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GILBERT HILL -ANDHERI, MUMBAI, INDIA

COEXISTENCE THIS PORTFOLIO IS BASED ON THEME OF IDEAS AND REALITY COEXISTING,

SHOWING

POSSIBILITIES

OF

DESIGNING

AND

CONCEPTUALISING SPACES WHILE OPENING IT TO WIDER SCOPE OF DISCUSSIONS, IDEOLOGIES, STORIES & HUMAN PSYCOLOGY.


“THE WORK OF TODAY IS THE HISTORY OF TOMORROW AND WE ARE ITS MAKERS.” –JULIETTE GORDON LOW


CURRICULUM

RAV I

VITAE

Nationality-INDIAN

THAKKER

31-07-1995 ravi.thakker317@gmail.com (+91)9833283312

ABOUT MYSELF:

(+91)7977602167

I AM AN ARCHITECTURE STUDENT, I WAS ABOUT 12 YEARS OLD WHEN MY PASSION FOR ARCHITECTURE BEGAN, AND IT CONTINUES TILL DATE. COMING FROM A BACKGROUND OF NO ARCHITECTS ABSOLUTLY, I HAVE CHANNELIZED MY CREATIVE PERSONALITY THROUGH ART AND ARCHITECTURE. APART FROM BEING FOCUSED, DETERMINED AND PERTICULAR AT WORK I PROVIDE POSITIVE VIBE AROUND. I HAVE CURIOSITY TO LEARN AND EXPLORE NEW THINGS. I HAVE GOOD COMMUNICATION SKILLS AND CAN MANAGE A TEAM VERY WELL. I HAVE GOOD LEADERSHIP QUALITIES AND CONVINCING POWER.

MUMBAI,INDIA 400077. SKYPE- ravi.rv317 LINKEDiN- Ravi Thakker INSTAGRAM-rv317

I LOOK UP TO PROJECTS FORM BJARK INGLES AND PETER COOK

ARCHITECTURE AS A PROFESSION FOR ME:

e d u c a t i o n

I BELIEVE THAT ARCHITECTURE IS MORE THAN A PROFESSION, IT’S RATHER AN EXPRESSION OF THE VERY TIME AND ITS NEEDS. AS AN ARCHITECT YOU GET THE RESPONSIBILITY TO SHAPE THE FUTURE SOLVE THE PRESENT ISSUES AND REINNOVATE THE HISTORY.

2017

L O N G

S T O R Y

S H O R T

STUDYING AT ACA- ADITYA COLLEGE OF ARCHITECTURE. LOCATION – BORIVALI,MUMBAI,MAHARASHTRA,INDIA. QUALIFICATION: B.ARCH (3RD YEAR) 2014

H

O

S K E TC H I N G

WATCHING MOVIES

B

B

TRAVELING

READING AND OBSERVING PEOPLE

I

E

S

PHOTOGRAPHY

M U S I C

DANCING

C

A

D

E

M

I

C

AWARDED STUDENT OF THE YEAR IN 1ST (2014)AND 2ND (2015) YEAR IN ARCHITECTURE.

GRAPHICS TEAM HEAD OF COLLEGE IN 2ND(2015) AND 3RD (2016) YEAR ARCHITECTURE.

LOCATION – GHATKOPAR,MUMBAI,MAHARASHTRA,INDIA. QUALIFICATION: AS/A LEVELS -(IGCSE BOARD)-SCIENCE. 2012

S.G.K.M INTERNATIONAL SCHOOL GHATKOPAR. LOCATION – GHATKOPAR,MUMBAI,MAHARASHTRA,INDIA. QUALIFICATION: SECONDARY EDUCATION -(IGCSE BOARD)

2002

P HILO SO P HIE S

A

UNIVERSAL SCHOOL GHATKOPAR.

RAMJI ASHER HIGH SCHOOL GHATKOPAR. WRITING

a c h i v e m e n t s

LOCATION – GHATKOPAR,MUMBAI,MAHARASHTRA,INDIA. QUALIFICATION: PRIMARY EDUCATION -(IGCSE BOARD)

“ARCHITECTURE IS NOT LIMITED TO JUST CONSTRUCTION, IT EXTENDS TO HUMAN BEHAVIOUR PATTERN AND FROM THAT TO SHAPING UP A WHOLE STRUCTURE THAT CONNECTS TO EMOTIONS AND TRANSLATES THE FEELINGS INTO ACTUAL SPACES”


EXPERIENCES: INTERN AT sP+a.(SAMEEP PADORA AND ASSOCIATES) I MAY 2017 RESEARCH AND PUBLICATION ON HYBRID BUILDING TYPOLOGIES AND STREETS RECLASSIFICATIONS EXISTING IN MUMBAI.

‘ARGHYA’ DESIGN FAIR I NOVEMBER 2017 FORMULATING THE OVERALL DESIGN FAIR AND MEMBER OF THE CORE MANAGEMENT AND GRAPHICS TEAM

COMPETITION WORK: ANNUAL ANDC TROPHY (LIVE PROJECT)

TO REVIVE AN ABANDONED SPACE IN MUMBAI.

SOORYA MANDIR

KESHAV SHRUSTI-TO DESIGN A SUN-PAVILION AT MUMBAI.

SCHOOL WITHOUT CLASSROOMS

GRAPHIC HEAD AT IDC I OCTOBER 2016

ARCHASM- TO DESIGN A NEW WAY OF LEARNING IN SCHOOLS THAT CHANGES THE SYSTEM OF THE PRESENT DAY SCHOOL TYPOLOGIES.

POL DOCUMENTATION I OCTOBER 2016

ARCHASM- TO REIMAGINE BOLLYWOOD AS A CITY TOWER.

DESIGNING ALL POSTERS, LOGOS AND GRAPHICS FOR THE COMPETITION.

DOCUMENTATION OF HAJA PATEL NI POL IN AHEMDABAD

MERAKI I OCTOBER 2016

SEMINAR BY EMINENT ARCHITECTS AND MERAKI GROUP

INSTALLATIONS AND MANAGING AT AICA AWARDS 2016-VASHI. I JANUARY 2016 PART OF THE CORE INSTALLATION AND MANAGEMENT TEAM.

EXHIBITION AND INSTALLATIONS WITH ARTIST VAISHALI NARKAR AND AR.DUSHYANT ASHER FOR TOYBANK. I NOVEMBER 2015 PART OF EXHIBITION AND ART INSTALLATION TEAM. MAKING A WALKABLE INSTALLATIONS.

FLOATING CHHAT-INSTALLATIONS WITH AR.DUSHYANT ASHER AT BANDRA FEST. I NOVEMBER 2015 INSTALLATION BASED ON THE DYNAMIC RELATIONSHIP OF NATURE OF PUBLIC AND PRIVATE SPACES.

ACA BRIDGES LECTURE SERIES 2015-17 SEMINAR BY EMINENT ARCHITECTS

IN T E R S EST S: LOVE FOR ART AND ARCHITECTURE, , CONCEPTUALISING OF IDEAS, SEEING THE WORLD THROUGH DIFFERENT LESNES OF PHOTOGRAPHY, IDEOLOGIES OF ARCHITECTURAL PHILOSOPHIES, TRAVEL TO EXPLORE, EXPERIMENTING AND INNOVATION, KNOWING ABOUT DIFFERTENT CULTURES AND THEIR HISTORY.

FILM CITY TOWER SACRED SPACES

IDC (INTERNATIONAL DESIGN COMPETITION)- TO DESIGN YOUR INTERPRETATION OF A SACRED SPACE.

DESIGNING A DISPLAY SHELF FOR SCHOOL (STANDARD 1-10)

SOCIETY INTERIORS- TO DESIGN A SHELF SHOW ITS PURPPOSE AND USES

hands on: SKETCHING, MODEL MAKEING, DRAFTING, RENDERING, DOCUMENTATION

LANGUAGES: ENGLISH, HINDI, GUJURATI, KUTCHI, MARATHI, FRENCH.

SOFTWARE

SKILLS:


ARCHITECTURAL

DESIGN

SEM 6

SEM 5

SEM 4

SEM 3

SEM 2

SEM 1

TOURIST INFORMATION AND HERITAGE PRESERVATION CENTRE

MULTIFACILITY HUB

COMMUNITY CENTER HAJJA PATEL NI POL

EXPERIRENTIAL INDEPENDENCE MUSEUM

MORPHOLOGY (MUSEUM)

AHEMDABAD,

MUMBAI,MAHARASHTRA

SHELTER FOR BOYS /GIRLS FOR EWS (ECONOMICALLY WEAKER SECTION)

ORCHHA , MADHYA PRADESH

MUMBAI,MAHARASHTRA

GUJURAT

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CONTENTS

AUROVILLE, PONDICHERRY

MUMBAI,MAHARASHTRA


DOCUMENTATION

WORKING DRAWING

SEM 4

SEM 6

DOCUMENTATION AT HAJJA PATEL NI POL

RESIDENTIAL BUILDING. STILT +5

AHEMDABAD,GUJURAT

C OM PET I T I O N S

OTHER WORKS

SCHOOL WITHOUT CLASSROOMS

SOORYA MANDIR

MISCELLANEOUS

KESHAV SHRUSTI

ARCHASM

UTTAN

MY STORIES


A design solution essentially with a deeper understanding of heritage potential and optimum usage of spaces for a growing small town with daily conflicts between the spaces trapped and identities lost; with obscure interfaces and diminishing characters.

S E M E S T E R

6

TOURIST INFORMATION AND HERITAGE CENTER-“THE WALK”


HERIT AGE C ENTER- ORCHHA THE SITE- AN EXTENTION LAND JUXTAPOSED TO RICH CULTURAL HERITAGE TEMPLE COMPLEX.

INTERCONNECTIVITY OF PURPOSE AND REASON OF INTERVENTION. CULTURAL PRESERVATION

ADPTIVE REUSE

SCOPE OF THE SITE

SKILL DEVELOPMENT COMMUNITIES

HISTORIC PRESERVATION

RESTORATION

DIVINE BELIFE

TOURISM

ENVIRONMENT

ECONOMY

SOCIAL CULTURE

REGIONAL DEVELOPMENT

PURPOSE BUILDING FACTOR / INTENTION

MUSEUM

IDEOLOGY TO BUILT ACCORDING TO THE SURROUNDING HEIGHTS OF STRUCTURES AND CREATE A NEW HEIGHT TO MARK THE TERRITORY AND ENCLOSE THE SPACE AS A WHOLE COMPLEX. MASSING WAS A KEY POINT INORDER TO EITHER MATCH THE STRUCTURES OR CREATE SOMTHING THAT BLENDS IN AND ADD TO THE MORAL VALUE AS WELL AS THE SKYLINE OF IT. BASIC IDEA WAS TO KEEP THE HERITAGE ALIVE AND RE DEFINE THE LOST VALUES OF IT. IT WAS TO BLEND THE NEW WITH OLD AND MAKE IT ONE FEELING, ONE STRUCTURE, ONE VALUE.

AXIS INCORPORATED TO BUILT MASS AROUND. EXISITING AXIS

MAJOR INTERVENTION

NEW AXIS

MUSEUM ZONE

LANDSCAPE INTERVENTION

LANDSCAPE ZONE

RAJA RAM MANDIR

WORKSHOP ZONE AD

HARDAUL KI BAITHAK

PHOOL BAUG

AL RO

PALKI MAHAL

+0.9

9 M WIDE

CHATRA BHUJ TEMPLE

ZONNING OF MAJOR PARTS (CREATING A CIRCULATION)

BIFURCATIONS OF MAJOR ZONES (EXISTING ENTRY POINTS MARKED)

INTE RN

ZONAL NODAL ZONNING

KEY INTERSECTION

STATE HIGH

WAY

TEMPLENORTH ZONE LANDSCAPE ZONE

NORTH

GUEST HOUSE ZONE

PROPOSED DEVELOPMENT

CREATING OF “LINK-PATHS”

NORT

MASSING AND OPEN GREEN SPACES ADAPTIVE REUSE OF RUINS

PLAZA

AXIS THROUGH AMPHI

FUNCTIONAL AXIS

BUILT UP AREA

BUILT SPACE NORTH

NORTH

MAJOR AXIS

MAJOR AXIS

NORTH


EXPLODED VIEW OF THE STRUCTURE PROPSED

RAJARAM MANDIR WORKSHOP AREAS

GUEST HOUSING

CHATRABHUJ MANDIR

INFORMATION CENTRE

LANDSCAPE INTERVENTION

CANTEEN

PHOOL BAUG

JUNCTIONS AT THE END

UNDERGROUND THE BRIDGE-HERITAGE WALKWAY PROPOSAL

LANDSCAPE AND BUILT UP SITE AS ONE-TREATED WITHOUT PHYSICAL BARRIERS,SPACES FLOWING INTO EACH OTHER.-FLEXIBLE PLANNING

JUNCTIONS AT THE START CANTILEVER PART 1

CANTILEVER PART 3

TH

H

NIGHT VIEW OF THE WHOLE SITE WITH LANDSCAPING

VIEW AT THE ICONIC SAWAN-BHADON FROM PHOOL BAUG

VIEW OF THE WORKSHOP FROM THE AMPHITHEATER

CANTILEVER PART 2


The objective is to explore the ideation of an architectural intervention of different uses and identifying the use of appropriate form for given function in the background of dense urban area of proposed metro station.

S E M E S T E R M U LT I F A C I L I T Y

5

HUB-“U-HUB�


U-HU B - M UL TI F ACILITY HUB MATCHING SKYLINE INITIAL SKETCHES SHOWING MOVEMENTS OF LINES AND RESPONSES TO IT AS IN HUMAN BEHAVIOUR PATTERNS

MAKING AXIS POINTS ACCESS POINTS WITH JUNCTION OPENINGS

CHANGING VOLUME TO BREAK THE MASS ADDING FLUIDITY TO TRANSITION AND MAKING INDIVIDUAL UNITS “INDIVIDUALS”

“SPECIAL LINKS” SPORTS

“SPACED” FOOD PLAZA

GUEST HOUSING

GRIDS

CLUSTER

CENTRIC

SYNERGY

“CLUBBED”

ROOF

CONVINIENCE STORES

WALL

CIVIC CENTER

RECREATIONAL AREAS

LAND

3

CONCEPTUAL MODELS PART DESIGN A SKIN TO SPEAK WITH


The program aims at developing an experiential museum, that would depict a particular significant event that has been instrumental in attainment of Indian Independence.

S E M E S T E R

4

COMMUNITY CENTER-“POL OUT�


PO L OU T- C OM M UNITY CENTER POL FOR ME ?

IN HOUSES

IN POL

SELF SUSTAINING HOUSING SYSTEM. HAS/IS ITS OWN CITY. CLUSTER OF HOUSES. PRESEREVED TRADITIONAL CLUSTERS. MULTIFUNCTIONAL.

CHOWKS SHADING

COMMUNITY FOR ME ? A GROUPE OF PEOPLE OF SAME CAST OR GENDER/RELIGION/LANGUAGE OR PUBLIC.

VERTICAL (SHADING STRUCTURES)

IT DEPICTS THE THINKING OF PEOPLE.

BUILT UP AND OPEN SPACE RELATION DIAGRAMS:

IT IS THE VOICE OF TRADITION AND CULTURE.

CHOWKS

OPEN SPACES MASS BREAKAGE

AIR CIRCULATION LIGHT

“ SH IE L D ”- W A LL

PLANNING IN LEVELS

SOME SHADING FOR STREETS

OPEN

FRAMEWORK

AHMEDABAD

OPEN

(WALLED CITY)

OPEN CONNECTIVITY BARRIER

7 GATES

HORIZONTAL AXIS

POL

(SMALL CITY ITSELF) INDIVIDUAL IDENTITY

PROTECT CULTURE

SUSTAINABLE

LOST CONNECTIVITY FRAMEWORK

VERTICAL AXIS

GOOD COMMUNICATION SMALL SPACES POCKET OF OPEN SPACES UNCHANNELISED

ALLOW CONNECTIVITY YET PRIVATE

CONNECTING HORIZONTAL TO VERTICAL.

BUFFER


VIEW ON 2ND FLOOR-OVERLOOKING EXHIBITION SPACE

VIEW ON 2ND FLOOR-OVERLOOKING OPEN SPACE OPEN RECREATION SPACE

PERFORMING ARTS CENTER

NORTH EAST FACADE OF THE STRUCTURE

SOUTH WEST FACADE OF THE STRUCTURE GROUND FLOOR PLAN

VIEW FROM ENTRANCE-LIVELY STAIRCASE VIEW AT PERFORMING ARTS CENTER-GROUND FLOOR

S E C T I O N

F R O N T

E L E V A T I O N

S E C T I O N


The program aims at developing an experiential museum, that woould depict a particular significant event that has been instrumental in attainment of Indian Independence.

S E M E S T E R

3

E X P E R I E N T I A L I N D E P E N D E N C E M U S E U M


EXPERI ENTI AL INDEPENDENCE MUSE UM MALABAR REBELLION A.K.A MOPLAH REBELLION SQUARE TILTED

3 ENTITIES HINDUS

BRITISHERS

MUSLIMS

3 V ER T I CES SKEW ED SQ UA RE

DOMINACE OF BRITISHERS

DOWNFALL OF BRITISHERS

1

2 STRUGGLE OF MUSLIMS TO GET THEIR IDENTITY

IT WAS AN ARMED UPRISING IN 1921 AGAINST BRITISH AUTHORITES AND HINDU LANDLORDS IN MALABAR REGION OF SOUTHERN INDIA, BY MAPPILA MUSLIMS AND CULMINATION OF SERIES OF MAPPILA REVOLTS THAT RECURRED THROUGHTOUT THE 19TH AND EARLY 20TH CENTUARY.

3 V ERT I CES S KEWED SQU ARE

UPRISING OF MUSLIMS

3

4

OUTBUST REBELLION

SUPRESSED COMMUNITY -HINDUS AND MUSLIMS

CONCEPTUAL ELEVATIONSKETCH

4 VERTICES SKEWED SQU ARE

CONCEPTUAL SKETCH OF THE STRUCTURE

ALL STAGES (1-4) AS A WHOLE STRUCTURE.

FALIURE OF THE REBELLION


ONE POINT PERSPECTIVE SECTIONAL VIEW OF THE MUSEUM

AMPHITHEATER

VENTILATION DETAIL

GUEST HOUSE PLAN

GUEST HOUSE SECTION AND VIEW

S

E

C T I

A.V.ROOM

O N

ROOF PLAN

MUSEUM GROUND FLOOR PLAN EXPLODED VIEW OF THE MUSEUMINDICATING CIRUCATION AND LEVELS.

MUSEUM UNDERGROUND PLAN

P

L

A

N

S


Designing a workshop center and dormitories for children from the age group of 8-12 years old.

S E M E S T E R

2

BUYS/GIRLS SCHOOL- “BLOOM”


B L O O M- THE

SCHOOL

AUROVILLE’S CONCEPT

THE BUDDING AGE START A NEW LIFE

MOTHER’S SKETCH

MATRIMANDIR’S

MIND

CHILDRENS’S AGE GROUP 6-14 YEARS

DEVELOPMENT

GALAXY CONCEPT

DEVELOPMENT AGE.

ZONAL PLANNING

GROWTH OF

BODY

12

PETALS COLORS VALUES

3

FOUNDATION

SOUL

BUD FLOWER

BLOOM

MERGING IDEOLOGIES USING TREES AS BUDS TO DESIGN SPACE.

PETALS

MATCH THE BLOOMING OF FLOWER WITH CHILD PSYCOLOGY AND PHYSICAL BEHAVIOURS.

CONCEPT OF PETALS INFORMAL SEATING ON CANTEEN STAIRS

SEATING IN WORKSHOP. VIEW FROM THE MAIN ENTRY AREA

REAR VIEW OF LIBRARY-OPEN SEATING THE FIN BELT-PASSAGE IN FRONT OF WORKSHOP.

INTERACTIVE SPACES IN LOBBIES VIEW AT THE ROOMS.

SECTION (MAIN ENTRY TO MULTIPURPOSE HALL AREA)

SITE PLAN

MEDICAL PLANT SECTION

SECTION (ROOMS TO LIBRARY AREA)


Examining nature, its models, system, and processes for the purpose of gaining inspiration and later converting in a design solution.

WALRUS

S E M E S T E R

1

MORPHOLOGY -EXHIBITION CENTER

R IBS

MASSING

MO V E ME NT

EXHIBITION CENTER


E X H IBI TI ON

HALL

WHAT IS AN “EXHIBITION HALL” ?

TYPES OF EXHIBITIONS

REQUIREMENTS OF AN EXHIBITION HALL

IN GENERAL SENSE, IT IS AN ORGANISED PRESENTATION AND DISPLAY OF SELECTED ITEMS.

FINE ART EXHIBITIONS

HUGE HALL

CAFETERIA/REFRESHMENTS

COMMERCIAL EXHIBITIONS

SWITCH BOARDS

WIDE ENOUGH WALKWAY

INTERPRETATIVE EXHIBITIONS

PROPER LIGHTINGS

MULTIPLE EXITS

AUTOMOBILE

TOILETS

PARKING

OTHER POINTS TO BE NOTICED

IDEA OF CREATING AESTHETIC OF CONTINEOUS MOVEMENT (VISUALLY TWISTING TO ONE POINT)

EXHIBITION OCCURE IN MUSEUMS,GALLERIES, EXHIBITION HALL AND WORLD FAIRS.

BASIC STUDY OF WALRUS

SHOULD HAVE A GOOD HEIGHT FOR LIGHTING,DISPLAY BALLONS.

WALRUS HAVE TEETH TO HELP THEM PULL OUT THEIR HEAVY BODY OF WATER.

HAVE SOME FLOORS.

RIBS GIVES THE HUGE AND HEAVY BODY A SUPPORT.

PLACE FOR RESIGTRATIONS,QUEUE,STORAGE

RIBS OF WALRUS GIVES A PENTAGONAL OR HEXAGONAL OR SEPTAGONAL GEOMETRY (BASIC).

PENTAGON

HEXAGON

O PTIO N O F FRAME W O RK

DIFFERENT BOOTH SIZES.

SEPTAGON

4 - 5 RE PITATIO N

5 - 4 RE PITATIO N

5 - 6 RE PITATIO N

6 - 7 RE PITATIO N

LARGER ENTRANCE

RIBS AS FRAMEWORK OF WALRUS’ BODY ABSTRACTED RIBS TO MAKE FRAMEWORK OF STRUCTURE. IN ELEVATION

WAVE IN ELEVATION

IN PLAN

WAVE IN PLAN

NARROW SPACE INBETWEEN

SIMPLE STRETCH MIXED: WAVE IN PLAN AND WAVE IN SECTION AND ELEVATION

THE AXIS-MOVEMENT ALL ALONG

E L E V A T I O N


INTERNAL PANEL

FRAMEWORK

THIS PART OF DESIGN IS REMOVABLE.

FRAME 1 AND 11 = 9.5 METERS

CAN BE CUSTOM MADE AND USED WHENEVER NECESSARY. CAN BE OF CLOTH OR PANEL.

S I T E

FRAME 2 AND 10 = 8.5 METERS FRAME 3 AND 9 = 7.5 METERS FRAME 4 AND 8 = 6.5 METERS FRAME 5 AND 7 = 5.5 METERS

FOR DIVINDING THE STRUCTURE FROM CENTRE.

FRAME 6

= 4.5 METERS

BASIC FRAMEWORK WITHOUT MUCH DETAILS OR ACTUAL SIZE

TOTAL 11 FRAMES IN ENTIRE STRUCTURE

P L A N

TURNING EFECT,COMPRESSION OF STRUCTURES THROUGH JOINING BEAMS OF FRAMES AND VARYING SIZES. INVOLVING CONCEPT OF VISUAL DISCONTINUITY THEREFORE BEND IN PLAN AND ELEVATION TO CREATE ILLUSION(OR FAKE) END POINTS

SECTION OF 1ST FRAME TWO FLOORS, AT EACH ENDS. OF HEIGHT 6M AND 7M, RESPECTIVELY. TWO FLOORS IN THE STRUCTURE BUT ONLY ON THE ENTRANCE AND EXIT.

CONNECTIONS WALRUS’S BONE (OR RIBS) STRENGTH AND FRAMEWORK. STEEL FRAMEWORK OF THIS STRUCTURE STRENGTH, FRAMEWORK AND DOMINANCE. EXPOSED FRAME WORK SHOWING SKELETAL EFFECT (BOTH INTERNAL AND EXTERNAL). HUGE IN SIZE TO DOMINATE THE SURROUNDING AND BECOME A LANDMARK FOR THE PLACE IT IS BUILT. GIVE LOCALITY A FAMOUS IDENTITY AND ALSO TREAT AS A SCULPTUE WITH EXHIBITION HALL


DOCUMENTATION HAJJA PATEL NI POL IN THIRD YEAR, A DOCUMENTATION TOUR WAS CARRIED OUT TO AHEMDABAD TO DOCUMENT THE HERITAGE REMAINS OF HOUSING SYSTEM-POL. RECENTLY ANNOUNCED AS WORLD HERITAGE CITY. THE EXPERIENCE OF LEARNING THE NUANCES OF DOCUMENTING AT SUCH A SETTING LEAD TO EMPOWERING ABOUT THE PRESERVATION,RESTORATION AND RECREATING FORMITS LEARNINGS.


W O R KI NG

DRAWING

THE ASSIGNMENT WAS TO DESIGN A RESIDENTIAL BUILDING STILT + 5.THE AIM WAS TO GET ACUSTOMED TO THE TECHNICALITIES AND THE DETAILS WHICH NEEDS TO BE FOLLOWED IN DESIGNING AS WELL AS TO PRODUCING A TECHNICAL DRAWING. IT WAS ALSO PLANNED TO HELP GUIDE US TO THE DETAILS OF BYLAWS.


CO M PETI TI ON S


FLOA TI NG ROOF- INSTALLATION The dynamic movement of the datum establishes a relation between the fragile nature of public and private in a space. The dense floating datum with its quality of temporal ex- istence between the sky and land on a balloon introduces 'the floating roof'. An art in- stallation which allows your fears, joys, discretion and dynamic set of associations of spaces in everyday life comes alive. The dominant expression of land and water are both blurred under 'The Floating Roof'. The 'Roof' never touches the land or the sky, but restlessly tries to mediate in-between with the effect of the wind; creating a tension between the positive and negative urban space. It is a private and a public space, it is a space with which you can dissolve your definition of space and be what you want it to beThe dynamic movement of the datum establishes a relation between the fragile nature of public and private in a space. The dense floating datum with its quality of temporal existence between the sky and land on a balloon introduces 'the floating roof'. An art installation which allows your fears, joys, discretion and dynamic set of associations of spaces in everyday life comes alive. The dominant expression of land and water are both blurred under 'The Floating Roof'. The 'Roof' never touches the land or the sky, but restlessly tries to mediate in-between with the effect of the wind; creating a tension between the positive and negative urban space. It is a private and a public space, it is a space with which you can dissolve your definition of space and be what you want it to be. LINK TO VIDEO- https:/Ivimeo.com/131301431


SP+A-RESEARCH PUBLICATION IF TYPE ISABOUT TYPICALITY ANDHENCE REPEATABLE BY NATURE THEN,THEN ITS OPPOSITE ARE THOSE SINGULAR TYPES THAT HAVE EMERGED OUT OF VERY SPECIFIC SITUATIONS IN THE CITY WHICH CAN BE REFERRED,FOR LACK OF A BETTER WORD, NON-TYPES.OFTEN,THE NON-TYPES APPEAR TO TRANSGRESSLAW,EVEN UNAWARE OR IGNORANT ABOUT THE PRESENCE OF THE LAW. THEY ARE PURE INTENTIONS AND NOT OFTENWELL-CONSTRUCTED IDEAS. FOR A TYPE TO BE TYPICAL NOT ONLY DOES IT NEED A BASE IDEA IT ALSO REQUIRES THAT IDEA IS REPEATABLE.IN OTHER WORDS,THE IDEA NEEDS TO BE,PERHAPS NOT ALWAYS, NEUTRAL FOR ITS PROLIFERATION.AS MUCH AS IT IS AS EACH FOR SUCH NON-TYPES IN THE MUMBAI CITY,IT IS ALSO AS EACH TO FIND WAYS TO LEARN FROM THE NON-TYPES AND FIND WAYS TO DERIVE IDEAS TO CREATE,(RE)CODE,NEW TYPES FOR THE CITY OF MUMBAI.

DINANATH MANGESH HALL (FISH MARKET +COMMUNITY HALL) -VILLE PARLE

SASOON DOCK-CUFF PARADE

“AS IT BEING A RESEARCH AND PUBLICATION PROJECT,IT HELPED ME TO REANALYZE THE EFFICIENY,EXISTENCE AND IMPORTANCE OF STREETS AND NON-TYPESPACES IN THE CITY AND VARIOUS ASPECTS TO DEAL WITH WHILE WORKING ON A PUBLICATION. I PLAYED AN ACTIVE ROLE INCARRYING OUT THE PRIMARY RESEARCH AND PRODUCING THE DRAWINGS.

KATBUTAR KHAANA-DADAR

HOARDING HOUSE (HOARDING HOUSE+ FAMILY HOME)-DADAR

CANDIES (CAFE + HILL STEPS) - BANDRA


(RE)CODING STREETS:

EDGE CONDITIONS (PALI HILL,MUMBAI)

THE DCR IS PRIMARILY ABOUT DEVELOPMENT AND SPEAKS ONLY OF THE ROADS.STREETS, ARE NOT REPRESENTATIVE OF DEVELOPMENT.THE ONLY MENTION OF STREET IS WHEN IT IS TALKING ABOUT THE URBAN VILLAGES AND EVEN THEN, IT TALKS ABOUT THE CODES FOR ROAD WIDENING. AUTOMOBILE, FOR GOOD OR FOR WORSE, WHAT ABOUT PEDESTRIANS? OFCOURSE THE INTENTION IS NOT TO BE NOSTALGIC OF STREET BUT TO RECONSIDER ITS POTENTIAL AND MAKE SOME ROOM WITH IN THE DCR TO MAKE IT POSSIBLE TO MAKE STREETS AGAIN WHERE NEEDED.

BUILT FORM AND ADJECENT TYPOLOGIES

STREET WIDTH

STREET ELEMENTS

TRAFFIC PATTERNS

VEHICULAR DENSITY

PEDISTRIAN DENSITY

KEY PLANCARTER ROAD

SPACE UTILIZATION

ALL STREETS

STATION ROAD

TIME

LINKING ROAD KEY PLANTURNER ROAD

CARTER ROAD

CHIMBAI VILLAGE

PALI VILLAGE


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RAVI THAKKER PORTFOLIO  

ARCHITECTURAL PORTFOLIO- PORTFOLIO THEME-"COEXISTENCE"

RAVI THAKKER PORTFOLIO  

ARCHITECTURAL PORTFOLIO- PORTFOLIO THEME-"COEXISTENCE"

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