Portfolio

msaad

tanita choudhurygsappgraduate school of architecture, planning & preservation

2012

studioINSTITUTIONAL

ENVIRONMENTAL

camouflage

digital craftanimated computation

cont

ents

dismountable shelter

02

PRESERVATION

observation & documentation18

10

environmental learning center12

CULTURAL

club oh six 22

bengal cultural center24

khulna shilpakala academy26

memory, memorial & memorialization32

MASTERPLAN

revisit buriganga 15

44

dormitory unit43

45

parametric realizations46

artwork50

visual studies & product design

INST

ITUT

IONA

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p r o j e c t 0 1

01 CAMOUFLAGE IN ARCHITECTUREDEGRADATION

studio critic: Phu Hoang

site: Canal Street, New York

studio objective: an architectural proposal that integrates camou�age strategies into the conceptual argument for the design of Research and Design a Remote Sensing Lab & Data Centre (RSLDC).

02 03

CAMOUFLAGE - A PHENOMENON OF DEGRADATION

Degradation is an inherent phenomenon of camou�age. It is the incessant change that occurs from one state to another.

Degradation is a transformative system of merging and overlapping of spaces evoking spontaneous complexities of

heterogeneity. It is the transitional space between the systems of order and disorder. While typically degradation is considered as a negative phenomenon it is in fact a productive and positive

entity generating events that form in the margins in between. Taking degradation as a key occurrence of camou�age, the design proposal follows a series of guidelines and strategies

extracted from the diverse forms of camou�age.

02 03

DEGRADATION AS A STRATEGYAERIAL VIEW OF THE SITE

PROGRAMMATIC ANALYSISDEGRADATION

LIBRARY + MEETING SPACE

AUDITORIUM

CAFE

ADMIN

DATADATA

ISOLATED LAB

ISOLATED LAB

INTEGRATED LABS

DEGRADATIONAND POCKETS

1 2 3 4

04 05

“DEGRADATION BETWEEN NEIGHBORHOODS OVER TIME”

1969

DEGRADATION OF IDENTITY“DEGRADATION BETWEEN NEIGHBORHOODS OVER TIME”

DEGRADATION OF IDENTITY

DEGRADATION OF BOUNDARY DEGRADATION OF BOUNDARYWITH EMERGING POCKETSTRANSFORMATIVE

DEGRADATION POCKETPRESENT

STRUCTURE AIR FLOW CIRCULATIONMODULAR INFRASTRUCTURE DEGRADATION SYSTEM COMPOSITE SYSTEM

04 05

AUDITORIUM

LAB

TRANSVERSE SECTIONDATA

06 07

DATA

06 07

ENVI

RONM

ENTA

L

p r o j e c t 0 2

02 FLOOD IN BANGLADESHDISMOUNTABLE SHELTER

conceptWith growing natural disasters like Sidr in Bangladesh, innovations regarding shelters are vital. The disaster shelter is inspired from the familiar mechanism of a rickshaw-a common vehicle used in thecountry. Thus the shelter is both easy to make and accessible by the common people.

10 11

10 11

p r o j e c t 0 3

03 ENVIRONMENTAL LEARNING CENTRE

12 13

A STROLL AROUND THE CENTRE LEARNING DIFFERENT ENVIRONMENTAL STRATEGIES AS ONE CROSSES THE DIFFERENT SPACES OF THE CENTRE.

THE ENTRANCETHE ROOF GARDEN SOUTH ELEVATION

12 13

MAS

TERP

LAN

& P

RESE

RVAT

ION

15

During the Mughal period, the Buriganga river skirted the entrance of the Katras. Gradually, as the river shifted its course further away from the Katra, the use of the Katras began to decline. Human settlement grew and extended on the newly formed land. This is at present a comparatively dense commercial zone and the main source of activity is trade. An axis straight from the Central Jail, through Boro Katra, terminates at a point near the river which is at present a marshland.This was an attempt to revive the environment of the Mughal era. The axis leading from the Boro Katra has been designed according to the plan of the Mughal garden.The structure at the termination point, near the river, may serve as a modern Katra or resting place for passers-by. A square plaza surrounded by shops recreates the Chadni Bazaar of the Mughal period.

Growth of Dhaka along the banks of Buriganga

Buriganga is subjected to high and low tide, which allows heavy ships to come upstream whereas preventing enemy attack during low tide. Civilization began growing along the banks of the river and a number of forts were built.

Swarighat & KatrasKatras

Old fort (Central Jail)

0 4 R E V I S I T B U R I G A N G A

Swarighat & KatrasKatras

Farashganj

Chor Kamrangi

FarashganjJinjira

Keraniganj

Lalbagh

Keraniganj

Jinjira

Chor Kamrangi

Lalbagh

Farashganj

Sadarghat

SadarghatSadarghat

This island later merged with the mainland of Jinjira

River boundary 7500 ft away fromKatras

River has become narrower and shifted to the south

1962 AD 2008 AD

FARAJGONJ

Amiligola

Keraniganj

Chand Khan’sBag

Sadarghat

Farashganj

Keraniganj

Jinjira

Lalbagh

Chor Bagchand(Present Kamrangi)

KeraniganjJinjira

Lalbagh

Sadarghat

River skirting the entrance of Katras This island later merged with mainland

Parts of Jinjira was later washed away and added to Dhaka mainland

Pre-Mughal 1650 AD 1850 AD

River Morphology

Old fort (Central Jail)

Old Fort (Central Jail)

Swarighat

Jinjira Palace

Lalbag Fort

15

ResidentialCommercialReligiousInstitutional

land use pattern“Katra” originated from the Arabic word ‘katrar’.

It is assumed that there were numbers of Serais

along the trade routes during the Muslim

period.The Katra exhibits the patterns of the

central asia’s Caravan Serai .

In the Mughal period, shops were located inside

the complex and the income generated was

used for its maintenance. The Katra was used as

free accommodation for the merchants. Chawk

Bazaar, previously known as Chadni Bazaar was

an elite market place.

Fishmarket

Launch TerminalThe Katras

Water Taxi TerminalA

CT

IVIT

Y

P

AT

TE

RN Redesign Conservation Relocation

Sawmill

Heavy pressureMedium pressureLight pressure

traffic congestion

Heavy pressureMedium pressureLight pressure

heavy vehicle

light vehicle

population density

8 persons/ 40 sq ft4 persons/40 sq ft2 persons/40 sq ft

night

8 persons/ 40 sq ft4 persons/40 sq ft2 persons/40 sq ft

noon

16 17

WATER TAXI TERMINAL & THE FISH MARKETl

Launch terminal shifted to Sadarghat.

Boating facility to encourage travel via river.

The annual Nouka Baich (Boat Race) festival may be held here

16 17

05 OBSERVATION & DOCUMENTATIONHISTORIC PRESERVATION

18 19

18 19

CULT

URAL

p r o j e c t 0 6

06 CLUB OH-SIX

22 23

SECTION AA’

stairs connecting each levels

raked decks for people to enjoy the lake at different levels

AA

'

1 FLOOR PLANST

AA

'

GROUND FLOORPLAN

auditorium

exhibition

The club is conceived as a communal space where people can interact at different levels of the club with the adjacent lake.it also tries to create an awareness of the concept pf global warming through the metaphorical representation of an ice cube melting and eventually joining an adjacent lake.

22 23

Most cultural festivals of Bangladesh are held surrounding a central point (eg- a tree). This center serves as the focal point from which this spirit of culture radiates. Using this as an inspiration, my design tried to create a central space about which all the functions are arranged. A water body is created to reflect the country’s traditional ways of living with the rivers.

SOUTH ELEVATION

p r o j e c t 0 7

derivation of the spacesfrom a central space, the influence of culture spreads radially. the radial progression is then transformed into orthogonal progression where each of the spaces are allocated and designed

07 BENGAL CULTURAL CENTRE

24 25

FIRST FLOOR PLAN

EXHIBITION

LIBRARY

AUDITORIUM

ADMINISTRATION

24 25

The complex will act as a breathing space where culture will be nurtured, practiced and promoted.

Establish a public dwelling space

A lively point of space

Maximize open spaces through the use of terraces.

Outdoor space leaking through the interior.

Balcony and courtyard

Design considerations

Flexibility of maintaining privacy while keeping visual accessibility of the exterior and public.

p r o j e c t 0 8

08 CAMOUFLAGE IN ARCHITECTUREKHULNA SHILPAKALA ACADEMY

26 27

A’A

B

B’

C’C’

GHAT

PRANGAN

CAFÉ

GUEST HOUSE

WEST ELEVATION

GROUND FLOOR PLAN ZONING

MUSIC/INSTRUMENTDANCE/THEATREART/RECITAL

CAFÉ

LIBRARY LIBRARY

LIBRARY

EXHIBITION

AUDITORIUMPARKING & SERVICES

26 27

SECOND FLOOR PLANOUTDOORCLASS

ARTCLASS

ART GALLERY

B

B’

C’C

A A’

FIRST FLOOR PLAN

LIBRARY

ADMINISTRATION

SOUTH ELEVATION

28 29

SECTION CC’

28 29

30 31

30 31

p r o j e c t 0 9

09 A RESPONSE TO THE TRIPLE DISASTERS IN NORTHEASTERN JAPAN ON 11.3.11MEMORY, MEMORIAL & MEMORIALIZATION

MEMORY, MEMORIAL & MEMORIALIZATION 3/11 DISASTER

studio critic: Lynne Breslin and Kunio Kudo

site: Japan

studio objective: an architectural proposal that responds to the triple disasters on 11.03.11

project description:

30,000 human casualties100,000 structures destroyed

400,000 people evacuated

8 million people a�ected

“A 9.0 magnitude undersea earthquake o� the coast of northern Japan, followed by a 40-meter-high Tsunami, resulted in the malfunction of

the Fukushima Daiichi seaside nuclear power plants.

Haunting memories of silent bodies, disrupted communities, andshattered homes remain. We will examine these memories, as they exist in the places, debris and fragments that were left behind, and design a

repository for these memories and artifacts on a site nowsacred to a small community. Memory, Memorial and Memorialization will be re-imagined by questioning a basic, fundamental motivation of

architecture - to accommodate the ephemeral, eternal and spiritual. This studio urges to respond.”

- Memory, Memorial and Memorialization Studio, 2011

32 33

p r o j e c t 0 9

09 A RESPONSE TO THE TRIPLE DISASTERS IN NORTHEASTERN JAPAN ON 11.3.11MEMORY, MEMORIAL & MEMORIALIZATION

MEMORY, MEMORIAL & MEMORIALIZATION 3/11 DISASTER

studio critic: Lynne Breslin and Kunio Kudo

site: Japan

studio objective: an architectural proposal that responds to the triple disasters on 11.03.11

project description:

30,000 human casualties100,000 structures destroyed

400,000 people evacuated

8 million people a�ected

“A 9.0 magnitude undersea earthquake o� the coast of northern Japan, followed by a 40-meter-high Tsunami, resulted in the malfunction of

the Fukushima Daiichi seaside nuclear power plants.

Haunting memories of silent bodies, disrupted communities, andshattered homes remain. We will examine these memories, as they exist in the places, debris and fragments that were left behind, and design a

repository for these memories and artifacts on a site nowsacred to a small community. Memory, Memorial and Memorialization will be re-imagined by questioning a basic, fundamental motivation of

architecture - to accommodate the ephemeral, eternal and spiritual. This studio urges to respond.”

- Memory, Memorial and Memorialization Studio, 2011

32 33

THE THEORY OF LOSS - AN ANALYSIS OF A PERSONAL MEMORY

MONSOON OF BANGLADESH. A PERSONAL MEMORY

MEMORY, MEMORIAL & MEMORIALIZATION

The rattling sound of bracelets herald the arrival of the monsoon wind as small drops of rain start falling. Soon after, the electricity goes away and what is left is a chance for a family to come together , enjoy drinking tea by the warmth of the candlelight. At the same time, a woman rushes home to keep her loved

ones safe. While this monsoon becomes a time for rejoice for some, it becomes a haunting experience for others. It becomes the reason for natural disasters and �oods. The dichotomy of emotions monsoon produces makes it a beautiful, yet sad memory for me.

The sweet smell of grass, the soft touch of the breeze on the skin, the whistling sound of the breeze characterizes a Bangladesh monsoon.

34 35

34 35

MEMORY, MEMORIAL & MEMORIALIZATION

3/11 DISASTER

BREAK IT? LEAVE IT? INCREASE HEIGHT?

WHAT SHOULD BE DONE TO THE WALL?

36 37

MARCH 11, 2011THE WALL FAILED TO PROTECT

ON TOP OF THE WALL? INHABIT THE WALL?BEHIND THE WALL?

WHAT SHOULD THE INHABITANTS DO?

36 37

MASTERPLAN

memorialwalk

entrance

trees in memory of the loved ones

walkway

line of trees as natural wind/wave breakers

broken wall

memorial archive

MEMORY, MEMORIAL & MEMORIALIZATION

3/11 DISASTER

38 39

open exhibition

roof garden

library

FIRST FLOOR PLAN

entrance

open exhibition

memorial archive

café

memorial walk

memorial walk

garden of debris

GROUND FLOOR PLAN

exhibition

SECTION OF THE OPEN EXHIBITION

SECTION THROUGH THE WALL GATE

memorial archive

library

garden of debrissubmerged ground

SECTION OF THE OPEN EXHIBITION

38 39

THE WALL AS A HARBOR FRONT GARDEN OF DEBRIS

WALKWAYS GARDEN STEPS

40 41

40 41

VISU

AL S

TUDI

ES

& P

RODU

CT D

ESIG

N

43

SECTION AA’ SECTION BB’

43

DORMITORY UNIT

P L A N

AA

’

B B’

B E D 1

B E D 2

D E S K 1

DESK 2

01 THE BASE - SUPERMACHINE STUDIODIGITAL CRAFT

course instructors: Josh Uhl & David Fano

case study: The Base, Supermachine Studio, Thailand

software: 3DS Max, Rhino, AutoCad, Photoshop, After E�ects

44 45

02 ANIMATED COMPUTATIONcourse instructors: John Whitelaw

software: Autodesk Maya

brief decription: Using a precedent inspirational image, students are asked to make a departure to make from the image to formulate and realize a new, intuitive form.

44 45

material: birch plywooddimensions: 14”Wx16”Hx18”L

Designed to be multifunctional, SIT is a response to today’s small living environment. The stuff.it.table is not only a coffee table; it also has the ability to store items such as books, magazines, wine bottles or any other nick-nacks. SIT is a modular system, so it works as a single piece, or can be extended depending on the number of pieces you choose to put together. It also double functions as a bench!

sit table sit bench sit credenza

03 PARAMETRIC REALIZATIONS

SIT..stuff.it.table

46 47

5 SOLID

1 RIB

8 RIB 14 RIB

10 SOLID

17 SOLID

20 RIB

3ST

4ST

4SB

2ST

3SB

2SB

7SB

7ST

6SB

6ST

9SB

9ST

11S

T

22SB

19S

T

15SB

18S

T

11SB

12S

T

15SB

16S

T

19SB

21S

T

12SB

13S

T

13SB

16SB

21S

B

18SB

22S

T 23SB 23

ST

24 RIB

46 47

SIT..stuff.it.table

48 49

SIT..stuff.it.table

48 49

04 ART WORK

50 51

50 51