"From Collage to Site: How a Small Rock Sparked a Design Journey"

"From Collage to Site: How a Small Rock Sparked a Design Journey"

Last week, I embarked on a journey that taught me the power of creativity, collaboration, and perseverance in design. It all started with me printing out my blogs for my studio and being asked to create a collage out of them. As I split the A4 paper in two and began filling each uneven portion with Jane’s and Luis's ideologies, something about the collage just clicked for me.

Picture courtesy: Jamna 

However, during my review discussion with Rachel and Carrie, I realised that my approach wasn't exactly what was expected of me at that stage of the design process. This was an eye-opener for me, and I walked away from the meeting with a new perspective on the design presentation next week.

Feeling lost after class, I decided to clear my head and went to Canoe Lake to think. As I wandered the site aimlessly, I stumbled upon a small rock that reminded me of the obsidian I had picked up earlier. Suddenly, an idea sparked in my mind – what if I could tell a story about the journey of the rock and relate it to the words I had selected from my blogs – "Assemblage, Repurpose, and Narrative”?

With renewed energy and inspiration, I set out to create four A3 posters for my studio presentation for the following week. I made the story of the rock my main poster, and the three words as individual posters. I was excited about how a simple short story could depict all the chosen words and my thought process behind them.

However, the day of the presentation did not go as planned. Skipping breakfast and running to catch the bus, I felt a surge of dizziness hit me during my presentation. Despite my weakness, I tried to present my story but struggled to connect all three words to it.

Feeling disappointed, I realised the importance of preparation, self-care, and taking things one step at a time. 

Nonetheless, the experience of "doodling" out my thoughts on each presentation made by me and my classmates was enlightening. Each line was like a DNA strand containing lots of data or thought processes compressed into small pictorial representations.

In conclusion, my design journey taught me that creativity is a process that requires collaboration, persistence, and the ability to adapt to unforeseen circumstances. It also reminded me that sometimes, the most profound ideas can come from the most unexpected sources, like a small rock found on a wandering path.

Exploring the “Site of Exchange”: Finding Inspiration in the World Around Us.

 Exploring the “Site of Exchange”: Finding Inspiration in the World Around Us.

This past week, we got to know about the term "Site of Exchange" in my design studio, and it's safe to say that it has altered my perspective on design. 

During class, I was in Rachel's studio group, and I listened intently as she explained the concept of the site of exchange. Basically, any interaction between living or non-living entities can be defined as a site of exchange.

 After class, I went home and immediately started thinking about how I could incorporate this concept into my design work.

However, I quickly realised that I was going about it all wrong. Instead of focusing on the design part, I needed to think more about what the site of exchange meant to me. So, I started writing about it, and I found that I was really interested in the idea of creating a co-working space.

I also took Alice Hume's Soil to Cloth concept and the ideologies of Luis Sullivan and Jane Bennett. From there, I decided to create a conceptual model representing my perspective on the interaction and intra-action between two opposing ideologies, materials, and materialisms.

With a basic idea of the site of exchange in mind, I went out to find the perfect location. I ended up choosing Canoe Lake, a place where there are a lot of interactions happening between man and nature. As I was exploring the area, I stumbled upon a beautiful Mahogany Obsidian rock, and I became obsessed with learning how to carve it.

Despite my roommate's complaints about the noise, I spent hours striking the rock and perfecting my craft. I even rendered a walk-through of the site as a block model on Lumion and made a short animation video of the Interaction and Intra-Action model.

Ultimately, I learned that the site of exchange is not just a design concept, but a way of looking at the world around us. It's about finding the interactions and connections between everything and using that knowledge to create something truly unique and meaningful.

Approaching Architecture: A Case Study on Portsmouth's Empty Buildings.

 Approaching Architecture: A Case Study on Portsmouth's Empty Buildings.

As a student attending a weekly class, I am always excited about what we will learn and do next. Last Friday, our professor split us into groups and tasked us with marking and presenting empty buildings in Portsmouth. My group decided to approach the assignment in a unique way, setting ourselves apart from the other groups.

We began by scouring data provided by the Portsmouth City Council to find empty buildings in the vicinity. After discovering four empty buildings, we were unsure of how to proceed but relied on our instincts, just as we would when tackling a renovation project. We marked the location of the buildings, conducted basic site analyses and surveys, and then returned home to brainstorm ideas on how to present our findings.

One thing I particularly love about our studio is the lack of restrictions on how we complete our assignments. As Zaha Hadid once said, "There are 360 degrees, so why stick to one?" With this mindset, I came across a software called Caddmapper, which allowed me to download 3D block models directly into SketchUp. I downloaded all the 3D files required for my studio and began marking the selected empty buildings, highlighting them alongside green spaces. This enabled me to better understand the empty buildings and circulation systems of Portsmouth.

Initially, I thought about creating a 3D walkthrough on Lumion, but it quickly became apparent that we wouldn't have enough time to complete everything. Instead, we decided to mark the abandoned buildings on AutoCAD and render the plan in Photoshop as a presentation format. During class, each group presented their findings, and it was fascinating to see Portsmouth from different perspectives. None of the presentations was alike, which made it even more interesting.

The day ended with Carrie Fung's class on sustainable practices, which focused on the bigger picture. While I agree that we need to address larger-scale sustainability issues, I believe it's equally essential to start small. For instance, by using sustainable materials, vernacular materials, and sustainable building practices, we can make a difference. We could even organise hands-on sustainable building material workshops, inspiring everyone to think more sustainably.

In conclusion, I thoroughly enjoyed last Friday's class and the challenge of approaching the assignment from a unique angle. I look forward to applying the same mindset and creativity to future projects and finding new ways to improve sustainability practices in the field of architecture.

"From Paint to Paper: A Journey of Creativity and Redemption”

Pic courtesy: Jamna

                                                                                        Pic courtesy: Jamna

Pic courtesy: Jamna

As I was not much of an artist, I was given a challenging task to paint two A1 sheets with different colours and mix and match the colours. Initially, I thought about pouring the paint onto the sheet and spreading it with a ruler or a scale. However, this method would have wasted a lot of paint. I decided to use a wide paintbrush instead and selected a colour close to maroon for my first sheet, and for the second sheet, I chose a bluish-grey colour. I found the combination of these colours with natural materials like stone and wood to be very appealing. I mixed red, blue, and yellow in varying quantities to create the dark maroon colour, and for the greyish-blue colour, I mixed blue, white, and black in different quantities. Although the colours turned out exactly as I wanted, my painting technique was incorrect. I realised this once the paint had dried, and I saw that my brush strokes were uneven. I had tried painting in long strokes, giving it a few more coats of paint before it dried.

Since this was a new process for me, I didn't know how much paint was required, and I had to mix the colours again, which was nearly impossible for me to do as I lacked any significant artistic talent. I tried to mix and match the colours as much as possible, and I left the sheets in the class to dry. During the next class, Belinda, our professor, asked us to sit in a circle and explain the colours we chose and why we selected them. We tried different colour combinations and matching them with the paintings done by the other students. Later on, we were split into three groups, and the sheets were cut into three equal parts and distributed among the groups.

I was in a group with Jamna, Sakina, Uchha, Precious, Aysha, and Mohammed. We started cutting, linking, crumbling, and shaping the papers we received. Each of us did our own individual thing, and once we combined everything, a story and rhythm began to form. We found connections between our individual creations and made a flowing story that connected every object we created. Once that was done, we made a presentation, explaining everything and the connections we made. We were later asked to make something small with the coloured paper that would create a big impact.

I came up with the design concept of a whiteboard with a black dot on it. Every student in the classroom noticed only the black dot, no matter how small it was. Then, a teacher comes up and wipes the black dot off the board with a duster. For me, the whiteboard represented myself, and the black dot was a mistake I made, intentionally or unintentionally. But society, which is the students, only sees the black dot, which is my mistake, rather than the rest of the white, which is good I've done. Then, along comes my professor, who erases the mistake from the board and makes me seem whole again.

With this thought in mind, I crumbled a paper in my hand, depicting my mistake, and the white wall represented my life. The thread tied to the paper was a depiction that all mistakes can be forgiven and taken back. I stuck the paper on the wall and tied a thin thread to it. Once I gave my explanation, I pulled down the paper, saying, "All mistakes can be rectified and forgiven with time with the right guide."

This class taught me a lot about how creativity can bring people together, and how small things can create a significant impact. I learned that even though I might make a mistake, it's never too late to make it right. It's important to have the right guide and to learn from our mistakes, as they are a stepping stone to our success.

"Expect the Unexpected" - My New Motto

In one of our recent classes, Belinda asked us to bring three household items from our homes. I had a variety of items to choose from, including a deflated basketball, an electric kettle, a broken Xbox, two black plates, an old discarded letterbox, two plastic plates, and a few bricks. I decided to go with a black and silver colour theme and selected a plate, the kettle, and the letterbox.

When we arrived at the EPC studio, Oren explained what we were supposed to do with the items we brought along with the help of materials available at the studio. I started by disassembling the electric kettle and cutting it into three pieces. To my surprise, as I was bending the metal sheet into shape, a metal bug started taking shape in my mind. Despite several cuts on my fingers and torn rubber gloves, I continued to work on the metal bug.

The kettle was originally bought in Adoor, Kerala by my roommate, but once it stopped working, it was discarded. The evolution of the kettle into a new form and purpose mirrors my own personal journey. I realised that just like the kettle, I too can change for the better and adapt to my surroundings when I am taken out of my comfort zone.

For my next piece, I cut apart a piece of wood into different polygonal shapes and drilled holes into them. I inserted a wooden stick through the holes and screwed the whole assembly to the bottom of the letterbox. The letterbox was then attached to a wedge-shaped wood, making it appear as if it was floating. This piece represents the comfort zone and the struggles one goes through to achieve their desires.

Assembling these different materials into something meaningful and descriptive is storytelling in itself. The thoughts and emotions that came up while creating these pieces still linger with me, leaving me wondering about my own evolution and growth according to my circumstances.

In conclusion, I learned that anything and anyone can change for the better if they are removed from their comfort zone. I am proud of what I created and I will continue to strive for personal growth and evolution.

"My Portsmouth Beach Adventure: A Journey of Surprises and Delights."

As a seasoned traveller, having explored all corners of India over the past 12 years, I was excited to set foot in Portsmouth, UK. However, what I found most fascinating about this new place was its unique flora and fauna. In contrast to the many buildings I encountered, I was struck by how different the vegetation was from anything I had seen before. To my surprise, I couldn't identify a single plant species here - a thought that both exhilarated and intimidated me.

While the old buildings in Portsmouth did have some similarities to those in Fort Kochi and Mattanchery back in India, the vegetation was completely new to me. I was also taken aback by the small, round stones that filled the beach - a stark contrast to the black and white sandy beaches I was used to. I initially thought the stones were placed to prevent soil erosion, but I was later corrected that they were naturally occurring.

In my hometown, I have a habit of collecting plastic and other scraps from the beach. However, in Portsmouth, I was pleasantly surprised to find that the beaches were clean and free of any waste. The local community, including the children, was well-educated about waste management and would properly dispose of their litter in recycling bins.

As I walked along the beach, I came across a rock that stood out from the others. Unlike the perfectly round stones, this rock was different. I picked it up and looked at the sun through it - it was transparent and reminded me of an arrowhead. I found myself fiddling with the rock in my hand for the rest of my beach walk.

In conclusion, my journey to Portsmouth has been a journey of discovery and has opened my eyes to the beauty of the flora and fauna in a new place. From the small, round stones to the clean and well-maintained beaches, Portsmouth has been a unique and enriching experience.

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"Sustainable Building Practices: The Power of Lime Chakki"

"Sustainable Building Practices: The Power of Lime Chakki"

http://sacredgroves.in/?p=4557

As a student of sustainable practices, I was thrilled to have the opportunity to learn from expert Carrie Feung on our first day of class. During her lecture, one thing that particularly caught my attention was the significant pollution caused by cement production. This realisation led me back to my experience working with Sacred Groves, a sustainability-oriented firm based in Auroville, Pondicherry, India.

At Sacred Groves, I witnessed the power of a unique building material known as Lime Chakki. Not only is this material environmentally friendly, but it also provides water resistance and breathability. The key ingredient, "kankar lime," is a combination of 20-30% lime and impurities that serve as an aggregate in the mix. To create Lime Chakki, 9 units of lime are mixed with 15 units of quarry dust, which provides a compact binding due to its sharp edges.

Another key component of Lime Chakki is the addition of kadukkai seeds and jaggery. The seeds are crushed or powdered, and 10 kg of jaggery is added to 300-400L of water and fermented for a week in airtight barrels. Once set, this mixture is poured into the lime and chakki mixture and made into a paste using a chakki powered by bulls. According to traditional knowledge, after 150 rounds, the mixture will reach the desired consistency.

What makes Lime Chakki truly remarkable is the way in which the kadukkai and jaggery mixture binds with the lime and quarry sand. This combination gels and creates a sturdy, long-lasting building material that is stored in the same airtight container used for fermentation.

In conclusion, I am grateful for my experience with Sacred Groves and the knowledge I gained about the benefits of using Lime Chakki in construction. Not only does this method minimise the use of cement, but it also creates a sustainable, environmentally friendly alternative that has been used successfully for generations.