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MUSTAFA LOKHANDWALA

ARC 201

1004150616 HOW TO DESIGN ALMOST NOTHING PROFESSOR- FIONA LIM TUNG INSTRUCTOR- YVONNE POPOVSKA TA- NILOUFAR JALAL- ZADEH

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HOW TO DESIGN ALMOST NOTHING The goal of this course is to provide an introduction to the architectural design process, critically applying various representational strategies and conventions to examine spatial relationships and the qualities that define space itself. The studio is structured as a series of projects that simultaneously develop technical skills and conceptual thinking. Based upon the studio method, students are expected to work independently. Paradoxically, designing Nothing means removing from the design input issues of cultural aesthetics, social systems, environmental ecology, formalism, and narrative. Yet, one might ask, what are we then left with? Is it possible to structure a discussion about space around... nothing? Contents Project One: Line 4-11 Project Two: Plane 12- 23 Project Three: Volume 24-48

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Project One: Line Project Word- In/Out- The Obfuscation of space

For the first excercise we had to design a series of spaces within the form illustrated below using only vertical surfaces and openings. The 16 columns were to be 6 meters high at most, resting on 2m of ground. These spaces may exceed the boundaries of the columns but should remain within an assumed “site� or perimeter that is 16x16 meters. We were only allowed to add vertical surfaces and openings. Using these two elements we had to create 7 spaces within the site. For my design the word I choose was In/Out. The reason I picked this word is because I tried to question what defines a space. Is it 2 walls, fences, various hieghts of vertical surfaces that differentiate one space from another.

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M O D E L P H O T O S

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Project Two: Plane Project word- In/Out

For the second excercise we had to design a series of levels within the form illustrated below using only horizontal surfaces and links between (stairs and/or ramps). The 21 columns are load bearing and were assumed to be 12 meters high at most resting on 4m of ground. The horizontal planes that we added in this exercise may exceed the boundaries of the columns but should remain within an assumed “site� or perimeter that is 16x8 meters. One or more of these levels had to extend below ground. We could add balustrades. Using only horizontal surfaces, stairs and/or ramps, the form was to be subdivided into:7 or more levels. The design I made was inspired by Giovanni Battista Piranesi.

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M O D E L P H O T O S 20

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Project Three: Volume Project word- Inverting- The obfuscation of space

The third excercise was divided into 2 parts 3A and 3B. For 3A we had to design a series of enclosures within the form illustrated below distributed in plan and section and linked by stairs and/or ramps. The 16 columns are load bearing and must be 12m high at most resting on 4m of ground. The rooms could exceed the boundaries of the columns but should remain within an assumed “site� or perimeter that is 16x16m. These rooms must aim for both sub- and super-terranean exuberance and should explore the potentials of the ground. Using a combination of links, floors, walls, roofs and openings the form is to be subdivided into: 7 spaces. For 3B the same form was given to us however, now there was a program that needed to be addressed within the design. The University has decided to address the shortage of available enclosed study spaces by building a small satellite building behind the Goldring Centre with unique study spaces that can be reserved in advance by anyone in the undergraduate community. Design this series of study spaces on the former site of the Trinity College Tennis Courts (i.e., the parking lot behind the Goldring Centre for High Performance Sport). Beginning with the combination of links, floors, walls, roofs and openings proposed in Exercise 3(A), continue to develop this form so that it is now subdivided into 7 fully enclosed spaces.

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My design involves the obfuscation of space by inverting the ground level negative space and forming it as positive space on the 1st level and so on. The basement in my design takes the element of earth and brings it within the man made structure as part of the ground. This makes the users feel and question where they are, within a space or outside a space? Furthermore I have used balastrades all around my higher floors with a variation of windows and wood panelling. This again is to confuse the user about which space they are part off. The basement level has trees which is inverted in another side of the building on higher floors. I wanted the user to feel as if they are within a natural environment.

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Basement Plan

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Ground Floor Plan

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First Floor Plan

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This is a combined plan of the basement, ground and first level (in the order mentioned) to show how the inverting of the design takes place.

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MODEL 40

PHOTOS 41


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Profile for Mustafa Lokhandwala

ARC 201 Portfolio- Mustafa Lokhandwala  

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