flowing through the city, tiny green pockets at every 10 meters of distance and of course the flying two seater vehicles, this is the modern day city of the skies.

It was raining heavily that day as I rushed to my very first job interview. As usual I was running late so I grabbed whatever was kept on the table, a piece of bread and ran down the open well staircase of the newly constructed apartment that I was living in at the moment. The city was predominantly under construction. Tall cuboidal buildings with exposed metal columns and beams, and brick masonry were being constructed to accommodate the influx of population into the city as it became the IT hub of the country. I rushed down the street in search of a ride that could take me to my interview quicker, an ‘Airflo’, the flying bike, flew right past me and took off to the air traffic. The Air traffic initiative of the government was taken up to build tall cylindrical concrete columns throughout the city along with flat concrete slabs as checkposts in case an emergency arises to stop the air bikes. I called out for a taxi on the ground to take me to my destination and sat down in the car. As I looked out the window I could see the potholes and puddles on the road with a sharp contrast to the well built concrete structure for the air traffic. The fast flowing traffic in the air and the rain along with it looked really pleasing to the eye from the ground. I could only imagine how frightening it would be to look down from there. I was taking forever to reach my location on ground despite the reduction in traffic due to the air bikers. Perhaps I should have caught an Airflo taxi to get to my interview and experience life in the “city in the sky”, that’s where it got its name from.

The taxi went over a bridge to enter into the corporate side of the city.This part of the city had all the important buildings.It was almost like entering a new city with high rising skyscrapers with pointed tops seeming like they were hanging from the clouds; top of the buildings were covered almost completely in mist. These structures were definitely taller and oddly shaped as compared to their counterparts on the other side of the city. The sight of the tall skyscrapers

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City of the Skies

with breathtaking facades with aluminum panels holding glass within themselves was something I’ve never experienced before. While I was continuing to be blown away by the tall skyscrapers, I arrived at my destination. Got out of the taxi and now I could run into one of these man made wonders and wait for my turn.

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The Mystery Tucked in by the Mountains

This city was a phenomenon that had piqued my curiosity. At a first glance, it seems like this place has frozen in time with buildings that were unlike those glistening glass skyscrapers found in every other place. But instead, the locals leaned into the traditional Tibetan building style and honed on the craft to make these mammoth buildings with just stone and clay. One of the most mesmerising parts of this dreamland was its setting . The tall mountains that made the tallest buildings of the city looked like lego blocks, surrounding the city, preserving its beauty from the world outside. The contrast of the mountains against the lush trees of the city and the white of the cuboidal houses with their windows and flat roofs having beautiful wooden rims just upped the scenic points. And the river passing by the edge of the city, full of energy from these mountains, provided a peaceful white noise when one was in its proximity.

But that wasn’t the end to the quirkiness of this place. The air already felt cold and harsh against the skin while it was only September. But the joyous look on everyone’s face and their colourful clothes, worn in the wake of festivities ( which I had guessed the previous day due to the colourful flags and lights lining the streets), wouldn’t make a bystander realise that it is just 10 degrees celsius in this weird sunny yet cloudy weather of the city. Walking through the narrow winding stone paved streets of the old city with ornamental street lights I reached the pedestrian market just below the foothills of the ancient royal Palace.

The wide laned market was a stone paved road lined in the middle by trees while on both the sides by similar looking grey buildings that comprised shops, restaurants, showrooms, etc. The place was bustling with people and a few tourists who’ve come here to trek the to-be snow capped mountains while enjoying the festival. People from all over the region have come here to show their customs and works. The streets surrounding the market which were usually wide enough to compensate for a two lane taxiway have been closed off and filled with stalls from merchants incoming from the surrounding areas. The night was just as lively, with people gathered around the fire pits in the middle of the market street

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sipping drinks, chatting with each other and occasionally roasting or charring edibles. The shops were small, some of the only structures made of concrete. They had big windows and wooden doors on the front wall instead of an entire glass wall like the stores back in my city. And all these front walls were lighted up by fairy lights to illuminate the entire market street like Udaipur in Diwali or Paris in Christmas.

After getting a bit tired due to travelling, I sat in one of those intricately carved octagonal wooden pagodas scattered throughout the city at various roadsides, acting as a meeting spot for the people. The designs on its pillars made it seem like they belong at a royal palace. But the cafes around the one I’m sitting in makes this one more of a meet cute spot for couples. I sat there and looked at the city life pass by, from the families going and coming out of the restaurants, the tourists deciding which exciting spot to eat in and where to go tomorrow, to the youngsters rolling out of the cafes and bars with their friends.

After the day out, I came back to my Airbnb, a white clay and stone two story building with intricate wood facades framing the roof and the balconies. The building may not look like much from the outside but the interiors were a sight to behold. With its detailed carvings of dragons and flowers and other natural elements, adorned with red, green and gold one would just marvel at them. This place truly is a piece of art in and out.

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A Frantic Search: Wandering through the streets of Old Ahmedabad U21072

Panic had started to settle in Aki’s mind as she wandered the narrow and dusty streets of Erstonia. She walks through the street with a saddened look in her eyes. She had been looking for her lost cat Mew in the vast city which could be mistaken to be stuck in the past due to the old-style architecture seen throughout the city.

She frantically looked around trying to find even a glimpse of the cat but due to the overfill of people in the small streets, she was unable to. She passes by many varieties of vendors selling things ranging from fruits and vegetables on moving stalls to clothes and furniture in their tightly knit chain of shops. Many people gathered around these stalls and shops on a confined street creating a human traffic jam. There were densely packed houses and Havelis dominated by domestic wooden architecture which includes wooden carved windows, doors and pillars. Narrow concrete roads run parallel to these houses and a few shops.

Even in a state of distress, Aki found the intricately stone carved chabutras on the way very intriguing. The chabutras had bright eye-catching colours and had a tower like structure which had a base for the birds to have a place to sit. The upper enclosure was an artistically carved design like a window with a dome on top, for the birds, mostly pigeons to come and feed off on the seeds that are kept there by nearby people.

She had stopped for a while to catch her breath as the sun shone directly over her head, sweat dripping down her forehead and it didn’t help the fact that the city was quite known for its hot and dry summer afternoon. As she continued to walk through the blazing heat. She came across an arched gateway made of red stone with 3 archways, the middle one broader than the other two. The gate was old as it was said to be built hundreds of years ago with stone carvings on its columns and arches. She went inside to hide from the treacherous ray of sunlight as pools of sweat had started to dampen the back of her shirt. A sense of relief washes over her as the shade from the gate cooled her down. As soon as she was about to start searching again she heard a familiar “meow”. She turned around to see Mew sitting in one of

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the carved decorative boxes set on the walls of the gate. She smiled and picked the cat up.

They both went home through the stoned paved roads of one of the pols. The pol contained close knit houses that had intricate wooden carved facades and columns. Exiting through one of the wooden pol entrances our protagonist reaches her home finally in peace.

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It was the tenth morning of Dussehra. Roy’s mom was laying kolam outside the wooden threshold on a slate stone floor and his dad was tying banana leaves to the door of the worship room. They screamt in chorus, “ Roy, are you ready? ” He quickly popped out of his room in ‘jeans and t-shirt’ instead of the ‘panche’ his mom had kept. In haste they just grabbed his hand and left for the temple. They drove off to the temple complaining about the bad roads with several potholes and heavy traffic.

It had rained last night and water still hadn’t drained off because of gutters choking with thrown plastic. Even speeding cars splashed wet mud as they passed by. Roy jumped up in excitement. It was like his video game of drifting cars. Disturbing his video game fantasies, a vendor just banged on the window. A scared Roy jumped on the other side of the car beside his mom. His dad laughed at him and purchased a garland. Strangely, the flower vendor carried a basket that resembled a bamboo steamer, perhaps it was to retain the fragrance and freshness of the flowers. The smell of mysore pak and ambode engulfed the car as soon as the window was down. They crossed through streets lined with rustic houses with wooden columns and Mangalore tiles. They spotted women doing the dhunuchi dance too cladden in white saree with red polka.

A narrow muddy lane finally led them to a beautiful, stone carved marble temple. The moment Roy got out of the car he started jumping on puddles and dirtied all his clothes immediately. The Gopuram stood out against several banyan and coconut trees. The intricate stone work depicted scenes from Ramayana. The shikara of the temple along with the huge statue of ‘Ram and Hanuman’ hugging each other was visible from the car itself. Stunningly, the statue was entirely made of recycled plastic. The fragrance of jasmine bunned around women’s hair, marigold along entrance doors and water lilies in the serene kund built just adjacent to the temple, occupied the space.

The garbha griha was awe inspiring with diyas hung from the roof and the entire space was lit just by the diyas amidst

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E3.4 | Describing Settings

the darkness of the dawn . He suddenly spotted a room full of dolls arranged in a story-like form with assembled steps as base. He ran across the space only to be overwhelmed by the number of dolls and height of the step structure. He stayed there gazing at the beautiful sunrise alongside the dolls.

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“Dalal Street, near Horniman Circle, three addresses down, two more to go.” I said out loud as I rode my cycle through the busy Green Pineapple intersection on my way to the stock market to deliver food to the hungry employees. One glance at the triangular intersection and I saw a host of tourists clicking photos of the yellow fruit with green leaves. It was a daily sight for me now, tourists aiming their cameras from all different angles to capture the abstractness of the old yet well maintained and polished figure. Some over enthusiastic viewers had climbed on the jet black pedestal to see the minute carved details on the skin of the fruit.

The summer heat and the afternoon glare of the May sun seemed to have no effect on their excitement. Equipped with bucket hats, sunglasses and water bottles they looked ready to conquer the city on a cloudless yet humid day. It surprised me that the heat that made me sweat through my red cotton uniform was insignificant to them. Seeing their optimism towards the city imbibed me with energy to pedal faster. The wide asphalt roads and concrete dividers painted yellow and black, might look the same to a layman but to me they had discrepancies like a break in the divider or a lane marking that was askew that I could spot as I had rode past this route for the past 20 years.

Coming to a halt at a red traffic light, right before the zebra crossing I saw the majestic Elizabeth museum. The stone clad walls with rusted iron railings offered a sneak peak at the premises of the museum. The lush green lawns, scattered with tall trees were like a red carpet leading to the climax. The hundred year old museum stood out in the ever evolving city as it was located at the tip of the city, on the edge of the water. The stone was once grey but over the ages had turned yellow due to pollution caused by increased vehicular traffic. The entrance was at least ten times the average human height and had three huge round arches which were supported by long white columns made of marble and stone. The central wing extended on either side laterally and on top of the central wing, like a crown sat a white stone dome. People could be seen sitting on the lawns in the shade of the trees and milling around the entrance.

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I turned right when the signal turned green and within ten minutes of riding I could see the glass facade of the stock market building come into view. Only the top three floors were clearly visible from the ground as the other four floors were covered by the badam trees. There were tea stalls and coconut water stalls around the main gate. There were a lot of men in formal clothes drinking tea and discussing the current statistics. The place was buzzing with energy and as much as I loved it, I had to deliver the dabbas and move on to my next destination.

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In a busy city like Bandit, I was looking for a peaceful place to sit with my thoughts alone. But, since there are so many commercial and high rise buildings with a lot of noise pollution, I couldn’t find a peaceful place. Thus, I went to my all time favourite spot, the Botanical Garden. The arches are the main attraction of the place. The arrangement of the tall columns supporting the arches look like a maze that one will get lost into. The greenery enhances the visual appearance of the place which makes it the most famous tourist attraction.

While I was sitting there, I saw a boy, roughly about twenty years old trying to find something. I went up to him and asked if he needed help. He told me that his name is Raj and he had come to visit Bandit with his family. They were at the Bandit Palace which he thought was an amazing architectural building with fortified towers, battlements and turrets. The interior was decorated with elegant wood carvings, floral motifs, cornices and relief paintings on the ceiling. He got so intrigued by the building that he went deep inside to explore the building. He found out that there were a total of thirty five rooms where most of them were bedrooms. He was mesmerised by the Tudor Revival Architecture of the palace. As Raj kept moving further, he saw a place with a lot of bushes, trees, arches and yellow lighting which attracted him to visit the place. This is how he ended up in the garden and lost contact with his family.

He asked me if I was a localite and requested me to help him reunite with his family. I asked him in which area or street his hotel was located. He replied that they were staying in the hotels located on MG Road. The hotel was about twenty minutes away from the Botanical garden, since the garden and the palace were situated on MG road. I told him to walk along the street so that he could know more about MG road and the roads are so narrow that barely a scooter could pass the street. The roads are made of cement and are busy almost around the evenings. There are majorly restaurants and cafes on the road along with nightclubs.

Raj’s hotel was the only hotel which was dome shaped while, rest of the hotels were rectangular boxes. Thus, we could easily

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Found in Bandit

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find his hotel. As soon as we reached his hotel we found out that his family didn’t realise that Raj was missing which was kind of funny and disheartening but Raj got reunited with his family and thanked me for helping him through his misery.

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We were in the bunker of our house in the outskirts of the city and we had no idea what was going on outside. We heard from the radio that the earthquake was a devastating one.

Suddenly the radio cut out. We tried turning the knob but it would not work. “It has just been five minutes since it began, would it really be safe to go out now?”, we thought to ourselves. But papa decided that we should go out now. He opened the latch of the bunker. We were expecting sunlight to come in but instead a bunch of smoke and dust fell inside the bunker.

We carefully came out of the bunker and were shocked to see the city.

Everything had changed. It looked as if we were in some different place, it almost felt like entering a utopia. I couldn’t believe my eyes. My house had more storeys now and it was fully made of metal, just like all the other houses in my locality. As we moved further towards the main chowk of the city, we saw a huge depression in the earth’s crust. All the flora and foliage of the city emerged from his depression and spread across the whole city. Massive colourful flowers with lush green leaves surrounded by small bushes were seen in the depression.

The roads were converted into small streams of water and the only means of transport on land were the boats. I could not believe that I was actually experiencing Venice in my own city. All the vehicles with wheels got converted into flying motor vehicles.

The infrastructure of the whole city had completely changed. Buildings were made of metal and had a lustrous shine when the sun rays fell on them.

The earthquake changed the face of the whole city, it was very difficult to believe how it had such a positive impact on it.

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“The situation is now under control, I think it is safe to go out now”

E3.4 | Describing Settings

Escapading With A River

It was about 5:30pm by the time we finished the 24km ride along Gangaa. As we got off the raft and hopped onto the white glittering sand of Neem Beach; our ending point, all six group members from my raft came up to me to thank me for giving them the chance to experience river rafting. We sat for a bit on the soft sand enjoying the silent yet loud breeze on the beach. Before I could say goodbye to the group, a thought came to my mind to take them on a short tour around Rishikesh for whatever time was left of the day so that I could spend more time with the lovely group.

Once they agreed to the idea, all of us sat in a jeep to get back to the main city. Passing by the green hills and seeing Gangaa flow between them at golden hour was certainly a sight to see. Half an hour into the journey we started to see busy streets, several hole-in-the-wall restaurants and vendors selling everything and anything, this meant that we were in the heart of the city. Luckily the first spot of our tour; Laxman Jhula (bridge) was only walking distance away from our adventure centre where we dropped off the raft, so we started to head that way. As we walked, we walked through a narrow busy street full of customers buying and vendors selling all kinds of jute bags with vibrant colours and patterns, necklaces with holy beads and birthstones, and warm woollen shawls and jackets for the upcoming winter. The end of the crowded street led us to Lakshman Jhulla which was lit up with lights since it was already past 7pm.

Once we crossed the bridge, we could hear the bells from the mandir near the ghat on that side so we decided to head there.

As we reached the entrance of the Ghat where the temple was situated, we saw several children running around selling paper bowls filled with Galgota flowers to throw in the river which was so high that it was almost touching the edge of the ghat. Some people were standing on the steps and dipping their feet in the freezing holy water of Gangaa while some were standing against the railings outside the mandir hoping to see the pooja. We bought 2 bowls and headed towards the railings to witness the pooja. The pandits stood in a line in front of tables which had a number of items on them for the aarti.

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There was a live band which started to play and sing slokas for the aarti to commence. The Pandits first held bells and started to ring them in unison after which they held stands filled with diyas which they started to rotate in the same direction. After a series of synchronised rotations and chants the aarti ended. The group was in complete awe and just stood in stunned silence for a few minutes.

Finally we decided to grab dinner at a place looking right over the river near the ghat. Calling it a night, we headed our own ways, but not before they took another river rafting booking for the next day.

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E4.3BookletsCompilingWriting

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E4.3 | Compiling Writing

Throughout the semester we have worked with different types of writing, ranging from descriptive to narrative to process writing and professional writing. Even while we were working with different styles our overarching aim remained the same–how to effectively communicate with readers who do not belong to our discipline and hence do not share the professional knowledge? How to engage meaningfully with writers and readers from our discipline and share learning through this engagement?

This has been progress made on a daily basis, a polishing of our skills that we may not be entirely aware of. It is most certainly something that those around us are not able to see unless they have the opportunity to glance through the same process that we have gone through.

But this practice of putting together our work goes beyond the newness of having been part of this kind of writing workshop. As designers we will constantly engage with people from different fields and we will need to showcase our work. In the process of compiling this writing portfolio for the semester our intention is also to begin to develop a keen sense of how to curate and visually communicate our writing. It will require us to make several choices regarding the layout, composition, selecting the correct colour family, font style, size, creating graphics to communicate our intention, etc. Overall this will help us understand the logic behind some of the most basic mechanics of putting together a booklet or a portfolio of your work, which you will need to keep doing virtually every time you finish a project.

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| S22 329 Janhavi Aggarwal U21055 ROWC Monsoon 2021Spring 2022 E4.3 | Compiling Writing Nav U2055

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| S22 331 CONTENTS Describing Settings Describing Spaces Exhibition Text Documenting Processes Slice, Dice and Join Mapping and Data Representation Concept Note Research Perspectives List of Figures Bibliography 1 6 04-07 Acknowledgements Introduction 08-15 16-19 20-31 32-43 5 7 4 3 2 44-47 9 8 48-63 64-67 68-70 71-72 20-43

DESCRIBING SPACES

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Describing spaces involves writing in detail about the building elements and material quality of the space and the experience of diverse users interacting with the space at different time slots of the day and also in various weather conditions.

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Descriptions

Double Height (Faculty of Design), Cept University: Language of Simplicity

Surrounded by flora on the three sides, double height is located on the ground floor of the Faculty of Design building, on the southernmost corner of Cept University, Ahmedabad. The double height is accessible from all four sides, but the main entrance is from the inside of the design building i.e. the north entrance mostly used by the faculty and students. The space is centrally organized and is connected to the design building, shown in figure 1.

Figure 1 Plan of the SID Plaza

Note.Located in the southernmost corner of CEPT university, the SID plaza is accessible from all directions. Copyright: 2022 by CFP, Janhavi Aggarwal.

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Descriptions

The design of the building is based on the set trend of CEPT University of exposed materials and everything non-laminated. The structure of the double volume is supported by two shear walls (figure2) and a column, because of which the covered area is reduced and an airy and ventilated atmosphere is created.

Figure 2 View of the Plaza

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Note.View from inside of the faculty of design building, notice the simplicity in design and how dynamic the place can be. Copyright: 2022 by CFP, Janhavi Aggarwal.

Descriptions

Further these built structures mostly use bricks, concrete and have kota stone flooring. Both brick and kota stone reflect heat and hence provide a cooler experience in summers. Kota stone also makes the plaza easy to maintain. Zoomed in views have been provided in the figure 3 and 4.

Figure 3

Kota Stone Flooring

Note.Easy to maintain and light reflecting flooring. Copyright: 2022 by CFP, Janhavi Aggarwal.

Figure 4

Naked Brick Masonry

Note.Observe how raw the look of the wall is. Copyright: 2022 by CFP, Janhavi Aggarwal.

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Descriptions

The ceiling has intersecting horizontal and vertical reinforced concrete beams. There are no plasters or paint done on the walls, which gives it a very raw and natural finish, even the beams and columns of the building are exposed (figure 5). The design of the double height is such that there are minimal built structures and a completely empty space in between which makes it open to numerous arrangements and that the space can be altered according to the requirements. This place also holds very interesting installations, installed on the ceiling which are designed by the students.

Figure 5

Exposed Beams

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Note.There are anchored holes in the exposed beams which enable extra load bearing capacity. Copyright: 2022 by CFP, Janhavi Aggarwal.

Descriptions

The double height being south facing is exposed to sunlight for the majority of the day, which makes it almost inaccessible in the afternoon hours. This also adds up to the purpose of it, as it shields the studios from the scorching heat, refer figure 6. The evening hours are pleasant and windy in summers, but there is loose sand in the ground of the plaza which blows into the studios, and makes them very dusty and high on maintenance.

Figure 6

Sunlight Shielding

Note.The plaza acts as a shield to the studios at level one and two from direct sunlight. Copyright: 2022 by CFP, Janhavi Aggarwal. There is a lot of diverse vegetation near the compound walls (figure 7) and it houses a variety of insects and mosquitoes which is another reason for inconvenience for the students, faculty and even the helper.

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Descriptions

Furthermore, when it comes to the outside visitors there are no proper direction guides in the building to guide the outside visitors about the offices or any other part they want to visit.

Figure 7

Open Grounds

Note.Sand covered open grounds, used to play Various sports, especially badminton. Copyright: 2022 by CFP, Janhavi Aggarwal.

Overall, the plaza is an important place for not only recreational but also academic reasons as this being an open space a lot of lectures happen here and students often exhibit work for reviews and discussions , preferably when the weather is pleasant. It is beautifully designed keeping minimalism in focus. The ambience of the place is fresh and active and hence, best suited for spending time after a long day.

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READING OBJECTS, WRITING CRAFT CONTENTS ACKNOWLEDGEMENT i INTRODUCTION iii 1. DOCUMENTING PROCESS 1 • MAPPING • JOINING ELEMENTS 2. DESCRIPTIVE WRITING 23 • DESCRIBING SPACES • DESCRIBING SETTING 3. BASICS OF “RE-SEARCH” 35 • CONCEPT NOTE • ESSAY 4. PERSPECTIVES 53 BIBLIOGRAPHY v LIST OF FIGURES ix

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3 BASICS OF “RE-SEARCH”

After describing the spaces and setting here the two structures are talked about in detail about the two exercises, in this section a lengthy research work upon the two structure- World Trade Transportation Hub by Snatiago Calatrava and Heydar Aliyev Center by Zaha Hadid is done. The work has been expressed and written down as Concept Note and Essay.

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ESSAY

Pursuit of Functionality and Aesthetics: Comparative Study of World Trade Center Transportation Hub and Heydar Aliyev Center

Due to the technical improvements in architecture from 2010 to 2020, architects and designers have been able to be more creative and move beyond the conventional constraints of design and construction. The box-like structures with typical dimensions and with no relationship with the surrounding environment which were prevalent earlier were gradually declining. Aesthetically appealing structures that focused on user experience were encouraged by the society and designers. The structures for the same use were now made with a sense of user emotion while taking care of the structural integration responding to the environment of the place. Santiago Calatrava and Zaha Hadid followed this idea of making a structure that stands out from the typical style and is made with a thought of the topography of the place. They used technological advancement to make their design and execute them on the site. This essay compares the structure of the World Trade Center Transportation Center (2016) by Santiago Calatrava and Heydar Aliyev Center (2013) by Zaha Hadid in terms of exterior and interior structures and the user experience. The reason behind both structures being quite newly built with being in the same era still being different in its style is also stated here.

Keywords : World Trade Transportation Hub, Heydar Aliyev Center, inspiration, ribs of birds, fluidity, structure, cladding, exterior structure, entrance, walls, ceiling, interior structure, experience.

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Introduction

Santiago Calatrava has been acknowledged for his work that appears to defy physical principles and instill a sense of motion into static elements throughout his career (Santiago Calatrava, 2017). Moving features that folded and extended were essential components of nearly all of his creations. This is because he was influenced by sculptures, human and bird anatomy, and as a result, his work highlights the fact that he develops an emotional reaction using simple shapes like the cube and sphere, this movement was recognised in the structures he constructed. The materials used by Calatrava strongly impact his architectural style. Many of his constructions are just white on the outside. As a result, it has a bone-like appearance. Through his use of glass and open spaces, he merges the exterior and interior. Calatrava pays special attention to the integration of technological intelligence and aesthetics to generate a feeling of identity and to blend into the urban or landscape setting. His architectural solutions are dramatic, aiming to astonish the audience with their intricate engineering and design. (Santiago Calatrava by Benedetta Valabrega, 2010). These characteristics of his designs can also be seen in the structure of the World Trade Centre Transportation Hub (2016) a subway station in New York (Figure 27) Calatrava unveiled his design concept about reconstruction of the World Trade Centre Transportation Hub in 2004, this train station from the outside looks like a bird has taken a flight from a child’s hand (Figure 28) which indicates the rebirth and growth of the nation after the trauma of 9/11 attacks on TwinTowers which were at the same place as Oculus stands today (Eric, 2016).

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40 STRUCTURAL BLOCKS- A STEP AHEAD

Figure 27

World Trade Transportation Center Hub

Note. The intriguing structure of steel and glass welcomes through the small space. Copyright Hufton+Crow.

Figure 28

Close up of the World Trade Transportation Hub

Note. The shape of the dove is clearly seen here in the exterior of the structure. Copyright Archdaily.

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On the other hand, Zaha Hadid’s style incorporates sharp lines, which are sometimes powerful with expressive curves as well as other times sternness in nature. The structures formed by her vision may appear outlandish and loud at times, but she has always thrived on the idea of facilitating and even performing in everyday reality. She has stated that, “Architecture must contribute to society’s progress and ultimately to our individual and collective wellbeing.” (Zaha Hadid’s Style and Design Philosophy, n.d.). Her style is distinguished by the free-flowing shapes and expressive intricacy she uses that go beyond just functional design. Hadid chose not to confine her work to a certain trend, her architecture is difficult to categorize into a single architectural style. Zaha Hadid is known for her geometric form training, which she uses to create dynamic and flowing constructions. Owning this philosophy she designed the Heydar Aliyev Center in Baku, Azerbaijan in 2007 whose construction was completed in 2013 (Figure 29). This center serves as a beautiful place to conduct cultural programmes. This was also built to break the rigid Soviet Architecture which was then prevalent in Baku and promote the sensibility of Azeri culture. Right angles are completely avoided in the building’s shell, making it appear smooth. Its design resembles a continuous ribbon folded in smooth folds and layed on the ground which looks seamless (Figure 30). She made the design by using technology to a vast extent. 3d models and printing, latest software made the visualization and execution possible.

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Figure 29

Heydar Aliyev Center

Note. The exterior of Heydar Aliyev Center shows the brilliance of the curves. Copyright WoodFurniture.biz.

Figure 30

Close up of the Heydar Aliyev Center

Note.

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Inspiration of World Trade Center Transportation Hub and Heydar Aliyev Center

Oculus is another name for the World Trade Center Transportation Hub, which literally means “eye” in Latin and also refers to a spherical eye-like entrance. The structure seems to resemble an open eye from the top, with the eyelashes reaching outwards, hence the name is entirely legitimate, this structure can be seen in Figure 31. The structure depicts a dove’s rib when seen from front and side elevation. In contrast, Heydar Aliyev Center was built by looking into the region’s history and by taking inspiration from Islamic Architecture (Meghna, n.d.) When observed with precision one can see that fluidity is quite obvious in Islamic Architecture. Calligraphy, intricate details of the repeating patterns found on walls and ceiling make the difference between the structural elements almost zero, as a result, the structure seems like floating in air and then blending with the vast plain surrounding. Here in Heydar Aliyev Center not much intricate details can be seen but the fluidity is quite consistent and can be figured out at first glance (Figure 32) The inspiration behind these buildings is reflected in the exterior of the structure.

Figure 31 The Top of the Structure Showing Skylight

Note. The skylight gives a flow of natural sunlight in the mornings which lits up the environment. Copyright Flickr.

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Exterior Close up of

Note. The white cladding of concrete is delicately placed in the exterior of the structure. Copyright MyDecorative.Com.

Exterior Structure

Oculus has lower height with a greater width than the buildings in its surrounding. Set in between the modern, tall, slender glass clad buildings and skyscrapers of New York, Oculus’s exterior is built by the regulated repetition of structural white steel ribs that unite the complicated composition of the shape of the dove in flight (World Trade Center Transportation Hub / Santiago Calatrava, 2016). This structural element is made with inspiration from the bones and rib cage of bird Dove. When one looks closely it can be noticed that the individual elements are joined in the similar manner as the bones of birds are interlocked (Figure 33). On the other hand, Heydar Aliyev Center is spread on large span of plain land which lies on the place where there is sheer drop in the topography which results in the split of the site, this problem of splitting was solved by making precisely terraced landscape which sets alternative routes to enter or exit the building campus from the exterior.

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Figure 32

Heydar Aliyev Center

45 BASICS OF “RE-SEARCH“ E4.3 | Compiling Writing

Figure 33

Interlocking of Ribs

Note.

On the other hand, Heydar Aliyev Center is spread on large span of plain land which lies on the place where there is sheer drop in the topography which results in the split of the site, this problem of splitting was solved by making precisely terraced landscape which sets alternative routes to enter or exit the building campus from the exterior. Similarly to the location of the World Trade Center Transportation this too is surrounded by buildings which are not from the similar style, structures from Soviet architecture reigns the area around Heydar Aliyev Center. Its fluid and homogeneous exterior structure is made from metal frame work and cladded with white panels of Glass Fiber Reinforced Concrete (GFRC) and Glass Fiber Reinforced Polyester (GFRP). the plain ground and move across the span going horizontally and then again grounding back to the same land is an eye candy for the viewer (Figure 29).

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A STEP AHEAD

BLOCKS-

The arching, elliptical structure of the Oculus is 106.68m long, 35.05m feet wide at its widest point, and rises to 29.26m above grade at its summit. The structural steel ribs of the Oculus stretch skyward like outspread wings to produce two canopies that reach a maximum height of 51.20m above ground (World Trade Center Transportation Hub / Santiago Calatrava, 2016). Heydar Aliyev Center is constructed in the area of 57,500m2. The roof of this center is very high with a height of 74m (Heydar Aliyev Center: An Overview Of This Flowy Architecture, 2022). One can observe that both the buildings are constructed in a different way and even in different topography. Oculus is built in between the main city with access to the main roads. It looks like it is perfectly placed there with more surface area than height. On the other hand Heydar Aliyev Center freely stands on the large span having an extraordinary height with gardens around in the remaining stretch of area.

Interior Structure

The entrance to the Oculus is through the doors which are located under the tail end of the structure. There are two glass doors for entry and exit respectively as seen in Figure . On entering one can see a column free space with the steel ribs structure continuing at the two side edges of the structure and attempting to join at the top but are separated by the slender, long glass skylight at the top (Figure ). Looking up through the Oculus skylight from the midst of the foyer, one can see the One World Trade Center building. The skylight is also positioned at a particular angle so that light streams through on the ground every 11th September in remembrance of the awful tragedy and the hundreds of people who died. On the other hand, Heydar Aliyev Center does not directly have doors for the entrance but it rather builds an experience of reaching to the entrance. After entering the main site one can see plantations and lawns placed in the abstract pattern of triangles and curves on the sides of the main way to the doors to the Center, adding life by giving a pop of color to the white cladded already fluid structure as can be seen in Figure .

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| S22 Think. Plan. Execute. U21040 Think. Plan. Execute. U21040 Dhwija Sheth ROWC CFP Spring 2022 E4.3 | Compiling Writing

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O N T E N T S

Aknowledgements 1. Descriptions 1a. Untold spaces An eye for detail 1b. Describing settings One step at a time 2. Research Media 2a. Concept note 2b. Essay 3. Documentation process 3a. Mapping 3b. Bhuj report 4. Perspectives List of Figures You Can Ignore This 01 03 05 15 30 57 60 63

Introduction

INTRODUCTION

Communication is the most important skill for design, communicated through our thoughts to people. Reading improves our communication skills, while broad types of writing empower us expand on our design conceptions. Reading objects, writing crafts is a means that uses a range of work to help us improve our language and enhancing thoughts. This booklet is an outcome of my work done throughout the spring semester of CFP 2021 at CEPT UNIVERSITY.

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Bhuj Report

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Bhuj Report

SOIL TESTING

We were introduced to various sorts of soils, and although not knowing their compositions or textures, we were mentored to discern between them and their nature using five variables.

1. visually i.e. by observing its color and texture

2. by holding and feeling the texture by smell (sometimes smell says it all)

3. by adding different elements like water to see differentiate and

4. while checking the sound of it while holding the soil. After experimenting with all of this, it led us in classifying soil into 3 states; ● Sandy ● Silty and ● Clayey

Figure. 21 Soil testing at sankalan (1st day)

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SOIL: 1

When examining soil 1, it appears that it contains fewer gravel particles. When dry, it has no scent, but when wet, it has a strong smell. There appear to be clay elements. Overall, the soil appears to be clayey sandy. Figure.2 shows the sand

Figure. 21 Clayey sandy soil

Figure. 21 Sandy clayey soil

SOIL: 2

Note:

The texture of soil 2 felt like Multani mitti when examined. It contained far less sand than soil 1. When wet, it appeared sticky and had a stronger smell. It may be a sandy clayey soil altogether which is seen in Figure.3.

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Bhuj Report

SOIL: 3

Soil 3 appeared to have huge, hard lumps and was fairly sticky when moist. It had a clay like feel to it. It smells exactly like dried. It smelled like dust and looked like silty clayey soil. Figure. 4 shows the silty clayey soil

Figure. 21 Silty clayey soil

Figure. 22 clayey silty soil

SOIL: 4

Soil 4 had a smooth texture and showed no stickiness also lumps were broken easily. The presence of gravel as well as sand is seen. It appeared to be siltier and less clayey. overall it is predicted to be clayey silty soil. Figure.5 shows the soil.

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Bhuj Report

SOIL: 5

Soil 5 was a lumpy soil with a grainy texture. It has less gravel and silt presence. It has a significant amount of sand present. Altogether it seems to have a clayey sandy soil appearance.

Figure. 23 clayey sandy soil

Note: hard lumps present with less gravel.

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building the ground work for success

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E3.5 DOCUMENTATION PROCESS | S 12

This a documentation process exercise. in this exercise we do description of our studio exercise. this is a group exercise in that exercise we make a inclined tower.

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Teeeda hai par mera hai

structure using reed sticks and two types of thread in the material to make that cantilever structure Cotton thread and baking thread are given to use that material and make a slanted tower. The Reed stick and baking threads group is used in a bamboo structure. Because bamboo is hollow, tapered, has nodes at variable distances, and is not precisely circular, making good and aesthetically acceptable bamboo joints is difficult When developing a bamboo joint, all of these limits must be considered. It was decided that the structure would be designed with reed sticks that would form the base of the inclined towering structure. After selecting bamboo sticks and selecting a thread we started to make a joinery In that tower there are four floors. For a joint to Each and every floor we make a base of each floor and to join this we used T shap joinery to join that. After the

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The base was completed and joinery was started for the 4 floor tower. We used baking thread to join that and used a pin to combine that but the first structure was too weak and it broke before we completed that. So we found a mistake and the mistake was a joinery So we made another model and different joinery and different thread to join that tower.

So our group started to make that model a second time.This time cotton thread was used in each and every joinery. Because it made the structure stronger After the joinery was done At an inclination of 15 degrees from the perpendicular to the base, is taken to be the reference angle for the inclined frame model. The designed tower, bracing and lashing is made on the model of the reed sticks using thread and pins.

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Second slant structure was tasted two times by us. At that time, I started tasting with brick After putting two bricks in, it slept at the base So it tasted a second time. The construction slipped off the base after applying external force. This structure's bricks have been tasted. Each block weighed 3/3.3 kg. The buttress that had been installed to the structure had broken, resulting in a member failure In that time failure was loose threading joinery Because of the loose joinery of black thread structure can’t survive anymore.

After taking the second test only with the rest of the structure giving the brick support, the extension joint breaks with the poor lashing Two members fail from buckling. The joinery was strong and sturdy.

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After finishing all of the hard work we made a documentation on this whole exercise. In that documentation we were supposed to do what we made, what we did, and what was our joinery. The process of making the structure, the weight that it should withstand, the joineries to hold all the vertical, horizontal and diagonal members Rectifying the failures and designing the proper model.

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P2PerspectivesAnIntroductiontotheArtsandSocialSciences

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P2 | Perspectives

Perspectives: An Introduction to the Arts and Social Sciences provides you an opportunity to step out of the familiarity of your design-related discipline and engage with people you may not otherwise come across.

The lecture series allows you to participate creatively, and reflect on the experiences brought to you by the guest lecturers. These engagements are starting points for connecting these new fields with your own future practice, as well as reminders that any discipline may provide points of contact and inspiration for your work.

We will be attending several interesting Perspectives lectures this semester.

The assignment for this course component requires you to share with us something about the perspective/s you have developed in the process. You have absolute freedom in how you choose to do that. For example, you can choose to write a brief note with your thoughts on any one/all of the lectures; write a poem; make an audio or video recording; make a sketch/drawing that represents a thought that crossed your mind while thinking about what you’ve heard the guests talk about. These are examples. There are many more things you could do.

Your assignment is to show us the best way you can that:

1) You have begun to understand the basics of other disciplines or what goes into the appreciation of works pertaining to these disciplines.

2) Reflect on your engagement with the works presented by the speakers—to produce either original work or critical commentary.

There’s no tutor feedback for this assignment because this is about you and your perspective.

Please create folders for yourself and update your assignment after each lecture. You are expected to keep track of this and work on this at your own pace. The final date for the submission of this assignment will be shared with you at the end of the semester once all the lectures are done.

Interact with the guests, have fun, be creative.

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Rebellion of Yesterday, Today and Tomorrow

Listening to Shruti Veena Vishwanath talk and sing so passionately about the works of various poets that questioned and rebelled against the very foundations of societal norms centuries ago, I am both dispirited and inspired. Dispirited because unfortunately, I don’t think the state of current affairs have changed a lot between now and then. And inspired, because despite all this, I am genuinely willing to try and bring about a change in whatever little way I can.

I am forced to ask myself certain questions and to anyone who is reading this article. Has our society changed for the better in the 21st century? My answer is no. Has the collective conscience of our society evolved for a more inclusive world? Again, no. Has the social status of women improved between now and then? A little bit. Do we live in a society where equality and fundamental human rights pervades through the barriers of diversity, religion, caste, creed, gender, sexual orientation, status, language, etc? Hardly. Please don’t get me wrong. You may think that I am being too harsh and that I’m downright refusing to see the various positive developments we have made across centuries. I may even be at the risk of coming across to you as an extremely pessimistic person having a very downbeat attitude. Trust me , that’s not the case. These are just very realistic and hard hitting truths of the world we live in today, irrespective of whether we like to acknowledge them or not.

Sure, we have developed infrastructurally. We live in better homes, have better facilities, better means of transport and various others. We have even taken huge leaps and bounds in the scientific domain, discovering new secrets of the cosmos every now and then. But these are hard sciences. They definitely make our lives easier, but do not bring about any harmony and happiness among the people in its truest sense. A true and positive change can only be brought about by a more accepting and open-minded society. Sure women are now getting the recognition and freedom they deserve, but patriarchy still has its claws gnawing at people everywhere you go. We like to call ourselves secular, but even today India doesn’t have a single government funded place of worship that is non-hindu.Though we have legalized same sex relationships

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in our country through a landmark judgement of article 377 annulment, the LGBTQIA+ community still faces prejudice. Crimes such as murder, rape, sedition, cyber crime are at an all time high. Social media such as twitter and facebook are stark examples of the hatred that people fester in their minds. The list goes on. Rebellion against such deteriorating activities and thinking goes on, even today. People are trying to stand up to all sorts of injustices, but it’s much tougher today than it used to be in the 13th or 14th century. Why? Because today, people have become a lot more rigid in their way of life. If any person defies their opinion, they create problems for them that are unthinkable. If only people were kind, compassionate and accepting of one another, it truly would be “Heaven on Earth’’.

It’s surprising that all these thoughts are coming to me only after listening to a 45 min lecture on “rebellion” that was being carried out by the common man a long long time ago, through whatever means he could. However, be it Kabir Das or Shah Hussain, every youth will relate to them today. It’s not about the times we live in that matter, but our ability to think ahead of our time that makes a difference. Freedom in mind, body and spirit today will inspire the generation of tomorrow.

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| S22 U21042 And the valleys call me home...... P2 | Perspectives And the Valleys Call Me Home

Maybe I'll go back someday

Sitting and gazing wistfully, With the vastness of the white barren land engulfing me

My goats are bleating, nibbling on the scarce grass that grows. Drawing my pashmina closer, As the chilly winds tug at my frame, Welcoming me home

The sun shines bleakly, But my being back on this land, Is warmth enough for my soul

It won't be easy, But it would be mine, nonetheless.

Sometimes when I'm able to catch a glimpse of the stars, I'm reminded of home, The bleating of the goats, Their bells tinkering, Echoing in the depths of the mountain. All of us huddled by the fire, singing merry tunes, And I inhale, An air too crisp A silent whisper in my heart, Crying and longing to be united with the earth I called home

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U21042 Inspired by Sekool , Behind the Scenes a talk by Stenzin Tankong

Returning to the Roots

In one of the perspective lectures Stenzin Tangkong talks about his experience of making a short fictional film “sekool” to encourage people to visit this lost place Leh - Ladak where the Nomads have settled for years. He describes how it is not easy for the Nomads to live there as they have to live in tents and walk miles for water, they have to survive the chilly winters just with bon-fires which was also not an easy task. Because of these difficulties people of the Nomad tribe are leaving the place and their traditional wisdom and moving to cities and towns. As Stenzin Tangkong talked to the people living in the city he told that how life was easy in cities but still he missed his original place though there were many difficulties but there was mental peace which made him happy.

Talking about filmmaking the one thing which astonished me the most was working with no electricity. Living in a place like Ahmedabad where one doesn’t remember when was the last time the power went it was very hard to relate to them. I don’t know much about filmmaking but I know that it’s not a child’s play and working in such circumstances to make a movie was out of my imagination. I was astounded to hear that it was a place with no electricity, Stenzin Tangkong didn’t have money to carry generators so they charged 4-5 batteries with them. Usually after shooting they check the scene in camera but as it would consume more battery and they have to travel 120km long; so they discussed with the camera person and others how they felt. I was happy to hear how Stenzin Tangkong’s father cooked food for the crew (7-8 people) as they didn’t

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have money at all. We know how films are made with a bunch of people in cities and each person is assigned for a task but Stenzin’s crew helped in everything and worked in unity. If the mother is shooting then the child is holding the mic or lights and vice-versa. There were physical difficulties but mentally they all had the same vision which helped them throughout the journey.

This part of his journey caused a shift in my perspective. Everybody is not privileged with every facility, still they work hard and figure out a path.

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UGOG Rebels: Poems in Song and Translation

OG Rebels: Poems In Song And Translation

A Talk By Shruthi Veena Vishwanath

There is more poetry in your actions, than there is in poetry itself. So write something beautiful, without the frivolity of promising beauty tomorrow.

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Sekool: A talk by Stenzin Tanjong

Stenzin Tanjong is a fictional filmmaker from Ladakh. His aim is to create films which reveal the life of people living in a particular region called Changtang which is towards the east of Ladakh. He communicates the life of them through storytelling which goes all around the world and gives this culture and people some identity in this world.

The people are pure nomads which means that they do not practice agriculture or sell anything. They have herds like pashmina goats and sheeps which are only habitat at the higher altitude that is above 13,000 feets above sea level. The nomads do not have a permanent house, they keep on moving from place to place to get good pastures for their hundreds and thousands of herds. They usually move 7-14 times a year. That is how they live their life, they live on high altitudes where the temperature varies from -35 degree celsius in winter which is extremely cold to 22 degrees celsius in summer which is quite pleasant and the best time to feed the herbs. Life is hard up there.

As the day goes by, the tradition is losing its culture and is becoming less important for the young generation. This tradition is very rare and precious as this tradition has been going on for thousands of years but from the past few decades the coming generation is shifting from this tradition to the more comfortable and easy life in big cities. 20-25 years ago 120 families were there in a tribe but now its only 16 families which are carrying on the tradition which is very saddening. To keep this tradition in recognition, people like Stenzin are trying to capture the tradition through films, books, documentaries and bloggings. They are showing the world how they survive and live a life more peacefully like no one else. How they became best friends with nature and utilized nature without slightly disturbing the ecology.

Fig 1 Sekool Poster

From my perspective, there are opportunities for the people to take this tradition to the next level by selling the pashmina wool around the world as this material is very rare and expensive, this has a demand as it is very warm and comfortable. People can earn from this and can have a better life and can carry on the culture simultaneously. As the

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Fig 3 Herds grazing Note. The pashmina goats and sheeps are grazing in a summer season Copyright@2020 by Mckay Savage, Wikimedia Commons

Fig 4 Ladakh Mountains and valley with huge lake Note. An overall view of the high mountain range where the nomads live. Copyright@2022 Leh Ladakh Taxi Booking.

development is taking place the roads are getting better and transportation is getting easier. So tourism can be the option to make money instead of shifting to some other city. There is a possibility to revive the old tradition by spreading the ideology of converting the tradition into business and keep this tradition alive.

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The Golden Turban and The Golden Wings

In an attempt to tear down this preconceived notion, Shals Mahajan, a writer, activist and queer personality decided to put out children’s fictional books that talk about topics that are hushed about in today’s world. Gender identity, migrant workers, domestic violence are some of the sensitive topics that Shals has written about/ introduced through books written by her colleagues.

Timmi in Tangles

It is a short story about a young girl who refuses to go to school dressed like an ordinary girl, and wants to be dressed as a raja with a golden turban, from a story her mother read to her. Her mother tried to convince her otherwise, by telling her that she would not be her mother if Timmi dressed up as the raja. To which Timmi was disappointed and decided to dress up as the raja only once in a while sothe other times her mother would still be her mother.

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“The world we live in today is constructed by adults, run by them, they’re in control and children are considered powerless.”

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TIMMI The Golden Turban and the Golden Wings

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