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MADHURI MACHCHHI TIMELESS ARCHITECTURE PORTFOLIO 2018


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DESIGN PHILOSOPHY

PURE

A building is a building. A good architecture is making that building a living building. I believe a good architecture has a soul, a pure honest soul. It has a character of its own. It responds to its context and adapts to the nature and environment around it. An architecture with a soul is sophisticated to its users and its context. In the space of its four walls that it encompasses itself in with a structural grid; it still has the capability of making one feel infinite, limitless. A good architecture is sensual, joyful yet is capable of being provocative.

LIMITLESS

PROVOCATIVE

PERMEABLE

STRUCTURED


ACADEMIC | ARCHITECTURE PROJECTS

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5. Light Box, Kaleidoscopic World 74-81

1. Thesis Project: Museum of Dreams.

3. Cultural Art and Exhibition Centre, Bastak

8-35

42-55

2. Thesis Research: Repertoire of Dreams.

4. Village for Evacuees: Philippines Flood Victims 56-65

4. Sustainability and Shelter, Forest Shelter House 66-73

6. Spatial Exhibition : Journey 82-85

36-41

TABLE OF CONTENTS

7. St Ignatius church- hand model 86-87


WORK | ARCHITECTURE PROJECTS

1.Edifice: Top GearEntertainment project 90-93

3. Edifice: Galmmping Seabland Project, Tehran 96-97

2. Edifice: Edutainment Centre: Science Lab

4. ArchIdentity: AMZ House 98-99

94-95

PHOTOGRAPHY

4. PNC Architects: Boat House- UAQ Mansion 100-105

5. PNC Architects: Sobha Signature Tower 106-109

1.Fine Art Photography: Dreamer

2. Fine Art Photography: Feminism

112-115

116-119


ACADEMIC

| ARCHITECTURE PROJECTS


BRIEF

Our mind is capable of creating intangible architecture through dreams. Everything we experience in this dream space is never created out of pure imagination. Its formed out of the experiences and memories of reality. We spend 30 percent of our lives sleeping and while sleeping, we experience dream world where the constant of time does not apply. Yet, there exist no architecture denoted to experience this very humane activity, dreaming. If our mind can create the real life space in our dreams in desired form, is it not possible to recreate the architecture of our subconscious- dreamy state into our real life? My project is the architecture of night, t’s the architecture that allows everybody to experience this very human activity of dreaming, collectively.

ARCHITECTURE OG NIGHT: Museum of Dreams

STUDIO 10/ YEAR 5 - SPRING 2016- 4 MONTHS 8


MUSEUM OF DREAMS

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RESEARCH LAB

“Architecture is about trying to make the world a little more like our dreams" -BJARKE INGELS 10


DESIGN CONCEPT Fragmented Realities It’s very rare one remembers Dreams in episodic frames, Dreams typically emerge as disconnected fragments (Schwartz 2003). These fragments of dreams act like a fragmented Mirror, where each individual part of it has its own very story, yet they reflect the observer in a very peculiar way. Where as, reality itself is fragmented and from the distance of time. It’s like a life that we have once lived in, yet remember them as only fragments and not as whole. There is no much difference in realities and dreams.They both happen to us in the ephemeral moment then fades away and remains only in our memories as fragments. This project aims to discover and travel through fragments of space and discover the unreality in reality and realizing perhaps there is no membrane in between reality and dreams. The aim is to find the agitated, trance space that lies within- done through the fragmentation of layers in between. It wishes to “bridge” the journey to the alternative world displaced from reality. The overall form floats like a cloud with the embracing architecture that invokes dreamers to cross the threshold. 11


SITE LOCATION DIAGRAM

DUBAI, UAE MARSA AL KHOR, DFC

MARSA AL KHOR, DFC

MARSA AL KHOR, DFC SITE

1. 1 DUBAI, UAE

2. 2 MARSA AL KHOR, DIFC

SITE

3. 3 SITE The site is located at Marsa Al Khor, DIFC. The surrounding of the site consist of Dubai creek, Dubai yacht club, Museum of Modern art etc.

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DIAGRAM SIGNIFICANT SITE LOCATION FOR AN ICONIC ARCHITECTURE The site responds to the program on several level. Opposite to the MEMOMA, this site is well connected to all the landmarks and futuristic museums in Dubai. It also has the potential of being the origin of the invisible radius that it creates. As a result it has the potential of being a magnetic figure gravitating all the museums towards it.

1. LINKING MUSEUMS TO THE SITE

2. LINKING LANDMARKS TO THE SITE 13


NATURAL AND ARTIFICIAL CHARACTERISTICS

SITE

1. LIGHT RADIANCE

2. SUN CHART 14

3. WIND DIRECTION

4. WIND CHART OF WHOLE YEAR


HISTORICAL CONTEXT ADDITION AND SUBTRACTION TO THE URBAN CONTEXT Throughout the history, the site has been an empty land. However, around the site, several things has been established and demolished for the better new project to come. For the future growing Dubai, the site has a great Potential to offer. The Future and current devlopment projects around the site includes museums like MoMA Middle east, schools, airport, mosques,

SITE

SITE

2000

SITE

2008

2014 15


SITE CONTEXTUAL BUILT ENVIRONMENT 1-4

Stories

Highway Arterial Local Transit- Metro Line

4-11 Stories 11-21 Stories 21

Stories and above

SITE

SITE 2. ACCESSIBILITY

SITE

1. HEIGHT TYPOLOGY 16

3. SITE ZONING


SITE CONTEXTUAL BUILT ENVIRONMENT Not Occupied

Flora, Fauna

Occupied

Aqua

SITE

SITE

4. FIGURE- GROUND RELATIONSHIP

5. FLORA FAUNA AND AQUA Increasing population

SITE

6. POPULATION DENSITY 17


SITE AND SURROUNDING

1. EAST SIDE VIEW Right behind the site there are a group of schools, including Cambridge, Gulf Indian High School, Grammar school, etc. and colleges like Emirates Aviation and American College. The educated elites can benefit from the spaces ike Gallery, Research and Library, the Dream Museum would offer.

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SITE AND SURROUNDING

1. WEST SIDE VIEW The space Research Centre, Experimental analysis and Dream library can also add to the Rashid Trauma Centre Dubai. It would allow such patients in need of help to get free from the sickness. The site shares the boundary of the Creek Coast with Hindu Temple, St. Mary’s Church and several Mosques that city has. Perhaps, the universal ground the site would introduce would bring all these spiritual places together.

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PROJECT EVOLUTION The“vertical empty” tunnels makes its way through the slab creating a space that characterizes those fragment of the dream that one remembers vividly. In the creation of this architecture space it optimizes to create a place of “happy accidents” where a person could feel, sense and touch the glimpse of hope, faith, love and everything that makes one dream. While one travels in this fragmented space in his collective memory he collects this views and experiences that he takes with him to end his journey at sleeping Museum where he enters his very own dreamscape. This journey forever evolves; in its ephemeral period. The architecture is an inside-otside space. One may escape this dream by escaping through the doors of reality.

SIGNIFICANT SITE LOCATION FOR AN ICONIC ARCHITECTURE

1. MASSING OF THE PROJECT

2. PROJECT EVALUATION 20


DIAGRAM

CAPTURING VIEWS The architecture of this Museum aims to creates the vision of the fragments of real world. When one travel in this dreamscape, they see reality sweeping in trough the fragmented views. It frames and direct the views of this reality for example, the sight of the airplane, people sitting in the stadium, the construction site. It however does not control what one may experience of them. The randomness of those experience of this fragmented realities is what makes it more like our dream.

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PLANS AND DRAWINGS

1. ENTRANCE- BASEMENT FLOOR 22


PLANS AND DRAWINGS 1. ENTRANCE- BASEMENT FLOOR At the ground level, there are two different entries. One is from the bridge that separate reality from this draemscape and other is by the road at the basement. Here, one find themselves attained by the spiritualness of dreams. They take a spiritual journey to reach the temple of dreams and end at the mediation space submerged inside the creek water, to let them feel the depth their subconsciousness. 2. GROUND FLOOR Ground level consists of Research center, experimental analysis and Administration offices. It also has an auditorium for the audience and conference room for research purposes.

2. GROUND FLOOR 23


PLANS AND DRAWINGS 3. FIRST FLOOR The first floor is the Dreamers Library- where one dreamer choose another dreamer to share their dreams with. It also has Library of Dreams/ Dream Archive where one can archive her/ his dreams anonymously for everyone. With that is attached the research library of Dreams. After one finishes his research he she starts his journey to museum with Gallery of Dreams ,from all time to all people and continuous it to the second floor.

3. FIRST FLOOR

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PLANS AND DRAWINGS 4. SLEEPING MUSEUM One reaches the Sleeping Museum after collecting all the fragments memories from the views, galleries, people and moments. According to Buddhist Philosophy its believed that creative environment can lead to creative dreaming. Dreamers here can actually go sleep and continue their journey in the hemisphere of dreams. Spaces like sleeping cells, embedded in walls and floor, swings and cantilevered sleeping beds are provided for the isolation of the dreamer. The journey of the dreamer doesn’t end here, infact it starts here.

4. FOURTH FLOOR- SLEEPING MUSEUM

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SPACE STUDY AND DIAGRAMS Space

Area

No. of Spaces

Total Area

ENTRANCE

Foyer Gathering Hall Circulation

ADMIN

Reception Office

100 150 400 25

1 1 1 2 2 1 1 2

100 150 400 50 100 25 25 40

Staff office Management Office Admin Office

50 25 25 20

Permanent

500

1

600

Temporary

350

1 1 1 1

100 100 100

Security Room

MUSEUM

Museum of Dreams /Surrealist Art

Dream Interpretation Gallery Science Psychology History and Culture Religion

RESEARCH

Museum for Dreamers

Gallery of Dreams Sleeping Museum

Library

Dreamer’s Library Repertoire of Dreams

Studios

SPIRITUAL

Discussion Centre Auditorium/ Theatre Research Centre Experimental Analysis Spiritual Journey Journey to the other World

SERVICE

25 150 50

1 1 1 1 1 2 1 1 1 1 1 4 1 1 8 1 1

20 _ _

2 _ _

25

4x2

Dreamers Art Studios Dreamers Writing Studio Miscellaneous Studio

Universal Prayer Hall

30 600 250 30 250 300

Café Dreamers Lounge Book + Art Store Janitors Fires Exits Technical Rooms Toilets

1. PROGRAM BRIEF FOR THE MUSEUM 26

100 600 400 350 400 50 50 100

Meditation/ Sleeping rooms

LEISURE

100 100 100

350

100 600 400 300 400 100 50 100

2. STRUCTURAL COLUMNS/ LIGHT LAMPS

30 650 250 120 250 300 200 150 50 25

6215 Sqm

3. SELF STACKING WALL STRUCTURE

4.MONOCOUQE STRUCTURE


SPACE STUDY AND DIAGRAMS

5. VERTICAL ISONOMETRIC SECTION 27


TOP VIEW

1. ENTRANCE FROM THE CREEK 28


EXTERIOR VIEW

2. ENTRANCE FROM THE CREEK 29


EXTERIOR VIEW

3. EXTERIOR ARIEL VIEW FROM THE CREEK 30


EXTERIOR VIEW

4. ENTRANCE FROM THE ROAD 31


INTERIOR SPACE

1. SPIRITUAL JOURNEY 32


INTERIOR SPACE

2. TEMPLE OF DREAMS

33


INTERIOR SPACE

3. THE TERRACES AND ATRIUM- INSIDE OUTSIDE TO REALITY 34

4. LIBRARY OF DREAMS


INTERIOR SPACE

5. DREAMERS LIBRARY 35


HOW TO R EAD THIS BOOK, ‘RE DREAMS’ CONCEPT PERTOIRE ... OF Dream s are in r

stead a dream rely experi v a r y i nare, rarely e n c e sequences of associated images; s ar Dreams experienced as random g deg rees o e experienc d as rando a r g u e dreams m instead, are experienced fragmented. f narr e d f r a They exhibit d that ative gment sequences wofh enarrative f r a g m degrees n a varying and thematic coherence e (Foulkes nd the ent d th d . T h e 1999).oIts f been matic inform e waking nargued y exhi associate a r r a t i thate when b the waking brain is confronted with co d ima bi ation, ra ve the ges; it atte in is confr herence (F t mes, fragmented information, to synthesize these fragments into o e v eitn attempts o m u n l p t k e t e s to s d s if the w 1 i t h surface, 9 9 9 ) . y n t hsense t h emakes narrative themes, even if the themes Its be e s i z eon the m e s ma little en t h e site(Holden e s aperceiving when you look deeper,it provides insight of thea kmind fragm little e n s e n s eand t and French 2002). It is believed that dreams act like a magic mirror on the s into surfac reflect the state of the inner soul. e, This book provokes the ability to see relationships between the fragments of our dreams, perhaps providing the readers a glimpse of their insight. Read Read like how you would try to read your own dreams. t h this i s bbook ook l ike h ow yo u wou ld try to rea d you r own dream STUDIO 9/ YEAR 5 - FALL 2015 - 4 MONTHS s.

THESIS BOOK: Repertoire of Dreams

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HOW TO OPEN THIS BOOK?

Each fragmented chapters are opened to form a complete picture; a complete story to be left in the mind of a dreamer. 6

7

5

4

3

2

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1 FRONT Fragments of each chapter collected together to from the book. The front cover is left as mirror to provoke reader to find an insight of their ownself.


SNAPSHOTS

1. CONCEPTS FOR THE PROJECT

2. SITE SELECTION AND SITE

3. CASE STUDIES 39


MODEL

1. JOURNEY FROM THE BOAT TO THE OTHER WORLD 40

2. FRAGMENTED SPACE AND ARCHITECTURE


SENIOR SHOWCASE- THESIS PROJECT

ARCHITECTURE OF NIGHT- MUSEUM PF DREAMS- FRAGMENTED REALITIES Award winning Project, Professor’s award- Senior Show case 2016 Thesis book with extensive research- Exhibited for AUD Book Exhibition 2016 Panel, Model, Sketches, Renders, Diagrams, Concept Evaluation, Site Research, Plans, Sections, Elevations Construction Details and Construction Documents were the part of the submission.

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BRIEF

The city of Dubai is constantly subject to a significant growth in all the fields. The culture is playing a vital role in the development of the community and Dubai has to take up the challenge of becoming an important cultural city among the region and internationally. To achieve this goal, Dubai authority decided to build several cultural anchors in the city of Dubai to promote the artistic life and the cross cultural dialogue. With regard to this, the city of Dubai has set up a base program and invited architects and designers to develop the project brief according to each specific site. They have to advise the client by defining the program, evaluating the surface required and defining the criteria to take into consideration for the project. The final scheme could include one single building or several buildings within the same site.

CULTURAL ART & EXHIBITION CENTRE: Bastak

STUDIO 8/ YEAR 4 - SPRING 2015 - PHASE 1 & 2- 4 MONTHS 42


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STRUCTURE HOLDING WALLS AND COLUMNS

“Architecture is the reaching out for truth” -LUIS KAHN

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DESIGN CONCEPT Bastakiya The site chosen is located in a deeply complex urban environment. For anything new to be built here, there needs to be a proper understanding of the complex behavior of the site. For that reason, the initial ideas just began with an understanding of the site; the project was shaped by the existing grid of the site. The building was orientated to invite people into the building, and the facade was opened a little towards the northern hemisphere to get the least amount of sun exposure to be sustainable with Dubai’s temperature. The Cultural Center to be build had to be inspired by the old Dubai’s cultural architecture; hence, the Bastakiya of Dubai was deeply studied. It mainly is interested in the creation of the void and mass in its natural form without any effort. This led to the courtyard free spaces letting nature in and invite neighborhood.

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SITE LOCATION DIAGRAM

BURDUBAI

BURDUBAI

BURDUBAI

CREEK, ABRA

1, DUBAI, UAE

2. BUR-DUBAI- OLD DUBAI

CREEK, ABRA

CREEK, ABRA

3 CREEK, ABRA

It is located in the heart of old Dubai and is surrounded by the only few remaining cultural architecture and elements like the Old Souq, Abra, Bastakiya, Shindagha, Fahidi Fort, and the Deira Souq to its opposite.

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SITE ANALYSIS SIGNIFICANT SITE LOCATION FOR A CULTURAL CENTRE The site responds to the program on several level. Opposite to the MEMOMA, this site is well connected to all the landmarks and futuristic museums in Dubai. It also has the potential of being the origin of the invisible radius that it creates. As a result it has the potential of being a magnetic figure gravitating all the museums towards it.

1. SIGNIFICANT LANDMARKS

SITE

2. ABRUPT INCREASE OF HEIGHT NEAR THE COAST

3. LANDMARKS AND TRANSPORT

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SITE ANALYSIS AND URBAN STITCHING

Section cut

1.TRANSPORT NETWORK 3. NEED FOR THE DEMOLISHING OF THE HIGH RISES AT THE COAST It obstructs the overall view of the buildings behind and also makes it difficult for the coastal wind to pass through. This abrupt height destroys the overall aesthetic of the Dubai Creek, making it less lively and open to public space. 2 PROPOSED ELEVATION DIAGRAM 48


SPATIAL PLANNING AND ZONING

Lobby with Temporary Exhibition Temporary Exhibition Auditorium Library Permanent Exhibition Workshops Accommodation

5. ZONING The Projects is open to visibility at ground level for the visitors. There are several entrances, following the existing road network gird, this gives permeability to the project and allows the visitor the feeling of being ‘inside-out’. The projects grows from private to public, both horizontally and vertically. The overall envelope is made of CORT-EN Steel. It has a perforated opening throughout. The visibility of these openings increases as the privacy of the building function decreases. It also changes with the need of the transparency. For example, the building envelop is most enclosed at the auditorium situated at the extreme right for its need to be in a closed space. On the top of the terrace, in isolation yet connected with all the units for its easy access, rests a library. The Library is in the shape of the bridge that go through all the units, and ends at the roof terrace garden. The readers can therefore use terrace as the space to read and interact.

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PLANS AND DRAWINGS 1. GROUND FLOOR The ground floor is permeable, open to public space. The envelope is covered with glass, with multiple access passing through the existing street network. This allows easy access to public and welcomes them into the cultural space. The cubes or the Bastak are oriented to the grid and the private spaces are enclosed within it. Back side lies the garden space, with the cubes to be functioned as exhibition spaces to the public passing by, hence attracting more public within the space.

1. GROUND FLOOR PLAN IN RELATION WITH SITE 50


PLANS AND DRAWINGS 2. MEZZANINE The Mezzanine looks down to the ground and have atrium with the green space that goes up until the terrace. Multiple building blocks are accessed through this level. Its an open space to the public and part of the cultural center. 3.BASEMENT Basement is used as a parking space and space for MEP. The main areas of the building can be accessed from here.

2. PARKING- BASEMENT PLAN

3. MEZZANINE 51


PLANS AND DRAWINGS

4. TERRACE This is an overall open space with multiple atrium reaching on to it. It acts as a podium, or resting space for the visitors and residents visiting the gallery. Its a space for interaction, for Dining, for social activity to happen and culture to build on to. All the levels can be accessed from here. 5. AUDITORIUM The floor plan of the auditorium follows the overall grid and gave multiple balcony to create an interactive environment. Auditorium ceiling and the wall, follows the same cubic/ bastak language.

4. THIRD FLOOR PLAN

5. DETAILED AUDITORIUM PLAN 52


PLANS AND DRAWINGS

6. ACCOMMODATION NORTH SECTION

7. WORKSHOP NORTH SECTION

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EXTERIOR VIEW

1. CREEK SIDE VIEW

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VIEWS

3. ENTRANCE TO THE EXHIBITION FROM THE CREEK SIDE

2. VIEW TO THE TERRACE FROM THE LIBRARY

4. BRIDGE OVERLOOKIG THE TERRACE

5. THE TERRACE- green space for human interaction and building culture beliefs. 15_ 55


BRIEF

Th e brief was to provide a shelter house the selected site to Philippines refugees. The idea is to provide housing that is modular, sustainable and affordable yet can provide lifestyle that can bring in the victims the sense of community and togetherness.

VILLAGE FOR EVACUEES: Philippines

STUDIO 8/ YEAR 4 - SPRING 2015 - PROJECT 2 -2 MONTHS 56


AERIAL VIEW OF THE VILLAGE FOR EVACUEES

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1. STREET VIEW OF THE VILLAGE

58


1. CONCEPT TO WRAP THE UNITS AND STITCH THEM TOGETHER AS ONE ELEMENT

2. CONCEPT IS TO CREATE SPACES BY WRAPPED CORROGUATED SHEETS THE CAN HAVE MULTIPLE FUNCTIONS LIKE SEATING, TERRACE AND SHADE DEVICE.

DESIGN CONCEPT The design idea originated after studying the Philippines victims and their sufferings The main idea is to provide them with shelter, which they can call home and where they can build a community and still feel connected. The purpose is to achieve diverse spaces by the simple modular construction. To achieve that, prefabricated mass is provided so that the habitant can self-build it and expand it in anyway. Offset prefabricated corrugated roofing provides shade from the Philippines sun and protects the evacuees from intense rain and winds. Inside the universally programmed buildings, units inset into each other to provide organized interior/ outdoor spaces. The walls and doors use scrap-shipping palate and corrugated material. Metal corrugated material repeatedly becomes floor, roof, and wall..

12_ 59


SITE ANALYSIS AND URBAN STITCHING SITE LOCATED IN PHILIPPINES Location was assigned to the island located in the Philippines for the victims who lost their shelter from the natural calamities like flood. The project was located with the least exposure of direct sun, and maximum view to the infinite seashore with a grid that overtakes the periphery of the island.

1. SUN ORIENTAION 60

2. SITE PALN AND SPATIAL SETTING OF THE UNITS


PLAN

3.LEVEL 1 SPATIAL SETTING

4. LEVEL 2 SPATIAL SETTING 13_ 61


SPATIAL PLANNING OF THE MODULAR UNITS The modules are of 2 types: 1. Studio bedroom- for friends -bunk bed with study- this has a larger patio space 2. two bedroom- for family- bunk beds with queen size bed space. These modules could be stacked to made of its function When stacked together- they can be made accessible form the outside ladder and become a camp for larger family

1 BEDROOM UNIT

3 BEDROOM UNIT

1 BEDROOM UNIT 62

2 BEDROOM UNIT

2 BEDROOM UNIT


SPATIAL PLANNING OF THE MODULAR UNITS

SECTION The section and elevation of this camp housing are not fixed to space and time. It evolves and changes as per the need of the family and growth of the refugees. For example, one module on another becomes a camp for a larger family. Whereas the sheet the warps the floor to walls to rood also becomes the shade and eating for the housing.

MATERIALS The refugee camp was made the most sustainable and cheap materials like corrugated sheet. Layered with Stucco Mesh, Insulation and wooden Plates. 63


EXTERIOR VIEWS

1. FRONT SIDE ELEVATION- ENTRANCE

2. THE FLOATING UNIT ATTACHED WITH TIRES FOR EVACUEES TO ESCAPE DURING CALAMITIES

3. OVERALL SIDE ELEVATION VIEW Elevation remains flexible throughout the process Refugees can build on this corrugated modulars and stack arrange them as required.

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VIEW INSIDE THE CAMP HOUSING

4. VIEW OF THE STREET- Housing units are made closer to each other so that the streets are narrower- providing necessary shade. At the same the envelope are not fully transparent for privacy of the refugees.

5. VIEW OF THE STREET- The overall units envelope and walkways shading devices are made out of corrugated sheets. These sheets that repeatedly changes its function to become roof, wall or floor, and also extends out to be the shading device and seating spaces 15_ 65


BRIEF

The city of Dubai is constantly subject to significant growth in all the fields. However, for all the unexpected calamities it has decided to keep itself protected and has proposed to design shelter house. Design a shelter house which is made by sustainable methods of construction for the localities to find shelter in case of crises of the environmental calamities. FOREST OF TREES

SUSTAINABILITY & SHELTER: Forest Shelter House

STUDIO 6/ YEAR 3 - SPRING 2014- PROJECT 1- 6 WEEKS 66


VIEW FROM THE BRIDGE/ MAIN ENTRANCE

67


NORTH EAST VIEW FROM THE BEACH

“All architecture is shelter, all great architecture is the design of space that contains, cuddles, exalts, or stimulates the persons in that space.” PHILIP JOHNSON 68


DESIGN CONCEPT FOREST OF TREES The site is located in a profoundly complex urban environment. For anything new to be built here, there needs to be a proper understanding of the complex behavior of the site. For that reason, the initial ideas just began with an understanding of the site; the project was shaped by the existing grid of the site. The building was orientated to invite people into the building, and the facade was opened a little towards the northern hemisphere to get the least amount of sun exposure to be sustainable with Dubai’s temperature. The Cultural Center to be built had to be inspired by the old Dubai’s cultural architecture; hence, the Bastakiya of Dubai was deeply studied. It mainly is interested in the creation of the void and mass in its natural form without any effort. This led to the courtyard free spaces letting nature in and inviting neighborhood.

69


SITE ANALYSIS DIAGRAM

W

2. PREVAILING NORTH WEST WIND MOVEMENT Multiple Openings are made so that cold wind comes in and hot air moves out. The building oriented in the direction of Wind. No outside source of Ventilation Required. The wind hits the column and provides cold air.

N S

E

1.SUN ORIENTATION ON THE SITE PLAN Building is directed towards North, to get the minimum light and also maximum View 70

3. STUDY MODEL OF THE PROJECT


DIAGRAM AND BUILDING ANALYSIS COLUMN STRUCTURE The artificial bamboo columns supports and sprinkles cold air to the atmosphere. It provides an overall shade to the building aswell, like the wood trunks of forest does. The columns are of different sizes and works also as building structure. The inside layer of the column is made of the steel structure where as the exterior is made of ceramic finish. The working of this column includes suction pulling the cold water from the canal. The building whereas is directed towards the NE Winds. When the wind hits the columns, the sprinkled water from the columns transforms this hot wind to cold natural cold breezy air.

1. DETAILED CERAMIC ELEVATION

3. STANDARD COLUMN SECTION

2. STANDARD COLUMN VERTICAL SECTION

Ceramic Columns

3m offset of canti is supported by ceramic columns

Building Oriented towards North Sun

Gallery

Open Archive

Reading Space Seatings

Offices

G.M Office

Emergency Facilities Machine Room

Lobby

High Rise Windows at basement

4. LONGITUDINAL SECTION 71


PLANS AND DRAWINGS 1. GROUND FLOOR The ground floor overall is connected by the floating bridge, which is an interior exterior space. Spaces like Exhibition Hall. Conference Hall, Restaurants, Laboratory, office and Emergency Facilities lies on ground floor. Its an overall spaces and all the spaces are well connected to each other. Also, the air ventilation and the lighting are all provided by the natural source.

LEGEND

1. GROUND FLOOR 72


EXTERIOR-INTERIOR

2. SEATING SPACE AT THE LIBRARY

1. VIEW FROM THE BRIDGE/ MAIN ENTRANCE

3. ENTRANCE HALL- MEZZANINE ON THE TOP 73


BRIEF

The given project aims at studying various lighting characteristics that may be used in the architectural design process. The interaction of natural and artificial light sources are important components of a successful work of architecture. Provided is 10m by a 10m box, located in free space. One can extract and add the extracted mass to this box. The task is to experience "sense" of light in relation to architecture.

This project was done in a group of two. My part included: developing concept, building floor plans, software model and renderings. Also, physical Model was done together.

ARCHITECTURE AND LIGHT: Kaleidescope World

STUDIO 5/ YEAR 3 - FALL 2013- PROJECT 2- 7 WEEKS 74


THE JOURNEY INSIDE THE LIGHT BOX

75


“It seems that colors vary according to the lights, because when any color is placed in the shade, it appears to be different from the same color which is located in the light. Shade makes colors dark, where as light make colors light when it strikes� LEON BATTISA ALBERTI 76


1. EXPERIENCING SHADES OF COLORS

2 CHASING LIGHT

3. FEELING OF BEING ENCLOSED IN A KALEIDOSCOPE

DESIGN CONCEPT Kaleidoscopic Memories The LightBox was visioned to be a walking kaleidoscope. The idea was to emphasize on the way sunlight or natural light creates the effects of shadows and light, darkness, and brightness and the kind of experience creates for the people walking through such a space. The project consisted of dynamic spaces such as ramps and stairs. While traveling in this dynamic space, the different colors create different patterns and shades. To see different patterns within a kaleidoscope, one has to rotate the kaleidoscope either clockwise or anti-clockwise. The spiral staircases give visitors the change in the angle of view and experiences as if he is turning within a kaleidoscope. The ramps are designed and placed in such a way that each ramp is overlooking the other, casting different colored and patterned shadows throughout the journey.

21_ 77


DIAGRAMS

LEGEND

1. CIRCULATION The circulation space with in the box do not break creating an overall experience.

2. LEVELS

78


BUILT IN FREE SPACE

3. AXONOMETRIC SECTION The Light box fragments in to layers, creating dynamic vertical and horizontal relationship. The openings on the facade provides a frame for the light to enter. The triangular space act as static space and at the same time provides dynamic vertical motion. The whole experience of this kaleidoscopic to always move from one space to other, and an encounter the variation of colors and joy.

4. A CUBE OF 10 M BY 10 M IN FREE HORIZON The project is made out of addition and subtraction of the cube to create a space where one can experience the sense light. There is no site, this is a box of imagination to let light in, for the visitor to embrace the sense of sight. Its a play of light and shadow, colors and joy, texture and touch. Its a journey that one takes to wander, to be lost and to find themselves in those colors. 79


INTERIOR SPACE

1. THE JOYFUL ENTRANCE TO THE KALEIDOSCOPIC WORLD 80

80


INTERIOR SPACE

2. COLORS REFLECTING DARK SHADES

3. EXTERIOR OF THE LIGHT BOX IN THE FREE HORIZON

4. COLOR LABYRINTH, EXPERIENCING EVERY SHADE OF COLOR

5. INTERSECTING RAMPS 22_ 81


BRIEF

To create a spatial Exhibition that lets you experience 5 spaces which includes Static, Dynamic, Ascending, Descending and Rhythmic. The visitor visiting this space should be able feel the sense of being in a journey within the space. The movement and the transition between one space to other, should be able to overall form a story.

SPATIAL EXHIBITION: Journey

STUDIO 2/ YEAR 1 - FALL 2012- PROJECT 1- 3 WEEKS 82


rhythmic

1. PHYSICAL MODEL TOP VIEW- smooth transition between the spaces. 83


MODEL

2. THE GRAND ENTRANCE DYNAMIC SPACE AND SEAMLESS CURVES 84

3. SEAMLESS CURVES AND MONOLITHS OF THE STRUCTURE


DRAWINGS

4. SKETCH SECTION OF THE SPACE PF THE STATIC SPACE

5. ISOMETRIC VIEW 85


1. SIDE FACADE CORT-EN ROUGH ENVELOPE AND SMOOTH SEAMLESS ROOF STRUCTURE

2. SEATINGS AND THE TREE OF LIGHT

3. ATLIER- PLAY OF LIGHTS AND COLORS

4. FRONT FACADE- WOODEN DOOR DETAIL

HAND MODEL MAKING: St. Ignatius Church by Steven Holl

SUMMER 1 2012: 8 WEEKS 86


5. EXTERIOR OVERALL VIEW 87


WORK

| ARCHITECTURE/ ENTERTAINMENT PROJECTS


BRIEF The excitement, adventure and antics of Top Gear converge in this multi-attraction environment Where families can explore and experience a variety of activities that capture Top Gear’s famous “petrol-head” culture. Rotating exhibition, fantasy RC car tracks, gaming stations, go kart’s and other features assure that there is always a reason to visit everything you are at Dubai. A tuner’s Grande-meets-gastropub will be everyone’s favourite pit-stop to have a pint, fish & chips and catch Formula One on race days. It should: • Capitalizes on the strong car culture in Dubai. • Skews male, but activities are programmed to appeal to the whole family; • An all-ages experience, but can attract slightly older children and teens

This concept proposal was done with the collaboration of the Retroactive. Edifice (my team) provided them with story boards, program, design intent and spatial planning. Whereas, Retroactive produced the renders and drawings for the concept proposal presentation.

ENTERTAINMENT: Top Gear Track Club EDIFICE | SEPT 2016, CONCEPT PROPOSAL : 3 WEEKS

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1. TOP GEAR GARAGE

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RENDERS/ SPACES TOP GEAR TRACK CLUB 1. TOP GEAR STUDIO STORE

Trick out and take home your very own remote control car or truck at this DIY store for automotive enthusiasts.

2. TOP GEAR OFF-ROAD ADVENTURE Get ready for an off-road adventure through some of the most grueling terrain, as you explore the deepest jungles.

3. TOP GEAR GASTROPUB

Buckle up and get ready to take a fun, automotive gastropub experience, where guests can watch classic Top Gear episodes and races around the world while dining.

2. LEVEL 1

4.TOP GEAR STUDIO STORE

3. LEVEL 2

5.TOP GEAR OFF-ROAD ADVENTURE

4. TOP GEAR GARAGE

Immersive, interactive experiences that allow guests to touch and explore super cars from the show.

5. STIG’S TEST TRACK

Buckle up and get ready to take a thrilling, high speed ride through many assessments of vehicle test while clocking your speed throughout the course.

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RENDERS/ SPACES

6.TOP GEAR GASTROPUB 93


BRIEF

HYBRID EDUTAINMENT RATIONALE: To encourage learning through interactive and fun-play, reflecting a feeling of entertainment rather than education. Story line and theme should mirror the learning process. Participation in the edutainment process should result in reward. Envisaged to be a family destination for entertainment across varying age ranges. OBJECTIVE: 1.Attract and amaze mall visitors 2. Bring footfall to the mall 3.Enhance longer stay in the mall 4. Favor repeat visitation 5. Provide universal appeal to all family members 6. Satisfy visitor and mall requirements 7. Achieve reasonable ROI This project was submitted as a concept proposal to the client. Edifice (my company) got selected to do the project by the client.

EDUTAINMENT CENTER: Science Lab

EDIFICE | MARCH 2017, CONCEPT PROPOSAL : 3 WEEKS 94

PRODUCTION STUDIO 45 m2

ADVENTURE CAMP142 m2 FUN LAB 134 m2

ENTRANCE

PRODUCTION STUDIO 20 m2 BOH 16 M2

SHOW BIZ 56 m2

ORTHOGONAL VIEW


SHOW BIZZ

95


BRIEF

Site B Seebland is situated in Central Alborz elevation at an approximate altitude of 3,100 from sea level. Among the incomparable features, this site is dominant over the peripheral areas besides spectacular and captivating Landscapes. This complex encompasses playing rides, greenhouse, restaurants, accommodations villas, observation decks, winter games and ski-resorts, Centre Area and finally suspension and cantilevered bridges at a height above 3000m from free sea level. Currently, the proposal is to reconsider chalet accommodation and reestablish it to the Glamping Location (Glamorous+ Camping) Location advantages are as follows: Enclosed by three highly populated provinces of Central, Semnan, and Mazandaran. Sitting alongside the growing tourism on the northeast side of Tehran Easy and safe access via Tehran -Firoozkooh Highway Overlooking the majestic Mount Damavand the majestic Surrounded by magnificent natural sceneries and clean, fresh mountain air. This concept proposal was made with the collaboration of the Edifice Associates before I joined Edifice. My part of this project was the concept proposal and graphic layouts of SITE A and design ideas and to introduce new activities for SITE B. Also, a proposal for the relocation of chalet accommodation to Glamping.

GLAMPING: Site B, Seebland

EDIFICE | SEPT 2016, CONCEPT PROPOSAL : 3 WEEKS 96

SITE B


SITE B

97


BRIEF

AMZ HOUSE The design of AMZ-House respects the proportion of the site and emphasizes the linearity of it. It is composed of 2 main elements: the vertical and the horizontal. The two horizontal wings comprise of the main living and sleeping rooms and are connected by a transparent lobby that overlooks the veranda and the swimming pool. The longitudinal element emphasized on the elevation takes acre of all the main circulation. Natural materials such as wood, stone, and travertine have been used to highlight these vertical and horizontal elements and to give the house a natural feel.

This project was designed by the Japanese design Architect Takishi Maruyanma. My part of the project included 3 building ,model making. client presentations and renders,

RESIDENTIAL: AMZ House

ARCHIDENTITY | JUNE 2017, SCHEMATIC DESIGN : 6 WEEKS 98


FRONT SIDE ELEVATION- AMZ HOUSE

99


BRIEF

BOAT HOUSE Located on the island of UAQ the proposal is to create a vacation mansion houses for the luxury lifestyle which is more dynamic and modern. The client desires a house that is iconic and modern. The overall plot is 750 by 300 meter. The house must contain two living rooms-family and guest, two kitchen- greasy and a bar, two dining rooms- family and guest, one study, one guest bedroom, three bedrooms, one master bedroom- all having a view of its own. This is the first design project I have done for PNC Architects as a lead designer. The entire project from design to spatial is taken under by me, and the Rendering unit of the firm produces renders for the client presentation.

UAQ MANSION VILLAS: Boat House

PNC ARCHITECTS| FEB 2017, SCHEMATIC DESIGN PHASE- ONGOING 100


1. POOL SIDE ELEVATION- PROPOSAL 3

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PROJECT EVOLUTION PROJECT DEVELOPMENT

The form started as a simple box unit that geometrically aligned to each other horizontally and vertically. This form later takes a shift and break free from the perpendicular grid by allowing the uncertainty of each box to float at different angles- like boats parked at sea port.

102

2. PROPOSAL 1- POOL SIDE ELEVATION

4. PROPOSAL 2- POOL SIDE ELEVATION

3. PROPOSAL 1- OVERALL MASSING

5. PROPOSAL 2- FRONT SIDE ELEVATION


DESIGN CONCEPT Boat House Floating Boats on a deck: The concept revolves around giving a visitor a vacation house which is far from the city life. It is a house the visitor comes to get their soul in touch with nature. To feel the limitlessness of the nature that the house has to offer. The house its self is a large deck port. While all the spaces float in the water bodies like boats, the mangroves vegetation covered the overall house. This boathouse constantly looks at the infinity pool overlooking the ocean or canal.

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PLANS AND DRAWINGS LEGEND - GROUND FLOOR 1. ENTRANCE 2.FOYER 6M X 5M 3. VISITOR PARKING 4. PARKING GARAGE - 10MX 50 5. DRIVERS ROOM 4.8 M X 2.1 M 6. DRIVERS ENTRANCE 7. POWDER ROOM- 3.2 M X 2.5 M 8. BEDROOM 01 GUEST- 7M X 5.6 M 9. MAJLIS 7MX 7.3M 10.FORMAL LIVING 6.2 M X 5.3M 11. FORMAL DINING 6.2 M X 7.5 M 12. SHOW KITCHEN 6.2 M X 3.9 M 13. POWDER ROOM 2- 2.3 M X 1.7 M 14. MAIN KITCHEN 6.7 M X 3.8 M 15. UTILITY/ LAUNDRY 1.8 M X 3.8 M 16. MAIDS ROOM 6.5 M X 2.3M 17. SEATING AREA 18. FAMILY GARDEN 19. INFORMAL LIVING 5.9 M X 7.1 M 20. INFORMAL DINING 6.8 M X 3.3 M 21. FLOATING BRIDGE 22. OUTDOOR PARTY AREA 23. SWIMMING POOL 8.0 M X 20.M 1. PROPOSAL 1- IN PROCESS PLAN- GROUND FLOOR

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PLANS AND DRAWINGS LEGEND - FIRST FLOOR 21. BEDROOM 02- MASTER- 6.2M X 11 M 22. BALCONY- 9.4 M X 3.5 M 23. BEDROOM 03- 5.9 M X 5.8 M 24. BALCONY-5.8 M X 2.2 M 25. DECK 4.5 M X 1.9 M 26. BEDROOM 04- 6.4 X 5.9 M 27. OUTDOOR YOGA DECK- 4.5M X 7.2 M 28.BEDROOM 05- 6.8 M X 5.6 M

2. PROPOSAL 1- IN PROCESS PLAN- FIRST FLOOR

105


BRIEF

tHE SACRED GEOMETRY OF MANDALA “A mandala is a spiritual and ritual symbol in Hinduism and Buddhism, representing the universe. In common use, “mandala” has become a generic term for any diagram, chart or geometric pattern that represents the cosmos metaphysically or symbolically; a microcosm of the universe.” Based on the plain geometry of square that rotates to form Octagon. Signature project is the luxurious residential tower designed by Design Architect Scott Peter of Sobha Developers. The plan follows the symmetry throughout the project. The design of the project comes from the head design Achitect at PNC Architects, Scott Jezzard. My role in the design team is to develop concept design reports, client presentations, review plans and layout design options for ground floor plan, Amenities and unit plans.

HOSPITALITY: Signature

PNC ARCHITECTS| NOV 2017, SCHEMATIC DESIGN PHASE- ONGOING 106


EXTERIOR VIEWS OF THE SIGNATURE TOWER

107


CONCEPT DEVELOPMENT

1. SACRED GEOMETRY- PURE SHAPES-APPLIED TO BUILDING FROM TO FORM MADALA IN 3D 108


SPACE STUDY AND DRAWINGS

2.ISOMETRIC CONCEPTUAL SECTION

3. GROUND FLOOR PLAN OCTAGONAL BOUNDARY BEING CONTINUED THROUGH OUT BUILDING 109


INTERESTS | PHOTOGRAPHY


I believe everyone has a dreamer in them, evolving, hiding, struggling somewhere deep in their soul. Maybe, we are just too afraid to let it out. We all have different faces, different masks that we wear to hide our true selves. The truth is, we are all dreaming and struggling to be free from the grasps of the society and its norms. We all follow the trends of our society, like a flock of sheep, blindly doing what is expected from us. All we have to do is to is wake up from our dream. All we have to do is break free from our masks, and let our true selves out and our souls to be free. We will learn to love unconditionally again. We will all strengthen our faith in God, and in the goodness of humanity. We will believe in belief again. We will all be fearless, curious, questioning. We will find our world a much happier place. Through my series of photographs, I wanted to portray transition state of different people out there where they finally start to wander, question and dream. Where they allow themselves to discover their free soul. Where they all can be happy.

DREAMER 112


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What she is, what she could be Where the society has put her, where she can take society to? What the world has offered her, what she could offer the world? Started in 1960; Feminism is that chapter in books of History which started but could never end. Women all over the world are still fighting for equal rights. Is it that difficult to accept her grow like you do? Is it that difficult to accept that she could have much more to offer world than wash dishes and take care of children? Is she not a child of God just like you? Then why is she put down when she dreams to be a leader? Then why is she put down when she wishes to fight for her freedom of speech? Then why is she expected to be that someone who shouldn’t step out of house in more then half of the world? Then why does she has to carry a luggage of fear with her all the time? I am not saying that taking care of kids, doing household chores is a wrong thing and she shouldn’t be doing it at all. What I am saying is the fact that it is expected only by her is wrong. She has way more to offer this world than that. Let her gender not decide what she is capable of but let her skills do. It’s her right to dream of what she wishes to become, it is her right to be where she wants to be, and it is her right to question. You and I are no one to tell her what she is meant to do. She is not an object. She is not anything below you or me.

FEMINISM 116


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Madhuri Machchhi Architecture Portfolio  

Architecture- Work and Academic Projects Photography series

Madhuri Machchhi Architecture Portfolio  

Architecture- Work and Academic Projects Photography series

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