AA Inter 3

Friday 27 April 2018 by tutor
April 26, 2018, 5:29 pm
Filed under: 2017-18

Hi All, the tutorial list for tomorrow is as follows, please be on time and bring things printed…

10.20 Thomas + Mamoru

11.10 Cindy + Kwang

12.00 Efe + Tekla


1.40 Haya + Taiki

2.30 Caterina + Matthew + Shlok

by hayamrowa
April 17, 2018, 12:13 pm
Filed under: 2017-18


Muktinath, Sacred Fields

Access to Muktinath from the south, by the foot track on which hindu pilgrims have travelled for centuries, is throught the deepest and steepest river gorges. The acient pilgrim track through the kali gandki gorge has provided a tremendous mental and physical challenge for those who have braved its dangers century after century.  acient trails cut into the sheer cliff face are evidence of a life risking challenge, and surely a few had died attempting to reach to top. The same risks remain nowaydays, even with the construction of roads built into the hinterland.

However Muktinath holds significance in its Dedication to supernatural concepts:

An imporatant feature for both Hindu and Buddhist is the presence of a large black ammonite. It is a fossil, with an internap form of a spiral.

Natural gas fires burning from stone, earth, water.

The problematic on my site is the following:

1- Extreme Climate conditions:

Pilgrims trek during the Monsoon season, thus wind, cold, rain.

2- Religious & Ethnicity Segregations:

e.g. The Untouchable caste: They were believed to be so impure that caste Hindus considered their presence to be polluting. The impure status was related to their historic hereditary occupations that Hindus considered to be “polluting” or debased, such as working with leather, working with night soil and other dirty work.

In this case what could provoke desegregation would be a space providing warmth, as we have discussed in our last tutorial. I will focussing on one structure at the moment articulated around the pilgrimage route in order to explore how to render a congregational spaces along the Himalayan landscape in an extreme wet weather climate. In order to arrive to this structures, architectural elements (such as a staircase, a bridge etc.) will be placed along and around the pilgrimage route that will guide the pilgrims/trekkers towards my structure.

As per the design method of the site, I extracted a few quotes that inspired me from  Lines by Tim Ingold and The Mandala Book (you bought and left for us in class):

A wayfarer: “He must periodically pause to rest, and may even return repeatedly to the same abode or haven to do so. Each pause, however, is a moment of tension that — like holding one’s breath — becomes even more intense and less sustainable the longer it lasts.”

“The lines that link successive destinations, like those that join the dots, are not traces of movement but point to point connectors”, a network.

The lines of a wayfarer are “in the way living-beings inhabit earth, those who participate within the process of creating the trail of life”, thus entanglement of lines, a meshwork.

“Gestures in turn rise to lines when telling a story”

“The map grow line by line as the conversation proceeds, and there is not point at which is can be ever said to be truly complete.”

“The gesture becomes part of the map.”

“These celestial figures reveal the ultimate goal of all paths of healing and inner alchemy”

“The physical body is contained within the framework of time […] our physical condition, too, is nothing but our own projection” — R.S

Extracting words:







The route towards my structure:

In this case, the architectural elements placed around/along the path are successive guidelines towards a precise destination that the pilgrim/trekker does know of. I am therefore creating a network of connections, and the walk in between the connections are the traces of the pilgrims / trekkers who chose to go “out of there way” out of curiosity, just like a wayfarer.

by hayamrowa
April 17, 2018, 12:11 pm
Filed under: 2017-18


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

Mamoru Inter3.jpg

Photo 2018-04-16 12 00 47.jpg


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

TrialrenderWhatsApp Image 2018-04-16 at 20.20.32WhatsApp Image 2018-04-16 at 20.20.32(1)WhatsApp Image 2018-04-16 at 20.20.32(2)WhatsApp Image 2018-04-16 at 20.20.32(3)

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.