Traversing Through Architecture

TRAVERSING THROUGH ARCHITECTURE

SAI A. PRADHAN Fifth Year Semester IX (Part 1)

Guide: Ar. Meghana Patil

L. S. Raheja School of Architecture Affiliated to Mumbai University 2020 - 2021

CERTIFICATE

This is to certify that SAI. A. PRADHAN has successfully completed her design dissertation (part 1) on the topic ‘TRAVERSING THROUGH ARCHITECTURE’ under the guidance of Ar. Meghana Patil. The dissertation is undertaken as a part of the academic study based on the curriculum for Bachelors of Architecture program conducted by the University of Mumbai, through L.S. Raheja School of Architecture, Mumbai.

SEAT NUMBER: B-26 Thesis Guide: Ar. Meghana Patil

L. S. Raheja School of Architecture, Mumbai

Principal: Ar. Mandar Parab. L. S. Raheja School of Architecture, Mumbai

External Juror 1: Ar. Pradnya Chauhan

External Juror 2: Ar. Shreyank Khemalpure

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DECLARATION

I hereby declare that this written submission entitled “TRAVERSING THROUGH ARCHITECTURE” represents my ideas in my own words and has not been taken from the work of others (as from books, articles, essays, dissertations, other media and online); and where others’ ideas or words have been included, I have adequately cited and referenced the original sources. Direct quotations from books, journal articles, internet sources, other texts, or any other source whatsoever are acknowledged and the source cited are identified in the dissertation references. No material other than that cited and listed has been used. I have read and know the meaning of plagiarism* and I understand that plagiarism, collusion, and copying are grave and serious offences in the university and accept the consequences should I engage in plagiarism, collusion or copying. I also declare that I have adhered to all principles of academic honesty and integrity and have not misrepresented or fabricated or falsified any idea/data/fact source in my submission. This work, or any part of it, has not been previously submitted by me or any other person for assessment on this or any other course of study.

Signature of the Student: Name of the Student: Sai A. Pradhan Exam Roll No: B-26 Date: 6th January, 2021

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Place: Bandra (E), Mumbai

*The following defines plagiarism: “Plagiarism” occurs when a student misrepresents, as his/her own work, the work, written or otherwise, of any other person (including another student) or of any institution. Examples of forms of plagiarism include: the verbatim (word for word) copying of another’s work without appropriate and correctly presented acknowledgement; the close paraphrasing of another’s work by simply changing a few words or altering the order of presentation, without appropriate and correctly presented acknowledgement; unacknowledged quotation of phrases from another’s work; the deliberate and detailed presentation of another’s concept as one’s own. “Another’s work” covers all material, including, for example, written work, diagrams, designs, charts, photographs, musical compositions and pictures, from all sources, including, for example, journals, books, dissertations and essays and online resources.

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ACKNOWLEDGEMENT I would like to extend my sincerest appreciation towards the people who helped me finish this book and without whom this book would not be possible. Firstly, I would want to thank my parents- Abhijit and Purnima Pradhan for ensuring that I have a lifetime full of memories that I can relate to. To my grandmother for pampering me with love and a lot of delicious food. And my sister- for always being my rock and maintaining my sanity. I would like to thank my guide- Ar. Meghana Patil for her constant encouragement and advise. I would also like to thank Ar. Arun Fizardio, Ar. Swanand Mahashabde and Ar. Anmol Warang for teaching me and supporting me throughout my learning journey. I would like to tip my hat to my very own cartoon network for making the last few years of architecture worth every moment. A special thanks to Prachi Kadam, Urvi Patil, Sachita Thakur- for being my pillars of support and encouragement. To Dielle D’sa for being a light in the dark. To Jordan Rocha for the supply of music. To Michelle Dsouza, Utkarsh Verma, Stuti Joshi, Nayonika Agarwal and Nihal Pednekar for always being there. A special shout out to my squad who have tolerated me through the erratic schedules. To Shalmali Singbal for being there through so many years, Rhutwik Inamdar for his photos, Anurag Deodhar and Aniruddh Heroor for being so interested in my topic, Janvi Deore and Siddhant Deore for the long walks and gossip. To Parshva Satra and Rajas Badve for always being there irrespective of their schedules. The journey would not have been the same without any of you.

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FIGURE 1: IMAGE SOURCEAUTHOR

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PART 1 TRAVERSING THROUGH ARCHITECTURE

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FIGURE 2: IMAGE SOURCE- AUTHOR Sai A. Pradhan l L. S. Raheja School of Architecture

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PREFACE Architecture has the power to tell a story and take us on a journey. The shopfronts, the seating areas in a public space, balconies of residential structures, the large entrances of a drama theatre, etc. engage us in a conversation as we walk past them. But how captivating is the built form surrounding us? As a kid, I would often travel to South Bombay with my family and on one such occasion, my father and I embarked on a journey on foot within the city. He introduced me to the rich history of prime structures and areas such as the BMC headquarters, High Court, the street library near Horniman Circle, GPO Mumbai, etc. His narration of the incidents that have taken place in and around the structure, along with the locations of stalls and restaurants that further increased the footfall in the area, engrossed me in a story that unraveled in front of my eyes. While listening to the story, the elements and motifs on the structure helped me relate to the built form and develop a deeper connection with it. This journey through various spaces developed associations with the place that have helped in wayfinding throughout the city. However, areas such as Reay Road, area surrounding CST Station Platform 18, etc. do not form a connect with the users around the site due to a lack of sense of place and interaction among the individual structures. These observations helped me understand the importance of the relation between the built form and the users which is brought on by the spaces surrounding the structure and the elements and functions on the ground floor. Therefore, the animation of the ground floor with respect to the users is an important factor that appeals to the users approaching a structure. However, do the spaces surrounding us encourage us to explore the areas around and the structure therein? Does it enhance the experience of the users in their daily lives?

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FIGURE 3: IMAGE SOURCEAUTHOR Sai A. Pradhan l L. S. Raheja School of Architecture

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ABSTRACT The physical form of the built environment directly influences the psyche of the users where structures and the spaces surrounding them play a key role. This power of architecture takes its users on a journey through the connections between the built mass and its surrounding areas. It is rightly said that architecture is always perceived by users at their eye level, thus making it imperative to design spaces that inspire, interact, and uplift the life of its users that begin from the ground floor of the structures. The area between two or more structures is formed by the interaction between the elements of the various structures which come together to form a cohesive design. They give movement and flow to these spaces while maintaining the identity of each of its structures. Of the multiple factors that motivate the users to explore spaces, architecture, orientation, and the elements of the surrounding built form have the most profound impact in enhancing the experience. The diversity in form and typology of structures helps break the monotony of the building edge, whereas the character and language of the structures breathes life into the area helping users establish a relationship with the structures around them. Through this dissertation I would thus like to study the influence of the built form on the spaces in and around it and thereby the perception of the users moving between these spaces. The study of various elements of the built form would help in enhancing the experience of the users and developing their relationship with the built form. The results of these studies would thus be used to create a cohesive design that would uplift the sense of space in the area.

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TABLE OF CONTENTS PREFACE ................................................................................................................................. 11 ABSTRACT ............................................................................................................................... 13 IN CONVERSATION WITH THE BUILT FORM ............................................................................ 17 1.1 INTRODUCTION ................................................................................................................. 18 1.2 ANIMATION OF THE GROUND FLOOR ............................................................................... 20 STREETS AS ‘IN-BETWEEN’ SPACES ....................................................................................... 22 STREET RELATIVITY .............................................................................................................................. 24

ATTRIBUTES OF THE BUILT FORM AT THE STREET LEVEL . ERROR! BOOKMARK NOT DEFINED. POSITIVE NEGATIVE SPACES .............................................................................................................. 30 HIERARCHY OF SPACES ....................................................................................................................... 36

APPRECIATION SPACES ........................................................................................................... 39 EDGES AND BOUNDARIES .................................................................................................................... 44 SERVED AND SERVANT SPACES ........................................................................................................ 48 INTERACTIVE SPACES ........................................................................................................................... 50 SIZE AND PROPORTION ........................................................................................................................ 52 VEGETATION AND LANDSCAPING ...................................................................................................... 58 MATERIAL ................................................................................................................................................. 61

TYPOLOGY OF STRUCTURES AND THEIR ELEMENTS ........ ERROR! BOOKMARK NOT DEFINED. Functional Dimension ............................................................................................................................... 66 Residential structures .............................................................................................................................. 67

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Institutional structures ............................................................................................................................. 70 Commercial structures ............................................................................................................................. 73 Assembly structures ................................................................................................................................. 75 MALLS..................................................................................................................................................... 76 RESTAURANTS ..................................................................................................................................... 78

CASE STUDIES ......................................................................................................................... 80 HORNIMAN CIRCLE, MUMBAI ................................................................................................................. 80 IIM AHMEDABAD ....................................................................................................................................... 83 KALA KENDRA, GOA ................................................................................................................................ 85 CONCLUSION ............................................................................................................................................ 88 PLACE AND PLACELESSNESS ............................................................................................................ 88 PERCEPTUAL DIMENSION OF ARCHITECTURE ............................................................................... 89 INFLUENCE IN OUR DAILY LIVES ....................................................................................................... 90 SITE CRITERIAS AND SELECTION ...................................................................................................... 91 SITE SELECTION CRITERIA ................................................................................................................. 92 DREAMS THE MALL ................................................................................................................................. 94 USERGROUP ......................................................................................................................................... 98 SWOT ANALYSIS ................................................................................................................................... 98 DESIGN INTENT .................................................................................................................................... 98 LOKPURAM, THANE ............................................................................................................................... 101 SITE CONTEXT .................................................................................................................................... 101 SWOT ANALYSIS ................................................................................................................................. 102 ETERNITY MALL, THANE ....................................................................................................................... 103 INTRODUCTION TO THE SITE ........................................................................................................... 103 CONTEXT ............................................................................................................................................. 105 USERGROUP ....................................................................................................................................... 107 SWOT ANALYSIS ................................................................................................................................. 107

REFERENCES ........................................................................................................................ 109

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FIGURE 4: IMAGE SOURCE- PINTEREST Sai A. Pradhan l L. S. Raheja School of Architecture

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IN CONVERSATION WITH THE BUILT FORM

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1.1 INTRODUCTION As humans, we are surrounded with spaces from our inception. It encompasses the volume of a structure, the parts of a building we move through and experience. (Valle) It thus has a direct impact on our memories, experiences and ultimately the person we become. One space can move different people in different ways based on the meaning they derive out of the elements of the space. Different textures, colours, volumes, etc. have a varied significance and thus move the users in varied ways.

FIGURE 5: IMAGE SOURCE- TREY RATCLIFF PORTFOLIO

However, when these elements of various structures interact with each other in a space, a cohesive design in the form of a place is formed. The user can distinctly identify his location and placement. This sense of place ensures that the user remains rather than passes by (Baugher, 2017) and that he reflects on the surrounding built form. A sense of place promotes interaction between the user and the built form. The built form refers to the function, shape, and configuration of buildings as well as their relationship to streets and open spaces. (Built Form Framework) It holds meaning and functions that alleviate the experience of the users and help them develop a relationship with their surroundings.

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This relationship between the user and the built form starts developing from the moment the user lays eyes on it. The elements of the built form along with the perceptions attached to it, aids the user is forming an impression of the building before encountering it. The perception of the spaces that could be formed in and around it and the brain’s computation of the size of the structure, helps the user relate to the structure. But a lack of connection thereof compels the user to avoid it. FIGURE 6: IMAGE SOURCE- ARCHDAILY Therefore, it is extremely crucial to design spaces that create an impressive first impression and appeal to the users. The success of such spaces warrants a continuous movement of people around the site. It is much like our first interaction with a stranger. We gauge the person based on their appearance and our assumptions related to the physical attributes. One of the primary areas that grabs users’ attention are the spaces at the eye level. The users approaching a structure notice the activities, aesthetics, and elements at their eye level and form a connection with it. But how consciously do we encounter the spaces surrounding us daily? Do the spaces surrounding us enhance the experiences we have in our daily lives?

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1.2 ANIMATION OF THE GROUND FLOOR

FIGURE 7: CAPTIVATING COLOURS OF THE GROUND FLOOR (IMAGE SOURCE- TREY RATCLIFF'S PORTFOLIO)

Our interaction with our surroundings is enhanced when we walk around the structures. Walking is one of the oldest forms of transportation which allows the users to savor the wealth of detail and information and experience everything at the eye level. When we drive in a car, we see things as a series of individual places with minimum relation with the activities and people on the streets. On the other hand, when the users travel on foot, they can observe and interact with the various elements and activities on the street and thus create mental imageries that help them connect with the physical environment surrounding them. Therefore, a walkable street augments the experiences of the users and helps them understand and explore an area better on foot. One such concept that talks about the experience of the user at the eye level isWalkability. It is the capacity of the built environment to be able to engage and enhance the experience of its users while living, shopping, visiting, enjoying, or spending time in an area. It is a result of the relationship between the built mass and its surrounding areas which give character to the streets and pull the occupants on an experiential and architectural journey. (DREESSEN, 2017) When the pedestrian embarks on a journey to Sai A. Pradhan l L.beyond S. Raheja the School of Architecture Through Architecture explore and go face value of the structures,Traversing he is taken on an experience through architecture.

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In the olden times, most of the structures would open directly onto the streets which allowed the users to take control of the streets. This created opportunities for the users to engage and interact with the surrounding activities and the built forms. (Singh, 2015) The Makaan-Dukaan typology of structures, buildings with balconies facing the streets allowed the users on the ground floor and the floors above to interact with each other. Thereby creating a sense of safety and security by having constant eyes on the streets. But, with the ever-increasing demand for infrastructure and a rise in privatization of land, considerations for interaction between the streets and built environment have diminished. This further hampered the health of the citizens of the neighborhood. Therefore, international organizations such as the World Health Organization (WHO) have called for changes to be made in the built environment to improve human health through walking, including changes in urban design, transportation, and recreational facilities (Adams et al., 2013). There are various factors that influence the walkability of an area such as open public spaces, connectivity of spaces, presence of green spaces, treatment of facades, etc. which have varying impacts on the minds of the users but the elements at the street level have the most profound impact. Elements such as cafes, store fronts, etc keeps the user engaged with their surroundings while the destination or a landmark within eye’s reach can always make the walk seem shorter than the actual length by always keeping the user captivated. Sai A. Pradhan l L. S. Raheja School of Architecture

FIGURE 8: PLACEMENT OF WINDOWS TO PREVENT VISUAL PERMEABILITY BUT ALLOW MAXIMUM LIGHT (IMAGE SOURCE- YOUTUBE)

FIGURE 9: ACTIVATION OF THE GROUND FLOOR TO THE PUBLIC (IMAGE SOURCEARCHDAILY)

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STREETS AS ‘IN-BETWEEN’ SPACES [SHOULD START ONreality A NEW Space is an abstract thatPAGE architects use to createPREFERABLY the built form. This ALWAYSON space THE comprises of theSIDE]volume and form the enclosed RIGHT SHOULD BE of READ spaces that the users move through. The AS A SUBTOPIC AND NOT A elements of these enclosed spaces have a CHAPTER TITLEon[ADD MORE areas. One of direct influence the outdoor the most important parts of a city is the streets. EXPERIENCES FROM DAILY LIVESAs pedestrians, the streets of a city play a PHOTOGRAPHS TOO] critical role in creating a perception of the place in the minds of its users. They determine the attractiveness of the city at the eye level while keeping the users engaged in the activities on the street. But does every street encourage the users to walk?

FIGURE 8: STREETS OF BANGALORE BEING ACCENTUATED WITH TREES AND PERGOLAS (IMAGE SOURCE- RHUTWIK INAMDAR)

Structures form a part of the positive spaces that govern the character of the negative spaces, such as the streets. The balance between these positive and negative spaces forms a cohesive design which enhances the spatial experience of the users while walking from one structure to another. Therefore, the designing of the street edge is one of the most important factors of walkability. The street edges reflect the society and encourage interactions between the users. They contain the daily activities and thus start a conversation between the occupants and the built form. They go beyond being just a boundary between the public and private areas, to also allow the users to relate to the built form.

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It is observed that users can walk more when they feel a sense of control over the streets. On the other hand, the walkability of streets is reduced when they are controlled by none. However, the current trend towards privatization is adversely affecting the street edge. It has given rise to high walls, monotonous facades with minimal visual connectivity, etc. which hamper the quality of public spaces and discourage people from walking along streets. In an article published by Jan Gehl, he had mentioned the ‘tiring length perspective’ where he described the situation in which the pedestrian can see the whole route briefly before even starting out. Invalid source specified. The lack of relation with the surroundings and the activities within the structures makes the pedestrian feel demotivated to walk along a street. In contrast, when a street is divided into various segments with multiple activities and ownership, the prospect of new experiences at every turn keeps the pedestrian engrossed in the journey. This makes the street seem shorter than its actual length. The various activities on the ground floor, movement along and perpendicular to the street, etc add life to the streets and encourage the pedestrian to walk longer.

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FIGURE 9: EVEN A LONG WALK FEELS SHORT ALONG A CURVED ROAD WITH PLENTY TO SEE (CARTAGENA, COLOMBIA).

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STREET RELATIVITY

FIGURE 10: THE SCALE OF THE STRUCTURE HELPS THE USER RELATE TO IT (IMAGE SOURCETRIPSAVY)

Lines, patterns, contours- Our life is filled with design everywhere we turn. Whether it is work or home or even the street we walk on, how much thought do we really give to the spaces we live in?

(Connecting With Architecture at the Eye-Level) We, as architects, design spaces and structures from the human eye-level as it elevates the users’ senses and establishes a deeper connection with the surrounding spaces. The street edges consist of details and intricacies of everyday life and thus possess the power to engage the users and enhance their experience. Various elements of the street edge such as placement of activities in various structures, the design of front doors, landscaping in front of structures, etc. play a very important role in enhancing the experience of the pedestrians. The users constantly communicate with the built environment through the lines that form the facade of the building. A primarily vertical expression of the building resembles a break in the building façade which makes the length of the street seem shorter. On the other hand, the horizontal lines reinforce the perception of a long walk.

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FIGURE 11: THE FLUID CONTOURS OF THE HEYDAR ALIYEV CENTRE EXUDE A CALM, WHICH IS MIRRORED BY THE PEOPLE RELAXING AGAINST IT. (CONNECTING WITH ARCHITECTURE AT THE EYE-LEVEL)

After walking on a given route multiple times, we create visuals and memories with our surroundings which help us navigate through the area. These markers can be in the form of iconic structures, lanes, corner buildings, busy ground floors, etc. One of the busiest shopping streets of Thane- Ram Maruti Road, houses activities ranging from shopping for clothes, jewelry, etc. to the food stalls for the frequent passersby from the railway station nearby. These activities convert into markers for the users which help them maneuver through the street and offer a sense of place. The users use shops and corner buildings such as Celebrations and Rajmata Vada pav as reference points. This verifies Kevin Lynch’s principle of 5 elements consisting of path, node, edge, district, and landmark. These elements come together to make this street walkable. But a lack of focus on the details of the built environment such as width of the footpath, contrast in the figure background, etc. mars the experiential quality of the street. Architectural design has developed over the years from being perceived as twodimensional objects to structures with varying scales and proportions in the third dimension. This evolution has given rise to various structures that have been able to interact with the users on the streets and thus stand the test of time. The third dimension of the structure gives meaning to the structure and enhances the experience of the users on the streets.

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FIGURE 12: VANNA VENTURI HOUSE FROM THE SOUTH-WEST, 2010 –PHOTOGRAPH BY SMALLBONES (FREARSON, 2015)

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FIGURE 13: THE FACADE OF THE VANNA VENTURI HOUSE, 2011 – PHOTOGRAPH BY SMALLBONES (IMAGE SOURCEBLOGNAVER)

One such revolutionary structure is Vanna Venturi’s house by Robert Venturi. The front elevation of the house is designed to look flat in two dimensions. It exudes a feeling of being closed off from its surroundings making the pedestrians feel disconnected from the house. However, the orthogonal view of the house reveals multiple details of skylights, variations in levels, voids, and contrast in colour and heights. These nuances coupled with the setback from the sidewalk with no physical barrier separating the users from the public realm of the streets, adds a layer of transparency and relatability with the structure while still maintaining the privacy of the residents of the house. The first perception of the structures is formed from the eye level of the users on the streets. Therefore, it becomes imperative to infuse the built environment with elements that encourage the users to interact with them. Factors such as variations in activities on the ground floor, size, and proportion, colours, voids, landscaping, etc play an integral part in the design of a street edge.

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ATTRIBUTES OF THE BUILT FORM AT THE STREET LEVEL

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POSITIVE NEGATIVE SPACES

FIGURE 14: DIE MACHEREI, AUSTRIA

The built environment is created to serve a specific purpose. The shaping of this usable space is the primary function of architecture. Positive spaces are the functional spaces where the users spend most of their time dwelling, lingering or engaged in social interaction. On the other hand, negative spaces are the left-over spaces formed around these positive spaces. They render balance and give a sense of direction to the users while moving between positive spaces. `The human behavior is constantly being influenced by the surrounding Sai A. Pradhan l L. S. Raheja School of Architecture

built form as we often move through negative spaces and stay in positive spaces. We, as architects, often design the built environment with the form of the buildings in our mind. In an urban context, the facades of the buildings form a vertical plane to at least two other spaces. (Frederick, 101 Things I Learned In Architecture School) Thus, the positive spaces influence the spatial characteristics of the adjacent positive and negative spaces. Public open spaces are often a result of the positive spaces abutting them and thus add movement and function to the public spaces. Traversing Through Architecture

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The elements of the built form give a character to the spaces between two or more structures or spaces. Negative spaces are the ancillary areas around the enclosed spaces which accentuate their experiential and spatial quality. Although termed as unintended and unused spaces, these spaces give meaning and direction to the positive spaces. They give a flow to the functional spaces and help the users navigate through them as they give them a sense of space and place. FIGURE 15: SALK INSTITUTE BY LOUIS I. KAHN (FLICKR)

Negative spaces have the power to keep the passers-by engaged with the built environment and thereby enhance the experience of the built form while still segregating the public spaces from the private spaces. The Salk Institute by Louis I. Kahn uses the negative spaces between the two research towers to encourage social interactions and allow flow of ideas between the various wings of research. The various laboratories and offices are strategically placed to allow a visual connect between multiple spaces in the structure which gives the user a sense of security. Therefore, the spatial organization is the fundamental composition in creation of a particular space which is a result of the relation between form and space. (Ghosh, 2020) When various individual elements and structures are placed in an organized way or pattern, the users experience a sense of place. The placement of the positive spaces thus becomes important in order to create a cohesive design. Some of the ways two spaces can be related to each other is interlocked spaces, spaces linked by a common space, etc.

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FIGURE 17: SPACE LOOSELY DEFINED

FIGURE 16: ENCLOSED SPACES DEFINED

Interlocked spaces are formed when the volume of two spaces overlap each other, resulting in a third space that gets shared by the two spaces. This shared space can have characteristics of each of the spaces or allow the spaces to retain their individual character. The third space can either be a negative space, allowing movement between the spaces or a positive space with a defined function.

FIGURE 18: TYPES OF INTERLOCKED SPACES

Spaces linked by a common space is defined as the third space which links two positive spaces and thus gives movement between these spaces. The third space can have a different orientation and form from the other two spaces with contrasting or similar materials and size of elements. The third space can thus have its own identity separate from the adjoining spaces. Sai A. Pradhan l L. S. Raheja School of Architecture

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This third space is a negative space which is formed as a result of the placement and orientation of the structures around them. The spatial organization of spaces thus become vital in the designing of such negative spaces. This can be attained through various methods such as height and proximity which determine the sense of enclosure that they impart to the user. (Habitat Theory, n.d.) A sense of enclosure can be introduced through landscape elements or a vertical façade. However, to achieve a desirable sense of enclosure, it is important that the vertical element is taller than the eye level. This enclosure can be used to attain privacy, blocking certain areas or directing the user through various spaces. When the vertical planes are at the eye level or shorter, they subdivide spaces and create areas for the users to maneuver around. A sense of enclosure can be introduced through landscape elements or a vertical façade. However, to achieve a desirable sense of enclosure, it is important that the vertical element is taller than the eye level. This enclosure can be used to attain privacy, blocking certain areas or directing the user through various spaces. When the vertical planes are at the eye level or shorter, they subdivide spaces and create areas for the users to maneuver around.

FIGURE 19: FULLY ENCLOSED SPACE

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FIGURE 21: ASYMMETRIC IMPLIED SPACE

FIGURE 20: DIRECTIONAL IMPLIED SPACE

These are some of the examples of enclosed spaces. The placement and orientation form a key role in guiding the user through the spaces. Long, narrow spaces form implied directional spaces where as spaces enclosed from all directions, may give become a part of the spatial character of the negative spaces. The verticality of the structures impacts the line of site of the user and thus impacts the perception of the user while entering a space.

FIGURE 22: DIRECTIONAL ENCLOSED SPACE

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The given figure explains the formation of an enclosed space as a result of the surrounding structures. However, the aligned accesses to the structures renders a sense of continuity to the space which diminishes the impact of the enclosure.

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FIGURE 23: MAXIMALLY ENCLOSED SPACE

FIGURE 24: APPROACH SIGHTLINE GIVES ATTENTION TO LANDSCAPE BEYOND. THUS, THE PERCEIVED ENCLOSURE IS REDUCED.

Positive spaces contain enclosed areas that engage the users in primary functions whereas negative spaces are the remaining spaces that highlight the positive spaces and give direction to the users while moving from one space to another. The placement and orientation of these types of spaces gives rhythm and a sense of unity to the area. The spatial organization vastly impacts the line of site of the users and hence determines the quality of experience of the spaces.

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HIERARCHY OF SPACES

FIGURE 25: NURAGIC AND CONTEMPORARY MUSEUM BY ZAHA HADID ARCHITECTS (NURAGIC AND CONTEMPORARY MUSEUM, 2006)

Hierarchy is the principle of arranging elements to show their order of importance (Visual Hierarchy) and establishing a relationship between the form and the spaces. The order of significance aids in highlighting the spaces and forming a connection between what the user sees and perceives. When we design spaces, the order of the spaces can be determined according to the movement of the users through various spaces. This order aids in the form development which helps orient the user orient in the structure. The visual hierarchy influences the order in which the human eye perceives what it sees. When the visual hierarchy responds to the design intent, it has a greater impact on the experience of the user. In order to guide the human eye to see spaces and structures in an order, a few techniques such as dominance and complexity of form are used. Complex objects often dominate the surrounding spaces as the human eye spends more time trying to analyze it. This can be seen in a lot of modern buildings designed by Zaha Hadid, Frank O. Gehry, etc. Dominating architectural elements draw attention by breaking the rhythm from the surrounding spaces or structures.

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Significant differences in size, shape and order of spaces creates a visual hierarchy in the functional, formal, and symbolic roles they play in the structure. This makes the architect’s design intent clear to the user. This can be achieved by: Hierarchy by Size- An element can dominate a design by being different in size from the surrounding spaces. If it is larger than the other elements, we tend to look at it first as it dominates the design composition. Similarly, when an architectural element or form is significantly smaller than the surrounding structures, the users tend to focus on it. This dominance of the form due to its steep, vertical, or transparent size creates a visual hierarchy in the design programme.

FIGURE 26: IMAGE OF THE SWORD AS SEEN FROM THE ENTRANCE (IMAGE SOURCE-AUTHOR)

Hierarchy by Shape- When there is an irregularity in the geometry of an architectural form, it gains dominance over the surrounding spaces. However, the shape should respond to the function that it houses. The design and construction of the unique form becomes keeps the user engaged with the built form. The legislative assembly in Chandigarh designed by Le Corbusier consists of a square plan but the hierarchy of spaces is visible because of the use of a hyperbolic structure which consists of the assembly hall with a parametric roof. As it contains one of the most important functions of the structure, the space stands out for the user outside the structure as well. (Parmar) Sai A. Pradhan l L. S. Raheja School of Architecture

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Hierarchy by placement- With a strategic location, the space can stand out and draw attention of the users. Their distance from the other objects, their orientation and axis can gain focus as compared to the surrounding spaces as they break the order. As we walk into an atrium, the vertical size of the space, makes the users pause and appreciate the size and change in scale of the space in comparison to the surrounding spaces. Some of the crucial locations to construct such unique forms are: • • •

FIGURE 27: LEGISLATIVE ASSEMBLY, CHANDIGARH BY LE CORBUSIER

FIGURE 28: MUSEUM OF MILITARY HISTORY, GERMANY Sai A. Pradhan l L. S. Raheja School of Architecture

.

At the end of a linear or axial design composition At the center of a symmetrical or radial design At an asymmetrical location or in the foreground of a composition. (Parmar)

The establishment of a hierarchy of spaces within a structure leads to an enhanced relationship with the built form. The users can engage with the flow of the spaces. Hierarchy of spaces within and structure and the form of the structures within a design composition thus play an important role in keeping the user engaged with the built form. It enhances the spatial quality of individual spaces as the users can appreciate the spaces in the form of a complete architectural experience.

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APPRECIATION SPACES A structure can be perceived and felt by the senses. These senses such as smell, touch, sounds, etc. which together create a complete experience for the user. Therefore, a user interacts with a building not just by the visual cues. The relationship between the built form and the user is built not just through a series of visual cues but also through the way it is approached and confronted. This further determines the movement of the user in and around the structure. Therefore, the approach and form of the building at various point around the site forms the perception of the structure.

FIGURE 29:- SPIRCE- AUTHOR

Some of the primary characteristics of a structure that lures its users towards it is the overall form and the spaces and activities on the ground floor of the structure. The approach spaces and the appreciation areas give the user an opportunity to see, retain and interact with the form of the structure. In this process, the user experiences a series of spaces that lead into the structure. That flow of spaces into each other without Therefore, the placement and design of these appreciation spaces takes the user on a path of exploration and discovery. When we walk, we tend to perceive the structure primarily through our sense of sight as it is one of the most dominating perceptions of the structure. When the user is intrigued with the structure, he is motivated to walk towards it. The sight of the structure acts as a reward, making the journey towards it even more meaningful.

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However, this journey may not be consciously felt by the person. It is thus the role of the architect to ensure that the structure is not just seen but felt as a part of a deeper meaning by encountering and confronting the built form through a series of spaces. These spaces follow an order which act as a build up towards the building. When the spaces flow into each other, the user embarks on an active journey which takes him from the outside to the inside. The spaces should be replete with movement and pauses, offering opportunities to confront the structures at different scales. This helps the users connect with the architectural elements and build a connection with the structure. The sequence of the spaces should be decided according to the movement of the human eye. With the visual hierarchy in mind, the structure and spaces should be revealed to the user in a process of concealment and revelation (Gupta). When the structure is viewed from different perspectives and visual axes, the user would be able to gauge the size and proportion of the structure. This understanding of the structure would give the user a sense of place and direction within the structure. The distance between the structure and user plays an important part in the level of appreciation towards it. When the user is farther away from the building, he can see the overall design composition and placement of the structure. The users often compare the structure with the surrounding structures as it helps them to relate to the scale of the building. When the structure has a contrasting geometry or visual composition to the site context, it stands out and grabs the attention of the people. As one walks towards it, the intricacies of the structures such as the materials, voids, etc. become more evident. Sai A. Pradhan l L. S. Raheja School of Architecture

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The distance between the structure and user plays an important part in the level of appreciation towards it. When the user is farther away from the building, he can see the overall design composition and placement of the structure. The users often compare the structure with the surrounding structures as it helps them to relate to the scale of the building. When the structure has a contrasting geometry or visual composition to the site context, it stands out and grabs the attention of the people. As one walks towards it, the intricacies of the structures such as the materials, voids, etc. become more evident.

FIGURE 30: SOURCE- AUTHOR

Buffer zones are great spaces for individuals to reflect on the complexity of the structure and the spaces at the eye level. They offer pause points which can be used as reflecting or connecting areas. These spaces make the user subconsciously pause and interact with the surrounding users or the structure itself. When the seating or resting areas are placed at a distance less than 3m apart, the users get an opportunity to engage in a conversation and sit in a group. Seating at more than 3M disconnects the individuals from each other as they are unable to recognize the expressions and sounds of the other person. The potential for movement is important as it determines two very important factors for the user- the ability to predict their movement to reach a space and perceive the spaces that they cannot reach instantly. This makes the users intrigued and thus set off on a journey of exploration and discovery.

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Architects use visual barriers as a method of concealment to increase the curiosity towards the structure. Trees, walls with voids, transparent edges, etc. allow the user to some or the whole structure briefly. The buffer zones can be placed at places where the views of the structure can be framed. We experience the physicality of spaces on a regular basis. This may or may not be consciously done. When we enter a low heighted space, we feel unsure whereas we feel liberated and free on a hill top. These physiological expressions of spaces are a reflection on the potential of movement against the surrounding spaces. (Space And Mass) The placement of spaces in modern architecture infuses mobility using variable architectural elements. The loss of thick walls reduces the sense of compression. Blurred edges and boundaries between spaces encourages free movement and opportunities for interaction between the user and the built form. Complex objects often intrigue the users and make them walk around the structure to understand it from various angles. In order to guide the user to view the structure in an organized manner, directional spaces are employed. Architects use these spaces to ensure that the viewer passes through various experiences before entering the structure.

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Corresponding to the interaction between spaces, there should be a direct relation between the indoor and outdoor spaces. The structure should respond to the site context instead of existing in isolation. Depending on the form and composition of spaces, the structure can either become a piece of art or an amalgamation of solids and voids. We tend to humanize inert matter and thus make it relatable. The steps leading to the Sydney Opera House add grandeur to the structure. As the user walks up towards it, the ground floor spaces are revealed one step a time which adds to the magnificence of the iconic structure. Human attributes are projected onto the scale of the structure and the steps leading to it. Thus, it is important to allow the users to experience the structure by moving around it and not from a single viewpoint. The user gets involved with the form and elements of the structure and the spaces within it. Making it even more interesting when he enters the structure.

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EDGES AND BOUNDARIES

‘The boundary between what we reveal and what we do not, and some control over that boundary, are among the most important attributes of our humanity.’ (Nagel, 1998)

FIGURE 31: PERMEABILITY OF SPACES (IMAGE SOURCEARCHDAILY)

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The built form often separates the exteriors from the interiors, the public and the private spaces and thereby offers a sense of boundaries from place to place. (Graves) These separations, also called as boundaries or edges, help us understand our individual realms and regulate the flow of people and their movement to and from a space. They are linear elements that help separate two domains or entities. (Desai, 2018) The building edge or the plot boundary are some of the examples that aid in the segregation of spaces. One of the classifications of edges is based on the type of domains. A legal edge separates the public and the private domain by a plot boundary whereas the social edge ascertains the area up to which the public can access the space. The built edge segregates the different domains and therefore demarcates the extent of the building. (Desai, 2018) However, in order to establish a relationship between the users and the various spaces, the spaces should respond to each other and create a sense of place. Permeability is thus one of the most crucial factors while designing a structure. When various spaces interact with each other and form a cohesive design, it enables the user to relate better with the built form. Therefore, along with the built boundaries, the porosity of the building edge is equally important. Permeability is an embedded quality of architecture and uses accessibility (physical permeability) and visibility (visual permeability) as two crucial elements to measure the porosity of a space. Accessibility of a space can be measured by noting the ease of accessibility into a space. An empty space is considered as one of the most permeable spaces. However, as we try to define a space further, the level of permeability keeps diminishing. Visibility is the amount of visual access into a space from another space or the access into a space through visual contact. It allows the perception of different locations simultaneously. (Ephes, 2005-2006) Sai A. Pradhan l L. S. Raheja School of Architecture

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The amount of permeability depends on the activities and use of the spaces. The privacy, safety, amount of participation is some of the factors that determine the porosity of the edges. With accessibility and visibility as the key factors, edges can be further classified into: Opaque Edges: They lack the presence of voids which restrict the visual and physical permeability into the space. They help to maintain the privacy and security of the spaces. However, if these edges are not implemented appropriately, they can create redundant spaces often getting used as parking spaces. Various museums have such opaque building edges to maintain the spatial quality of the interior spaces. Virasat-e-khalsa, Jewish Museum by Daniel Libeskind, etc are a few examples of opaque edges. FIGURE 32: (GONZÁLEZ, 2018)

Transparent Edges: These edges allow visual permeability but are physically impermeable. The window fronts for shops in the mixed-use developments, passages, etc. are transparent edges. They create a sense of curiosity and surprise for the users by framing or giving a glimpse of the spaces but restricting the access from the same façade. This increases the visual interaction between the users and the built form while still maintaining the physical impermeability.

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FIGURE 33: INCREASED VISUAL TRANSPARENCY BETWEEN SPACES (IMAGE SOURCE- PINTEREST) Traversing Through Architecture

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FIGURE 34: PERMEABLE EDGES (IMAGE SOURCEAUTHOR)

Permeable Edges: These edges possess accessibility and visibility while still being able to maintain the identity of the individual spaces. Bazaars, plazas, lobby areas, street shops, etc. are permeable edges that keep the user engaged with the surrounding spaces.

The context of the edge plays an important role in evaluating the edge quality. It should enhance the spatial quality of the spaces and produce positive results. When the edge stops responding to the context, it hampers the interaction between the spaces and their boundaries and loses its role of a binder. One of the most permeable layers is a void which can be used to separate spaces while still maintaining the spatial quality of the surrounding spaces. It is widely used in contemporary architecture as a spatial definition as it allows vertical and physical permeability as well. However, a balance needs to be maintained between the edges and voids and the porosity of the edges. An interaction between the edges is necessary but not at the cost of the spatial quality of the individual spaces.

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SERVED AND SERVANT SPACES While determining the hierarchy of spaces, it is important to understand the core segregation of spaces. As Louis I. Kahn has rightly claimed, there are two types of spaces- the served and servant spaces. The served spaces contain the primary functions of the design programme that would get used most often. On the other hand, the servant spaces are the ancillary spaces that aid in the functioning of the served spaces. They comprise the staircase, lift well, ventilation systems, etc. With the appropriate integration of the served and servant spaces, a design can offer multiple opportunities for the user to interact with the built form. When the solids and voids are used optimally, they further aid in enhancing the experience. The servant spaces act as solids as they are often grouped together and remain static in their position. The served spaces are assumed to be voids as they allow movement through them. They mostly consist of spaces such as lobbies, laboratories, housing areas, club house, classrooms, etc. When the solid and voids interact with each other, the design functions in an optimal manner. The circulation spaces, which are servant spaces, should have a logical and interesting characteristic. It should work effectively with ample amount of ventilation and play of light and shadow. It should keep the user interested to walk through various spaces in the design. The circulation space can consist of spaces that offer a glimpse into the served spaces, compelling the user to embark on a journey to reach the served spaces. Variations in lighting, framed views, staircases as meeting areas, interesting corner spaces, etc. can further enhance the experience. Kahn expertly grouped servant spaces in a way that met the functional needs of the building while lending quiet poetic rhythms to the whole. (Frederick, 101 Things I Learned In Architecture School, 2007)

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One of the primary examples of served and servant spaces would be IIM Ahmedabad, Gujarat. Being primarily an institutional building, it also contains residential structures as hostels for the students. The main educational spaces and faculty areas are free standing structures on either side of a courtyard. They are connected by long semiopen walkways that offered multiple opportunities for the students and faculty members to pause and talk. Kahn believed that self-learning is also an important part in a student’s life. Hence, he placed the dormitories closer to the educational building to offer a complete experience to the students. Despite the stark distinction between served and servant spaces, the degree of amalgamation of these spaces determines the success of the overall design. They should be able to interact with each other in a few situations and remain segregated where required. In a hospital, the served and servant spaces are segregated to ensure efficient functioning of the structure. However, with the right use of servant spaces such as passages, staircases, etc. in a residential area, the users would be able to interact with each other and develop a sense of community within the structure.

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FIGURE 35: VARIOUS SERVANT SPACES USED TO ENCOURAGE INTERACTION AMONG CAMPUS (IMAGE SOURCEARCHDAILY)

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INTERACTIVE SPACES

FIGURE 36: STRONG USE OF MATERIALS LEADING TO A SENSE OF PLACE

As Juhani Plasma once said, “Buildings do not merely provide physical shelter. In addition to housing our fragile bodies, they also need to house our minds, memories, desires, and dreams.” We interact with the built form surrounding us on a regular basis and in multiple ways. Our brain receives visual inputs and processes the experience in terms of the tactile and auditory senses. (Studio, 2017) During our daily activities such as opening a door, walking up the stairs, etc., we are engaging with the surrounding built environment and modifying it to best suit our needs. This cognitive understanding of the surroundings can often trigger loopholes leading to optical illusions. (Studio, 2017) Optical illusions guide the user to perceive the structure differently than what it is. When the user views the structure from the ground level, he can view the structure separate from its physical existence. The user may view the structure in varied forms from different distances.

“The visual perception at the human eye-level while moving through the space provides the only accurate reality of spatial experience.” -Yatin Pandya

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To facilitate a healthy communication between the building and the occupant, the user must be able to perceive the space through all the senses. A walk along a tree lined passage emits an aroma that acts as a wayfinding device for the user. As we walk through a space, we make associations between the space and the way our body feels when we walk through it. This has a direct connection with the amount of interactivity with the surrounding environment. Traversing Through Architecture

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FIGURE 37: SEGD

When we experience a change in the materials and levels, the noise of the water lashing against a surface, our body makes cognitive relations with our previous experiences and helps us connect with our surroundings. The elements beyond the visual realm help the user feel the space and build a relationship between the physicality of the user and the built form. This ability of the environment to engage the user is called interactive architecture. Interactive architecture refers to the branch of architecture which deals with buildings featuring the trio of sensors, processors, and effectors, embedded as a core part of its nature and functioning. (Inetarctive Architecture) It encourages the architects to design and create spaces to allow a conscious interaction with the built form. In order to achieve this, the space should be organized to narrate a story that connects with the occupants on an emotional level as well. (Lehman, How to Design Architectural Interactivity that Emotionally Connects) As the users and functions increase, the degree of interactivity between the built form and the user diminishes. The built form is unable to cope with the fast-paced demands and is unable to cater to the increasing demands of the user. We often travel to spaces within a structure to meet specific demands. We walk past walls to reach windows that allow light to flood into the space and provide views of the exterior spaces. In our instantaneous and automated lifestyles, we crave for more and more interactions with the built form. Interactive architecture probes architects to relook at the overlooked opportunities that can provide more human interactions with the surrounding environment.

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SIZE AND PROPORTION Scale and proportion are one of the most important elements that govern the composition of the design. Although used in relation to another, these terms have different meanings and roles in the design process. Proportion refers to the proper and harmonious relationship of one part to another or the whole, while scale refers to the size of an object compared to a reference standard or to the size of something else (like a human being). (Ching F.) They come together to form a

PROPORTION: Proportions refer to the visual relationship between various elements or structures to one another or the whole. It explains the perception of spaces based on scale and complimented by bodily senses. An architect uses systems of proportions to design the form and details of a building. These details, such as the height, width, and other spatial elements, are designed according to the design intent and other standards that govern the construction of the building. This subjective nature of designing has given way to the systems of proportion which are: 1. Golden section –The golden ratio (and Fibonacci series) is used as a tool to determine the size and volume of elements within a structure. According to this theory, two quantities are said to be in the golden section (φ) if the ratio of the sum of the quantities to the larger quantity is equal to the ratio of the larger quantity to the smaller one. In this system, each part remains like all the other parts, as well as to the whole. 2. Lines – This theory states the general alignment and placement of elements in a structure by bringing order and harmony to it. Structures designed by architects such as Louis I. Kahn, Charles Correa, etc have strong lines that dictate the size and proportion of their openings, distance between them, etc. According to Le Corbusier, regulating lines guarantee fine proportions and add a rational sense of coherence to the buildings. In this way, the order, function, and the 0volume of the space are drawn into one architectural totality. (Ching F.) This can be observed in IUCCA which has strong horizontal and vertical lines that join to form regulating lines that give direction, rhythm and add a sense of place to the spaces within.

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FIGURE 38: GOLDEN RATIO (IMAGE SOURCEFAST COMPANY)

3. Classical orders – According to ancient times, the elements of the structure were determined by understanding the column used in the structure. These columns ranged from Ionic, Doric and Corinthians which originated in Greece, to which the Romans added Tuscany and Corinthian style of columns. 4. Renaissance theories – The architects of the Renaissance period believed that mathematics could be used to create proportional spaces. They used mathematical formulas created by Pythagoras to establish the dimensions of a room, façade, and the spaces with respect to the plan of the structure. 5. Ken- It was used as a unit of measurement between two or more columns in Japanese architecture but was soon standardized in residential architecture. It helped the architects determine the proportions that would increase the aesthetic value of the structure, space, and material. This system was further developed to form a module that affected the spatial system of Japanese architecture- Tatami. The shorter side of Tatami represented one ken and the length of Tatami equalled to two kens. This system of proportions was appointed to apportion dimensions to the internal spaces of a structure.

FIGURE 39: THE KEN METHOD FOR PROPORTION (IMAGE SOURCE- ARCHI MONARCH) Sai A. Pradhan l L. S. Raheja School of Architecture

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6. Modular – While working with proportions and human dimensions, Le Corbusier devised a system that uses the dimensions of the human body according to the Fibonacci series. He developed two series of dimensions according to: a. Average human height (Red series): 4-6-10-1627-43-70-113-183 cm b. Average height after lifting one arm (Blue series): 13-20-33-53-86-140-226 cm Le Corbusier has used this system in the design of Unite d‘Habitation Residential Block in Marseilles, France. The human proportions helped him make the structures more relatable by its users. 7. Anthropometry – It is said that spaces are an extension of the human body and therefore should be designed according to the functional needs of its users. The built environment is a result of the movement and dimensions of the users that would inhabit that space. The movement of the users can be static (sitting in a chair, leaning against a wall, etc) or dynamic (walking between spaces, up the stairs, etc). Each movement has varied spatial requirements and arrangement of elements which enhances the usability and quality of the spaces. The sizes and proportions of furniture and standard elements such as staircases, doors, windows, etc have been developed according to the various movements and activities of its users. Therefore, while designing spaces, human proportions and their relationship with the built environment plays an important role in the creation of spaces. The distance between two or more structures, their heights, number of voids, visual axis, etc has a huge impact on the perception of the space by the users. A narrow passageway with a high density of people would seem intimidating when the height of the structures is not in proportion to the length of the structure. Therefore, the systems of proportion should be employed carefully to create rational yet harmonious spaces. Sai A. Pradhan l L. S. Raheja School of Architecture

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SCALE: It is used to understand the size of an object or a structure in relation to another standard dimension. We perceive our surroundings in relation to our visual scale and the human proportions. •

Visual Scale – We always perceive visual information of our surroundings in relation to a known object as it helps us to relate to the structures around us. The distance between the user and the structure affects the perception of the spaces around us because the objects away from us appear smaller than the objects near us. This phenomenon inspired Alois Regel to developed three main scales based on the experience of spaces: Small/ Near: At this scale, one can experience the space by understanding the texture, material, dimensions, etc. This allows the user to build a mental map of the space, thus making it easier for them to move around and experience the space. Curvilinear geometry can best be understood from this space.

FIGURE 41: THE VIEW OF THE ENTIRE CORE WHILE STANDING AT A DISTANCE (IMAGE SOURCE- AUTHOR)

FIGURE 40: SPACE SEEN WHEN THE USER IS STANDING INSIDE THE STRUCTURE (IMAGE SOURCE- AUTHOR)

Middle: This scale takes the user on a journey through various spaces by making them understand their surroundings one space at a time. Complex and curvilinear spaces become less effective as they go beyond human proportions. On the other hand, understanding of contrasting proportions, colours, textures, etc. get heightened.

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Far: As the distance between the structure and the user increases, the users’ ability to understand the form and the scale of the structure increases. The scale and proportion of the materials, textures and other details fade out but the contrast in colours, heights and other tactile and visual elements gets highlighted. (Studio, 2017)

FIGURE 42: THE VIEW OF THE ENTIRE STRUCTURE WHENT THE USER STANDS AWAY FROM THE STRUCTURE (IMAGE SOURCE- AUTHOR)

It is believed that symmetrical spaces are often perceived as grand whereas asymmetrical spaces are less monumental. But the height of the structure has a more profound effect on the visual scale in comparison to the symmetry as the height of the space can make a person feel intimidated or grounded. A case in point would be Salk Institute by Louis I. Kahn which has symmetrically arranged structures that make the users feel connected to each other instead of feeling ancillary to the structure. On the other hand, asymmetrical structures like Sydney Opera House are monumental and grand and can make the person feel subservient to it.

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•

Human Scale –To understand the size and volume of space, we compare the space with human proportions. When the proportions of elements in a structure are increased manifold in comparison to human proportions, the structure is perceived as monumental or grand. Heritage structures like Buland Darwaza in Fatehpur Sikri, La Sagrada Familia in Spain, Asiatic Library, etc contain elements that are more amplified than the standard measurements. This makes the person feel intimidated and small in front of the structure. Whereas structures like Sabarmati Ashram in Ahmedabad, British Embassy in New Delhi, etc have elements that help the user relate to its dimensions and thus comprehend the size of the structure. The relationship between scale and proportions helps the user relate to spaces by understanding them in comparison to the spaces surrounding them. By moving between structures with various scales and proportions, the user is taken on a journey through architecture. A play of colors, textures, levels, heights, etc. heightens the users’ senses and therefore enhances the experience of the structure.

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FIGURE 43: SOURCE- SOCIETY OF ARCHITECTURAL HISTORIANS

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VEGETATION AND LANDSCAPING

FIGURE 44: THE ARRANGEMENT OF BUILT FORM AROUND THE TREES IN IUCAA, PUNE ENHANCES THE EXPERIENCE OF THE USERS (IMAGE SOURCE- AUTHOR)

There is a direct relationship between built form and the surrounding natural environment and affects us regularly as it has a direct physiological impact on us and determines our decisions to stop or continue walking. It affects the health and mental wellbeing of the occupant and should thus be one of the main elements of spatial organization. The degree of interaction between the occupant and the green elements vastly depends on the geometry and placement of the areas of vegetation. It helps determine the accessibility of the green space to the occupants. This accessibility can be measure through three key factors- physical accessibility, visual accessibility, and opportunity for interaction (Pinelopi Vassilaki, 2015). While physical accessibility refers to the penetrability of the user into the green spaces, the visual accessibility is the amount of landscaping visible to the users. Landscape elements aid in blurring the boundaries between various spaces and ensuring an efficient communication between indoor and outdoor spaces.

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Green elements have the potential of becoming architectural elements as they possess the ability to create a space into a place. The landscape around each typology of structure is designed differently to add character and bring the building to life. It helps the user identify the functionality of the structure from a distance. (Steuteville, 2017) They act as natural ceilings and columns and aid in the creation of spaces of all scales. Natural elements can be altered to create fourth dimensional spaces as they activate the senses and offer experiences replete with smell, noise, and touch.

FIGURE 45: LANDCAPING IN WAR MEMORIAL, PUNJAB (IMAGE SOURCE- AUTHOR)

Free and open spaces within the natural elements must be created for the users to fill and carry out activities such as playing, resting, sitting, etc. which activate spaces and encourage interaction between man, nature, and the built form. When these free spaces are surrounded with green elements and wet areas, they offer some relief from the sun and help continue the activities for a longer duration. However, an organized pattern of these natural elements will elevate the spatial quality and guide the user physically and visually through various spaces. It will give rise to various ambiences and decide the pause points. In a linear layout, the trees of a similar height and scale are placed adjacent to each other, forming a vertical façade which helps to guide the users. On the other hand, when the trees and shrubs are placed further away from each other, they allow movement through them while framing a view of the structure. In cases where tall trees are used, their foliage forms a canopy for a larger area. By varying the heights and distances between the trees, various spaces can be created.

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Natural elements placed in a meandering line create directional spaces which give movement to the space. As this is most found along water bodies or with less rigid and built areas, they become inviting to walk along. Nevertheless, when angles are formed in this arrangement, giving rise to a zig-zag layout, it forms reflecting areas where furniture could be used. It offers a broader view of the structure while giving privacy to each person. An optimal area can be created to maximize the view of the individuals while blocking the view of the general public. These areas, most often at the edge of spaces, are shaded and offer refuge to the user. (Habitat Theory, n.d.)

FIGURE 46: PATHWAYS FORMED IN GOVARDHAN, PALGHAR (IMAGE SOURCE- AUTHOR)

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Therefore, the placement, alignment and organization of natural elements is important to guide the user through various spaces. They form soft edges against the harsh forms and angles of structures. (Sharma, 2014) Landscape elements should not be adjusted according to the form as they should become the focal points for the design composition.

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MATERIAL

FIGURE 47: PLAY OF MATERIALS BY THE USER OUTSIDE THE EMBASSIES IN GERMANY (IMAGE SOURCE- AUTHOR)

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We, as humans, primarily perceive spaces though our eyes. Apart from the different scales, sizes and elements of architecture, our eyes also perceive a tactile imagery of the materials used in the space and structure. This helps the occupant feel or touch the spaces and interact with them on a deeper level. Our vision is one of the primary ways we perceive our surroundings. The play of materials and their varying scales and sizes, helps us build a tactile imagery of the spaces around us which enables us to feel and touch through our eyes. The users can establish a deeper relationship with the space when the light touches these materials, giving rise to movement in the spaces.

“He looked at the granite. To be cute, he thought, and made into walls. He looked at a tree. To be split and made into rafters. He looked at a streak of rust in the stone and thought of iron ore under the ground. To be melted and to emerge as girders against the FIGURE 48: SOURCE- AUTHOR sky.” -Ayn Rand, The Fountainhead Every material has their own characteristic with a distinct strength, texture, coarseness, permeability, etc. However, architects often coat these materials with another layer to give them a different colour and texture from their existing character. This makes it difficult for the user to differentiate between the spaces as each façade can camouflage with the surrounding context. When a structure uses a multiplicity of materials, it becomes easier to integrate the form with the spaces, leading to a cohesive design composition. (Space And Mass) The recent trend throws light on modern architecture which uses ‘modern’ materials which are form an envelope over the structure. But materials should become an inherent part of the design instead of an applied element. They would add depth and richness to the architecture, which would engage the users in the visual language of the structure. (Sarra, 2020) Design is not separate from material selection; architecture must be considered holistically to bring maturity and authenticity to design.

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Materiality in architecture is a concept or application of various materials or substances in the design of a building. It highlights the innate qualities of the materials and uses them as an architectural element to guide the person in a structure. When multiple materials are used, they form a pattern and give rhythm to the structure. It gives direction to the users and act as implied directional architectural elements. The composition, placement, and manipulation of materials is done with precision and intent; the result is form and materiality working in harmony to create architectural poetry. (Sarra, 2020) Along with materials, colours also play an important role in engaging the users. It is one of the fleeting qualities of the material as it tends to weather or fade over a period time. As colours are the reflection of light in multiple ways, when the colour is lighter, the architectural elements seem to approach the user. Conversely, the use of dark tones, seems to move away from the user. This plays an important factor when the user is approaching a space and engaging in the various elements of the structure. When materials, their colours and the form interact with each other, it gets translated into a deeper interaction between the user and the structure. Preserving the identity of the materials used in the structure and highlighting them to create spaces, leads to an enhanced understanding of the space. It adds to the details of the structure which help the space be felt.

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TYPOLOGY OF STRUCTURES AND THEIR ELEMENTS

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FUNCTIONAL DIMENSION “Single buildings incrementally introduced into blocks eventually determine the character of the open spaces. It is at this most elemental scale, every day in a myriad of fleeting and poignant moments, that Architecture and Urbanism define each other.” - (Polyzoides, 2005) We all need appropriate functions for our movements. Our mind associates the form and elements of the space with a requirement before we move into the space. This recognition of places helps us fit the various spaces together into an understanding of parts or whole of the structure which helps us move in and around the built form in an organized manner. Architects shape spaces to execute these movements by providing a structural and experiential identity to them. However, the use of these spaces according to its function is not as universal as the way their movement in it because they differ according to the culture and societal preferences. This property of architectural space is referred to as the functional dimension. (Suvanajata) Buildings are a representation of the ideologies and desires of the users. The size of the windows speaks about the visual connect that the structure allows between the occupants inside and outside the structure, the number of perforations determines the level of accessibility into a space. Architectural elements carry a symbolic which speaks with the user at the ground level. It gives an opportunity to the user to see and decipher the use of the building and decide whether to engage with it. (Ghostwoods) Therefore, by focusing on the human scale while designing, will spark a conversation between man and building and building and building. In order to maintain the identity of the individual structures and connect two or more structures identification of the elements that build a typology of structure is very crucial to create a dynamic and interesting design as it would enhance the experiential quality of the journey of the user while traversing through various spaces.

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RESIDENTIAL STRUCTURES People often say, “There is no place like home” because it’s a place where we laugh, play, relax and grow as an individual. It reflects our thoughts and desires as we mould the space according to our preferences. Residential architecture consists of two distinct zones- the public and private realms. The public realm caters to the interests of the community and acts as a buffer area between the city and the private spaces of the individuals and maintains the privacy of the users. (How the Meaning of Home Influences Residential Architecture) As users enter, a prominent compound wall ensures filtering of people entering the structure. This boundary may grant visual access into the structure if it faces the communal areas of the society. However, in most cases, these edges are opaque to define a clear boundary between the street and public realm of the residential complex. When the communal space is segregated from the general public, the members of the society feel a sense of community and security. In residential architecture, distinction between private and public spaces needs to be maintained at all points. Elements such as trees, voids, doors, etc. decrease the permeability into private areas. However, if these elements are used in strategic places, they can frame views of the communal spaces while approaching the entry to the main structure, always ensuring eyes on the street, and creating an interesting journey for the user.

FIGURE 49: EDGES AND BOUNDARIES IN RESIDENTIAL STRUCTURE (SOURCE- AUTHOR)

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To ensure that the user at the ground level is about to see and measure the size of the building before entering, a minimum height to distance ratio of 3:1 must be maintained. It ensures enough Sky Viewing Factor (SVF) to the user which creates a perception of openness and freedom while keeping him involved with the built form around him. When the height to distance ratio is more than 4:1, the users within the building lose a connect between one another. To safeguard and strengthen the hierarchy of spaces- city, public realm, semi-public area, and private area (residence), vegetation plays a key role. They block the view of the private spaces, thus directing the users into the public spaces. When the landscaping areas are interspersed with the built residential structures, pockets for interaction are formed where people can come together to celebrate various festivals. Vegetation and materials work in harmony to safeguard the visual hierarchy of spaces in a housing complex. A change in materials ensures that the pedestrians and vehicles movement don’t overlap with each other while guiding them to the entry of the main building. Parking areas on the ground floor often add to the ‘tiring length perspective’. Architects can use vegetation and a range of materials to conceal the monotony of the parking spaces.

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FIGURE 50: SEGREGATION OF SPACES IN A RESIDENTIAL STRUCTURE (SOURCE- AUTHOR)

FIGURE 51: SPACES SEGREGATED BY OATHWATS AND VEGETATION WITHIN THE RESIDENTIAL PREMISE

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When the landscape areas are interspersed with the pathways, the pedestrians within the residential complex get a visual buffer from the built form. These landscaped areas can frame multiple views of the structure or form open spaces where users can reflect on the structure. When the ratio of height to distance is more than 3:1, the user would be able to approximate the scale of the structure but when this ratio extends beyond 4:1, the user loses visual connect with the floors above their eye level. Spaces in a residential complex have defined areas for varied user groups. Although these spaces flow into each other, their permeability keeps diminishing as one moves between these spaces. Elements such as voids, doors, etc. add layers of security to reach the private spaces. Occupants of the residential areas can interact with each other through the common passages and communal areas. Chanced interactions between the users can be increased with a suitable integration of served and servant spaces, such as staircases, passages, etc. which can also act as community areas. In the recent times, the ground floor of residential structures is activated with the addition of shop fronts that connect with the pedestrians on the street. They are provided after leaving a set back from the footpath which acts as a spillover zone between the shops and the moving traffic of the footpath. The accesses for the shops and the residential areas is segregated to maintain privacy and security of the residents. With advancement in technology and the knowledge of construction materials, the interaction between the user and the built form can increase by engaging the user with a vibrant and pleasing colour palette, textures, and materials. The users’ associations with the difference in materials would aid in creating a nested place out of space. By using varying scales and heights of structures, the user can view activities at various levels. Elements such as balconies, bay windows, etc. allow interaction among the occupants and the people on the ground floor. With the introduction of lifts for vertical transportation, the use of staircases has diminished. However, if these servant spaces are integrated with the connecting passages, chanced interactions between people would increase. With the introduction of interactive walls, the occupants can get real time information about the number of people in the building, the surrounding temperature, timings of activities in the community, etc.

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INSTITUTIONAL STRUCTURES Institutional architecture comprises schools, colleges and universities that cater to the educational growth of students from kindergarten to higher education. They not only teach students important skills and concepts for their future careers, but they also support students socially and emotionally throughout their educational journeys. (Anderson) According to studies, the rate of drop-outs decreases when they are closer to their family. (Edward M. Sosu, 2019) It is thus imperative for architects to create an infrastructure that builds a community of students that support and help each other grow into beautiful individuals. To create a community for students, the placement and orientation of spaces plays an important role. An interaction between structures and spaces, encourages students to spend quality time with their peers. Walking and bicycle friendly areas near public spaces promotes walking and acts as an ice breaker between students. The dimensions of spaces differ according to the anthropometric scales of varied age groups. The architecture and the spaces formed within them have separate requirements for spaces catering to the age groups of 3 to 16years old, higher education and universities. The functional spaces, dimensions, proportions, etc. constantly evolve as the student grows. Children at a tender age of 3 to 16 years old require an environment that promotes critical thinking, creativity, and curiosity. The architecture should allow them to create memories that have a long-lasting impact in their life. Introduction of multiple levels with physical and visual permeability lets them explore various options to approach a space. The proportions of the doors are designed according to the movements and activities performed by these students. Humble spaces with light entering through voids of varying shapes and sizes adds movement and rhythm to the structure. The primary function of teaching and learning go together with each other and should be integrated to serve constant surveillance with spaces for the students to make memories. Functions such as library and play areas should be interspersed with classrooms to fade the edges of spaces and give a homogenized opportunity for growth. Designing of vegetation to accentuate the spatial quality of the primary spaces helps activate the senses and increase the productivity of students. Tall and dense

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trees become natural noise and physical barriers between the school and the streets which gives a sense of security and freedom to the children. By extending vegetation into the interior spaces, the transition between interior and exterior spaces becomes more fluid.

FIGURE 52: LIBRARY IN CEPT UNIVERSITY, AHMEDABAD (SOURCE- ARCHDAILY)

Architectural elements such as passages guarded with transparent facades, placement of structures creating recreational areas, etc. form directional spaces that induce wayfinding and a sense of direction among the children. Materials, patterns and colours on the floors and walls can further help in guiding and creating a sensory experience while moving between various spaces. Higher education institutes and universities require larger spaces to accommodate the needs of a diverse user group. However, spaces such as classrooms and libraries are bigger in universities than in colleges as they alienate the students from the built form which can make the students feel isolated from their surroundings.

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Placement of recreational areas such as activity centers, multipurpose classrooms, canteens, etc. closer to the ground floor can increase the participation of students in activities on campus. Provision of residential areas for students helps build a student community that supports each other. Designated pedestrian pathways and bicycle tracks linking various structures should be provided and connected by placing the drop off points near public areas. The organization of spaces must promote an interaction between the structures and between users and the built form. Well thought placement of staircases can increase physical and visual visibility between the occupants and add vibrancy to the structure. FIGURE 53: RMIT UNIVERSITY, AUSTRALIA (SOURCE- ARCHDAILY)

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Architects should constantly evolve the design of educational structures by focusing on the needs of the students. When the structure imbibes a feeling of home and puts the student at ease, the chances of a successful student increases. The infrastructure should encourage engagement of students with the activities and peers on campus and strive to create a community for them.

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COMMERCIAL STRUCTURES

FIGURE 54: BUILDING 12 (SOURCEARCHDAILY)

Commercial architecture caters to larger areas such as shopping centers, office spaces, retail stores, etc. which occupies a sizeable area. These large-scale structures are often found in urban areas with a high demand for retail and office spaces. Thus, a fluid and dynamic form would attract users towards the shopping areas, creating a hustling bustling space. The cafes and storefronts on the ground floor activate the streets by introducing activities that always ensure constant flow of people. When a function within the structure extends onto the area surrounding the structure, users get engaged in the journey of experiences that the varied user groups create. Eating, relaxing, waiting, etc. adds a human value to the structure. This animation of the ground floor ensures constant eyes on the streets which makes the users feel more secure. As large crowds fill the structure at certain periods of the day, the requirement to cater to the vehicular traffic increases immensely. Multiple pedestrians and cars enter and exit the commercial premise at a given time, which causes traffic and inconvenience to its users. Large areas for drop-off and pick-up points provided near the assembly areas prevent stagnation of horizontal movement. Double storey assembly areas create an illusion of spaciousness and luxury which acts as a key selling factor for the office spaces.

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FIGURE 55: PLAY OF TEXTURES AND COLOURS

Following the current trends, architects have been using modern materials to create a perception of development and evolution of the sellers. Although, a mixture of various materials, colours and textures would activate the users’ senses when they are inside the built form. Introduction of vegetation in different parts of the structure improves the occupants’ productivity and frame of mind. They become break out zones where the occupants can step away from the rigorous and routine work environment. The chirping of birds, rustling of trees, the smell of the plants stimulates the brain and activate the senses. By inserting interactive walls at different intervals, people can interact with the built form before reaching their destination. The use of open floor plans for office spaces, has

increased the demand for such interactive architecture. When the commercial structures are planned according to the adjoining streets, the have an impact on the surrounding areas as well. With the changing times, the architecture of the commercial buildings should be able to evolve as well. By using flexible spaces and additional areas for introduction and expansion of technology within the service areas, the scope of the building to evolve and cater to the needs of the users will improve. Commercial spaces have easy visual and physical permeability into various spaces. The insertion of transparent walls creates a perception of increased potential of movement which makes the user feel liberated. Spaces with ample light entering them pulls the users towards them.

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ASSEMBLY STRUCTURES

FIGURE 56: NATIONAL LIBRARY OF BRITAIN NEAR TRAFALGAR SQUARE (SOURCE- PIKIST)

When we walk on the streets, various characteristics of the buildings help us in the identification of the function that they contain. The ease of accessibility into public structures makes them stand out from the surroundings. In Scandinavia an old proverb says, “people come where people are”. Permeable edges facing the streets allow free movement into the structure which increases the activity in and around the structure. This builds a sense of community as people interact with each other and the members of the community flock towards it. Defined area for assembly and vehicular movement is provided at the entrance of the structure. A set back from the footpath behaves as a buffer area between the structure and the moving pedestrian and vehicular traffic. A grand entrance with a double heighted ceiling adds majesty to the functions inside the structure. Sai A. Pradhan l L. S. Raheja School of Architecture

Public buildings reflect the community and must cater to their needs. The space around a public structure promotes community interactions. When a public plaza is placed adjacent to a public structure, the library, theatre, etc. act as landmark destinations that attract users towards it. Public structures have minimal windows to block visual access into the functional areas, making the break out zones very important. These areas connect the occupants with the surroundings and the users on the ground floor. In structures like libraries, these break out areas form intimate spaces for the users to relax and be one with the space around. As a reflection of the society, the structure should carry qualities of its community and local character onto the design façade in the form of materials and ornamentations. They create an icon and allows interaction between the members of the society and the governing body as well. Traversing Through Architecture

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MALLS FIGURE 57: DATA SOURCEARCHITECTURAL DIGEST

Malls provide an upscale shopping experience by integrating assorted shops in an organized way. The placement and arrangement of these shops attracts people towards the stores. When the users approach the structure, the windows of the stores entice the viewers into the structure but deny direct physical access to ensure that the users pass the other shops before reaching their destination. A complex, striking and dynamic form draws attention of its viewers and engages them in the details of the structure. Studies show that our brain engages with fluidity and variety instead of ‘institutional’ building styes. As the user walk towards it, the window shops, entry points, ornamentations of the structure, etc. become more prominent and allows the user to appreciate and interact with the form. This offers time and space for the user to appreciate and understand the structure. With the advancements in technology, the facades of such malls are getting transformed into interactive panels with branding and advertising of various shops and companies inside the mall. Such panels keep the pedestrians updated with the new trends and products and increases the foot count in the structure. The vehicular and pedestrian movement of the users is planned to allow a smooth transition into the interior spaces of the structure. Users move from the streets onto a double heighted assembly area which gives the perception of grandeur and freedom of movement. The user can understand the placement of the shops and move through them. This potential for movement (Space And Mass) encourages the users to move through all the spaces.

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The interior spaces of the mall have minimal visual accessibility of the outdoor areas to ensure that the users are immersed in a timeless shopping experience. Nevertheless, complex roofs with a play of light and shadow enhances this shopping experience. The use of multiple materials and colours forms a pattern that inquisitively guides the users to various sections of the mall. Servant spaces consisting of service areas for HVAC, plumbing, etc. are extensive and need to be segregated from the primary spaces. However, the placement and designing of staircases, elevators and escalators is extremely critical to ensure optimal vertical movement with visual permeability to view the stores and activity areas within the structure. Break out spaces which blur the edges between inside and outside creates a sensory experience for the users. By interspersing pockets of vegetation where users can pause and appreciate their surrounding spaces, adds lightness and freshness within the artificial environment. In our fast-paced lives, our likes and dislikes too keep evolving. The buffer spaces in and around the malls provide opportunities for the owners to showcase their products and conduct events. Nevertheless, with technology taking over, these advertisements can be transferred onto the floor, walls and ceilings of the mall to target the varied user groups. Malls have to stay updated with the latest trends in products and architecture. Their evolution will ensure that people walk into the structure time and again. Sai A. Pradhan l L. S. Raheja School of Architecture

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RESTAURANTS Hospitality design includes structures like restaurants and hotels. It consists of a wide variety of scales and sizes which may cater to a diverse user group. In order to appeal to the tastes of each of the individuals, a complex and dynamic form is required which would divert people’s attention toward it. A structure that is larger than human scale gives a sense of opulence and luxury. The experience of the user while approaching the structure determines the perception of the hotel or restaurant. The approach spaces would allow a thorough understanding of the form and the structure as they move towards the drop-off area. It is said that humans respond better to natural environments than artificial surroundings. (The Psychology Of Emotion In Architecture) Tall trees that form a canopy over the walkways, relaxes the occupants before reaching indoors. These trees often frame the views of spaces within the structure without allowing absolute visibility to the public. It creates curiosity among the users which ignites a conversation between the user and his surroundings. By offering a variety of forms with varying heights and sizes of structures, vegetation and other spaces, our senses get activated while analyzing the complexity of spaces inside them. The visual data that we receive triggers other senses which wakes our and tend to feel happy. The entrance of the structure must provide comfort and lavishness to the occupants. In order to achieve this, careful consideration regarding the materials and construction technique must be done. The intricate patterns and the filtering of light from those spaces to fill the space within has a significant physiological impact on the occupant. These techniques use natural elements to add movement within the space, adding a layer of timelessness to the structure. In order to ensure a seamless experience for the users, the primary and functional spaces are segregated. Vertical movement is arranged as a journey away from the service spaces as occupy a large area to house the services. However, with the use of passive architecture, these service areas can be reduced without compromising the quality of stay of the occupants. A smooth transition between various spaces to engages the user in a journey of exploration. Elements such as moving panels, large voids and windows, trees as physical barriers, etc. help in subtly maneuvering the user around the structure. Adequate privacy to each of the members must be given.

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CASE STUDIES HORNIMAN CIRCLE, MUMBAI Situated in the heart of South Bombay, Horniman Circle is a precinct constructed to establish the commercial quarter for the country's financial capital. (Pandya, 2018) Having proximity with the sea, its direct visual and physical access made it a key location for administration and trade during the British rule in India.

Within the precinct, Asiatic Library was constructed in 1833 to encourage a culture of art and promote useful knowledge related to India. (Asiatic Society Of Mumbai) Built in the neoclassical style of architecture, this structure started defining architecture of the now known area of Horniman Circle. With the grand flight of stairs at the entrance of the structure, the majestic columns of the Doric order and the sheer dominance over the surroundings area because of its height, commanded a view up till Marine Drives. This clear view because of the lack of taller structures and a straight road through Hutatma Chowk, gave an opportunity for better governance over the city of Mumbai.

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Having being built in an era before electricity was invented, the large skylights with teak wood flooring and cast-iron interiors allows ample amount of light to enter the structure while offering some respite from the sun. However, the area in front of the structure was initially used to dump coconut shells but was soon refurbished into a luscious garden with well paved areas on all sides. It is currently one among the largest gardens in Mumbai with a total area of 10,101sqm. surrounded by curved structures of Georgian architecture. (Horniman Circle Gardens)

With the garden in the centre for the locals to sit and relax, the structures surrounding it have major activities such as banking, administration, etc. which converted the entire area into a hustling bustling city centre. The colonnaded archways overlook the garden and establish a direct connect with the surroundings. As one walks through this walkway, the large windows of the shops keep the user engaged with the activities on the ground floor. This visual connect with the ground floor of the built form and on the other hand, the luscious green gardens heighten the relationship between the user and the built form. The curved structures have various elements embossed on the façade of the building which breathes life into the structure. The change of gothic elements at the turn of every key stone, helps users navigate and understand their placement within the precinct. This axial arrangement of structures with Horniman Circle Garden in the center and Asiatic library on one side, the Georgian style curved structures blend into the surroundings and create a sense of place. The use of columns- Doric style columns extending from Asiatic onto the colonnaded archways further accentuates the spatial experience of the entire area. Sai A. Pradhan l L. S. Raheja School of Architecture

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IIM AHMEDABAD Indian Institute of Management Studies, Ahmedabad, also known as IIM-A, is one of the leading institutes in India which has revolutionized the higher education system and given it an edge with the international education institutes. It was designed and executed by three leading architects- Louis I. Kahn, B. V. Doshi and Anant Raje. Having started under the leadership of Louis Kahn, the structure emulates his design principles and keeps the structures rooted to its context. The institute was started in collaboration with Harvard Business School to incorporate a more western style of teaching to increase interaction among students. Taking this ideology forward, the architects tried to fuse local materials with geometric shapes. The carving out of curved chapes from the rigid grid structures further helped in accentuating the form of the structure. The main academic block is placed beyond an elevated entrance hall which ensures that the privacy of the students is maintained. The residential structures are placed in proximity with the academic block to ensure that the students can perform more functions on campus. The negative spaces that occur between various structures have been used to promote interactions among the students and provide a more holistic approach to learning. The walkways leading to the classrooms and library promote interactions among various user groups. The negative spaces connecting the various primary functional areas have a direct connect with the surrounding natural environment and the built form. This is facilitated through the large openings of the built form which allow a continuous visual access and a seamless physical access too. With this play of physical and visual permeability which frames various views of the spaces and thus encourages more participation, the users are always engaged. This ensures that users establish a direct connect with the built form. One of the key factors that helps establish a connect with the surrounding built form is the material used. The use of bricks in a brutalist manner gives an unfinished yet comforting feeling to the users which ensures that the students on campus who stay away from their families are surrounded by an atmosphere that is conducive of learning yet creates a homely feeling which offers comfort to them. Concrete beams have since been used to strengthen the structure as a part of conservation and heritage schemes. Sai A. Pradhan l L. S. Raheja School of Architecture

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“If you think of Brick, you say to Brick, ‘What do you want, Brick?’ And Brick says to you, ‘I like an Arch.’ And if you say to Brick, ‘Look, arches are expensive, and I can use a concrete lintel over you. What do you think of that, Brick?’ Brick says, ‘I like an Arch.’ And it’s important, you see, that you honour the material that you use. […]

You can only do it if you honour the brick and glorify the brick instead of shortchanging it.” – Louis Kahn

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KALA KENDRA, GOA Designed as a cultural centre in the heart of Panaji, this structure is a symbol of modern heritage designed by architect Charles Correa in the year 1983. Taking advantage of its location on Campal Street, the structure welcomes users with the help of its humble and convivial architecture. Careful placement of the built and unbuilt spaces creates a perception of nonrestrictive approach towards the building which invites people from the streets into the semi-open area at the entrance of the site. The structure is a modest three storey construction with a double heighted lobby space which allows the user to enter through the interconnected open spaces. The widened vision and openness of the ground floor offers natural surveillance and makes the users always feel safe. The placement and design of the ground floor allows a direct visual access through the sheltered heart of the structure into the open garden and further towards the promenade. The user goes through a series of spaces designed in accordance with the human scale. This unassuming characteristic of the spaces makes the transition between structures seem subtle and fluid. As observes by John Gehl, users often pause when they transition from one place to another. Kala Academy breaks down the volume of the structure by modulating the sizes and proportions of the spaces. This break in the monotony of spaces creates opportunities for the user to linger and reflect on the spaces around them. The edge between the entrance and the lobby area, the lobby area and the canteen area, the canteen and the wooded open area, the wooded area and the walkway by the river become areas for the user to reflect on his surroundings. The interconnected open spaces give a glimpse into the multiple pathways that the user can take. The prospect of movement deepens the connection between the user and the built form. The outdoor amphitheater and open spaces are key spaces to host events. They complement the built form and accentuate the spatial quality by allowing ample amount of light and ventilation to fill the structure and add movement to the spaces.

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Kala Academy thus offers a harmony between the positive and negative spaces, indoor and outdoor and horizontal and vertical elements. The composition and designing of spaces have helped preserve the cultural identity of its context and become a public landmark.

FIGURE 58: IMAGE SOURCE- ARCHDAILY

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CONCLUSION As Julia Morgan has rightly said, “Architecture is a visual art, and the buildings speak for themselves.” (Connecting With Architecture At Eye Level) Our experiences in our daily lives are influenced by the surroundings that we live in. The natural and built environments come together to curate these experiences for us and influence our psychology on a regular basis. We encounter structures and treat them as objective beings in space and act as objecting beings in them. It is often said that architecture is greater than the sum of its parts. We perceive spaces by gathering, organizing, and drawing meaning out of the spaces. When we can relate to the activities on the ground floor, physical setting and meaning of the space, we feel a sense of place and belonging to the surrounding space.

PLACE AND PLACELESSNESS Edward Relph has explored the concepts of place and placelessness through the feelings of insideness and outsideness. When a person feels inside a space, he or she feels rather safe rather than threatened, enclosed rather than exposed, at ease rather than stressed. (Relph, 2008) The person feels a sense of belonging to the place and thus prefers to stay there. On the other hand, when a person feels separated or alienated from a place, the feeling of homesickness, disorientation, etc. emerge. As we travel through various places, the feelings of insideness and outsideness keep emerging and influence our choice to indulge in the space and be ‘inside’ it. The decision thereafter is a result of the activities, functions and meaning that the space holds and offers. Every structure consists of various elements that help the users relate to the structure and identify its functions. Scale and proportion of the voids, permeability, the height of various spaces, etc. has a physiological effect which helps the user connect with their surroundings. When we walk past an abandoned building in a dilapidated condition, we often feel worn down and insecure. We subconsciously fasten our speed and try to avoid long stretches of such structures. On the other hand, structures with landscaped areas, humanscaled elements and activities on the ground floor invite us towards the area as we become a part of the picture that he can relate to. Sai A. Pradhan l L. S. Raheja School of Architecture

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PERCEPTUAL DIMENSION OF ARCHITECTURE Humans and the built environment have a constant and reciprocal relationship with each other. They are fed of it and feed it, changed by it and change it, they move in that space and with this movement, they create meaning in that space. (Dariush Sattarzadeh, 2015) Various elements of the structures enforce a behaviour within the structure and dictate our movement and activity patterns in them. As we transition between spaces, we observe the relationship between functions, meanings, and the physical identity of the place. A connection with the surrounding space increases the interaction and a sense of responsibility towards the space. This awareness of the surrounding spaces caused by a sense of place helps them form associations and attachment with the space surrounding them and promotes place-based development and improves the overall perception of the space. We perceive spaces and the elements present within them at our eye level. Their placement activates the street fronts and keep the users engaged in the activities facing the public realm. A lack of consideration to the spaces at our level, distances the users from the built form and creates monotony or facelessness to the structure. The placement of parking spaces, high compound walls, etc. enforce a sense of privacy and deter the users from walking past the spaces which further reduces the effectiveness and value of the spaces.

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INFLUENCE IN OUR DAILY LIVES “I believe that the way people live can be directed a little by architecture.” -Tadao Ando Our lives are constantly influenced by the surrounding built form which further influences the activities and actions we perform on a regular basis. The surroundings when we meet our friends, study, work or celebrate life are a careful consideration of the elements of the built form. The spaces we dwell in and perform our primary activities influence the negative space surrounding them. This further impacts the movement, comfort, and convenience of its users. However, are we conscious of our surroundings? Does it enable us to interact with the built form surrounding us? Does the built form aid and enhance our daily experiences? Whether it is work or home or even the street we walk on, how much thought do we really give to the spaces we live in? The experiences in our daily lives affect our choices we make on a day-to-day basis. The decision to choose a place to eat, work, play, walk, etc. are heavily influenced by the architecture surrounding it. Users tend to avoid places which fail to interact with them. However, when the elements of the structures interact with each other, they have a positive impact on the experience of the users.

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SITE CRITERIAS AND SELECTION Aims of the project: •

Reviving the dead spots in a crowded area within the urban context and formulating functions that would deepen the value of the space in our everyday lives.

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Engaging the user with the built form through a play of function that would aid in the sense of space within the area.

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Curating experiences and spaces that would liven the otherwise mundane movement of people in and around the site.

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In an urban context, when the spaces and the functions within them flow into each other, the users can engage with the activities and their surroundings. The edge of the built form and their elements play a key role in the interaction between structures. Their placement and orientation influence the negative spaces formed around them. These negative spaces form the essence of the sense of place and affect the experiences of our everyday lives.

•

Negative spaces consist of public places and semi-public areas that aid in community interactions, fluidity in movement, etc. Therefore, an understanding of the public spaces and their impact on the daily lives of the people can elevate the day-to day experiences of people.

Do the negative spaces around the physical environment receive the due importance it warrants or is it designed as an after-thought?

The design would explore the opportunities to curate experiences and accentuate the relationship between the user and the built form in our everyday lives. The functions on the site would comply with the demands and activities of the user group in and around the site.

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SITE SELECTION CRITERIA •

An abandoned or shut down structure with a high footfall around the site. The site could improve and make the movement pattern more convenient for its users.

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Good connectivity with public transport and an adjacent street or road to warrant a constant vehicular and pedestrian movement.

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Multiple activities carried out by a varied user group.

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Easy accessibility and visibility.

In accordance with the above criteria, the following sites have been short-listed: 1. Dreams Mall, Bhandup 2. Lokpuram, Thane 3. Eternity Mall, Thane

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DREAMS THE MALL Located on one of the primary roads- LBS road, this mall is strategically placed in a crowded area with a constant vehicular and pedestrian movement around it and easy access to Bhandup Railway Station. However, the mall has become defunct over the years due to its failed architecture and lack of maintenance. The three-storey mall houses Carnival Cinemas multiplex, a s super specialty hospital, over 1,000 retail shops, a banquet, and a food court but with no water in the toilets, no central air conditioning and no housekeeping, the place has become a repository for garbage, filth and anti-social elements. The multiplex has shut down and so has Sunrise Hospital by Wadhwan Group. (Nandgaonkar, 2018) The site holds a prime location and is a part of the route for a large crowd of people. The lack of association with the surroundings and the failure to cater to the needs of the users in and around the site has led to its transformation into a dead spot within the dense fabric of the city. With the ground floor shops struggling to survive, the shops on the upper floors has been shut. A few of these shops have been converted into offices but due to decreased footfall, the success of these offices and shops is unwarranted. With the appropriate transformation, the site can enhance the everyday experiences of the people walking around the site and thus develop a relationship between the users and the physical environment.

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SITE CONTEXT •

The site is well connected through one of the primary roads- LBS Road which aids in easy access by private vehicles and buses.

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Bhandup Railway Station is situated 290m from the site. Owing to the large footfall, local shops selling garments, snacks, accessories, etc. flank the road throughout the day. Local vegetable and fruits vendors can be also be observed at certain distances.

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Dreams Residential Complex located on the eastern side looks onto the façade comprising mostly of the services. This has deterred the interaction between the users and the built form and led to a lack of sense of place leading to a large stretch of abandoned area in the middle.

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Due to lack of responsibility from either of the sites, the space in the centre lacks maintenance which leads to unlawful activities and a feeling of insecurity during night time.

•

The location of Pawar Public space adjacent to the site contains a playground which offers some respite from the dense residential development around the site.

SITE AREA- 28,845.88 SQ.M.

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USERGROUP • • •

Residential community Working class Urban Poor

SWOT ANALYSIS

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DESIGN INTENT •

• • • • • • • •

The local shops on the adjacent road provide opportunities for users to shop on the way to their destination. Thus, provision of markets would continue the comfortable and convenient shopping in this area. Office spaces for the working class. A skill development programme for the urban poor. A play area for children A public plaza to accommodate various users around the site and offer a respite from the daily routine Vocational training areas such as dance, singing, instruments, etc. to add a sensory activation area within the site. Food courts and restaurants to ensure movement at all times of the day. Service apartments for guests visiting the premises for commercial purposes. Parking spaces for office, shopping, and other activities on site.

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LOKPURAM, THANE Located near the prestigious Hiranandani Meadows, this site is a mixed-use development with functions varying from residential areas to shopping complex to a public school. This area was developed as initial few complexes in Thane. As the trends and activities increased in our daily lives, this site was unable to evolve and develop with it. The shopping centre became an abandoned area but the shops were soon converted into students’ coaching classes to keep it functional. However, due to a lack of upkeep and footfall, the structure became an isolated area, especially at night, which directed the users around the structure to avoid it.

SITE CONTEXT •

Being in the upcoming area near Meadows, the site is surrounded with structures with shops on the ground floors which keep the streets activate during all parts of the day.

•

However, having been constructed before 2000, Lokpuram has houses and activity areas on the ground floor with minimal area dedicated for parking. This hampers the usage of negative areas in the vicinity.

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The site consists of multiple activities such as dance workshops, hospitals, essential goods stores, schools, etc.

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The site has a drop of 3m from the road level which ensures privacy to the residential areas from the street level.

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Negative spaces are designed as a secondary function, leading to unnecessary areas between structures which hampers the relation between the users and the built form.

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Various food trucks and unorganized food stalls, vegetable vendors have emerged along the perimeter of the site.

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SWOT ANALYSIS

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ETERNITY MALL, THANE INTRODUCTION TO THE SITE Eternity Mall is one of the first malls constructed in the heart of Thane city. It was started as a part of a commercial and residential development but the two typologies have distinct boundaries maintaining the privacy of the users of the residential area. However, with the evolution of design in malls and retail stores, the latest malls started attracting more costumers. One of the key factors that lead to the downfall of Eternity Mall was its inability to cater to the user groups that prevailed in the immediate site context. Its visibility was restricted at the corner of the road which led to a reduced footfall from people around the site as well. Users standing at the bus stops and the signal failed to see and appreciate the mall. The lack of sale by the retail stores lead to the conversion of the mall into a commercial premise with shops being rented to smaller businesses. Therefore, the two public accesses to the site from the adjacent roads have been converted into limited access entrances which has further reduced the footfall. The mall has accessibility from two sides but has been curbed in the past few years. However, the lack of footfall has led to poor maintenance and the creation of a dead spot in the vicinity. Pedestrians walking from the bus stop towards various parts of the city avoid the structure and prefer a longer route around the corner of the site. This corner is in a dilapidated condition which has further led to an area for illicit activities. Thus, making it an insecure and unsafe space for users on most parts of the day.

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CONTEXT •

The site is surrounded by roads on two sides with the Eastern Express Highway on the northern side and a service road on the eastern side. It is situated at one of the corners of Teen Hath Naka which is one of the busiest signals connecting Thane city with Mumbai.

•

The site is well connected to major public transportation modes- intercity and interstate bus services and an auto-rickshaw stand which has direct connectivity to the railway station which is a mere 1.6Kms away.

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The Check Naka to enter Mumbai Metropolitan Region is proximally located within 650m from the site. This attracts larger vehicular and pedestrian traffic near the site.

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This defunct site is primarily used by students of Satish Pradhan Dnyansadhna College as the college lacks an open space and a congregational space. The perimeter and isolated areas of the site are crowded by these students. However, the dullness of the site gets highlighted after the students have left.

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USERGROUP •

Residential community

•

Working class

•

Urban Poor

•

College Students

SWOT ANALYSIS

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MAPPING OF PUBLIC TRANSPORT FACILITIES IN THE VICINITY

ROAD SYSTEM AROUND THE SITE Sai A. Pradhan l L. S. Raheja School of Architecture

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LAND-USE DIAGRAM

DESIGN INTENT •

Evolved residential areas catering to the updated demand and trends of the user groups to foster community interaction and respond to the site context.

•

Market spaces for the residential areas due to the lack of local vegetable vendors and grocers in the area. Upscaled shopping centre for the residential users and a one-stop place for their daily needs. Food court for the visitors and as recreational areas within the site. Congregation areas for community development and informal meeting areas. Natural pockets built into the site as breathing sponges to uphold the sanctity of the natural environment surrounding the site Children play area for an all-rounded development of all ages. Vocational training areas to create sensory stimuli within the site. Library with multimedia, books, and digital corner to explore various opportunities to learn. Recreational sports area for users from all age groups to indulge in an enhanced lifestyle.

• • • • • • • •

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Frederick, M. (n.d.). 101 Things I Learned In Architecture School. Frederick, M. (2007). 101 Things I Learned In Architecture School. Ghosh, P. (2020, May 14). Spatial Organization in Architecture. Retrieved from Bl Arrow: https://blarrow.tech/spatial-organization-in-architecture/ Ghostwoods. (n.d.). THE SYMBOLISM OF ARCHITECTURE. González, M. F. (2018, September 23). 18 Fantastic Permeable Facades. Retrieved from ArchDaily: https://www.archdaily.com/889636/18-fantastic-permeable-facades Graves, M. (n.d.). A Sense Of Boundary In Architecture. Retrieved from Pidgeon Digital: https://www.pidgeondigital.com/talks/the-sense-of-boundary-in-architecture/chapters/ Gupta, S. (n.d.). Phenomenon of Experiential Space. Habitat Theory. (n.d.). Retrieved from University of Idaho. How the Meaning of Home Influences Residential Architecture. (n.d.). Retrieved from Archi-Ninja: https://www.archi-ninja.com/how-the-meaning-of-home-influences-residentialarchitecture/#:~:text=We%20often%20view%20the%20home,a%20space%2Dto%2Dshare. &text=We%20tend%20to%20connect%20the,permanence%20when%20we%20constantly% 20change%3F Inetarctive Architecture. (n.d.). Retrieved from Wikipedia: https://en.wikipedia.org/wiki/Interactive_architecture Lehman, M. L. (n.d.). How to Design Architectural Interactivity that Emotionally Connects. Retrieved from MLL Design Lab: https://www.mlldesignlab.com/blog/how-to-design-architecturalinteractivity-that-emotionally-connects Lehman, M. L. (n.d.). Rethinking the Interactive Wall by Tailoring Sensory Ideas. Retrieved from MLL Design Lab: https://www.mlldesignlab.com/blog/rethinking-the-interactive-wall-by-tailoringsensory-ideas Nandgaonkar, S. (2018, September 03). Law tribunal takes over rundown Bhandup mall. Retrieved from Mumbai Mirror: https://mumbaimirror.indiatimes.com/mumbai/other/law-tribunaltakes-overrundown-bhandup-mall/articleshow/65650077.cms Nuragic And Contemporary Museum. (2006). Retrieved from Zaha Hadid: https://www.zahahadid.com/architecture/nuragic-and-contemporary-art-museum/ Parmar, R. (n.d.). 3 Ways to Classify Hierarchy of Building in Architecture. Retrieved from GharPedia. Pinelopi Vassilaki, E. E. (2015). Levele Of Privacy- on the borders of public, semi-public and private residential life. Göteborg, Sweden: CHALMERS UNIVERSITY OF TECHNOLOGY. Sai A. Pradhan l L. S. Raheja School of Architecture

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Polyzoides, E. M. (2005). STREETS, BLOCKS & BUILDINGS. Portella. (2020, January 31). Negative Space in Architecture. Relph, E. (2008, January). Place and Placelessness. Retrieved from Research Gate: https://www.researchgate.net/publication/251484582_Place_and_Placelessness_Edward_ Relph Sarra, F. D. (2020, August 18). Modern + Materiality. Retrieved from Franc Franko Architects: https://www.frankfranco.com/inspiration/modern-materiality/ Sharma, D. (2014, May 04). Elements of landscape design. Retrieved from Slideshare: https://www.slideshare.net/diva9121/elements-of-landscape-design-34256971 Singh, R. (2015). Factors affecting walkability of neighborhoods. Space And Mass. (n.d.). Retrieved from Britannica: https://www.britannica.com/topic/architecture/Texture Steuteville, R. (2017, July 20). Great idea: The public realm. Retrieved from PUBLIC SQUARE- A CNU Journal: https://www.cnu.org/publicsquare/2017/07/20/great-idea-public-realm Studio, T. (2017, March 6). Spatial Perception and Architecture. Suvanajata, R. (n.d.). Relations in Architectural Space. The Psychology Of Emotion In Architecture. (n.d.). Retrieved from bdt Architects & Designers: https://bdtaid.com/psychology-of-architecture/ Top 10 Interesting Facts about Piazza Del Campo. (2019, April 29). Retrieved from Top Facts. Valle, G. (n.d.). Form And Space In Architecture. Retrieved from Your Own Architect: https://www.yourownarchitect.com/form-and-space-inarchitecture/#:~:text=Space%20encompasses%20the%20volume%20of,give%20a%20buildi ng%20its%20shape. Visual Hierarchy. (n.d.). Retrieved from Interaction Design Foundation: https://www.interactiondesign.org/literature/topics/visual-hierarchy Walkability. (n.d.). Retrieved from Wikipedia: https://en.wikipedia.org/wiki/Walkability

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TABLE OF FIGURES Figure 1: Image Source- Author ........................................................................................................... 8 Figure 2: Image Source- Author ........................................................................................................ 10 Figure 3: image source- author......................................................................................................... 12 Figure 4: IMAGE SOURCE- pinterest ................................................................................................. 16 Figure 5: image source- trey ratcliff portfolio ................................................................................ 18 Figure 6: image source- archdaily ................................................................................................... 19 Figure 7: captivating colours of the ground floor ........................................................................ 20 Figure 8: Streets of bangalore being accentuated with trees and pergolas (image source- rhutwik inamdar).................................................................................................................... 22 FIGURE 9: EVEN A LONG WALK FEELS SHORT ALONG A CURVED ROAD WITH PLENTY TO SEE (CARTAGENA, COLOMBIA). ....................................................................................................... 23 Figure 10: the scale of the structure helps the user relate to it (image source- tripsavy) 24 Figure 11: The fluid contours of the Heydar Aliyev Centre exude a calm, which is mirrored by the people relaxing against it. (Connecting With Architecture at the EyeLevel) ........................................................................................................................................................ 25 Figure 12: Vanna Venturi House from the south-west, 2010 –photograph by Smallbones (Frearson, 2015) ..................................................................................................................................... 26 Figure 13: The facade of the Vanna Venturi House, 2011 – photograph by Smallbones (image source- blognaver)................................................................................................................ 27 Figure 14: Die Macherei, Austria ....................................................................................................... 30 Figure 15: Salk Institute by Louis I. Kahn (Flickr) ............................................................................. 31 Figure 16: Enclosed Spaces defined ............................................................................................... 32 Figure 17: Space loosely defined ..................................................................................................... 32 Figure 18: types of interlocked spaces ........................................................................................... 32 Figure 19: Fully Enclosed Space .............................................................................................................. 33 Figure 20: Directional Implied Space .............................................................................................. 34 Figure 21: Asymmetric Implied Space ............................................................................................ 34 Figure 22: Directional Enclosed Space ........................................................................................... 34 Figure 23: Maximally enclosed space............................................................................................. 35 Figure 24: Approach sightline gives attention to landscape beyond. Thus, the perceived enclosure is reduced. .......................................................................................................................... 35 Figure 25: NURAGIC AND CONTEMPORARY MUSEUM BY ZAHA HADID ARCHITECTS (NURAGIC AND CONTEMPORARY MUSEUM, 2006) ..................................................................... 36 FIGURE 26: IMAGE OF THE SWORD AS SEEN FROM THE ENTRANCE ............................... 37 Figure 27: LEGISLATIVE ASSEMBLY, CHANDIGARH BY LE CORBUSIER ...................................... 38 Figure 28: MUSEUM OF MILITARY HISTORY, GERMANY ................................................................ 38 Figure 29:- spirce- Author .................................................................................................................... 39 Sai A. Pradhan l L. S. Raheja School of Architecture

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Figure 30: Source- Author ................................................................................................................... 41 Figure 31: permeabilit of spaces (image source- archdaily) ................................................... 44 Figure 32: (González, 2018) ................................................................................................................ 46 Figure 33: increased visual transparency between spaces (image source- pinterest) ... 46 Figure 34: permeable edges (image Source- Author) ............................................................... 47 Figure 35: VArious servant spaces used to encourage interaction among campus (image source- archdaily) ................................................................................................................. 49 Figure 36: Strong use of materials leading to a sense of place............................................... 50 Figure 37: SEGD...................................................................................................................................... 51 Figure 38: golden ratio (image source- fast company) ............................................................ 53 Figure 39: the ken method for proportion (image source- archi monarch) ........................ 53 Figure 40: Space seen when the user is standing inside the structure (image source- author) . 55 Figure 41: the view of the entire core while standing at a distance (image sourceauthor) ..................................................................................................................................................... 55 Figure 42: THe view of the entire structure whent the user stands away from the structure (image source- author) ....................................................................................................................... 56 Figure 43: Source- society of architectural historians ................................................................. 57 Figure 44: the arrangement of built form around the trees in iUCAA, pune enhances the experience of the users (image SOurce- author)........................................................................ 58 Figure 45: landcaping in War memorial, punjab (image Source- author) ........................... 59 Figure 46: pathways formed in govardhan, palghar ............................................................................... 60 Figure 47: play of materials by the user outside the embassies in germany (image source- author) ...................................................................................................................................... 61 Figure 48: Source- Author......................................................................................................................... 62 Figure 49: edges and boundaries in residential structure (source- author) ......................... 67 Figure 50: segregation of spaces in a residential structure (source- author) ...................... 68 Figure 51: spaces segregated by oathwats and vegetation within the residential premise ......... 68 Figure 52: Library in CEPT UNiversity, Ahmedabad (source- Archdaily) ................................ 71 Figure 53: RMIT UNIVERSITY, AUSTRALIA (Source- ArchDaily)............................................................... 72 Figure 54: Building 12 (Source- ArchDaily) ..................................................................................... 73 Figure 55: Play of textures and colours ............................................................................................... 74 Figure 56: NAtional Library OF Britain near Trafalgar Square (Source- Pikist) ....................... 75 Figure 57: Data source- Architectural Digest ................................................................................ 76

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