Sayali Satish Khadse | PID22422
Book Review | Narratives
Narrative Architecture By Nigel Coates
Reads From The Book• Narratives arise spontaneously in the course of navigating the world – from inside to outside. • Narratives can engage with the medium of space, and form the basis on which architecture can be given meaning. • Narration shapes and simplifies events into a sequence that can stimulate the imagination, and with its understanding comes the possibility of the story being retold – verbally, pictorially or spatially. • Narrative means that the object contains some ‘other’ existence in parallel with its function. • The skill of the architect lies in the translation of this hypothetical configuration of human activity into an actual construction.
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L. D. Institute of Indology
Glimpses of the building, while entering into the campus
The structure is designed as if lattices are put together to form façade Façade looks visually lightweight The overall structure looks like it is floating.
Pattern guiding movement A guide for circulation The entrance to the building is off-centre but the structure levels are symmetrical
Entry or Access to the building Flooring shows directionality Symmetry is used to create flooring Articulation to the space
Flooring defining a movement – Pause (Ref.- Elements of Spacemaking) A open wide space that says you have arrived/reached to the building, take a moment to observe and take a glimpse of the architecture,
When we start climbing stairs we see two structures jutting out of the building and in search of what is behind the structure, we enter in the budling
The building as horizontality with its own vista (Ref.-Elements of Spacemaking)
Floor to express Threshold To let enjoy the surrounding space Bridge as a connector between landscape and structure/built space (Ref.-Elements of Spacemaking)
The institute of Indology was founded to collect, preserve and document palm-leaf, manuscripts of Jain scriptures with their painted illustrations propagating the virtues of Jainism and to provide a place for graduate teaching and research. Entrance of the building is designed in such a way that it is a continuous long path if the doors are open
entrance element to the building Round Handle to introduce juxtaposition or to highlight the entrance element To add a focal point in door since the door is also full of vertical grooves
Connection between interiors and exteriors with the same type of flooring
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Site Images | Prasad Mill Compound
Existing Site Entry
Concrete Block Entry
Existing Site Entry Corridor
Existing Site Corridor
Concrete Block- Double Height Space
First Glance of the plaza
Concrete Block- Side façade Image
Concrete Block- Previously Administrative Building
View from Concrete Block to Plaza
Existing Water Body in Structure 4
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Site |Prasad Textile Mill Compound
Near Riverfront, At the end of Ellis bridge, Close to BRTS stop, Behind Tilak Park (Victoria Garden), Raikhad
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Mind Mapping | Inferences from Site
Prasad Mill
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Collage | Inferences from Site
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Initial Program Division •
Textile craft boutiques often cater to individuals who appreciate the artistry and craftsmanship of handmade textile products. They may also offer workshops or classes to help customers learn various textile crafting techniques or provide custom-made services where customers can request specific items tailored to their preferences. These boutiques contribute to the promotion of traditional crafting skills and the preservation of textile-based arts.
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Handmade Clothing: Unique clothing items like dresses, shirts, scarves, and hats that are hand-sewn or knitted by artisans.
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Home Decor: Textile-based home decor items like decorative pillows, curtains, tablecloths, and wall hangings.
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Accessories: Handcrafted accessories like handbags, wallets, belts, and jewelry made from textiles and fabrics.
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Quilts and Blankets: Quilts, throw blankets, and Afghans made from various fabrics and often featuring intricate patterns.
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Embroidery and Needlework: Framed or unframed embroidered artwork, cross-stitch kits, and other needlework crafts.
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Knit and Crochet Items: Hand-knitted and crocheted items such as sweaters, socks, gloves, and shawls.
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Fabric and Notions: A selection of fabrics in various textures, colors, and patterns, along with sewing notions like buttons, zippers, and ribbons.
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Craft Supplies: Tools and materials for textile crafting, including yarn, knitting needles, crochet hooks, sewing machines, and embroidery floss.
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DIY Kits: Kits for customers to create their own textile crafts, complete with instructions and materials.
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Making/ pantry/ toilets
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Gallery space/ workshop area/ toilets
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lounge/ store/ café/ toilets
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Initial Program Division | Contents for the designing 1. Boutique for production of Textile craft products in categoryApparel, Accessories, Homeware 2. Products made with textile craft techniques – Sewing, embroidery, knitting, crocheting, quilting, dyeing. 3. For Designing, textile as a material and Motifs of Textiles are used Mashru, Patan Patola, Block Print, Ajrakh print, Bandhani, Mata ne Pachedi, patch work. Administration Office
4. Properties of Textile such as fluttering, falling, translucency, lightweight, fall of fabric are used to design the space. 5. The Spatial journey begins with the unknown then and you slowly get to know and understand it
Parts of weaving machines
Plaza
6. The whole space will be a part and parcel of nature. Photographs of mills, processes, machinery
Ramp for fashion shows
machines
Textile designers workspaces
Toilets, pantry
Store with AI Display to customize the pieces
pathways
workspace for workers
Proposal of the Textile Craft Boutique Textile craft boutique will cater to individuals who appreciate the artistry and craftsmanship of handmade textile products. The boutique will also offer workshops or classes to help customers learn various textile crafting techniques or provide custom-made services where customers can request specific items tailored to their preferences. This boutique will contribute to the promotion of traditional crafting skills and the preservation of textile-based arts.
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Gujarati brocade
patch work
The patterns of these crafts are exquisite and are available in various forms.
Textile Craft Centre
handmade products
Apparel
Accessories
Homeware
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Initial Spatial Junctures
Entrance to the Site with passage directionality through passage walls and Flooring
In the central space, existing solid parapet is now with glass to extend one’s vision till 1st floor and to enhance the visual connection
The site building that shies away from the street, urban fabric, has the entrance to the existing building through corridor
The slender element is placed- landscaping is done at a distance to define the end of space and for the obstruction of the view
The entrance to the building frames the view with the piece of tapestry, it gives the direction to move to Left side.
A small balcony jut out for a change in visual expansion like bay window to enhance the human activities in a space
As one enter in a double height space, encounters first this left niche.
In the curved space , cutout is made ceiling and wall to light wash the concrete textured wall hung with a piece of product, The sun become the part of space
To demarcate the centre of the double height space, the element made with fabric is hung (it can be lighting with fabric) Presence of double height is witnessed
Bridge as a connecting element in a program
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Initial Interventions Plan 01- Plaza
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Green wall at the entrance- to mark the entry Plaza starts with the flooring inspired by warp and weft, guides the movement Sculpture demarcates the juncture Seatings in outdoor Amphitheatrefor events, fashion shows Trees- added with shrubs to obstruct the view
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Entrance with green wall on left side Seatings with green carpets Amphitheatre for fashion show with u shape Textile hanging from ceiling around the bridge inserted in a double height volume
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Entrance with green wall on left side Seatings with green carpets Amphitheatre for fashion show with u shape Textile hanging from ceiling around the bridge inserted in a double height volume
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Physical Model | Trying out interventions
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Physical Model |Site Model with some interventions
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Process interventions |Site Model with some interventions
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Site Structures | Prasad Mill Compound
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Background for the Program
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Rise and Fall of the Textile Arts and Crafts | In India
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Program & Programmatic Functions | Textile Awareness Centre
Textile Awareness Centre
Museum
Training Space
Fashion Show Area
Rooftop Restaurant
Plaza
Souvenir Store
Administrative Area
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Zoning | Private/Public & Programmatic Functions & Roof Cutouts
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Circulation | Woven Legacy -Textile Awareness Centre
Transformation |Concrete Building and Industrial Sheds
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Spatial Sketches
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Structure 1 | Concrete Building former Administrative building now as a ‘Museum’
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Structure 1 | Concrete Building former Administrative building now as a ‘Museum’
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Structure 1 | Concrete Building former Administrative building now as a ‘Museum’
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Structure 2 | Industrial Shed now as a ‘Museum’ and ‘Fashion Show Backstage’
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Structure 3 | Industrial Shed now as Training Space
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Structure 4 | Industrial Shed as Administrative Office and Souvenir Store
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Woven Legacy Narrative| Spatial Narrative
The Spatial journey begins with the unknown, and as you slowly get to know and understand it, it tries to communicate with you. The Spatial journey is most exciting when unexpected things are encountered. The whole space is a part and parcel of nature. Dialogues of spaces in a silence takes place. A peaceful road leads into the woven legacy, away from the bustling street. The Woven Legacy Textile Journey begins with Textile as Vegetation when one enters and encounters numerous sorts of cotton plants on both sides, followed by bamboo (Cotton and Bamboo as raw material for fabric). As one goes through a corridor made between a concrete building and an industrial shed, one comes across an unexpectedly large plaza with landscaping. The landscape is constructed with modulated ground, Kund, Layered Trees, Plants, Bushes, and Shrubs.
As one turns left, one comes upon an exposed concrete building that has been readapted into a sort of museum and exhibition space to inspire one about textiles, where the visitor is received by three sided steps forming a platform. The visitor is welcomed by a carpet concealed in a glass depressed in the floor. Threads are emerging from a handloom machine, continues on the ceiling and depicts, as if a tapestry is being woven. The 'Introductory Section' explains and let experience the Handloom machine, spinning wheel, power loom machines, their types, and history. It also shows the processes of gathering fibers, spinning, ginning, and weaving. The visitor is also kept interested with audio guides and hands-on activities. Following that, the traveler comes across a Shreenathji's Pichwai Painting as a first glance in the ‘Divine section’ from lobby. This section features spiritual and religious fabric paintings such as Pichwai painting, Mata-Ne-Pacchedi painting, Madhu Bani painting, and Kalamkari painting. different types of displays are considered in relation to natural light coming inside the concrete Building. The exhibits also include raw materials used in the making of these paintings, such as Pichwai paintings made using brushes (made from goat tail hair and squirrel hair), coconut shells (to retain colours), coal, saffron, gold, and silver used as colors. A cutout is built at the foot of the wall in the semi-circular area to let nature and natural light into the curved space without interfering with the visual flow of the museum, where a demonstration on Fabric paintings is performed. As the visitor ascends, he or she will come across a Block printing exhibit with Indigo Blue colored display pedestals housing the process equipment's as well. The space's focal point is a separate wall that displays blocks. The first floor has been designed with the site characteristics of long span of beams in mind. On the first level, there is a balcony with an amazing view of the plaza and its lively activities. Balcony is attempting to develop human-to-human and human-to-nature connections. One continues on the bridge that links to the industrial shed, with views of the entrance and a peek of the plaza. The museum continues in an industrial shed, where a mezzanine level is built to create overlooking space and a full view of the Saree display. Sujani, Dhabla, Tangalia, Pacchedi, and Bori are also on display on the mezzanine floor. As one descends to the ground floor, one may get a closer look at the amazing saree's pallu design, as well as the process of creating it via digital displays. Rugs, daris, and weaving demonstrations are also on display at the museum. The museum concludes with an activity area and a hands-on experience section. As one walks across the plaza, the trees with smaller but lush vegetation beneath their foliage act as the next destination point, directing visitors there. The open space is bordered on all three sides by buildings and walls, with grass mounts on the southern side demarcating the end of the compound. The museum currently has three industrial sheds that have exposed brick walls and very aesthetics of red bricks and an exposed concrete structure, which naturally works as a background of the huge open void. The plaza is depressed a few steps into the ground, with Kund-style seating surrounding the open space. People can be seen sitting on the steps informally, and the open space is energized and appears vibrant by the people and their activities. As one approaches the second industrial shed, one comes across an open to the sky area with a water body in front, which also serves as an exhibition place for training space. The entire training space is encircled by an existing water body with a champa tree in the centre, so that individuals may enjoy a pleasant, serene view from every location. Here, visitors can participate in the textile art and craft process. Then, at the end of the journey, one visits a souvenir shop to learn more about what he or she has seen, experimented with, or become engaged with, and has a final look at the products. One departs via a narrow long tunnel created by the two industrial sheds.
Here completes the spatial journey from cotton plantation to final Textile art and craft product.
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Exit Sequence
Spatial Journey Starting From Raw Material as COTTON PLANTATION to Final Product in SOUVENIR STORE
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Sayali Satish Khadse | PID22422