AA Inter 3

by hayamrowa
April 17, 2018, 12:09 pm
Filed under: 2017-18

by shloksoni1
April 17, 2018, 8:29 am
Filed under: 2017-18





This project concentrates on the design and scenography of a way station (small station) along the India-Nepal railway line. The station is to be concieved from

scrap passenger rail carriages and is to be informed by the perspectivism of the train. Thus the focus of the project lies in the reappropriation of found objects

and the creation of views by the manipulation of the volume of the station from the individual viewpoints of each train carriage. Emotions emanating from nature are agnostic. There is a cyclical reality to existence. In this movement lies hope – the change from one state of being to the other. The structure is a beacon of hope – It celebrates movement. It posits a challenge to the Kafkaesque metamorphosis of a being changing into something disgusting a vermin. Built from scavenged material an object of aesthetic value converges. The discourse around the structure is a counter-narrative. It attempts to take away the stigma associated with the term scavenging. Embracing such a concept one is also forced to see the ironical altruistic nature of this structure – to do so, one equates the creation with a beacon. The stationary nature of the entity that seeks to celebrate the movement on the railroad is an irony. The audience is the travellers it must hold grounds and be stationary to serve its purpose – to be there to give hope. Ultimately this shall too disintegrate but until it exists – the beacon stands – built from objects of the past; moving in time-space dimensionality to become the past.

The Breath of Kathmandu by mamoru13
April 16, 2018, 9:25 pm
Filed under: 2017-18

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The Breath of Kathmandu

Eliminating the Barriers Between Community and Environment

This project is intended to visualize serious air pollution in the Kathmandu Valley by translating environmental changes to visual effects. It is mainly focused on not only making aware of the environmental warning but also engaging people in the communication of air pollution.

01. The Urban Creature

The Urban Creature, which is seasonally flying above the Kathmandu Valley, indicates the air pollution through the process of collecting dust utilizing a static electricity generated by nylon and acrylic hairs. The change of the skin color by accumulating dust associates the Nepalese mythical creature called “Khyak”, who has white and black fur meanings of bringing good and bad luck. This creature translates the environmental changes visually, and also transmits the data to other institutions and accessible technological devices, such as smart phones and PCs.

02. The Nest (Tower)

The role of the nest, located in the Kathmandu city, is for harvesting the dust captured by the urban creature and creating spatial experiences to people through the process of the dust recycle. The creature lands on the top of the tower for refreshing its hairs. The collected dust will be sent to the recycle system producing “cement sludge”, which supports the reconstruction process in Kathmandu Valley as a material for making concrete. The nest can capture water (mainly in the monsoon season), wind and sunlight as materials of the recycling process: they also generate different special effects inside of the tower at the same time in order to attract and engage people in the issue of air pollution.

Draft- by matthh1
April 16, 2018, 7:29 pm
Filed under: 2017-18

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Ornamental, dripping, playful, community

Due to significant aquifer depletion as a result of rising groundwater extraction, the traditional Newar step wells have largely dried up, leading to the rise in the need for deeper methods of extracting groundwater, most commonly seen in Newar courtyards in the form of diesel powered water pipes- and the rise of water privatization.

The site of the project is located in Mulpani district, an area with a significant influx of private housing developments, known as “housing colonies”, articulated as modular housing units that are mass replicated.

The developments pose a threat to the Newar relationship of the collection of water to social interaction because through the mass replication of housing units it eradicates the traditional values of the courtyard as a social space within the city.


The interior of the tower is a community centre with various public programs- such as a library, meeting, and working spaces with the intent of reintroducing the collection of water as a community space; whereas the outer region (towards the structure) is where the fog collecting membranes and circulation are contained.

On the ground floor, an amphitheatre is located underneath the structure, surrounding with wet, expanding and contracting water membranes for collecting water, bathing, and playing, encouraging people to interact with the tower (refer to sketches).

As water is collected through fog collecting membranes, it flows downwards through the ornamental pipes on the exterior into the membranes below, intended to glow and glisten through interactive lights which indicate to people within the community the availability of water for drinking, bathing, and playing; different shades of color indicate the number of people interacting with the tower thus establishing the tower as a demarcation of the city. [Reference Tom Wiscombe]


-Moving forward I need to model the membranes (I have had a bit of difficulty modeling them but am heading there), and also need to look into how to express the lights of the ornamental pipes through rendering, and also how to model water.

DRAFT – The Inverse Stupa(s) by kwangito
April 16, 2018, 3:28 pm
Filed under: 2017-18

[Draft – To add: 1) Foundation to section; 2) Colour/texture to design; 3) Populate interiors with materials/objects/people accordingly; 4) General hoisting mechanism]

Site: Shops around Boudhanath Stupa

The Boudha Area of Kathmandu is home to a large Tibetan Refugee population without many employment prospects, surviving on the production and sales of handicrafts and other products in the area. On the other hand, the district’s most notable landmark, the Boudhanath Stupa, draws thousands of tourists every year.

Both the forces of commercialisation and artistry are played out within the shops surrounding the Stupa. Without many rights in Nepal, the Tibetans live their lives centred around their crafts, which can be traced back to their former lives in the Tibetan Plateau, hidden behind the facades of the archetypal Newari houses that make up these shops.

This project envisions the transformation of the interior of the Newari House into a production space that further highlights the contrasting blend of ‘mass production’ and ‘craftsmanship’, turning an assembly line into a route of pilgrimage tracing the birth of the ‘souvenir’.

Entering a seemingly normal handicraft shop on the ground floor, the tourist is drawn upwards on a backwards journey through the production of handicrafts, not quite sure when to pinpoint the exact moment that these handcrafted things come to be seen as souvenirs. He/she sees workers packaging/folding the items on the first floor, and enters the empty, narrow and dim corridor on the second floor, noticing the cacophony of sounds and smells coming from the inverted dome. He/she looks through the occasional ‘viewing holes’ and realise that the sounds and smells are coming from above, where handicrafts are lowered down through the dome like in a coordinated performance. Upon reaching the roof, he/she notices the craftsmen working, with mounds of incense powder and yarn scraps on the ground, diverting his/her path, while meandering through the hung dyed masks and yarn, making his/her way down the other end of the semi-enclosed terrace around a similar inverted dome where the materials are treated. Going through a door on the ground floor, the tourist ends up where he/she began – at the shop front – back from the realm of the material to the world of materialism, realising that for the Tibetans in Boudhanath, Craftsmanship and Commercialisation can co-exist.

As the mass of handicrafts and materials are lowered and lifted by hoists from the bamboo membrane on the roof, the four flexible members dance up and down like the fingers of a dextrous puppeteer, prompting the bamboo membrane (which can be visible from the street or the mandalas) to dance, with more vigour especially right before and during the tourist season when activity is heightened. For a community that is denied visibility in the city, the dance of this roofscape shows that ‘production’ can also be a public performance.

Generational Cascade by thomasfaulkner123
April 16, 2018, 2:56 pm
Filed under: 2017-18

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Generational cascade tells a story of the battle over wasteland. The two structures represent the squatter community and the overpowering governmental authority. Each battle for a land considered as undesirable. The vertical towers tell of a people without the right to land, it is in these structures that the future generations of the evicted squatter community find permanence. The top floors are occupied as class rooms, whilst the 1st floor acts as a canteen, the ground floor being a communal library and the basement as a memorial space. The curves of the towers picture a pregnant woman to consider the next generation, following from the story from the previous generational wasteland drawing in term 2.

On the 1st floor hangs the gardens, where on the upper side, vegetables are grown and viewing spaces/reading spaces are situated. These gardens allow for new wildlife to appear to begin a cascading ecosystem, turning what was once a wasteland into a greenery park as the government intended, this stabilises the banks and provides picnic area’s below. On the under side of the hanging gardens is a layer of moss representing the dead coming back to life through the activation of memory. With the memorial trail going into the ground, it looks up to this ceiling of moss and see’s life activity above to picture the afterlife. This is all maintained by the moss columns which house the watering pipes, utilising the water from the overflow of the bagmati river. These hanging gardens again show a people who have no land and therefore occupy the air.

The tower will begin to have different materials to construct it, this is to allow for different densities of visualisations and for different levels of moss growth on the towers. The hanging gardens are not to be as rigid as drawn but instead use a material for a large part of the plant growth base, these will also flow into the tower however I have not drawn these yet due to still learning how to do this in c4d. The land has not yet been modelled correctly either, as it will have a walk way entering into the land for the memorial trail. I will then add the site to the drawing to give a greater indication of location and scale and reasoning behind the structure.

by tamikabatalova
April 16, 2018, 1:41 pm
Filed under: 2017-18

The honey hunting is an ancient tradition of harvesting hunting from faces of the cliff. The tradition has been kept alive in rural areas of Nepalese Himalaya, century after century, decade after decade, year after year a father passes the skill, knowledge and wisdom to his son. The honey is harvest twice a year, autumn and spring. In spring, the pollen of rhododedron – flower containing gryantoxin – is being collected by Himalayan bees and results in a toxic honey. The popularity of toxic honey goes beyond boarders of Nepal, tourists and business investors come from all over the world to Pokhara city, the gateway to Himalaya, to experience the effects of toxic honey or indulge on a regular harvest in autumn. The new honey complex opens up in response to the interest in toxic honey – a rural outpost in the busiest spot of Pokhara – the Phewa Lake, that lets the tourists experience the honey beyond its taste. The people first go through a narrow passage that resembles a gorge in high mountains of Himalaya to then escape into a courtyard surrounded by arcades, the walls of which hold the oldest, most ancient harvests of honey ever collected. The visitors are educated about honey and specifically about toxic honey as the stroll through arcades. As they go into the courtyard and look up they can see the market hanging above them, a place they can see but cannot access, yet… The tourists are then encouraged to climb up the artificial cliff surface, as the visitors climb up, the weight and the kinetic energy is being used to filter the honey from above. The honey makes its way down from the bottom, while the tourists make their way to the top. The large columns are populated with various flowers and plants, which the bees (they inhabit the very top cliff surface) collect to produce honey. The honey collected is being called ‘seasonal gold’, as it is so precious that becomes an equivalent to a currency which people use to pay or exchange goods. Just like honey, the structure is also seasonal, during low season the columns lose their flowers, the tourists become very few. The top cells turn from serving as a beekeeping facility to a retreat centre, laboratory and accommodation for staff.

The Breathing Junction by efegole
April 16, 2018, 1:10 pm
Filed under: 2017-18

Location: Southbank Centre

The intention is to look at different architectural elements in Pashupatinath and Southbank centre and explore how it enhances the activity(ritual) and behaviour of people.  These elements such as stair, wall, ghat, bridge and tunnel are introduced to the existing site(Southbank Centre), through a point grid. These elements are than deconstructed through the point grid in order to create different circulatory ways,  elements, creating many different routes, activities, experiences and connections from one point to another. This will increase the chances of interaction – closeness of the people passing through my design, encouraging them to explore the design. Once the design is set, the secondary elements will be introduced. These are the interactive skin layer, which will activate and start moving, glowing during the interactiom(synchronisity) of people and the element of decay at the inner layer, which will emphasise the natural and uncontrolled essence of the site. The junction will act both as a connection between different points in the site, and a point of interaction that takes the people out from the urban routine and encourages them to explore, interact, play with the design and other people.



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Draft 01 – Tangible ecosystem by taikitakemura
April 16, 2018, 12:26 pm
Filed under: 2017-18, Taiki


SITE : Open market space in front of Darbar Square

Toilets have been the major distress in built environment throughout human’s history, even though other animals are enjoying comfortable defecation in forests : habitat complex of lives stand upright from the toilet of all the inhabitants. This manmade-notion have actually left the lowest caste called Dalits (or untoucheables) to continuously working on sewage management and excretion waste disposal for generations. The deep-rooted discrimination to them have still been present in modern age after official legal statement prohibited discrimination. However, toilets are one of the most vital space in built environment for water conservation, organic waste disposal, public hygiene and particularly the nutrition cycle encompasses throughout the local ecosystem. Current modern society naively discard the excretion materials and even incinerate, and then hugely disrupts nutrient cycle between forest, river, ocean and human’s society, since humanity consume immense amount of natural materials without returning them.

I would like to reconnect people in Kathmandu to forest and agriculture. This can be primary practiced with this elevated public toilet equipped with bio-decomposing system of excretion wastes turning them into nutritious compost without any disgusting fumes. Each toilet tower are made of local timber and its interior is consists of parts of local plants with medical/health promoting scent. Each top part is designed like corridor, centered by a single toilet, which faces toward either one of local forests or agricultural fields where the compost from this facilities will be provided. Dalits maintaining this facility will be more like trader of high-quality fertilizers rather than sweeper of nasty space, and this could probably upgrade the social status of them as high as the Trader caste in Vaishyas Caste. Additionally, the significance of practices maintaining and contributing to the local ecosystem are increasingly important in the global society as well as Kathmandu, which could further empower Dalits’ social importance.

This facility is located right in front of the Hindu Temple to represent the strong will towards social change to gradually opt out from inhumane traditional practice. Also, This facility is designed to be accessible from/to numbers of surrounding rooftop restaurants and cafes around this public market space. Here, on the market space, the new urban forest of indigenous species will grow by the same compost as a physical quotation of remote forest and fields empowered by the same nutrient source. The original market is split into few slabs and elevated in publicly accessible means. These terraced market space will eventually been enveloped by dense evergreen canopy. The stone pavement will be converted into undulated forest bed accessible for walk.

by hayamrowa
April 16, 2018, 12:23 pm
Filed under: 2017-18

Process and Sketches