2023
M.Arch Candidate
ARCHITECTURE
P O RT F O L I O
DIKSHYA POKHAREL
2023 Dikshya Pokharel
BACHELOR IN ARCHITECTURE PULCHOWK CAMPUS, INSTITUTE OF ENGINEERING TRIBHUVAN UNIVERSITY 2
Beneath the skin
CONTENTS I.
Beneath the skin A MEMORIAL JOURNEY FOR THE VICTIMS OF CIVIL WAR
II.
School of Enlightenment HIGH- SCHOOL DESIGN
III.
Spatial typography AN EXHIBITION PAVILION
V.
Art stop
BUS STOP FOR THE CITY OF KATHMANDU
VI.
12
1+1 House FAMILY RESIDENCE
IV.
04
Uni-loop
CRICKET STADIUM PARK
18
26
34
38
VII. Fine arts CHARCOAL AND ACRYLIC WORK
46
3
2023
SECTIONS THROUGH SITE
Dikshya Pokharel
A-A
B-B
I
CHAPTER ONE
Beneath the skin A MEMORIAL JOURNEY FOR THE VICTIMS OF JANAYUDDHA (CIVIL WAR)
N
epal suffered a profound tragedy during the decade-long insurgency from 1996 to 2006. While the conflict carried significant socio-political and economic ramifications, its most poignant and enduring consequence has been the immeasurable loss of life and profound suffering inflicted upon countless individuals and communities. Even after the passage of 15 years since the event, the absence of a physical memorial to commemorate this loss has resulted in the burial of the stories of thousands of souls. The concept, therefore, is an approach to unearthing the buried stories of the victims, metaphorically akin to peeling skin from the flesh, consequently serving as a place for dialogues through architecture. This idea is pragmatically employed by emerging visitors underground and using strategic tools throughout the memorial journey, like the deliberate omission of openings at eye level, curated light sources, and exposed concrete material. An important formal exploration in the project draws from the literature of symbolism where “triad” is expressed as a God-given form, reflecting monumentality.
4
PROJECT CATEGORY :
UNDERGRADUATE THESIS PROJECT
YEAR/PART : THESIS DESIGN : SUPERVISOR : LOCATION : ROLE :
V/II AR 851 PROFESSOR BHARAT SHARMA TRIPURESHWOR, KATHMANDU, NEPAL INDIVIDUAL WORK
DECONSTRUCTED SECTION AND PLAN (CHARCOAL ON PAPER)
Beneath the skin
5
2023
6.
Dikshya Pokharel
5.
2.
2.
1.
2. 1.
2. 3. 4. 5. 1.
6.
Vir Khamba1 Zone/Outer memorial Memorial building/Inner memorial Multipurpose hall Existing temple of a Hindu goddess Admin + Research center Parking + Basement
1.
3.
Vir Khamba: Pillars for the brave/heroes (These type of commemorative stone pillars were historically erected from 3rd century B.C. to 18th century A.D. in Western Nepal), An important case study for understanding local memorial patterns. 1
4.
6
Beneath the skin
1.
2.
3.
4.
5. 1. 2. 3. 4. 5.
Dead ends Diving deep Form and symbolism Freedom Collective memory- vir khambas
ROOF PLAN (LEFT) /OUTER VIR KHAMBA MEMORIAL ZONE AND INNER HALL OF REMEMBRANCE MEMORIAL (ABOVE RIGHT) / PARTI DIAGRAMS (ABOVE LEFT)
Situated in proximity to the busiest part of the valley, this urban memorial aims to interact with the city, fostering urban identity and strengthening social memory. The core memorial zone is embedded within the naturally sloping terrain to the south, far away from the busy north, facilitating silent contemplation. In contrast, the outer memorial serves as a highly interactive space, inviting daily interaction and enabling visitors to actively shape the memorial over time. The journey begins as we descend through curated contours and ramps to a tall pyramidal structure known as a prologue. With its sky-reaching apex, this towering edifice engulfs us in a dark space illuminated only by a huge voluminous light above, and stories begin to unfold.
7
2023
SECOND FLOOR (LVL +1.5m) 15. Administration section
Dikshya Pokharel
15.
12.
11. 10.
10.
13. 14.
8. 8. 8.
3. 2.
1. 5.
9. 4.
8
1.
7.
6.
FIRST FLOOR (LVL -1.5m) 10. Permanent exhibitions 11. Storage 12. Control room 13. Library + e-library 14. Kitchen
ZERO FLOOR 1. Temporary exhibitions 2. Cafe + gift shops 3. Prologue/ Entrance 4. Epilogue 1/ Stories of kidnapped and tortured 5. Epilogue 2/ Stories of woman and children 6. Epilogue 3/ Stories of the lost 7. Epilogue 4/ Stories of displaced 8. Dead ends 9. Hall of remembrance
Beneath the skin
EXPLODED ISOMETRIC DIAGRAM (LEFT) / 1:300 SCALE PAPER MODEL (RIGHT)
A zig-zag pathway provokes a sense of curiosity and intrigue, encouraging visitors to explore deeper into the memorial. This path takes you to different spaces that are dedicated to different victim groups, some of which lead to dead ends and ultimately to a hall of remembrance. Four distinct victim groups have been discerned: those subjected to torment and abduction, women and children, individuals who have gone missing, and the population displaced from their homes. Spaces emblematic of these groups are methodically and thoughtfully incorporated as epilogues. Tunnel lit by slits above our head leads towards discovery and contemplation of these different journeys. A trajectory 3. that leads away from this immersive darkness traverses the central hall of remembrance, dedicated to those who have lost their lives, and eventually guides one outside to the tranquil reflection pond. 9
2023
18.
Dikshya Pokharel
13.
14. LVL -2M LVL -2M
2.
LVL -3M
LEGEND 1.
LVL -7M
3. 12.
9.
LVL -1M
7.
LVL -6M
5.
4.
10.
LVL -5M
LVL -3M
2. 3. LVL ±0M
7.
5. LVL -2M
6.
LVL -4M
LVL -7M
11.
8. 7.
LVL -3M
LVL +1M
1.
10.
10.
LVL -1M
LVL -1.5M
7. 6. 1.
1.
LVL ±0M
LVL -2M
LVL -1M
17.
15.
16.
10
LVL ±0M LVL +1.05M
7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18.
11.
LVL -3M
4.
17.
Vir khamba zone (outer memorial) Prologue/ entrance Epilogue 1/ stories of kidnapped and tortured Epilogue 2/ stories of woman and children Epilogue 3/ stories of the lost Epilogue 4/ stories of displaced Dead ends Hall of remembrance Reflection pond Permanent exhibition Storage + control rooms Exit Library Kitchen Multipurpose hall Existing temple Open air theater Parking
Beneath the skin
FLOOR PLAN CUT AT LVL +0.5M (LEFT) / RENDERED VIEW FROM REFLECTION POND OVERLOOKING THREE EPILOGUES (TOP RIGHT) / ZIG-ZAG PATH BRANCHING RIGHT TO THE HALL OF REMEMBRANCE AND LEFT TO EPILOGUE 4 (MIDDLE RIGHT) / VIEW FROM ENTRANCE OVERLOOKING VIR KHAMBAS, PROLOGUE AND THE MEMORIAL HALL (BOTTOM RIGHT)
11
2023 Dikshya Pokharel
II
CHAPTER TWO
Enlightenment School SECONDARY SCHOOL DESIGN
E
nlightenment means ‘to illuminate’ or ‘to give light to.’ It engenders the pursuit of knowledge through proper guidance, facilitates self-discovery, and illuminates our souls. Inspired by the relationship of our traditional Gurukul system and its intricacies with the concept of enlightenment, the project aims to translate its core principles into physical forms. In this studio, the task was to create a secondary-level school encompassing students aged nine to sixteen (grades three to ten). This presented a significant challenge in creating intermediary spaces to meet the diverse needs of different age groups while promoting interaction. Taking enlightenment as an analogy, planning began from a focal point similar to light expanding from a core with buildings radiating outwards, delineating distinct zones: a central educational core and a recreational periphery. This approach provided a twofold advantage, ensuring sufficient illumination in all areas and creating connecting grounds for junior and senior students, thus fostering mutual learning prospects.
PROJECT CATEGORY : AWARDS : YEAR/PART : DESIGN STUDIO IV : INSTRUCTOR : LOCATION : ROLE :
12
ACADEMIC STUDIO WORK 1ST PLACE - INSPIRELI LUMION ARCHITECTURE PRIZE, DESIGN STUDIO TOPPER II/II AR 551 ASST. PROF. INU SALIKE, ASST. PROF. BATUK PARAJULI BHAISEPATI, LALITPUR, NEPAL INDIVIDUAL WORK
Enlightenment School
SECTION PERSPECTIVE AND PLAN COLLAGE
13
2023 Dikshya Pokharel
11. 10.
9.
G. 6.
7.
E.
F.
C.
8.
4. B.
5. 3. 1.
D. 2.
A.
FIGURE
1. 2. 3. 4. 5. 6.
14
Auditorium Block Administration Block Temple Junior Classrooms Senior Classrooms Cafeteria + Swimming Services
GROUND
7. Multipurpose Hall 8. Stage + Seats 9. Staff Offices 10. Library 11. Lab Rooms
A. B. C. D. E. F. G.
Parking Senior Courtyard Junior Courtyard Senior Playground Junior Playground Assembly Area Swimming Facilities
Enlightenment School
EXPLODED ISOMETRIC CUT (LEFT) / VIEW FROM MAIN ENTRANCE IN WEST (TOP LEFT) / BIRDS EYE VIEW OF JUNIOR COURTYARD POCKET (TOP RIGHT) / PARTI DIAGRAMS (BOTTOM)
AXIS AND FOCAL POINTS
FEELING
DIRECTION
Analogous to light radiating from a source, teaching cores are created to enlighten students, which expand endlessly to the outside world. The focal point courtyards are interactive spaces for “knowledge-sharing.”
The meaning of a shadow is defined by the light. Light rays emerge from the core and form shadows in the hallway which fosters an ambiance of intrigue and contemplation for the students.
Knowledge gives a path and a direction to follow. Courtyard pockets are visually linked and give directions to follow. They interlink with each other to foster navigation and interconnectivity.
15
2023 FINAL PAPER MODEL 1:300 (BELOW) / GROUND FLOOR LEVEL CUT (TOP RIGHT) / SECTIONS THROUGH SITE (BOTTOM RIGHT)
Dikshya Pokharel
LEGEND
1. 2. 3. 4a.
Auditorium block Covered parking Temple Junior classrooms (grade 3 to 6, two sections, 24 seats) 4b. W/C 4c. Audio visual classroom 5a. Reception 5b. Financial department 5c. First-aid room 5d. W/C 5e. Meeting room 6a. Senior classrooms (grade 7 to 10, two sections, 24 seats) 6b. W/C (male) 6c. W/C (female) 6d. Lab rooms 7. Multipurpose hall 7b. W/C 8. Changing areas 9a. Cafeteria 9b. Kitchen 10a. Stage 10b. Mechanical room A. B. C. D. E. F. G. H.
16
Parking Senior Courtyard Junior Courtyard Senior Playground Junior Playground Assembly Area Swimming Facilities Basketball court
7b.
LVL +3 M
G.
Enlightenment School
D.
LVL +2.1 M
5e.
5d. A. 5c.
10b.
5b.
10a. 6a.
6c.
6a.
5a.
6a. 6a.
H.
6a. F.
3.
B.
LVL 0M
6a. LVL +2.55 M
LVL +2.1 M
6a.
6b.
6a.
7.
4a. 8.
8.
4c.
4b. 9a.
4a.
C.
4a.
4a.
B
2.
4a.
4a.
4a.
4a.
4b.
4a.
4a.
4a.
4b. 4b.
1.
A
LVL +1.65 M
E. 9b.
9a.
4b.
4a.
4a.
4a.
1.
A-A
7.
6b. 6b.
6d. 6a.
6d. 6a.
4a.
B-B
17
2023 Dikshya Pokharel
III
CHAPTER THREE
1+1 House FAMILY RESIDENCE
N
estled upon a gently sloping 632 m² plot that extends westward, ‘1+1 House’ is an exploration of symbiotic relationship of the built and unbuilt, whereby a solution is explored to harmonize them in an equitable manner. In this densely developed section of the city, where real estate values double every 3.5 years, an average individual takes nearly 40 years to acquire such land. Therefore, the approach of distributing mass to ‘live’ and void to ‘breathe,’ as embodied by the ‘1+1 House,’ appears highly logical. A sample family, typically found in the Lalitpur area, is explored, consisting of a working couple, their two children, and their grandparents. Logical reasoning is explored for the formal qualities of the design problem, and various parameters are inquired in a rhythmic grid. The resulting mass is a culmination of these experimentations where mass and void frame each other to create a space that ensures seamless transitions between introverted and extroverted spaces. PROJECT CATEGORY : YEAR/PART : DESIGN STUDIO III : INSTRUCTOR : LOCATION : ROLE :
18
ACADEMIC STUDIO WORK II/I AR 501 ASST. PROF. INU SALIKE, ASST. PROF. BATUK PARAJULI BHAISEPATI, LALITPUR, NEPAL INDIVIDUAL WORK
RENDERED VIEW FROM UPPER GARDEN
1+1 House
19
2023 Dikshya Pokharel
1.
2.
1. 2. 3. 4.
20
Analytic diagrams Conceptual exploration in grids from analytic diagrams Oblique view Planning logic diagram
1+1 House 3.
1. Empty plot
2. Isolated
3. Balanced
4. Harmonized
4.
21
1.
4.
22
Dikshya Pokharel
2023
1+1 House 1. 2. 3. 4.
View from the road (west side) Ground level plan First level plan Second level plan
2.
ENCLOSED OPEN
3.
23
2023 Dikshya Pokharel 1. 2. 3. 4. 5. 6. 7.
Front garden + car parking Living room Courtyard Outdoor pantry + dining Swimming pool Garden Deck
7.
4. 1.
24
2.
3.
1+1 House
6. 5.
PERSPECTIVE SECTION CUT AT COURTYARD (ABOVE) / RENDERED MODELS (LEFT)
Layers of spatial orientations give users a stimulating experience as they transition through spaces and voids, blurring the distinction between inside and outside. Enfilade, as a strategy, is employed to sequence experiences between enclosed and open spaces, creating undulating spaces across the land.
25
2023 Dikshya Pokharel
IV
CHAPTER FOUR
Spatial Typography AN EXHIBITION PAVILION
L
etters are inherently abstract shapes assigned meaning by us, weaving a visual language of words, sentences, and so forth. They make no sense outside of literacy. In this studio, we were tasked with the design exercise of defamiliarizing ourselves with these letterforms, allowing for an abstract perception of points, lines, planes, and, subsequently, volume evolving into a habitable space. Architecture Form, space, and Order by Francis D.K. Ching was used as a critical literature review on the exploration of primary elements of form, ordering principles, and spatial organization. Physical study models with a limitation of 1’ X 1’ X 1’ were generated in the first task with the intention of exploring form, spaces, and principles that guide their order, beginning from an exploration of abstracted letterforms. In the schematic exploration, abstracted letters were traced, and primary elements of form were sequentially introduced, commencing with points, followed by one-dimensional lines, then twodimensional planes, and culminating in three-dimensional volumes. PROJECT CATEGORY : YEAR/PART : BASIC DESIGN STUDIO : INSTRUCTOR : LOCATION : ROLE :
26
ACADEMIC STUDIO WORK I/II AR 452 LECTURER LUNA BAJRACHARYA, INSTRUCTOR SUMAN MAHARJAN PULCHOWK, KATHMANDU, NEPAL INDIVIDUAL WORK
FORM EXPLORATION DIAGRAMS
Spatial Typography
27
Dikshya Pokharel
1.
A.
B.
C.
D.
28 2. 3. 4.
2023
Spatial Typography
5. 1. 2. 3. 4. 5.
Plan view Bottom left Left Top left Right
A. B. C. D.
Points + Lines Points + Lines+ Planes Points + Lines + Planes + Volumes Ordering Principle - Datum
FINAL ITERATED STUDY MODELS OF EACH STEP (LEFT) / FINAL ORDERING PRINCIPLE MODEL (ABOVE)
The final study model combines the ideas and qualities explored in previous iterations with the addition of ‘ datum’ as a guiding design principle The idea of a distinct planar volume framing dissimilar elements in a composition is explored in the final model following ‘datum’ as an ordering principle and carried over formally into the second task. 29
2023 Dikshya Pokharel
PROCESS PARTI DIAGRAMS (ABOVE) /MASTERPLAN SHOWING DEPARTMENT OF ARCHITECTURE AND ADMINISTRATION BLOCK (TOP RIGHT) / SITE SECTION AT X-X (BOTTOM RIGHT)
The second part of the task consisted of designing a pavilion on an on-campus lot between the department of architecture and administration block. Using the idea of planar datum from study models, series of elements were arranged strategically to create a pavilion space catering exhibition of architectural student works as well space for recreation on a daily basis. Considering the existing playground on the south of the site and visual access from the entrance roadway to the department of architecture block played a vital role in positioning the pavilion and quality of space. 30
Spatial Typography X
X
X-X
31
32
Dikshya Pokharel
2023
Spatial Typography
RENDERED VIEW OF THE PAVILION WITH DEPARTMENT OF ARCHITECTURE BLOCK IN THE BACKDROP (ABOVE) / NORTH ELEVATION (BOTTOM LEFT)/ SOUTH ELEVATION (BOTTOM MIDDLE)
The main planar volume consists of an assembly of vertical and horizontal lumber forming a lattice wall that visually exposes the existing architecture department block, thus minimally impacting the visual coherence between the block and entrance roadway. Translucent fabric is stretched out between the vertical and horizontal elements creating an exhibiting space which is then paired with benches spanning horizontally between vertical lumbers. The southern plane responds to the existing ground by creating punctures of sitting spaces directed towards the view of activity on the ground. 33
2023 Dikshya Pokharel
PARTI DIAGRAMS
V
CHAPTER FIVE
Art Stop BUS STOP FOR THE CITY OF KATHMANDU
A
lthough bus shelters remain an essential part of our urban street, they are predominantly functional and often elude even a cursory observation. They shape our city’s visual character; conversely, the city shapes them. Kathmandu’s urban character has evolved from previously ugly streets filled with movie adverts and political slogans to eclectic streets replaced by colorful street art. The Art Stop embraces this urban scape of Kathmandu’s graffiti walls and camouflages itself within it. With time, each stop becomes its own identifying landmark, unique to its location, becoming a part of the everyday narrative. Formal qualities follow the evolution of a rectangular box to create monumental urban furniture. A ‘L’ face is taken from the box, and end points are edited to create a structure that opens up towards the street. PROJECT CATEGORY : YEAR : LOCATION : ROLE :
34
ARCASIA COMMITTEE ON ARCHITECTURAL EDUCATION STUDENT DESIGN COMPETITION 2020 KATHMANDU, NEPAL INDIVIDUAL WORK
Art Stop
35
2023 Dikshya Pokharel
The main ‘unfolding’ structure is proposed to be poured concrete supported by four metal columns and a beam configuration. A small form responds to it that holds signage and a drinking fountain strategically tucked on the back.
36
Art Stop
1.
2.
5.
3.
4.
1. 2. 3. 4. 5.
SECTION X-X PLAN FRONT ELEVATION ROOF PLAN SIDE ELEVATION
37
2023 Dikshya Pokharel
VI
CHAPTER SIX
Uni-loop CRICKET STADIUM PARK
D
espite the growing student interest in cricket, the Pulchowk Engineering Campus currently faces a notable limitation in sporting facilities. A dedicated stadium appears imminent as interest in cricket grows on campus and across the country. With this outline, the project aims to metamorphose the existing cricket ground into a stadium park to meet the needs at hand. However, most stadiums are used only during major events, so this project tackles this challenge by incorporating daily student life into its functions. Uni-loop challenges the traditional concept of stadium seating and presents alternative possibilities like natural mound embankments and roofstanding decks reminiscent of spirited and passionate college students. A ‘loop’ of an elevated roof is the key feature, which acts as an informal standing deck during matches on top of the traditional terraces and serves as a year-round roof garden for students during off-hours. The terraces have also been strategically positioned to accommodate different facilities required for players and service areas underneath them.
PROJECT CATEGORY : AWARDS : YEAR : LOCATION : ROLE :
38
KALEIDOSCOPE COLLEGE LEVEL COMPETITION TOP 10 2019 PULCHOWK CAMPUS, KATHMANDU, NEPAL INDIVIDUAL WORK
RENDERED AERIAL VIEW
Uni-loop
39
2023 Dikshya Pokharel
LVL ROOF DECK
LVL SECOND
LVL FIRST
LVL BASEMENT
40
Uni-loop
1. PLACEMENT Cricket pitch is placed running N-S direction to minimize the risk of players facing a low sun.
2. ARRANGEMENT For the optimal viewing angle, the seating is concentrated on the west side of the pitch.
3. ACCESS The main public access is added in the east, linking the road. Additionally, VIP and player entrances are segregated.
4. LOOP A looped roof connects the entire structure, creating an additional viewing deck and a yearround park with a sports track.
41
2023
20. 21.
19.
22. 23.
18.
24.
Dikshya Pokharel
17.
10. X
16.
8.
15.
7. 8.
14.
13. 12.
11. 9. 8.
7.
3. 6.
4
X
1.
42
Uni-loop GROUND FLOOR PLAN WITH SITE/ BASEMENT PLAN (TOP LEFT) 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24.
6.
3.
Parking Reception+Lobby Hall of honor + souvenir shop W/C (female) W/C (male) Mound seating Lobby Concourse Cricket field Practice nets Media room VIP Lounge Kitchen Store room HVAC room Surveillance room Match officials’ lounge Gymnasium Player dressing room area (Team A) Doping control room First-aid room Player dressing room area (Team B) Recovery and wellness area Players’ lounge
1.
5.
2.
3.
4.
43
44
Dikshya Pokharel
2023
Uni-loop
SECTION AT X-X (RIGHT TOP) / PERSPECTIVE SECTION AT X-X (LEFT BOTTOM) / RENDERED VIEWS FROM SEATING AREAS AND ROOF DECK (BOTTOM)
A central, user-friendly circulation allows fans to easily navigate their seats, connecting all public areas, including lower and upper tiers, souvenir shops, reception areas, and mound seating. ‘Uni-loop’ aims to unite the student community with this new addition, encouraging them to actively participate through roof gardens, playing areas, and an entrance plaza.
X-X
X-X
45
2023 CHAPTER SEVEN
Dikshya Pokharel
Fine arts
CHARCOAL ON PAPER
VII 46
Fine arts
ACRYLIC ON CANVAS
47
2023
D I KS H YA P O K H A R E L M.Arch Candidate