Black on White v2. by Deetishaa Koradia by deetishaa

CFP Spring 2022

BLACK on WHITE

v2.

U21032

BLACK on WHITE v2. A Compilation of Writings from Reading Objects, Writing Crafts

Deetishaa Koradia

U21032 Spring 2022 CFP Monsoon 2021

Copyright © 2022 by Deetishaa Koradia All rights reserved. No part of this book may be reproduced or used in any manner without written permission of the copyright owner except for the use of quotations in a book review.

To someone I wish I had known.

ACKNOWLEDGEMENTS INTRODUCTION

ACKNOWLEDGEMENTS 1 REFLECTION ON STUDIO EXERCISES

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1a Exhibition text- Freehand drawing 15 INTRODUCTION 11 1b Exhibition text- Technical drawing 19 1c Exhibition text- Gauging sizes 23 1 GAINING PERSPECTIVE 13 1d Informal email 27 1a 15 1e Describing Formal emailSpaces 31

CONTENTS

1b Describing Setting

2 DESCRIBING OBJECTS

4 ANNOTATIONS AND SUMMARY

2 DOCUMENTING STUDIO EXERCISES 32a SKIMMING THROUGH TEXTS 51 Documenting Process 2b Bhuj Documentation

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3 RESEARCH 95 5 MIND MAPS 69 3a Concept Note 97 3b Essay 103 6 RESEARCH ON CHESS SETS 75 4 PERSPECTIVES 6b Presentation

6a Concept note

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LIST OF FIGURES 7 PERSPECTIVES

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BIBLIOGRAPHY BIBLIOGRAPHY

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ACKNOWLEDGEMENTS I would like to thank CEPT University and the CFP team for conducting this workshop that has helped immensely in proper articulation of words and views. I would also like to express gratitude to my ROWC faculty, Karan Gandhi, Sakshi Soni and Gatha Joshipura for guiding and encouraging us through feedbacks and discussions. Also, a special thanks to my friends for extending support and encouraging me to work more productively.

INTRODUCTION ‘Black on White’ is a reference to the contrast one sees or feels in oneself after gaining knowledge or experiencing progress. It suggests how an empty paper of mind is filled with thoughts as inked letters on it. This compilation includes all of my works done during the ROWC classes as a part of Spring semester, 2022 at CFP. These writings helped me develop an enhanced perspective on how to look at different spaces and contemplate the observations in a concise, descriptive manner. Reading texts developed a newfound design vocabulary and provided great exposure to different design languages while conducting academic research. The course of booklet showcases my progress achieved, over the course of the semester, by working on valuable feedback and peer learning.

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GAINING PERSPECTIVE Black on White I S2022

1a DESCRIBING SPACES The design, quality and elements of a space are described to understand the space better in terms of its sensory experience.

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16 Figure 2 Push for Air Figure 1 Frontal Flat Facade

WORKING UNDER THE WOODS The woodworking workshop, a part of CEPT Workshop building, lies opposite to CEPT’s South gate and adjacent to the GIDC Bhavan. The Workshop building is cuboidal, covering an area of approximately 7100 sq. feet. The overall structure is made of RCC (Reinforced Cement Concrete) which is concrete reinforced by steel bars. It stands on a dry, sandy land and is surrounded by a few trees. It is the place where students work on making models of their design explorations with various materials like clay, wood, metal and ceramic. The workshop space is voluminous due to its large height of about 6.8 m which does not allow it to get cramped by the huge equipment and working tables. It is an open, airy space throughout most of the day with a series of hinged metal doors open on the North side as seen in Figure 2. These doors operate manually from the inside and make way to facilitate the use of a plinth area just outside the workshop when extra space is required for a larger model. These doors offer ventilation to a space where wood is constantly worked upon, leaving sawdust in and around (Figure 3). That is also the reason it has exhaust blowers on top of the doors to function as additional ventilators, which according to the workshop staff are of little help, especially during hot days of summer. The place remains messy with wood chips and sawdust on the tables and floor. The flooring used on top of RCC is epoxy resin. The reason for its use is its colour and hardness beneath heavy machinery of the workshop. Off-white colour of this material allows one to easily spot any

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Figure 3 Dust the Wood

Figure 4 Workless Nights

nails or sharp but small items that would rather go unnoticed in a dark coloured\floor. Epoxy resin also provides toughness to the floor being resistant to cracks that may occur due to heavy tools or equipment. The structure does not have any direct openings on its East or West side to prevent heating up of rooms. Most light comes in through the North side due to skylight on the North and the openings for the hinged doors. This is the reason one does not need to use the artificial lights placed between the beams before the Sun goes down. The roofing system that forms the highlight of the space, is like a flapped opening for the Northern light to come in through the series of tilted glasses. Northern light is an important prerequisite for spaces where intricate work is done as that light remains of even intensity throughout the day. The workshop being such a space, light from North makes the space equipped to work on wood with precision (Figure 5). The double heighted space uses Canadian timber for inverted arch beams employed in the roof truss. These are made using glulam technology and placed at an angle supported by a wall plate (metal bracket) through a fixed joint, topped with a corrugated metal sheet to form the roof. The materials used are sustainable and the use of new materials and technology inspire students visiting and working in the workshop to explore. The wooden beams of truss are curved and just 32 centimetres thick, which is not enough to take the load alone due to compression at its centre. A tensile wire through five metal supports is hence fixed under the beams to provide them with post-tensioning.

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20 Figure 6 We Need Even Light Figure 5 Wooden Flaps

The workshop, in all, facilitates an efficient working environment for the students with sufficient space to work and move around aided by top of the class tools and equipment. The elements of wood atop provide a holistic ecosystem to work in a place dedicated to woodworking. Figure 7 Empty after Dusk

1b DESCRIBING SETTING A description that walks through an imaginary setting elaborating upon its sensory experience due to the architectural elements.

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RUN TO SEEK As the night wore on, the walled city area of the metropolis turned into a mission accomplishment zone for Fasa. The narrow lanes with squeezed vernacular houses provided her with the perfect hiding spots. Thoroughly aware of her surroundings, this wasn’t her first mission here. She was known to every wooden-carved niche, every common courtyard, along the lanes leading up to different pols, the clustered neighbourhoods of the area. The time suited her best to hide in the shadows of delicately structured walkways connecting the first of the two or three storeys of havelis across each lane. The target was spotted, a buff man, appearing from behind the rusted metal door of a gaudily coloured house. He reached out for a bag from under a monolithic stone bench just outside the entrance and climbed down the stairs from the elevated stone plinth. He picked up the cycle resting against the plinth and rode off over the tar road. Fasa, who was crouching behind a jali enclosing the verandah of the empty house across his, alerted her senses and inhaled deeply. She had to run. She ran in the direction opposite to where he went, along the narrow facades of the connected houses. She was stalled by a herd of cows at a small junction marked by a rainbow flag. She brushed past them, unbothered by the smell of cow dung or the open drain hole on the corner of the street.

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After taking a left, she stood in front of a shop with a red-painted metal shutter. She hastily reached out for a key inside her pocket and opened the lock to unveil the murk behind the shutter. There was not a single soul around her; she could hear herself gasping for breath. She gathered herself eyeing the twinkling stars over her head and went inside the orifice. She had entered a secret passage known to only a few people. It was jet black inside as she closed the shutter. As she moved forward along the passage, she encountered spider-webs and bats to approach the end of the dingy place. The end of it opened to a back door of an abandoned jewellery showroom of a marketplace in the neighbourhood. There he was, the buff man, hiding the bag. But, too late, the swift hands of Fasa didn’t fail to get what she seeked.

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DOCUMENTING STUDIO EXERCISES Black on White I S2022

2a DOCUMENTING PROCESS The ideas and execution leading to the results of a process during a studio exercise has been articulated. The documentation involves technical as well as experiential aspects.

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Figure 9 Sketches as Preliminary Observations Figure 8 Selected Area to be Studied

Note. The area marked in yellow is the final area to be studied. The area encompasses two main roads with major crossroads at Panjrapole seen on top of the selected area. Adapted from “Mapping and Data Representation,” (Unpublished Undergraduate Portfolio CEPT Foundation Programme) by D. Koradia, 2022, CEPT University. Copyright 2022 by Google Earth.

Note. These sketches inform the environment around and usual activities of the neighbourhood. Adapted from “Mapping and Data Representation,” (Unpublished Undergraduate Portfolio CEPT Foundation Programme) by D. Koradia, 2022, CEPT University.

CHAOS AROUND PEACE Mapping the Contrast between Chaotic and Peaceful Areas of Ambawadi Ambawadi in Ahmedabad is a versatile neighbourhood with every necessity available within a radius of 500 m. It is largely a residential area where trees form the periphery of every plot in the region. The main roads that blanket the residential areas form the bustling and chaotic areas. Entering the residential area acts as a “switch-off” from all the noise and bedlam. Following is a detailed description of the process followed in mapping this area to truly bring out the contrast between the varying parts of the locality experienced by residents on a daily basis, something that mediums like Google Maps have the inability to do. The process entails the requirements for the representation and decisions guiding the final outcome. PART I- Process and Working Step 1: Identification of Region The first step in this process was deciding which area around the neighbourhood should be marked to be further studied and analysed. The selected area should include our residence and must be an area of roughly 500m x 500m. I chose the area around my neighbourhood that included the residential buildings and main road junctions. Including

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34 Figure 11 Cognitive Map Figure 10 Narrative

Note. Narrative written to document initial observations. Adapted from “Mapping and Data Representation,” (Unpublished Undergraduate Portfolio CEPT Foundation Programme) by D. Koradia, 2022, CEPT University.

Note. This map was made on paper to include all the initial observations. Small dialogue boxes have been added to realise the activities represented. Adapted from “Mapping and Data Representation,” (Unpublished Undergraduate Portfolio CEPT Foundation Programme) by D. Koradia, 2022, CEPT University.

the main road junctions of Panjrapole and Sahjanand also meant that the area to be analysed increased to around 550m x 550m, but since they added to the variety seen in the region, they were included. The area was measured and marked using Google Earth. Step 2: Firsthand Observations of the Area The attributes of the area selected were identified by first sketching certain activities that formed the salient features of the neighbourhood (Figure 2). The activities around the residences mostly included hawkers and vendors selling fruits and vegetables, stores selling groceries and medicines, people worshipping at the temple. Residential area forms 80% of the region selected, while commercial buildings and main roads form 20% of it. Progressing towards the main roads from the residential areas, a shift in momentum of activities was felt. A lot of roadside food stalls, eateries were there around the commercial buildings on the IIM road. These along with the traffic at the crossroads generate a lot of noise. Step 3: Identification of the Basis for Representation The preliminary observations were necessary to form a narrative about the experience of being in the neighbourhood around Panjrapole. This narrative formed the basis for representation of these observations on the map. The cognitive map shown in Figure 3 was made to record all the observations on map and to identify a thematic focus for the final map. The contrast in the nature of activities seen in the chaotic and peaceful areas of the neighbourhood was identified as the thematic focus.

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36 Figure 12 Making the Base Map

Note. The base map has different layers of information and hence three different representations showcase each layer individually without overlapping and creating a confusion. Adapted from “Mapping and Data Representation,” (Unpublished Undergraduate Portfolio CEPT Foundation Programme) by D. Koradia, 2022, CEPT University.

Step 4: Preparation of a Base Map A base map showcases the plans of buildings and roads along with the vegetation in the region. Base map was made by tracing a Google Map image of the marked area using AutoCAD. This was done to accurately represent where each observation was recorded and used as a reference to the final map with it being the outline of the area. Different layers were used to trace buildings, roads and vegetation; each with different lineweights and colours for distinct identification of different elements. The built forms are traced with a dark pink colour, while the grey represents roads and green shows the vegetation. This map was to be utilised as the base layer while preparing the final map in parts or whole. Step 5: Collection and Compilation of Data Collecting data was necessary to know where exactly the observations in the first step were recorded. A second set of data compilation would verify the firsthand observations. This step also allowed me to observe the activities through the lens of thematic focus, which also gave rise to some new observations. The preliminary observation stated that chaos was felt and formed but data compilation informed why it was formed. This also included clicking of photographs to capture the essence and context of the activities to be represented. Step 6: Final Decisions Regarding Data Representation The refined observations formed the data that was to be represented on the final map. To represent the thematic focus that was identified, an A1 sheet was required to exhibit

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38 Figure 13 Illustrated Observations

Note. The final map showcases all the layers of information studied and represented through illustrations. A contrast in motile movements can be spotted with main roads busy due to vehicular activities while the inner area at the bottom shows activities serving daily routines of people. Graphical scale and orientation of North have been added to understand the map better. Adapted from “Mapping and Data Representation,” (Unpublished Undergraduate Portfolio CEPT Foundation Programme) by D. Koradia, 2022, CEPT University.

all the minute details. The representation method was to make the thumbnail sketches on the map that show a variety of activities and buildings look comic-like; with black outlines and solid colours. This was done to make the map illustration-like, bold and catchy, which was hence made digitally on Procreate so that the details of every small sketch could be zoomed in and drawn. The decision was to show the activities that contributed to the majority of sound produced in their vicinity to display the contrast between the chaotic and peaceful areas of the neighbourhood. PART II- Final Outcome Details of the Final Map The final map showcases all the observations recorded and data collected in an appealing and neat manner. As the title suggests, the map brings out the contrast between the chaotic and peaceful areas of the neighbourhood. The aim was to show the contrast in an engaging manner so that the viewer could relate to it, which was done by exaggerating the scale of certain elements to indicate their prominence in that area, rather than mapping sounds which would turn it into a boring, statistical map. . The main reasons for chaos on the main roads were excessive honking by vehicles and chatter of people gathered on the roadsides either around eateries or just like that. For this human figures can be spotted around the buildings with restaurants, shops and offices. Those figures are not just aimlessly put there but also show the activity each place serves, like people smoking outside a cigarette shop. Another point kept in mind while drawing the buildings was the detail of their facades instead of making box-like

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40 Figure 14 Long-drawn Junction

Note. Populating the crossroads became a long-drawn task after having to draw at least 120 vehicles, all unique. Adapted from “Mapping and Data Representation,” (Unpublished Undergraduate Portfolio CEPT Foundation Programme) by D. Koradia, 2022, CEPT University.

buildings so the viewer can relate to the map when they pass through those roads. Cars assembled on the main roads form the highlight of the map (Figure 6). Primary colours were deliberately chosen as the colours for the cars so as to bring direct attention to the chaos formed on those junctions. This also helps to highlight the contrast of activity on the main roads as opposed to less vehicular activity across the inner roads. Although trees play a major part of the ethos of the neighbourhood, their representation was limited to certain contexts like in the park, tailor sitting under the tree and people worshipping Peepal tree outside a temple. This choice was made to not shift the focus from the elements that were actually contributing to the chaos seen. Some details that were added to aid the technical part of the map were the graphical scale and North at the bottom and a key map on the left. The legend mentioned is also a broad reason for the concentration of activities around commercial spaces and less activities around the residential part of it.

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2b BHUJ DOCUMENTATION An amalgamation of processes documented during the workshop with the help of illustrations conducted in Bhuj. This is a collective effort by Deetishaa Koradia, Shivam Shrivastav and Jeremiah Ajit.

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introduction A four day workshop was conducted at Sankalan, in Bhuj that comes under the Hunnarshala Foundation. The workshop was about earth construction, that is constructing in a sustainable manner using sustainable materials such as rammed earth and adobe.

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The attendees learnt sustainable construction methods of basic structures and elements like bricks, walls, arches and domes using the same sustainable materials. This workshop aimed to expose students to alternative construction methods that are more environment friendly along with giving them a hands-on experience of how such constructions are carried out on the field. This booklet compiles the work done and the learnings learnt during the course of this 4 day workshop, that taught us construction from the very foundation.

Hunnarshala The aftermath that the 2001 earthquake in Kutch had left behind left the people of Kutch with an objective to capacitate people for reconstruction of their habitat. “The reconstruction process saw large scale implementation of earth construction. It was a process in which artisans emerged as bearers of tremendous knowledge and the strengths of traditional building systems and forms were revealed.” - Hunnarshala

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In the process it was realised that these emerging ideas were important not only for the reconstruction process but also for long term sustainable development in many contexts. Spreading this knowledge and documenting it felt to be imperative. Hunnarshala was envisaged as an institution to take this up. “Hunnarshala took off from projects which demonstrated processes controlled and managed by people themselves. Hunnarshala believed that the same concepts could be applied here also. Coming together of professionals, corporates and research scientists and NGOs in the aftermath of the earthquake became an opportunity for this idea. It was the period when all kinds of talent came to Kutch and Hunnarshala came out of this melting pot.” - Hunnarshala 12

Sketch made of a structure at Hunnarshala capturing the roof detail with walls made of rammed earth.

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A staircase structure at Hunnarshala captured as a graphite sketch.

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soil testing Soil testing was done to determine the soil types of the samples on the basis of proportions of sand, silt and clay. This was taught as soil testing is imperative to determine the composition of soil that should be used in construction, as it is this composition (proportions of sand, silt and clay) that influences properties of the soils in terms of strength, stickiness, moisture holding capacity etc.

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rammed earth wall SRE (Stabilised Rammed Earth) is a sustainable, low energy consuming contruction technique which utilises inorganic soil, usually taken directly from the contruction site, with a small amount of cement added as building material. In the workshop we learnt about the composition of the soil that is used and the methods and machinery used in the construction process.

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making cseb CSEB (Compressed Stabilised Earth Block) are composed of dry inorganic subsoil, non-expansive clay, aggregates and Portland cement. They are an alternative to clay bricks bricks used being environmentally friendly. In the workshop we mainly learnt how to use the machinery and about the delicacy with which these bricks are supposed to be handled before they solidify.

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adobe bricks Adobe is a composite building material made from earth and organic materials such as straw or Dung. Through the workshop we learnt about the steps that are carried out to prepare the material used and how to handle the material during the construction.

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wattle and daub Wattle and daub is a building method used to build walls in which a woven lattice of wood and bamboo is called wattle and is daubed with a sticky material which is a combination of wet soil, clay, sand, straw and animal dung. At the workshop we learnt the process of daubing properly on a frame that was already prepared for us.

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foundation and plinth The part of the building’s structure beneath the ground is the foundation and plinth is the one just above it. At the workshop we learnt how to construct a sand packed foundation with a plinth of uncoursed masonry topped with a RCC coping.

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cseb masonry wall CSEB was used to construct a coursed masonry wall. Alignment and levelling of bricks alongside each other was done carefully. We constructed a wall of 4 courses at the workshop.

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arches Vertical curved structure spanning over an elevated space is an arch. Different types of arches have different detail to their construction. At the workshop we made a semi circular arch using burnt bricks with cement mortar.

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domes Domes are hollow hemispherical structures which were constructed using traditional masonry. Elliptical and spherical domes were constructed. The key to making a good dome is maintaining the radius and even application of mortar.

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conclusion Through this 4 day experience a lot was learnt about earth construction and sustainability. The workshop provided exposure to alternatives of building materials that are harmful to the environment and understood how these alternatives have been present since ancient times but somewhere got lost amidst the haze of industrialisation.

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Through this workshop not only gave valuable knowledge about earth construction but also about the artisans and craftsmen and the importance of their skills. The difference between a labour and an artisan/craftsman was understood at a deep level. In conclusion, this was a highly informative, educational and fun workshop that gave teachings which will be held onto by the attendees for the rest of their lives.

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RESEARCH ON HIGH-RISES Black on White I S2022

3a CONCEPT NOTE Written to demonstrate conceptual clarity on the comparison between two selected buildings to help during further research

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Figure 15 Lloyd’s Building, London

Figure 16 Seagram Building, New York

THE HIGH-RISE ANTITHETICS A Comparative Study between Lloyd’s building by Richard Rogers and Seagram Building by Mies van der Rohe The research intends to explore the structural expressions of high-rise office buildings during the post-war era by comparing the Lloyd’s building in London designed by Richard Rogers and the Seagram building in New York designed by Ludwig Mies van der Rohe, constructed in 1986 and 1958 respectively. The comparison has been drawn on the basis of their structural design language, usage and construction. A product of mid-century modernist architecture, Seagram employed the International style of architecture. A style closely related to modernism, it used cheap, new materials of the post-war era like steel, glass, iron and concrete to erect structures that were easily constructed; a reason it was popular in America for cost-effective commercial buildings (Henderson, 2019). While Lloyd’s building is an example of high-tech architecture, a type of late modernist architecture that surfaced during the late 1960s. A style that characterised the transition from modernism to post modernism, its preferences include application of sheer surfaces and lightweight materials (Sawe, 2019). Designed by Mies van der Rohe along with Philip Johnson as the co-architect, the skyscraper exemplified his concept that “less is more” (Eckardt, 1998). A concept that defines minimalism, also defines the language of Mies’ other buildings like the TD South Tower in Toronto and One Charles Centre in Baltimore. The Lloyd’s on the other hand

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showcased technical features on the exterior to show how technology can improve and drive the world. The Lloyd’s facade on the other hand does not hide its guts, but shows them proudly (Ariza, 2014). The building’s construction is accentuated by showcasing its services on the exterior to show how technology can revamp the world. The two buildings are alike in terms of the purpose they were built for. Seagram building was initially the headquarters to Seagram Company, a Canadian distiller while Lloyd’s building, home to Lloyd’s of London, an insurance institution. Still functioning as office space, Lloyd’s, owing to its structural design, has a large central atrium and an uncluttered space inside to accommodate large staff and clientele. Seagram features office spaces with maximum natural lighting through its grey topaz glass panes with flexible floor plans (Perez, 2010). As inferred from the previous paragraphs, they largely differ in their response to creating a high-rise office building in the heart of cities they are based in. Mies’ exceptional sense of proportion and his extreme concern for detail rendered a minimal cuboid into an out of the ordinary office space. While Rogers’ idea of creating a functionalist design that could endure changes for the years to come produced a fantastical building quite literally.

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3b ESSAY An eleaborate piece detailing the comparisons drawn in a structured manner.

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THE HIGH-RISE ANTITHETICS A Comparative Study between Mies van der Rohe’s Seagram Building Richard Rogers’ Lloyd’s Building by Richard Rogers Abstract With the War coming to an end, the mid-twentieth century saw a boom in the economy, leaving companies hungry for more office space and paving way for elaborate urban architecture. The solution seeked a demand in construction of high-rise office buildings accommodating huge staff and clientele and an unobstructed space to work. The following piece is hence an attempt at understanding the structural design devised for these high-rise office buildings through a comparative analysis between the Seagram building in New York by Mies van der Rohe and Lloyd’s building in London by Richard Rogers. Both these buildings’ structural design ensured unobstructed interiors by two different approaches. They refused to continue the notions of existing architectural styles, introducing elements that were radically different at the time they were built, which have been talked about further in the essay. Branching out of the prevailing styles, the Seagram building is an example of International style and Lloyd’s building of High-tech architecture which makes them differ in terms of materiality, structural design and the exterior expression of their builtforms. An elaborate comparison between their structural design language, materiality, usage and contextual response has been drawn by comprehending these references. These deductions have been facilitated with the help of numerous articles on websites and

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Figure 17 The Cuboidal Edifice

Figure 18 The Steel Factory

Note. The steel cladded Lloyd’s building stands between a jungle of glass-wall high-rises. Copyright 2021 by Aleksander Georgiev. Note. Seagram building seen in the evening with its plaza acting as a welcoming carpet to the main building. Copyright 1958 by Ezra Stoller.

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anecdotes from books. Ergo, this comparative essay is a consolidation of the deduced knowledge in a structured manner comparing the abovesaid parameters. Keywords: High-rise office buildings, structural expressions, International style, High-tech architecture, glass and steel, skeleton-frame building, inside-out building. Introduction Set on a granite platform on New York’s Park Avenue, the Seagram building was a radically new piece of design in urban planning owing to its plaza, which receded the building away from the road; something no other building until then had (Cohen, 2017). Lloyd’s building, equally radical in its design due to its inside-out structure, stands at the cross-section of Leadenhall street and Lime street of London. The designs of both these buildings seek to find a structural solution for high-rise office buildings while exploring a distinct aesthetic; a by-product of their functionalist approach. The buildings clearly showcase the different design ideologies of the two architects, given both were commissioned to serve the same purpose of providing office spaces in high-rise buildings. Mies longed for a “universal character”, a general solution to all architectural problems while Rogers translated an individual character that was fantastical. They were, however, united by functionalist objectives. Pioneering two different architectural styles, their approach differed in assembly of structure, its design, balancing the exterior and interior along with an efficient layout. The piece further elaborates on the process and turnout of these buildings while hanging onto achieving a functional space.

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Figure 20 Enclosure Figure 19 Denying Irregularity

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Architectural Style and Ideologies After World War II, businesses were growing in America due to the post-war economic boom. This demanded a rise in need for commercial and urban architecture which was cheap and hassle-free to construct. International style of architecture, a style closely related to modernism, is characterised by rectangular forms and structures, simple exteriors with glass facades and unobstructed interiors. It used cheap, new materials like glass, steel, concrete and iron, a reason it was widely adopted to construct cost-effective commercial buildings (Henderson, 2019). Construction using these materials was easy to assemble and a relatively quicker process as compared to masonry construction. One of the core principles behind this style was its unifying sameness, where designs often looked similar with blocky or repetitive exteriors removing societal or socioeconomic divisions. Seagram building, built in 1958, was one of the products that shaped this style, as did Mies’ most other buildings. Developing and formulating this style did put Mies’ works under criticism for their rigid, cold and anonymous display, although it was his declared choice to accept the nature of 20th-century industrial society and express it in his architecture (Eckardt, 1998). Lloyd’s building on the other hand, constructed in 1986, is an example of high-tech architecture that rose during the transition from modernist to post-modernist era around the late 1960s. This saw a transition from straightforward, logical style of structural expression of modernism to hybrid, variable mixed aesthetic kind of expression surfacing in postmodernist era (Al-Zrigat, 2020). This saw an incorporation of high-tech industrial elements into building design, something that made Lloyd’s look like a steel factory. But this startling piece of idea cemented Roger’s position as one of the leading world architects, who built further upon the ideas of Modernism during a time when architecture faced traditional backlash. By combining the potential of structure and industrial technology, he aimed at ‘controlled transformation’ of the buildings, which he considered to be constantly

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Figure 21 The Symmetrical Plaza Level

Note. The plan is laid symmetrically with trees placed on sides so that they screen the buildings on adjacent sites to contain the plaza environment effectively (Carter, 1974). Copyright 1974 by Pall Mall Press, London.

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changing entities. This as seen in case of Lloyd’s; services become obsolete as technology evolves, and hence architecture, he believed, should provide for the ease of replacement by separating services from the structural elements (Powell, 1994). While the industrial revolution inspired International style, high-tech architecture saw a direct incorporation of industrial elements. The warehouse-like structures were a characteristic of industrialism which had large windows for ventilation and simple exteriors for easy construction (Henderson, 2019). The open interiors for maximum spatial flexibility was something common to both styles, although the way it was achieved was different. International style picked the essence and feel of industrial buildings, high-tech architecture picked its expression. Layout and Organisation The design of Seagram’s exemplified Mies’ concept that “less is more”, a defining factor of minimalism (Eckardt, 1998). The use of minimal geometry in plan and facade makes it antimetaphorical and straightforward focussing on function; as was the modernist principle that “form follows function” stated by Louis Sullivan. This holds true for how the entities on ground were placed and the design of the floor plan. Based on a ground plan with Mies’ chosen 3x5 proportion, the building is set away from the Park Avenue, making space for a granite-paved plaza (Carter, 1972). The building is an embodiment of classical and gothic influences. The plaza level plan, as seen in Figure 3, is entirely symmetrical, following a disciplined 8.5 m grid structure with a tripartite division of structure into the capital, shaft and base (Upadhyaya, n.d.). Other classical elements include the use of bronze and “the rhythmic regularity of columns and bays’’ that heft the mass above. Influence of gothicism is rather subtle, showcasing monumentality through height and accentuating it by allowing one to view it from the ground, owing to its plaza, rather than away from the streets. The

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Figure 22 The Sprawling Towers

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verticality articulated by the use of I-beams and the tall shaft having a cruciform plan also add to the building’s gothic influences (Upadhyaya, n.d.). Similarly, Lloyd’s plan features six service towers placed symmetrically around the central rectangular office space. Although the forms of the towers are not replicated, it is the placement of the entrances that is symmetrical. Rogers drew inspiration from Louis Kahn’s Richard Laboratories and Frank Lloyd Wright’s Larkin building for the plan of Lloyd’s while the internal atrium, in its scale and verticality, was something derived from Paxton’s Crystal Palace that he admired. Larkin’s open atrium surrounded by galleries formed the essence of that of Lloyd’s. The interior lit by diffused light reminds the character of Wright’s Johnson Wax offices and that of Maison de Verre (Powell, 1994). Rogers had a strategy for accommodation which was a result of a wide-ranging analysis and series of mathematical models, not an architectural design. He thus proposed a building where the Room could be reconfigured, according to the needs of the market; by placing a series of galleries around the central space that houses the Lutine bell, connected with escalators and lifts to provide easy access between the floors (Powell, 1994). The partition walls are movable making the floor plans flexible, just like the floor plans of Seagram. The building comprises three main towers, which are connected to their own service towers, concentrically positioned around the 60 m atrium. The escalators cutting across the void of the Underwriting Room create dynamism in the workplace (Kroll, 2010). Structural Design and Materiality Seagram was construed as a “symbol of classicism for the industrial order” (Cohen, 2017). It was a steel skeleton sheathed in glass curtain-wall facades (Eckardt, 1998). The materials used were light and reinforced concrete was used in the core for lateral stiffness. Mies had devised a common structural solution for all his high-rise skeleton frame buildings, a

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Figure 23 Lined and Leading Figure 24 Open and Busy

Note. The open and unobstructed Underwriting Room of Lloyd’s where the historic Lutine bell sits. Copyright 2021 by Architects’ Journal. Note. The facade detailed with regular bronze I-beams lacing the mullions. Copyright 2009 by Scott Norsworthy.

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reason his buildings showcase a universal character. He located the skin in front of the structure which is independent of it. Its skin consists of bronze mullions, spandrel panels, glazing frames and bronze tinted plate glass (Carter, 1974). Mies did not want the mullions to be exposed, so to accentuate the building vertically, bronze-toned I-beams were used. These were non-structural and ran along and above the mullions in one-storey high length (Carter, 1974). Although being non-structural, its part function is stiffening the skin against the wind load. The steel frame was intended to be visible but building codes required it to be covered with some fire resistant material, so concrete was used. The rectangular building stands on piles with concrete and steel lateral frames; first skyscraper to employ so. Lloyd’s was also intended to be constructed on a steel frame, like the Pompidou Centre, but the fire safety requirements for high-rises did not concede this, and concrete had to be used (Powell, 1994). The twenty-storey building was extensively clad in stainless steel that brought “high-tech architectural aesthetic to the medieval financial district of London” (Kroll, 2010). Instead of being planned in a geometrical shape, Lloyd’s became a complex grouping of towers, almost like the Gothic architecture. The building stands out in comparison to the other buildings around it as one can see in Figure 6. Lloyd’s has balanced technical efficiency with architectural expressiveness; with its services on the outside, their maintenance and replacement was made easier and permitted maximum use of interior spaces alongside expressing itself through its structure. Moving the services to the perimeter meant easy replacement whenever required as the technology advances which proved immensely beneficial. Since Lloyd’s use of electronic information technology increased greatly as the building went up and the servicing – especially air-conditioning – needed to be augmented, resulting in the growth of towers into heavy, ‘Gothic’ structures seen today. Although artificial servicing was a requirement of high degree, building was

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Figure 25 Inclusive Interaction

Figure 26 An Odd Juxtaposition

Note. The plaza of the building serves as an openly active place for interaction or as pause point for pedestrians where works of different artists are often displayed. Copyright by Alpha Space NYC.

Note. The entrance of the old Lloyd’s building, restored and incorporated as the entrance to the Tower 5 of the current building. It seems to be a rather incongruous attachment to the steel-cladded structure. Copyright 2022 by PR Newswire.

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highly progressive in terms of energy efficiency (Powell, 1994). While Seagram’s design became a prototype for the office buildings till date as Mies had thought of it to be, Lloyd’s remained as one of the few built of its kind. The recurrent use of glass on the facade walls and setting back the building for the plaza to give a breather is something employed in numerous buildings from the time Seagram was built. It had become a corporate staple. This arrangement might feel cliché to us but when Mies first built it, it was a bold statement. Lloyd’s on the other hand, was something that remained unique on the city’s skyline. The architectural style it employed was shortlived, but a kickstart to the style that followed, helping move on from the disillusionist buildings to creating excitement with structure and details. Contextual response Seagram’s plaza is an important feature of its radical planning. Raised by a few steps above the Park Avenue pavement, the plaza becomes further detached from the noise and chaos of heavy traffic. The plaza made the building visible and approachable from three sides; creating a space instead of using it up (Cohen, 2017). Creating this space by setting back the building by 100 feet from the street edge meant a heavy sacrifice of floor area that could have been profitable for the owners (Perez, 2010). The white marble benches protect the edge of the plaza with effective foreground elements like two groups of fountains on either side. These establish the scale of the space extending from the street to the building, providing a moment of relief for people walking from street to street. On the contrary, Lloyd’s has its entrances directly from the streets. Towers 1 and 3 are located on Lime street while Tower 5 has its entrance on Leadenhall street. Tower 5, specifically, has a distinguished entrance as it opens through the gates to the old Lloyd’s

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Figure 27 Not Where You’d Imagine

Note. The historic Adam Room (the Committee Room) from old Lloyd’s that was shifted piece by piece across the street on the 11th floor of this high-tech marvel; another juxtaposition. Copyright 2009 by Andrew Littlewood.

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building of 1928. Rogers decided to keep elements of the old Lloyd’s designed by Sir Edwin Cooper by juxtaposing the historic entrance into the high-tech realm. Although it may be arbitrary, the juxtaposition looks rather incompatible and does not facilitate segue into the tower. Conclusion Then commissioned by Seagram Company, a Canadian distiller, the Seagram building now serves as the headquarters for the RFR Technologies. Still a staunch example of the typology replicated in most corporate headquarters till date; setting back from the city grid and integrating the public urban spaces in a project and gleaming with glass wall skins. Lloyd’s building, on the other hand, still functions as an insurance marketplace as the brief during its commission was; to build something that lasts the century and accommodates for further expansion, a requirement fulfilled by its large central atrium and flexible planning of elevators and galleries. Seagram building is an example of Mies’ exceptional sense of proportion and extreme concern for detail that rendered a minimal cuboid into an (then) unconventional office space. While Rogers’ idea of creating a functionalist design that could endure changes for the years to come produced a fantastical building quite literally.

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PERSPECTIVES A sketch reflecting Shruthi Veena Vishwanath’s works and their articulation of the ‘OG Rebels’

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LIST OF FIGURES Blessing, H. (n.d.). Plan of Typical Office Floors and Plaza Level [Technical Drawing]. Pall Mall Press, London. Colin. (2014, September 20). Lloyd’s Building – Atrium Looking at the Walkie-Talkie [Photograph]. Wikimedia Commons. Georgiev, A. (2021). Low Angle View Of Lloyd’s Building In London, UK [Photograph]. iStock Photo. Guerra, E. (2012, April 1). Seagram Building [Photograph]. Flickr. Koradia, D. (2022a). Frontal Flat Facade. CFP Studio. Unpublished Portfolio for CEPT Foundation Programme. CEPT University. Koradia, D. (2022b). Push for Air. CFP Studio. Unpublished Portfolio for CEPT Foundation Programme. CEPT University. Koradia, D. (2022c). Dust the Wood. CFP Studio. Unpublished Portfolio for CEPT Foundation Programme. CEPT University. Koradia, D. (2022d). Workless Nights. CFP Studio. Unpublished Portfolio for CEPT Foundation Programme. CEPT University.

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Koradia, D. (2022e). Wooden Flaps. CFP Studio. Unpublished Portfolio for CEPT Foundation Programme. CEPT University. Koradia, D. (2022f). We Need Even Light. CFP Studio. Unpublished Portfolio for CEPT Foundation Programme. CEPT University. Koradia, D. (2022g). Empty after Dusk. CFP Studio. Unpublished Portfolio for CEPT Foundation Programme. CEPT University. Koradia, D. (2022h). Selected Area to be Studied. CFP Studio. Unpublished Portfolio for CEPT Foundation Programme. CEPT University. Koradia, D. (2022i). Sketches as Preliminary Observations. CFP Studio. Unpublished Portfolio for CEPT Foundation Programme. CEPT University. Koradia, D. (2022j). Narrative. CFP Studio. Unpublished Portfolio for CEPT Foundation Programme. CEPT University. Koradia, D. (2022k). Cognitive Map. CFP Studio. Unpublished Portfolio for CEPT Foundation Programme. CEPT University. Koradia, D. (2022l). Making the Base Map. CFP Studio. Unpublished Portfolio for CEPT Foundation Programme. CEPT University. Koradia, D. (2022m). Illustrated Observations. CFP Studio. Unpublished Portfolio for CEPT Foundation Programme. CEPT University.

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Koradia, D. (2022n). Long-drawn Junction. CFP Studio. Unpublished Portfolio for CEPT Foundation Programme. CEPT University. Littlewood, A. (2009, September 19). The Adam Room [Photograph]. Flickr. Norsworthy, S. (2009, February 28). Seagram Building Facade Detail [Photograph]. Flickr. Richards, S. (2011). Lloyd’s Building Taken 2011 [Photograph]. Wikipedia. Stoller, E. (1958). Seagram Building, New York [Photograph]. The New York Times. Unknown. (n.d.). Typical Gallery Plan [Technical Drawing]. Artemis London Limited. Unknown. (n.d.). The Underwriting Room [Photograph]. Architects’ Journal. Unknown. (n.d.). Seagram’s Plaza [Photograph]. Alpha Space NYC. Unknown. (n.d.). Lloyd’s Historic Building Exterior [Photograph]. PR Newswire.

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BIBLIOGRAPHY Al-Zrigat, Z. M. (2020, June 11). Comparison Between Modern And Postmodern Architecture. Research Gate. https://www.researchgate.net/publication/342084027_ Comparison_Between_Modern_And_Postmodern_Architecture Carter, P. (1974). Mies van der Rohe at Work. Praeger Publishers. Cohen, J. L. (2017). Mies van der Rohe. Routledge. Crook, L. (2019, November 19). The Lloyd’s Building is Richard Roger’s First Office Block. Dezeen. https://www.dezeen.com/2019/11/19/lloyds-building-richard-rogers-high-tech-london/ Eckardt, W. V. (1998, July 20). Ludwig Mies van der Rohe. Britannica. https://www. britannica.com/biography/Ludwig-Mies-van-der-Rohe Henderson, R. (2019, September 26). What is International Style?. Atomic Ranch. https:// www.atomic-ranch.com/architecture-design/international-style/ Kroll, A. (2010, November 21). Architecture Classics: Lloyd’s of London Building / Richard Rogers. ArchDaily. https://www.archdaily.com/90668/ad-classics-lloyds-of-london-buildingrichard-rogers Powell, K. (1994). Richard Rogers. Artemis.

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Perez, A. (2010, May 10). AD Classics: Seagram Building / Mies van der Rohe. ArchDaily. https://www.archdaily.com/59412/ad-classics-seagram-building-mies-van-der-rohe Sawe, B. E. (2019. June 14). What is High-tech Architecture?. World Atlas. https://www.worldatlas.com/articles/what-is-high-tech-architecture.html Upadhyaya, P. (n.d.). Seagram Building by Ludwig Mies van der Rohe: Mies’ First Attempt at Tall Buildings. Re-thinking the Future. https://www.re-thinkingthefuture.com/case-studies/ a3536-seagram-building-by-ludwig-mies-van-der-rohe-mies-first-attempt-at-tall-buildings/ 10 Buildings that Changed America. (n.d.). WTTV Chicago. https://interactive.wttw.com/tenbuildings/seagram-building

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Articles inside

3b Essay

2a Documenting Process

1a Describing Spaces 1b Describing Setting

3a Concept Note

INTRODUCTION