Conceptualisation To Materialisation

A Dissertation / Architectural Project (Part I) report on
THEORY,PRACTISE,USER AND ITS CONNECTION
Submitted to the Savitribai Phule Pune University in partial fulfillment of the

requirements for the IV B. Arch. ( 2008) course
By
Ghatge Prajakta Ranjeet
Under the Guidance of
Ar.Vijaya Srinivasan
VIT’s P.V.P. College of Architecture, Pune

Savitribai Phule Pune University
April 2017
Vivekanand Institute of Technology’s
Padmabhushan Dr. Vasantdada Patil College of Architecture,

Address: 274/2, 275/2, 282, AdityaNisarg At. Pirangut, Tal. Mulshi, Dist. Pune -
412115
Tel:020-20291299, 20291308,
email:pvpcoapune@gmail.com,web:www.pvpcoapune.com,blog:www.pvpcoapuneblog.blogspot.com
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Certificate
I hereby certify that the work which is being presented in the Dissertation titled
“THEORY,PRACTISE,USER AD ITS CONNECTION” in partial fulfilment of the
requirements for the Fourth Year Bachelor of Architecture (2008) course (IV B.Arch.)
submitted in VIT’s Padmabhushan Dr. Vasantdada Patil College of Architecture,
Pune is an authentic record of my own work carried out during the period from June 2016 to
April 2017 under the supervision of Ar.Vijaya Srinivasan.
I declare that the work submitted is my own research and wherever I have incorporated any
information, data, maps, graphics, etc. from different sources, it has been duly acknowledged.
Ghatge Prajakta Ranjeet
This is to certify that the above statement made by the Candidate is correct to the best of our
knowledge.
Ar.Vijaya Srinivasan.
The Candidate has appeared for the examination held at the Vivekanand Institute of
Technology’s Padmabhushan Dr. Vasantdada Patil College of Architecture, Pune,
Savitribai Phule Pune University.
……………………. ……………………..
Dissertation Guide External Examiner
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Acknowledgement
I would like to take this opportunity to express my deepest gratitude towards the people
whose help and timely guidance has made this project a success.
I wish to express my sincere thanks to Ar. Prasanna Desai, the Director, PVPCOA, for
providing me with all the necessary facilities.
I would like to thank Ar.Vijaya Srinivasan for her valuable assistance and insights leading to
the writing of this paper. My sincere thanks goes to the other peer member of the group who
helped me through the process of the dissertation.
I also take this opportunity to thank Ar.Narendra Dengle for constantly guiding me in this
entire process.Ar.Vikram yellure and Ar.Minal Sagare for guiding me in the questionnaire and
the concluding part of the re-search.
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TABLE OF CONTENTS
ABSTRACT
THEORY,PRACTISE,USER AND ITS CONNECTION ......................................................... 1
TABLE OF CONTENTS ........................................................................................................... 4
ABSTRACT ............................................................................................................................... 5
INTRODUCTION ....................................................................................................................... .
1.1 AIM ............................................................................................................................... 6
1.2 OBJECTIVES ................................................................................................................ 6
1.3 SCOPE OF STUDY ..................................................................................................... 6
1.4 LIMITATIONS ............................................................................................................ 6
1.5 METHODOLOGY ....................................................................................................... 7
1.6 BROCHURE ................................................................................................................ 8
THE TERMS .......................................................................................................................... 7
2.1 MEANING OF ‘CONCEPTUALISATION’ and ‘MATERIALIZATION’ ................. 9
2.2 TOOLS USED FOR THE THEORY CONVERSION AND REPRESENTATION .. 10
2.3 TIME FACTOR and EXISTANCE OF THEORY ..................................................... 11
2.4 CASESTUDY.............................................................................................................. 13
i) Categorising the case studies. ................................................................................ 13
ii) A)Book casestudy ................................................................................................... 15
iii) B)Youtube review ................................................................................................... 23
3.1 QUESTIONNAIRE .................................................................................................... 28
3.2 THE LIVE CASESTUDY EXAMPLES.................................................................... 33
i) Interviews of users. .......................................................................................................
4.1 INFERENCES ........................................................................................................... 43
4.2 CONCLUSION .......................................................................................................... 47
TABLE OF IMAGES ............................................................................................................... 48
TABLE OF FIGURES ............................................................................................................. 49
BIBLIOGRAPHY .................................................................................................................... 50
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ABSTRACT
The term ‘CONCEPT’ in a design is understood by the theory generated by the designer
which evolves in the design programme in that time period. The nature of order and time and
its evolution of the theory by the acts in the past is how it evolves. There are various
parameters that deal with the conceptualizing of the design and its materialization.
The diversity of the theories and design methodologies of the designers is varied across the
globe,which has been evolved in the time by the moments that have taken place and the
influence of various personalities and methods. The end product thread of this theory which is
the final materialization(execution) being an important stage is hardly limited with the
concept or vice versa. This creates a gap of understanding the theory by the user. Yet some of
these threads are weaved finely that the theory and space is conveyed to the user in the
right way.
The research focuses on understanding the theory/conceptualizing part in architecture in

today’s context and time. Questions relates to this are raised to understand the importance of
concept in the design process and the difference if it didn’t exist. Along with this, manifesting
terms of conceptualization - materialization and method that bridges the gap of these two
terms with respect to the daily user.
Examples of structures of a few master architects is studied along with a product and
interviews are taken with live case studies. Categorizing of user and its varying change is not
the part of the study.
Keywords:
(Concept, Theory,practise,conceptualization-materialisation,Importance of concept,Relevance

of conceptualization and materialization,Re-search,concept of product design,user
understanding,space and theory)
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INTRODUCTION
1.1 AIM
Study the conceptualization with its relevance, importance and its need in the process of
design in today’s context and time with the elements forming the bridge of conceptualization
and materialization with respect to the user.
1.2 OBJECTIVES
1. Study the theory in architecture and its evolution in gist.
2. Understand the term CONCEPT/THEORY in design
3. Relevance, importance and need of concept/theory in a design.
4. The elements creating and gap and bridging the gap between the conceptualization and
materialization with respect to the user.
1.3 SCOPE OF STUDY

Importance of conceptualization in the process of designing any element as the scope of this
theory is extreme wide. Relating this conceptualization to the practise is a different study
altogether and its repercussion of the user are seen on the spaces. The study been a hypothesis
with most theoretical understanding and examples of both the terms that are accessible.
1.4 LIMITATIONS
The examples chosen in this re-search for the understanding of the relation between
conceptualization and materialization being not in the physical reachable distance were
studied via the 3rd party information and users.
Hence the case studies were categorized one more live case-study was carried out about
which direct information was available and could be studied.
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1.5 METHODOLOGY
THEORY/CONCEPT is a term which is generally applied to the Design fields of

architecture directly which brings about the initial process of the design. Initial importance is
given to understanding what the theory exactly is in this process through literature
study,references to the derivation in the past and its expression along the timeline. The
derivation from the past and it evolution w.r.t. ARCHITECTURE field itself is chosen to
elaborate upon. Allied fields of designing, defining this term were given importance and
studied its reference part.
Evolution of this theory to the PRACTICE is understood and analysed along with the book
case study examples chosen, segregated under the category of the timeline and the
movement’s that have ruled the evolution. Along with this, the interviews taken in the current
context supported the data received and to observe the thread connecting the theory and the
practise.
Referring to the re-search papers. A list of book case studies -drawing inferences and
attributes to the topic from them as a supportive method were selected.A few examples from
the allied fields of product design, interior design was taken to enhance the understanding of
the CONNECTION BETWEEN THEORY AND PRACTISE.A compilation of interviews
/views/statements regarding the same have been documented in the material. Inferences
drawn from the study suggests an overall perspective of theoretical aspect to the thought
process, which would turn to become the base of the design for the particular element that
states the importance, relevance and need in the design process.
Study and understanding of;
CONCEPT/THEORY AND PRACTISE IN DESIGN
Categorizing the case-studies and then studying them by internet via the users review,critic
and interviews.(1st and 2nd hand source)
Survey/ views of architects of various categories and their work are taken and studied to
understand their point of view regarding these terminologies(Live case studies and interviews)
Analyze and relate the various reviews received of principles used for bridging the concept
and material.
Deriving inferences and conclusion on how the initial idea of conceptualization is processed
and materialized with the importance and need of it and the result of its presence.
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1.6 BROCHURE
Making of the brochure and PowerPoint presentation was the initial process where the gist of
the re-search topic was conveyed with the wide list of categories chosen for the examples for
understanding of the theory and concept.
Image 1: The topic page ; Image 2: About the re-search topic ;

Source : Author Source : Author
Image 3: The list of examples ; Image 4: Scope and limitations of re-search ;

Source : Author Source : Author
Image 5: Images composition ;

Source : Author
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THE TERMS
2.1 MEANING OF ‘CONCEPTUALISATION’ and

‘MATERIALIZATION
A concept is an abstract idea representing the fundamental characteristics of what it represents.

Concepts arise as abstractions or generalisations from experience or the result of a
transformation of existing ideas. This is the initial idea of images or abstract movement that
is picturesque in one’s mind.
Concepts categorization as per google are-
• Concepts as mental representations, where concepts are entities that exist in the brain
(mental objects)
• Concepts as abilities, where concepts are abilities peculiar to cognitive agents (mental
states)
• Concepts as Fregean senses ,where concepts are abstract objects, as opposed to mental
objects and mental states
Materialisation is nothing but the execution of the given idea or data into something physical
or buildable.Various factors and elements like the ;
• Scale
• Material
• Pattern
• Construction
• Planning-Axis
• Outside-inside spaces.
These elements play an important role in conveying whatever is to be said to the user.These
factors keep changing with respect to the practise ,style, thinking process, learnings
,understanding and its derivation and the contextual response of the designer.
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2.2 TOOLS USED FOR THEORY CONVERSION AND
REPRESENTATION-
Concepts as mental representations, where they are entities that exist in the brain that come
from the intuitive idea which is formless. It gradually takes the form materialising it.This is
interpreted and used in many ways to convert the abstract or the virtual into the real
form. All these tools are the same as they serve the same purpose, its method and process
changes which is the only difference in tools used in this process are-
Image 6: Forms and shapes ;

Forms and shapes Source : Internet
Dance and music Image 7: Music logo ;

Source : Internet
Image 8: Pencil ;
Source : Internet
Doodles and sketches
Image 9: Book ;
Source : Internet
Words and sentences
Image 10: Study model ;

Source : Internet
Solid models
Image 11: Stone wall ;

Source : Internet
Materials and spaces
Image 12: Theory ;

Stating a theory back. Source : Internet
Figure 1 : Tools for theory representation;

Source: Author
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2.3 TIME FACTOR and EXISTENCE OF THEORY
The term THEORY of architecture was originally simply the accepted translation of the Latin
term ratiocinatio as used by Vitruvius, a Roman architect-engineer of the 1st century AD,
to differentiate intellectual from practical knowledge in architectural education.But it has
come to signify the total basis for judging the merits of buildings or building projects and its
use. “Such reasoned judgments are an essential part of the architectural creative process. A
building can be designed only by a continuous creative, intellectual dialectic between
imagination and reason in the mind of each creator.” Says an old historian who spoke
about the birth of architectural theory.
A variety of interpretations has been given to the term architectural theory by those who have
written or spoken on the topic in the past. Before 1750 every comprehensive treatise or
published lecture course on architecture could appropriately be described as a textbook on
architectural theory. But, after the changes associated with the Industrial Revolution, the
amount of architectural knowledge that could be acquired only by academic study increased
to the point where a complete synthesis became virtually impossible in a single volume.
The historical evolution of architectural theory is assessable mainly from manuscripts and
published treatises, from critical essays and commentaries, and from the surviving buildings
of every epoch.
It is thus in no way a type of historical study that can reflect accurately the spirit of each
age and in this respect is similar to the history of philosophy itself. Some architectural
treatises were intended to publicize novel concepts rather than to state widely accepted ideals.
Moreover, the system of the Paris École des Beaux-Arts (which provided virtually the only
organized system of architectural education at the beginning of the 19th century) was
radically different from that of the preRevolutionary Académie Royale
d’Architecture. Quatremère de Quincy, an Italophile archaeologist who had been trained as a
sculptor, united the school of architecture with that of painting and sculpture to form a single
organization, so that, although architectural students were ultimately given their own
professor of theory, the whole theoretical background of their studies was assimilated to the
other two fine arts by lecture courses and textbooks such as Hippolyte Taine’s Philosophie de
l’art, Charles Blanc’s Grammaire des arts du dessin, and Eugène Guillaume’s Essais sur la
théorie du dessin.
Thus, the attitudes of those scholars who, during the 19th and early 20th centuries, wished to
expound a theory of architecture that was neither a philosophy of art nor a history of
architecture seemed to become highly personal, if not idiosyncratic.
By 1950 most theoretical writings concentrated almost exclusively on visual aspects of

architecture, thereby identifying the theory of architecture with what, before 1750, would
have been regarded as simply that aspect that Vitruvius called venustas (i.e., “beauty”).
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This approach did not necessarily invalidate the conclusions reached; but many valuable ideas
then put forward as theories of architecture were only partial theories, in which it was taken
for granted that theoretical concepts concerning construction and planning were dealt with in
other texts.
For those desirous of establishing a viable theory of architecture for their own era, it is
generally agreed that great stimulus can be found in studying historical evidence and in
speculating on the ideals and achievements of those who created this evidence. Here the
theory of architecture and art might seem the same but are completely different from each
other.
The physical and real documentation and bringing over these theories started from
Vitruvius and with a gap was carried forward by other master architects who keep
evolving the term by the ART movements and the REVOLUTIONS that dictated the era
.The middle age and the contemporary architecture phase got covered under this typology.
Nonetheless, there is no evidence for claiming that we at the 21st century are witnessing the
birth of an entirely new type of architectural theory and practice. Contemporary architecture's
theoretical world is plural and multi-coloured. There are different dominant schools of
architectural theory which are based on linguistic analysis, philosophy, post-
structuralism, or cultural theory. For instance, there is emerging interest in the re-
discovery of the post-modernist project, in the definition of new radical tendencies of
architecture and its implication in the development of cities and in a new formalist
approach to architecture through the appropriation of concepts from the Object
Oriented philosophy.
It is too early even in today’s context to say , however, to say whether any of these
explorations will have widespread or lasting impact on architecture.
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2.3 CASESTUDY
I) CATEGORISING THE CASESTUDIES-

To support the 2 terms of CONCEPT and PRACTISE and understand the relation between a
few examples were taken into consideration. The motive here is to know-
• WHICH theory is used where and why?
• HOW has this theory taken the shape of the concept?
• HOW has the evolution of the concept taken place to bring in the materialisation?
• The factors involved in the same
• The stepwise journey of this materialization that will be used by the user as per the
designers understanding.
• The end product and the way the user has been interpreting the materialisation and his
understanding of the concept used by the designer.
Mater architects from varied fields were chosen for the same whose thinking process was
different from the each others. This was to understand the response of these eminent
architects who knew how to respond to the context carrying the conceptualization to the end.
After a long list examples of Thermae-Peter Zumthor(1985),Jewish Museum-Daniel
Libeskind(1995),Paper boat drink-Elephant studios(2015) were selected.
WHY these examples-

1. Peter Zumthor-Thermae:
A. The architect:
Peter Zumthor is one of the eminent architects who has a wide study about the theories in
architecture and has utilised them in many of his projects. He is one amongst the master
architects who has floated the theory of ‘Atmosphere; the phenomenological concept of
merging the space and solid which is experienced by the user’. He has also carried out many
research projects where he has been talking about the amalgamation of the people to space via
the theories he floated.
B. The project:
Thermae is one of his projects which was done in this contextual era and is a successful project
as per the review on many internet sites. The site being a task with the project and the concept
applied was a challenge to be completed by the architect where the man’s body and mind was
in direct contact with what Zumthor would create.
2. Daneil Libeskind-Jewish Mesuem
A. The architect:
Daneil libeskind is a modernist architect whose works are based on the futuristic approach but
hold the roots of the history. He has been writing and stating in many essays regarding the user
and the architects relation. Also his modernist architecture thought process brought in a
different architecture to which people responded positively as per the review on quite many
internet sites.
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B. The project:
Jewish museum project itself was a task to do as it dealt with many intangible layers that the
architect has to solve. Being a museum, understanding of the tradition and hardships Jewish
people went through was very important. The way this challenge was dealth,with the
deconstructivity way was very interesting and was a catch for many students and professionals.
To know how has this response perceived by the materialisation and the user this example was
taken into account.
3. Elephant Studios-Paper Boat
A. The architect:
Along with the architecture, examples of allied fields like product design were chosen,
Examples that vowed for the initiating concept of the design that was processed in the final
product was hunted.
Elephant studios is one such firm that concentrates on the process while making the product.
They make Product designs but also have their contribution towards architecture in some way.
The firm believes in the stepwise understanding and evolution of an idea that the user will grasp.
B. The project:
One of the famous and most used drinks in today’s context is the paper boat. This drink is loved
and used by all age groups and is cherished by all. The idea of the product was very strong that
made this product this successful. Studying this idea and the process was very important to
know and enhance the re-search of the conceptualisation and materialisation that was began.
These examples chosen are BOOK CASESTUDIES and the product design study is LIVE
study with the help of online accsess.Further the study was taken ahead by reviewing ’23
architects’ the YOUTUBE documentary of the architectural examples chosen, to know the
primary and secondary source of the designer talking an user as well as the critic reviewing the
work.
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II). BOOK CASE STUDY
i) PETER ZUMTHOR -THERMAE
Peter Zumthor’s work is representative of this new (absence of the typical rigid) framework.
Entering a Zumthor building, one is instantly caught in a particular atmosphere, by an
immediate emotion. Peter Zumthor searches in his memory for images and architectural
sensations in order to create the atmospheres that are implemented in his projects. Rather
than implying an intellectual meaning, he creates an immediate and physical relation to the
environment to space as to the material, to heat and light, as well as sounds and smell.
Pronounced contrast appears between light and shadowy areas. One can distinguish two
light modes. First of all, light can be channelled in order to create light and darker areas.
This implies that the light source is always “elsewhere”, inducing complementarily light shades
in the space. This can be considered as a transformation of Le Corbusier’s quote “Architecture
is the learned game, correct and magnificent, of forms assembled in the light”. Zumthor
induces a reciprocity between light and architecture.(see image 15)
Image 13: Conceptual sketch of thermae ;

Source : Internet
In his designs, he explores synergies between the abstract paper work and the concrete
constructive realities. When he explains his projects, he highlights his design process which
encloses the abstraction, materiality and reality. (see image 17)
The 2 major understandings of theory derived by zumthor are termed as “Thinking
architecture” and “Atmosphere” which broadly talk about the micro-psycological and
physical interface with the macro space on the outer edge.
In the first place, Zumthor had trained as a cabinetmaker for many years before studying
architecture, hence his thinking process regarding architectural projects revolves around
preserving the existing and carving something out of it.
The concept to practice .

What all elements weaved to the theory to bring in the reality to the words.
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The concept of know-how and its application in the project lead Zumthor to stay firmly in the
world of concrete and explaining things.
SCALE,LIGHT and INTERIORORITY are 3 spatial elements that bring justification to what
he had thought. .(see image 13)
When a building is considered as an organism and designed is when its emotions –eternal,
internal and external reveal and reach the people which zumthor mentions as automous control
over a structure.
INFERENCE-
Entering a Zumthor building, one is instantly caught in a particular atmosphere, by an
immediate emotion which is because of the programmatic layout and not approximate of
eternal human sensation . Peter Zumthor searches in his memory for images and
architectural sensations in order to create the atmospheres that are implemented in this project.
He created an immediate response and physical relation to the environment to space as to

the material, to heat and light, as well as sounds and smell. This is the particularity of the
atmospheres of Zumthor’s buildings.
The Theory The process
“Mountain, stone, water – Of hollowing the mountain.
building in the stone, building “When I design, I try to use the

with the stone, into the mountain, spatially associative quality of
building out of the mountain, thought.The material that triggers
being inside the mountain – how sensation and experiences.The
can the implications and the thought process is not abstract but
sensuality of the association of works with spatial images”.Peter
these words be interpreted, Zumthor
architecturally?” Peter Zumthor
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Image 14: Section with the connectionectivity of water ;
Source : Internet
Image 15: The journey in the structure-material ; Image 16: Inside-outside synergy ;
Source : Internet Source : Internet
Image 17: Material and water responding to one another ;

Source : Internet
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ii) DANEIL LIBESKIND-JEWISH MUSEUM
Being a deconstructivist, Libeskind often uses explicit metaphors of fragmentation in his

works, especially in regards to historical events like wars and the Holocaust.
He believes in the modern interpretation of history making the sensations move by the
planning.He prefers using powerful metaphors to the event where he is supposed to design
that lead to-
• Matrix/form
• Fragmentation
• connections-materiality-interiority.
• Structure
The act of constructing a new building to contain history provokes a range of

architectural and historiographic implications which are different in number and
kind from
those of art museums, or of history museums which occupy historic, or even simply
extant, buildings.
Recasting architecture as a deliberate and self-reflexive frame around the presentation

of history means abandoning the fiction of the ‘white box’, the idea of architecture as a
neutral ground, and represents the incursion of architecture into the realm of
historiography. Of course, such an incursion is not without
difficulties. Apart from having to fulfil a specific functional brief, architecture is an
abstract, formalised art that is unsuited to figurative
representation.
Analogies between architecture and language are almost as old as the profession itself, but
setting aside the problems inherent in such conceptions, architecture could never have the
specificity of meaning of written or spoken language. The ways in which a building might
thus express its newly anointed role in the framing of history seem limited, and
fraught with pitfalls.
Jewish Museum extension to the Berlin museum all the more significant, since the
building itself manages to be figurative without being painfully literal,
commemorative without being bombastic, and engaging without resorting to a
clunky ‘interactivity’. (see image 20)
The fact that it is the building that manages all of this is itself remarkable, and
demonstrates that the line at which the building stops and the museum apparatus begins is
becoming ever more occluded. In this paper the analysis of the Jewish Museum building
provides an opening through which to explore the implications of unsavoury histories for
the museum institution generally.
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A description of the ways in which the museum addresses the particularly difficult and
'unsavoury' elements of German and Jewish history in Berlin leads to a discussion of the
role of the history museum in representing loss and absence, those elements of history
which could be regarded as 'unpresentable'.
The Jewish Museum has found to manifest a primary characteristic of museums dealing
with unsavoury histories -- a complex and sophisticated overlap between the roles of
museum, monument and memorial, and a meditation on the museum’s role in both
embodying and containing memory.The finished building is a five storey, angular, zinc-
clad volume, a zigzag in plan, with the shortest façade fronting, and indeed protruding
into, Lindenstrasse. The fenestration is a series of gashed slits in the riveted zinc skin,
their positions and trajectories appearing unrelated to the internal spatial organisation.
The red dots indicate the 3 axis

that dictate the journey of the
museum.
Image 21: axial understanding ;

Source : Internet
On the ground the museum can never been understood as a whole, either from inside or out,
and the 'zigzag plan', while it has been much touted in the architectural press and in fact
provides the museum’s logo, is not apparent in the building itself as a gestalt.
The void spaces are paradoxically the most extravagant, but at the same time the most
ambiguous, affective and expressive device employed by the museum. As a whole, the
building reflects a fragmented, disorientating and uncomfortable subjectivity through its
fractured vertical and horizontal planes and the vertiginous effects of its towering, cavernous
spaces. This gallery of spatially and emotionally disturbing effects, including the ‘incoherent’
system of circulation, culminates in the void spaces, which are charged with the presentation
of absolute absence. In these profoundly affecting spaces, harboured at the spatial and
metaphorical centre of the museum, is represented the tragic failure of the Enlightenment
project, simultaneously with the memory of its human victims. (see image 20)
The space is devoted quite specifically to absence; 'the museum proposal is to evoke and
particularise an absence more than a presence: the unnameable of the voice of God, but
also absence as an accusing form of presence of an incinerated culture and community,
in whose cremation modernism was burned as well' (Cobelo 1996: 37).
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INFERENCE-
Daniel Libeskind uses metaphor, fragmentation, void, and disorientation in ways

described in the table below to communicate the suffering of the Jewish people in and
out of Berlin.
This is a decoding understanding of the deconstructism term used as a theory by him.
The theory The process
Arch as form of communication “Architecture is not a limited field,

even though many practice it as such.
“Architectural space, as I see it, has to
It affects everyone; it is centrally
be part of the story it’s trying to
positioned, so consequently it is part
communicate. It’s not just a container
of film, language, the visual and not
to be filled; it’s symbol. And the
visual world. The visible art of
symbol transports you beyond the
architecture makes us aware of that
material reality and, in architecture,
which is not visible.”.Daneil Libeskind
toward that which language itself
cannot fully articulate” .Daneil
Libeskind
Image 20: Massing ;

Source : Internet
Image 19: Concept and zoning of

museum 2 ;
Image 18: Concept of museum 1 ; Source : Internet
Source : Internet
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iii) . ELEPHANT STUDIOS-PAPER BOAT
Elephant is a strategic design and brand consultancy with offices in India &
Singapore. They have consistently delivered ideas & solutions that come alive as winners in
the emerging markets. What makes us dependable: our experience & knowledge of Indian
consumers, our eye on global trends, the co-creative approach, effective blend of insights and
innovation.They use their initial thought as the concept which then takes the form of the
product. Such products of them being quite famous and used, this is chosen as an
example.(see image 24)
Image 24: Advertising poster ;

Source : Internet
Here the product of paper boat drink is taken into consideration. They started off with this -
poem-
A POEM floated by the team to revive the concept amongst the public-
Your first craft lesson. Your first rain when you were allowed to go out. Your first sense of
accomplishment.
Your first sense of loss as it drowned. Your first life lesson about staying afloat in harsh
circumstances. Your first science lesson about buoyancy.
A paper boat implies a lot of firsts.
But it also signifies a different world. With different priorities.
Maybe it implies a Tagore poem of the same name.
Or maybe it tells us that no matter who you are, where you lived or what you’ve done in your
life, you remember how to make a paper boat right?So the real question is:
“Why not paper boat?”
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The simple process and their methodology went something like this-
1. Jotting down the memories

2. Creating questionnaire and conducting games to unfold the concept directly through
public
3. Making of the product-Decoding the shape
4. Writing stories
5. Marketing
INFERENCES-
• The understanding of the concept adopted by a designer and conceiving of the same
by the user has to be a clear process.
• This process is completed here by asking the user itself to decode the concept which
was used in the design process.
• While the final product has some simulations with the character of the boat making it
easier for the user .
• Such products with an approach reach the people easily making it a success
The Theory
Our Theory”The inspiration lies in

emulating fruits tastes and
experiences standing tall on a
benchmark of hygiene and safety.
Getting the good moments out to you
while avoiding the unpleasant bits
while you unfold your childhood
memories”.
Image 22 The product of paper boat;

Source : Internet
Image 23:
Source : Internet
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. II. YOUTUBE REVIEW.
I) PETER ZUMTHOR -THERMAE
The background of the review talks about derivation of the project and how important this
project is to them and the hunting procedure for the architect who wouldn’t just build it
virtually.
PETER ZUMTHOR SAYS-“My way of inventing architecture begins with a strong image
and not just an idea. Idea is always accompanied with a strong image and not just an
idea. Idea is always accompanied by a powerful image and a visualization of a bodily
image and is not an abstract idea. These 1st images are naïve and an almost childlike
way. I like them During the process of designing I make sure this image turns into
architecture and a self-defining architecture.
Human effort could bring a work of a novel, poem or a string quartet to life. When this
succeeds, this gives rise to cosmos and a emotion that gives rise to a whole. As a film, I
enter it as someone who has invented thoughts and has felt it for me. ”
In this case the idea was to open up the mountain and create a water quarry where blocks of
stones still remain and can dig down and on the sides(see image 14). Then what remains are
the roofs or fragments of roof. You reconsider the idea of bathing and if you think of the hot
spring, you can design a building that is in the harmony with the topography and geology of
the place and not just the immediate aspect of the surroundings. The idea came as a bath
borne by the mountains. .
Developing the concept-There was restriction to the architect to not build upwards because of
the view the hold had which was its immediate neighbour. Hence Zumthor sinked his building
inside the earth. The green grass over the flat roof blends with the landscape. Only the
geometrical pattern reveals its presence. The only façade facing the mountain is made from
stone got from the local quarry. Crystalline stone worked in thin slabs and stands up well to
differences in temperature. The block façade is penetrated by wide windows and terraces-no
doors. The entrance of the building is from the hotel with a corridor that passes through the
mountain.
The spa area revolves around 2 irregular shaped pools -one in the centre and the other in the
open air.The tall walls for the outer pool makes the pool feel as its sunken inside providing
the effect of the natural pool as the architect spoke about it.The transition of outside to
inside is fulfilled by the play of light and shadows that’s shower’s the movement of the
user. The spa can accommodate 150 people with visitors from hotel, village inhabitants and
many others. People come here to relax, chill and attain a certain physical well-being rather
than seek a cure from the waters.
23
The façade and the empty spaces on the sides reveals the style of the architect.15 different
units with large outcropping roof section are brought together. The load above is taken by
the metal cables that take the strain to the ground.
The roofs developing the site fit together like a puzzle while the smaller units don’t quite feel
the surface area. Units also form the façade. These 15 unit puzzles are joint by the glass
joinery which on the inner side creates a jewel impression. Because of this the roof doesn’t
seem to be heavy. Each unit has an element of surprise The volumetric breaking with the
material and the colour makes the single sensation of the user to the water and therefore the
unit. Such 15 units serve different sensations and orders.(See image 14)
The 5M high buildings creates a landscape of cliffs and false lines, alignments of volume out
of scale with human size. The long carved stone with the staggered stacks makes the joinery.
Each of this size and thickness is merely different which creates an illusion and the false
quarry. The permutations and combinations of the construction let this. The architect has
created a symphony in stone but the user has marked out it time where the user tried to
touch it creating an staging effect. To add to the effect the architect forces the user to face
what surpasses the-the blank mountains.
The architect finds bathing a ritual wherein you undergo a change by removing your everyday
clothes and come into a new world of stone and water with different temperatures, light,
acoustic effect and the different surfaces you feel on your skin. A psychological effect with
unbelievable effect. On a formal level everything is simple and assembled. Part stone and
part water is marked by the sensuality and experience. The alteration of austerity and
sensuality, the immobility of the straight parallel lines and the shimmering of the water
and it reflection of the monochromatic grey and the play of light. The user therefore
enjoys every bit of it. At night, the light shines from the water.
The final step that created this architectural wonder is the PROGRAM FOR BUILDING
AND BUILDING FOR PRGRAM WHERE THE 5 SENSES ARE SOLICITED. EACH
EFFECT WORKS AS A PRT OF THE WHOLE, BLENDING THE INTIMATE IN
THE HOT AND COLD SUPPLY AND THE RICHNESS OF THE STAGING
CONCEALS GREAT MYSTRY IN ITS APPATANT SIMPLICITY. (refer bibliography,
video 2)
24
II) DANEIL LIBESKIND- JEWISH MUSEUM
Daneil Libeskind says
“I have been to many Jewish spaces where the vegetation is over-gowned, always kind of in
state of erasure but advises that struck me the huge confidence in future that was black
because all these tombstones which were created for future generations uncarved. The
confidence that for the hundreds of years that will be Jewish families continuing to the present
a tradition struck me as the absolute void because there was no body to see from their family
to observe the emptiness of these slabs of marbles and that was the condition of the city and
the state of mind woth the spiritual legacy of the context.”
“The site is not just a piece of real estate but much more than that.The jewish concept and
livelihood was slightly beyond what it people realised about it and was not nearly deeply
buried but had linkages deep orientated by the catastrophes and the extermination of
the European jews and also in locations and topography of the city place where the
people and their present state and the horrifying past still matters. These parameters are
not something that can be made in numbers but the presence and the absence of this state
haunts the people.
Developing of concept-Museum is not a story which once your done is finished forever. It a
story that stays stays forever that creates an attention between a substance of what can be told,
what never can be told and the intuitive part of it. The attempt of the subvert to control make
make the story finish and finish with it which is the DEAD part of the challenge in designing
a building. .(see image 22)
According to Libeskind the real inspiration for the building was walter benjamins book-I’M
BANDS STRABS ONE WAY STREET and schoenberg’s- OPERA MOSES and AARON a
work with 3 plays and no music after the 3rd act.Libeskind wanted his building to be a
prolongation to this unfinished piece od sound work.His seriousness was depicted by a
writing he wrote a proposal on the stave of the musical score and entitled it between the
lines.From the lines of the surface that show the façade upto th extraordinary broken line that
controlles the mass from end to end .lines govern the building.
The tortured form of this structure embeds all the violence over ruptures over the history in
germnay.Inspite of the forces with the expression the movement is less arbitrary then it
appears to be.There were trees on the site.trees in the centre change the direction of the
25
form.Such new construction is seen blending with the context i.e no intention of outshining
the baroque building whose is highly respected.Nothing external links the structure which
appear to be set one beside the other.Entrance is from inside the baroque pile.Entrance is
made from a untreated concrete that opens out onto a staircase that instead of seeping nobly to
the upper floor that is usally expected goes underground. .(see image 20)
The visits starts from the foundation part of the old building but the Architect reverses the
suggestion. When you lift your head on can see the staircase is at the bottom of the concrete
well that without any functional justification,perices the building at every level allowing all
floor upto the eaves. The Museum and the historic momumnets are interwined as per the
history with the hidden violence.
The concrete tower guards the entrance to the underground area which is the heart of the
project.There are three corridors. Presence of the central island which makes only 2 corridors
to be seen at a time. These corridors are treated as axis which are connected as body and space
which talk about continuity ,exile and death clubbed by light.This journey is said to be a
testing journey or a ordeal.The expected sequence of a reguraly mesuem is completely
broken by going 12 M down by staircases that communicates to the being of a jewish.Out of
the three axis only one acts as the exit space which is termed as continuity.Principles of
modesty being applied.A sudden perspective of spectacularity rises when the axis rises to the
third floor which has light coming from various slits.
The material used is zinc which will be changing its shades over the decades and will be
readable in time.GASHES,CUTS,SCARES COMPOSITION WITH THE SENSE OF
MODERNISM are some ideologies derived.
The compressed space is expanded in certain direction wherein the sequence is maintained.
Free space is only in one direction which is upward. The cross heavy beam running across
the passage shows the difficulty one goes through to hold the structure apart which underlines
the effort in making the path to the light i.e the day. Other two underground axis are
exhibition areas. The axis of holocaust ends into a tower which is a dark space with blank
wall and slit opening which is the only opening on the outside.3rd axis culminates into a titled
box which talks about exile. There is no other way to return out than the underground
axis.(see image 21) (refer bibliography,video1 )
26
Libeskind says “ space has an authentic capacity that dictates which club with light, material
etc.”
REVIEW 1(YOUTUBE 23 architecs|Hollister)-The curator questioned the walls and its

openings as no exhibits could be put up with the 20th century derivation. In 2000 finally after
issues like architecture itself being an exhibit and the curators refusing to put up the material
in that structure. Later after the arguments many ancient artefacts and material was brought to
the galleries with the interior designers from Zurich filling up spaces and destroying the
singularities of the designed space by the steel staircases panels, partition blocks, service
mass, utilities etc spread through blocking the windows, COVERING THE
WINDOWS,ROUNDING THE CORNERS. Still some of this architecture stood firm like
the continuity axis.But this was also interrupted by the blocks of concrete that were inserted in
between for the end of the chapter of the exhibition spoiling the sequence. In the end the
entire use and the 3 axual concepts manifested were not used completely which created dead
spaces. Use of rest 2 axis was also not covered in the journey.
Image 21: axial understanding ;

Source : Internet
INTERPRETATION-The incarnation of the final figure in German -JUDAISM is indicated

by the dotted skylights that cuts through the zig zag form(incarnation).The skylight/towers
that has nothing in them was called as “voids” by the architects.
Developing of concept-Museum is not a story which once your done is fiished forever. It a
story that stays stays forever that creates an attention between a substance of what can be told,
what never can be told and the intuitive part of it. The attempt of the subvert to control make
make the story finish and finish with it which is the DEAD part of the challenge in designing
a building.
27
3.1 QUESTIONNAIRE
1.ARCHITECTS
AR. NARENDRA DENGLE.Pune

(Academician+ practising Architect+ Theoretician)
Source : One to one interview
Q-Considering your design process. What do you think is a concept/philosophy in design?

And how did you come up with them?
A- 1.Every given moment in life is unconnected to the past. Whatever that I have learnt
has not acted on me physically and have rooted. After going through all the readings
and books, its not just a “philosophy” that acted on me.
2.I believe in the cosmic relevance and its roots tied to the existence and reincarnation
of a soul with the actions involved is non-negotiable for me .This came to me by
noticing various people, practices and places. The act you do has hence a global
responsibility.
3.When a project comes to you -its site and the learnings you have carry brings the
intuition of the concept to the man.
Q- Usually a concept is linked with form which itself 1st intuitive idea of a designer forming a
concept? Can you elaborate on the same?
A- Making of a form is a thinking process, which is an initial intuitive idea. Concept not
necessarily comes from architecture it comes from the thinking journey of the
man.This concept -intuitive idea could be virtual or visual .Whereas louis Kahn talks
about making of a school by students sitting around it and the teacher sitting under the
canopy of the tree. This is the formless idea which is then derived into fragments
which could be buildable then. So the form not necessarily is a physical idea but
could be a virtual one which inter-relates to architectural spaces and elements.
Q- How do you relate this intuition to space and space to the build mass and the mass to the
user?
A- Space is defined by something which the manual cannot. The feeling of this space
rests in all of us in this formless world. This world can never be devoid of spaces so
the spaces just exist and regularly/periodically you experience it.
Similarly you did not to explain the space to understand it.There is a certain
connectivity which establishes the continiuom of space. There is a certain sequencing
to this which is very important to me and which brings architecture of light -space-
material etc.
28
I don’t start doing it continuously. This a parallel thinking going with the existing
scenario and the inter-intra body thinking which is moving all of the time and is not
fossilized.
This is related to the ‘SPACE’ and being also connected to the cosmic is of great
importance to me.So what happens is in this cosmic world the past learnings and the
experiences man undergoes brings out the spaces. But when a project is undertaken
the context and these spaces come together to come a buildable space in this formless
world. The walls are been connected with the continuom which is to be achieved to
connect the journey.
User hence experiences this connectivity effortlessly.

This this philosophical connection I do that brings in light and ventilation ,it is
very architectural-material-physical. You start with this consciously in the way of
creating a build mass and not just leaving as a virtual theory.
Q- The time factor usually required for the concept development is less to the time required in
the materialization art of it.Where is hence seen that it affects the design making like the rest
of the boxes. Can you kindly elaborate on the same.
A- Certainly, this dictates the working process. But talking about the practical aspect
of it, ideally the ratio of time consumed by these 2 aspects has to be in the same
way. If much of the time is consumed is waste din developing the concept ,the
design tends to be virtual and then bring it to the execution part or the
materialisation part of it is quite difficult.
Q- As studied academically and seen in a few projects in books and live. There is a a break or
gap in the connection of the theory/concept used in architecture. This gap doesn’t let the user
use the structure to the utmost bringing those dead spaces and misinterpretation of spaces.
This might let go of the complete understanding by which the designer has made the product
and vice versa w.r.t, the user. Can you elaborate on the elements that might bring this smooth
conversion of conceptualization to materialization.?
A- In any sort of project the efficiency and the usability of the structure or space
matters than any component of it.Firstly taking deep concepts and struggling to
make it into a buildable mass makes no sense. Both the processes of
conceptualisation and materialisation must go hand in hand where the
materialisation part i.e the execution is very crucial w.r.t. the deadlines to meet and
the cost factor of the same. This has to be kept in mind.
29
AR .VIKRAM YELLURE.Bangalore
(Recently passes out architect who hold many awards for the thesis design)
Source : Email

How do you initiate the design process.?
A- Concept/philosophy is something that creates a design out of a imagination. It is the

extreme initial point from where the designing process begins. It could be of any
manner and could be interpreted in any way. This is derived from the site/contextual
response along with the way others have dealt the similar projects and the learning
derived from them. These learnings channelize the imaginative process that helps in
the sorted conversion of virtual matter to real matter and the failures that have taken
place while doing them.
Similarly I refer to a few examples done, similar to my project and derive the derivations
out of it.Further the contextual response brings out the 1st imaginative idea that is then
guided by the examples studied.
Q- Usually the intuition of the man from the derivations forms a concept that is linked with
form? Can you elaborate on the same?
A- The intuitive and imagination power of designers is said to be greater than that of the
normal man.These massive ideas could be of any form .So one of them is the form
concept where the shape itself is the initial idea around which the design evolves. But
there are ideas where the formless idea/concept also takes the shape of the shape
gradually as the materialisation happens.
Q- How do you relate this intuition to space, and space to the build mass, and the mass to the
user?
A- The reason of the concept/theory formation and linking it to the design is to create nice
innovative spaces that are used by the user. The motive of the theory/concept talks
about the same. The conversion of the conceptualisation to materialization is where
the designer starts imagining the spaces and then tries and gets into the material part of
it.And as these small elements come together the structure and its journey is created.
Appropriate weaving of the conceptualisation and the materialisation will create
the link between the user and the structure as expected by the designer.
the materialization of it.Where is hence seen that it affects the design making like the rest of
the structure boxes. Can you kindly elaborate on the same?
30
A- The journey from the student doing academics to the professional architect’s
projects talks about the time limit and the time that dictated the making of the
structure. Many a times the start i.e the initiative step is something that is so
interesting that the conversion of this and resolving the concept to the buildable
area takes a very long time. Hence as the time proceeds, some of the parts of this
skipped in order to complete the project on time. Hence time required for the
selection of the concept and the conversion of the same for the execution is very
important in order to complete the bridging of the 2 successfully.
AR.SHANTANU VAKANKAR.Pune
(Commercial based famous practising architect in Pune)

How do you initiate the design process.?
A-Concept/philosophy is a virtual term which our firm barely uses. We do not believe in
these virtual terms as the existing condition and its response and so comes the 1st thought
of responding to the site. These big theoretical terms are not generally needed. Concept is
one idea that comes up from a combination of several other things that is being linked
with the project. There are certain examples where this is done nicely and they hence have
better results.
We analysis the site and context through which certain affirmatives are drawn from it.
These are then made in doodles or sketches that take a physical form.
Q- Usually the intuition of the man from the derivations forms a concept that is linked with
form? Can you elaborate on the same.
A-Yes the intuition does bring about the 1st idea for the project.This idea obviously has
various tools that are convert the idea into a 2D or physical mass making it understandable
for the further process of designing.Form is one part of the concept which is used by
practises like us to make a structure.
Q- How do you relate this intuition to space, and space to the build mass, and the mass to the
user?
A- The user to all the above linkages is the user. While making the virtual or imaginative
idea of anyone into a physical entity the MAN USING THE STRUCTURE PLAYS
A VERY IMPORTANT ROLE.He being the one using the space-the mass- the body
,synthesis of the complex matter must be made simpler as much as possible to ensure
the complete use of the design and structure. No negative space and no unaddressed
space must be left just for the sake of aesthetics or concept.
31
the materialization of it.Where is hence seen that it affects the design making like the rest of
the structure boxes. Can you kindly elaborate on the same.
A-Certainly, this dictates the working process and the client demand. The amount of
time in hand for the project is also one of the important factors of this.More the time
better can we work on it.But now as the no. of projects have been increasing, the
amount of time spend on the execution and designing part is more.Mnay a times the
concept has no role to play but is left aside .
Q- As studied academically and seen in a few projects in books and live. There is a a break or
gap in the connection of the theory/concept used in architecture. This gap doesn’t let the user
use the structure to the utmost bringing those dead spaces and misinterpretation of spaces.
This might let go of the complete understanding by which the designer has made the product
and vice versa w.r.t, the user. Can you elaborate on the elements that might bring this smooth
conversion of conceptualization to materialization.?
B- In any sort of project the efficiency and the usability of the structure or space
matters than any component of it.Firstly taking deep concepts and struggling to
make it into a buildable mass makes no sense.Both the processes of
conceptualisation and materialisation must go hand in hand where the materisation
part i.e the execution is very crucial w.r.t. the deadlines to meet and the cost factor
of the same.This has to be kept in mind.
32
3.2 LIVE CASE STUDIES
A) MAHARSHI KARVE MUSEUM,Pune
Client : Maharshi Karve Stree Shikshan Sanstha(MKSSS)

Principal Architect : Narendra Dengle
Design Team ( Meghadambari) : Minal Sagare, Meetali Mahajan, Roopa Chougule
Design at work : Pune
Project period : 2003-2006
Area : 64,496 sq.m
Construction Cost : Rs. 62 Lacs
The Samadhi existed on the campus of MKSSS with his statue in bronze. MKSSS wanted to
build a meghdambari or canopy over the Samadhi which also enshrined his wife’s Samadhi.
Theory-The design depicts energy like a wind mill around a circular courtyard symbolic
of Karve’s work for women and his own shy but extremely dynamic personality. His
selflessness in building work around his strong beliefs and inspirations and his sense of
economy became important for us as architects.
The design of the Samadhi canopy is a simple structure reminiscent of the hut on the campus
in random rubble masonry and pot tile roofing, where Karve lead his austere life.(see image 25)
The Samadhi structure is designed in coursed rubble masonry, and M.S. tubular structure that
supports the Mangalore tile roof over T.W. planks. The openness of the structure symbolises
Karve’s own life which was like an open book. The entrance is located in the middle of the two
Samadhi’s. The canopy is open on the sides in the garden beyond the play field. The finishing
is in natural stone and the, Tulsi vrindavan, statue base and the statue, have been retained in
their original form. The students come to this canopy and relax or read in the peaceful
atmosphere. The Samadhi structure was completed in 2004.
Memorial Museum
Image 25: The samadhi of Karve ; Image 26: Museum display ;

The objects of Karve’s personal use, his letters and picture, awards etc were already put together
by the institute in a make shift museum that existed on the first floor of an old building. It was
decided that all this would be moved into a new Memorial Museum and more information and
33
objects would be collected by the institute by writing appeals through newspapers. Our
approach to the design began by researching into Karve’s life, history of Pune of the
period when he lived and the history of institutions that Karve built.
The building in contrast to the Samadhi is a more dynamic structure, though built in
simple composite stone-brick masonry and RCC structure. The focus was on sustainability
and use of natural resources for light and ventilation.
Walls are provided with holes at the lower level to bring in fresh cool air while the hot air
from within escapes through the tall vertical shafts that bring in bounced light into the inner
space. The Memorial Museum and the Samadhi are connected to each other by a paved link
through the garden. The garden is a simple green land cover with trees and shrubs planted next
to the windows connecting the three halls. Provision is made in the walls to install air
conditioning system should it be needed in future-especially dehumidifiers to prolong the life
of some of the exhibits. Natural light drawn from the tall lighting shafts is found to work
well but artificial lighting which provides similar lighting conditions in the interior is also
installed.
All except two of the existing trees have been retained, which give a very cool shade to the
whole building. The central circular court and the raked roof make a continuous amphitheatre.
A slightly leaning tower welcomes at the entrance and brings people up on to the terrace
to watch shows, lectures, or films. The amphitheatre and the use of the roof for the purpose
also are an ode to Karve’s sense of economy. The project was completed in February 2007.
Image 27: The outside view Image 28: The temple Image 29: Sections explaining the
; Source : Internet lightning startergy ;
Image 30: The roof seating with the courtyard

view ;
Source : Internet
34
INTERVIEWS
MRS.JAI KAPSE,Pune
Age-49
Gender- Female
Profession- Care taker of the museum.
• What is the purpose of coming here?

A- I look after the maintenance of the hall and hence I keep coming here twice/thrice
a week.
• How would you rate your overall experience working and visiting the museum from
the structure and the designing of the structure point of view?
A-
• If you had to rate the structure in terms of the design and its working how would you
rate it in 5?
A-
• From the 1st visit of yours to the structure till date, there must have been changes in
the places. This change that you have seen has been – good/bad/OK?
A- Okay.
• Do you find this museum diff from the rest of the museums you have visited?
Yes/No? If yes what are those factors making it different.
A- Yes,the seating above the museum and the window pattern is very different which
makes the museum something different.
• What factors make structure the same/different than the other museums?
A- The circular movement and the entrance with the seating above.
• How you rate the spaces like the courtyards that is not an architectural part of the
museum in terms of the space usage? In 1-10 ratings.
A- 6
• Do you think these axillary spaces were necessary? Yes/No.Can you explain about it?
A- No. The spaces like the big courtyard and the edge patterns are not being used
every day. They are not really needed.
• Which is the space/place in the museum which you like?
A- The roof seating and the entrance seating.
• Does the journey of the museum depict the energy of the great Maharshi Karve and his
work by the design made?Yes /no
A- Yes
35
MRS.SWARA SHINDE
Age-31
Gender- Female
Profession- Student at cummins .
• Have you visited the Karve museum?How many times have you visited the place?
A- Yes I did .Thrice I must have been in the museum.
• How would you rate your overall experience visiting the museum from the structure
and the designing of the structure point of view?
A-
rate it in 5?
A-
A-good.
• Do you find this museum diff from the rest of the museums you have visited?
Yes/No? If yes what are those factors making it different.
A-Yes, outside planning with the landscape and the entrance to the courtyard
connection. Also the seating on the rooftop is interesting.
• What factors make structure the same/different than the other museums?
A-The design and display pattern with the light system.
• How you rate the spaces like the courtyards that is not an architectural part of the
museum in terms of the space usage? In 1-10 ratings.
A- 8
A-Yes.These spaces/places have added to the interesting part of the museum
• Which is the space/place in the museum which you like?

A-The courtyard.
• Does the journey of the museum depict the energy of the great Maharshi Karve and his
work by the design made?Yes /no
A- Yes .The journey does depict the natural energy which is been portrayed.
36
B) .MHASOBA TEMPLE.Pune
Client : Mhasoba Mandir Trust, Kharawade

Design Team : Dhanashree Ghaisas, Radhika Murthy, Yashashree Aurangabadkar
Project Period : 2009 onwards,
Area : 11,000 sq.m.
Construction Cost : Rs. 4.29 Cr.
Mhasoba is a folk deity of the forests.
THEORY-The legend is that Mhasoba wanders around the forests and guards the flora
& fauna and hence lives under trees so the built had to be seen in the same manner.
Kharavade is a small village north west of Pune on way to the newly emerging Lavasa city. A
small shrine already existed on site and worshipping took place for the last three generations..
The social and cultural activities that the temple is known for include mass weddings that
happen in numbers as large as 200 couples at a time. Over the last few years, the number of
devotees has increased demanding a better organised place and ambiance commensurate to the
activities.(see image 34)
Our architectural design proposes to reorganise the open space into three large courts that
distinguish the shopping, wedding activities, and the main temple area court. The main temple
area court has three components that include the garbhagriha, the sabhamandapa, and the
natyamandapa; which are proposed to be built in the phase I.
The natyamandapa is surrounded by a layer of darshabari-the queuing of the devotees up to the

shrine. Using the existing contours to make the phase one campus in three levels, the
natyamandapa is provided with raking facing the stage where performing artists singing
traditional kirtans etc. would perform. The form of the sabhamandapa and the natyamandapa
are similar with the roof of the stage becoming an inverted form of the roof of the former.
Image 34: The Plan ; Image 35: The section ;

Garbhagriha would have three cells around the pradakshina path where other deities would be housed.
The shikhara would be in pre cast ferrocement , and the walls would all be clad with the local deccan trap (
basalt) stone cut into blocks. The walls of the surrounding darshanbari and the osaris are treated with
traditional look having the lower portion built in basalt stone and the higher wall resting on it in exposed
brickwork. All columns at the gateways would be in exposed R.C.C. and the ambience is meant to be
contemporary devoid of any decorativeness but in ambience evoking traditional temple space.(see image 33)
37
Image 31: Shikhar view ; Image 32: The inverted canopy and the seating around it ;
Image 33: Kund ;

Source : Internet
38
INTERVIEWS
MRS.MANISHA BHANDARKARRE.Pune
Age-58
Gender- Female
Profession- Housewife.
• How many times have you visited the temple?

A- Thrice.
• How would you rate your overall experience of visiting-worshipping and praying in
the temple, from the structure and the designing of the structure point of view?
A-
rate it in 5?
A-
A- Okay.
• Do you find this temple diff from the rest of the temples you have visited? Yes/No? If
yes what are those factors making it different.
A- Yes,movement pattern and is nicely composed..
• What factors make structure the same/different than the other temples?
A- The movement and the material usage with the big spaces.
• How you rate the spaces like the inverted roof etc that is not an architectural part of
the museum in terms of the space usage? In 1-10 ratings.
A- 8
A- Yes. They complement to the divine spaces of the templeand the other day to day
activities of people visiting here.
• Which is the space/place in the temple which you like?
A- The inverted roof and the ,courtyard like kund.
• Does the journey of the temple depict the energy of god and its existence everything
by the design made?Yes /no
A- Yes
39
MR.VIKRANT BAPATASKAR Source : One to one interview
Age-68
Gender- Male
Profession- Factory employee.
• How many times have you visited the temple?

A- Many times as I stay in the nearby area.
• How would you rate your overall experience of visiting-worshipping and praying in
the temple, from the structure and the designing of the structure point of view?
A-
rate it in 5?
A-
A-No such changes have been made. But so far it is good.
• Do you find this temple diff from the rest of the temples you have visited? Yes/No? If
yes what are those factors making it different.
A-I don’t find much of the difference and uniqueness. But still quite open gathering
spaces have been allocated.
• What factors make structure the same/different than the other temples?
A-Same as I mentioned above. The inverted staggered roof also acts as one of those
elements.
• How you rate the spaces like the inverted roof etc that is not an architectural part of
the museum in terms of the space usage? In 1-10 ratings.
A- 6
A-Not really. It would have been certainly allright if they were not there.Also th e
• Which is the space/place in the temple which you like?

A-The sambhamandap and the natyamandapa.
• Does the journey of the temple depict the energy of god and its existence as the history
talks about masoba, everything by the design made?Yes /no
A-Quite really it does. The simple design of stone and shikar with big gathering spaces
make it like our temple.
40
C) THE RESIDENCE.Bhavdhan
Client:Ar.NarendraDengle
Structural Consultant : V. D. Joshi
Project Period : 1995-1997
Area : 565 sq.m
Construction Cost : Rs. 38 lacs
Being the architect’s own house and studio, there were a lot of experiments that were carried
out in both the design and construction technology by them and the team. Architects wife and
himself both did not want to do what we had already attempted in some of the old projects.
Theory - The concept in this house was to create a library which would, basically be where
I would work, as a point of contact between the staff and me. This is where our interaction
would take place.While along with this the overall connection with the sky and sun was to
be there in any corner of the house.
Hereafter how this theory has been manifested to spaces and materialisation is stated-
The form of the house is like ‘many houses’. Like in a typical villagescape one would find a
number of organically linked forms, similar in nature but unassuming in their linkages
with one another; this building too explores its formal possibilities. Oriented to north-east/
southwest axis, to receive the prevailing breeze, the house becomes angular, curvilinear as it
attaches with the circular core-family space. The spaces receive bounced light and skylight
through the crevices of its sculpted form. Diagonally turning the plan also facilitates a slightly
larger orchard in the backyard. Since the clay brick in Pune is of poor quality we opted for
hollow concrete blocks, which are used both for walls as well as filler slabs. The roofs are in
curvilinear Ferro-cement material that is lightweight and thin. This automatically responded
well to the formal considerations.
By creating levels the need to have corridors was eliminated and space too made more
transparent and porous. The surfaces of the walls and ceilings give enough play of light and
shadow and precisely the same becomes the ‘interior’ of the house, not needing any applied
decoration! The curvilinear roofs are covered with PVC sheets over a blanket of rock wool that
serves as a layer of thermal insulation. The conical dome from which the name of the house
is derived, celebrates Le Corbusier’s contribution to architecture. House must become a
place, which symbolises one’s memories and associations with people, and places besides being
a building that attempts to solve various function al needs.
41
Image 36: External connections- Image 37: working pads- Image 38: Shape of structure
setbacks ; informal space ; projecting ;
Source : Internet Source : Internet Source : Internet
Image 39: Elevational character Image 40: Shape of the structure

composition ; projecting ;
Image 41: Spaces and activities fitted inside the

composition of shapes ;
Source : Internet
42
INTERVIEWS
MISS.MAYURI BHANDARI.Pune
Age-24
Gender- Female
Profession- Architectural Internship.
• How many times have you visited the structure?

B- I visit this place everyday due to the schedule.
• How would you rate your overall experience of visiting-working in the place, from the
structure and the designing of the structure point of view?
B-
rate it in 5?
B-
• From the 1st visit of your’s to the structure till date, there must have been changes in
B- I don’t see any changes as such in the place except for the movement of certain
tables or so which is allright.The place doesn’t need to go any change, its all
adaptable.
• Do you find this place diff from the rest of the offices cum residences you have
visited? Yes/No? If yes what are those factors making it different.
B- Yes,definetly.The design pattern and the amalgamation of the workspaces is
gelled completely.
• What factors make structure the same/different than the other such structures?
B- As mentioned above the connectivity factor and the roof that gets in the light is
something that differentiates this from the rest.
• How you rate the spaces like the intermediate level connection, the alagamation of the
residence and office space etc that is not/partially architectural elements of the
structure in terms of the space usage? In 1-10 ratings.
B- 9.5.I personally loved the space interaction that occurs which makes the space
alive even when you don’t have the space crowded.
B- Yes definetly.The above reasons talk about the same.
• Which is the space/place in the structure which you like?
B- The working area where all sit together and the light peeps in bringing in live
atmosphere. Many such spaces been created creates the work environment by
default.
• Does the journey of the temple depict the space/nature/man’s weaving by the design
made?Yes /no
B- Yes definitely it does.
43
MISS.SHREYA SHAH.Pune Source : One to one interview
Age-29
Gender- Female
Profession- Architect.
• How many times have you visited the structure?

C- 5 times
• How would you rate your overall experience of visiting-working in the place, from the
structure and the designing of the structure point of view?
C-
rate it in 5?
C-
• From the 1st visit of your’s to the structure till date, there must have been changes in
C- I don’t see any changes as such in the place except for the movement of certain
tables or so which is allright.The place doesn’t need to go any change, its all
adaptable.
• Do you find this place diff from the rest of the offices cum residences you have
visited? Yes/No? If yes what are those factors making it different.
C- Yes,definetly.The design pattern and the amalgamation of the workspaces is
gelled completely.
• What factors make structure the same/different than the other such structures?
C- As mentioned above the connectivity factor and the roof that gets in the light is
something that differentiates this from the rest.
• How you rate the spaces like the intermediate level connection, the alagamation of the
residence and office space etc that is not/partially architectural elements of the
structure in terms of the space usage? In 1-10 ratings.
C- 9.5.I personally loved the space interaction that occurs which makes the space
alive even when you don’t have the space crowded.
C- Yes definetly.The above reasons talk about the same.
• Which is the space/place in the structure which you like?
C- The working area where all sit together and the light peeps in bringing in live
atmosphere. Many such spaces been created creates the work environment by
default.
• Does the journey of the temple depict the space/nature/man’s weaving by the design
made?Yes /no
C- Yes definitely it does
44
4.1 INFERENCES
Above is a compiled qualitative data regarding the CONCEPTUALISATION AND THE
MATERIALISATION .To enhance and conclude the connection that was asked and looked
up as a re-search question for this research a conclusion with the quantitative data is needed.
To support that ,here is a table stating the inferences with the ratings ;
QUESTIONS RATINGS and REASONING
1. How important is the concept - t

formation for a design.?
2. How important is the process of

concept formation?
Structures with concept create spaces and

3. Why is it necessary to have a concept elements that leave a mark on the humans
in a design? mind making the structure better.
Structure with a concept

4. Are the structures having a
conceptual/theoretical approach better
Structure without a concept
than the ones that don’t have one? (Given is
the experiential quality rating)
MATERIAL-
5. Except for the user .What are the other
elements that link- SCALE-
theory and practice and user?
(Conversion of the concept – materialisation is wholly AXIS-MOVEMENT-JOURNEY
depended on the user activity and anthropometry

SCALE-
schedule. But along with this w.r.t to the theory/concept
chosen these factors help the user in conceiving the
concept made by the designer) FORM-
45
Figure 2 : Discipline of architecture;
Source: Narendra Dengle and associates.
The figure talks about the various type of factors acting as raw material to get in the
initiative idea or art that goes under layers to process the experiential factor of
architecture.This hence says that the discipline of architecture comes some or the other way
from the art or natural conceptual elements around that undergoes germination to get into a
structured form.
CONCEPT DESIGN
FUTURE SCOPE OF STUDY-

The study aimed at knowing the relation between the conceptualisation and
materialisation. Also the factors that affect and bridge this gap when it comes to
the understanding of the user which is been justified by the examples taken
The study could be taken forward with a few more examples being raised from
different times/contexts and systems and attempt to understand the lines of
whether the architect has been successful to make the user conceived the space and
structure as he perceived it.The success and failure of the structure with respect to
these terms could also be rated. With this study the factor for the bridging of this
gap could be concretised.
46
The wide range of examples that will cover all the relativity wil enhance the study
and will give factors that will apply for all sorts of projects.
4.2 CONCLUSION
The 2 terms of THEORY and PRACTISE about which the research is holds plays a
pivotal role in the design process of the structure/product.These terms form the thread
right from the initial thought process to manifesting this to the materialisation part of it
holding the design strong.
The weaving of these 2 terms w.r.t. concept chosen brings out the spaces and certain
elements that make the structure different from the rest.This therefore creates a
unique experiential quality than the rest of the structures that do not possess any
base theory. Hence the concept or the theory is an essential part while designing the
structure.
Also as per the inference from the compiled data the elements bridging the gap
between the link of theory- practise -user fulfils the perception of the designer by
which he has designed the structure and the user too conceives the same.
(The conclusion is based on the compiled data of the re-search above and the
inferences is stated.The interviews, case-studies and video reviews done enhanced the
study and supported some statements made.)
47
TABLE OF IMAGES
Image 1 : The topic page; Source: Author .................................................................................. 8

Image 2 : About the research topic; Source: Author .................................................................. 8
Image 3: List of examples ; Source : Author .............................................................................. 8
Image 4: Scope of limitations and research; Source: Author ..................................................... 8
Image 5: Composition of images: Author ................................................................................. .8
Image 6: Forms and shapes; Source: Internet .......................................................................... .10
Image 7: Music logo; Source: Internet ..................................................................................... 10
Image 8:Pencil; Source: Internet .............................................................................................. 10
Image 9: Book; Source: Internet ............................................................................................... 10
Image 10: Study model; Source: Internet ................................................................................ .10
Image 11:Stone wall; Source : Internet .................................................................................... 10
Image 12: Theory; Source: Internet .......................................................................................... 10
Image 13: Conceptual sketch of thermae; Source: Internet ...................................................... 15
Image 14:Section with the connectivity: Internet ..................................................................... 17
Image 15:The journey in the structure-material: Internet ......................................................... 17
Image 16: Inside outside synergy; Source: Internet ................................................................. 17
Image 17: Material and water responding to one another; Source: Internet ............................ 17
Image 18: Concept of museum; Source: Internet ..................................................................... 20
Image 19: Concept of museum 2; Source: Internet .................................................................. 20
Image 20: Massing; Source: Internet ........................................................................................ 20
Image 21: Axial understanding; Source: Internet ..................................................................... 20
Image 22: Product of paper boat; Source: Internet ................................................................... 22
Image 23; Source: Internet ....................................................................................................... 22
Image 24: Advertising poster; Source: Internet ........................................................................ 22
Image 25: The samadhi of Krve; Source: Internet ................................................................... 34
Image 26: Museum display; Source: Internet ........................................................................... 34
Image 27: The outside view; Source: Internet .......................................................................... 34
Image 28: The temple; Source: Internet ................................................................................... 34
Image 29: Section explaining the lightning stratergy; Source: Internet ................................... 34
Image 30: Roof seating with the view of courtyrad ; Source: Internet..................................... 34
Image 31: Sikhar View; Source: Internet ................................................................................. 38
Image 32: The inverted canopy and the seating around it; Source: Internet ............................ 38
Image 33: Kund; Source: Internet ............................................................................................ 38
Image 34: The plan; Source: Internet ....................................................................................... 38
Image 35: The section; Source: Internet ................................................................................... 38
Image 36: External connection-setback; Source: Internet ........................................................ 22
48
Image 37: Working pads- informal space; Source: Internet ..................................................... 22
Image 38: Shapes of structure projecting; Source: Internet ..................................................... 22
Image 39: Elevational character composition; Source: Internet ............................................... 22
Image 40: Shapes of structure projecting; Source: Internet ..................................................... 22
Image 41:Spaces and activities fitted inside the composition of shapes:Source: Internet ....... 22
.
TABLE OF FIGURES
Figure 1: Tools for theory representation; Source: Author ..................................................... .10

Figure 2: Discipline of architecture ; Source; Narendra dengle and associates ...................... .44
49
BIBLIOGRAPHY
INTERVIEWS
ARCHITECTS….. .................................................................................................................... .
Ar.Narendra Dengle (Architect/academician/researcher):Jan 29th 2017 ................................. .28
Ar.Shantanu Vakankar(Commercial architect and practisioner):Feb 6th 2017 ....................... .31
Ar.Vikram Yellure (Recently passed out Architect/holder of many compitions awards)Jan 17th
2017 ......................................................................................................................................... .30
USER….. ................................................................................................................................... .
Mrs.Jai Kapse (Housewife and works in a museum):Feb 25th 2017 ....................................... .35
Mrs. Swara Shinde (Student ) :Feb 25th 2017 ......................................................................... .36
Mrs. Manish Bhandarkarre (Housewife ) :Feb 25th 2017 ....................................................... .39
Mr.Vikrant Bapataskar (Emplyoe ) :Feb 25th 2017 ............................................................... .40
Miss . Mayuri Bhandari (Student )Jan 29th 2017..................................................................... .43
Miss .Shreya Shah (Architect ):Jan 29th 2017 ......................................................................... .44
INTERNET SOURCE
1. (n.d). Retreived 19 January 2017,from
https://www.britannica.com/topic/architecture/Theory-of-architecture
2. (n.d.). Retrieved 15 December 2014, from

http://www.archinomy.com/case-studies/691/ Theory-of-architecture -india
3. Retrived 15th January 2017 http://www.paperboatdrinks.com/drinks
4. (n.d.). Retrieved 03 December 2016from

http://uk.phaidon.com/agenda/architecture/articles/2013/february/12/peter-zumthor-
reveals-the-secrets-of-therme-vals/
5. (n.d). Retreived 4th Nov 2016,from

https://www.youtube.com/watch?v=IyhrMZB-WLo&list=PLABA0239EA68C47B6
50
BOOKS SOURCE
1. Gupts R.T.K, (2011): Theory and form.Publication.:Kareiam Publocations
2. ,Susane Lungar (1997) :Form and feelings.: Pearson publications
3. Geoffrey Braodbent (1985) :Design in architecture with human sciences
ARTICLES
1. Daneil Libeskind( 2006)Between the lines:Brill issues:26th March 2008

2. ,Jacques Derrida (1997) :Response to Daniel Libeskind: ecole des haules en sciences
sociales :7th Feb 2009
3. Geoffrey Braodbent (1985) :Design in architecture with human sciences
4. Benoît Vandenbulcke (2011):Concretion, abstraction the place of materials in architectural

design processes. Case study Peter Zumthor.: ARCC 2011
5. Susana Ventura(2014): Material experimentation in Peter Zumthor’s creative process:

Research design through material inquiry: Architecture & Education Journal:N11,2014
6. Naomi Stead: The Ruins of History: allegories of destruction in Daniel Libeskind’s Jewish
Museum: Open Museum Journal Volume 2: Unsavoury histories, August 2000
LECTURES AND TALKS
1. Ar.Patrik Schmchekar:FEED lecture series,pune:Feb 26th 2017

2. Ar.Rumi Daniel Fernandes :LOFT lecture series,pune:Feb 5th 2017
3. Ar.Mona pingle: FEED lecture series,pune:5th Dec 2016
4. Ar. Rajeev Kathpalia : FEED lecture series,pune:1st July 2016
5. Ar. Roger Vougler :FEED lecture series,pune : 18th September 2015
6. Er. Mahendra Raj: FEED lecture series,pune: 28th Dec 2015
51
VIDEOS AND MOVIES
YOUTUBE-
1 23architects: Sivakumar Thangavelu|Architecture 10 of 23 Peter Zumthor The

Thermae of Stone :
https://www.youtube.com/watch?v=c5A3SfGLo0U&index=10&list=PLABA0239
EA68C47B6
2 23: Sivakumar Thangavelu|Architecture 12 of 23 Daniel Libeskind Jewish
Museum Berlin:
https://www.youtube.com/watch?v=c5A3SfGLo0U&index=10&list=PLABA0239
EA68C47B6
3. Ted talk :Alok Shetty: Simple ideas to innovative buildings: Alok Shetty at
TEDxMuscat 2013 :
https://www.youtube.com/watch?v=C2yjTmk6dX8
4. Ted talk : Daneil Libeskind:Architecture is a Language: Daniel Libeskind at
TEDxDUBLIN:
https://www.youtube.com/watch?v=yEkDosanxGk
5. Ted talk : Daneil Libeskind: Architecture for freedom: Daniel Libeskind at
TEDxViadellaConciliazione:
https://www.youtube.com/watch?v=yKFQjKFfhSo
52

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A Dissertation / Architectural Project (Part I) report on

THEORY,PRACTISE,USER AND ITS CONNECTION

Submitted to the Savitribai Phule Pune University in partial fulfillment of the

Ghatge Prajakta Ranjeet

Under the Guidance of

VIT’s P.V.P. College of Architecture, Pune

Padmabhushan Dr. Vasantdada Patil College of Architecture,

Ghatge Prajakta Ranjeet

Dissertation Guide External Examiner

The research focuses on understanding the theory/conceptualizing part in architecture in

(Concept, Theory,practise,conceptualization-materialisation,Importance of concept,Relevance

1.3 SCOPE OF STUDY

THEORY/CONCEPT is a term which is generally applied to the Design fields of

Study and understanding of;

CONCEPT/THEORY AND PRACTISE IN DESIGN

Image 1: The topic page ; Image 2: About the re-search topic ;

Image 3: The list of examples ; Image 4: Scope and limitations of re-search ;

Image 5: Images composition ;

2.1 MEANING OF ‘CONCEPTUALISATION’ and

A concept is an abstract idea representing the fundamental characteristics of what it represents.

Image 6: Forms and shapes ;

Dance and music Image 7: Music logo ;

Words and sentences

Image 10: Study model ;

Image 11: Stone wall ;

Image 12: Theory ;

Figure 1 : Tools for theory representation;

By 1950 most theoretical writings concentrated almost exclusively on visual aspects of

I) CATEGORISING THE CASESTUDIES-

WHY these examples-

2. Daneil Libeskind-Jewish Mesuem

3. Elephant Studios-Paper Boat

i) PETER ZUMTHOR -THERMAE

Image 13: Conceptual sketch of thermae ;

The concept to practice .

He created an immediate response and physical relation to the environment to space as to

The Theory The process

“Mountain, stone, water – Of hollowing the mountain.

building in the stone, building “When I design, I try to use the

Image 17: Material and water responding to one another ;

Being a deconstructivist, Libeskind often uses explicit metaphors of fragmentation in his

The act of constructing a new building to contain history provokes a range of

Recasting architecture as a deliberate and self-reflexive frame around the presentation

The red dots indicate the 3 axis

Image 21: axial understanding ;

Daniel Libeskind uses metaphor, fragmentation, void, and disorientation in ways

This is a decoding understanding of the deconstructism term used as a theory by him.

The theory The process

Arch as form of communication “Architecture is not a limited field,

Image 20: Massing ;

Image 19: Concept and zoning of

Image 24: Advertising poster ;

A paper boat implies a lot of firsts.

But it also signifies a different world. With different priorities.

Maybe it implies a Tagore poem of the same name.

“Why not paper boat?”

1. Jotting down the memories

Our Theory”The inspiration lies in

Image 22 The product of paper boat;

I) PETER ZUMTHOR -THERMAE

Daneil Libeskind says

REVIEW 1(YOUTUBE 23 architecs|Hollister)-The curator questioned the walls and its

Image 21: axial understanding ;