Thesis Book

RETHINKING THRESHOLDS THROUGH A POROUS MASS

TANVI SANGHVI THESIS ADVISOR: MOLLY HUNKER THESIS PREP ADVISOR: BENJAMIN FARNSWORTH SYRACUSE UNIVERSITY SCHOOL OF ARCHITECTURE

"But architecture is as much a physical construct as it is a social or political one and to understand architecture as a mere representation of the political is as problematic as to declare architecture entirely ruled by natural laws."

-Alejandro Zaera Polo in The Politics of the Envelope1

"In the end, there is no useful form of exchange between the constative and performative (of the critical or projective), it's simply a choice one makes which world does one want to occupy, what game does one want to play?"

- Robert Somol in Green Dots 1012

1 Polo, Alejandro Zaera. 2008. 'The Politics Of The Envelope: A Political Critique Of Materialism'.

Volume, no. 17: 76.

2 Somol, Robert. 2007. In Hunch: Rethinking Representations, 1st ed., 28-37. Rotterdam: The Berlage Institute: 36.

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TABLE OF CONTENTS

PAUSE

REWIND

PLAY

FORWARD

Contention

Context of Contention

Envelope Types for Rajasthan

Trajectory of Facades

History of Hawa Mahal

Social Significance

Political Significance

Environmental Significance

Recreating the Hawa Mahal

Types of Thickness

Analysis of the Urban Density

Analysis of the Neighborhood Density Site

Proposal for Potential of Porous Cityscape

The Sponge

Bubble-Up Programs

Sponge Logics

BIBLIOGRAPHY

3

+ Container

= Contained

Total Facade

CONTENTION

This thesis contends that the separation and distinction between the envelope and the mass in contemporary architecture is to be resisted. Architect and theorist, Greg Lynn, argues that mass “is not only the outward shape of a building; it’s also the projection of shape, plan organization, spatial and sectional type, and façade”1.This critical reevaluation of the mass, and its relationship to the interior spaces and the building’s face, is particularly pertinent to the modern construction in Jaipur, Rajasthan, India. The character of the historicist and postmodern buildings that make up Jaipur is made solely based on the applied façade.

This capstone argues that this strategy does not work at the building scale because it simply becomes an act of surface creation that does not impact the space beyond. Additionally, at the urban scale, the applied façade is an even weaker strategy with rigid boundaries that does not capitalize on the inherent richness of the urban grain.

Rajput architecture, typical of Jaipur, used extravagance to project power and elevated the façade, an element of exclusion and inclusion, to reflect the social distinctions of the Kachwaha dynasty of Jaipur. Hawa Mahal, or the Palace of the Wind, is a prime example in that it serves as a screen for the court women to visually engage in the urban activities through its 953 jharokhas or windows but restricts physical interaction. This proposal learns from and updates Hawa Mahal’s conceptual, literal and socio-political thickness by challenging the role of the observer and the observed. Using the ideas of massing put forth by Lynn, this capstone reimagines the potential of a new type of architecture based on ‘sponge logics’ that transcends the established Rajput thresholds, enabling a more inclusive experience, indicative of the current society of Jaipur. The Hawa Mahal, acting as a screen, privileged the observer but sponge logics challenges the relationship between the observer and observed, mirroring the changing social dynamics of contemporary Jaipur.

While a sponge can be identified autonomously, the lack of distinction between the mass, the structure and the façade make it part of an endless field condition that absorbs and transforms what is around it. The overall mass of a sponge is “an elaboration of conditions established locally” that can filtrate through the dense urban fabric of Jaipur.2 Doing so allows the street life of the city to filter in and the building life to filter out by sponge logics that identify the potential of a porous building to contribute to the enrichment of an already packed urban environment.  Rappolt, Mark. 2008. Greg Lynn FORM. New York: Rizzoli.  Allen, Stan. 1985. 'Field Conditions'. In Points + Lines, 1st ed., 94. New York: Princeton Architectural Press.

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?

Extreme Historicism

Extreme Post-Modernism

CONTEXT OF CONTENTION

Jaipur, located within the arid state of Rajasthan in India, evolved from a master plan in 1727 under the king, Sawai Jai Singh II. The master plan uses the intersection of an East-West axis and three perpendicular main streets with uniformly designed street façade’s to create city squares or badi chaupars.1 These rajasthani urban façades function as elements of exclusion to a certain degree. A prime example of exclusion is the Hawa Mahal, or the Palace of the Winds, that served as a screen for Rajput court women to visually rather than physically engage in urban activities to abide by the purdah ritual. The purdah ritual prevented women of the household to be directly viewed by other men.2

A city like Jaipur is as much tied to its past as it is to its present with its living traditional arts and crafts. The nexus of Jaipur's past, Jaipur's present and the global present provides a complex backdrop for intervention. This poses a challenge when it comes to the construction of two extreme constructions of historicist and post-modern architecture. An alternate solution lies in a historically informed contemporary architecture.  Government of Rajasthan Urban Development, Housing and Local Self Governance Department,. 2011. Indian Heritage Cities Network- Walking Into The Microcosm Of Jaipur. New Delhi: UNESCO New Delhi.  Jaipur: The Pink City,. 2015. 'Hawa Mahal Jaipur - History, Architecture, Visiting Hours'. http://www.jaipur.org.uk/forts-monuments/hawa-mahal.html.

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72 Screens | Jaipur, India| Sanjay Puri Architects (Architizer 2015)

72 SCREENS

Located outside the old city walls, a newly constructed building, 72 Screens, attempts to evoke the traditional architectural techniques of Rajput architecture in a nuanced way. It leverages the concept of “jaalis” or screens to reduce heat gain in the arid climate of Jaipur. These contemporary “jaalis” are made of concrete and rest on a steel frame and allow for plants to grow within. 1

However, the facade does not do enough other than re-skin the building with a complex geometry. While the intention of a performative façade is innovative, the façade’s performance does not match its predicted performance.

Though this thesis does not contend a critical regionalist architecture, 72 Screens does not react to or benefit the urban context it is embedded in. As a product of extreme post-modernism, 72 Screens, fails to perform in the same way Rajput and Mughal buildings did politically, socially and environmentally. Rajput and Mughal buildings used their façade and courtyard organization to alter the interior and exterior spaces while 72 Screens only alters the exterior experience.

 Insideoutside.in,. 2015. 'Screened Off : Inside Outside Magazine'. http://www.insideoutside.in/inside-outside/issue-magazine/2085/screened-sanjay-puril.

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World Trade Park | Jaipur, India | Anoop Bartaria (Wikipedia 2015)

WORLD TRADE PARK

The World Trade Park, located outside the old city walls of Jaipur, provides services such as shopping, hotel accommodations, movie theaters, restaurants as well as offices. In short, it is a ‘city with in a city’. While the urban density of Jaipur actively uses the World Trade Park as it offers an alternative to the small retail stores synonymous to the old city, architecturally, it uses the western model of a free plan with a curtain wall. Though the curtain wall is seductive, it fails to perform environmentally. Again, it becomes an exercise in re-skining new construction.1

Unlike 72 Screens, World Trade Park does not claim to refer to the architectural legacy of Rajput or Mughal empires which is why the political significance can be neglected. However, the environmental performance of the building cannot be ignored. Furthermore, the social impact of one of the largest mostly public buildings in the city of Jaipur cannot be overlooked either. The World Trade Park does not foster the urban context. The World Trade Park simply does not do enough to be considered as an example of a contemporary Indian architecture.

 Wtpjaipur.com,. 2015. 'World Trade Park, Jaipur'. http://wtpjaipur.com/architect.html.

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Top: Birla Auditorium | Jaipur, India (CommuniStats 2014) Bottom: Amber Fort | Amber, India (Birdhichand Ghanshyamdas 2013)

BIRLA AUDITORIUM OR AMBER FORT?

Before the master plan of the city of Jaipur, the Kachawaha dynasty held residence at the capital city of Amber which was about twelve kilometers north of Jaipur. The royal residence at Amber today is recognized for its Diwan-I-Am, Diwan-I-Khaas and the Ganesh Gate. Besides the gate’s political significance, it is known for its original dyes that ornately cover the surface and have made the fort a critical symbol of the Rajput legacy.1

Considering that the city of Jaipur is still deeply rooted in its history, its comes as no surprise that a ‘contemporary’ construction of Birla Auditorium replicates the Ganesh Gate. The Birla Auditorium hosts local as well as international exhibits, conferences and conventions. The extreme historicism evident in this example is actually just one of many instances found in the new city of Jaipur.

Public buildings replicate royal façades while new hotels and apartment buildings apply symbols associated with havelis or mansions on their façades. Similar to the post-modernist objects in the city of Jaipur, these historicist constructions simply re-skin the building without altering what is behind it. Their impact is only surface deep, essentially masquerading an otherwise non- functional box in the climate of Rajasthan.  Jagan Kochhar, www.technoedge.org. 2015. 'Birla Auditorium Jaipur, Birla Conference Hall Jaipur, Birla Planetarium' Birlaauditoriumjaipur.Com. http://birlaauditoriumjaipur. com/.

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Alejandro Zaera Polo's Four Envelope Types

Envelope Types for Rajasthan, India

ENVELOPE TYPES FOR RAJASTHAN

Historically, architecture has been politically charged whether it was the temple front on a villa, the neoclassical government buildings of Washington DC or the aedicular facades of havelis (mansions) across India. In The Politics of the Envelope, Alejandro Zaera Polo theorizes architecture's physical, social and political potentials in the twenty-first century.1 Besides the primary environmental function of reducing heat loss from buildings in colder climates, the envelope differentiates the inside from the outside, natural from the artificial and private from the public. Alejandro discusses four essential envelope types for hermetically sealed boxes where each type is associated with typical corresponding programs.

Flat-horizontal "boxes" are used for retail, conventions and complexes while flatvertical envelopes enclose residential and offices buildings. Spherical envelopes wrap libraries and museums and vertical envelopes cover mixed use programs.2 However, the socio-economic realities of India limit the use of these hermetically sealed box buildings due to the inability of sustaining costs of mechanical systems.

 Polo, Alejandro Zaera. 2008. 'The Politics Of The Envelope: A Political Critique Of \ Materialism'. Volume, no. 17: 77.  Ibid.

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FAADE noun | fa. cade \f -'sd\ 1. the front of a building; also: any face of a building given special architectural treatment 2. a false, superficial, or artificial appearance or effect e

Villa Rotunda

Florence Baptistery

STRUCTURAL FAADE Masonry

Hawa Mahal

Crystal Palace

Monadnock Building

STRUCTURE SEPARATE FROM Glass

1930

Free Facade

1920

1910

1900

Looshaus

 Merriam-webster.com,. 2015. 'Facade'. http://www.merriam-webster.com/dictionary/facade.

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Facade without Ornament

Skyscraper with Masonry Wall

Curtain Wall

1850

1800

1750

1700

1650

1600

Habitable Facade

Temple Front on Villa

1550

1500

1100

Perspectival Construction

ORIGIN French faade, from Italian facciata, from faccia face, from Vulgar Latin *facia 1

Guggenheim Bilbao

Kunsthaus Graz

Seattle Public Library

30 St. Mary Axe

FAADE

FAADE AS ORNAMENT Everything

???

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2080

2070

2060

2050

2040

2030

2020

2010

Diagrid

Double Skin | Digitized Facade

2000

Metal Panels

1990

1980

1970

1960

1950

1940

Villa Savoye

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TABLE OF CONTENTS

PAUSE

Contention

Context of Contention

Envelope Types for Rajasthan

Trajectory of Facades

REWIND

History of Hawa Mahal

Social Significance

Political Significance

Environmental Significance

Recreating the Hawa Mahal

PLAY

FORWARD

Types of Thickness

Analysis of the Urban Density

Analysis of the Neighborhood Density Site

Proposal for Potential of Porous Cityscape The Sponge

Bubble-Up Programs

Sponge Logics

BIBLIOGRAPHY

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HAWA MAHAL

RETAIL VEHICULAR TRAFFIC PEDESTRIANS

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Comparison of Hawa Mahal's Form to Lord Krishna's Crown (Golden Crush 2015)

HAWA MAHAL

Hawa Mahal, or the Palace of the Wind, is one of the last additions to the City Palace of Jaipur. Constructed in 1799 by Maharaja Sawai Pratap Singh who was an ardent devotee of Hinduism, the pyramidal elevation resembles the crown of Lord Krishna.1 Lord Krishna was one of the ten reincarnations of Lord Vishnu, part of the Trimurti or 'Three Deities" including Lord Brahma and Lord Shiva.2

While the Hawa Mahal stands tall at fifty feet from ground, the other courtyard buildings are only two stories as seen in section. The circulation tower of ramps is separated from the Palace itself and is required to travel to higher floors.

The height of the structure allows exquisite views of the city palace complex and also the entire city of Jaipur.

Though the street façade is exuberantly ornate, the interior surfaces are strikingly plain. The street façade has 953 windows or "jharokhas" to allow the court women to visually participate in the urban daily and ceremonial activities.3 Similar "jharokhas" are seen throughout the city palace.  Jaipur: The Pink City,. 2015. 'Hawa Mahal Jaipur - History, Architecture, Visiting Hours'. http://www.jaipur.org.uk/forts-monuments/hawa-mahal.html.  Das, Subhamoy. 2015. 'Lord Vishnu'. About Religion. http://hinduism.about.com/od/ godsgoddesses/p/vishnu.htm.  Jaipur: The Pink City,. 2015. 'Hawa Mahal Jaipur - History, Architecture, Visiting Hours'. http://www.jaipur.org.uk/forts-monuments/hawa-mahal.html.

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Top: Section through Hawa Mahal and Adjoining Courtyards.

Below: Plan through Hawa Mahal Complex at Ground Level

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Hotel Hawa Mahal imitates the pyramidal form but fails to adapt the performative aspect inherent to the architecture of Hawa Mahal.1

Built 65 years after the Hawa Mahal in Jaipur, the Kota City Palace incorporated a similar feature in the women's court without the splendor of the original.2  Rajesh, Suganyasree. 2013. 'Hotel Hawa Mahal, Jaipur'. Pinkcity.Com. http://www. pinkcity.com/hotels-in-jaipur/hotel-hawa-mahal-jaipur/.  Tillotson, G.H.R. 1987. The Rajput Palaces: The Development Of An Architectural Style, 1450-1750. New Haven: Yale University Press.

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Some of the 953 windows or "Jharokhas" of Hawa Mahal.

(Own Photos)

FLOW

Low Velocity High Pressure

RESTRICTION

High Velocity Low Pressure

High Velocity Low Pressure

Venturi Effect Explained through the Apertures of Hawa Mahal.

(Own Photo)

THE VENTURI EFFECT

Organizationally, bays on the street faade can be identified but they seem compressed and squeezed together with the iconic 953 "jharokhas" reflecting some aspects of Rajputana architecture. Though visually appealing, these windows serve an environmental function of passively cooling the Palace. As the name 'Palace of the Wind' suggests, the venturi effect is used to increase ventilation and cooling in the specifically arid climate of Jaipur. By constricting the size of fenestration, the air passing through experiences a decreased pressure and an increased flow.

As a result, when the air passes through the opening and mixes with the higher pressured atmospheric air, the interior spaces are passively cooled.1

Higher thermal mass is also used as another passive cooling strategy. While most palace and fort walls in Jaipur and surrounding region of Amber have a thickness ranging from eighteen to thirty-six inches, the walls of Hawal Mahal are barely a foot thick. Pink and red sandstone is used to construct the Hawa Mahal.2 The thermal mass combined with the windows forms a system that can passively cool rooms and adjoining courtyards.

 Lechner, Norbert. 2009. Heating, Cooling, Lighting. Hoboken, N.J.: John Wiley & Sons.  Jaipur: The Pink City,. 2015. 'Hawa Mahal Jaipur - History, Architecture, Visiting Hours'. http://www.jaipur.org.uk/forts-monuments/hawa-mahal.html.

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TABLE OF CONTENTS

PAUSE

Contention

Context of Contention

Envelope Types for Rajasthan

Trajectory of Facades

REWIND

History of Hawa Mahal

Social Significance

Political Significance

Environmental Significance

Recreating the Hawa Mahal

PLAY

FORWARD

Types of Thickness

Analysis of the Urban Density

Analysis of the Neighborhood Density Site

Proposal for Potential of Porous Cityscape The Sponge

Bubble-Up Programs

Sponge Logics

BIBLIOGRAPHY

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TYPES OF THICKNESS

1. MASSIVE-NESS Dominus Winery | Napa Valley, USA | Herzog de Meuron | 1995-98

2. SYSTEMIC Centre Pompidou | Paris, France | Rogers + Piano | 1971-77

3. ARCHITECTONIC Arab World Institute | Paris, France | Jean Nouvel | 1987

4. PROGRAMMATIC Bordeaux Stadium | Bordeaux, France | Herzog de Meuron| 2015

5. SUBTRACTIVE

261 Jinhua Structures | Jinhua, China | Herzog de Meuron |

2004-06

6. DE-LAMINATION Formosa 1140| West Hollywood, USA | LorcanO'Herlihy

Architects | 2008

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Dominus Winery | Napa Valley, USA | Herzog de Meuron | 1995-98 (Fairs 2007)

MASSIVE-NESS

Situated in Napa Valley, the Dominus Winery, contrary to expectations, blends in with the environment rather than standing singularly as a monument in the vineyards.1

The large diurnal temperature shifts of Napa Valley required specifics systems to react to the unique environmental condition. The 'rock-wall' made of stainless steel baskets and basalt from nearby area provides just that as a large thermal mass.2 The literal thickness of the thermal mass absorbs heat during the day and releases it at night which works efficiently enough to not necessitate mechanical systems at the winery. While the environmental functions of the 'rock-wall' are apparent, the stacking of stones allows light to filter through the gaps, creating varying levels of transparency through a 'masonry' wall.3 It is also significant to note that another layer of the faďƒ§ade resides behind the 'rock-wall'.

Herzog de Meuron take a box that works programmatically and add layers that perform environmentally and aesthetically.

1 Fairs, Marcus. 2007. 'Dominus Winery By Herzog & De Meuron'. Dezeen. http://www. dezeen.com/2007/09/09/dominus-winery-by-herzog-de-meuron/.

2 Herzogdemeuron.com,. 2015. '137 Dominus Winery'. https://www.herzogdemeuron. com/index/projects/complete-works/126-150/137-dominus-winery.html.

3 Ibid.

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Centre Pompidou | Paris, France | Rogers + Piano | 1971-77 (Noble 2015)

SYSTEMIC

The chosen competition entry for Centre Pompidou radically changed the perception of museums and cultural centers from being 'elistist' to 'popular'.1

The 'radical' faade seemingly is not very radical at all considering it exposes the systems that allow the building to operate smoothly. The systemic components of structure, heating, cooling and ventilation of the building are exhibited though the faade with colors that identify different types of elements.2 Also, probably the most iconic aspect of the faade is the escalator that can be used even by non-museum goers and provides a view of the entire city. The escalator allows visitors to inhabit the faade and experience the complex differently than the plaza in front of the museum. Not only does the faade give an insight to the building, it also makes the interior space more flexible. The result is a monumental icon of 'anti-monumentalism'.3

1 Rsh-p.com,. 2015. 'Centre Pompidou 'Projects' Rogers Stirk Harbour + Partners'. http://www.rsh-p.com/projects/centre-pompidou/.

2 Ibid.

3 Ibid.

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Arab World Institute | Paris, France | Jean Nouvel | 1987 (Freshome: Design & Architecture Magazine 2012)

ARCHITECTONIC

Built collaboratively by France and nineteen Arab countries, the Arab World Institute in Paris serves as a cultural institution rather than a political one and its architecture is reflective of that. Two primary faade systems are employed on the north and the south faades. While the north curved faade speaks to the western culture, the south facade evokes older eastern architectural conditions. The architectonics of the southern faade modulate the mechanical lenses depending on the natural light. The resulting geometry of these "cameralike diaphragms" imitates traditional mashabriyas/moucharabiehs/latticework.1 Though the material, technology and context of this screen surface vary immensely, similar effects of light and shadow visually thicken the faade and its effects.

These automatically governed apertures of the faade do not serve the same function they did traditionally of maintaining privacy and allowing a cool breeze. However, they effectively evoke eastern traditions in western context without completely being a nostalgic representation of the traditional architecture.  Tim Winstanley. "AD Classics: Institut du Monde Arabe / Jean Nouvel" 02 Oct 2011.

ArchDaily. Accesed 10 Jul 2015. <http://www.archdaily.com/162101/ad-classics-institutdu-monde-arabe-jean-nouvel/> 28

Bordeaux Stadium | Bordeaux, France | Herzog de Meuron | 2015 (Baan 2015)

PROGRAMMATIC

The form of the Bordeaux stadium can be divided into a plinth, bowl and ribbon. However, the spatial experience blurs the distinction between these three elements as the white temple-like columns are the residue of the traditionally massive form of stadiums.

The bowl serves the primary function for hosting sporting and musical events while the ribbon inhabits retail and service spaces. The plinth encloses more private functions of the stadium. The element that ties these three disparate forms are the stairs.1 Specifically in section, the stairs allow one to inhabit all three elements at once and thus diminish the distinction between inside and outside. The question then remains what is the facade and what is the "space"?

Programmatic and formal integration create a building that is either 'all faade' or 'all space'. It can be argued that the skin of the building is removed. However, what about the columns that line the edge? Does a faade have to be continuous or can it be permeable? The fact that the question of the faade can be debated effectively shows that the interior and exterior are not distinguishable.

 "The New Bordeaux Stadium / Herzog & de Meuron" 21 May 2015. ArchDaily. Accesed 10 Jul 2015. <http://www.archdaily.com/633554/the-new-bordeaux-stadium-herzog-and-de-meuron/> 29

261 Jinhua Structures |Jinhua, China | Herzog de Meuron | 2004-06 (Baan 2009)

SUBTRACTIVE

An architectural-landscape park in Jinhua, China includes pavilions from various local and global participants. One of these pavilions is designed by Herzog de Meuron.

Initially conceived as a geometric pattern extruded three dimensionally, the piece of sculptural architecture dissolves from a cube. Using modern computer programming, a habitable space is carved from a visually monolithic concrete cube.1 Though habitable, the sculpture does not have an interior or exterior. It simply disintegrates.

Again, the question of the faade calls attention. Firstly, the singular material and uniform thickness of surfaces makes it difficult to differentiate between the internal and external conditions. Secondly, the not completely distinguishable geometric pattern makes the sculpture look organic. Considering the context of a park and its public function, does this pavilion require a faade?

If so, does it have a faade? Because the interior of the pavilion appears to be interwoven, it can be said that the disintegrative subtractive surface is a faade.

 Herzogdemeuron.com,. 2015. '261 Jinhua Structures'. https://www.herzogdemeuron. com/index/projects/complete-works/251-275/261-jinhua-structures.html.

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Formosa 1140 | West Hollywood, USA | LOHA Architects | 2008 (Lorcan O'Herlihy Architects 2009)

DE-LAMINATION

Consisting of eleven housing units, the Formosa building modifies the courtyard housing typology to prioritize common public space. Located in the West Hollywood region of Los Angeles, the building attempts to cater to the city wide problem of insufficient public space. By moving the courtyard space to all sides of the exterior, the public space becomes a continuous thread throughout the complex. This public space is created from layers of screens, thermal separation and circulation space.

These layers of the faade facilitate cross ventilation through the units and extend public space to not only the residents but also to the other residents of West Hollywood. Extrusions from the faades caused by stacking residential units allow pockets of space within the faade. 1Essentially, building then has a street front, a circulation corridor and the thermal barrier which simultaneously can be argued result in one thick faade of environmental function, activity and aesthetic appeal. The thickness results from multiple thin layers that begin the conversation of what is in the poche.

 "Formosa 1140 / Lorcan O'Herlihy Architects" 07 Mar 2009. ArchDaily. Accessed 10 Jul 2015. <http://www.archdaily.com/16194/formosa-1140-loha-architects/> 31

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Hawa Mahal Sadak

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Khavas Ji Ka Rasta

Town Hall

Tripolia Bazaar

Tulsi Marg

Hawa Mahal Maharaja High School

Badi Chaupar Ramganj Bazaar

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Johari Bazaar

Recreated and Modified from Collage City by Colin Rowe

Principles of Vastu Shastra used for the Planning of Jaipur

36

Block Printing

Block Printing

Blue Pottery

Stone Carving

Handmade Paper

Textile Weaving

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TABLE OF CONTENTS

PAUSE

Contention

Context of Contention

Envelope Types for Rajasthan

Trajectory of Facades

REWIND

History of Hawa Mahal

Social Significance

Political Significance

Environmental Significance

Recreating the Hawa Mahal

PLAY

FORWARD

Types of Thickness

Analysis of the Urban Density

Analysis of the Neighborhood Density Site

Proposal for Potential of Porous Cityscape The Sponge

Bubble-Up Programs

Sponge Logics

BIBLIOGRAPHY

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e Ernst Haeckelâ&#x20AC;&#x2122;s Engraving of Microscopic Diatoms (Haeckel 1904) noun | \'sp nj\

SPONGE

e

1. a piece of light natural or artificial material that becomes soft when it is wet, is able to take in and hold liquid, and is used for washing or cleaning 2. an elastic porous mass of interlacing horny fibers that forms the internal skeleton of various marine animals (phylum Porifera) and is able when wetted to absorb water 3. any of a phylum (Porifera) of aquatic chiefly marine simple invertebrate animals that have a double-walled body of loosely aggregated cells with a skeleton supported by spicules or spongin and are filter feeders that are sessile as adults ORIGIN Middle English, from Old English, from Latin spongia, from Greek 1 FIRST KNOWN USE OF SPONGE ď&#x20AC;ą Merriam-webster.com,. 2015. 'Sponge'. http://www.merriam-webster.com/dictionary/ sponge.

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Current Reading of Pedestrian + Building Life Users

Vehicles

Pedestrians

Enclosed Space

Vendors

Proposed Reading of Pedestrian + Building Life

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SWISS CHEESE Top: Process Photograph #1 Below: Process Photograph #2 Photos by Jason Foggie

HYPER GRID Laser-Cut Chipboard

SCRAP PILE Scraps + Spray Paint

FOUND OBJECT Blue Foam

HONEYCOMB Chipboard + Spray Paint

SWISS CHEESE MDF Mold, Balloons + Plaster

EXTRUDED VOID Blue Foam, Dowels +Spray Paint Photos by Jason Foggie

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HOLES MDF + Spray Paint

BULGING BALLOONS MDF, Balloons + Spray Paint

IMPLIED GRID Laser-Cut Chipboard

FOUND OBJECT Blue Foam + Spray Paint

HONEYCOMB Chipboard + Spray Paint

SCRAP PILE Scraps + Spray Paint

Photos by Jason Foggie

SHIFTING GAZE Laser-Cut Plexi +Copper Rods

CORROSION Blue Foam + Acetone

BALLOONS IN A BOX Plexi + Balloons

INFUSED BUBBLES Bubble Wrap, Sticks + Paint

HYPER-GRID Laser-Cut Chipboard

LEGO Blue Foam+ Spray Paint Photos by Jason Foggie

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THE SPONGE CRITERIA

1. DENSITY Programmatic Density

2. VARIATION Spatial Complexity

3. INTERCONNECTIVITY Result of Programmatic Density + Spatial Complexity

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Natural Sponge #2

Natural Sponge #1

Natural Sponge #3 NaturalNatural Sponge #1 Sponge #1

Natural Sponge #4 NaturalNatural Sponge #2 Sponge #2

Pore Size + Density

Pore Size + Density

ArtificialNatural Sponge #1 Sponge Sponge #3 Natural #3

NaturalNatural SpongeSponge #4 #4

Natural Sponge #3 NaturalNatural Sponge #1 Sponge #1

Natural Sponge #4 NaturalNatural Sponge #2 Sponge #2

ArtificialNatural Sponge #1 Sponge Sponge #3 Natural #3

NaturalNatural SpongeSponge #4 #4

2 2

8 6

3

2

One primary courtyard with smaller courtyards

3

Pore Size + Density

Natural Sponge #4 NaturalNatural Sponge #2 Sponge #2

Softer street edge that connects interior streets

3

NaturalNatural SpongeSponge #4 #4

Natural Sponge #3 NaturalNatural Sponge #1 Sponge #1

Depth Analysis

6

Artificial Sponge #1

ArtificialNatural Sponge #1 Sponge Sponge #3 Natural #3

3 6

6

6

6 6

6 31

1

Support spaces become a part of the glass bubbles

3

8

7

6 3

1 7

3

4

5

Larger departmentalized separate blobs

2

2

8

4

8

2 6

Mass onStrong the Strong street street street edge edgeiswith edge with porous defineddefined opening opening Series of smaller SeveralSeveral courtyards smallersmaller courtyards courtyards Dispersed 7supportSpace Space spaces guidedguided by by fluidityfluidity of of Form ofmovement glass movement bubbles responds to objects Field Field objects circulatin read asread a as a throughunifiedunified space entity entity

6 4

8

Depth Analysis

5

54

4

6

6

6 Schematic PlanSchematic #3 Plan #1Plan #1 Schematic 1 2 3 4

Schematic Plan #1

Entrance 1 Entrance Retail 2 Retail Workshops 3 Workshops Offices 4 Offices

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6 6 2

6

6

2 7

2

3

6

3

6 1

7 1

3

6

7

1

8 6

6

3

3 6

6

Distinction Distinction between between solid and solid and glass glass bubblesbubbles

6

6

6 3

2 5

4

4

Schematic PlanSchematic #4 Plan #2Plan #2 Schematic 5 6 7 8

Depth Analysis

4

8 6

5 5

Schematic Plan #2

Archives 5 Archives Support SpacesSpaces 6 Support Amphitheater 7 Amphitheater Sculpture GardenGarden 8 Sculpture

Broken street Softer street Softer street edge edge that edge that connects connects Numerous interiorinterior small streets streets courtyards One primary One primary Field condition courtyard courtyard with with smaller with smaller decentralized courtyards courtyards organization Support Support Structurally spaces spaces independent becomebecome a a entities part of part the of the 8 glass bubbles glass bubbles No major distinction Larger Larger betweendepartmendepartmensupporttalized spacestalized sepa- sepaand glass rate blobs rate blobs bubbles Multiplicity of program

2 2

2

3

5

3

6

6 6 6

2

6

6

6 1 1

3 6 6

6

8

6

6

6

6 1

8 37

3

6

3

7

6 5 2

6 2

5

2

6 4

4 8

7

6

8

Larger objects Dispersed Dispersed in the field supportsupport spaces spaces Blobs determine Form ofForm glassof glass larger site bubblesbubbles plan responds to responds to circulatin circulatin Supportthrough through spaces space space attached to glass bubbles

2

2

1

6

Schematic Plan #3

1

2

4

6 6

Schematic PlanSchematic #5 Plan #3Plan #3 Schematic

6

Solid street Mass onMass the on the edge with street edge streetisedge is defined porousporous opening Series of Series of Interior streets smallersmaller 8 as courtyards courtyards courtyards

Schematic Plan #4Plan #4 Schematic

Step 1: Glue balloons to bowl.

Space A

Space B

Space A

Space B

Step 2: Pour plaster on balloons and into the bowl.

Step 2: Pour plaster on balloons and into the bowl.

Step 3: Pop balloons as plaster dries.

Step 3: Pop balloons as plaster dries.

B

A

A

B

A

A

A

A

Step 4: Detach casting from mold.

A

A A

A

A

Step 4: Detach casting from mold.

A

A A

B

Step 1: Glue balloons to bowl.

A

A B

Step 5: Strategically carve out openings.

Step 5: Strategically carve out openings.

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Moorish Multifoil MOORISH MULTIFOIL

ITERATION #1 Iteration

50

#1

Tudor TUDOR

Reverse Ogee REVERSE OGEE

Ogee OGEE

RE

ITERATION #2#2 Iteration

Iteration #3 ITERATION #3

ITERATION #4#4 Iteration

ITE

Reverse Ogee REVERSE OGEE II II

ITERATION #5 #5 Iteration

Trefoil TREFOIL

Iteration ITERATION #6#6

Moorish MOORISHMultifoil MULTIFOIL IIII

Moorish Multifoil III MOORISH MULTIFOIL III

ITERATION #7 Iteration #7

Iteration #8 ITERATION #8

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COMBINATION ITERATION #1

52

Inverse Combination Iteration #1

Iteration #1 Moves

Elevational + Sectional Studies

53

COMBINATION ITERATION #2

54

Inverse Combination Iteration #2

Iteration #2 Moves

Elevational + Sectional Studies

55

COMBINATION ITERATION #3

56

Inverse Combination Iteration #3

Iteration #3 Moves

Elevational + Sectional Studies

57

COMBINATION ITERATION #4 Below: 3D Powder Print

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Photo by Matthew Trulli

Inverse Combination Iteration #4

Iteration #4 Moves

Elevational + Sectional Studies

59

60

61

62

PROGRAM DISTRIBUTION

PRIMARY CIRCULATION

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KHAVAS JI KA RASTA

64

TULSI MARG

SRI RAMCHANDRA TEMPLE

TOWN HALL

RAMGANJ BAZAAR

HAWA MAHAL

JOHARI BAZAAR

MAHARAJA HIGH SCHOOL

BADI CHAUPAR

TRIPOLIA BAZAAR

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GROUND FLOOR PLAN

SECOND FLOOR PLAN

66

THIRD FLOOR PLAN

FOURTH FLOOR PLAN

67

TRANSVERSE SECTION 01 | FACING NORTH-EAST

TRANSVERSE SECTION 02| FACING NORTH-EAST

68

69

LONGITUDINAL SECTION 03| FACING SOUTH-EAST

LONGITUDINAL SECTION 04| FACING NORTH-WEST

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71

STREET ELEVATION

SITE MODEL : Museum Board + 3D Powder Print Shauna Strubinger, Erin Zalewski, Anuradha Desai, Maal Ashar, Mook Waralee Kaekwoon, Mona Fulamba Victor Jianto, Deena Darby, Aditya Surendhra, Matthew Trulli and Shaguni Gupta 72

Photo by Matthew Trulli

COURTYARD ELEVATION

arkar, Tope Olujobi, Irmak Turanli, Anna Korneeva, Lisa Chang, Sherina Zhang, Dora Lo, Geraldine Vargas,

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SITE MODEL : Museum Board + 3D Powder Print Shauna Strubinger, Erin Zalewski, Anuradha Desai, Maal Ashar, Mook Waralee Kaekwoon, Mona Fulamba Victor Jianto, Deena Darby, Aditya Surendhra, Matthew Trulli and Shaguni Gupta 74

Photos by Matthew Trulli

arkar, Tope Olujobi, Irmak Turanli, Anna Korneeva, Lisa Chang, Sherina Zhang, Dora Lo, Geraldine Vargas,

75

CRATER CRACK Plaster+Balloons

HOLE-Y Plaster+Balloons

76

Photos by Mook Waralee Kaekwoon + Anuradha Desai

INVERSE MASS 3D MakerBot Print

INVERSE MASS 3D MakerBot Print

Photos by Mook Waralee Kaekwoon + Anuradha Desai

77

ARCH EXTRUSION 3D MakerBot Print

ARCH EXTRUSION 3D MakerBot Print

78

Photos by Mook Waralee Kaekwoon + Anuradha Desai

SWISS CHEESE Plaster+Balloons

EGG-SHELLED MDF, Plaster+Balloons

Photos by Mook Waralee Kaekwoon + Anuradha Desai

79

TABLE OF CONTENTS

PAUSE

Contention Context of Contention Envelope Types for Rajasthan Trajectory of Facades

REWIND History of Hawa Mahal Social Significance Political Significance Environmental Significance Recreating the Hawa Mahal

PLAY

FORWARD

Types of Thickness Analysis of the Urban Density Analysis of the Neighborhood Density Site

Proposal for Potential of Porous Cityscape The Sponge Bubble-Up Programs Sponge Logics

BIBLIOGRAPHY

81

ACKNOWLEDGMENTS My thesis and thesis prep advisors, Professor Molly Hunker and Professor Benjamin Farnsworth, have been of immense help and inspiration over the past year. Also, Professor Lawrence Davis, Professor Romita Ray and Sarosh Anklesaria have also influenced my process and for which I am very thankful. Thank you Mr. John Bryant for helping make make models and Mook Waralee Kaewkoon, Anurdha Desai, Jason Foggie and Matthew Trulli for taking their photographs! I would also like to thank Shauna Strubinger, Erin Zalewski, Anuradha Desai, Maal Ashar, Mook Waralee Kaekwoon, Mona Fulambarkar, Tope Olujobi, Irmak Turanli, Anna Korneeva, Lisa Chang, Sherina Zhang, Dora Lo, Geraldine Vargas, Victor Jianto, Deena Darby, Aditya Surendhra, Matthew Trulli and Shaguni Gupta for making helping me make the site model.

In order to conduct my research, I received a Crown Award from the Renee Crown Honors Program at Syracuse University to visit Jaipur and Udaipur in Rajasthan, India. I would life to extend my gratitude for the experience to the Honors Program and to architect, Shaila Shah, for accompanying me on my adventure.

While in Mumbai, I had the opportunity to speak with architect and professor, Pinkish Shah, who guided me in the initial research phase. During my stay in Jaipur, I had the pleasure of meeting with another professor and architect, Gaurav Mathur, who aided my on site research and analysis. I even had the chance to visit three institutions: Poornima University, Aayojan School of Architecture and Arch Academy of Design where I received guidance from Mr. Bhawani Shankar and Mr. and Mrs. Rathore. I would like to specifically thank Pooja Madam for giving me permission to use base digital drawings of the city.

Also, during my time in Jaipur, I was able to go to artisan workshops to see how the art and crafts was produced. I am extremely grateful that the local artisans permitted me into their workshops and let me see how they functioned. My trip to Rajasthan has inherently enriched my educational experience.

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