portfolio & resume_garima gulati
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Garima Gulati
Contents
1-10
11-12
13-14
15-16
17-18
19-20
21
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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
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
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
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
‘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
mi m i
c r y
gr o w
t
h
r
f
m
“�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
mi m i
c r y
gr o w
t
h
r
f
m
“�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
study
b i 0
mi m i
c r y
gr o w
t
h
r
f
m
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
study
b i 0
mi m i
c r y
gr o w
t
h
r
f
m
7- Experiment: Proposal for Serpentine Gallery Pavilion, Hyde Park, London
- 8 -- 7-
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design developement
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access porch
access porch
cafetaria
extended cafetariasitting / discussions
multipurposespacediscussions / presentations
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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-
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cafeteria
cafeteria/sitting
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entry1
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c r y
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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
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
5
6
6
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8
9
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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
5
6
6
7
8
9
9
10
12
11
13
14
15
16
17
17
18
19
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21
24
23
22
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
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