Garima Gulati

Contents

1-10

11-12

13-14

15-16

17-18

19-20

21

22

23-24

Forces Shaping Form. -------------------------------A summary of thesis research , Masters of Architecture, Mackintosh School of Architecture, Glasgow (2008)

�e way ahead:------------------------------------------------An idea about how the research can possibly be further developed to understand ‘sustainable form’ in nature.

Clyde river edge analysis, Glasgow--------------------------M. Arch, Mackintosh school of Architecture

�e Central Deck and Arena---------------------------------Tampere, Finland

�e Zhang Zhidong and Modern Industrial Museum---------Wuhan, China

Jindal Global Law School-------------------------------------Sonipat, Haryana, India

Double Family home, Ahmedabad, India-------------------Individual project

Double Family home-----------------------------------------Kanpur, India

Animation School and IMAX �eatre----------------------- Undergrad design thesis

background

study

Garima Gulati

Contents

1-10

11-12

13-14

15-16

17-18

19-20

21

22

23-24

Forces Shaping Form. -------------------------------A summary of thesis research , Masters of Architecture, Mackintosh School of Architecture, Glasgow (2008)

�e way ahead:------------------------------------------------An idea about how the research can possibly be further developed to understand ‘sustainable form’ in nature.

Clyde river edge analysis, Glasgow--------------------------M. Arch, Mackintosh school of Architecture

�e Central Deck and Arena---------------------------------Tampere, Finland

�e Zhang Zhidong and Modern Industrial Museum---------Wuhan, China

Jindal Global Law School-------------------------------------Sonipat, Haryana, India

Double Family home, Ahmedabad, India-------------------Individual project

Double Family home-----------------------------------------Kanpur, India

Animation School and IMAX �eatre----------------------- Undergrad design thesis

background

study

Background

study

Fig 1.2: sketch from Calatrava’s sketch book showing the ‘visual’ metaphor or eye.Source: Levin Michael (2003)

Fig 1.3: From sketch to struc-ture Planetarium in Valencia Science Centre.Source: Levin Michael (2003)

1- Introduction:

Since time immemorial, designers and architects have looked at nature and its working principles to �nd innovative design solutions. If we go back in the history, there is a long list of inventions, which are based on principles extracted from forms in nature, for e.g., hard and curved materials for vaults and thin shell structures from eggs and high strength-to-weight ratio for cable nets from spider webs. However, the in�uence is limited to the external structure. Moreover, the working principles are extracted in isolation from its whole.

�e thesis is an attempt to understand the logic of how form is developed in nature and how can a designer learn from her fundamental processes rather than simply mimic the external form. How can a designer with the aid of computer as generative force, imitate the processes of growth and inner logic of natural forms rather than just the image?

�e background research thesis titled ‘Forces Shaping Form’ investigates into the link between nature, design and computa-tion. An attempt has been made to reason out why these areas have a great interdisciplinary research potential and how design, inspired by the dynamics of nature, can be taken to a level beyond ‘imitation’ with the aid of computation.

�e thesis explores form-�nding techniques by linking bio-mimetics with algorithmic design; study includes development of analogies between inherent geometric and material properties with the requirements of the design. Finally, with the aid of a knowledge transfer model, as an experiment to test the process, a design is proposed for �e serpentine pavilion in Hyde park, London

Nature Computation

Design

CAAD

Fig 1.1: CAAD as a means to link design, nature and computation

Forces Shaping Form : An investigation into possible variations in the design process by linking Bio-mimetics with algorithmic design.

A summary of thesis research , Masters of Architecture, Mackintosh School of Architecture, Glasgow (2008)

- 2 -- 1 -

Background

study

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Background study: A study into the link between nature, design and computation.

“Nature is the source of all true knowledge. She has her own logic, her own laws, she has no e�ect without cause nor invention without necessity”. -Leonardo da Vinci2- Why Nature?

Nature is the perfect model of growth and evolution. She has perfected the art of rejecting what becomes redundant over time and inventing what is necessary to function. Natural forms are no accidents. Matter, under the in�uence of energy (heat, light, wind etc.) in various forms, twists, turns, shrinks and mutates itself. It is the factor of need, which shapes the physical form. �ompson (1942) views forms in nature as a diagram of forces around it. He also suggests that natural forms are most e�cient because they work on the principle of minimum material-maximum strength.

Historically, designers have referred to nature to extract its working principles, which further inform the design. Buck-minster fuller, in the year 1933, created a car inspired by the aerodynamic form of the raindrop. He also understood that resistance o�ered by air is directly proportional to the square of velocity. Clearly, he did not imitate the form, he learnt from its physical and chemical properties.

However, the most important question is, if we can �nd a way to not just be singularly guided by one or two ideas or principles from nature, but learn from the dynamic process of evolution as a whole, a process where multiple parameters interact with each other to create the ‘unique’; an algorithm inspired the algorithm in nature. Fig 2.1: ‘forces shaping form, the

‘common link’ between forms created by nature and forms cra�ed by man.

Background

study

Fig 1.2: sketch from Calatrava’s sketch book showing the ‘visual’ metaphor or eye.Source: Levin Michael (2003)

Fig 1.3: From sketch to struc-ture Planetarium in Valencia Science Centre.Source: Levin Michael (2003)

1- Introduction:

Since time immemorial, designers and architects have looked at nature and its working principles to �nd innovative design solutions. If we go back in the history, there is a long list of inventions, which are based on principles extracted from forms in nature, for e.g., hard and curved materials for vaults and thin shell structures from eggs and high strength-to-weight ratio for cable nets from spider webs. However, the in�uence is limited to the external structure. Moreover, the working principles are extracted in isolation from its whole.

�e thesis is an attempt to understand the logic of how form is developed in nature and how can a designer learn from her fundamental processes rather than simply mimic the external form. How can a designer with the aid of computer as generative force, imitate the processes of growth and inner logic of natural forms rather than just the image?

�e background research thesis titled ‘Forces Shaping Form’ investigates into the link between nature, design and computa-tion. An attempt has been made to reason out why these areas have a great interdisciplinary research potential and how design, inspired by the dynamics of nature, can be taken to a level beyond ‘imitation’ with the aid of computation.

�e thesis explores form-�nding techniques by linking bio-mimetics with algorithmic design; study includes development of analogies between inherent geometric and material properties with the requirements of the design. Finally, with the aid of a knowledge transfer model, as an experiment to test the process, a design is proposed for �e serpentine pavilion in Hyde park, London

Nature Computation

Design

CAAD

Fig 1.1: CAAD as a means to link design, nature and computation

Forces Shaping Form : An investigation into possible variations in the design process by linking Bio-mimetics with algorithmic design.

A summary of thesis research , Masters of Architecture, Mackintosh School of Architecture, Glasgow (2008)

- 2 -- 1 -

Background

study

b i 0

mi m i

c r y

gr o w

t

h

r

f

m

Background study: A study into the link between nature, design and computation.

“Nature is the source of all true knowledge. She has her own logic, her own laws, she has no e�ect without cause nor invention without necessity”. -Leonardo da Vinci2- Why Nature?

Nature is the perfect model of growth and evolution. She has perfected the art of rejecting what becomes redundant over time and inventing what is necessary to function. Natural forms are no accidents. Matter, under the in�uence of energy (heat, light, wind etc.) in various forms, twists, turns, shrinks and mutates itself. It is the factor of need, which shapes the physical form. �ompson (1942) views forms in nature as a diagram of forces around it. He also suggests that natural forms are most e�cient because they work on the principle of minimum material-maximum strength.

Historically, designers have referred to nature to extract its working principles, which further inform the design. Buck-minster fuller, in the year 1933, created a car inspired by the aerodynamic form of the raindrop. He also understood that resistance o�ered by air is directly proportional to the square of velocity. Clearly, he did not imitate the form, he learnt from its physical and chemical properties.

However, the most important question is, if we can �nd a way to not just be singularly guided by one or two ideas or principles from nature, but learn from the dynamic process of evolution as a whole, a process where multiple parameters interact with each other to create the ‘unique’; an algorithm inspired the algorithm in nature. Fig 2.1: ‘forces shaping form, the

‘common link’ between forms created by nature and forms cra�ed by man.

Background

study

‘All is algorithm!’ -Gregory Chaitin

All the mathematical sciences are founded on relations between physical laws and laws of numbers, so that the aim of exact science is to reduce the problems of nature to the determination of quantities by operations with numbers. James C. Maxwell

3- Why Computation?

�e fundamental forces shaping building form have forever been the same. Any information can take a shape of a concept for e.g. circulation, services, heat, light, sound, structure system, building skin, building materials, information about these and other such uncountable parameters help the designer evolve a rational result. According to Wurman (Wurman, 1997) architecture is the science and art of creating an "instruction for organized space." He sees the problems of gathering, organizing, and presenting information as closely analogous to the problems an architect faces in designing building that will serve the needs of its occu-pants and that's what our computers do best, ‘gather, organize and present data’

�e introduction of computation in design has led to a shi� from the traditional liner process, in which design is in�uenced by di�erent constrains one at a time, to a process in hyperspace, in which all forces informing the design can coexist in a nonlinear, intertwined state. A virtual space where material, structure, purpose, all become one. Information is not lost between transla-tions from design to construction.

Computation not just works as a language to translate informa-tion from nature to equations, quanti�able parameters, which can be understood and applied in various �elds of research but also as a model, which itself works on principles of nature. As Frazer (An evolutionary architecture,1995) explains, “Parallels can be seen between the generative methods of nature and in the way the apparent complexity of computing, in both hardware and so�ware, is built up hierarchically from simplest functions”.

Background

study

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Fig series 5.1: Basic units of curlicue fractal which is repeated, scaled and rotated.

Fig series 5.2

Fig series 5.3

Fig series 5.4:Algorithm for Growth of pattern of curlicue fractal analogous to the growth of fractal geom-etry in nature

Source: gener-ated with the aid of �e Wolfram Demonstra-tions

5- Analogy and Algorithm

Nature’s processes are truly integrated with no boundaries between spaces, skin, structure, and material. �e most complex forms found in nature are comprised of simple self-repeating, self-organizing units; these forms grow by interaction with the environment. Many theories inspired by growth in nature such as, Arti�cial neural network* (1940) and Genetic algorithm** (1960) have played a major role in the development of arti�cial intelligence and robotics. Frazer (1995), later introduced the idea of treating architecture as arti�cial intelligence, i.e. evolving forms with the aid of conditions speci�ed by the user and the environment.

As Makoto Sei Watanable (2002) explains “If you can describe it, you can programme it”. If the concept or the constraints can described in terms of rules, we can generate form within the frame of conditions applied by the designer irrespective of the complexity of the result. So much like how forms in nature grow within the frame of the purpose and environment. Constrains (rules) and freedom (unpredictable resultant forms) coexist However, we have not yet built buildings, which keep growing! But, it is possible to generate a form by replicating natural processes with the aid of algorithms. In the concluding experi-ment of this research, an attempt has been made to generate the form with input information about the internal planning and circulation requirements of the design.

*Arti�cial neural network is a processing device, either an algorithm, or actual hardware, whose design is motivated by the design and functioning of human brains and components. It is designed to solve problems by simultaneous information processing

**�e genetic algorithm is a model of machine learning which derives its behavior from a metaphor of the processes of EVOLUTION in nature. It includes population of ‘individuals’ by natural selection, mating, chromosome crossover and gene mutation.

- 4 -- 3-

Background

study

‘All is algorithm!’ -Gregory Chaitin

All the mathematical sciences are founded on relations between physical laws and laws of numbers, so that the aim of exact science is to reduce the problems of nature to the determination of quantities by operations with numbers. James C. Maxwell

3- Why Computation?

�e fundamental forces shaping building form have forever been the same. Any information can take a shape of a concept for e.g. circulation, services, heat, light, sound, structure system, building skin, building materials, information about these and other such uncountable parameters help the designer evolve a rational result. According to Wurman (Wurman, 1997) architecture is the science and art of creating an "instruction for organized space." He sees the problems of gathering, organizing, and presenting information as closely analogous to the problems an architect faces in designing building that will serve the needs of its occu-pants and that's what our computers do best, ‘gather, organize and present data’

�e introduction of computation in design has led to a shi� from the traditional liner process, in which design is in�uenced by di�erent constrains one at a time, to a process in hyperspace, in which all forces informing the design can coexist in a nonlinear, intertwined state. A virtual space where material, structure, purpose, all become one. Information is not lost between transla-tions from design to construction.

Computation not just works as a language to translate informa-tion from nature to equations, quanti�able parameters, which can be understood and applied in various �elds of research but also as a model, which itself works on principles of nature. As Frazer (An evolutionary architecture,1995) explains, “Parallels can be seen between the generative methods of nature and in the way the apparent complexity of computing, in both hardware and so�ware, is built up hierarchically from simplest functions”.

Background

study

b i 0

mi m i

c r y

gr o w

t

h

r

f

m

Fig series 5.1: Basic units of curlicue fractal which is repeated, scaled and rotated.

Fig series 5.2

Fig series 5.3

Fig series 5.4:Algorithm for Growth of pattern of curlicue fractal analogous to the growth of fractal geom-etry in nature

Source: gener-ated with the aid of �e Wolfram Demonstra-tions

5- Analogy and Algorithm

Nature’s processes are truly integrated with no boundaries between spaces, skin, structure, and material. �e most complex forms found in nature are comprised of simple self-repeating, self-organizing units; these forms grow by interaction with the environment. Many theories inspired by growth in nature such as, Arti�cial neural network* (1940) and Genetic algorithm** (1960) have played a major role in the development of arti�cial intelligence and robotics. Frazer (1995), later introduced the idea of treating architecture as arti�cial intelligence, i.e. evolving forms with the aid of conditions speci�ed by the user and the environment.

As Makoto Sei Watanable (2002) explains “If you can describe it, you can programme it”. If the concept or the constraints can described in terms of rules, we can generate form within the frame of conditions applied by the designer irrespective of the complexity of the result. So much like how forms in nature grow within the frame of the purpose and environment. Constrains (rules) and freedom (unpredictable resultant forms) coexist However, we have not yet built buildings, which keep growing! But, it is possible to generate a form by replicating natural processes with the aid of algorithms. In the concluding experi-ment of this research, an attempt has been made to generate the form with input information about the internal planning and circulation requirements of the design.

*Arti�cial neural network is a processing device, either an algorithm, or actual hardware, whose design is motivated by the design and functioning of human brains and components. It is designed to solve problems by simultaneous information processing

**�e genetic algorithm is a model of machine learning which derives its behavior from a metaphor of the processes of EVOLUTION in nature. It includes population of ‘individuals’ by natural selection, mating, chromosome crossover and gene mutation.

- 4 -- 3-

Background

study

6- Methodology- Knowledge transfer model

From Leonardo da Vinci’s vitruvian man, Battista Alberti’s use of the golden ratio to Corbusier’s modular man, the in�uence of numbers extracted from natural forms is evident in art and architecture. Mathematics has been used to de�ne beauty, proportion and even human comfort. Information from natural existing systems can be explained and applied if the information is converted into equations. Again, computers master this art!

However, What I propose is not a direct translation of informa-tion from nature and application in architecture, I am looking at studying the reasons behind the formation of natural form and based on an analogy between the forces shaping the natural space/geometry, material, structure and the requirement of the design, extract mathematical information and inject informa-tion into an algorithm.

6.1- Bee’s cell: Space, Structure and Circulation analogy

�e Bee’s Cell is one of the �nest examples of space management and an optimum structural con�guration in nature. One of the biggest problems of architecture deals with maximizing space with minimum circulation and minimizing matter for maxi-mum possible strength. Also, in this example the structure and skin beautifully fuse into one.

�e geometry of the structure is extremely purpose built. �ere are di�erent explanations for why honeycomb is composed of hexagons, rather than any other shape. One, given by Jan Brożek, is that the hexagon tiles the plane with minimal surface area. �us a hexagonal structure uses the least material to create a lattice of cells within a given volume. Another, given by �ompson D'Arcy (1966), is that the shape simply results from the process of individual bees putting cells together: somewhat analogous to the boundary shapes created in a �eld of soap bubbles.

Form Force (Causes)

Analogy in Architecture

Mathematics (geometry)

Source: http://en.wikipedia.org/wiki/Honey

Every bee tries to maximize its cross-sectional area and applies an outward pressure, uniformm outward force from the center, filling in the gaps between the cylinders to maximize utilized spaces, generates a hexagonal section.

Space: Economical partitioning of space, Structure: maximum strength with minimum material circulation: minimum connecting distance between the center’s of each cells

Source: Author co-equal hexagonal section which terminates as a half dodecahedron

Table 1: Bee hive: Space, Structure and Circulation analogy

Fig 6.1: Bee hive

Fig 6.2: Honey comb geometry

- 6 -- 5-

Background

study

b i 0

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gr o w

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“�e mathematical sciences are founded on relations between physical laws and laws of numbers, so that the aim of exact science is to reduce the problems of nature to the determination of quantities by operations with numbers.”James C. Maxwell

Background

study

6- Methodology- Knowledge transfer model

From Leonardo da Vinci’s vitruvian man, Battista Alberti’s use of the golden ratio to Corbusier’s modular man, the in�uence of numbers extracted from natural forms is evident in art and architecture. Mathematics has been used to de�ne beauty, proportion and even human comfort. Information from natural existing systems can be explained and applied if the information is converted into equations. Again, computers master this art!

However, What I propose is not a direct translation of informa-tion from nature and application in architecture, I am looking at studying the reasons behind the formation of natural form and based on an analogy between the forces shaping the natural space/geometry, material, structure and the requirement of the design, extract mathematical information and inject informa-tion into an algorithm.

6.1- Bee’s cell: Space, Structure and Circulation analogy

�e Bee’s Cell is one of the �nest examples of space management and an optimum structural con�guration in nature. One of the biggest problems of architecture deals with maximizing space with minimum circulation and minimizing matter for maxi-mum possible strength. Also, in this example the structure and skin beautifully fuse into one.

�e geometry of the structure is extremely purpose built. �ere are di�erent explanations for why honeycomb is composed of hexagons, rather than any other shape. One, given by Jan Brożek, is that the hexagon tiles the plane with minimal surface area. �us a hexagonal structure uses the least material to create a lattice of cells within a given volume. Another, given by �ompson D'Arcy (1966), is that the shape simply results from the process of individual bees putting cells together: somewhat analogous to the boundary shapes created in a �eld of soap bubbles.

Form Force (Causes)

Analogy in Architecture

Mathematics (geometry)

Source: http://en.wikipedia.org/wiki/Honey

Every bee tries to maximize its cross-sectional area and applies an outward pressure, uniformm outward force from the center, filling in the gaps between the cylinders to maximize utilized spaces, generates a hexagonal section.

Space: Economical partitioning of space, Structure: maximum strength with minimum material circulation: minimum connecting distance between the center’s of each cells

Source: Author co-equal hexagonal section which terminates as a half dodecahedron

Table 1: Bee hive: Space, Structure and Circulation analogy

Fig 6.1: Bee hive

Fig 6.2: Honey comb geometry

- 6 -- 5-

Background

study

b i 0

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gr o w

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“�e mathematical sciences are founded on relations between physical laws and laws of numbers, so that the aim of exact science is to reduce the problems of nature to the determination of quantities by operations with numbers.”James C. Maxwell

Background

study

6.2- Voronoi diagram or Dirichlet tessellation is another prin-ciple extracted from the prodigies of nature. It is the underlying principle of the structural stability of a dragon �y wing and also of soap bubbles in a box. Its structure has also been associated with foam-like structures such as bone structures and crystals.

�e Analogy:

6.2.1- Structure-Skin:In Nature, form, structure and skin are integrated into one whole. It is not possible to consider one unit/part separately, analyze it and predict the behavior of the system as a whole.

Each member is di�erent in dimension and behavior. Buckmin-ster Fuller coined the term ‘synergy’, it is the synergy between the parts that keeps the whole together. Such systems are o�en lightweight, sustainable and locally fragile but globally strong. Similarly each voronoi cell is di�erent from others, no one cell can be plucked out and placed independently, it is the integrity of the system that keeps the structure standing. Moreover, the skin is the structure and visa versa.

6.2.2- Space:�e Voronoi partitions are generated with points as ‘seeds’ or ‘generators’. Based on the location of these points in 3D space or 2D plane the algorithm generates volumes or partitions respec-tively based on proximity and area/volume of in�uence of each generator point. For example it is used to predict the plant completion model, it helps mark the potential area of ‘in�uence’ i.e. growth of a tree (generator point is that location of the tree). Another example of the application of the Voronoi geometry is in solving the neighborhood or closest point problems. �e areas of in�uence/reach of point can be identi�ed or demarcated with the aid of the Voronoi cells. In the case of my experiment at Hyde Park, the intent is to identify generator points based on ‘functions’ placed on site and their ‘constrained’ interaction with each other. �e idea is to generate separate yet integrated volumes for di�erent functions without wasting and inch of space is ‘circulation corridors’. �e form itself separates one enclosure from another.

6.2.3- Circulation:Delaunay triangulation: Since the subdivision of voronoi cells is based on proximity, the minimum possible distance between two voronoi volumes generates the ‘Delaunary triangulation’. �is triangle marks the minimum possible distance between the Voronoi cells, which leads to better connectivity or simply an integrated space-circulation unit.

Fig 6.3: 2D Voronoi Partitioning

Fig 6.4: delunary triangulation, connecting centers of voronoi parti-tions generates an e�cient circula-tion system

Fig 6.1: Soap Bubble in a Frame, 3D voronoi in nature.source: Internet

Fig 6.2: �e Algorithm, 3D Voronoi

Fig 7.2: Site access and important nodes

Fig 7.1: �e site, Hyde Park London

Fig 7.2: Site access and important nodes

Background

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7- Experiment: Proposal for Serpentine Gallery Pavilion, Hyde Park, London

- 8 -- 7-

Background

study

6.2- Voronoi diagram or Dirichlet tessellation is another prin-ciple extracted from the prodigies of nature. It is the underlying principle of the structural stability of a dragon �y wing and also of soap bubbles in a box. Its structure has also been associated with foam-like structures such as bone structures and crystals.

�e Analogy:

6.2.1- Structure-Skin:In Nature, form, structure and skin are integrated into one whole. It is not possible to consider one unit/part separately, analyze it and predict the behavior of the system as a whole.

Each member is di�erent in dimension and behavior. Buckmin-ster Fuller coined the term ‘synergy’, it is the synergy between the parts that keeps the whole together. Such systems are o�en lightweight, sustainable and locally fragile but globally strong. Similarly each voronoi cell is di�erent from others, no one cell can be plucked out and placed independently, it is the integrity of the system that keeps the structure standing. Moreover, the skin is the structure and visa versa.

6.2.2- Space:�e Voronoi partitions are generated with points as ‘seeds’ or ‘generators’. Based on the location of these points in 3D space or 2D plane the algorithm generates volumes or partitions respec-tively based on proximity and area/volume of in�uence of each generator point. For example it is used to predict the plant completion model, it helps mark the potential area of ‘in�uence’ i.e. growth of a tree (generator point is that location of the tree). Another example of the application of the Voronoi geometry is in solving the neighborhood or closest point problems. �e areas of in�uence/reach of point can be identi�ed or demarcated with the aid of the Voronoi cells. In the case of my experiment at Hyde Park, the intent is to identify generator points based on ‘functions’ placed on site and their ‘constrained’ interaction with each other. �e idea is to generate separate yet integrated volumes for di�erent functions without wasting and inch of space is ‘circulation corridors’. �e form itself separates one enclosure from another.

6.2.3- Circulation:Delaunay triangulation: Since the subdivision of voronoi cells is based on proximity, the minimum possible distance between two voronoi volumes generates the ‘Delaunary triangulation’. �is triangle marks the minimum possible distance between the Voronoi cells, which leads to better connectivity or simply an integrated space-circulation unit.

Fig 6.3: 2D Voronoi Partitioning

Fig 6.4: delunary triangulation, connecting centers of voronoi parti-tions generates an e�cient circula-tion system

Fig 6.1: Soap Bubble in a Frame, 3D voronoi in nature.source: Internet

Fig 6.2: �e Algorithm, 3D Voronoi

Fig 7.2: Site access and important nodes

Fig 7.1: �e site, Hyde Park London

Fig 7.2: Site access and important nodes

Background

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7- Experiment: Proposal for Serpentine Gallery Pavilion, Hyde Park, London

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design developement

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extended cafetariasitting / discussions

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extended cafetariasitting / discussions

multipurposespacediscussions / presentations

7.1- Design Development

In the following experiment a design solution is generated with Voronoi algorithm. �e ‘seeds’ are the points placed on site based on understanding of the site circulation and area require-ments. Also, there are no win-dows; the skin changes its transparency from panel to panel for optimum lighting in each space.

In�uence of nature is not just evident in the outward structure and form, but also in the way the spaces are organized and the circulation is distributed. �e skin plays more roles than one, it is the structure and it is also the light-controlling element.

Fig 7.1: �e site, Hyde Park London

Fig 7.3: view A

C

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B

Fig 7.4: view B

Fig 7.5: view C

- 10 -- 9-

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design developement

PC

22.3m

access porch

access porch

cafetaria

extended cafetariasitting / discussions

multipurposespacediscussions / presentations

PC

y

22.3m

service access

access porch

cafetaria

extended cafetariasitting / discussions

multipurposespacediscussions / presentations

7.1- Design Development

In the following experiment a design solution is generated with Voronoi algorithm. �e ‘seeds’ are the points placed on site based on understanding of the site circulation and area require-ments. Also, there are no win-dows; the skin changes its transparency from panel to panel for optimum lighting in each space.

In�uence of nature is not just evident in the outward structure and form, but also in the way the spaces are organized and the circulation is distributed. �e skin plays more roles than one, it is the structure and it is also the light-controlling element.

Fig 7.1: �e site, Hyde Park London

Fig 7.3: view A

C

A

B

Fig 7.4: view B

Fig 7.5: view C

- 10 -- 9-

�e way ahead:

�e experiment has been successful in imitating the ‘process’ of growth in nature as far as geometry is concern. Although the design is representative of how form grows in nature, the resul-tant form is rigid, unlike the natural forms. �e algorithm is limited to generate the volumes on the basis of input ‘seed’ points but the distribution of mass on the basis of structural stresses is missing. �e relationship of material-mass and structure is a truly, an integrated one.

A pure sustainable form can never be independent of the mate-rial study. It is the ‘mass’, which, grows, mutates and optimizes itself for survival. Historically, material science has been an integral part of vernacular styles of architecture, in which the locally available material, man and machine shape the form and more importantly, the local cra�s evolve beautifully over time. With the aid of computation vernacular ‘systems’ or ‘patterns’ can be programed to emulate the processes in nature. Moreover, the study of local environmental constrains, which are an important factor shaping vernacular art, can inform the form and make it climate responsive as well. What fascinates me the most is the possibility of integrating material-cra� and the art of evolving form, with the aid of computation.

Apart from vernacular, many features of the historical buildings also resonate the principles of growth of form in nature. For e.g. the Hindu temples in which, the permutation of simple elements generate di�erent forms. �e Temple form proliferates down-wards and outwards, which again is a common feature in natural forms. In the case of temples as well, the geometry follows the principles of organic growth but the material is not used in the most e�cient way. I am really interested in establishing a link between history, vernacular and computation to take the study to the next level and more importantly to understand how material-science can be integrated with the form generation process to achieve a sustainable solution.

Fig21: Horse shoe arch or the inverted ‘shala’ is scaled, repeated to generate the geometry of the ‘shikhara’ of the templeSource: �e Temple Architecture of India Adam Hardy (2007)

Fig21:Plan of a temple ‘Shikhara’, growing downward and outward by ‘self-repeating’ geometry.Source: �e Temple Architecture of India Adam Hardy (2007)

Fig21: Local cra� of ‘weaving’ of bamboo wicker

Everybody needs beauty as well as bread, places to play in and pray in, where nature may heal and give strength to body and soul

- John Muir

Grama

- 12 -- 11-

�e way ahead:

�e experiment has been successful in imitating the ‘process’ of growth in nature as far as geometry is concern. Although the design is representative of how form grows in nature, the resul-tant form is rigid, unlike the natural forms. �e algorithm is limited to generate the volumes on the basis of input ‘seed’ points but the distribution of mass on the basis of structural stresses is missing. �e relationship of material-mass and structure is a truly, an integrated one.

A pure sustainable form can never be independent of the mate-rial study. It is the ‘mass’, which, grows, mutates and optimizes itself for survival. Historically, material science has been an integral part of vernacular styles of architecture, in which the locally available material, man and machine shape the form and more importantly, the local cra�s evolve beautifully over time. With the aid of computation vernacular ‘systems’ or ‘patterns’ can be programed to emulate the processes in nature. Moreover, the study of local environmental constrains, which are an important factor shaping vernacular art, can inform the form and make it climate responsive as well. What fascinates me the most is the possibility of integrating material-cra� and the art of evolving form, with the aid of computation.

Apart from vernacular, many features of the historical buildings also resonate the principles of growth of form in nature. For e.g. the Hindu temples in which, the permutation of simple elements generate di�erent forms. �e Temple form proliferates down-wards and outwards, which again is a common feature in natural forms. In the case of temples as well, the geometry follows the principles of organic growth but the material is not used in the most e�cient way. I am really interested in establishing a link between history, vernacular and computation to take the study to the next level and more importantly to understand how material-science can be integrated with the form generation process to achieve a sustainable solution.

Fig21: Horse shoe arch or the inverted ‘shala’ is scaled, repeated to generate the geometry of the ‘shikhara’ of the templeSource: �e Temple Architecture of India Adam Hardy (2007)

Fig21:Plan of a temple ‘Shikhara’, growing downward and outward by ‘self-repeating’ geometry.Source: �e Temple Architecture of India Adam Hardy (2007)

Fig21: Local cra� of ‘weaving’ of bamboo wicker

Everybody needs beauty as well as bread, places to play in and pray in, where nature may heal and give strength to body and soul

- John Muir

Grama

- 12 -- 11-

where have all the where have all theere have all the ere have all thepeople gone?!ople gone?!ople gone?!where have all the

underutilizedunsafe

glaswegian culture?tourist attractions?

low

den

sity

magnets?

?

lack

of a

ctiv

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mm

erci

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ent

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of o

ld a

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ings

.

laswe

LEGEND

22.

1

1

2

3

4

5

6

6

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8

9

9

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11

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15

16

17

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1.new buildings2.

3.new building with construction on opp.side4.

5.6. view of central station railway tracks

10.getting out from under the bridge ,on the jogging track11.

12.13.empty public space14.

89

18.19.holiday inn hotel

20.junction

23.

24.

26.view of the end of clyde street

25.glasgow green

21.

2525

26

spac

e m

otat

ion

diag

ram

orie

ntat

ion

diag

ram

Clyde River Edge AnalysisGlasgow

mix

of o

ld a

nd n

ew b

uild

ings

.

node

junction

lesser landmark

grand landmark

viewsbuilding g+3 avgvisual block

transparent visuals

Where have all the people gone?

Once, the main commercial hub of the city, the Clyde River, has now lost its hustle bustle and has an increasing crime rate too. �e main idea of the exercise was to investigate on the reasons why the Clyde river edge is gradually becoming a dead and un-safe side of the city.

Space notation diagram, orientation diagram and serial vision exercise were the tools used to analyze the physical aspects of space. Apart from the lack for spaces, which forbid interaction and exchange, the uneven distribution of the functions along the river was identi�ed as one of the prime reasons for the failure. �e shi�ing of the city center further away from the river, no cultural exchange or commercial activity, all old and heritage industrial buildings being converted to modern o�ce buildings, lead the city to abandon the river edge, which could other wise be a ‘happy’ and a ‘bright’ place.

- 14 -- 13-

where have all the where have all theere have all the ere have all thepeople gone?!ople gone?!ople gone?!where have all the

underutilizedunsafe

glaswegian culture?tourist attractions?

low

den

sity

magnets?

?

lack

of a

ctiv

e co

mm

erci

al e

stab

lishm

ent

mix

of o

ld a

nd n

ew b

uild

ings

.

laswe

LEGEND

22.

1

1

2

3

4

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6

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8

9

9

10

12

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13

14

15

16

17

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21

24

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20

20

1.new buildings2.

3.new building with construction on opp.side4.

5.6. view of central station railway tracks

10.getting out from under the bridge ,on the jogging track11.

12.13.empty public space14.

89

18.19.holiday inn hotel

20.junction

23.

24.

26.view of the end of clyde street

25.glasgow green

21.

2525

26

spac

e m

otat

ion

diag

ram

orie

ntat

ion

diag

ram

Clyde River Edge AnalysisGlasgow

mix

of o

ld a

nd n

ew b

uild

ings

.

node

junction

lesser landmark

grand landmark

viewsbuilding g+3 avgvisual block

transparent visuals

Where have all the people gone?

Once, the main commercial hub of the city, the Clyde River, has now lost its hustle bustle and has an increasing crime rate too. �e main idea of the exercise was to investigate on the reasons why the Clyde river edge is gradually becoming a dead and un-safe side of the city.

Space notation diagram, orientation diagram and serial vision exercise were the tools used to analyze the physical aspects of space. Apart from the lack for spaces, which forbid interaction and exchange, the uneven distribution of the functions along the river was identi�ed as one of the prime reasons for the failure. �e shi�ing of the city center further away from the river, no cultural exchange or commercial activity, all old and heritage industrial buildings being converted to modern o�ce buildings, lead the city to abandon the river edge, which could other wise be a ‘happy’ and a ‘bright’ place.

- 14 -- 13-

The Central Deck and ArenaTanpere, Finland

Project:30,000 sq.m (Deck Area)60,000 sq.m( Mixed Use program)38,000 sq.m (Arena Program)

�e project:�e Central Deck and Arena

Location:Tampere, Finland

About:�e Central Deck and Arena project in Tampere, Finland, is an urban scale architectural development on top of the existing railway tracks in the very heart of the city. �e concept aimed at stretching the activity zone of the city beyond the dividing rail tracks. �is mixed-use commercial program includes a complete multi-purpose ice hockey arena with 4 residential towers on top of the o�ce blocks, 1 hotel with condos on top.

With its shopping arcade, bars and restaurant at deck level, the arena rede�nes its pivotal function as a hub for diverse urban activitiesand more imortantly gives the city a new heart which reaches for the sky.

@ SDL, New York

- 16 -- 15 -

The Central Deck and ArenaTanpere, Finland

Project:30,000 sq.m (Deck Area)60,000 sq.m( Mixed Use program)38,000 sq.m (Arena Program)

�e project:�e Central Deck and Arena

Location:Tampere, Finland

About:�e Central Deck and Arena project in Tampere, Finland, is an urban scale architectural development on top of the existing railway tracks in the very heart of the city. �e concept aimed at stretching the activity zone of the city beyond the dividing rail tracks. �is mixed-use commercial program includes a complete multi-purpose ice hockey arena with 4 residential towers on top of the o�ce blocks, 1 hotel with condos on top.

With its shopping arcade, bars and restaurant at deck level, the arena rede�nes its pivotal function as a hub for diverse urban activitiesand more imortantly gives the city a new heart which reaches for the sky.

@ SDL, New York

- 16 -- 15 -

�e project:�e Zhang Zhidong and Modern Industrial Museum

Location:Wuhan, China

About:�e Zhang Zhidong and Modern Industrial Museum, was designed to balance three narrative themes within an integrated building and land-scape. Each of the three �oors of the museum is committed to one theme; Zhang Zhidong, indus-try, and the city of Wuhan. �e highest peak of the museum has a view toward the city. �e museum �oors look towards the garden which is composed of radiating lines and rings to connect past and future. �e museum �oors and the garden are united by the spherical geometry of the building form. �e project is currently under construction.

Project:7,240 sq.m

The Zang Zhidong and Modern Industrial Museum

Wuhan, China

@ SDL, New York

-1-

-2- - 18 -- 11-

�e project:�e Zhang Zhidong and Modern Industrial Museum

Location:Wuhan, China

About:�e Zhang Zhidong and Modern Industrial Museum, was designed to balance three narrative themes within an integrated building and land-scape. Each of the three �oors of the museum is committed to one theme; Zhang Zhidong, indus-try, and the city of Wuhan. �e highest peak of the museum has a view toward the city. �e museum �oors look towards the garden which is composed of radiating lines and rings to connect past and future. �e museum �oors and the garden are united by the spherical geometry of the building form. �e project is currently under construction.

Project:7,240 sq.m

The Zang Zhidong and Modern Industrial Museum

Wuhan, China

@ SDL, New York

-1-

-2- - 18 -- 11-

@ Stephane Paumier ArchitectsNew Delhi, India

Academic Block

�e project:Jindal Global Law School

Location:Sonipat (Haryana), India

�e concept of the 100-acre institutional campus is rooted into the idea of VASTU PURUSHA MANDALA, which is a meta-physical square plan divided in 9X9=81 parts. Each square has its own symbolic God, these symbolic Gods rule various aspects of our life and therefore their location on the grid in�u-ences the planning and design accordingly. ‘Vastu Shastra’ means science and study of architecture and its core lies in connecting Architecture with nature and ancient Hindu beliefs utilizing this 9 X 9 grid. For instance, ‘Brahma’ the supreme one, rules the center square and therefore the center needs to be ‘no weight’ and hence it should be le� open in the form of courtyard. �is was mainly done to allow cross ventilation and ample light.

Although, the roots of planning are set deep within the beliefs of Vastu, the campus brings in colours and charm of contemporary design. Extremely climate sensitive building, where bright, naturally lit, interactive internal spaces give the campus the perfect learning environ-ment.

Jindal Global Law SchoolSonipat, Haryana, India

Academic Block

Academic Block

- 19 - - 20 -

@ Stephane Paumier ArchitectsNew Delhi, India

Academic Block

�e project:Jindal Global Law School

Location:Sonipat (Haryana), India

�e concept of the 100-acre institutional campus is rooted into the idea of VASTU PURUSHA MANDALA, which is a meta-physical square plan divided in 9X9=81 parts. Each square has its own symbolic God, these symbolic Gods rule various aspects of our life and therefore their location on the grid in�u-ences the planning and design accordingly. ‘Vastu Shastra’ means science and study of architecture and its core lies in connecting Architecture with nature and ancient Hindu beliefs utilizing this 9 X 9 grid. For instance, ‘Brahma’ the supreme one, rules the center square and therefore the center needs to be ‘no weight’ and hence it should be le� open in the form of courtyard. �is was mainly done to allow cross ventilation and ample light.

Although, the roots of planning are set deep within the beliefs of Vastu, the campus brings in colours and charm of contemporary design. Extremely climate sensitive building, where bright, naturally lit, interactive internal spaces give the campus the perfect learning environ-ment.

Jindal Global Law SchoolSonipat, Haryana, India

Academic Block

Academic Block

- 19 - - 20 -

Double Family home Ahemdabad, India

Double Family home Kanpur, India

Ground floor plan

section through the cube

North elevation

�e project:Double Family home for Taneja’s

Location:Ahmedabad, Gujarat (India)

Status:In-Design (expected to begin construc-tion in Feb. 2015)

�e clients were ready to experiment with the design and break free from the traditional house plans moreover; they had the budget to do the same too! I was looking at a ‘warm’ residence with lots of natural light, therefore the linier plan-ning, which not just �lls the rooms with light but also, allows natural cross-ventilation.

�e project:Double Family home for Dr. Shikha

Location:Kanpur, Uttar Pradesh (India)

Status:Under Construction (expected to com-plete in june 2015)

A humble home with lots of area require-ments and limited plot size. �e main focus of the project was e�cient organiza-tion of spaces and compact planning, which can make the home energy e�cient and bring down the day-to-day running expenses. Apart from designing the central ‘cut out’ which works as the convective thermostat we also looked at ways to use renewable resources such as solar water heating systems and rainwater harvesting.

�e ‘peak’ of design is the rotated cuboid, which houses the double level dining and drawing room. Use of Islamic-Jali pattern in the slanting windows allows ample light in the room and at the same time helps in keeping the space cooler.

- 22 -- 21-

Ground floor plan

First floor plan

south elevation

Double Family home Ahemdabad, India

Double Family home Kanpur, India

Ground floor plan

section through the cube

North elevation

�e project:Double Family home for Taneja’s

Location:Ahmedabad, Gujarat (India)

Status:In-Design (expected to begin construc-tion in Feb. 2015)

�e clients were ready to experiment with the design and break free from the traditional house plans moreover; they had the budget to do the same too! I was looking at a ‘warm’ residence with lots of natural light, therefore the linier plan-ning, which not just �lls the rooms with light but also, allows natural cross-ventilation.

�e project:Double Family home for Dr. Shikha

Location:Kanpur, Uttar Pradesh (India)

Status:Under Construction (expected to com-plete in june 2015)

A humble home with lots of area require-ments and limited plot size. �e main focus of the project was e�cient organiza-tion of spaces and compact planning, which can make the home energy e�cient and bring down the day-to-day running expenses. Apart from designing the central ‘cut out’ which works as the convective thermostat we also looked at ways to use renewable resources such as solar water heating systems and rainwater harvesting.

�e ‘peak’ of design is the rotated cuboid, which houses the double level dining and drawing room. Use of Islamic-Jali pattern in the slanting windows allows ample light in the room and at the same time helps in keeping the space cooler.

- 22 -- 21-

Ground floor plan

First floor plan

south elevation

Court: Culture, Climate, Connection

�e project:Animation School and IMAX �eatre

Location:Hyderabad, India

�e proposed design of Animation School is based on the concept of courtyards. �e Double Court allows ample light, cross ventilation and at the same time ‘connects’ people and spaces. �e courtyard functions as a convective thermostat and protects from extreme summers and freezing winters of the Indian sub continent.

I also tried to express the structure of building in the elevations. No hiding of the structural founda-tion of the form behind the layers of skin. ‘Bare’ is beautiful!

Animation School and IMAX Theatre Undergrad design thesis

Sri Chakra is the Yantra of the Cosmos. It is believed that the Angan or courtyard represents the four corners of the Universe.

PROCESS vs PRODUCT

“It is good to have an end to journey toward; but it is the journey that matters, in the end.” -Ernest Hemingway

Garima

- 24 -- 23-

Court: Culture, Climate, Connection

�e project:Animation School and IMAX �eatre

Location:Hyderabad, India

�e proposed design of Animation School is based on the concept of courtyards. �e Double Court allows ample light, cross ventilation and at the same time ‘connects’ people and spaces. �e courtyard functions as a convective thermostat and protects from extreme summers and freezing winters of the Indian sub continent.

I also tried to express the structure of building in the elevations. No hiding of the structural founda-tion of the form behind the layers of skin. ‘Bare’ is beautiful!

Animation School and IMAX Theatre Undergrad design thesis

Sri Chakra is the Yantra of the Cosmos. It is believed that the Angan or courtyard represents the four corners of the Universe.

PROCESS vs PRODUCT

“It is good to have an end to journey toward; but it is the journey that matters, in the end.” -Ernest Hemingway

Garima

- 24 -- 23-

Garima  G.  Chicker      

garimagulati1@gmail.com                        9-­‐Shahnajaf  Road,  1st  Floor  Premier  Bldg,  Hazratganj,  Lucknow,  India   +91  9670999938      EDUCATION:        

Mackintosh  School  of  Architecture,  Glasgow,  UK               Sep  ’07  to  Sep  ’08  Master  of  Architecture  Digital  Creativity  (CAAD)  and  Energy  and  Environmental  Studies  

 Chandigarh  College  of  Architecture,  Chandigarh,  India               Sep  ‘02  to  Sep  ‘07  Bachelor  of  Architecture  

   EXPERIENCE:  

 VAM  Consulting  Pvt  ltd.,  Kanpur    Sep‘11to  Present  Position:  Director-­‐Architecture  

 Fire  Station  and  Housing  for  Uttar  Pradesh  Police,  Lucknow,  India.  Status-­‐Under  construction  Project  description:  Fire  station  with  administrative  block  and  type  I,  II,  III  housing  for  fire  fighters  (site  area-­‐3000sqm).    Residence  for  Dr.  Shikha  Bharadwaj,  Kanpur,  India  Status-­‐  Under  construction  

  Project  description:  Double  family,  G+2  high  residence  in  a  posh  locality  in  Kanpur  (site  area-­‐  300sqm)                         Residence  for  Taneja’s,  Ahmedabad,  India  

Status-­‐In-­‐Design  Project  description:  Double  Family  home  (site  area-­‐1150  sqm)    V.I.P  Road,  Kanpur  high-­‐rise  group  housing  development  (site  area-­‐20500  sqm),  Kanpur,  India  Status-­‐Feasibility      Passion  Residency,  Jhakarkatti-­‐  G.T.  Road  group  housing  development  by  Passion  Developers,  Kanpur,  India  Status-­‐In  Design  Project  description:  The  7000  sqm  group  housing  is  in  the  heart  of  the  city.  Using  every  inch  of  space  available,  the  program  included  50  housing  units  along  with  children  recreation  area,  Gymnasium,  Public  Park  and  condos  on  top.      

   Studio  Daniel  Libeskind,  NY                                                June  ‘10  to  Sept  ’11  Position:  Architect  

 Tampere  Deck  and  Central  Arena,  Tampere,  Finland  Status-­‐  In-­‐Design  Project  description:  The  Central  Deck  and  Arena  Project  in  Tampere,  Finland  was  an  urban  scale  architectural  development  on  top  of  the  existing  railway  tracks  in  the  heart  of  the  city.  The  program  included  and  multipurpose  ice  hockey  arena,  four  residential  towers  on  top  of  office  blocks  and  a  hotel  with  condos  on  top.    Role:  Worked  on  the  project  from  day  one  of  concept  design  to  the  state  where  it  was  approved  by  the  client  and  publically  announced  in  Finland.  I  particularly  worked  on  the  internal  planning  and  its  co-­‐ordination  with  the  external  form  of  the  Arena  and  concept  presentation  drawings.  

         

Control  Center  and  Exhibition  Arcade  at  the  port  of  entry  of  Messina,  Italy  Status-­‐  In-­‐Design  Project  Description:  The  project,  along  with  the  provision  of  control  center  at  the  port  of  entry  into  Messina  through  the  landmark  bridge  connecting  Messina  and  Calabria,  intended  to  convert  the  space  into  a  place.  The  office  building  was  juxtaposed  with  a  magnanimous  plaza  and  an  exhibition  space,  which  served  as  an  attractive  transit  destination.    Role:  Optimized  the  complex  geometry  of  the  building  shell  for  construction  and  its  co-­‐ordination  with  building  program  at  different  levels.  I  also  worked  on  the  development  of  the  landscape  design  of  the  central  plaza.    

 Zhang  Zhidong  and  Modern  Industrial  Museum,  Wuhan,  China  Status-­‐  under  construction  Project  description:  The  museum  intends  to  be  a  modern  and  eminent  landmark  in  the  midst  of  old  industrial  buildings.  

 Role:  I  joined  the  project  when  the  concept  was  being  translated  to  contraction.  Responsibilities  included  sunshade  analysis  for  all  surfaces  to  identify  the  percentage  of  surface  area  to  be  shaded  for  optimum  interior  light.  Along  with  the  above,  I  was  also  working  on  construction  drawings  and  coordinating  with  structural  consultant  to  optimize  the  geometry  of  the  ‘boat  shaped’  shell  for  construction  with  the  aid  of  Rhinoceros  3D  software.    

   Stephane  Paumier  Architects  Design  Pvt.  Ltd.                                              Oct  ‘08  to  June’09  Position:  Architect    

 

Jindal  Global  law  University  Sonipat,  Haryana,  India  Status-­‐  first  phase  complete,  second  phase  under  construction  Project  description:  University  Campus  including  Law  and  Business  school-­‐Auditoria,  library,  classrooms,  tutorial  offices,  canteen,  students  housing,  faculty  housing,  sports  centre,  service  block,  post  office.  Total  built  area-­‐  60,000  sqm    Role:  Worked  on  the  design  and  construction  drawings  of  the  academic  block.  I  particularly  worked  on  the  Structural  glass  façade  simulations  for  optimizing  the  façade  for  sun  shade.    

 

Eco  resort  and  villas,  Juberkhet  estate,  Mussoorie,  India  Status-­‐  In-­‐Design  Total  site  area-­‐  600,000  sqm.    Role:  Responsible  for  the  design  concept  along  with  Stephane  Paumier.  Got  the  idea  approved  by  client  and  single-­‐handedly  worked  on  presentation  drawings.  

   TEACHING  EXPERIENCE:  

Ø Visiting  lecturer  at  School  of  Planning  and  Architecture,  NewDelhi  

• Taught  ‘Design  and  Computation’  elective  to  B.Arch  10th  Semester  students.  Focused  on  theoretical  aspects  and  practical  applications  of  computing  as  a  design  medium,  designed  the  course  from  scratch.  

• The  12  week  course  included  lectures  and  Rhinoceros  3D  workshops  

 

Ø Visiting  lecturer  at  GCA  (Government  College  of  Architecture,  Lucknow)  

• Teaching  second  year  design  studio  and  final  year  design  studio  

• Presented  seminar  at  teacher’s  training  program  (2014)  at  GCA  which  included  an  overview  of  current  application  of  CAD/CAM  in  the  areas  of  urban  design  and  town  planning,  energy  efficient  design  practices.  

 

 

ACADEMIC  RESEARCH:    

Academic  Paper  1  Study  of  energy  use  during  and  after  construction  in  residential  buildings  and  the  effects  of  solar  passive  techniques  to  minimize  the  energy  consumption  for  heating  and  cooling  respectively  

 Academic  Paper  2  An  Investigation  of  Advanced  Techniques  for  Uniform  Day-­‐lighting  with  the  support  of  light  simulation  done  in  mental  ray  plug-­‐in  in  3ds  Max  

 Academic  Paper  3  Forces  Shaping  Form  -­‐  An  investigation  of  possible  variations  in  the  design  process  with  the  help  of  computers,  linking  Bio-­‐mimicry  with  Algorithmic  design.  Concluding  Experiment-­‐  Design  proposal  for  the  Serpentine  pavilion  at  the  Hyde  Park,  London.

   COMPUTER  SKILLS:    

• 2D  drafting  as  well  as  3D  modeling  using  AutoCAD  /  Architectural  Desktop  • 2D  drafting  as  well  as  3D  modeling  using  Rhinoceros  3D    • Algorithm  design  using  Grasshopper  +  Rhinoceros  3D  (Basic  knowledge  of  Visual  Basic  Scripting)  • 3D  modeling  and  rendering  in  3DS  MAX  • Environmental  analysis  using  Ecotect  • Graphic  editing  and  visual  presentation  using  Adobe  Photoshop  • Graphic  editing  and  visual  presentation  using  Adobe  Illustrator,  In-­‐design  • Modeling  and  rendering  in  Google  sketch  up  • Video  editing  using  Adobe  Aftereffects  

 

 SEMINARS  ATTENDED:    

• ‘Solar  Passive  Architecture’,  by  the  Ministry  of  Non-­‐conventional  resources,  Chandigarh,  India  UNESCO’s  Regional  Meet  on  Modern  Heritage  03’:  Asia,  at  Chandigarh,  India  

• ‘Sustainable  Cities’,  6  days  intensive  program  by  Nick  Bailey  and  his  team  Glasgow  University  urban  policy  department  

• ‘Architecture  Thinking’  By  Andy  Bow  (Partner,  Foster  +  Partners)  at  Glasgow  School  of  Art,  UK  • ‘Sustainable  Design’  by  Dr.  Christoph  Morbitzer  (environment  associate,  HLM  architects,  UK)  at  Mackintosh  

School  of  Architecture,  UK  • ‘Glass  Structures’  by  Seele  glass  at  Studio  Daniel  Libeskind,  NY  • Teachers  Training  program  –  ‘Architectural  Pedagogies’  at  Government  College  of  Architecture,  Lucknow  

India  • Teachers  Training  program  at  United  College  of  Engineering  and  Research