Page 1

architecture portfolio

selected works 2012-2017

stories and soliloquies

kabir sahni


KABIR SAHNI 04 · 07 · 1994 | New Delhi, India kabirsahni94@gmail.com +91 88609 994594 architecture | design | graphics | writing

I am a bundle of persistent mood swings. Everything is either a drama of subtleties or a subtle drama. I spend most of my time multitasking between duty, dreamscapes and distortions and often wander into distant thoughts. I am a hoarder of music and an enthusiastic consumer of pizza. I never understand the real and likeable but I have an intimate affinity to candid expression and stories. I prefer binging and frolicking on arguments, tales and idiosyncrasies. Often, I start hallucinating my own rendition of guitar solos and baselines. I like creating stories, tales and soliloquies through words, doodles, spaces, hues, dramas, details, material, rants and movements. I am a captive of my “persistent mood swings” and instead of relaxing them, I prefer building sandcastles using spells of birth and destruction. I enjoy splashing colours, playing air guitar at my impromptu public concerts and being a victim of idiopathic idiosyncrasies.


EDUCATION 2017 Bachelor of Architecture

School of Planning and Architecture, New Delhi

2012 High School

Sardar Patel Vidyalaya, New Delhi

WORK EXPERIENCE Present Freelance Project

House in Kausani, Uttarakhand Ongoing (design stage)

2016 Internship

Atto Atelier, Bengaluru, Karnataka January - April 2016

2015 Student Exchange Programme

Fachhochschule Erfurt, Germany

PUBLICATIONS | SEMINARS | DOCUMENTATIONS 2017 Editor : Archichakkar

Seminar Series 2016 School of Planning and Architecture, New Delhi Published

STUDIO PROJECTS 2017 Exit Music | Momento Mori, Thesis 2016 Urban Treble | Transit Oriented Development 2015 Riptide | Aquatic Center 2015 Atmosphere | Undergraduate Block for S.P.A. 2014 Bohemian Rhapsody | Incubation Center 2014 Knolli Center | Village Welfare Center 2013 Kernel | Residence 2013 Reverb | Resort 2012 Resurrect | Getaway Cabin 2012 Chimes | Pavilion

COMPETITIONS 2017 Council of Architecture National Awards for

Excellence in Architectural Thesis Exit Music : Delhi’s Urban momento Mori College Selection and Participation (Zone 2)

2017 Architecture Thesis : Exit Music

Delhi’s Urban Momento Mori School of Planning and Architecture, New Delhi Published Thesis

2016 Seminar : Modern Times

Archichakkar : Seminar Series 2016 School of Planning and Architecture, New Delhi

2016 DUSIB : Toilet Design

Container Toilets Participation (team of 2)

2015 INTACH Heritage Awards for Excellence in

Documentation Mukteswar Temple Winner : North Zone (team of 6)

2015 Dissertation : Music and Architecture

Mapping the Transposition Process School of Planning and Architecture, New Delhi

2015 120 Hours

Alt Ark Participation

2015 Editor : The Tirtha At Mukteswar

School of Planning and Architecture, New Delhi Published Book

2014 HYP CUP

Clean Indian City Participation

2014 Documentation : Mandi Town, Himachal

Pradesh Settlement study and documentation drawings School of Planning and Architecture, New Delhi

2014 Documentation : Sinli Village, Barmer,

Rajasthan Settlement study and documentation drawings School of Planning and Architecture, New Delhi

2013 Documentation : Mukteswar Temple,

Bhubaneshwar, Odisha Temple study and documentation drawings School of Planning and Architecture, New Delhi

CO-CURRICULAR 2016 Elective : Industrial Design 2015 Elective : Photography 2013 Made in SPA exhibition 2012 Made in SPA exhibition

SKILL SET Languages English | Hindi Online AutoCAD

Sketchup Rhinoceros Adobe Photoshop Adobe Indesign Kerkythea Adobe Illustrator Microsoft Office

Offline Design and Conceptualisation

Writing + Verbal Presentation Graphic Design + Presentation Organisation and Planning Leadership + Site Management Diagramming Origami Lego modelling Air Guitar + Head banging


stories and soliloquies

LINKS TO COMPLETE DOCUMENTS

IMAGE CREDITS

Exit Music Delhi’s Urban Momento Mori Architectural Thesis https://issuu.com/kabir.sahni/docs/exit_music_-_kabir_sahni

Portrait Niharika Shekhawat

Modern Times Archichakkar : Projects and Processes Seminar on Architecture https://issuu.com/kabir.sahni/docs/modern_times__final_report_ Music and Architecture Mapping the Transposition Process Dissertation https://issuu.com/kabir.sahni/docs/music___architecture__web_

Images of Hatch Public House, Bengaluru Vaibhav Hegde Images of 20 under 35 exhibition, New Delhi George Attokaran, Atto Atelier Map of Pyramiden 120 Hours project brief


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BOHEMIAN RHAPSODY

RIPTIDE

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RESURRECT

THE CLEAN INDIAN CITY

ATTO ATELIER

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KNOLLI CENTER

CHIMES

CONTAINER TOILETS

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KERNEL

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ATMOSPHERE

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EXIT MUSIC

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STUDIO PROJECTS

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COMPETITIONS

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ALT ARK

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MODERN TIMES

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MUSIC AND ARCHITECTURE

MIXED BAG

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01

MOMENTO MORI

EXIT MUSIC

The cycle of life is the most profound example of inevitability. The loss of loved ones is a cause of distress. Once they are released through any funerary means, they are lost in the echoes of their memories. Just like their memories, cemeteries and crematoriums in the city have become black spots, secluded from the mainstream urban fabric. Mourning has been frowned upon even though it is an inevitable one. Religion was born as a faith system to unite people. It is a subset of the spiritual being. It was an opinion of many that brought them together in work, faith and energy. Despite all advancements, the world is turning more religious than spiritual, defeating the purpose of faith. Intolerance is on the rise. Death is an inevitable and unstoppable phenomenon. Human beings are designed to be finite forms but what they have managed to adapted by prolonging their existence as memories. Architecture since historic times has developed expressions and created morphologies to house funerary practices, to commemorate the transition of the finite and to reflect the memories. Burial grounds, crematoriums and memorials have become a part of the urban landscape and are important spaces for human progression. This thesis respects the need for funerary practices and the desire to prolong the existence of loved ones through memories. They are important to everyone to experience the closure of their finiteness and ignite, what can be called as a “memoria mode”. This study cites the obsolescence of these spaces and practices in the contemporary world. Sure, we can either bury or cremate but are we doing it the right way? The world is facing an alarming level of environmental degradation and so can human decomposition be harnessed to

SEMESTER 10

VIKRAM NAGAR, I.T.O., NEW DELHI

bandage the damage caused by its life? Why are martyrs the only ones to receive their monuments? Even the quotidian citizen has been heroic to somebody! Can public architecture commemorate the ordinary deceased? These are some of the many questions that arose when understanding contemporary funerary practices and architecture. From these questions, a mission statement germinates. It calls upon people as spiritual beings and not religious sentiments to come together and establish a system of using the inevitability of human death as a means to restore personal memories, bandage urban disconnects and maybe even save the environment form its current inevitable death, to protect the memories and prolong human existence. This thesis research finds macro and micro cracks in funerary practices and architecture of the contemporary world and aims to update funerary spaces to suit current human needs and restore religious conflict by navigating people back to spiritual sources. The thesis looks at the following areas: 1· Combating urban discord among funerary spaces 2· Integration of funerary practices due to diverse religious beliefs and side-lining the spirituality of last rites 3· Combating the ecological impact of current funerary practices 4· Overcoming the lack of personal memorials for the common folk It is time to go back to our rudiments. Intolerance is intolerable. Mourning will be given time and space to release and allow the mourner to exfoliate the heavy heart. No faith will be left behind and no deceased abandoned.


URBAN STRUCTURE i ii iii iv v vi vii viii ix x

Primary pedestrian axes cutting through the site Overhead bridge across Ring Road Widening of all peripheral roads Roads for two-way traffic Pedestrian access for Vikram Nagar Extra parking for offices on the west New pedestrian link to metro station Maintaining access of the old cemetery Pedestrian link to Rose Garden Site parking

SITE PLAN 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21

light well recomposition block cremation block internalisation block garden of past tense garden of present tense garden of future tense existing cemetery nursery transformer, STP, etc. walk of inevitability vehicular parking old cemetery drop off rose garden ramp : to basement ramp : from basement S.P.A. architecture block Vikram Nagar overhead bridge commercial offices Ring Road

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A. RECOMPOSITION

B. CREMATION

C. INTERNALISATION

7

services

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services

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services

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sitting

6

columbarium

6

library + cafĂŠv

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recomposition

5

resomation

5

library

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recomposition

4

crematorium

4

library + activity spaces

3

ritual spaces

3

ritual spaces

3

library

2

faith spaces

2

faith spaces

2

library + counselling

1

cleansing spaces

1

cleansing spaces

1

meditation spaces

0

lobby + registration

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lobby + registration

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lobby + administration

-1

drop + mortuary

-1

drop + mortuary

-1

storage


TETRAHEDRON

HEXAHEDRON

OCTAHEDRON

ICOSAHEDRON

FIRE

EARTH

AIR

WATER

MANIFESTATION

GROUNDING

INTEGRATION

TRANSFORMATION

MOMENTO MORI FOR THE QUOTIDIAN CITIZEN

ECOLOGICALLY SUSTAINABLE FUNERARY PRACTICES

SECULARISATION OF FUNERARY PRACTICES

INTEGRATION OF FUNERARY SPACES WITH URBAN FABRIC

LIGHT WELL

BUILT VOLUMES

BLOCK PLACEMENT

WATER THRESHOLD


WAFFLE SLAB

DIVERGENT WALLS

BRICK CLAD + BRICK PIERS

CONCRETE COLUMNS

VERTICAL CIRCULATION CONCRETE SLAB

CONCRETE SLAB

WAFFLE SLAB

CONCRETE COLUMN

BRICK JAALI

BRICK INFILL

GLASS RAILING

BRICK CLAD + PIER


The square plan is perfectly aligned to the cardinal directions and has five view ports four of which are funicular 10x10 metre openings to all four directions and one a 10x10 metre light well linking the ground to the sky. Planarly, the centre grid is the cutout, the surrounding 8 are horizontal circulation on each floor with sitting and the outer concentric ring of 16 grids forms the usable spaces. The primary vertical circulation is the gradual progression of the central ramp that is the confluence of all view ports. Ancillary vertical circulation is composed of staircases and lifts.


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lobby + registration

cleansing spaces

ground +500

first +5900

faith spaces

ritual spaces

second +11300

third +16700

recomposition burial

congregation

fourth +23100

fifth +28500

congregation

drop off + mortuary

sixth +33900

basement -4900


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lobby + registration

cleansing spaces

ground +500

first +5900

faith spaces

ritual spaces

second +11300

third +16700

cremation chambers

resomation chambers

fourth +23100

fifth +28500

columbarium

drop off + mortuary

sixth +33900

basement -4900


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lobby + cafĂŠ

meditation spaces

ground +500

first +5900

library

library

second +11300

third +16700

library

library + digital center

fourth +23100

fifth +28500

administartion

services

sixth +33900

seventh +39300


02

SEMESTER 09

URBAN TREBLE

TRANSIT ORIENTED DEVELOPMENT

Frisky is the new black. People have their teeth sunk deep in multiple interests and activities. They enjoy speed, high performance and freshly brewed idiosyncrasies. Static, is stale and old is not true gold and bigotry is a crime. More, is, in fact more. Professions, hobbies, genres, typologies and quirks have broadened their horizon and acquired this multiinstrumentalist programming. Cities and spaces are now adapting to this “multiinterest� vibe through multi-use spaces. They have started to look at models of volumes that are no more purist in function but manage to house multiple programmes. So, to serve this mash of programmes, a mash up of access options and routes is required. The city of Delhi runs on a complex bus system, an ever developing and expanding metro system, roads flooded with private vehicles, auto rickshaws, cycle rickshaws and now cabs in the new UberOla era. With this, new development has begun plugging along the lines of these transit systems, especially points of multimodal transit. The deisgn site is at a similar multi-modal intersection. The Sector 10 station snaps along the north edge with the overhead line cutting across. There is the main highway to the south-west and other roads along all edges. An old bus terminal lies to the western flank and queues of auto and cycle rickshaw sservice the station as feeders. The hence any development on this site becomes a prime brew of transit oriented development. The primary focus of the design is to cater to this heightened desire of multi-tasking and multi-use. It aims to overcome the era of pure functions and start creating hybrid spaces, with its prime focus of bringing back predestination and promotion of public transit. Step one is to start tossing all functions in a salad bowl. The process is

SECTOR 10 DWARKA, NEW DELHI

not as capricious or arbitrary as it sounds. Each built volume is a combination of workable ingredients. The western flank has is residential oriented but sits on a podium split between retail spaces to directly service the housing community and health centre to service the area. The access is kept off the highway to minimise noise and heavy traffic. The south block is retail oriented with shops on the lower level interspaced with food and beverage points and entertainment spaces on upper levels finished with corporate offices right on top. The east block is a commercial block with a blend of offices, interstitial F&B and retail points and a hotel to service these offices and their overseas clients. The triangular site to the north of the metro station is surrounded by housing societies including the one on this site and forms a blend of institutional and recreational spaces. It has a sports club, a school, departmental stores and a retail strip to form a community center catering to existing and upcoming residents. Along with the mash up of meats and functions, the salad aims at maximising greens. The blocks are sliced with green vistas that run from critical nodes linking all surrounding, internal and transit functions. The residential and mall volumes have a sunken central courts surrounded by retail podia. The office and convention spaces have multiple courtyards and all their volumes also translate these greens to higher levels with green balconies in all volumes. A bridge loops at the platform level of the station and links the residential and commercial spaces at the retail corridors, the head of the auditorium and the mall at public play floor. The solution is aimed to form anthills or menger sponges of multiple functions, pedestrian connectivity, uniting all transit systems and finally, allow the users to come out for a little sun bathing.


1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

sector 10 metro station upcoming offices hotel + shopping mall district court residential complex existing parking lot bus terminal residential block retail and entertainment commercial offices hotel lobby convention center primary school sports complex retail promenade central court promenade under metro public park main road new road link m 0

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residential retail offices recreation institutional hotel hospital public greens


S I T E P LA N N I N G S T R AT E G Y

PROMENADE UNDER METRO LINE

primary axes

paved path #1

semi-paved path

paved path #2

public spaces

sand boxes

water strips

turf blotches

functional allocation

trees

street lighting


BLOCK#1:SCHOOL+SPORTSCENTER

second first

first

second

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sports center drop-off sports center lobby indoor restaurant sunken service areas swimming pool sunken retail promenade school drop-off school play area (in) school administration school play area (out) promenade under metro classroom level seminar room workshop level play area level counsellor room supply + service room badminton court squash courts table tennis gymnasium supply rooms + spa billiards room


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access road hospital lobby emergency wing ambulance drop hospital lounge residential lobbies departmental store retail and f&b sunken courtyard to sports complex to central court / spine to public park building core service room common balcony dwelling unit type A dwelling unit type B

ground level

housing level


B L O C K # 2 : R E S I D E N T I A L

DWELLING UNIT : A

DWELLING UNIT : B

entry level

upper level


GROUND 1 2 3 4 5 6 7 8 9 10 11 12 13

+600

vehicular access lane to basement drop-off cycle ramp kiosks service core escalators courtyard water bodies steps + stands to primary axis to primary axis to central courtyard

BRIDGE LEVEL

+12000

CINEMA LEVEL

+20000

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service core escalators cutout over courtyard sitting + play dunes cycle ramp football cage basketball cage running track kiosks + cycle stands gymnasium food court to residential wing to convention center to hotel + offices rock climbing wall

service core escalators retail corridors food court ticket counter cinema lounge cinema halls projector rooms cinema administration fire exit corridor cinema eatery stand cutout over courtyard


B LO C K # 3 : R E TA I L + E N T E R A I N M E N T


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hotel drop off office drop off convention drop off metro station kerb primary spine central courtyard convention centre lobby auditorium pre-function auditorium creche retail along spine public courtyard metro to spine link bank #1 bank #2 indoor restaurant outdoor kiosks & seats office lobby hotel lobby hotel indoor restaurant hotel bar banquet hall entrance banquet hall workshop lobby painting workshop crafts workshop sculpture workshop administration


B LO C K # 4 : O F F I C E + CO N V E N T I O N + H OT E L


03

AQUATIC CENTER

RIPTIDE

Stadia are crown jewels of a city. They are a harvest of the a city’s pride, glory and aspirations, designed to house the blood, sweat and tears of those who battle and those who watch their idols battle. They capture history and records and at the same time render new hope for a fight again tomorrow. This coalescence of pride, glory and aspiration was the primary docus of the design brief for the aquatic center, in the heart of the capital of India, Amongst all its exuberating glory, stadiums become rather massive and redundant structures in the city. For a city like New Delhi with complex demographics and a dense population, utility and economy is always the supreme leader and extravagance takes the bench. Optimum space utilisation, multi-use, cost efficiency, material durability and public use efficacy are given more weightage especially when it comes to public infrastructure. Here the ethos of stadiums injects a sense of pathos among public architecture due to its aspirational shenanigans. In addition, water sports or even just swimming has a popularity below 1% even as a leisure sport in Delhi (Global HABIT, Hakuhodo Inc., 2012). So the prime focus was to develop manifesto that harped on the merger of public utility and sport popularisation: a democratic arena of sport and expression instead of architecture pronouncing grandeur.

SEMESTER 07

INA COLONY, NEW DELHI

The latter was expressed in the form of Olympic level facilities - diving pool, racing pool, practice pool and even play pools, to introduce the sport at all ages and comfort levels. The arena and its glory remained the heart of the complex but to manifest optimum public utility, it was circumscribed and adorned with a spool of cultural, commercial and recreational spaces, a turban of public utility and festivity. Stadia are a forces to be reckon with but this arena was an opposing wave of grass-root humbleness and hence the title, Riptide. This new concoction of sport and public life was the driving manifesto of spatial and functional organisation. To tap this adrenaline, Lateralus, by progressive metal band, Tool, became the defining muse for structural and visual expression. The line “spiral out, keep going” devised the spool of cultural, commercial and recreational spaces around the arena and finally faded into the existing Thyagaraj Park, an expression of free thinking public utility. The Fibonacci roots of the track formed the primary structural symbols and the radial trusses, and the psychedelic instrumentation formed the inlay work of primary colors like a gigantic stained glass mural, reverberating the cosmopolitan and picturesque persona. The entire volume emulated the physical manifestation of a radial spectrograph of the city’s adrenaline.


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linear spectrogram

storyboarding

radial spectrogram

aquatic arena - public spool relationships


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Olympic arena play pools promenade amphitheater park football cage local market cafĂŠ retail walk retail walk sit-out basketball Ccourt Thyagaraj Park skate park parking - A parking - B

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1 · THE SITE AND CONTEXT The site rests in the INA region of New Delhi amongst LIG residential communities, a slum development and adjacent to the Thyagaraj Park. Due to the mammoth volume of the stadium, it is placed right in the heart of the of the designated site. 2 · THE VOLUMES The Olympic arena is a massive consolidated volume with player entry and utilities in the basement leading straight to the pools and the visitors are united at the ground level up to the various stands. The volume is perfectly aligned to the cardinal directions in a way that no low angle sun glares onto the stands and no west sun glare arrives at the diving end. The play pool from a consolidated volume too along the public edge, forming a promenade between the two volumes. 3 · PUBLIC SPOOL The public spool forms the humble advertising of the stadium. Rather than expressing flamboyance and royalty, the arena preaches a public adrenaline for sport and recreation. The public utilities spools around the main arena and join the main promenade to unite the arena to the play pools and finally fade into the exiting public realm, the Thyagaraj Park. “Spiral out, keep going” (Lateralus, Tool). 4 · LEVELS OF THE SPOOL The physical manifestation of the spool is a series of winding levels that fall from the top to the roof of the play pools to the promenade at the ground level and even scraping the ground as the amphitheater. 5 · THE STRUCTURE : SPECTROGRAM The spectrogram of Lateralus by Tool forms the structural grid lines of the arena. The linear graph is reinterpreted in a radial fashion and with the Olympic pool as the centre and made to envelope the arena, making the play pools and the public spool as one coalesced unit. 6 · DISTORTION : INTERPOLATION The edges of all volumes are interpolated to align the extremities formed by the radial spectrogram which introduces a more casual mix with the surroundings rather than a long and flat wall. 7 · SPECTROGRAM TO TRUSSES The ribs of the radial spectrogram are then transformed into composite planar trusses that at a primary level uphold the roof and at a secondary level hold the levels of the public spool and the levels of the stadium concourse. 8 · EXPRESSION : THE TURBAN The spectrograph ribs are then united by a space frame with primary color and clear glass infills that from the turban from the outside and vibrant Indian festival on the inside.

Spectrogram Track : Artist : Album :

Lateralus Tool Lateralus


level 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23

racing pool diving pool practice pool diving end VIP stands media stands premium stands turnstile entries public restrooms VIP entry media entry VIP lounge media room ticket counters ramp to level 1 concession stalls play pools changing rooms staff changing adminstration promenade cafĂŠ amphitheater

level 1 1 2 3 4 5 6 7 8

+0.0

+5000

vomitorium concourse public restrooms F&B balcony level 1 : F&B cafĂŠ ramp from level 0 ramp to level 2


level 2 1 2 3 4 5

+10000

upper economy vomitorium level 2 : retail ramp to level 3 ramp from level 1

level 3 1 2 3 4

+15000

economy stands vomitorium level 3 : cultural ramp from level 2

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SEMESTER 06

ATMØSPHERE

INSTITUTIONAL BLOCK UNDERGRADUATE WING

SCHOOL OF PLANNING & ARCHITECTURE, VASANT KUNJ, NEW DELHI

This institute is the cream of architectural, planning and design education in the country, even the continent. After sinking deep into understanding the architectural pedagogy of the institute and the country, what was understood that the once established system in the 1960s, however derivative it might be, had managed to remain completely obsolete. The concoction of this Indian architectural pedagogy was a mixture of elements from the Bauhaus pedagogy, the Eames report and some other western ideologies of studio teaching. But what was applied in practice was a redundant classroom system that never managed to incubate ideas and minds that could match the free world. As a student of this institution I found the studio format a deception because the spaces never managed to incorporate the versatility of a studio. Learning, like the spaces themselves, felt stagnant and limited. Somewhere the amalgamation or unification of resources was flawed and never seemed to see the light of day. An undertow was needed to ignite a nonconformist air that enabled the minds to rise above the norm and the obsolete and think bigger, bolder and brighter without losing gravity towards their roots.

programming’ harped on equitable access to workspace, think space, resources, faculty, exhibition and recreation.

The design of undergraduate wing is a rendition of the layers of the atmosphere where each had its own properties yet together formed a homogeneous cloud. Starting from the crust it rose with alternating layers of essential and attractive spaces. Studios and lecture rooms took the role of essential institutional functions and libraries, labs, workshops, research rooms and public studios became attractive and resource arenas. Their vertical alternation wove a ‘colloidal programming’ that made the entire volume unite as one homogeneous unit of heterogeneous minds. The ‘colloidal

The studio was redefined as a think tank for free thinking as well has lecture halls for theoretic learning. The open plan enabled a cross-pollination of ideas across all sections of a year and across different years to enable students to learn from their peers, teachers, seniors and juniors. Within the studio a hierarchy was established for grouped lectures, group work, working solo or simply working in utter isolation. The entire volume aims to have this colloidal transparency that enables seeing, hearing, learning and also this scintillating Tyndall effect that presents strands of insightful thinking, design and any other form of expression. The north block at each level forms the faculty and administrative zone for consultation, resource and regulation. The main volume is an eighty-metre square that follows the traditional Indian courtyard morphology to maximise light, views and ventilation. It forms the central locus for fests, recreation, exhibition or just ephemeral procrastination. The geographic highlight of the site is the gorge and the courtyard and peripheral yards are made to fade into the gorge, making it functionally active for work and play. Onefourth of the floors jut out creating shade on the gorge for sit out spaces or enable outdoor classes in the raging summer heat. Together, the building imitates the minds of the aspiring designer – a complete mashup of work, learning, resources, recreation, application and cognition. The undertow elevates the pedagogy from a classroom decorum to a think tank or incubator for every student and faculty who walk the grounds. (I really want to study here!)


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The planar planning follows a rudimentary 3x3 grid to maximise flexibility. The three eastern and three western slots form open studios that maximise on light and have internal studios aligned in succession to enable interaction. The central slot forms the courtyard at the ground level and a void levels above for light, ventilation and views. The north and south slots form space for vertical circulation and open studios for all students and faculty.

+4

courtyard studio aisles core staircase open studio


SITE PLANNING

block A block B block C functional space central courtyard staircase open studio circulation core

STUDIO PLANNING

full year studio

open studio space

staggering

studio entrances

flip one section

inter-year

resultant open studio

inter-section

hierarchy of circulation

crit lane


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m e t r e s 0 2 4 6 8 10 12

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entrance foyer central courtyard east park central park bridge to north park bridge to hostel gorge postgraduate block central library service centre waiting area head of department registrar’s office chaiperson’s office section officer’s office administrative office adminstrative records transport lab conservation lab surverying lab materials & tech. lab main staircase fire staircase women’s washroom men’s washroom lift well ramp to basement cafeteria open studio academic block spine


level 1 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21

staff room staff room waiting area staff recreation conference room first floor foyer men’s washroom women’s washroom fire staircase service shafts lift staircase AHU room open studio IIIrd year studio IVth year studio Vth year studio studio presentation lecture niche studio sitout research center main academic spine

level 2 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18

+3500

+7000

archives research centre second floor foyer men’s washroom women’s washroom service shafts fire staircase lift staircase AHU room digital design lab graphics studio presentation space computer lab library group presentation slots research centre main academic spine


level 3 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

+10500

staff room staff room waiting area staff recreation conference room third floor foyer men’s washroom women’s washroom fire staircase service shafts lift staircase AHU room Ist year studio IInd year studio planning studio studio presentation lecture niche studio sitout open studio main academic spine

level 4 1 2 3 4 5 6 7 8 9 10

+14000

textile workshop ceramics workshop rooftop greens men’s washroom women’s washroom service shafts fire staircase lift staircase AHU room

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SEMESTER 05

BOHEMIAN RHAPSODY INCUBATION CENTER

The process of moving from the bubble of education to a competitive professional world has often rendered many to simply succumb to jobs and careers and has lost a lot they may have wished to do in translation. The process of incubating ideas and theories is very vital and this very incubation ends up pushing the boundaries further and making the world take notice of unexplored territory. Incubation is essential to the “crazy ones, the misfits, the rebels. The round pegs in square holes. The ones who see things differently. They are not found of rules, they have no respect for the status quo. You can disagree with them, fortify them; but what you cannot do is ignore them. They push the human race forward and while some may see them as the crazy ones, I see them as genius because the people who are crazy enough to think they can change the world, are the ones who do.” (Jobs, 2013)

IIT, MANDI, HIMACHAL PRADESH

to the unknown and with all the aid and resources, emerge with sheer brilliance and eventually leave a blotch of inspiration for a new mind to dare enough to try the adventure, making the cycle loop infinitely. The ‘Hero’s Journey’ become the prime alignment of programmatic functions along a loop starting from the entrance to the experience center through a series of spaces for learning and experimenting. The song structure of the rhapsody is unique. With a unique blend of genres; it starts with a palpable vocal start, comforts with a ballad, spikes the energy with the guitar solo, reaches the tipping point with theatricality of the opera section, emanates the victory with some hard rock and leaves with an outro with similar palpable vocals like the start, rendering a complete cycle. The functions arrange themselves along these energies and form a common solution between the song structure and the narrative. They plonk themselves on site in a neat Fibonacci grid to maintain a geometric order. Their spot also coincides with the kind of contours lines below them. A balance is achieved between the spectrogram and contour lines of the site and this establishes the position of the verses of the story.

The Bohemian Rhapsody, a revelation, became the muse for the incubation center at IIT, Mandi. The track was listened to danced to, ‘air guitared’ to and analysed to harness its essence, story and phenomenology. Its unorthodox writing, bona fide rock and roll persona, rhapsodic narration and heretical genre composition became the root for spatial programming, volumetric and geometric it begins with a winding walk from the road distortions, light play and phenomenology. to entrance foyer. Here the adventure sets in motion. The central gallery acts a spine It starts with understanding the narration that translates the daring to take on their of the song. The monomyth is the true ideas and struggle with them on the other representation of the workings of the side at various levels of the incubator, incubator. The adventure calls you to tip learning, experimenting and scrutinising. over into a phase of complete insanity The facade and light well introduce color where your internal and external struggles and distortions. Then at the auditorium and challenges push you to reach a level and experience center the once inchoate of heroism and return back with nothing idea emerges as a star and presents its short of a victorious and atoned solution potential to change the world, leaving its and personality. The incubator is for the mark for the next incipient and adolescent daring and crazy ones ready to crossover little thought to be inspired and take wings.


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· distortion · pulsating muse ·

library + computer lab

· soft · calm · mellow · · deep and emotional · · soulful · subtlety ·

administration faculty rooms conference rooms

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entrance foyer auditorium lobby auditorium restrooms stage lobby â&#x20AC;&#x153;the thresholdâ&#x20AC;? seminar room faculty room computer lab experience center bridge

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06

SEMESTER 04

KNOLLI CENTER

VILLAGE WELFARE CENTER

This project was the successor and design intervention to the settlement study of Sinli village in Barmer, Rajasthan. Located to the west of the design site, the village is a small rural settlement that emanates very distinct domestic and communal behavior of a remote village in the arid state of India. Houses are small and primarily mud and thatch shelters clustering around courtyards that are intended for domestic work, living and recreation. Cluster of houses form smaller communal clusters that together form the entire village. The occupation of the village ranges from animal husbandry to small-scale agriculture to mud brick masonry, all for subsistence purposes. Visit to the nearest town of Balotra is either a luxury that is barely indulged in or a necessity for the procurement of specialised goods or for medical attention. From the grounds of a backward, indigenous and subsistence-oriented community rises the programme of the welfare center – medical facilities, educational facilities, food and the availability of basic necessities. The programme thus formed includes a medical center, a veterinary center, a resource center with classrooms, a library, lecture and demonstration areas, a community canteen that is built on local produce and partial imports form the town or other villages and a community market that forms a collection of all household produce, handicrafts and other goods from Sinli and other neighboring villages turning household hobbies and village specialties into lucrative ventures. The design begins to imitate the dunes or sand knolls of Rajasthan by having roofs as domes of vaults. The title of the project gets its name by the arrangement of these knolls in similar fashion to the dhaanis or clusters of the Sinli village

SINLI, BARMER, RAJASTHAN

settlement. Built knolls form clusters around a courtyard that plays a designated function– demonstration yard, waiting area, canteen floor or just recreation. Each function forms its own dhaani with the courtyard bounded by built spaces and further by dunes. Further, the dhaanis of each function form a larger cluster with functions designated to the interstitial courtyards. All structures are built with compressed earth blocks that are locally produced and follow the climatic insulation of mud structures in the arid region. Their compression and stabilisation make them permanent over the current Sinli ‘jhompas’ that are repaired or renewed periodically. The medical center is a series of abutted rooms around two courts with vaulted roofs. The resource center is a cluster of domed, vaulted and curved roof classrooms and lecture rooms around the demonstration yard. The canteen is a volume with playful and skewed vaulted roofs with a courtyard for communal meals and festivity. The market and the plaza imitates the dunes through a series of hyperbolic paraboloid fabric. Brick jaalis and bamboo framing add to the vernacular architecture along with mud brick construction and fabric stalls. As a collective the welfare centre looks at the needs of Sinli village and nearby villages. It forms a programme that is rooted in the vernacular working, attitude of subsistence and occupational and living aspiration of the settlement. It looks to fulfill basic necessities missing so far and incept a notion of hope and a platform of learning, experimenting and showcasing communal and domestic skill and intellect. The center expresses itself through familiar built spaces and dhaani organisation to ensure the users are not alienated from its progressive ideology. It reinvents rural Sinli from its backward and hapless persona to a more promising village.


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main road health center resource center staff quarters central plaza canteen loading - unloading sandbox market market storage rain water tank pagdandi parking mandir (existing) primary school (existing) Sinli village settlement

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SITE·PLANNING·ACCESS The east flank along the road forms the primary entrance to the site. Towards the north the land is flat making it ideal for quick vehicular access and hence the spot for the health center. The north flank forms the resource center dhaani sharing its vicinity with the primary school further north, together forming a larger “institutional” dhaani. The north west is lower and secluded and with its proximity to the resource and medical dhaanis makes it ideal for the staff quarters. The heart of the site has an elevated topography and forms the central public locus for rest and festivity and the central plaza splits into other dhaanis. The south has maximum road access and is adjacent to the central plaza and the temple in the south making it the public hub for market activities. The canteen is an extension to the plaza an with adjacency to the resource and market clusters. It has a back pagdandi for supplies and washing. The site dhaanis form a hierarchy following the village language and morphology. There is a set of level 3 open spaces that interact with the village and other context around, level 2 courts that are inter-functional and level 1 courtyards that are intrafunctional. The site is not bounded and accessible from all edges.


DHAANI·PROGRAMME The dhaani is the cellular organisation of built spaces in the settlement. Each household is a collection of functions (bedrooms, pantry, storage, etc.) around a living space or the courtyard. Following this arrangement each function is subdivided into indoor functions that are clustered around a courtyard which also has been allotted a utility. The resource center has a dhaani of classrooms and lecture blocks around a demonstration yard, the health center has a dhaani of procedure rooms around waiting areas and so on. Along with this, the built to open transition is also applied with interstitial covered spaces. Together these dhaanis form a larger dhaani at the site level to complete a multifunctional welfare center. The dry ‘cheed’ boundary of the settlements dhaanis are transformed into sand knolls that are more permanent and bring the “knolli center” to life. The functional proximities are based on the access requirements. The health center is at the access road, the resource center shares proximity with the existing primary school, the canteen is common to the resource dhaani, staff quarters and market and the market is at the junction of two roads for cart and vehicular access. Linkages also follow their own hierarchy. The resource dhaani and staff quarters are linked directly, the central plaza and canteen working in unison and the high use plaza and market kept away from the health center.


THE KNOLLI PLAN The center is designed as a series of knolls or dune clusters that form the built expression and volumes. The figure ground is a set of dhaanis where all built spaces are volumetrically knolls. They maximise insulation and ensure durable construction with compacted earth blocks. The skyline is a combination of built and natural knolls formed by domes and vaults of the built and the earth berming. The berming spatially forms the dhaani of each functional cluster. Further it works as an excellent insulator from direct heat gain and loss. It also helps to create visual and spatial privacies between dhaanis. Together the berming and curvilinear roof profiles form the natural and familiar undulating landscape of the region and help infuse progressive functions into the vernacular ambience.

M AT E R I A L I T Y ¡ C S E B The compressed stabilised earth blocks play on the phrase â&#x20AC;&#x153;from dust to dustâ&#x20AC;?.The lack of availability of material and the poor purchasing power makes brick or any other material unfeasible. The settlement itself has mastered the ability and skill to make durable and strong earth blocks viable for two storey construction and so using them will not only help to generate livelihood during the construction phase but even manages to retain the visual and tactile expression alive.


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RESIDENCE

KERNEL

SEMESTER 03

MEHRAULI, NEW DELHI

gated community and every house ends right at the street edge. To resolve this a buffer of spaces was used to segregate the privacy from the street edge. NiLa or Nishant’s architectural practice and the parking were used as a buffer for the rest of the house. The office stands proudly at the planar apex, displaying the edgy volume that faces the monument. The rest of the This project is the residence of Nishant home sits all nestled at the back, cosy and Lall and his family. The privacy quotient of warm, facing the greens and maintaining the residence is under jeopardy because distance from the bustle of the two streets. the selected site is in the bustling and high-density area of Mehrauli. The Titled the ‘Kernel’, the residence in the context involves an ethnically diverse and bustling area of Mehrauli emulates dynamic population. Plots are tight and concentric shells concealing the core, packed, streets are bustling with energy the heart, the home, forming a layering of temporality and permanent extensions of spaces, volumes and materials in the form of sweet joints, bus station, like a cocoon. The concrete and the monuments, vendors, etc. The ground level sandstone, bare and exposed pay tribute primarily involves with commercial space to the tomb of Adam Khan and the overlaid with residential zones. There is no Qutub complex that lie in the vicinity. Designing a residence is tricky. It is aimed to house very private and intimate emotions, aspirations and experiences. One simply doesn’t concoct a house with the necessary functional composition. There needs to be this unique quality that ought to be embedded that is characteristic of its residents. One that makes it’s a home.


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CHIME

PAVILION

Air.

SEMESTER 01

Breeze.

FIELDS OF PUNJAB

Wind.

Storm. is your host as it plays something more than muzak. An arpeggio of chimes that An invisible force of of vitality. The let you think, talk, love or just bask in the omnipresent ghost that caresses, scares and sun or in the shimmer of the moonlight. breathes life. Never seen, never spoken to, its presence is felt, heard and experienced. The roof is an orchestra of metal chimes that It speaks through its care and its wrath. This play their arpeggio at different tones and pavilion taps the energy of the air by the tempos in accordance to the disposition of subtle creation of sound. The setting is an the wind. Arranged in three swirls, they form open meadow with no restrictions, letting the three primary moods of the air – static, the wind graze through the volume like a comfort and anger. Together they form free spirit. Its care will be experienced in a a unique vane that doesn’t tell direction soothing and sweet ringing of the metal. but expresses multifarious dispositions Its wrath, an angry clangor that awakens of a ghost and creates an ever changing the mind. And finally, its static disposition and dynamic space, enabling the mind will be felt in an eerie silence. The pavilion and heart to sync and channelize emotion. is an unbounded platform for a panoramic Hear. See. Feel. view of thought and crop fields. The wind Breathe.

Element : Air

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Floor Plan +1500

Reflected Ceiling Plan +3000


09

GETAWAY HOME

RESURRECT

I am a romantic at heart. Quite the bizarre version of it. As an inchoate student, my rendition of a getaway home for two was an expressionist incarnation of love and lust. Wandering over cheesy and cinematic territory brings out the finest symbol of romantic narration – the Titanic. The story spewed nothing but stranger cheesy adoration and rose to a coda of sacrifice. Quite the love eh? The getaway home sits on the coast of Kerala, overlooking the mighty sea. The final design is a deconstructive rendition of the Titanic resurrecting and capturing the timelessness of love. The two-storey house is linearly aligned to the coast to maximise views in the living and dining

SEMESTER 01

COAST OF KERALA

spaces spilling out to the coast. This is surmounted by the bedroom. There are no internal walls. Free flowing spaces from one space to another, creating combinations of functions in the process. The elementarism follows a sailing ambience. The railings, windows, decks, volumes and transparency together from a fantasy tale to getaway from the quotidian and strenuous life. The built bleeds into the beach forming this raw, shack-like and cozy innuendo and the symbolic scene from the movie attains its physical imagery with the outdoor deck that expands to the sky. I am being cheesy and I reek of romanticism and cliché here, but who wouldn’t enjoy the experience of a good old-fashioned beach getaway?!


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10

INNOVATIVE DESIGN FOR TOILETS, DUSIB, COMPETITION

CONTAINER TOILETS MODULE FOR PUBLIC TOILETS

India has followed a trend of stupidity. We have the brains, we have the talent, we have the resources and we have the time but what we don’t have is the sanity to take care of our health, people and appearance. We are like a well-endowed hillbilly but the only difference is that we don’t go into the wild to experience the nature but just burn the forest. We have the means to grow but we choose to brew in our bigotry. The competition cited a major flaw and major component of this bigotry – the lack, sorry, the absence of public toilets.

NEW DELHI

Step three involves the convergence of the toilets with the public realm. This is one step ahead but one necessary step ahead. Often public toilets are not maintained and cleaned because of their isolation from the public edge or just pure negligence. Having a public involvement will make their upkeep and maintenance necessary. Applying Le Corbusier’s ideology of replenishing public area by introducing it on the top, the containers are covered with turf for fun and frolic. They also have smaller containers to have covered spaces to sit and laze or take shelter for bikers, cyclists and pedestrians during rain. The nets add an attraction factor to just hang out in the winter sun. The walls of the container are canvases for young artists to advertise their work, adding to the necessity of maintaining these toilets.

The focus this solution was not just to introduce sanity and facility to the city’s pedestrian life but stretch it a bit more and add responsibility. The module looks at the design of men’s and women’s public toilets that can be easily replicated and proliferated over the city and maybe further, all over the country, after all, we all got to pee. Toilets are often seen as a burden to be constructed at multiple points and to be Step one looks at accommodating a fair maintained, especially in a negligence number of fittings (basins, urinals and driven nation like India where more stress water closets) in each module. Step two is laid upon the landscaping of high rise looks at the ease of multiplication and commercial and residential towers. There introduces responsibility by not harnessing is a multiplicity of economic groups and fresh material but recycling the existing the only thing that binds them all is all shipping and cargo containers to house the infrastructure at public level. We the fittings. The containers are of specific need these self-sustained and vitality sizes making each toilet easily replicable generating systems in the city’s public and making the manufacturing of all infrastructure in order to maximise levels interior members identical and easy to be of health and wellness. The container pre-fabricated, enabling quick installation toilet is an easily replicable module, at site and not have long durations of with the responsibly of reusing material pedestrian blockages for construction and cutting down installation time, the purposes. The containers sit on a concrete desire to interact with the public and to and brick plinth with a water recycler introduce the responsibility of keeping for grey water tucked underground. them clean, sanitised and accessible.


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UIA HYP CUP 2014, COMPETITION

CLEAN INDIAN CITY RECYCLING CENTER

The UIA HYP Cup 2014 student competition was themed the “Unexpected City”. The brief of the competition harped on the term “unexpected” and somewhere playing with that term became the prime agenda of the solution. “Clean Indian City”, a phrase that managed to stick and played with the mind by generating curiosity, counter questioning and wondering whether such a term can have a real solution or does it just breeds from a mere whim. This competition entry looked at the flaws of the Indian waste collection and processing and using the current centralised and decentralised systems of waste management, formulated a centralised plant that worked upon the efforts and desire of decentralised minds, hands and organisations. The plant is a centralised recycling and digesting plant calculatedly placed on an existing landfill in the city of Delhi to not only ignite the “Swachh Bharat” motto but to even clean out the site itself. The recycling center worked to be the last, centralised cog of the recycling process placed after the existing waste collection systems installed in the city. The Indian city is a very complex and dense network. The population is high and the will power is low but with great potential when harnessed the right way. Waste collection works best when centralised but when mobilised through

NEW DELHI

decentralised means of collection, allows cleaning at the grass root level. Functionallythe centre starts with collection silos where wasts is to be segregated into the basic categories - biodegradable, recyclable, toxic or hazardous and nonrecyclable. Hence its first step is to reintroduce grass root segregation back into society as a very healthy habit. It then involves a series of recyclers for paper, cardboard, metal, glass, etc., compost pits and proper reusing or disposal of toxic waste. The idea is to convert all waste to any and everything usable in the form of fresh paper, blown glass, recycled metal, compost and manure, energy and all those non-recyclable items are compacted into blocks to form construction items which can be used to solve issues of low cost housing for the city’s massive population, road construction for the choked and desolate streets, art movements, etc. The center looks at complete transparency and the blocks that imitate deconstructed paper balls involve space for public access and recreation for understanding and checking on the productivity of the center and for reaping the benefits of the all output. Clean Indian Cities, the unaddressed dream can be harnessed to create an unexpected phenomenon after all!


12

120 HOURS, COMPETITION

ALT ARK

APOCALYPSE RESCUE VEHICLE

PYRAMIDEN, SPITSBERGEN ISLAND, SVALBARD, NORWAY

and research work is given status A and placed at points where the existing built can house the functions and the water is accessible for research purposes. The metal recycling plant has status B where its primary focus is energy generation and cleansing the island. To support these functions status C functions are introduced The brief of the competition explained the where residential and recreation utilities abandonment, the beauty and the danger are retrofitted in the heart of the site. to Pyramiden and its fellow islands in the archipelago. With glaciers sweating their Step two is the formation of a grid of body mass and sea levels rising with a pods that prior to the apocalypse forms vengeance, like many islands, Pyramiden will home to flora for oxygenation, research soon receive the Atlantis fate, but this time, and gentrification. Post the apocalypse with no life and complete abandonment. they expand, connect and engulf the entire island to keep it afloat. They form The focus of this project is preservation and the ark as an alternative to sinking and the plausible re-ignition of the economy and preinstalled functional structure provides occupations. Step one is to introduce and for a post-apocalyptic subsistence. retrofit a new land use system. Institutional The water rises, but the ark survives.

The reality of the degradation of the world is inevitable. The apocalypse seems a promising end and either we wake up and delay it or we pretend that CO2 emissions, excavation and all our shenanigans for growth and development have negligible repercussions (the former is better though).


13

4 MONTH INTERNSHIP

WORK EX. PTS. INTERIORS FURNITURE DESIGN EXHIBITION DESIGN GRAPHIC ART

contribution conceptualisation interior layout interior design furniture design graphic art building service design site management

ATTO ATELIER, DOMLUR 2ND STAGE, BENGALURU, INDIA

13.1

PROJECT INTERIORS

HATCH PUBLIC HOUSE MAKER SPACE + BAR

YESVANTPUR INDUSTRIAL HUB, BENGALURU

The Hatch Public House is a place conceived by the client as a space for collaboration, advertising, performance and recreation. He titles it as a “maker space”. As an extension to a recently renovated kitchen and restaurant, the space is meant for ideas, talents and products to be displayed and proliferated. Bengaluru is a city with an unstoppable eruption of newcomers with great promise and the bar is conceived to house all the food for thought, ideation and performance. The interior design involved the renovation of an old shady restaurant into a boisterous tank of novelty, exchange of talent and, yes, beer! The furniture, choice of material, and the layout is so designed that it mimics the quirkiness of various kinds of makers - artists, musicians, gamers, cartoonists, craftsmen, photographers, geeks and all treasured and talented misfits!


4 MONTH INTERNSHIP

13

WORK EX. PTS. INTERIORS FURNITURE DESIGN EXHIBITION DESIGN GRAPHIC ART

contribution exhibit concept exhibit design graphic editing panel design off-site execution

ATTO ATELIER, DOMLUR 2ND STAGE, BENGALURU, INDIA

13.2

20 UNDER 35, DESIGN X DESIGN

ATTO ATELIER EXHIBIT EXHIBITION DESIGN

ALLIANCE FRANçAISE, LODI ESTATE, NEW DELHI

I was fortunate to be interning at the firm the year it was selected to showcase its work at the “20 under 35” exhibition under the annual Design x Design exhibit at Alliance Française, New Delhi. The exhibit was designed to reflect the quirkiness and the love for materiality through a clan-like vibe with banners, symbolic trinkets and contraptions for public participation. A three piece setup was designed. The first was a book of original butter sheet drawings to capture the rawness of the point of conception. The second was a periscope-like contraption with renders and graphic developments of concepts and designs. And the third was a series of banners with prints of the final product on canvas. Material like wood, metal, concrete and cloth was kept raw, unpolished yet finished to bring out their innate beauty.


14

SEMINAR

SEMESTER 09

MODERN TIMES

SCHOOL OF PLANNING AND ARCHITECTURE

SEMINAR SERIES TITLE Archichakkar SEMINAR THEME Projects and Processes NUMBER OF TEAM MEMBERS six INTRODUCTION Being modern is being up to date. With new technologies of communication in the 20th century India was exposed to the wider world. The developments and changes in return influenced the thoughts and the minds of the country that was on the brink of its Independence. Modernism is more in tune with a way of thinking and not just an architectural style. The underlying idea of modernism lies with the purpose of ‘form follows function’ which dictates the design of anything, purifying the design to bear no more unnecessary ornamentation than required to function. This was a total departure from the obsessions of historical revivals, from neo-rococo to neo-Gothic, that had dominated the Victorian years, and for centuries before. Modernism really dominated in Europe – where it was known as the International Style, or International Movement, particularly in Germany, with the Bauhaus Movement. It was not until after World War One, that the influence of modernism really began to dominate. As the ideas of modernism spread over the world, especially in North America a change in the architectural style became evident. The minimal ornamentation of the modernist approach was accompanied by the ‘Fordism’ prevailing in America which worked on the principles of mass production and standardisation of components. This drastically reduced the cost of production. Clubbed together

the new idea of modernist architecture prevailed as being economical at the time of a war stricken world and came off as a solution to the problems of the modern city. In 1950s India saw itself recovering from the British rule and struggling to get a grip on its own administration. The life of the people of the country were either marred by the violent partition or the harsh economic condition. Only gradually did the situation change and there was in improvement in the economic stability of the country. This decade saw an emerging need of change in the sense of identity among people and that reflected in not just architecture but in the lifestyle of people as well. On one side the father of the nation was preaching the use of khadi and supporting the local vernacular industries while there happened a shift to a new style which was a convergence of modernity and nationalism. Discourses of development in India at that time were shaped by colonial constructions of linear time, teleological history, and the idea that Third World nations must follow the First World ones in their march towards “progress”. Modernity seemed to be an idea that was associated with improvement and development. ‘Modernism’ at this moment of time was misinterpreted as ‘Modernity’. Though there was a sensational force of redefining India by the intellectuals, there was also the urgent demand of providing basic services to a vast population. There was the notion and image of ‘progress’ and the existing directives of the construction industry. The “Modern” architecture arrived in India in the with the promise of solving the issue with its “universal” motto. It’s acceptance all across the world served as inspiration to the nation’s desire to be at par with the world and establish itself independently in the global context.


BUILDING THE HYPOTHESIS

5· Building stipulations (building codes, specifications, sanctioning of projects, bye-laws) 6· Lifestyle 7· Art, media and print 8· Production of goods and services and economies of scale 9· The rendition of an urban sphere and city dwelling

Delhi stood perplexed at the stroke of midnight. This might sound very dramatic but right after independence the city was left in a field of opportunity. It could either accept historicism and run back to the times it once flourished before colonial influx or choose to cast a new dawn for the rest of its progression. The city was vulnerable because of a lack of identity and having cited as the new capital This investigation looks at the years of this of the independent nation had a huge task at hand to regionalist modernism in the independent capital develop a role model of progression and development. city of Delhi from the mid 1920s to the brink of liberalization and all its glory, its ambiguity, its impact Industrialization in the west took the world by storm on the various realms of the city and its fade out. and at the brink of dawn Prime Minister Jawaharlal Nehru envisioned India to reach at par with the western Modernism was not just an architectural movement that hemisphere and see the country grow stronger, self- immigrated to India. It was a thought, of execution and reliant and flourishing with ideas, economic output a form of expression. The movement engulfed many and a healthy population. Modernism and its preachers realms like those mentioned above and this research inspired Nehru to form his vision of an independent India looks at what impacted the architecture fraternity. This and that went onto inviting the forms of modernism fraternity includes built solutions, the educational system that took over the country and the city of Delhi. and curriculum, the building regulations and codes and the lifestyle changes that occurred within the realm of This went onto directing the built-scape of the country, set architecture. Modernism of Delhi is defined as much by up the design engineering institutional ambience, sought its vast stock of (primarily) institutional buildings, as it to harness the materials of the new age—steel, glass, is by the curious absence of corporate modernism. In concrete, plastic, plywood—to make buildings, furniture their vocabulary, material and method, the modernism and everyday objects that met real needs (Khilnani, 2012), embodied by Delhi is derived from a state-controlled introduce mass production and eventually change the industry of construction/architecture, which stands lifestyle, design style and educational pedagogy of India. in contrast to the futurism, and post-war decadence. There was spice and localisation in the spirit of architecture design, education and policy making, something Kenneth Frampton also mentioned in his paper on Critical Regionalism. Modernism was born out of the second wave (Alvin Toffler) of industrialisation and a focussed on a very pragmatic form of utility and aesthetic of architecture. What the designers and planners did was perfect modernism by the introduction of the regionalist flavour through climatic corrections, local materiality, contextual considerations, etc. Modernism arrived in India when the country was newly born, vulnerable and somewhat, gullible. This vulnerability surrendered to the ideologies, expressions and structure of modernism and the country began to wear modernism and all its glory. The following fields were struck by modernism: 1· Architectural design (spatial planning, introduction of function like group housing, high rise, commercial centers, museums, transit hubs, educational institutions, political centers, embassies, etc., physical expression and iconography) 2· City and urban planning 3· Materiality : steel, glass, concrete, plastic, plywood 4· Education (pedagogy, institutional structuring, hierarchy and qualification of students and faculty, degree of national importance and governmental affiliation, variety of fields and subject matter)

The impact starts with the formation of the Public Works Department’s specification and building regulations and promoted a certain stylistic and spatial vocabulary of design, those persist even today and guide the design of contemporary buildings under the modernist framework. The materials in the PWD specifications today are limited to modernist materials and those like bamboo and mud blocks do not lie under regular specifications and lie under a non-scheduled section of the specifications with limited guides and information which leads to the argument that why even today there is a lack of provision for anything (detail, material or structural solution) outside the modernist realm? Why is modernism is still persisting in the building codes and regulations? Even in the sphere of education the curriculum and the regulations that we are taught in are all modernist and persist till the current day! This study looks at the incoming and the persistence of modernism in the field of architecture and architectural policy making and education and understands how those norms imbibed by the system of Delhi became so massive that they last even after the mega events like liberalization, privatization, globalization and the digital age. It also tries to understand how the city was and is still living in a confusion of deriving is own unique stylistic expression and architectural language and system.

(extracts from the document)


15

SEMESTER 08

MUSIC & ARCHITECTURE DISSERTATION

SCHOOL OF PLANNING AND ARCHITECTURE

ABSTRACT

AIM

This is an exploration. This is an expedition. This is an embarkment from the embankment of incompleteness into the oceans that resonate more wholesome, exciting and eccentric energies. The emphasis lies on the bond between two intricate art forms – music and architecture. The aim is to begin with an investigation on the intimate relationship the two art forms share and then move on to mapping the translation of the former to the latter.

The aim of this research paper is to understand the process of translating music to architecture. Starting with defining the relationship between the two art forms, the dissertation progresses onto defining the transposition of music to building language based on the lines of structure, notation and phenomenology. The aim circulates around tracing the various ways of dealing with music, an intangible, and using it as a leap vehicle in the creation of physical space.

Music when blended into architecture generates a phantasmagorical freshness that when experienced feels like a live OBJECTIVES concert of materials, volumes, light, shadows and landscapes. The coalition 1· Understanding the relationship between music and architecture as forms of art manages to enhance the impact of and otherwise. architecture as an art form and create magnanimity in its compositionality, 2· Looking at the concept of the ‘y-condition’ and thereafter analysing expression and universal presence. the concept of translating music to architecture. Architecture has lost its sensuality and beauty by just intertwining around 3· Defining the structure of music and architecture and forming a translatable function and mediocre response to correlation. surroundings and technology and there is into the concept of a dire need to jolt the dormancy among 4· Looking phenomenology and linking it to the designers and inspire them to explore two art forms. the range of the art form by fusing it with music. Music is not the only solution to 5· Analysing the transposition of music to architecture based on terminologies, architectural conceptualization. The plan structure and phenomenology. is to reverberate the idea of using music (as one of other possibilities) as a leap vehicle 6· Coming up with different methods to translate and form a concept catalogue. to generate a wave that is able to wake up the dormancy of architectural designs. Let us create architecture with greater personality and cosmic presence. Let this music and architecture covalence begin to pollinate to the world. Plug into those amps, pick up your axes, tap those sticks and let the music invasion dismantle this architectural anarchy. And so, in 5… 4… 3… 2… 1… (Opening riff)

RESEARCH QUESTION What is the correlation between music and architecture? What are the different ways in which music can be transposed into architectural expression and design and what is the best way of dealing with music as a leap vehicle in the design process?


RECKONER Words and music by Thom Yorke, Jonathan Greenwood, Colin Greenwood, Edward Oâ&#x20AC;&#x2122;Brien and Philip Selway


FIN.

kabirsahni94@gmail.com

kabir sahni

+91 88609 94594

Architecture Portfolio | 2012 - 2017 | Kabir Sahni  

Stories and Soliloquies. Selected works from 2012 to 2017. A little blood, some sweat and tonnes of tears. Cheers.

Architecture Portfolio | 2012 - 2017 | Kabir Sahni  

Stories and Soliloquies. Selected works from 2012 to 2017. A little blood, some sweat and tonnes of tears. Cheers.

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