ART EXPLORATION

UNNATI DEVANG MANKADUNNATI DEVANG MANKAD

P R O F I L E

UNNATI DEVANG MANKAD16th November 1997

I am Unnati Devang Mankad, presently studying in grade 12th from Gujarat, India.I am a bubbly girl full of life and dreams for future. I believe in life as it comes, live to the fullest. I love and admire art, craft, music, movies and yes dance!

I come from a family which is associated with music, education and politics but unfortunately no design. I belong to a very sensitive and emotional family which I feelis a big quality for being a good architect.

I want to move ahead in my career with architecture as I find it very interestingand fascinating. I prefer to choose UK as a center of design and architecture as itoffers more and more exposure. I feel London being a center of cosmopolitan architecture would fulfill my quest for learning art, design, technology and would inspire me to enhance my creativity. I am ready to work hard to fulfill the dreams I saw for my future as a good architect - an architect who design spaces not just beautifully and functionally but also sensitively.

My portfolio portrays my work and exploration towards art and design. I promise togive my best efforts and dedication when given opportunities.

TABLE OF CONTENTS :

01 FUNDAMENTALS OF BASIC DESIGN 01. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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02 FUNDAMENTALS OF COLOURS 02

03 COLOUR MEDIUMS 03

04 HUMAN ANATOMY 04

05 HUMAN ANATOMY 05

06 HUMAN ANATOMY 06

07 HUMAN ANATOMY 07

08 TRADITIONAL LOCAL ARCHITECTURE 08

09 LOCAL TRANSPORT DETAILS 09

10 GRAPHICAL COMPOSITION 10

11 GRAPHICAL COMPOSITION 11

12 GRAPHICAL COMPOSITION 12

13 OBJECT DRAWING 13

14 OBJECT DRAWING 14

15 OBJECT DRAWING 15

16 OBJECT DRAWING 16

17 STREETSCAPE 17

18 STREETSCAPE 18

19 PERSPECTIVE 19

20 PERSPECTIVE 20

21 TRADITIONAL LOCAL ARCHITECTURE 21

22 PERSPECTIVE 22

23 PERSPECTIVE 23

24 MEMORY DRAWING 24

25 PERSPECTIVE 25

26 MANHATTAN SKYLINE 26

27 BIRD VIEW 27

28 ILLUSTRATION 28

29 3D MODELING 29

30 CASE STUDY 30

31 PHOTOGRAPHY 33

BALANCE SCALE PROPORTION

RYTHEMEMPHASIS

STUDY OF FUNDAMENTALS OF BASIC DESIGN MEDIUM : POSTER COLOUR 01

STUDY OF FUNDAMENTALS OF COLOURSMEDIUM : POSTER COLOUR

PRIMARY COLOURS SECONDARY COLOURS

DULL COLOURS

LIGHT COLOURS

DARK COLOURS

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STUDY OF COLOUR MEDIUMSMEDIUM : MIX MEDIUM

PENCIL

COLOUR PENCIL

POSTER COLOUR WATER COLOUR

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STUDY OF HUMAN ANATOMYMEDIUM : PENCIL COLOUR & INK 04

STUDY OF HUMAN ANATOMYMEDIUM : PENCIL COLOUR & INK05

STUDY OF HUMAN ANATOMYMEDIUM : PENCIL COLOUR & PENCIL 06

STUDY OF HUMAN ANATOMY : DANCINGMEDIUM : PENCIL COLOUR & INK07

TRADITIONAL LOCAL ARCHITECTUREMEDIUM : COLOUR PEN

CLOCK TOWER BIRD FEEDER

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STUDY OF LOCAL TRANSPORT DETAILSMEDIUM : PENCIL COLOUR & INK09

GRAPHICAL GRID COMPOSITION OF A BUILDING INSPIRED FROMPAINTINGS OF PEIT MONDRIAN MEDIUM : POSTER COLOUR 10

GRAPHICAL COMPOSITION OF CHAIRSMEDIUM : POSTER COLOUR11

GRAPHICAL COMPOSITION OF A SCOOTERMEDIUM : POSTER COLOUR 12

STUDY OF OBJECT DRAWING & LIGHT AND SHADEMEDIUM : PENCIL13

STUDY OF OBJECT DRAWING & LIGHT AND SHADEMEDIUM : PENCIL 14

STUDY OF OBJECT DRAWING & LIGHT AND SHADEMEDIUM : PENCIL & CHARCOAL15

STUDY OF OBJECT DRAWING : TWO POINT MEDIUM : COLOUR CHARCOAL & PEN

PERSPECTIVE 16

STREETSCAPE : ONE POINT PERSPECTIVEMEDIUM : PENCIL17

STREETSCAPE : ONE POINT PERSPECTIVEMEDIUM : WATER COLOUR & INK 18

TWO POINT PERSPECTIVEMEDIUM : CHARCOAL19

ONE POINT PERSPECTIVEMEDIUM : INK 20

TRADITIONAL LOCAL ARCHITECTURE : BEAM DETAILMEDIUM : INK21

ANT EYE VIEW MEDIUM : INK

PERSPECTIVE 22

PERSPECTIVEMEDIUM : COLOUR PENCIL & PEN23

MEMORY DRAWING : CONSTRUCTION SITEMEDIUM : COLOUR CHARCOAL 24

PERSPECTIVE FROM A ZAHA HADID'S SITE MEDIUM : WATER COLOUR & CHARCOAL25

MANHATTAN SKYLINEMEDIUM : INK & COLOUR PENCIL 26

BIRD VIEW MEDIUM : INK & COLOUR PENCIL27

FUN ARCHITECTURAL ILLUSTRATIONMEDIUM : INK & COLOUR PENCIL 28

3D MODELING OF A GUITARMEDIUM : THERMOCOL, WIRE, PAINTS29

PROJECT DETAILS:

Client : M.F.HussainArchitect. : B.V.DoshiProject Associates : S.L.Shah, Vishnu Joshi

V.V.Ranga Rao, Lise TrottierStructural Consultants : V.D.Joshi, Pune

Vastu Shilpa FoundationContractors : Western India EngineersSite Area. : 1000 sq.m.Built Up Area : 230 sq.m.Project Cost : Rs. 1,80,000

CASE STUDY OF HUSSAIN DOSHI GUFA

LOCATION:

CONCEPT:

Located in the campus of school of architecture in Ahmedabad, this structure is a strange looking creature. The background possesses so plaster less brick

structure which is the school of architecture and planning. The Hervit's gallery in the background is for exhibiting paintings as Gufa cannot exhibit paintings due to the

uneven structure.

Nearly 35 years ago when B. V. Doshi and Hussain met, Hussain had talked at length about underground spaces and their unique qualities. Hussain recalled

this discussion when he visited Ahmedabad two years ago looking for a small piece of land for building an art gallery to exhibit his works. After visiting several places,

Doshi took him to meet Piraji Sagara at the Ahmedabad Education Society Campus and he persuaded Hussain to agree to this site for his new gallery. They then

completed the necessary formalities with Shrenikbhai Kasrturbhai, Chairman of the AES and Hussain asked Doshi to design an underground building, which he called

the Gufa. But why "Gufa"? Hussain loves to be in direct contact with earth. That is the sole reason for him to be barefooted. He also emphasised that their Gufa should

become a demonstration of a positive collaboration between a painter and an architect.

After giving a long thought Doshi came to a conclusion that in true architecture, one must experience joy and celebrations. It must affect one's inner self. It

cannot be distinguished separately either as modulation of light or surfaces or supporting systems. On the contrary a good design merges floors, walls, ceiling into one

continuous whole and creates an organic space almost like a living being. What it encompasses within and without its surfaces, are the voids, which generate energy.

This energy then reduced all stresses within all the elements that surround this object. The total environment then emanates peace and tranquility. The air becomes

calm yet vital to become a small universe which is called Paradise.

The Hussain-Doshi Gufa expresses the personal tastes of exceptionally creative people, who occasionally touch us by the secrets the reveal by creating such

a daring, undefinable, yet pure space. This complex painter and this serious architect are really very playful men and they bring you here to fulfill all your fantasies.

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STRUCTURE:

INTERIOR:

CONCLUSION:

The structure looked like an extra- terrestrial object with protuberances like the watchful eyes of chameleon, curiously observing its surroundings. An enormous black cobra wrapped around the domes almost looked as if it is guarding the womb.

The entire construction of the Gufa was executed by hundreds of the adivasi tribal- men as well as women- who worked night and day. The basic structure of the domes, called 'panicula' shells, is made of wire mesh and ferrocement. The mortar was compressed over the wire mesh as if they were making bread. Because of the inherent strength of the ferrocement structure, the roof is only a couple of centimetres thick and can bear the weight of hundreds of people. These structures have no foundations - these are geodesic domes. It is a continuous structure. There are ribs on some of the domes which were used for the workers to balance themselves on. Though these are not required now, they have been retained as they blend in with the whole structure. Many load - bearing pillars, which held the original panicula shells, are no longer necessary, but have been kept to maintain this continuous structure.

The interior is an unexpected experience. The inside is much bigger than one expects. The skylights that one saw as protuberances are not immediately visible, yet the light that they let in gives the Gufa it's ethereal quality. As the position of the Sun and the Moon changes the drama of natural light, the interior also changes, creating shadows of light.

The random columns of varying thicknesses, some even inclined appear like trees in a forest - if observed carefully. These are supporting elements, transferring the loads very gently.

Inside there are two rotundas. The whole space has its own natural acoustics and lends itself well to a dance or music performance, or a discourse on art and culture. There are free standing sculptures in black. These are real masterpieces of Hussain. They are stark in their simplicity. These are cut out images known as shadows. The flooring is made uneven to get a feeling of caves. This uneven flooring also hides spotlights and creates a distance between sculptures and the viewer. Later a kitchen and a toilet were added.

Doshi proved himself by creating a paradise, which he called it to be true architecture. A world of fantasy is explored within this interior.

PROCESS OF MODEL MAKING

Molding the shape of caves from wire mesh. Cover with newspaper. Apply plaster of paris in various coats. Cut out light voids once dried.

CASE STUDY OF HUSSAIN DOSHI GUFA31

CASE STUDY OF HUSSAIN DOSHI GUFA

EXPLORATION AND CONCLUSIONS

I chose this space as my case study as it was a perfect interplay of architecture, interiors, art and light. I feel none of these are separable. I tried playing with lights, prisms and colour filters to see how internal underground spaces reacted and behaved and I came to some wonderful exploration results.

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PHOTOGRAPHY33AT REST

OPENINGS

COMPOSITION

PRECASTE OF LANDSCAPE AT MY HOUSE HAPPINESS

CONFUSION

DETAILING

FAITH

RISED IN DIRT

THE TAJ

GROUP

PEACE

ATTITUDE OF A HERDMAN

LINES DANCE NEW HORIZONS FAITH OF A BEGGER

BEGINNING

PERSPECTIVE ORNAMENTATION

WORSHIP

FOOD DESIGN

DETAILING

THANKS