Mishori Dunraj Portfolio

M I S H O R I

D U N R A J

PORTFOLIO

Duomo di Milan roof

MISHORI DUNRAJ mishori.d@gmail.com

01 THESIS [2018]

HOUSING THE SOCIAL: TESTING GUIDELINES FOR AN URBAN COMMUNITY

02 AD2

[2017]

ORAKEI MARAE DEVELOPMENT

03 AD1

[2017]

VIA RAETIA MARKETHALL

04 D6

[2016]

MOVE HUB

05 D5

[2015]

A N A - G LY P H

06 MODELS

[2017-2018]

VARIOUS MODELS FROM WORK EXPERIENCE

01 HOUSING THE SOCIAL: TESTING GUIDELINES FOR AN URBAN COMMUNITY MArch(Prof) [2018-current] Supervisor: Lynda Simmons DRAWING | MODELS | RHINO | | ILLUSTRATOR | PHOTOSHOP | 3D PRINT

Housing pressures in favour of ‘quantity over quality’ can allow homogenization of the built environment to prevail; consequently the humanness of the urban environment can be overlooked. The social value of resulting architecture can be left subsidiary to political, economic and aesthetic factors.

This thesis therefore prioritizes social awareness as a key design driver, among the many complex issues of social and affordable housing design, in response to the current agenda for the re-development of 139 Greys Avenue.

The existing 87-unit modernist social housing building will be replaced with a new 280-unit apartment complex to rehouse the state tenants. The proposal falls into the cyclic nature of ‘un-slumming and re-slumming’ , where the intensification of the pre-existing condition could resultantly mirror the original condition that was trying to be solved.

Though the proposed brief stipulates a positive effort to provide social and communal facilities to create a ‘sense of community’, this thesis questions how architects can design beyond the idealistic notion of community and rather design for the self-creation of a resilient, urban community.

This study looks at and tests guidelines to facilitate the development of an urban community, within the framework of mixed urban housing on Greys Ave. It focuses on social cohesion, community resilience and heterogeneity in the urban fabric. The guidelines therefore seek not to instruct or control aesthetic but allow for an ongoing social governance and vitality.

This project draws upon the analysis of the communal, social space of informal settlements and modernist social housing ‘solutions’. As a result, priority of communal , shared space is privileged over private, domestic space.

The design respectively comprises the clustering of mutual spaces between public and private realms, as the intrinsic connector of space, whilst specifying social diversity, density and security. The designing of parts therefore test the guidelines within an iterative system of response, subsequently allowing for an ongoing and mutually responsive relationship between architecture and social policy.

AOTEA SQUARE

QUEEN STREET

CYCLE PATH

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Y RE

E AV

G

MYERS PARK

YMCA

KADIMAH SCHOOL

PITT STREET

KRD

SITE PLAN OF GREYS AVENUE

SCALE 1:2500 N

COMMUNAL, SHARED SPACE OF INFORMAL SETTLEMENTS IN SOUTH AFRICA, INVESTIGATION THROUGH COLLAGE

CONCEPT DRAWINGS AND 3D PRINTED RESIN MODELS

MAX BUILDING HEIGHT FRONT ROW: 30M BACK ROW: 20M MIN BUILDING HEIGHT:10M

STREET ELEVATION SETBACK

MI N1

.5M

4

10M

30M

3

6

2

WELL LIT STREET SETBACK

MIN 30 DEGREE ANGLED ROOF, BACK ROW

10

MIN 3M WIDE SIDEWALK

MIN 3.2M FLOOR TO CEILING HEIGHT FOR APARTMENT

STREET ELEVATION SETBACK

7

8

11

12

MIN 50%

10M

MAX BUILDING HEIGHT FRONT ROW: 30M BACK ROW: 20M MIN BUILDING HEIGHT:10M

MIN 50% GLAZING AT GROUND FLOOR

FIRST ROW: COMMERICAL TENANTS AT GROUND FLOOR, 30% OPEN DURING EVENING, NO ALCOHOL

DROPOFF ZONE IN FRONT AND SIDE ONLY NO INTERNAL CARPARK RECESSED BALCONIES ON BOTH ENDS, ENCLOSED WITH SCREEN OR LOUVERS

MI N

1.5

4

M

3

30M

4M

GROUND FLOOR HEIGHT BACK ROW: MINIMUM 4M

9

3.2 M

6M

GROUND FLOOR HEIGHT: MINIMUM 6M FRONT ROW

3M

5

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5

6

3M

EXAMPLE OF GUIDELINES

WELL LIT STREET SETBACK

MIN 3M WIDE SIDEWALK

13

14

SECURITY ACCESS ABOVE GROUND FLOOR

DIFFERENT ARCHITECTS TO DESIGN ON ADJACENT PLOTS

6M

MIN50 % GLAZING

MIN 5M

STREET INTERFACE SECTION

TENANCY KEY HOUSING NEW ZEALAND KIWIBUILD FEE SIMPLE- OPEN

FRONT SECTION SHOWING OWNERSHIP EXAMPLES

WIN

TE

R

RIN SP N UM UT G/A

MAX 5M

MIN 6M

MAX 25M

ER SUMM

LIFTS AND STAIRS: 50% VISIBILITY

ENTRANCE UPON COURTYARD

1 1 3 3

3

1 LAUNDRY 1

2 KITCHEN 3 VOID

1

4 HERB GARDEN 5 GLASS FLOOR 6 SHARED

5

CIRCULATION RAMP

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7 ENTRY

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3

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4 3 6

AXO

GROUND FLOOR PLAN

02 ORAKEI MARAE DEVELOPMENT MArch(Prof) Semester 2 , 2017 Tutor: Lynda Simmons Client: Ngati Whatua Orakei DRAWING | MODELS | RHINO | ARCHICAD | ILLUSTRATOR | PHOTOSHOP

Ngati Whatua Orakei approached the University of Auckland to help them with generating ideas for a new administration block and ‘waiting’ pavilion as an extension to their existing Marae complex. There is an ongoing relationship with Ngati Whatua post completion. After the final presentation at the University a few students presented their proposals to Ngati Whatua. From this presentation they have called upon a group of us to present again next year to a larger amount of their whanau.

In parallel to learning about Maori cultural design values, this studio started off with a drawing and modeling workshop. This was an iterative process that created a cyclic method where modeling and drawing responded to each other. Line drawings derived from the making process dictated the design methodology and design tectonic.

This design was conceived from the interior first, rather than focusing on the form of the building. This was done to emphasis the atmospheric qualities created in each space, and to diminish the perception of the building as an object.

Most drawings were done with charcoal or a graphite stick. Whereas the concept models started off with a mixture of plaster, sugar and fabric. They were later translated through 3D printing.

In order to create a new development on the site that will exist and define the present, physical landscape, the past must be acknowledged. By creating a connection with the spiritual landscape, the project will be intertwined as one with the past.

The connection between people and place holds great significance within the Maori world view and cultural values, as the “past and the people of the past are always felt in the present”. This concept is also detailed through a core Maori value of Wairuatanga. Which revolves around the idea of the ‘immutable spiritual connection between people and their environments.’

The attention to the ground also creates a reference to the story of Tumutmuwhenua (the accredited ancestor of Ngati Whatua Orakei) emerging from the ground.

The proposal therefore consciously aims to create a social, cultural, and physical connection with the landscape, whilst respecting the environment and values of Ngati Whatua Orakei.

The aim is to “experience the building the same way we experience land or people, through a series of steps in time.” Resultantly drawing the focus to being within the landscape, rather than the Western notion of looking outward to admire the landscape.

The design aims to emphasis the journey from ground to roof through use of light, as Tumutmuwhenua emerged from holes in the ground towards the sky.

To further reiterate the connection with the ground and the wider landscape.

The materiality of the public spaces takes reference from textures and surfaces found within the conceptual modeling process, and the surrounding volcanic landscape.

A mixture of Basalt and scoria are used to reiterate a relationship with the volcanic ground and the adjacent North head and Rangitoto, of which the site faces. Kauri gum is used to create a yellow warmth and atmospheric quality similar to what was depicted in the models through the use of sugar. The gabion technique is used for the roof of the waiting space and for the columns/walls of the admin building. The light shining through the rock filled cage of the gabion fills the space a diffused, mottled light.

Resultantly the contrast in light conditions, from dark to diffused light demonstrates the difference in public and private spaces and further reiterates a connection between the ground and the light from above.

CONCEPT SKETCHES

3D PRINTED TECTONIC CONCEPTS

CONCEPTUAL ATMOSPHERIC SECTIONS FROM MODELS

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SITEPLAN

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N 1:1000 SITE PLAN

1:200 FLOORPLAN 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

FLOORPLAN

COMMUNITY MULTI USE SPACE ENTRY/GALLERY/RECEPTION STORAGE OFFICES LARGE MEETING ROOM SMALL MEETING ROOM KITCHENS WC WAITING PAVILION WAHA ROA WHARENUI SLEEPING ADDITION ATEA WHAREKAI PATHWAYS

1 NEW ADMIN BUILDING 2 WAITING PAVILION 3 MARAE COMPLEX 4 SLEEPING ROOM ADDITION 5 EDUCATION CENTRE WEAVING WORKSHOP 6 7 ARTS CENTRE 8 NUSERY EXTENSION 9 PAPAKINGA HOUSING 10 COMMUNITY GREEN SPACE/PARKS/GARDENS 11 CARPARK 12 NEW FLAX PLANTING 13 DROP OFF ZONE 16 SCORIA AND BASALT PATH

1:20 ENTRY SECTION 1:20 MEETING ROOM SECTION

1:20 COURTYARD TO MEETING ROOM SECTION

DETAILED ATMOSPHERIC SECTIONS

ATMOSPHERIC PERSPECTIVES OF PAVILION, WAITING AREA AND MULTI USE SPACE, RESPECTIVELY

SECTION ACROSS SITE OF WAITING PAVILION AND ADMIN/COMMUNAL BUILDING

SECTION OF SCHEME IN RELATION TO THE WAHRENUI AND ATEA

1:50 SECTION

03 VIA RAETIA MARKETPLACE MArch(prof) Semester 1 , 2017 Tutor: Mike Davis + Sacha Milovejic Presented at the University of Innsbruck, Austria Location: Scharnitz, Austria | RHINO | 3D PRINTING | ILLUSTRATOR

The dramatic gateway to the Alpine environment and the North Tyrolean region begins at the narrow aperture of Scharnitz pass, Austria. Historically the pass has been a thoroughfare for trade, posing as Austria’s first point of contact with the Via Raetia. Since Roman times, the Via Raetia has linked the more populated cities of Southern Germany and Northern Italy, by means of a simple stone path cutting through the East Alps.

Through a process of articulating references to the Roman trade road, a market place will sit in the heart of Scharnitz. The market will promote local Tyrolean goods and produce such as; the Tyrollean felt hat, Toggin, Graukäse, Kiachln, Krapfen, and Tyrolean speck.

A typical market hall typology may not socially and economically benefit the small town of Scharnitz. As the market may only occupy limited time frames and due to alpine weather conditions the market may not be able to function in adverse weather conditions. During the times where there is no market, the market hall would not serve as much use to the town.

Therefore, a flexible market space that serves a dual purpose as a public space year round, would thrive better.

A chimney, harvesting a fire will aim to draw those in, creating a flexible social space wrapped around a sculptural gathering point.

Located on the intersection between the Insbruckerstrasse, main road, and Bahnhofstrasse, train road, a focal point in the town is created.

The market space is aimed at drawing in both the local people of Scharnitz into a social shopping environment and inviting the visitors passing through to experience local Tyrolean products.

The corner site signals in the direction of the path leading to the Roman road. Additionally creating a connection between the market space and the adjacent street scape.

The relationship between the extruded ground and the road is a crucial theme in the construction of the Roman road. The portion of the Via Raetia that cuts through the Alps is defined by specific construction techniques that make it unique. Such as the use of the abundant limestone and cuts and grooves on the surface of the road.

Therefore areas in the market space are defined through incisions and extrusions from the ground plane, referencing a continuation of the limestone road.

The articulation of the market space through these gestures will expectantly aid in regaining the social and functional space of Scharnitz.

CONCEPT SKETCHES

CONCEPT MODELS

MODEL- 3D PRINTING, LASER CUT ACRYLIC, HAND CUT CARD

FULL SITE SECTION

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9

1

2

8 3

13

4 11 12

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5

6

7

1:100

FLOORPLAN

1 FELT

2 FRESH FRUIT AND VEG

3 CURED MEATS

4 GREY CHEESE

5 PASTRIES

6 SKI STORAGE

7 BIKE STORAGE

8 MEAT PREPERATION KITCHEN

9 MARKET TABLE STORAGE

10 WC

11 CHIMNEY

12 FIREPITS

13 SEATS

14 PATH TO ROMAN ROAD

1:200

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SITE PLAN

PUBLIC

VEHICLE

BIKE

PEDESTRIAN

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ROOF

A 1 2 3 4

CHIMNEY

GROUND PLANE

B

5 6 7 8

C

9 10 11

04 MOVE HUB BAS Semester 2 , 2016 Tutor: Jerome Buckwell + Anna Synge (JASMAX) RHINO | ARCHICAD | ILLUSTRATOR | PHOTOSHOP

The focus for this project was to create a mixed use development that would exist in the near future, benefiting the needs of future Aucklanders.

The building focuses on the future of work/ office life and future housing problems.

An emphasis on using engineered timber products such as CLT, LVL and glulam was also a key point for this studio, however with the intention that within the time frame of the project the projects would be more developed by then in order to create such an extensive structure.

This project was located alongside Grafton gully cycle way, adjacent to the motorway in Auckland.

The purpose of this building is a hub to promote sustainable transport in Auckland. It is essentially a ‘park and ride’. The focal group was on commuters, traveling from the suburbs or wider Auckland region to the city everyday.

Since Auckland is built upon cars and cars play a key role in the structure of everyday life in Auckland, there was an emphasis on electric cars.

Therefore a large portion of the buildings program revolves around a car stacker for electric cars, that allows the cars to be charged whilst they are parked there the whole day. The building focuses on flexibility and adaptability, catering for the potential reduction of cars in the future.

Therefore there have been ‘pods’ designed to the dimensions of a car park which allow them to be fixed together to create numerous arrangements to cater to different needs. It is thought that as the demand for cars becomes less and the demand for housing becomes more, people can rent or buy one or some of the car parking slots where the pod can be fixed into to act as a short stay apartment. The pods would also be moveable so they could be taken out of the building through the car stacking system and hooked on a trailer to be used as a tiny house.

As this projects focal group were people living in outer Auckland regions who worked in the city, by creating a multi purpose pod it would give them greater reason to invest in the concept.

The other portion of the building allows for flexible, mixed use spaces.

Such as co working spaces, cafés and necessary amenities for commuters such as a supermarket, and a bike shop in-case they needed to bike from the building to their work.

PODS

CAR STACKER

TECTONIC DETAILS

INTERIOR OF MIXED USE SPACE

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ground (3)

1:50

#DrgID

3

mezzanine 1:50

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#LayID

ground (3)

1:50

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1

1 7

#DrgID #LayID

GSEducationalVersion 3

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ground (2)

1:50

GSEducationalVersion

EXAMPLE OF POD FLOOR PLANS F

PODS THAT FIT INTO CAR STACKER

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GSEducationalVersion 3 301

05 ANA-GLYPH BAS Semester 1 , 2016 Tutor: Uwe Reiger Part of group project Built installation RHINO | UNITY 3D | KINECT

This spatial installation sought to test the level at which we interact with physical space within the virtual world.

Anaglyph is a form of 3D visual display system, reduced to the colours of pure cyan and red.

The installation augments a physical setup with digital informal by using stereo projection system to generate a 3D environment.

Using Xbox kinect’s motion capture system and 4 laser projectors the animation generated using the gaming development software of UNITY 3D and forms created on rhino, the 4m x 8m tall curved screen creates an interactive and immersive environment.

This allows the user to control the digital spatial environment by gestures within a physical environment.

This was a group project, consisting of 15 people which all contributed through different development tasks and all contributing to the construction of the screen. The final screen design was developed from a winning design proposed from a smaller group of three, of which I was a part of.

I also helped with material and colour testing. Which included testing different materials for the screen construction, screen colour, cyan and red colour testing and creating customised 3D glasses. All of these tests were done to optimise the visual clarity of the projected animations and to enhance the users experience.

The final screen was made out of polycarbonate sheets painted an optimised shade of charcoal and structurally supported by steel tubing, scaffolding and wire.

Each member of the team also developed their own animation to be projected on the screen. This involved creating the visual forms in Rhino and testing different scripts (using C#) on Unity which controlled how the user would interact with the information.

The group agreed upon physical gestures that the users would use to control the animation. For example, opening both arms horizontally to expand the object.

The result was a fully immersive installation that allowed the user to control a space by moving their body whilst viewing a 360 experience within the space. Therefore creating a spatial sense within an alternative level of virtual reality.

DEVELOPMENT OF ANIMATION

TESTING ANIMATIONS ON PROTOTYPE SCREEN

VISUALIZATION OF SCREEN

MATERIAL TESTING

DESIGN OF 3D GLASSES

CONSTRUCTION OF SCREEN

FINAL SCREEN CONSTRUCTION

FINAL INSTALLATION IN USE

06 MODELS FROM WORK EXPERIENCE MArch(Prof) Semester 2 2017, Semester 1 2018

RHINO | REVIT | 3D PRINTING| LASER CUTTING

Through the ‘open desk’ internship myself and another intern constructed the model for a proposed commercial office building. The internship was over the course of two full weeks and included remodelling the truss system, prototyping the model, visiting the site of the future building, testing 3D prints and making the final model.

The primary truss structure was 3D printed, which required remodelling the Revit file into Rhino to enable printability. The rest of the model was hand cut out of foam board, Perspex and card and the façade panel laser cut.

The model was medium sized and scaled around 1:100. This allowed the proposed building to be tested and changed in order to proceed onto the next stage of development.

A proposed three storey house model was developed to allow the client to have an understanding of the design. The model was of the scale 1:200 and included internal and external construction. The Archicad file was adapted into Rhino to create a laser cutting file, which was cut out of MDF and brown card. A prototyped sectional model was made prior to the construction of this model. This allowed an understanding of how the model was put together internally and how it largely affects the exterior construction. The final model was then gifted to the clients for their own use.

Portuguese Pavilion, Alvaro Siza

N: MISHORI DUNRAJ P: 0211527697 E: mishori.d@gmail.com