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HISTORY AND CULTURE
CLIMATE OF BANGALORE
LATITUDE- LONGITUDE - 12.9716 N & 77.5946 E
WIND DIRECTION - NORTH EAST - SOUTH WEST.
TROPICAL CLIMATE -
RAINY FROM JUNE TO OCTOBER.
DRY SEASON FROM DECEMBER TO APRIL.
HOT SUMMERS FROM MARCH TO MAY.
COLDEST MONTH - DECEMBER WITH 10/12 C
HOTTEST MONTH - APRIL END WITH 39.2 C.
PRECIPITATION - 98.5 CM PER ANNUM.
2 MM IN DRIEST MONTH – JANUARY
215 MM IN THE WETTEST MONTH - SEPTEMBER.
SOI TYPE - RED LOAMY SOIL AND LATERITIC SOIL.
TIMELINE
● ULSOOR, WHERE BANGALORE HISTORY COMES ALIVE ULSOOR
(ORHALASURU) IS ONE OF THE MOST HISTORIC AND FASCINATING
NEIGHBOURHOODS LOCATED AT THE CENTRE BANGALORE AND
BEGINS ROUGHLY NEAR THE EASTERN TERMINUS OF MG ROAD.
● IT HAS A VERY RICH CULTURAL AND HISTORICAL BACKGROUND.
● THE STORY OF ULSOOR IS LITTLE KNOWN AND HIDDEN BEHIND THE
HUSTLE-BUSTLE OF DAILY CHAOS THE PLACE EXHIBITS THE
BEAUTY AND CULTURE OF ULSOOR HAS BEEN RECOGNISED FAR
AND WIDE BY ITS RESIDENTS.
● BUT THE HISTORY OF ULSOOR AND HOW IT’S BECOME AN INTEGRAL
PART OF BENGALURU HAS BEEN UNTAPPED.
AS TAMIL PEOPLE AND MUSLIM COMMUNITY OCCUPY CANTONMENT REGIONS,
KANNADA PEOPLE FROM ULSOOR SHIFTED AND STARTED SETTLING TOWARDS
MALLESWARAM, CHAMARAJPET AND BASVANGUDI.
COMING OF TAMIL COMMUNITY PEOPLE INTO ULSOOR DURING BRITISH ERA. THE
TAMIL MUSLIMS ALSO STARTED SETTLING BECAUSE OF MEAT AND LEATHER
REQUIREMENT BY BRITISH.
SERVENTS SETTLEMENTS AND CONGESTED AREAS WERE FORMED IN THE LOW
LANDS BESIDE ULSOOR AND MILLER’S TANK KNOWN AS KNOXPET AND
BLACKPALLY AREAS. DUE TO POOR SANITAION FACILITIES AND CONGESTION,
PLAGUE EMERGED IN 1898 RESULTING IN WIPING OUT POPULATION. IT MARKED
THE EMERGENCE OF PLAGUE MARIAMMAN TEMPLES IN ULSOOR AS WELL AS
OTHER AREAS.
LANDMARK MAPPING (SURROUNDINGS)
SWOC
STRENGTH:
SITE IS LOCATED IN A PLACE WHERE PEOPLE WIDELY PRACTICE CULTURAL
EVENTS WHICH IS A PLUS POINT TO THE CURRENT DESIGN BRIEF.
WEAKNESS:
THE RAINSTORM WATER IS NOT COVERED FOR THE MOMENT AND THE BAD
ODOUR CAN RUIN THE MOMENT OF THE SITE.
NO CHANCE OF FUTURE EXPANSION.
OPPORTUNITIES:
SITE MEETS THE NEEDS OF RAIN WATER HARVESTING.
CHALLENGES:
THE GROUNDWATER LEVELS HAVE DRASTICALLY FALLEN DUE TO WHICH BORE
WELLS NEED TO DIG DEEPER INTO THE GROUND TO FIND WATER DURING
CONSTRUCTION.
LAND USE MAPPING
NAME: SAFFAN AHMED
USN: 1NS19AT043
SEM: 7
SUBJECT: ARCHITECTURAL
DESIGN
COLLEGE: NITTE SAPD
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NAME: SAFFAN AHMED
USN: 1NS19AT043
SEM: 7
SUBJECT: ARCHITECTURAL
DESIGN
COLLEGE: NITTE SAPD
HEYDAR ALIYEV CENTER
INTRODUCTION
ARCHITECTS : ZAHA HADID ARCHITECTS
LOCATION
AREA
: BAKU AZEBAIJAN
: 101801 M2
BUILDING AREA : 57,519 M2
•
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TYPOLOGY: CULTURAL CENTRE/ MUSEUM
PROJECT YEAR: 2013
TYPE : ROMANCE AND OPTIMISM
LOCATION AND CLIMATE
TRMPERATURE RANGE : 2C-30C
MAX WIND SPEED : 144 KMPH
EARTHQUAKE PRONE AREA
OBJECTIVES
TO STUDY ABOUT THE ORGANIC FORM AND
EXHIBITION IN OUTDOOR AND INDOOR
CURVILINEAR SPEACE.
CONCEPT
CREATING FLUID RELATIONSHIP BETWEEN
ITS SORROUNDING PLAZA AND BUILDING
INTERIORS.
“VANISHING” GIVES THE PROJECT FEATURE
OF LAND BORN.
EXTERNAL ACCESS
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VISITORS FIND BUILDING THROUGH A
LONG AND STEEP PARK WITH A ZIGZAG
PATH.
FLUDIC RYTHEMATIC
PATTERN ON FACADE
HIERARCHY
ON RESPONSE TO PLUMMETING TO ABOVE
GROUND ,TOPOGRAPHY DIVIDED INTO TWO
PARTS
FLUDITY IN FORMS,ORGANIC SHAPES
A CUT OF THE BARREL AT THE FRONT
CARRIES THE GLASS DOOR THAT OPENS TO A
CORRIDOR OF WHITENESS
MAIN BUILDING
COURTYARD
N
ENTRY
STRUCTURE FEATURES
• THE AIM WAS TO CREATE LARGE
COLUMN FREE SPACE GIVING VISITORS
OPPORTUNITY TO EXPERIENCE FLUDITY
OF INTRIORS
• VERTICAL ELEMENT ARE ABSORBED BY
THE ENVELOPE AND CURTAIN WALL
SYSTEM.
INFERENCE
• FREE FLOATING ORGANIC FORM
• FLUID RELATIONSHIP BETWEEN ITS
SORROUNDING PLAZA AND BUILDING
INTERRIOR
• BOTH OUTDOOR AND INDOOR
EXHIBITION SPACE
• BUILDING EVOLVED FROM THE SITE
RESPONSE WITH CLIMATE
• USE OF GLAZED CURTAIN WALL WITH
HIGH TRANSPARENCY AND THERMAL
INSULATION
• FLUSH EXTERIOR GLAZING EFFECT WITH
NO PRESSURE CAPS AT MULLIONS OR
SLAB EDGES
• ACCOMODATION OF SPECIFIC, STEPPED
ARCHITECTURAL PATTERN.
• EARTHQUAKE RESISTANCE CAPABILITY
WITH MULLIONS AND CURTAIN WALL
SYSTEM.
BUILDING BLURS THE CONVENTIONAL
DISTICTION BETWEEN OBJECT AND
ARCHITECTURAL CITYSCAPE
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NAME: SAFFAN AHMED
USN: 1NS19AT043
SEM: 7
SUBJECT: ARCHITECTURAL
DESIGN
COLLEGE: NITTE SAPD
THE FOUR ROOFS ARE DESIGNED TO CATCH AND UTILIZE RAINWATER IF NEEDED. THEY ALSO CREATE FOUR COURTS
INSIDE THAT WORK AS THE SOURCE OF LIGHT FOR THE DISPLAY. THESE COURTS ALSO OFFER A SERENE AMBIANCE
WITHIN, THAT KEEPS THE CAMP LIFE OUTSIDE. THE STRONG BAMBOO SCREEN THAT CREATES THE HALL IS PERFORATED,
TO HAVE THE BREATHABILITY OF THE SPACE. IT ALSO ENSURES SECURITY BUT ALLOWS VISIBLE CONNECTION FROM
OUTSIDE. THE PLANNING OF THE CENTER ENSURED ENOUGH PERFORATIONS IN-BETWEEN AND WITHIN THE HALLS, FOR
RAINWATER TO BE ABSORBED BY THE HILL SOIL. THAT WILL HELP THE GROUNDWATER TO BE RECHARGED CONTINUOUSLY.
THE MAKING OF RCMC HAS BEEN AN EVENT COLLABORATING MATERIALS, EFFORTS, AND MEMORIES. JUST TO HAVE A
BEAUTIFUL PLACE TO REMEMBER PAST AND PRESENT. WHEN THERE IS A PLACE LIKE THIS, EVEN IN THIS TEMPORARY
SETTLEMENT, TO PRACTICE THE GOOD, TO LEARN FROM EACH OTHER, THE RIGHT AND WRONG, IT IS A BLESSING FOR ALL
OF US, TO GET TO BE ENGAGED HERE.
INTRODUCTION
ROHINGYA CULTURAL MEMORY CENTRE TRIES TO FIGHT BACK
FOR THE LOST IDENTITY OF HER COMMUNITY. AND TO FIGHT
FOR MENTAL WELL-BEING THROUGH ALL THE CREATIVE WAYS
POSSIBLE. TO HOLD ON TO THE GOOD PRACTICES, AND NOT THE
EVIL ONES THAT TODAY’S WORLD IS FILLED WITH. THE
BUILDING PROCESS ITSELF TRIED TO MAKE SURE OF THAT
FROM THE BEGINNING. TO CREATE STORIES AND CARE THAT
EVERYONE CAN HOLD ON TO. IT DOESN’T TRY TO CREATE
CERTAINTY, BUT THE STRENGTH OF BEING IN LOVE AGAIN
AFTER THE WORST NIGHTMARES. THE ROHINGYA COMMUNITY
HAS GONE THROUGH CHANGES & UNSETTLEMENT
THROUGHOUT THEIR LIVES. THE CURRENT SITUATION, BEING IN
THE LARGEST REFUGEE CAMPS, HAS ADDED A BIT MORE
UNCERTAINTY TO THEIR LIFESTYLE, AS IT HAS INFLUENCED
THEIR CULTURE & VALUES. IT IS THE ONGOING EVENTS THAT
WILL SHAPE WHAT THEY HAVE.
DESPITE THE UNSETTLEMENT, THEY HAVE MANY STORIES,
KNOWLEDGE, AND WISDOM THAT CREATES POSITIVITY AND
CARE. ‘ROHINGYA CULTURAL MEMORY CENTRE’ TRIES TO
COLLECT, PRESERVE, AND SPREAD THOSE KNOWLEDGE &
STORIES, TO CREATE GOODWILL AMONG DISPLACED
COMMUNITIES EVEN IN THE MOST UNSETTLED
SITUATIONS. ROHINGYA ARTISANS AND COMMUNITY MEMBERS
CAME FORWARD WITH THEIR INDIGENOUS KNOWLEDGE,
TECHNIQUES, WAYS OF LIFE, AND STORIES THAT HELPED
VISUALIZE AN APPROPRIATE APPROACH FOR DESIGNING THE
SPACE. NIPA PALM LEAF (OM PATA/GOL PATA) PALLETS FOR
ROOFING, VARIOUS BAMBOO WEAVING TECHNIQUES,
TRADITIONAL DOORS-WINDOWS-HOUSEHOLD PATTERNS, AND
ALL OTHER INFORMATION RESULTED IN A CONTINUOUS
PROCESS.
SINCE THIS COMMUNITY HAS VAST SKILLS IN NATURAL
MATERIALS, THE MATERIALS WERE SELECTED WITH CAUTION
TO HAVE FAMILIAR TECHNIQUES DURING THE CONSTRUCTION.
TO ACHIEVE THE TARGET OF INCLUSIVENESS AND A JOYFUL
EVENT, THESE NATURAL MATERIALS CREATED THE SCOPE TO
CRAFT THE BUILDING FROM SCRATCH. FREEDOM OF THINKING
AND DISCUSSION WAS ENCOURAGED DURING THE
CONSTRUCTION PROCESS TO ENSURE MENTAL WELL-BEING.
GARDENING TOGETHER WORKED AS A KEY CONNECTING TOOL.
VARIOUS PLANTS WERE LISTED THROUGH DISCUSSIONS THAT
SERVE VARIOUS PURPOSES. AND THESE PLANTS WERE
COLLECTED AND PLANTED IN FOUR DIFFERENT COURTS
WITHIN THE STRUCTURES. FOR THE HOUSEHOLD/KITCHEN
GARDEN, KOLKOITTA BOR FATA’, HORO FATA’, VAAT FATA/FONI
FATA’, DHANYA MORICH ,DHEI HAAK, TARA GACHH (LEMON
TREE), JAILLYA/KODU ETC. WERE SELECTED.
THE CENTER IS SITUATED ON A HILLTOP IN THE MIDDLE OF THE
CAMP AREA. THE CONSTRUCTION ENSURED FLEXIBILITY TO
CREATE A TEMPORARY SCHEME IN THE CAMP. EASILY
REMOVABLE PRE-CAST COLUMNS, BLOCKS FOR FLOORING,
NUT BOLT JOINTS, ETC. ENSURES THE FLEXIBILITY OF THE
BUILDING. THE EXTENDED SHADES ALL AROUND THE
STRUCTURE ENSURE PROTECTION FROM HEAVY RAIN
(VERTICAL & HORIZONTAL) IN THIS REGION. IT ALSO ALLOWS
FREE MOVEMENT AND SPACES AROUND THE MAIN HALL FOR
THE COMMUNITY AND USERS, OFFERING MORE ENGAGING
SPACES.
LOCATION
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