pratibha chauhan portfolio

Pratibha Chauhan M.Arch , Year 1 School of Architecture University of Minnesota

PROCESSION PROCESSION








LIGHT AND SUBLIME: Investigation of the Role of Light in Christ Church Lutheran & St. Benedict Chapel.Fall 2015: Graduate Studio 1. Hand Drawings: Pratibha Chauhan. Rhino Light Analysis: Pratibha Chauhan. Tom Vogel. Jonathan Wold.

This project was a part of a two weeks investigation assignment called, “The Compelling Buildings.” The prompt asked us to analyze Christ Church Lutheran (Saarinen) and Saint Benedict Chapel (Zumthor) to come up with a common element that adds to the subliminal nature of these scared spaces. I began the project by observing and drawing (in case of Christ Church Lutheran by visiting the site) and in case of St Benedict, through available information found in print and digital media.

Second part of the project was a group project. Our group proposed that light plays a huge role in rendering these scared spaces sublime. We did a light analysis within these buildings highlighting the critical role that light plays in guiding a visitor through the processional path within these building.

Experiential Interior: Unfolded Section of Christ Church Experiential Interior: Unfolded Section of St. Benedict

Light studies on site(left), Light Analysis in Rhino( right) Light studies from photos(left), Light Analysis in Rhino( right)

SOUNDSCAPE: Proposal for the Institute for Figuring in Minneapolis. Fall 2015: Graduate Studio 1, Final Project. Site: 29th Avenue SE between 4th Street SE.

United Crushers

Prospect Park\LRT Stop

This project proposes a lab/workshop and gallery for a resident artisan/craftworker and a resident scientist/mathematician for the Institute for Figuring in Minneapolis (IFF). The proposal for this project finds its inspiration in the mission statement of IFF which as an organization is dedicated to the poetic and aesthetic dimensions of science, mathematics and engineering.

I have always been intrigued by the ways in which sound as an intangible element shapes our experience of a place. While visiting the proposed site for IFF, the overall soundscape of the site stood out to me the most. I collected the sound data (audios) from different points on the site to understand how the overall soundscape of the site might influence the organization of different programs on the site. I used the amplitudes derived from audiofiles to denote different levels of quietness and loudness experienced at a specific point on the site which was illustrated through a physical model.

To further understand the sound thoroughly, I began investigating how different shapes/forms influence sound. I proposed gallery as a space for the shape/form based architectural interventions.

The final proposal, informed by these analyses, uses the existing soundscape of the site in conjunction with design interventions within the building to create an eclectic soundscape composed of different audio based experiences to a visitor.

Soundscape Model used as a base for initial programmatic studies

BUILDING DRAWINGS

BUILDING PLAN

SECTION A: CROSS SECTION SECTION B: LONG SECTION

SECTION C: LONG SECTION THROUGH CENTER SECTION D: CROSS SECTION THROUGH FRONT

FRONT ELEVATION

Scale: 1’= 1/8”

SITE PLAN

Scale: 1’= 1/32”

Final Building Proposal Different Points on the Site where the Sound data was Collected from.

BUILDING DRAWINGS

BUILDING PLAN



FRONT ELEVATION

Scale: 1’= 1/8”

SITE PLAN

Scale: 1’= 1/32”

Overall Soundscape of the Site

Audio Data Visualized

Shape of Roof Taxonomy of Plans Based on the Shape and Height Manipulation of Roof

Program Studies based on the Taxonomy of Plans

Taxonomy of Circulation Based on Sound Plans

Roof Shape & Plan Soundspots Plan Plan of the sound form Front view

I proposed gallery as a non-normative space where flexible (manipulative) roof panels (of different shapes and sizes) will be installed to create a choreographed experience based on the requirement of the exhibition taking place at a specific time. The study below shows how different panel shapes of different heights can offer a variety of soundplans suited to the unique requirement of an exhibition.

Sound analysis done in Grasshopper using Sonic plugin which allowed me to visualize the sound reflection inside a space by placing single or multiple point sources at a specific location. Soundform here refers to intangible form created by the sound rays reflected from the roof panels. Soundspot plans refer to point where reflecting sound rays intersect the floor creating a sound spot(louder than it’s surrounding).

BUILDING DRAWINGS

BUILDING PLAN



FRONT ELEVATION

Scale: 1’= 1/8”

SITE PLAN

Scale: 1’= 1/32”

United Crushers

Experiential Interior: Unfolded Section of Soundscape

BUILDING DRAWINGS

BUILDING PLAN



FRONT ELEVATION

Scale: 1’= 1/8”

SITE PLAN

Scale: 1’= 1/32”

Experiential Interior: Unfolded Section of the Building

Process Models

HYPERNATURAL: Self-Folding Aperature. Spring 2015: Group Project. Research, Process Models and Module Design: Collaborative. Diagrams: Amanda Weiker. Renderings and Animation: Pratibha Chauhan. Final Physical Model: Andrew Smeby.

As part of a camouflage mechanism, cuttlefish distorts its overall outline/structure by projecting tiny bumps called papillae on its skin that help it blend with the surrounding environment.

Inspired by this biology, our group developed a system of self-opening and closing modules that open up and become volumetric, changing the form of the overall surface while simultaneously also manipulating the light and air entering in the space.

Our group proposed a canopy comprised of these modules as an independent structure or as an appendage that can be added to an already existing structure.

The final model was operated by muscle wire that expands and shrinks when an electric current is applied to it. These modules have the potential to be powered by solar energy rendering them a creative and sustainable instrument of light and ventilation control.

Process Models

HYPERNATURAL NATURAL SYSTEM - CEPHALOPOD - CUTTLEFISH

Architectural Problem : Adaptable Structure / Visibility

3-D skin projections - PapillaeHydrostatic organs and use two sets of muscles for extension and a third set for retraction. Muscular hydrostats are anatomical structures whose muscle fibers provide both movement and structural support.

The first two circular erector muscles are arranged concentrically to raise the papilla and horizontal erector muscles differently pulling inwards to determine its shape. The retractors, pull the papilla down and stretch out its base to flatten it. Connective tissue packed around the muscular core provides the structural support, yet is deformed easily by the various muscles. The presence of reflective elements (iridophores and leucophores) in the papillae just beneath the chromatophore layer of the skin suggests a signaling role in addition to a camouflaging one.

Concentric circular dermal erector muscles near the papilla’s base contract and push the overlying tissue upward and away from the mantle surface, while horizontally arranged dermal erector muscles pull the papilla’s perim-eter toward its center and determine its shape.

Each papilla has a white tip, which is produced by structural light reflectors (leucophores and iridophores) that lie between the papilla’s mus-cular core and the skin layer that contains the pigmented chromatophores.

PLAN VIEW - 9 SETS OF PAILLAE The epidermis has concentric grooves and folds that contain the surface area needed to smoothly and evenly cover the papilla when it extends.

epidermis

subepidermal muscleschromatophore

width of connective tissue layer

iridophores

dermal erector muscleleucophoresSIMPLE PAPILLAE

RAISED WITHDRAWN

COMPLEX PAPILLAE

erector muscles contract erector muscles relaxretractor muscles contract

1 cm

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epidermis



iridophores

dermal erector muscleleucophores

SECTION THROUGH PAPILLAE

PLAN THROUGH PAPILLAE








epidermis



iridophores


RAISED WITHDRAWN

COMPLEX PAPILLAE


1 cm

100

epidermis



iridophores











epidermis



iridophores


RAISED WITHDRAWN

COMPLEX PAPILLAE


1 cm

100

epidermis



iridophores











epidermis



iridophores


RAISED WITHDRAWN

COMPLEX PAPILLAE


1 cm

100

epidermis



iridophores




Flat/Reflexed Partially Raised Fully Raised

Flat Module Partially Open and Raised Fully Open and Raised

Cuttlefish Papillae

Final Proposed Module

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HYPERNATURAL NATURAL SYSTEM - CEPHALOPOD - CUTTLEFISH3 FOLD FUNCTIONALITY - LIGHT / VENTILATION / ACOUSTICS

EXTERIOR

INTERIOR

STRUCTURAL AXON

AMANDA WEIKER / PRATIBHA CHAUHAN / ANDY SMEBY

VENTILATION

ACOUSTICSROTATION

CLOSED MODULE PARTIALLY OPEN MODULE FULLY OPEN MODULE

FLOOR

FLOOR

POINT SOUND SOURCE

POINT SOUND SOURCE

SOUND SPOT/ZONES CREATED ON FLOOR

Appendage Options Studies

Wall Showing a Gradual Change in the Modules

Side View of the Wall with Fully Closed, Partially Opened and Fully Opened Modules

Structural Axon

Ventilation

Rotation

Physical Model Highligting the Volumetric space created by Fully and Partially Opened Modules

Animation Sequence: Pratibha Chauhan

Canopy as a Community Space Interior View of Partially Closed and Fully Closed Modules

Full View of the Canopy as an Independent Structure View of the Canopy as an Appendage Full View of the Canopy as an Appendage

Physical Model Highligting the Volumetric space created by Fully and Partially Opened Modules

NO SPEED LIMIT: The Aesthetics Of AccelerationismCatalyst 2016. Guest Instructor: Michael Young, Young-Ayata, Founding Partner. Faculty Host: Andrew Lucia

Don’t start with the good old days, but the bad new ones.” -Bertolt Brecht.

Based on the premises of accelerationism that the only way out of capitalism is the way through, we were asked to identify a contemporary problem in the discipline of architecture/urban planning/design and accelerate it 25 years (2030) into the future as a speculation on its possibilities. This project was an aesthetic investigation, not an attempt at a pragmatic solution.

Firstly, I played the role of a Startribune editor and created news stories based on the problems that our class was addressing. This was an attempt to create a reality of 2030 where crises/problems in Minneapolis were implied through the print and digital media.

Secondly, I selected the issue of urban wildlife focusing on the wild turkeys and exaggerating it to a level of infestation. I created pamphlets /advertisements to illustrate how capitalism thrives on the opportunity inherent in this crisis (implied in the wild turkey attack proof gadgets and products.) Finally, I also helped curate the final show which was a museum exhibition at fictitious, “The new Museum of Minneapolis” at the end of this workshop week.

Nike and Northface Advertisement based on Turkey Infestation.

The Home Depot Advertisements based on Turkey Infestation.

Evaporation Non Academic: 2013-2014. Travelogue.

Evaporation I have always been very fascinated by the idea of memory. Through this project, I explored what remains of memory over time. In this project, I trace the transformation of memory from it’s physical origin to abstraction.

I have always been very fascinated by the idea of memory. Through this project, I explored what remains of memory over time. In this project, I trace the transformation of memory from its physical origin to abstraction over time.

This project illustrates a selected sample from drawings/sketches that I did while traveling in India during 2014. I revisited these sketches after a few months and tried to recall what I remembered most clearly about the specific person depicted in the sketch.

The colored part of the drawings are the objects that I remembered most clearly and hence became a huge part of my memory of that specific moment.

pratibha chauhan portfolio

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