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PORTFOLIO

Swati Jain, M.S.AAD svj2 1 09@columbia.edu


Masters ACADEMIC School As Theatre Er ic Bunge + Mimi Hoang Ex treme Design Mar k Wigley The New Yo rk Times Mic heal Roc k Let’s Play MoMa vPPR Labyrinthine Waffle Enr ique Walker Urban Egress Urban Lab Choreographing Encounters Mar k Wigley Micro Domesticit y Hilar y Sample

PROFESSIONAL Studio POD, Mumbai City Planning, Urban Design, Arc hitecture Sharmistha Ray Studio & The Great Eastern Home, New York / Mumbai Designer, Interior Design, Artist

undergraduate ACADEMIC Sexuality And Architecture Thesis Parametric Kahn Engineering Campus


School As Theatre Masters Academic Work Summer 2017 Tutors : Eric Bunge + Mimi Hoang TA : Sebastian Cilloniz Team: Swati Jain + Konrad Tai To provoke architecture students into the act of learning architecture the school is designed in a theatrical setting to encourage students to perform design. The student becomes a performer and a spectator both at the same time. We challenged the ground to yield maximum visibility, playing with the stage techtonics thus arriving at a theaterical setting, where everyone can see everyone work, laugh, cry, and learn architecture. The stages and back stage are divided into variousgradients allowing various intensities(scales) of design performances like studio ,library and fabrication labs.

How does a spcae provoke you to build envionments?

By creating a school i a theatrical setting where nobody can be invisible.


FABLAB

STUDIO

THEATRICAL STAGGERING

LIBRARY


ALTERNATING FLOOR PLATES


BACKSTAGE

STAGE

GRADIENTS OF STAGES


VARIOUS SHORTROUTES AND LONGROUTES VARIOUS SHORTROUTES AND LONGROUTES


CI

RC

UL

AT I

ON BA

CK

ST AG

E

ST AG

E

We perceived that each program activities that more suitable to be wood working would located at th need an enclosed area would be

In a conventional theatre, the boundary between backstage and stage are very rigid, however we argue that should not be rigid here. We intended to blur boundary between backstage and stage in order to allow students to have a smooth transition between stages.

THE PARALLEL SCHOOL / GSAPP 2017 / ERIC BUNGE & MIMI HOANG

studio

ST AG

E

library

fab lab

STAGE GRADIENTS

We perceived that each program in the school would have certain theatrical aspect and activities that more suitable to be in the backstage. For example, the studio, reading area and wood working would located at the stages, and crit rooms, book-stacks, and machines that need an enclosed area would be at the backstage respectively.


Secret doctrines (excerpts) Masters Academic Work Spring 2018 Tutor : Mark Wigley Extreme Design Killing the bauhaus


Building! Design! Gothic — India! In May 1919 Groupius delivered his inaugural speech in front of one hundred and fifty bauhauslers. He adopted collective design work on the building and gothic architecture as a guiding principle but added to this further dimension: “building! Design! Gothic — India!” It could not have been an incidence that the cosmic curriculum of the Bauhaus that defined the organization of the institute inside out was formulated by Groupius in the same year as the Bauhaus exhibition held in Calcutta in 1922. All the portraits of the professors who contributed to the germination of the Bauhaus as we can see in all the photographic evidences were highly curated and mystified to every inch and gesture so was Johannes Itten’s. With him situated in front of his color wheel at the back representing a halo used as an iconographic symbol to indicate himself as a sacred figure with the halo consisting a crown of rays representing the sun and the moon both at the same time. Eyes half closed looking down towards the universe, his forehead occupying a good amount of space in the image implying all-seeing third eye is about to open.

The anatomy of the curriculum Nothing in the world could have represented the pedagogical (theatrical) performance of the Bauhaus more accurately than the Nataraja. Nataraja is a depiction of the Hindu god shiva as a cosmic ecstatic dancer with whome Johannes Itten associated himself with. The conceptual diagram showing the structure of teaching at the Bauhaus developed by groupius has many similarities with the structure of a mandala. It also represents the invisible proportions of the world in a cyclic manner. Constantly creating, consuming and destroying everything to start a new. Mandalas usually representing Mt. meru almost always seen in plan seem flat but they always have a mound dimension to them therefore implying hierarchy in form and structure. The mandala (groupius’s diagram) represents total space for total design. It also cosmically converses with the symbolic elements of the Nataraja. The 3 thresholds to reach to the top i.e. the bau, one has to go through the three Guna:


Tamas- basic understanding of things ; Rajas- leaning the mediocre tools ; Sattva- The building itself in its purest form. Each of the Gunas in the outer circle also contain fragments of the Bau in each case and ultimately becomes everything at the top of the mountain since it includes everything in the outer circle. Because of the circular structure of the diagram it invites movement and friction causing more people on the outside and less in the inside

Modernism, a cosmopolitan project An Indian art historian and curator Nancy Adajania has noted—cultural geographies have been gradually redefined, based not on the reversal of the old center-periphery model, but on a new cartography founded on commonalities, reciprocal ties, and diversity. The contemporary perception of the “Bauhaus myth” overlooks the fact that the historic Bauhaus was not a singular phenomenon, but a focal point of the widespread international avant-garde network of its day. Much of what has been attributed to the Bauhaus actually has origins and parallel developments elsewhere; nevertheles, the Bauhaus has also been highly influential. Critical to the success of the Bauhaus was its identity as a melting pot for diverse influences—a platform that brought together representatives of all kinds of backgrounds and directions. The historic Bauhaus network embraced, above all else, the centers of the European avant-garde—whether Moscow, Budapest, or Prague, Zagreb, Vienna, or Zurich, Rotterdam, Paris, or London ______ yet it also spread beyond Europe to New York and Tokyo, and of course to Calcutta.


GAP III Graphic design and theory seminar Masters Academic Work Fall 2017 Tutor : Micheal Rock


Marcel Duchamp’s suitcase dated 1965 found. With exclusive blue prints of a Non – Museum.

The blueprints tell us about an inventive approach to architectural genealogy by using game theory that plays with the idea of public and private spaces within the museum. Non-Museum :Towards the end of his career Duchamp made a miniature of all of his work’s and announced that each artist could be portable (museum in a suitcase) and rendered the idea of a museum redundant.


FUNHOUSE #MoMA QNS

His obsession with the game of chess reciprocates his design process of orienting and disorienting objects and spaces in various narratives.

#livingthoughts #ondisplay #c This intervention is supported by MOMA’s illusionary internal facade that acts as a chessboard like device allowing the possibility of being in the art work or being in the process of the production of the art works. These domestic and work space inserts constantly interact between different museum environments. Fostering an archive of living thoughts and those represented.


Art House MoMA Masters Academic Work Fall 2017 Tutors - (vPPR) Tatiana von Preussen Jessica Reynolds Catherine Pease This project explores the potential of Domestic spaces for artists inside MoMa QNS using game theory. It does so by analysing Marcel Duchamp’s work and his obsession with the game of chess which reciprocates his design process of orienting and disorienting objects and spaces in various narratives. This Museum thus becomes a performative Art factory where its not just an archive of recognized art works but also starts contribution to the production of it by inhabiting the artist themselves. The artist house becomes a tool to live in. Almost fostering an archive of living thoughts and those represented.

Playgrounds for explorations Typologies for archiving not just art but also thoughts, Thoughts must not be hindered by the fear of skipping the public eye Eyes penetrating searching for dissolution Resolutions were the institutions, no longer valid Valid now are the fields of social confusion Confusion being the genesis of the new urban atmospheres, Atmospheres of collision of non-work and play Let playgrounds guide us, let It become a tool..


CHESS


FIGIT TOY


Lets Play MoMA


The labyrinthine Waffle (excerpts) Masters Academic Work Spring 2018 Tutor : Enrique Walker Design Theories Kersten Geers David Van Severen: Seven Rooms


THE LABYRINTHINE WAFFLE Mies seems to have opened up new questions to their space making. It’s interesting to think how various branches of contemporary theory and practice resonate with Miesan work and serve for new work appropriate to our own time. But Mies seems to have disappeared from their view now. I think there is a very stark difference in the way they organize space. Mies has a certain slenderness in his plans that suggest spaces of circulation like villa Tugendhat or even the Barcelona pavilion, unlike Villa Der Bau where the set of waffle rooms are like labyrinthine waffled mazes without any connection between one another. This elimination of passageways does heighten intimacy in the domestic space but it also squanders privacy in many ways.

ELIMINATING THE WAFFLE QUADRANTS Since the waffle anatomy contains the rational of a rigid Cartesian grid it divides the corridor into the same size as the room liberating the user to decide what space would be where what becomes habitable and what is assigned for movement. It eliminates the corridor completely and hence you no longer have to pass through the occupied territory of rooms with incidences and accidents. In Villa Der Bau the matrix of rooms are arranged in proximity with one another to bring harmony to the cacophony of domestic life rather than silencing it. But Villa Der Bau shows us a different efficiency in which these door systems are able to draw distant rooms closer only by disengaging those near at hand. Doors of any room would deliver you into a network of routes from which the nearest of rooms to furthest extremity of the house were almost equally accessible.

CENTERLESS WAFFLE Since the waffle anatomy contains the rational of a rigid Cartesian grid it divides the corridor into the same size as the room liberating the user to decide what space would be where what becomes habitable and what is assigned for movement. Minimalism produces the paradox of no fixed armature, objects that can be rearranged at will (Morris). Because of this demonstrable attack on the idea that works achieve their meaning by becoming expressions of a hidden centre.


PARADOXICAL WAFFLE Have we finally ran out of props, of things meanings and feelings we once used to impregnate Architecture with. Is beauty overburdened? Of movies transgressed or not, of screenplays curated or not, of music engulfed or not, of diagrams reduced or not of titanium cladded or not of strangeness performed or not of nostalgia evoked or not of modernism fictionalized or not of modernism sympathized or not of facades wrapped enough to look like social gifts or not of wilderness framed or not. Has the flux dissolved? Have we dematerialized every aspect of architecture or do we still need to keep going? Is architecture beyond the problem of representation yet? Is architecture ready to be reduced down to a wall or a line? Is the Cartesian the only rational way of representing true form? Is architecture ready to merely be an instrument to measure site conflicts? Is architecture ready to just frame life? Wasn’t architecture already without content?


Urban Egress Masters Academic Work Spring 2018 Tutors : Sarah Dunn & Martin Felsen TA : George Lauras

An urban egress built on top of a dense hybradized cemetry district starts syncronizing the fragmented figure of tombstones and the city with the help of a wall. This wall inhabits new ways of preserving the memories of the deceased ones. Resonating with the city grid the wall programatically embraces the idea of memory in 4 ways : 1)soft skin : The cultural convention of reinarnation leads to vaious animal cafes whereby the animals become containers of the energy of the deceased ones. 2)belongings : The egress encompasses archival spaces to store the belongings of the deceased ones as memoirs. 3)contemplation areas : strong transitional spaces that act like portals into the other world. 4)Pilgrimage path : The egress connects all the shrines and acts like a pilgrimage path for the shinto festival.


Karoshi : Occupational sudden Aokigara forest : World’s most Karoshi Aokigahara Karoshi Aokigahara mortality. prevalent suicide site.

SPRING 2018 ADVANCED ARCHITECTURAL DESIGN STUDIO VI SPRING 2018 ADVANCED ARCHITECTURAL DESIGN STUDIO VI

death rates

Park Housing Cemetry Shrine

35000$

The high prices of Japanese funeral plots ¥2,000,000 (~$24,000) have led to “Grave Apartments”, ¥400,000 (~$5,000).


Animal Farm


Gates of Hell


Cemetry District

Zoo


gentrified cemetry district

no memory landscape memory landscape

500 cemetries & 1000 shrines

no memory landscape

new memory landscape


syncronizational device

Park Housing Cemetry Shrine


Shrine


Shrine


Housing


Housing


Cemetery


Cemetery


Connections


Housing


Choreographing Encounters (excerpts) Masters Academic Work Spring 2018 History of Architectural Theory Analysing the Lancaster/Hanover Masque A book by John Hedjuk Tutor : Mark Wigley


The Lancaster/Hanover Masque was Written in 1990 by John Hejduk and Alvin Boyarslay.The Masque Subject of the masque is the critique of the city and its community. The book largely represents an altogether different planning model to design in the form of a matrix, a list with numbered “objects and subjects”. The Masque represents an anti-statement to boredom and disappointment of the modern times (post industrial era). The Masque Dematerialization of thought : In the Lancaster/Hanover Masque , topological relationships are not materialized in the form of streets and roads , nor are places institutionalized by addresses. Instead, the Masque describes a different reality - one which consists of an infinite number of possible thought - choreographies within a liminal space . It describes a mental chora , suspended between play and seriousness - a liminal chora with an elliptical character , in which we are constantly in motion , oscillating between two “Voided Centres” which balance each other , at the same time drawn by the implosive energy of the riddle and pushed along by the nihilism of laughter.The labyrinth/masque simulates the enigma of fundamental questioning of dwelling by choosing eternal wandering and refuses any answer. Wandering deepens the encounter and the intensity of the images seen that widens the ease of recognition and flattening of these recognized experiences and histories. The formality of Hejduk structures seem extremely humanised. It made me question if those shapes could or could not be termed as ornaments. And after abandonment of the renaissance and the modern era was it time to go back to some aspects of ornamentation again? Now that the distribution model has become more horizontal is it time to rethink the emotional (expressive) power of architecture? Will it really help us cope the shock of modernism and the isolation of the post-industrial era of capitalism? And if form where to be bought back into the city will they manifest the vernacular craft or a different kind of concrete poured brutal ornamentation? How will the transition occur? In terms of Hejduk if we were to flatten out the embellished, modern and postmodern contexts of each country/region how would these facades shape themselves? To what degrees will they cultivate their histories? And how different a façade in India to a façade in New York be?


(1) Summer visitors place – The summer visitor (2) Bargeman’s place – the bargeman (7) Weather station – the weatherman (8) Plot division – the surveyor (11) Garden plots – the gardeners


(19) Sower’s house – the sower (54) Inspector’s house – the inspector (66) Balloonist unit – the balloonist (68) Time keepers place – the keeper of the time


1) Summer visitors place – The summer visitor So the summer visitor’s freight train disposes it’s cargo into bargeman’s barge.The farm manager delivers a bouquet of flowers to her. Cezanne’s paintings are her main topic of study. She plays cards with the farm manager and the fabricator. She is also a good friend of the time keeper. Space: St. Louis, caboose, barge, the house of the suicide. 2) Bargeman’s place – the bargeman Bargeman lives with his wife whose face reminds him of different places. His mistress lived at the music Hall. He treasured a print given to him in Antwerp. It pictured a black Sea gull flying in between the strips of green and brown wallpaper. A French painter made the work. Space : Amsterdam barge, music Hall, Antwerp 7) Weather station – the weatherman The weather man is in daily contact with the balloonist. Space:Wheatfield’s of the Midwest 8) Plot division – the surveyor the plot division structure is shared by the Sexton and the surveyor in it’s function.The surveyor is elected by the farm council.The surveyor is dependent upon the balloonist. 11) Garden plots – the gardeners each member of the community is allotted a garden plot.The Arugula man sits on a walnut chair. He nods away at intervals and repeats Arugula....I sell Arugula.The buyers place coins in the blue enamel cup next to the chair. Space : garden plots nort of the hedge walk 19) Sower’s house – the sower an architect from Berlin photographed the grain storage.They thought of him as rude.The sower is sexually attracted to the Cellist. Space : Lincoln, Nebraska, French landscape 54) Inspector’s house – the inspector investigating disappearance of the girl bycyclist,crucifixion of an old scare crows, robbery of a painting owned by the collector, moves of the accused, murder of a rare peacock, the house of Dr. Blanche. Space : shooting gallery 66) Balloonist unit – the balloonist selected from a manufacturers catalogue.he is a close friend and companion of the retired general. He also takes part in the festivities of the travelling performers. He accompanies the summer visitor in her arrivals and departures. 68) Time keepers place – the keeper of the time his employment was terminated when the ferris wheel collapsed it was a tragedy for there were children on the wheel when it fell. In each seat of the ferris wheel was a dead child.


The formality of Hejduk structures seem extremely humanised. It made me question if those shapes could or could not be termed as ornaments. And after abandonment of the renaissance and the modern era was it time to go back to some aspects of ornamentation again? Now that the distribution model has become more horizontal is it time to rethink the emotional (expressive) power of architecture? Will it really help us cope the shock of modernism and the isolation of the post-industrial era of capitalism? And if form where to be bought back into the city will they manifest the vernacular craft or a different kind of concrete poured brutal ornamentation? How will the transition occur? In terms of Hejduk if we were to flatten out the embellished, modern and postmodern contexts of each country/region how would these facades shape themselves? To what degrees will they cultivate their histories? And how different a faรงade in India to a faรงade in New York be?


Maharashtra Nature Park Professional Work : Studio POD December,2015 https://studiopod.in/ Client - Mumbai Metropolitan Region Development Authority Duties : Designing, Research and 3D views A Global Competition that set off to redevelop of the 17 acres of Maharashtra Nature Park in Mumbai. The proposed interventions involve connecting one of the richest Central Business Districts in India to the gritty entrepreneurial hub of Dharavi to the south. The creation of these connections shall have significant impact on the growth and development of the region. The proposal also recommends daylighting reclaimed flood plains in a systematic manner to avoid flooding within the area in monsoons. Nature trails engage and disconnect with the river and the forest in rhythmic manner culminating into an elegant pedestrian and cyclist bridge connecting the communities across the river. The constructed wetlands along the waterfront edge of the park shall clean and restore the ecology along the Mithi river providing an ecologically sensitive redevelopment model for the rivers in India.


Developement plan for Sawentri, Rajasthan India Professional Work : Studio POD February,2016 https://studiopod.in/ Client - UNITED STATES TRADE AND DEVELOPMENT AGENCY (USTDA) & GOVT. OF INDIA Duties : Preparation of Diagrams , Research , Swot Analysis , 3D Modeling. Sawentri currently has a population of approximately 2000 persons and is anticipated to grow over 4000 in 2040. Sawentri is an important religious town and hosts the Annakuta Mahotsav Mela. Jal Jhoolni Mela and Phagotsav Mela annually festivals which attracts over one lakh visitors annually. For the village. a comprehensive prepared Development Plan has been created considering a 25 year horizon period. The Development Plan includes a environmentally sensitive land use plan that identifies developable and Eco-sensitive parcels of land in and around the village that require to be preserved. Plans for efficient and environmentally sustainable management of civic infrastructure considering the existing and 25 year horizon period has been planned. A transportation plan has also been developed that considers improves connectivity within the village and the surrounding areas and also makes special provisions for the movement of visitors/tourists during the festival.


We are all islands Professional Work : Sharmistha Ray Studio, New York / Mumbai http://sharmistharay.com/ http://www.thegreateasternhome.com/about/the-store.php Client - The Great Eastern Home Conceptualization and fabrication of various art sculptures each in different medium. Working on site with carpenters. Project Management,and graphic designing of the Exhibition Brochure and flyer. A Gallery Show For NYC based Artist Sharmishta Ray. The exhibition travelled to the Mumbai and Kochi Art Biennial. As we hurtle towards digital realities in the age of technology, the internet and social media, do we risk the extinction of our sentient consciousness, mediated by touch, human presence and an appreciation of beauty?Have we all become willful islands, fragments of humanity adrift in the ocean of virtual connections in a globalised world?


Parametric Kahn Undergraduate Academic Work Fall 2014 (4th year) Tutors - Harish Shetty Team: Swati Jain + Kevin D’souza This Project seeks to explore the aesthetic sensibility of Louis Kahn and his study of Light and silence in parallel to a parametric approach to design. The approach of “Parametric Kahn” involves taking decisions on adding archaic elelments as structural devices and not just openings and setting up grids to create servant spaces as experimental and leisure rooms.


Sexuality and Architecture : Towards an egalitarian neighbourhood Undergraduate Final Year Thesis October,2015 Mentor : Anuradha Kapadia Honor : - Selected at Kurula Varkey Design Forum at CEPT University (Centre for Environmental Planning and Technology University), Ahmedabad http://www.kvdforum.com/portfolio_page/22277/ - Presented at Council of Architecture (COA) National Institute of Advanced Studies in Architecture(NIASA) - Awards Programme For Excellence In Architectural Thesis, Pune My thesis investigates the ways in which women navigate through their everyday domestic lives and speculates the ways in which they would like to live it,also exploring the extreme measures that society expects women to take in order to protect themselves in an unsafe city. But women are also dreaming all the time, and what is it that they dream about? The thesis speaks of an egalitarian housing complex with a community kitchen and childcare center so that the burden of domestic chores of cooking and child nurture are absorbed by the community hence liberating women from the indoors. The outdoors consist of privately owned public square with a reflective sphere for communial neighborhood watch.

What are little boys made of? Snips and snails And puppy-dogs’ tails, and That’s what little boys are made of. What are little girls made of? Sugar and spice, And everything nice, and That’s what little girls are made of.


She walks on an insubstantial rope night after night surpassing the gaze of the societal domain.


Furthering encounters of orange geographies : Dream House Undergraduate Academic Work Spring 2011 (1st year) Tutors - Niladwuti Basu Chattopadhyay What is a Dream house , or is your dream to have a house itself a dream. Regardless of the query this project seeks to address issuses of form recogination along side having a dream. The Orange house is house for a brat who if desired could ride his motor cycle up to his room using the orange spiral ramp. The project questions why space requires form and does spatial standards of specific rooms require to be present in an house. The cube disrupted my sleep,assigned a job To build one of him. that day the urban overwhelmed each heart, Looking for an encounter to envelope its instinct. For days together it blamed the formless sea then one day, Mother(nature) gave an orange post lunch It revealed the matter(pulp) in the most architectural way, And hence the beloved instinct acted its stay.


The art gallery that stopped vallery Undergraduate Academic Work October 2013 (2nd year) Tutor - Sabu Francis An Art gallery that merges quantum physics and architecture , Meta meterials - interdimensional drifts. The art gallery that stopped vallery is a take on the concept of time and space, liberating art objects by kissing the paradigm. Vallery one day while tunneling through objects through huge cosmic retrospects encountered a strange wall. The wall called herself Gallery, Gallery,bitten by time,now a thousand years ago compelled Vallery to stay.. Vallery tried to learn the order that gallery had midway.. Of doors and windows embelleshed or not, Of socio-political-economic-cultural orders followed or not. She was amazed to see objects walking through time, Of memories embodied in art and science. Vallery seemed to extend her compliance, Mesmerized by the identities and sense of space she could offer the people. Then one day, She looked at herself nothing than a container trapped in time, She decided to liberate by kissing the paradigm. Gallery saw the physics,vallery saw it too, Gallery tress passed,wont you pass too? Note : tunneling refers to quantum tunneling ;Vallery refers to a future speculated architectural spirit ; Gallery refers to the present architectural spirit.


COSMIC CONSEQUENCE Urban Architectural Fairytale December 2015 Competition: Blankspace project The Project sought to understand cause and effect of modernism in the urban environment of India. Does architecture build us or do our everyday rituals build architecture. Can a house maid be an interdimensional being. Can architecture be from other reaches of space and time.Is a slum re-habitation building responsible for the sudden emergence of pseudo god culture in India. Many a day back before there were days, before we counted time in minutes there was an unfolding of space .This was the first act of architecture, the things we count as urban issues were the ethos of it. And amongst these beginnings were the gifts she was given, the five senses of this world.The mark on her toe was the animal she would ride.What we cannot imagine must definitely be divine why see it as a monster when the truth it holds is right. The Navagunjara would transport her to worlds where our objects come from to liberate them she must ride. She had already seen the urban present as she held in her hands the serpentine highway wrapped around the mandala, the overlaying of the isolated modern on the social history that we built .The set of faces she wore were the cause of culture she dealt. She now portrayed herself as a miracle maker , a god man and a religious fanatic to be .That had now send to become her reality. But what anger did urbanism get her to act up this way.Yes indeed it was the slum rehabilitation building that was the Cause of her fears. Knowing that the building (SRA) was not right where were the innovations that allowed me to earn my money in the slum, this building (SRA) acts funny only spaces to live in .1 can sleep where I work why do I need a separate room . Back in the slum the spaces were homogeneous until this building lust that shows me a simulation, a fake facade smiling to the city when I am in misery.There is no sense of social or innovative quality to these stacked up boxes.Alas for this nonsense I must get back in my con-science I must become the god man everyone wants me to be. I need to perform fake miracles for that is what the urban has made me.The state of our lives would have been much easier to see . But we choose to understand the good and bad only to forget life is just the truth and the story. The cycle of birth and death is infinite, the river will always flow , this is one of my many lives I would like to show. I leave you now as the story is infinite, with the map of a universe I always specially like.


Micro Domestication Masters Academic Work Spring 2018 Books Objects & Figures Tutors - Hilary Sample When domestic tiles are used as outdoor facade treatements an intresting relationship is drawn between the urban and domestic The urban starts giving sense of comfort due to this subversion by domesticating the wild (urban). In the same way there is also a personal relationship between the body and everyday objects. Why dont we see our own bodies comfortable enough to domesticate them discipline them and use their materiality and forms in our everyday lives? What makes them so distasteful? Most part of our day we are in direct contact with our mouse our skin which is he largest organ of our body is in constant contact with these objects. The growth of hair when on our skin is considered beautiful but when it sheds it becomes grotesque. Our aesthetic judgement through this project is put into question. These objects are negative masses of our bodies as thought they are meant to be held by us or used by us. All our images point towards the negative space or the left behind space between our body parts.


micro domestication Body Domestication

Urban Domestication

URBAN DOMESTICATION


Swati Vimal Jain_Portfolio_GSAPP 2018  
Swati Vimal Jain_Portfolio_GSAPP 2018  
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