Under-Graduate Design Work

Samples

Shreejit Modak

NRITYA GYAN (AN INSTITUTIONAL ABODE FOR DANCERS)

INTRODUCTION: INDIA HAS WITNESSED VAST VARIETY OF CULTURES AND TRADITIONS WHICH ARE PASSED ON FROM GENERATIONS . INDIAN CLASSICAL DANCE FROMS ARE ONE AMONGST THOSE ART FORMS, WHICH ARE CULTURALLY PRESERVED HERITAGE OF INDIA. IN THE PRESENT DAY SCENARIO, DANCE HAS GAINED A COMMERCIAL STATUS WITH THE ADVENT OF VARIOUS OTHER WESTERN DANCE FORMS, WHEREIN THE INDIAN CLASSICAL DANCE FORMS HAVE BECOME MORE OR LESS A NATIONAL HERITAGE “TO BE PRESERVED, BUT LESS “TO PASS ON TO”. HENCE THE IMPORTANCE OF TRADITIONAL DANCE ORIENTED SPACES HAS DIMINISHED.

THERE IS A NEED TO “RECREATE THE DIMINISHING CHARACTER OF DANCE ORIENTED ARCHITECTURE, THEREBY REVIVING THE INDIAN CLASSICAL DANCE FORMS TO PROPAGATE IT AS A DIVINE RITUAL AND NOT A MERE FORM OF ENTERTAINMENT”.

OBJECTIVES OF NRITYA GYAN : CLASSICAL DANCES OF INDIA HAVE ALWAYS BEEN PERFORMED AND NURTURED IN SPECIFIC SPACES ACCORDING TO THE RESPECTIVE DANCE FORMS.

KUTHAMBALAM, THRISHUR KERALA KUTHAMBALAM, SRI SWAMI TEMPLE, KERALA

DANCE WAS THEN PERFORMED FOR GOD AND INFRONT OF A FEW SELECTED PRIVILEGED AUDIENCE.

TEMPLE OF THANJAVUR DANCERS PERFORMING WHILE THANJAVUR DANCE FESTIVAL

AS YEARS PASSED, DANCERS WERE ALLOWED TO EXPRESS THEIR EMOTIONS THROUGH PERFORMANCES TO LARGER AUDIENCE IN OPEN AIR SPACES, THUS CAME THE OPEN AIR PLATFORMS FOR DANCE INTO EXISTENCE.

ODISSI ANGURI BAGH. RED FORT, DELHI

THESE SPACES RELATE TO THE TIME PERIOD WHEN DARBARI DANCE WAS NURTURED. THE EXUBERANCE, INTRICASY, AMBIENCE AND FLAMBOYANCE OF THE SPACE ADDED TO THE BEAUTY OF THE PERFORMER. THESE SPACES REVOLUTIONISED DANCE FROM MERELY A RITUAL TO A MEDIUM OF ENTERTAINMENT.

CLASSICAL DANCE AND THEIR SPATIAL PATTERNS : CLASSICAL DANCES ARE CATEGORIZED INTO 3 FORMS. TEMPLE DANCE FORMS, DARBARI DANCE FORMS AND CLASSICAL DANCE DRAMAS OR COURTYARD DANCE FORMS. EACH OF THESE DANCE FORMS FOLLOW SPECIFIC PRINCIPLES AND TECHNIQUIES IN ADDITION TO BEING PERFORMED IN A PARTICULAR PATTERN.

BHARATNATYAM

ODISSI AND BHARATNATYAM ARE TEMPLE

DANCE FORMS, WHICH HAVE BEEN NURTURED IN TEMPLES FOR AGES AND ARE STILL PERFORMED TO PAY TRIBUTE TO THE DEITIES.

IN TEMPLE DANCE FORM, STEPS FOLLOW SIDE TO SIDE, DIAGONAL AND SEMI CIRCULAR PATTERNS WITH A DANCER REQUIRING A SQUARE OF ABOUT 1.34 M TO ACHIEVE FULL STEPS.

PATTERN OF BHARATNATYAM AND ODISSI IN PLAN

TYPICAL ELEVATION OF TEMPLE DANCE FORMS

MOHINIATTAM KATHAK

PATTERN OF KATHAK IN PALN

PATTERN OF MOHINIATTAM IN PALN

DILWARA TEMPLE SABHA MANDAPA

IN ELEVATION, ODISSI DANCERS GO ACCORDING TO THE FLOWING NATURE OF WATER, WHEREAS IN BHARATNATYAM MOVEMENTS ARE VERY STATIC AND ATHLETIC WITH FULL STRETCHES..

IN ELEVATION, KATHAK DANCER STRICTLY FOLLOWS PRINCIPLE BASED MOVEMENTS AND REQUIRES A SQUARE OF ABOUT 1.45M IN LENGTH TO ACHIEVE FULL STRETCHED STEPS WHEREAS IN MOHINIATTAM MOVEMENTS NEED 1.4M. MOHINIATTAM DANCERS PERFORM IN THE SEQUENCE OF CRESENT MOON.

CONCEPTUALIZATION OF PLAN BASED ON DANCE FORMS:

KATHAK AND MOHINIATTAN ARE DARBARI DANCE FORMS.

Final Year Thesis Project

DANCE ORIENTED SPACES :

CLASSICAL DANCE AND THEIR SPATIAL PATTERNS :

KUCHIPUDI IS FOCUSED MORE ON FAST RHYTHMIC FOOTWORK AND USAGE OF PROPS, WHEREAS KATHAKALI EMPHASISES ON EXUBERANT FACIAL EXPRESSIONS AND VIBRANT COSTUME WITH LESS OF DANCE AND MORE OF ABHINAYA (ACTING).

KUCHIPUDI AND

KATHAKALI ARE CLASSIFIED INTO CLASSICAL DANCE DRAMAS.

KUCHIPUDI

KATHAKALI

PUNE BEING THE CULTURAL AND EDUCATIONAL CAPITAL OF MAHARASHTRA, THE CITY OF PUNE PROVES TO BE THE IDEAL PLACE TO DESIGN NRITYA GYAN.

IN PUNE, BALEWADI BEING THE HOME TO MANY EDUCATIONAL INSTITUTES AND A SPORTS COMPLEX IS KNOWN TO BECOME THE CULTURAL AND EDUCATIONAL HUB OF PUNE. THUS BALEWADI IS CHOSEN AS THE SITE TO DESIGN NRITYA GYAN. BALEWADI IS ALSO SURROUNDED BY RIVER MULA ON THE LARGER SIDE.

SITE ANALYSIS:

DESIGN PROPOSAL: THE PROJECT WOULD BE FINANCIALLY AIDED BY A CLASSICAL DANCER AND JOINTLY VENTURED BY THE GOVERNMENT AND ART ASSOCIATION OF INDIA. NRITYA GYAN WOULD IMPART RESIDENTIAL PROGRAMMES SUCH AS BASIC, AVANCED AND DOCTORATE PROGRAMMES IN ODDISSI, BHARATNATYAM, KATHAK, MOHINIATTAM AND KUCHIPUDI RAGINGING FROM 2 YEARD TO 4 YEARS .

SITE PLAN

ZONING PLANS:

THE ZONING OF THE SITE IS DIVIDED INTO THREE PARTS –

PUBLIC AREAS WHICH INCLUDES ADMINISTRATION BLOCK, CAFÉ, AUDITORUM, PARKING AND AMPHITHEATER.

SEMI PRIVATE ARES WHICH INCLUDE DANCE SCHOOLS.

PRIVATE AREAS WHICH INCLUDE STUDENT, STAFF AND TEACHER’S ACCOMODATIONS.

NRITYA GYAN (AN INSTITUTIONAL ABODE FOR DANCERS)Final Year Thesis Project

ADMINISTRATION ZONE

INSTITUTIONAL ZONE

ACCOMODATION ZONE

VISUAL BARRIER

PARKING AND SERVICE ROAD

GREEN COVER AND WATER EDGE

VARIOUS ZONES:

VEHICULAR PATH PEDESTRIAN PATH

CIRCULATION PATH ZONING PLAN

VIEW OF CAFÉ FROM RIVER SIDE

CAFÉ IS DESIGNED INTO OPEN AND SEMI OPEN SITTING SPACES WITH MAJOR SITTING AREA ORIENTED TOWARDS RIVER SIDE

VIEW OF AMPHITHEATER FROM RIVER SIDE

BIRDS-EYE VIEW OF AMPHITHEATER

COLLONADE OUT OF AMPHITHEATER SUPPORTING THE ROOF OF AMPHITHEATER

VIEW OF ADMINISTRATION BLOCK AND THEORY TEACHING CLASSES

ADMINISTRATION BLOCK IS DIVIDED INTO ADMINISTRATION AREA, THEORY CLASS ROOMS, LIBRARY AND A COURTYARD.

ENTRY VIEW OF ADMINISTRATION BLOCK

ELEVATION OF ADMINISTRATION BLOCK TOWARDS LIBRARY

PUBLIC ZONE: PUBLIC, STAFF AND STUDENT’S PARKING, ENTRANCE AND PLAZA, ADMINISTRATION BLOCK, AMPHITHEATER, AUDITORIUM AND CAFE

GROUND FLOOR PLAN

NRITYA GYAN (AN INSTITUTIONAL ABODE FOR DANCERS)Final Year Thesis Project

GROUND FLOOR PLAN

KTAHAK DANCE HALLS

BHARATNATYAM AND ODISSI GURUKUL IS DESIGNED ON THE CONCEPTS OF NRITYA MANDAPA PRESENT IN THE TEMPLE ARCHITECTURE AND THE PREVAILING FEATURES OF VASTU PURUSH MANDALA

VIEW OF SEMI OPEN DANCE SPACE

SECTION OF KATHAK AND MOHINIATTAM DANCE HALLS

VIEW OF KATHAK AND MOHINIATTAM DANCE HALLS

KATHAK AND MOHINIATTAM GURUKUL

SECTION OF BHARATNATYAM AND ODISSI DANCE HALLS REAR VIEW OF DANCE HALLS

VIEW OF DANCE HALLS FROM YOGA ZONE

BHARATNATYAM AND ODISSI GURUKUL

KUCHIPUDI AND KATHAKALI GURUKUL

DESIGNED TAKING THE FLAMBOYANT

KATHAK AND MOHINIATTAM GURUKUL IS

NATURE OF RAJWADI AND PALACIAL ARCHITECTURE WHERE THESE DANCE FORMS HAVE BEEN NURTURED.

KUCHIPUDI AND KATHAKALI GURUKUL IS DESIGNED BASED ON THE TYPICAL DANCE HALL DESIGN PRESENT IN THE TEMPLE COMPLEXES CALLED AS KUTHUMBALAMS.

AERIAL VIEW OF THE DANCE GURUKULS

SEMI PRIVATE ZONE

SECTION OF KUCHIPUDI AND KATHAKALI DANCE HALL

VIEW OF DANCE HALL

NRITYA GYAN (AN INSTITUTIONAL ABODE FOR DANCERS)Final Year Thesis Project

GROUND FLOOR PLAN

VIEW OF ROW HOUSES FOR PERMANENT FACULTY AND EXCHANGE PHD STUDENTS

VIEW OF ACCOMODATION FOR UNDERGRADUATE TO PHD STUDENTS

VIEW OF LOWER STAFF ROW HOUSES

VIEW FROM THE MOUNTS SEPARATING THE DANCE HALLS AND THE ACCOMODATION ZONE

SECTION THROUGH SEATING AREA

SECTION THROUGH SEATING, LOBBY AND GREEN ROOMS

THE DESIGN OF THE AUDITORIUM IS INSPIRED FROM THE TYPICAL ENGLISH THEATER SYSTEM AND THE BAITHAK SYSTEM OF KUTHUMBALAMS.THE AUDITORIUM IS THE MAIN AND STRIKING MASS PRESENT IN THE PUBLIC ZONE GIVING CHANCE TO THE STUDENTS TO EXPERIENCE A WORLD CLASS PERFORMANCE AREA.

AUDITORIUM :

AERIAL VIEW OF PRIVATE ZONE

THE ACCOMODATION ZONE IS COMPLETELY SEPARATED

FROM THE PUBLIC AS IT’S PLANNED IN THE LAST HIERARCHY THROUGH POSITIONING. THE WHOLE SCHOOL IS PEDESTRIAN CIRCULATED.

PRIVATE ZONE

THE PRIVATE ZONE CONSISTS OF ONLY ACCOMODATION AREA FOR STUDENTS, TEACHERS AND OTHER STAFF MEMBERS.

NRITYA GYAN (AN INSTITUTIONAL ABODE FOR DANCERS)Final Year Thesis Project

5 STAR HOTEL AT PRABHADEVI CONCEPTUAL ZONING AND CIRCULATION DIADGRAM

THE PROPOSED 5 STAR BUSINESS CLASS HOTEL IS DESIGNED TO MEET THE REQUIREMENTS OF TODAY’S URBAN POPULATION WITH HIGH END LUXURY AND ADVANCED SERVICES. THE SITE IS MAJORLY DIVIDED WITH A LOOPING VEHICULAR CIRCULATION INTO TWO MAJOR BUILT MASSES OF HOTEL BUILDING AND BANQUET WITH SUBORDINATE FUNCTIONS. THE INTERNAL PLANNING AND CIRCULATION OF BOTH THE MASSES IS MAINTAINED KEEPING FORMAL, INFROMAL, PUBLIC, PRIVATE AND SERVICE AREAS SEPARATE. ARCHITECTURAL DESIGN IS EMBELLISHED WITH DOUBLE HEIGHT LOBBIES FOR GRANDEUR, HUGE PORTICOS AND WELCOMING ENTRANCES, INVITING POOL AREAS AND GRACIOUS LANDSCAPES AS WELL AS CHIC LOUNGES. IN ADDITION TO THE THEME BASED RESTAURANTS WITH 24 HR CAFÉ INCLUDING REJUVINATING SPA AND HEALTH CLUB, THIS PROJECT HAS 10 FLOORS OF VERY COMFORTABLE SUITES AND ROOMS. HIGHLY ADVANCED SERVICES AND WELL DESIGNED SERVICE AREAS ARE CORE TO THIS DESIGN IN WORKING OF THE PREJECT.

CONCEPTUAL ZONING AND CIRCULATION DIADGRAM

GROUND FLOOR PLAN

RENDERS OF INTERIOR SPACES

THE SITE QUALITY AND ORIENTATION PROVED TO INSPIRE AND PRODUCE A BOMERANG SHAPED FORM FOR THE UPPER ROOMS AND SUITE FLOORS. THIS SHAPE WAS DEVELPOED TAKING MAXIMUM VIEW OF ARABIAN SEA AND BANDRA–WORLI SEA LINK INTO CONSIDERATION.

LATER

EXPANSION

PROPOSED DESIGN SITE

SITE

SITE LAYOUT

4th Year Design Project

HIGH RISE AND HIGH END RESIDENTIAL PROJECT AT CADDEL ROAD - DADAR

SITE LAYOUT

THE TREND OF HIGH RISE BUILDINGS PROVIDING HIGH END LUXURY HAS TAKEN MUMBAI, THE FINANCIAL CAPITAL OF INDIA TO EXPLORE NEW LEVELS AND TECHNIQUES OF ADVANCED CONSTRUCTION SYSTEMS. THIS PROJECT GIVES A GLIMPSE OF THE EVOLUTION OF LUXURY HOUSING STYLE IN MUMBAI TO BE EXPECTED IN THE UPCOMING 10 YEARS.

THIS PURELY RESIDENTIAL HIGH RISE DESIGN, BRIDGES THE GAP BETWEEN LUXURY AND ADVANCED CONSTRUCTION TECHNIQUES. THE BUILDING RANGES TO THE HEIGHT OF 50 RESIDENTIAL FLOORS WITH 2 PARKING LEVELS AND A PODIUM WITH LUXURIOUS SPA, HEALTH CLUB, POOL AREA, SPACIOUS AMPHITHEATER AND COZY SITOUTS. THE TYPICAL TYPOLOGY OF HOUSING RANGES FROM

2BHK, 3BHK, 4BHK AND DUPLEXES WITH A PENT HOUSE ON THE TOP FLOOR.

2 BKH MODULE

4 BKH MODULE

3 BKH MODULE

VIEW OF ENTRY PORCH ON PODIUM LEVEL

VIEW OF BUILDING ENTRY

4th Year Design Project

ART PLACE AND MUSEUM COMPLEX AT KALA GHODA

GROUND FLOOR PLAN

THE CLUSTER OF MASSES IS DEDICATED FOR SPECIFIC FUNCTIONS, WHICH WOULD BE BRIGED WITH THE FREE SPIRITED PUBLIC SPACES; LINED AND EMBIBED WITH THE WORKS OF ARTISTS AND PUBLIC.

THE SITE GIVEN IS THE CULTURAL HUB OF MUMBAI, WHICH CELEBRATES THE BIGGEST CULTURAL AND ARTIST FESTIVAL OF

MUMBAI, “KALA GHODA”.

CONCEPT:

DESIGNING NOT JUST A MUSEUM, BUT A CULTURAL GHETTO AND NOT JUST DISPLAYING ARTISTRY BUT CREATING A VIBE OF FESTIVITY WOULD CREATE A CULTURE IN WHOLE.

THE FREE SPIRIT OF FESTIVITY AND

FREEDOM OF ARTISTRY

MUSEUM AUDITORIUM

AND CAFES

SHOPS

AND CAFE ART

GALLERIES

IT WOULD BE A PLACE TO EXPLORE ONE’S INNER SELF AND NOT JUST OBSERVE THE WORKS OF OTHERS AND GET INSPIRED !!!!

MASSING OF ART PLACE AND MUSEUM

VIEW FROM TOP OF SHOPS VIEW FROM AMPHITHEATER VIEW FROM MUSEUM COMPLEX

VIEW OF ENTRY AND ART GALLERIES

3rd Year Design Project

COMMUNITY HOUSING

THIS WAS THE FIRST PROJECT WHERE CONTURES WERE INTRODUCED TO THE CURRICULUM. THE AIM WAS TO RETAIN THE NATURAL BEAUTY OF THE SITE AND DESIGN A COMMUNITY WITH NATURAL FLOWING LANDSCAPE.

COMPOSITION OF LEVELS, CANTILEVERED TERRACES, BRIGES TOGETHER IMBIBED IN TAKING THE FORM OF THE FINAL PLANNING.

THE PLAY OF CUT-FILL INDUCED IN MAKING THE SECTIONS ORGANICALLY COMPOSED AND GIVING THE MOST ORGANIC DEVELOPMENT AROUND THE SERPENTILE ROAD.

3rd Year Design Project

HAND DRAFTING

PRIMARY 2nd Year Design Project

SCHOOL

HAND DRAFTING

THE PROJECT AIMED AT BASIC PLANNING PATTERN AND CONCEPTUAL ELEVATION DESIGN. AS THE SITE GIVEN WAS IN RURAL SETTELMENTS, THE DESIGN REQUIRED TO BE ON THE BASIS OF VERNACULAR ARCHITECTURE YET COMBINED WITH MODERN DESIGN ELEMENTS. WHILE PLANNING, BASIC SHAPES LIKE SQUARE, CIRCLE, PENTAGON, ETC. WERE POSITIONED ON A GRID WHICH ULTIMATELY TOOK THE FORM OF THE BUILDING MASS.

THE CONCEPT OF COLLISION OF BASIC FORMS WAS INTERPRETED IN PLANNING, WHICH HELPED IN CREATING AMBIANT SPACES. THE ELEVATIONAL CHARACTER OF THE WHOLE BUILDING MASS WAS ASO KEPT SIMPLE, KEEPING BASIC GEOMETRICAL SHAPES INTO CONSIDERATION.

ELEVATION

SECTION

GROUND FLOOR PLAN