msaad tanita choudhury gsapp graduate school of architecture, planning & preservation 2012
Mar 26, 2016
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
L
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